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 In this progression we have used a tritone substitution (bV sub) to
replace the D9 chord. We can do this because the Ab7 chord contains
the same two notes that determine the quality of the D9 chord.

Let’s analyze that:

D9 = D F# A C
Ab7 = Ab C Eb Gb(F#)

We can see that the major 3rd(F#) and flat 7 © from the D9 chord
are inverted in the Ab7 chord (C is the major 3rd and Gb(F#) is the
Flat 7). Those two tones are the notes that give a dominant 7th
chord it’s quality.

Why do we do this? Well, it’s because it gives us a chromatic bass

line from the minor 7 chord down to the major 7 chord, a smooth
transition between chords, and sounds wonderful.

ii-bii-I - G Major Tonal Ab9 Arpeggio to

Center G Major Scale - Outline the Ab7/Ab13
Am7-Gmaj7-G6 Chord
    

 5  5 

   

    

  5  5

    

7 9 9
Am7 Arpeggio Over Ab7 Arpeggio Over
Am7 Ab13
5  5 

   

 

 5  5

  
5 
5

5 7 3 5 7
Gmaj7 Arpeggio Over G Major Pentatonic
Gmaj7 Over Am7 and Gmaj7
 5  

 5 

  

 5  

   5

5   

5 7 7 9
Ab major Pentatonic
Over Ab13
 

5 

 

 

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9 12