That progression in the original was likely:

F - Fdim - Gm7 - C7

Where the Fdim is a sub for the vi in a I - vi - ii - V7

If the vi were played as a vi9 (Dm9 in this key), a rather common jazz sub situation, then the G in the Melody is part of the chord (D,F,A,C,E,G) - note that moving only two notes, the A and the C, down a half step yields the diminished triad with that 7 and 9 on the top. Those two notes are moving in Chromatic motion by half steps towards the Gm7 chord. Typical sub for the Rhythm Changes.

Fdim and Abdim share the exact same notes, so as written there, the Ab moving from the F/A bassline works as a chromatic motion just fine.

In BB, entering just the Abdim chord and placing the G in the Melody, or even the G and the E below it in the Melody, would be a good way to go, unless, of course, you are working up a Chord Melody Guitar performance, in which case the Guitar on Melody could be told to play all the notes and the Chord Grid, if needed for accompaniment, could still be entered as the Abdim.

On the neck, 4X3453 a bit of a twister with a thumbover?

I'd likely drop that 5 in a heartbeat, or pull the old Joe Pass thang, play the bass Ab and then hit the other four notes on the second half of the pulse...


--Mac

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