I don't know if it's a Metheney concept but each time I was reading a chart form his repertoire I was a bit facing a problem in front of a chord like Bb/B...and it was strange to me. It looked like a chord "out of nowhere" but sometimes, for a reason you don't know where it comes from you discover something that make sens. I cannot say if Metheney was using this in a way I'll explain what I found out but I really like what I discover.

Again it's about a V7 chord and a way to play it...Let's say a G7 and inforstead of writing G7 you write Bb/B. It's probably because you hear something and you want another guitar player or a pianist to play this position. But, when you analyse each note on this Bb/B and give to each note a relation with a G7 you'll get B (3rd), F (dom 7th), Bb (#9), D (5th). Interesting, isn't it. But there is more. If you raise the same position by 1 1/2 tone you'll get Eb/D...or D (5th), Bb (#9), Eb (b13th), F (dom 7th)...and you can continue by raising again by 1 1/2 tone to get E/F for dom 7th, 3rd, 13th, b9th and finallay a G/Ab for b9th, 5th, tonic, 3rd...quite amazing...to way to play for the first position to the last one is very similar to play a diminish chord progression. Just try it!!! And don't forget to resolve...lol.

I saw that many of you read my message but nobody commented. Is it too complicated? It was for me before understanding this concept but after it became so clear to my mind. And so rich in harmonization. Thank you anyways to take a bit of your time to read it...lol.

Bb/B = B Bb D F

So Bb over the B = a b9
D over the B = min3 (#9)
F over the B = tritone (#11)

So when I see an extended triad like this, it screams to me a tensions+root only “altered dom7”
tonality. Mike Stern does stuff like this all the time too, as does Frank Gambale. It leaves a lot of space while getting “that outside sound” across in an arrangement context, plus it’s so easy to keep things sounding “right” despite the altered nature of the chord.

Fun stuff, I created a groove with the Stick and then messed around with some violin improv over top of it. Definitely some jazzy stuff, haha I am no Stephane Grappeli it’s true!


Thanks, Alain.

You can call this chord B half diminished major seventh.
Pretty commond chord in jazz harmony but it also comes from the triads that compose an altered dominant chord.

Example: take for instance Bb diminished scale:
Its notes are Bb-B-Db-D-E-F-G-Ab-
This scale contains 4 major triads, 4 minor triads and 4 diminished triads.
Bb major- Bb minor and Bb diminished
Db major, Db minor and Db dim
E major-minor and dim
G major-minor and dim
So you can look at this chord Bb/b in the bass from many different angles, such as Bb7-B half dim with maj 7th, G dominant-Db dominant etc etc

We jazz musicians use it a lot and you can see it and hear it in Michael´s Brecker playing with the Brothers a lot in vamps.

I hope that clearyfies you a bit
Greetings