Yes, you are correct, except the Bb7 chord here replaces E7 going to A (or to 
D/A, the cadential 6/4 that is really an A chord with two suspensions. I 
imagine the next chord is D7/A, rather than D7 root position?). One of the 
problems with chord symbols is that they don't always reflect the exact harmony 
with perfect spellings. Tritone subs and diminished chords are often respelled 
as well.

While the proper chord symbol would be Bb7/Ab (or Bb/Ab) it would actually be 
better spelled out in the bass part as G#, to show proper leading tone function.

I can almost guess the progression here. Is it D, D7/F#, G, Bb/Ab, D7/A ?

Christopher


On Sun Oct 2, at SundayOct 2 12:53 PM, Robert Patterson wrote:

> So I'm transcribing a record, and what I hear is the bass line chromatically
> ascending in (as you say) a tritone substitution of the applied dominant (of
> D). The notes are Bb-D-F-Ab(G#), but the G#/Ab is in the bass. So should I
> call the chord Bb7/Ab? And if so, I suppose the better spelling of the 7th
> is Ab. The following chord is D7.
> 
> On Sat, Oct 1, 2011 at 3:52 PM, Darcy James Argue <[email protected]> wrote:
> 
>> Hi Robert:
>> 
>> In the key of C:
>> 
>> Ger 6th: Ab7
>> Fr 6th: Ab7 (#11) or Ab7 (#4)
>> It 6th: Ab7 (omit 5)
>> 
>> In jazz theory, these would all be considered tritone substitutions for the
>> applied dominant of V (V7 of V).
>> 
>> Cheers,
>> 
>> - DJA
>> -----
>> WEB: http://www.secretsocietymusic.org
>> 
>> 
>> 
>> On 1 Oct 2011, at 4:16 PM, Robert Patterson wrote:
>> 
>>> Is there any accepted practice for writing aug 6th chords in a jazz
>> chart?
>>> For example, in the key of D Maj, a Ger 6th would be enharmonically Bb7,
>> but
>>> is there a more appropriate notation? And what about Fr and It 6th
>> chords?
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