Passing notes - 3, 'The Bebop Scale' Major 3rd and Flat 5th on minor 7th chords

To recap the previous 2 worksheets, the passing note that is commonly used on a V7 chord is the major 7th, and the passing note commonly use on a Imaj7 chord is the flat 6th:

& n b
maj7

C7

b b
b6

If we now look at the related IIm7 chord (ie Gm7 here), we'll find that both of these passing notes (B and Db) will work, depending on the exact phrase. This translates into the major 3rd and the flat 5th in relation to the m7 chord, but it can be easier to just think of the chords all 'paired' together. So the Gm7 and C7 'pair' both share the note B natural as a passing note. This works well when descending a scale starting on the root or b3 of the minor chord (these starting notes also being part of the related V7 chord):

n b &
R 3

G7

G7

b n b
b3 3

Thus, in the same way that G dorian and C mixolydian contain all the same notes (both from F major scale), so too do they share this passing note. In most cases, phrases that work over a IIm7 chord will also work over the related V7 chord. The same is true in reverse, but generally only if the phrase on the V7 chord doesn't have a lot of 'altered' notes. In a similar way, the Gm7 and Fmaj7 'pair' both share the note Db as a passing note. This works best when descending from 5th or 7th of the minor chord:

& b b n
5 b5

G7

G7

b b
7 b5

Often both of these passing notes are used together, in effect producing a chromatic run between the 5th and the b3rd. The warm up exercise below illustrates the use of these passing notes.

b b n b n b b &
G7

Warm up exercise for m7 chord with passing note

&

chromatic b b n b n b n w n 3 3 b5 b5 3