OK, here's one for the literati. I've been on a spiritual journey over the last few weeks in an effort to hip-ify my playing some. I've started thinking about harmony more derivatively (i.e., Gmaj7 and associated chords over Cmaj7 for lydian sounds) than I used to, and I'm excited because I feel like I'm "hearing" more polyphonically now. Sher's Improviser's Bass Method has a quick and dirty chapter which lays it out, as do alot of other books. Over the last few days I've taken this to playing alot of upper structure ideas. (i.e., superimposing Am7-Cmaj7-Em7-G7 sounds over Fmaj7 for example or Abmaj7-Cm7-Ebmaj7-Gm7 sounds over Fmin7). I've been studying music for ever and for some reason, though this seems simple, I've never thought of upper structure like this, I've always just thought about the intervals and alterations in relation to the root. Anyway, what I'm getting around to is: how do you guys sling this stuff over the V in a regular ii-V7-I? Is there a general rule of thumb for V7 chord/scale/alteration once you've implied a particular upper structure chord (i.e., Gm7 over Fm7 which is prevalent it seems)? Do pianists have particular right hand ii-V7-I upper structure "fallbacks"? It would be nice if I'm voicing the same stuff! Thanks guys. Feel free to flame me if these are dumb questions. Will I'm going to cross post this on the DB side. If that's a no no lemme know.