being contrary about oblique motion

OK.    You're playing a song that has the following change:

Gm / Gm#7 / Gm7 / Gm6

Here's my pet peeve:  The bassist should stay on a G.    But bassists the world over insist on moving down.   (In this case, they'd play G - F# - F - E.) 

The problem is that that motion should really be happening in an inner voice, or even the melody.    (The crime is doubled when it's the melody and the bassist still does it!!!!  aaaaauuuuggghhhh.)    After all, it's really not a chord change —– it's just a G-minor, with that little descending thing added to create some motion.

When the sun sets over the mountaintop, it's great, partially because the mountain stays still.    Wouldn't you be mad at a mountain that insists on going down every time the sun does?    Hey mountain:  be a mountain. 

DISCLAIMER:  this is a matter of personal preference.    Some people don't seem to mind it at all.    Those people also don't mind wearing a striped tie with a striped shirt and striped suit.

A friend writes that he often treats that Gm#7 as a D7 chord, and the Gm6 as C9.    Sometimes all over a G bass, and sometimes not.    Several others chimed in with something similar.

Interesting!    I usually just think of it as a static G.    But some of the best musicians whose playing I love the most and are incredibly tasty all seem to agree that they conceptualize such passages as a kind of mini progression going to dominant.    Interesting!

Either way, that's more about the harmony and not about what Jerry Coker would call the Contrapuntal Elaboration of Static Harmony.    Hey mountain:  be a mountain.