D7b9 - G7+
The diminished scale can be used with a lot of freedom on this type of chord, because it contains typical out notes. In our specific case we will use the ninth flat (which is the Eb note) of the D chord, that mainly identifies the alteration of the chord.
In the G7+ chord some chromatic fragments are used that gravitate to the characteristic notes of the increased chord. Melodically, the chord is better recognized in the second bar of the G7+ due to the presence of the increased fifth (note D#).
Cm7 - Ebm7
A typical way of playing an out in a minor chord. The descending sequence
that alternates on the second and third string permits the use of the third major (note E) on Cm7.
In the following chord, Ebm7, the seventh flat (note Db, inharmonically transformed into C#)
is "snubbed" by the seventh major (note D), decidedly out with the chord.
The trick, in cases like this, is to make the "out" note jump near its effective "in" note, therefore D next to Db.
Ab7 - Bbmaj7
Considering the Ab7 as fifth degree paired to the preceeding Emb7 chord, the classical II°-V° is formed. This, however, implies a very precise tone, which is not the chord that will be played in the following bar (the Bbmaj7). In reality there was a typical substitution in II°-V° of Bb: the harmony has been transposed a third minor above, replacing the second step of Bb (Cm7 chord) with the same type of chord a third minor above, which is Ebm7.
The same procedure for the Ab7, but with a transposition (again a third minor above) of the fifth degree of Bb, which is F7. In this case the Ab mixolidian scale is used.
The descending arpeggio of Bbmaj7 is in a way lidian, which allows the use of an "out" note (the E of the fifth string), that creates a slight tension in the Bbmaj7 chord.
Em7b5 - A7b9 - Dm7b5 - G7b9 - Cm7b5 - F7b9
In the succession of II°-V° minor that we see above, the melody tries to get closer to that of the theme of the song, varying in some points. Pay attention to the last chord, the F7b9, where the mixolidian scale of F is used that concludes with an ascending chromatic sequence that connects to the final bar of Bbmaj7.
Bbmaj7
The descending scaling is done in the lidian of Bb, and introduces the fourth degree (of Bb) raised a half-step (from Eb to E), according to the system seen in the previous chord of Bbmaj7.
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