ii-v substitution book

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


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


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


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


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


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


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


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


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


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)


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


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


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


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


EXEMPLES OF SUBSTITUTION CHANGES ON SOME JAZZ STANDARTS SONGS


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


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


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


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)


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


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


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


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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 book

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