II-V substitution techniques

more techniques

substitution on V7
triton technique + tensions harmonic chords substitutions

35 D-7 G7


G7 Db7 triton technique

G7(b9)
G7 Db7 Abº7 B^7(b5)/G

substitution on II-7

36 by minor 2ths steps descending 37 by 4ths step ascending

D-7 G7 C^7 D-7 G7 C^7


D-7 G7 Db-7 Gb7 triton relation D-7 G7 G-7 C7 change quality chord

chromatic descending

38 chromatic ascending 39 by 4# step ascending

D-7 G7 C^7 D-7 G7 C^7

(one note common between
approximation descending
D-7 G7 Eb-7 Ab7 Ab7 and Cmaj7) D-7 G7 Ab-7 Db7

40 by major 3rd step ascending by minor 3rd step ascending

D-7 G7 C^7
41 D-7 G7 C^7

approximation ascending diatonic ascending
D-7 G7 Gb-7 B7 D-7 G7 F-7 Bb7
 II-V substitution techniques

42 by whole tone scale descending sequences

D-7 G7 C^7


D-7 G7 C-7 F7 Bb-7 Eb7 Ab-7 Db7 approximation descending

43 by whole tone scale ascending sequences

D-7 G7 C^7


D-7 G7 E-7 A7 Gb-7 B7 Ab-7 Db7 approximation descending

combination of triton relationships + approximation chords to I

44
D-7 G7 C^7


D-7 G7 Ab-7 Db7 C^7

triton approximation descending

45 combination of triton relationships and approximation chords to delaying I

D-7 G7 C^7

IV I
D-7 G7 Db-7 Gb7 F^7 C^7
delay to I
triton
approximation descending
II-V substitution according to melody
46 47
D-7 G7 
C^7 D-7 G7 
C^7


*
the F note is diatonic one every chord the F note is one every chord
D-7 G7 Bb-7 Eb7 C^7 D-7 G7 Eb-7(9) Ab7(13) C^7
 II-V substitution techniques
48 D-7

G7

C^7

D-7 G7

C^7

the F note is one every chord as a tension (not included on the chord)
D-7 G7 Eb-7 Ab7 Bb-7 Eb7 Db7 C^7 D-7 G7 F-7 Bb7 C^7

49
D-7 G7

C^7

melody on tope voice of every chord with differents substitution techniques


D-7sus Db7#11 Bb-7(6) G7(b5) 
C^7

II-V substitution according chordal inversions

50 D-7 G7 C^7


DØ7 G7 F-6 Bb7 C^7

same chord diferent inversion

II-V delaying the diatonic sequence

51 D-7 G7 C^7

Eb-7 Ab7 D-7 G7 C^7
II-V delaying the diatonic sequence

52 II-V delaying the diatonic sequence

D-7 G7 C^7


Eb-7 Ab7 A-7 D7 D-7 G7 C^7

a sequence of II-V delaying the diatonic sequence

 II-V substitution techniques

53 II-V sequences with chord same quality aproximation to I degree

D-7 G7 C^7

the same quality chord aproximation


D-7 G7 G-7 C7 B^7 C^7

a sequence of II-V delaying the diatonic sequence II-V that never comes,

54 D-7 G7 C^7

the same quality chord approximation
D-7 G7 Db^7 C^7
final triton

55 D-7 G7 C^7

different quality chord approximation

D-7 G7 Db-7(9) C^7(b5)

56 II-V substitution with different quality chords

D-7 G7 C^7

F^7 E7(#9) C7#Å C7#Å/Bb

57 II-V substitution with 1 momentaneous hybrid ^7

D-7 G7 C^7

D-7 G7 F-7 Bb7 Eb^7 G7 C^7

false subdominant function, Ebmaj7 instead of D-7

false secundary tonality
 II-V substitution techniques
58 II-V substitution with more than 1 momentaneous hybrid ^7
D-7 G7 C^7

D-7 G7 Ab-7 Db7 Gb^7 Db^7 C^7

59 II-V substitution by cycles of hybrid chords ^7

D-7 G7 C^7 D-7 G7 C^7

Ab^7 Db^7 Gb^7 B^7 C^7 Eb^7 Ab^7 D^7 Db^7 C^7

60 II-V substitution by cycles of hybrid chords different quality

D-7 G7 C^7 D-7 G7 C^7


Bb-7 Ab7 D-^7 Db7 C^7 Eb^7 Eb-7 Ab^7 Cøº7 C^7

61 II-V substitution using inversions chords 62 II-V substitution using inversions

chords + tritons chords
D-7 G7 C^7 D-7 G7 C^7

D-7/A G7/B C^7 D-7/A Ab7 G7 Db7/B C^7

63 II-V substitution using inversions chords + tritons chords + hybrids maj7 chords
D-7 G7 C^7 D-7 G7 C^7

D-7/A Ab7 Db^7 Gb7/E C^7 D-7/C Eb7/Db Ab^7/C G7/B C^7

64 II-V substitution using inversions chords + tritons chords

+ hybrids maj7 chords delaying a II-V diatonic cadence
D-7 G7 C^7

D-7/C Eb7/Db Ab^7/C D-7 G7 C^7

3 diatonic II-V
 II-V substitution techniques

65 II-V substitution using inversions chords + tritons chords

+ hybrids maj7 chords delaying a non-diatonic II-V
D-7 G7 C^7

D-7/C Eb7/Db Ab^7/C F-7 Bb7 C^7
non diatonic II-V
3

66 II-V substitution using inversions chords + tritons chords

+ hybrids maj7 chords delaying a chromatic cadence II-V
D-7 G7 C^7


D-7/C Eb7/Db Ab^7/C Db-7 Gb7 C^7

3
chromatic descending II-V

67
D-7 G7 C^7

D-7/C Eb7/Db Ab^7/C Gb-7 B7 C^7

3 chromatic ascending II-V

68 II-V substitution by false II-V 69 II-V substitution by false II-V cycles

D-7 G7 C^7 D-7 G7 C^7


D-7 Ab7 C^7 D-7 Ab7 A-7 G7 C^7

70 II-V substitution by Coltrane changes 71 II-V substitution with Coltrane changes

delaying the diatonic II-V
D-7 G7 C^7 D-7 G7 C^7

C^7Eb7Ab^7 Db7 C^7 C^7 Eb7Ab^7 Db7 D-7 G7
 II-V substitution techniques

72 II-V substitution with foreign Coltrane changes delaying the diatonic II-V

D-7 G7 C^7


Bb^7 Db7 Gb^7 B7 D-7 G7 C^7

73 II-V substitution with foreign Coltrane changes delaying with different II-V

D-7 G7 C^7


Bb^7 Db7 Gb^7 B7 F-7 Bb7 C^7

74 II-V substitution with foreign Coltrane changes delaying with different II-V cycles

D-7 G7 C^7


Bb^7 Db7 Gb^7 B7 F#-7 B7 F-7 Bb7 C^7

75 II-V substitution with add appoggiatura chords




76 II-V substitution with pedal on the bass

D-7 G7 C^7 D-7 G7 C^7


D-7/G Db7(#9)/G C^7/G D-7/G G7àÆ Gb/G C(9)/G

   
77 II-V substitution with double pedal on the bass



 II-V substitution techniques

152 coltrane changes + triton plus

space-time technique
153 voice leading as a only harmonic rule
D-7 G7 C^7 D-7 G7 C^7


 
     
  

3 3

154 using paralel chords 155 using cluster 156 using cluster + sincopation
D-7 G7 C^7 D-7 G7 C^7

  
 


  
    
Bb-7 Eb7 Ab-7 Db7
 

 

157 using open/wide intervals

D-7 G7 C^7



  
   
    
    


158 using cluster + wide intervals

D-7 G7 C^7

     
   
   
   
     


159 mixing complex rythm concepts

with substitution techniques 160 using direct modulation techniques
D-7 G7 C^7 D-7 G7 C^7

modulating to B tonality 

      
3 D-7 A7 Bb7 B^7 G#-7 D#-7 D-7 G7 C^7
3

5
3
 II-V substitution techniques
using momentaneous blues changes + blues
161
using direct modulation with
pivot chord techniques 162 scale as a substitution technique
D-7 G7 C^7 D-7 G7 C^7

modulating to A tonality


pivot chord
D-7 G7 A^7 B-7 C#-7 G7 C^7 D7 G7 C7
 V from C
VII from A

163 II-V substitution for a modal II- chordal

C-7 

Footprints, bar 1,2 exemple


C-7 Db-7 Gb7 G-7 F-7 Bb7 C-7sus
        

3 3

164 II-V substitution by Pointillism tecniques

D-7 G7 C^7

      
Pointillism in music consist of notes separated by

    

octave displacements, rests, contrasting articulations and
dynamics, or any combination of these.

      
 (Techniques of the contemporary composer, DAVID COPE)

    


165 II-V substituted by turnarounds

D-7 G7 C^7 D-7 G7 C^7 D-7 G7 C^7

C^7 A-7 D-7 G7 C^7 A7 Ab^7 G7 C^7 Eb7 Ab^7 Db7


166 II-V substituted by passing chords 167 V7 substituted by Django Reinhardt sequence
D-7 G7 C^7 D-7 G7 C^7

D-7Ebº7 Eº7F-6 G7 BØ7CØ7Db7(9) D-7 G7 Aº7 Bbº7 G7/B

 II-V chords substituted by same chords from differents scales
168 II-V substitution techniques
D-7 G7 C^7 D-7 G7 C^7 D-7 G7 C^7


DØ7 G7äÁ (C-^7) DØ7 G7åÁ (C-7) DØ7(9) G713(b9) C^7

 C harmonic minor scale C natural minor scale F- melodic minor scale ascending
169 II-V substituted by same chords, differents quality status

D-7 G7 C^7 D-7 G7 C^7 D-7 G7 C^7



D-713(11) G713(b9) DØ7 G7(#5) D-^7 G7alt


170 enharmonic substitution 171 Constant Structure Modal Progressions
Db-7 Gb7 Gb-7 Cb7 D-7 G7


C#-7 F#7 F#-7 B7 G7sus4 Bb7sus4 F7sus4 G7sus4


172 D-7
Classic Coltrane II- V7 changes substitution
G7 C^7
 This substitutions was created by John Coltrane and first used
on his composition Giant Steps.

D-7 Eb7 Ab7 B7 E7 G7 C^7


173 D-7Extended ColtraneG7II- V7 changes substitution
C^7


D-7  Bb-7 Eb7 Ab  F#-7 B7 E7  D-7 G7 C^7



 
variation
D-7 G7 Bb-7 Eb7 Ab F#-7 B7 E7 D-7 G7 C^7

174 Coltrane II- V7 Chromaticism changes substitution

F-7 Bb7 D-7 G7
 On some harmonic situations Coltrane was using this
tecnique of II-V chromatic descending, but related to a
more that one II-V, in this case two II- V;
F-7 Bb7 and D-7 G7

F-7 Bb7 E-7 A7 Eb-7 Ab7 D-7 G7


 II-V substitution techniques

II- substituted by chordal substitution, same notes, just difference tensions.

175
D-7 G7 D-7 G7 D-7 G7 D-7 G7 D-7 G7 D-7 G7 D-7 G7 D-7 G7

G7 Bb^9 G9sus4 G7 G-7Å G7 Eb^7(9)ãÈ G7 C-^7(9)ãÈ G7 Ab7(b9)ãÈ G7 B7(b5)âÄ G7 Ab7(13)âÅ G7


II- same technique, but double substituted exchanging D-7 for D-7b5
and using chordal substitutions from that one
176
D-7 G7 D-7 G7 D-7 G7 D-7 G7 D-7 G7 D-7 G7 D-7 G7 D-7 G7

DØ7 DØ7 DØ7 DØ7 DØ7 DØ7 DØ7 DØ7

Bb9 G7 Eb-^7(9)È G7 E7äÁ G7 G7sus4(b9)G7 Eb-^7(Í) G7 B13b5(âÄ) G7 C-7àÁÈ G7 Ab6(#11) G7

II- same technique, double substituted exchanging D-7 for D-7#5

177
D-7 G7 D-7 G7 D-7 G7 D-7 G7 D-7 G7 D-7 G7 D-7 G7 D-7 G7

D-7#5 D-7#5 D-7#5 D-7#5 D-7#5 D-7#5 D-7#5
D-7#5


C-7Å G7 F-6(11) G7 Eb^7(%) G7 G-7(11) G7 Bb9 G7 D7åÁ G7 E7(b5)áÆ G7 Ab13#Å G7

178
V7 same technique, substituted by chordal substitution, same notes, ust difference tensions.

D-7 G7 D-7 G7 D-7 G7 D-7 G7 D-7 G7 D-7 G7 D-7 G7



D-7 F7(13)#Å D-7 B7(#5)åÅ D-7 D-6(11) D-7 F^7(13)#Å D-7 E7âÄ D-7 A-7àÁbÈ D-7 E7(âÄ)
 II-V substitution techniques

V7 same technique, double substituted exchanging G7 for G7#5

179
D-7 G7 D-7 G7 D-7 G7 D-7 G7 D-7 G7 D-7 G7 D-7 G7 D-7 G7

G7#5 G7#5 G7#5 G7#5 G7#5 G7#5 G7#5 G7#5

D-7 F7(b5)9 D-7 C-^7(11) D-7 F9(b5) D-7B7(âÀ) D-7 Eb9(#5) D-7 A7(b5)bÆ D-7Ab-^7(6) D-7 AØ7bÆ

V7 same technique, double substituted exchanging G7 for G7b5

180
D-7 G7 D-7 G7 D-7 G7 D-7 G7 D-7 G7 D-7 G7

G7b5 G7b5 G7b5
G7b5 G7b5 G7b5


D-7 Eb7(#5)9 D-7 D-^7(È) D-7 A9(#5) D-7 Bb13âÄ D-7 Ab-^7(È) D-7 Eb13âÄ

181 V7 same technique, double substituted exchanging G7 for G7sus4

D-7 G7 D-7 G7 D-7 G7 D-7 G7 D-7 G7 D-7 G7 D-7 G7 D-7 G7

G7sus4
G7sus4 G7sus4 G7sus4 G7sus4 G7sus4 G7sus4 G7sus4

D-7D-7(11) D-7Ab^7(b5)(6) D-7Eb^7(%) D-7 B7(âÀâÄ) D-7 F% D-7 BbÆ D-7AØ7(bÈ) D-7E7(#5)âÄ
 II-V substitution techniques

COMBINATION OF CHORDAL SUBSTITUTION II-7 V7 TECHNIQUES

using chord species chordal of D-7b5, D-7#5 and G7sus4, G7b5, G7#5

COMBINATION OF CHORDAL SUBSTITUTION from II-7 and V7

182
Bb^9 F7(13)#Å G9sus4 B7(#5)åÅ G-7Å D-6(11) Eb^7(9)ãÈ F^7(13)#Å

C-^7(9)ãÈ E7âÄ Ab7(b9)ãÈ A-7àÁbÈ B7(b5)âÄ E7(âÄ) Ab7(13)âÅ E7(âÄ)


183 COMBINATION OF CHORDAL SUBSTITUTION II-V TECHNIQUES D-7b5 and G7b5

Bb9 Eb7(#5)9 Eb-^7(9)È D-^7(È) E7äÁ A9(#5) G7sus4(b9) Bb13âÄ


Eb-^7(Í) Ab-^7(È) B13b5(âÄ) Eb13âÄ C-7àÁÈ Eb7(#5)9 Ab6(#11) D-^7(È)


184 COMBINATION OF CHORDAL SUBSTITUTION II-V TECHNIQUES D-7#5 and G7#5

C-7Å F7(b5)9 F-6(11) C-^7(11) Eb^7(%) F9(b5) G-7(11) B7(âÀ) Bb9 Eb9(#5)


D7åÁ A7(b5)bÆ E7(b5)áÆ Ab-^7(6) Ab13#Å AØ7bÆ Eb^7(%) Ab-^7(6)



185 COMBINATION OF CHORDAL SUBSTITUTION II-V TECHNIQUES D-7 and G7sus4

Bb^9 D-7(11) G9sus4 Ab^7(b5)(6) G-7Å Eb^7(%) Eb^7(9)ãÈ B7(âÀâÄ)



C-^7(9)ãÈ F% Ab7(b9)ãÈ BbÆ B7(b5)âÄ AØ7(bÈ) Bb^9 E7(#5)âÄ


186 COMBINATION OF CHORDAL SUBSTITUTION II-V TECHNIQUES D-7b5 and G7sus4

Bb9 D-7(11) Eb-^7(9)È Ab^7(b5)(6) E7äÁ Eb^7(%) G7sus4(b9) B7(âÀâÄ)



Eb-^7(Í) F% B13b5(âÄ) BbÆ C-7àÁÈ AØ7(bÈ) Ab6(#11) E7(#5)âÄ


 II-V substitution techniques

mirror techniques

195 II-V mirror 196 sequence mirrors 197 II-V cell mirrors

D-7 G7 D-7 G7 D-7 G7



G7 (D-7)
Eb-7 Ab7 D-7 G7 Eb-7 Ab7 D-7 G7
 D-7sus

D-7 G7 Eb-7 Ab7 Ab7 Eb-7 G7 D-7



198 199
internal intervalic II-V chord structure mirrow chord structure mirrow in a sequence
D-7 G7 D-7 G7


E-7 AØ7 Eb-7 Ab7 Ab-7 Db7



 D-7
 F-7 BbØ7 Bb-7 EbØ7
  
 
intervalic mirror G7

E-7
AØ7

200 simple enharmonic substitution

Db-7 Gb7 Gb-7 Cb7


C#-7 F#7 F#-7 B7


 II-V substitution techniques
others techniques

201 intervallic links technique 202 multitonal Coltrane changes

D-7 G7 D-7 G7

G7


203 chordal techniques mixing coltrane changes 204 chordal techniques mixing mirrow techniques
D-7 G7 D-7 G7


205 chordal techniques mixing clusters 206 chordal techniques mixing turnarounds
D-7 G7 Db-7 Gb7 Gb-7 Cb7



207 politonal turnarounds 208 polichords turnarounds

D-7 G7 D-7 G7



209 using bird phrasing tecniques on II-V 210
D-7 G7 D-7 G7



211 212
D-7 G7 Db-7 Gb7 Gb-7 Cb7



 II-V substitution techniques

EXEMPLES OF SUBSTITUTION CHANGES

ON SOME JAZZ STANDARTS SONGS
 II-V substitution techniques

exemple 1
scrapple from the apple
Charlie Parker

             
G-7 C7 G-7 C7(b9)
originals changes
            
3

G-7 C7 Ab-7 Db7 G-7 C7(b9) F#7(b5)

 
   
substitution changes   

1. 2.

 
F^7 G-7 C7 F^7 G-7 A-7 D7 F
             
3
   
3
         



F^7 Bb^7 Bº7 A-7 D7 D7 D7(#9) Ab^ Db^
 F

A7 D7 G7 C7



G-7 C7
  G-7   C7(b9)   
                  
 
    
3

G-7 A7 Bb^7(#11) Eb-^7 D7(#9) Gb/G


F^7 G-7 C7 F^7  G-7 C7(b9) F^7
      
3

                    
3

F^7 G-7  Abº7b13C7 F^7  G-7 C7(b9) F^7

 
 II-V substitution techniques

exemple 2
Here's That Rainy Day Jimmy Van Heusen
A
G^7 Bb7 Eb^7 Ab^7
   
       

G^7

Bb7 Eb^7 Ab^7

A-7(11) D7 G^7 D-7 G7(b9)

    
   
A-7 D7 G-7 C7 F-7 Bb7 Abº7 D7/A G^7 Eb-7 Ab7 D-7 Db7 G7

C-7 F7 Bb^7 Eb^7
   
        
C-7 Ab-7 Db7 C#-7 F#7 F7 Bb^7


A-7 D7 G^7 G^7 A-7 D7

       
   

A- Ab^7 Gb^7(b5) F-7 Bb7 Ab7 Gº7 Abº7 Aº7 G^7/B D/Bb C/Ab D7(b9) 

B G^7 Bb7 Eb^7 Ab^7 A-7(11) D7
      
            
G^7 F-6 Bb7 D7b13(b9) E7äÁ Eb^7 Ab^7 A-7(11) D7


G^7 D-7 G7 C^7 A-7 D13 B-7 E-7 A13

    
       

G#-7 C#7 F#-7 B7 Eb-7 Ab7 D-7 G7 C^7 A-7 D13 B-7 E-7 A13


A-7(11) D7 G6 E-7 A-7 D7

     
   


A-7(11) D7 G6 E-7 A-7A-^7A-7A-6Eb-7 Ab7 D7Ab7

 II-V substitution techniques

exemple 3
Blues for Alice
Charlie Parker

   
 F6  E-7 A7 D-7 G7
                   



F6 E-7

A7 Eb7
 D-7
 G7 Db-7 Gb7
        

C-7 F7(#5) Bb6 Bb-7 Eb7 F6

 
                             
3 3

 



C-7 F7(#5) Bb6 Eb-7 Ab7 Bb-7
  B-7  E-7
Eb7 F6 A-7 D7
     

Ab-7 Db7 G-7 C7

     
         
3

 
   

Ab-7 Db7 Gb^7 B^7 F-7 G-7 Ab7(13) A7(#5) Bb/B C7 Ab7 Db7(9) Gb7(b5)
     

A-7 D-7 G-7 C7

  
       

  

A-7  D-7 Ab^7 G-7 C7 Gb-7 B7

     
 II-V substitution techniques

exemple 4
It's you or no one
Sammy Cahn/Jule Styne

G-7 C7 F^7 Bb7 A-7 D7 G-7

          
  

     
G-7 Db^7 C7   Gb7 Bb-7 Eb7 A-7 Ab^7
  
C7 F^7
    
 

       
Db7(9) C7 B7 Bb7(9) F^7 Ab7 Db^7 Gb^7(b5) Ab^7 A-7

Bb-7 Eb7 Ab^7 G7(#5)
   
 
  
     
Eb7 A7 F-7  DØ G7


C/G D-7 G7 G-7 C7

      

  
Bb-7 Eb7 A-7 D7 Ab-7
 

G-7 C7 F^7 Bb7 A-7 D7

         
  
C7 C#Ø7 D-7 Bb7 A-7 Ab7
 C7
G-7 C-7 F7
     
 
G-7 G-7/F EØ7 A7 AØ7 D7 C-7 F7

BØ7 Bb-7 Eb7 A-7 D-7 Bb-7 Eb7 G-7 C7
        
             
BØ7 E7

 
F%
  
Bb^7 D7 Gb^7 B7(#11) 
 
 II-V substitution techniques
exemple 5 Bluesette
jazz waltz Toots Thielemans

Bb^7 AØ7 D7
 
     
     

Bb^7 G-7 C7 AØ7 Eb7 D7 Ab-7 Db7

 

G-7 C7 F-7 Bb7


 
  
 
G-7 Db7 C7 Gb-7 B7 F-7 Ab7(9) DØ7 G7 Bb7



Eb^7 Eb-7  Ab7 

   
   
C-7 G-7 Eb^7 Eb-7 Ab7


Db^7 Db-7 Gb7

      
   
Db^7 Ab-7 Db7 Db-7 CØ7 F7 Gb7



Cb^7
   
CØ7

F7
 
    
Cb^7 CØ7 F7


D-7 Db7 C-7 F7


      

D-7 Ab7(13) Db7 Gb^7 C-7 F7 B7


 II-V substitution techniques

WHEN SUNNY GETS BLUE

exemple 11 Fisher/Segal
Ballad

         
G-7 C7sus Bb-7 Eb7
  

 
   

3

       
Bb-7(9) Ab-7(9) Gb^7(9) B^7(9) Eb7 Eº7

F^7 G-7 A-7 D7

     
  

             
F^7 G-7 C7 Ab-7 Db7 Bb-7 Eb7 A-7 D7 E-7 A7 Bbº7

6 3

BØ7  Bb-7 Eb7 F6/A  Ab-7 Db7 

               

       
F^7 Ab-7 Db7 G-7 C7 Gb-7 B7

6


1. 2.

      
G-7 C7 Bb7 A-7 D7(b9) E-7 A7(b9)
     


A-7

Eb-7Ab7 A7 D7 Ab7(b5)
     
3
D^7 E-7 F#-7 B7(#9) E-7 A7(b9) D^7
   
               


3
D-7 G&7 C^7 A-7 F^7 D-7 G7
 
                 
3
G-7 C7
  
  


G-7 Gb^7 Ab-7 G^7 A-7 Ab7 Bb7 B7 C7
          
3 3 3 D.S. al Coda


G-7 C7alt F^7 Gb7 G-7 Gb7 F^7
      
               
3 3
 II-V substitution techniques
exemple 13 LOVE FOR SALE
latin-swing Cole Porter


Eb7 Bb7 Eb7 Bb7

            

  
Eb7 G-7 Gb^7 F7 Bb7 C-7 C#º7 Bb7/D


 
1.
Eb-7 Ab7 Db^7 Gb7 CØ7 F7(#9) Bb7

                     

B7(11)
Db^7 C7alt Gb7sus13#9/B

DØ7 G7 Db-7 Gb7

2.
Bb7 F- Bb7 Eb-7 Ab7(b9) Db^7 F- Bb7

    
            

     
 
Bb-6 B^7 A^7 E-7 Eb-7 Db^7 F- Bb- A^  E^ Eb-7
 

Eb-7 Ab7(b9) Db^7 F- Bb7(b9) Eb-7

 
     
3

            
      
C7 Db^7
 

 GØ7 C7(b9) F#-7 B7 FØ7 Bb7(b9)

 
          

GØ7 C7(b9) B-7(9) E7(#5) F#-7 B7 FØ7 Bb7(b9)



  
Eb7 Bb7 Eb7 Bb7

          

      
Bb7Db7 C7 B7 E7 Gb-7 B7 F-7 Bb7 E-7 A7

3 3


 
Eb-7 Ab7 Db7 Gb7 CØ7 F7(#9) Bb7
          
          

  
Db7 G7 Gb-^7F7 CØ7 Gb^7 F7(#9) B7(9) Bb-6 Bb7

 II-V substitution techniques

exemple 14 ASK ME NOW T. Monk

         
G-7 C7 F#-7 B7 F-7 Bb7 E-7 A7 Eb-7 Ab7 B7Áà Bb7
    
       

       
Ab7 Db7 G7 C7 F-7Bb7 B-7F7 E7
 
3

 
Eb9 D9 Db^7 Eb13 Eb-7 Ab7àÆ

 
 
    
3 3

    
          
Eb9  A7 Ab7 D9  
 
       
 
Db^7 Bb-7 Bb-7/Ab Eb13 Bb7(#11) Eb-7 D7(#5)/A Ab7àÆ Eº7



F-7 EØ7 Eb-7 D7(b5) G-7 C7 F#-7 B7 F-7 Bb7 E-7 A7 Eb-7 Ab7

        
              
   
Eb-7E^7(#11) Ab7 C7(#11)


   
B7Áà Bb7 Eb9 D9 Db^7 Eb13 Eb-7 Ab7àÆ Db6

                
3 3

    
  
    
B7Áà Db7 Gb7 C-7 F7


  
Eb-7 Ab9 Db^7 F-7E-7 Eb-7 Ab9 Db^7 Bb-7 Eb13
    
                  
3
Eb-7 D7alt Ab7alt


  
Eb9 Bb-7 Eb-7 Ab9 Db-7 Gb9 G-7 C7 F#-7 B7 E#-7 Bb7 E-7 A7
 
     
 
   
     
 

   



       
Eb-7 Ab7 B7Áà Bb7 Eb9 D9 Db^7 Eb13 Eb-7 Ab7àÆ Db6



            
        
   
3 3
 
