ii-v substitution book
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EXPANDED FINGERING TECHNIQUESby
PERE SOTO
THE MODERN GYPSY JAZZ GUITAR PLAYERSTHROUGH THEIR LICKS
by
PERE SOTO
250 II-V SUBSTITUTION TECHNIQUESby
PERE SOTO
substitution on V7 triton technique + tensions harmonic chords substitutions
35 D-7
more techniques
G7
G7 Db7 triton technique
G7 Db7G7(b9)Abº7 B^7(b5)/G
36substitution on II-7
by minor 2ths steps descending
D-7 G7 C^737
D-7by 4ths step ascending
G7 C^7
chromatic descending
D-7 G7 Db-7 Gb7 triton relation D-7 G7 G-7 C7 change quality chord
38D-7
chromatic ascending
G7 C^739
D-7by 4# step ascending
G7 C^7
D-7 G7 Eb-7 Ab7(one note common between Ab7 and Cmaj7) D-7 G7 Ab-7 Db7 approximation descending
40D-7
by major 3rd step ascendingG7 C^7 41 by minor 3rd step ascending
D-7 G7 C^7
D-7 G7 Gb-7 B7 approximation ascending D-7 G7 F-7 Bb7 diatonic ascending
II-V substitution techniques
42 by whole tone scale descending sequencesD-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
44 combination of triton relationships + approximation chords to I
D-7 G7 C^7
D-7 G7
triton
Ab-7 Db7
approximation descending
C^7
45 combination of triton relationships and approximation chords to delaying ID-7 G7 C^7
D-7 G7
triton
Db-7 Gb7
approximation descending
F^7IV
delay to I
I
C^7
*46II-V substitution according to melody
D-7 G7 C^7
47D-7 G7
C^7
D-7the F note is diatonic one every chord
G7 Bb-7 Eb7 C^7the F note is one every chord
D-7 G7 Eb-7(9) Ab7(13) C^7
II-V substitution techniques
48 D-7
G7C^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
melody on tope voice of every chord with differents substitution techniques
D-7 G7
C^7
D-7sus Db7#11 Bb-7(6) G7(b5)
C^7
50 II-V substitution according chordal inversions
D-7 G7 C^7
same chord diferent inversion
DØ7 G7 F-6 Bb7 C^7
51 II-V delaying the diatonic sequence
D-7 G7 C^7
II-V delaying the diatonic sequenceEb-7 Ab7 D-7 G7 C^7
52D-7
II-V delaying the diatonic sequence
G7 C^7
a sequence of II-V delaying the diatonic sequence
Eb-7 Ab7 A-7 D7 D-7 G7 C^7
II-V substitution techniques
53D-7
II-V sequences with chord same quality aproximation to I degree
the same quality chord aproximation
G7 C^7
a sequence of II-V delaying the diatonic sequence II-V that never comes,
D-7 G7 G-7 C7 B^7
C^7
54D-7
the same quality chord approximation
G7 C^7
D-7 G7 Db^7final triton
C^7
55 D-7 G7
different quality chord approximation
C^7
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
57D-7
II-V substitution with 1 momentaneous hybridG7
^7C^7
D-7 G7 F-7 Bb7
false secundary tonalityfalse subdominant function, Ebmaj7 instead of D-7
Eb^7 G7 C^7
II-V substitution techniques
58D-7
II-V substitution with more than 1 momentaneous hybridG7
^7C^7
D-7 G7 Ab-7 Db7 Gb^7 Db^7 C^7
59D-7
II-V substitution by cycles of hybrid chords
G7 C^7
^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
D-7 G7 C^762D-7
II-V substitution using inversions chords + tritons chords
G7 C^7
D-7/A G7/B C^7 D-7/A Ab7 G7 Db7/B C^7
63D-7
II-V substitution using inversions chords + tritons chords + hybrids maj7 chords
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
64D-7
II-V substitution using inversions chords + tritons chords + hybrids maj7 chords delaying a II-V diatonic cadence
G7 C^7
D-7/C Eb7/Db Ab^7/C D-7 G7
3 diatonic II-V
C^7
II-V substitution techniques
65D-7
II-V substitution using inversions chords + tritons chords + hybrids maj7 chords delaying a non-diatonic II-V
G7 C^7
D-7/C Eb7/Db Ab^7/C F-7 Bb7
3non diatonic II-V
C^7
66D-7
II-V substitution using inversions chords + tritons chords + hybrids maj7 chords delaying a chromatic cadence II-V
G7 C^7
D-7/C Eb7/Db Ab^7/C Db-7 Gb7
3 chromatic descending II-V
C^7
67D-7 G7 C^7
D-7/C Eb7/Db Ab^7/C Gb-7 B7
3 chromatic ascending II-V
C^7
68D-7
II-V substitution by false II-V
G7 C^769D-7
II-V substitution by false II-V cycles
G7 C^7
D-7 Ab7 C^7 D-7 Ab7 A-7 G7 C^7
70D-7
II-V substitution by Coltrane changes
G7 C^7
71D-7
II-V substitution with Coltrane changes delaying the diatonic II-V
G7 C^7
C^7Eb7Ab^7Db7 C^7 C^7 Eb7Ab^7 Db7 D-7 G7
II-V substitution techniques
72D-7
II-V substitution with foreign Coltrane changes delaying the diatonic II-V
G7 C^7
Bb^7 Db7 Gb^7 B7 D-7 G7 C^7
73D-7
II-V substitution with foreign Coltrane changes delaying with different II-V
G7 C^7
Bb^7 Db7 Gb^7 B7 F-7 Bb7 C^7
74D-7
II-V substitution with foreign Coltrane changes delaying with different II-V cycles
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
76D-7
II-V substitution with pedal on the bass
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
152D-7�
coltrane changes + triton plus space-time technique
G7� C^7
153D-7�
voice leading as a only harmonic ruleG7� C^7
3
3
154D-7�
using paralel chordsG7� C^7
155D-7�
using clusterG7� C^7
156
using cluster + sincopation
Bb-7 Eb7 Ab-7 Db7
157D-7�
using open/wide intervals
G7� C^7
158D-7�
using cluster + wide intervals
G7� C^7
159D-7�
mixing complex rythm conceptswith substitution techniques
G7� C^7
160D-7
using direct modulation techniques
G7 C^7
3
D-7 A7modulating to B tonality
Bb7 B^7 G#-7
3
D#-7D-7 G7
C^73
5
II-V substitution techniques
161 using direct modulation with pivot chord techniques
D-7 G7
modulating to A tonality
C^7
162D-7
using momentaneous blues changes + blues scale as a substitution technique
G7 C^7
pivot chordD-7
V from CVII from A
G7 A^7 B-7 C#-7 G7 C^7 D7 G7 C7
163 II-V substitution for a modal II- chordalC-7
Footprints, bar 1,2 exemple
C-7
Db-7
3
Gb7
G-7
F-7
3
Bb7 C-7sus
164D-7
II-V substitution by Pointillism tecniques
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)
165D-7
II-V substituted by turnaroundsG7 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^7Db7
166D-7
II-V substituted by passing chords
G7 C^7
167D-7
V7 substituted by Django Reinhardt sequence
G7 C^7
D-7Ebº7Eº7F-6 G7BØ7CØ7Db7(9) D-7 G7 Aº7 Bbº7 G7/B
II-V substitution techniques
168II-V chords substituted by same chords from differents scales
D-7 G7 C^7 D-7 G7 C^7 D-7 G7 C^7
C harmonic minor scale
DØ7 G7äÁ (C-^7)
C natural minor scale
DØ7 G7åÁ (C-7)
F- melodic minor scale ascending
DØ7(9) G713(b9) C^7
169D-7 G7
II-V substituted by same chords, differents quality status
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
Db-7� Gb7 Gb-7� Cb7
171D-7
Constant Structure Modal ProgressionsG7
C#-7 F#7 F#-7 B7 G7sus4 Bb7sus4 F7sus4 G7sus4
172D-7
Classic Coltrane II- V7 changes substitutionG7 C^7
This substitutions was created by John Coltrane and first usedon his composition Giant Steps.
D-7 Eb7 Ab7 B7 E7 G7 C^7
173D-7
Extended Coltrane II- V7 changes substitutionG7 C^7
D-7 Bb-7 Eb7 Ab F#-7 B7 E7 D-7 G7 C^7
variationD-7 G7 Bb-7 Eb7 Ab F#-7 B7 E7 D-7 G7 C^7
174F-7
Coltrane II- V7 Chromaticism changes substitution
Bb7 D-7 G7On some harmonic situations Coltrane was using thistecnique of II-V chromatic descending, but related to amore 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
175D-7 G7
II- substituted by chordal substitution, same notes, just difference tensions.
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)ãÈG7 C-^7(9)ãÈG7 Ab7(b9)ãÈG7 B7(b5)âÄ G7 Ab7(13)âÅG7
176D-7 G7
II- same technique, but double substituted exchanging D-7 for D-7b5 and using chordal substitutions from that one
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
177 II- same technique, double substituted exchanging D-7 for D-7#5
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-7A-7àÁbÈ D-7 E7(âÄ)
II-V substitution techniques
179V7 same technique, double substituted exchanging G7 for G7#5
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
180V7 same technique, double substituted exchanging G7 for G7b5
D-7 G7 D-7 G7
G7b5
D-7 G7
G7b5
D-7 G7
G7b5
D-7 G7 D-7 G7
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
G7sus4
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
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 TECHNIQUESusing chord species chordal of D-7b5, D-7#5 and G7sus4, G7b5, G7#5
182Bb^9
COMBINATION OF CHORDAL SUBSTITUTION from II-7 and V7
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)
183Bb9
COMBINATION OF CHORDAL SUBSTITUTION II-V TECHNIQUES D-7b5 and G7b5
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)
184C-7Å
COMBINATION OF CHORDAL SUBSTITUTION II-V TECHNIQUES D-7#5 and G7#5
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)
185Bb^9
COMBINATION OF CHORDAL SUBSTITUTION II-V TECHNIQUES D-7 and G7sus4
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
186Bb9
COMBINATION OF CHORDAL SUBSTITUTION II-V TECHNIQUES D-7b5 and G7sus4
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
195D-7�
II-V mirror
G7
mirror techniques
196D-7�
sequence mirrors
G7
197D-7�
II-V cell mirrors
G7
G7 (D-7)D-7sus Eb-7 Ab7 D-7 G7 Eb-7 Ab7 D-7 G7
D-7 G7 Eb-7 Ab7 Ab7 Eb-7 G7 D-7
198internal intervalic II-V chord structure mirrowD-7� G7
199D-7�
chord structure mirrow in a sequenceG7
E-7 AØ7 Eb-7 Ab7 Ab-7 Db7
E-7�
D-7�intervalic mirror
AØ7
G7F-7 BbØ7 Bb-7 EbØ7
200 simple enharmonic substitutionDb-7� Gb7 Gb-7� Cb7
C#-7 F#7 F#-7 B7
II-V substitution techniques
201D-7�
intervallic links technique
G7
others techniques
202D-7�
multitonal Coltrane changes
G7
G7
203 chordal techniques mixing coltrane changes
D-7� G7
204D-7�
chordal techniques mixing mirrow techniquesG7
205D-7�
chordal techniques mixing clustersG7
206Db-7�
chordal techniques mixing turnaroundsGb7 Gb-7� Cb7
207D-7�
politonal turnarounds
G7
208D-7�
polichords turnarounds
G7
209 using bird phrasing tecniques on II-V
D-7� G7
210D-7� G7
211D-7� G7
212Db-7� Gb7 Gb-7� Cb7
II-V substitution techniques
EXEMPLES OF SUBSTITUTION CHANGES ON SOME JAZZ STANDARTS SONGS
II-V substitution techniques
scrapple from the appleCharlie Parker
originals changes
exemple 1
G-7
C7
G-7
C7(b9)
3
substitution changesG-7 C7
Ab-7
Db7
G-7 C7(b9) F#7(b5)
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 D7D7(#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
AJimmy Van HeusenHere's That Rainy Day
exemple 2
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
Charlie Parker
Blues for Alice
exemple 3
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
Eb7
B-7
E-7 F6 A-7 D7
Ab-7
Db7
G-7
3
C7
Ab-7
Db7Gb^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
Sammy Cahn/Jule Styne
It's you or no one
exemple 4
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
G-7
C7
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
Toots Thielemans
Bluesette
jazz waltz
exemple 5
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 BLUEFisher/Segal
exemple 11Ballad
G-7
3
C7sus
Bb-7 Eb7
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
3
A7(b9)
D^7
D-7 G&7
C^7
A-7
F^7
3
D-7
G7
D.S. al Coda
G-7
C7
G-7 Gb^7 Ab-7 G^7
A-7 Ab7 Bb7
B7 C7
3 3 3
G-7 C7alt
3
F^7
Gb7
G-7 Gb7
3
F^7
II-V substitution techniques
LOVE FOR SALE Cole Porter
latin-swingEb7
exemple 13
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
Db^7DØ7 G7
C7altDb-7
B7(11)Gb7sus13#9/B
Gb7
2.
Bb7 F-
Bb7
Eb-7
Ab7(b9)
Db^7
F-
Bb7
Bb-6 B^7
A^7
E-7Eb-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
3Bb7
E-7
3A7
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
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exemple 14
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-7D7(#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
II-V substitution techniques
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