Idea Transcript
250 II-V SUBSTITUTION TECHNIQUES by
PERE SOTO
II-V substitution techniques
more techniques substitution on V7 triton technique + tensions harmonic chords substitutions
35
D-7
G7
G7
triton technique
Db7
G7(b9) G7
Db7
Abº7
B^7(b5)/G
substitution on II-7
36
by minor 2ths steps descending
D-7
G7
D-7 G7 Db-7 Gb7
C^7
37
triton relation
by 4ths step ascending
G7
D-7
D-7 G7 G-7 C7
C^7
change quality chord
chromatic descending
38
D-7
G7
D-7 G7 Eb-7 Ab7
40
39
chromatic ascending
C^7 (one note common between Ab7 and Cmaj7)
by major 3rd step ascending
D-7
G7
D-7 G7 Gb-7 B7
C^7
approximation ascending
by 4# step ascending
D-7
G7
D-7 G7 Ab-7 Db7
C^7 approximation descending
by minor 3rd step ascending 41 D-7 G7 C^7
D-7 G7
F-7 Bb7
diatonic ascending
II-V substitution techniques
42
by whole tone scale descending sequences
G7
D-7
G7
D-7
43
C-7
F7
C^7
Bb-7 Eb7
Ab-7
approximation descending
Db7
by whole tone scale ascending sequences
G7
D-7
G7
D-7
E-7
A7
C^7
Gb-7 B7
Ab-7
approximation descending
Db7
combination of triton relationships + approximation chords to I
44
G7
D-7
D-7
G7
C^7
Ab-7
Db7
C^7
triton
45
approximation descending
combination of triton relationships and approximation chords to delaying I
G7
D-7
C^7
IV
D-7
G7
Db-7
Gb7
I
C^7
F^7
delay to I
triton
approximation descending
II-V substitution according to melody
46
*
D-7
C^7
G7
the F note is diatonic one every chord
D-7
G7
Bb-7
Eb7
C^7
47
D-7
G7
C^7
the F note is one every chord
D-7 G7
Eb-7(9) Ab7(13) C^7
II-V substitution techniques
48 D-7
G7
C^7
D-7
G7
D-7 G7
F-7 Bb7
C^7
the F note is one every chord as a tension (not included on the chord)
D-7 G7 Eb-7 Ab7
49
Bb-7 Eb7 Db7
D-7
C^7
G7
C^7
melody on tope voice of every chord with differents substitution techniques
D-7sus
50
Db7#11
Bb-7(6)
C^7
G7(b5)
II-V substitution according chordal inversions
D-7
G7
DØ7
G7
F-6
C^7
Bb7
C^7
same chord diferent inversion
II-V delaying the diatonic sequence
51
D-7
Eb-7
G7 Ab7
D-7
C^7 G7
C^7
II-V delaying the diatonic sequence
52
II-V delaying the diatonic sequence
D-7
Eb-7
G7
Ab7
A-7
D7
D-7
a sequence of II-V delaying the diatonic sequence
C^7
G7
C^7
C^7
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
C^7
B^7
a sequence of II-V delaying the diatonic sequence II-V that never comes,
54
D-7
G7
the same quality chord approximation
D-7
55
G7
C^7
final triton
G7
C^7 different quality chord approximation
D-7
56
Db^7
D-7
G7
Db-7(9)
C^7(b5)
II-V substitution with different quality chords
D-7
F^7
57 D-7
C^7
D-7
E7(#9)
G7
C^7
C7#Å
C7#Å/Bb
II-V substitution with 1 momentaneous hybrid ^7
G7
G7
F-7
Bb7
Eb^7
G7
C^7 C^7
false subdominant function, Ebmaj7 instead of D-7 false secundary tonality
II-V substitution techniques
58
D-7
D-7
G7
G7
59
II-V substitution with more than 1 momentaneous hybrid ^7
Ab-7
D-7
60
G7
D-7
G7
Bb-7 Ab7 D-^7 Db7
61
C^7
^7
C^7
D-7
C^7
Eb^7 Ab^7 D^7 Db^7
G7
C^7
D-7
C^7
Eb^7 Eb-7 Ab^7 Cøº7
62
II-V substitution using inversions chords
C^7 C^7
G7
C^7 C^7
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 D-7
II-V substitution using inversions chords + tritons chords + hybrids maj7 chords
G7
C^7
D-7
D-7/A Ab7 Db^7 Gb7/E C^7
64
Db^7
II-V substitution by cycles of hybrid chords different quality
Gb^7
II-V substitution by cycles of hybrid chords
Ab^7 Db^7 Gb^7 B^7
Db7
C^7
D-7 D-7/C
G7
D-7/C Eb7/Db Ab^7/C G7/B
II-V substitution using inversions chords + tritons chords + hybrids maj7 chords delaying a II-V diatonic cadence
G7
Eb7/Db
Ab^7/C
C^7
D-7 3
G7
C^7 C^7 diatonic II-V
C^7
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
D-7/C
Eb7/Db
C^7
Ab^7/C
F-7
Bb7
non diatonic II-V
3
66
C^7
II-V substitution using inversions chords + tritons chords + hybrids maj7 chords delaying a chromatic cadence II-V
D-7
G7
D-7/C
Eb7/Db
C^7
Ab^7/C
Db-7
Gb7
3
C^7 chromatic descending II-V
67
D-7
G7
D-7/C
Eb7/Db
C^7
Ab^7/C
Gb-7
B7
3
68
chromatic ascending II-V
69
II-V substitution by false II-V
II-V substitution by false II-V cycles
D-7
G7
C^7
D-7
D-7
Ab7
C^7
D-7 Ab7 A-7 G7
70
C^7
D-7
II-V substitution by Coltrane changes
G7
C^7Eb7Ab^7 Db7
C^7 C^7
71 D-7
G7
C^7
C^7
II-V substitution with Coltrane changes delaying the diatonic II-V
G7
C^7 Eb7Ab^7 Db7 D-7 G7
C^7
II-V substitution techniques
72
II-V substitution with foreign Coltrane changes delaying the diatonic II-V
D-7
Bb^7
73
Db7
Gb^7
B7
C^7
D-7
C^7
G7
II-V substitution with foreign Coltrane changes delaying with different II-V
D-7
Bb^7
74
G7
G7
Db7
Gb^7
B7
C^7
F-7
C^7
Bb7
II-V substitution with foreign Coltrane changes delaying with different II-V cycles
D-7
Bb^7
75
G7
Db7
Gb^7
B7
F#-7
C^7
B7
F-7
Bb7
C^7
II-V substitution with add appoggiatura chords
76
D-7
G7
C^7
D-7
D-7/G Db7(#9)/G
C^7/G
D-7/G G7àÆ
77
II-V substitution with pedal on the bass
II-V substitution with double pedal on the bass
G7
Gb/G
C^7
C(9)/G
II-V substitution techniques
152
153
coltrane changes + triton plus space-time technique D-7 G7 C^7
D-7
G7
C^7
Bb-7 Eb7
D-7
3
3
156
C^7
using cluster + sincopation
G7
C^7
using cluster + wide intervals
159
G7
D-7
C^7
using open/wide intervals
158
Ab-7 Db7
G7
using cluster
D-7
D-7
155
using paralel chords
157
154
voice leading as a only harmonic rule
D-7
G7
mixing complex rythm concepts with substitution techniques G7 C^7
C^7
160 using direct modulation techniques D-7
G7
C^7
modulating to B tonality
3
3
5
D-7 A7 Bb7 B^7 G#-7 D#-7 D-7 G7 C^7
3
D-7
G7
D-7
C^7
G7
C^7
modulating to A tonality
pivot chord
162
using direct modulation with pivot chord techniques
161
II-V substitution techniques using momentaneous blues changes + blues scale as a substitution technique
D-7
163
G7 A^7
B-7 C#-7
D7
G7 C^7
G7
C7
V from C VII from A
II-V substitution for a modal II- chordal
C-7
Footprints, bar 1,2 exemple
C-7
Db-7
3
164
Gb7
G7
165
D-7
3
C-7sus
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)
II-V substituted by turnarounds G7
C^7
D-7
G7
C^7
C^7 A7 Ab^7 G7
C^7 A-7 D-7 G7
166
Bb7
C^7
F-7
II-V substitution by Pointillism tecniques D-7
G-7
167
II-V substituted by passing chords
D-7
G7
D-7Ebº7 Eº7F-6
G7 BØ7CØ7Db7(9)
C^7
D-7
G7
C^7
C^7 Eb7 Ab^7 Db7
V7 substituted by Django Reinhardt sequence
D-7
G7
D-7
G7 Aº7 Bbº7 G7/B
C^7
II-V chords substituted by same chords from differents scales
168
D-7
G7
D-7
C^7
DØ7 G7äÁ
(C-^7)
G7
D-7
C^7
DØ7 G7åÁ
DØ7(9) G713(b9)
(C-7)
C natural minor scale C harmonic minor scale II-V substituted by same chords, differents quality status G7
C^7
D-713(11) G713(b9)
170
G7
DØ7
G7(#5)
D-7
C^7
D-^7
171
enharmonic substitution Gb7
Gb-7
Cb7
D-7
C#-7
F#7
F#-7
B7
G7sus4 Bb7sus4
172
G7
C^7
G7alt
Constant Structure Modal Progressions G7
Db-7
D-7
C^7
F- melodic minor scale ascending
169 D-7
II-V substitution techniques G7 C^7
F7sus4 G7sus4
Classic Coltrane II- V7 changes substitution D-7 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
variation
D-7 G7 Bb-7 Eb7
174
F-7
Ab
F#-7
F#-7
B7
E7 D-7 G7
B7
E7
D-7
G7
C^7 C^7
Coltrane II- V7 Chromaticism changes substitution Bb7
F-7 Bb7 E-7 A7
D-7
G7
Eb-7 Ab7
D-7
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
G7
II-V substitution techniques
II- substituted by chordal substitution, same notes, just difference tensions.
175
D-7
G7
D-7
G7
Bb^9 G9sus4 G7 G-7Å
D-7
G7
D-7
G7
D-7
G7
D-7
G7 D-7 G7
D-7 G7
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
G7
D-7 G7
D-7
DØ7
DØ7
Bb9 G7
G7
D-7
G7
D-7
DØ7
G7
DØ7
Eb-^7(9)È G7 E7äÁ
D-7
G7
DØ7
D-7
G7
D-7
DØ7
G7
D-7
G7
DØ7
DØ7
G7sus4(b9)G7 Eb-^7(Í) G7 B13b5(âÄ) G7 C-7àÁÈ G7 Ab6(#11) G7
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
D-7#5
D-7#5
D-7#5
C-7Å G7
F-6(11) G7
Eb^7(%) G7
G7
D-7#5
D-7
G7
D-7
D-7#5
G-7(11) G7
Bb9
G7
G7
D-7
G7
D-7#5
D-7#5
D7åÁ G7
E7(b5)áÆ G7
D-7
G7
D-7#5
Ab13#Å G7
178 V7 same technique, substituted by chordal substitution, same notes, ust difference tensions.
D-7
D-7
G7
D-7
G7
D-7
F7(13)#Å D-7 B7(#5)åÅ D-7
G7
D-7
G7
D-7
D-6(11) D-7 F^7(13)#Å D-7
G7
E7âÄ
D-7
G7
D-7 A-7àÁbÈ
D-7
G7
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
G7#5
G7#5
D-7 G7
D-7 G7
G7#5
D-7 G7
G7#5
D-7 F7(b5)9 D-7 C-^7(11) D-7 F9(b5)
D-7B7(âÀ)
D-7 G7
G7#5
D-7 G7
D-7 G7
G7#5
G7#5
G7#5
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
D-7
D-7
G7b5
G7b5
G7
Eb7(#5)9
G7
D-7
G7
G7b5
D-7 D-^7(È)
D-7
A9(#5)
D-7
G7b5
D-7
G7
D-7
G7b5
G7b5
Bb13âÄ
G7
D-7 Ab-^7(È)
D-7
Eb13âÄ
181 V7 same technique, double substituted exchanging G7 for G7sus4
D-7 G7
G7sus4
D-7 G7
G7sus4
D-7 G7
G7sus4
D-7 G7
G7sus4
D-7 G7
G7sus4
D-7D-7(11) D-7Ab^7(b5)(6) D-7Eb^7(%) D-7 B7(âÀâÄ) D-7 F%
D-7 G7
G7sus4
D-7 BbÆ
D-7 G7
G7sus4
D-7 G7
G7sus4
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
C-^7(9)ãÈ
183
F7(13)#Å
E7âÄ
Eb7(#5)9
Eb-^7(Í) Ab-^7(È)
184
A-7àÁbÈ
B7(b5)âÄ
D-6(11)
Eb^7(9)ãÈ
Ab7(13)âÅ
E7(âÄ)
F^7(13)#Å
E7(âÄ)
Eb-^7(9)È D-^7(È)
E7äÁ
B13b5(âÄ)
C-7àÁÈ
Eb13âÄ
A9(#5)
G7sus4(b9)
Eb7(#5)9
Ab6(#11)
Bb13âÄ D-^7(È)
COMBINATION OF CHORDAL SUBSTITUTION II-V TECHNIQUES D-7#5 and G7#5
C-7Å
F7(b5)9
D7åÁ
A7(b5)bÆ
185
F-6(11) C-^7(11)
Eb^7(%)
E7(b5)áÆ Ab-^7(6)
F9(b5)
Ab13#Å
G-7(11)
B7(âÀ)
AØ7bÆ
Bb9
Eb9(#5)
Eb^7(%) Ab-^7(6)
COMBINATION OF CHORDAL SUBSTITUTION II-V TECHNIQUES D-7 and G7sus4
Bb^9
C-^7(9)ãÈ
186
Ab7(b9)ãÈ
G-7Å
COMBINATION OF CHORDAL SUBSTITUTION II-V TECHNIQUES D-7b5 and G7b5
Bb9
G9sus4 B7(#5)åÅ
D-7(11)
F%
G9sus4 Ab^7(b5)(6)
Ab7(b9)ãÈ
BbÆ
G-7Å
Eb^7(%)
B7(b5)âÄ
AØ7(bÈ)
Eb^7(9)ãÈ B7(âÀâÄ)
Bb^9
E7(#5)âÄ
COMBINATION OF CHORDAL SUBSTITUTION II-V TECHNIQUES D-7b5 and G7sus4
Bb9
D-7(11)
Eb-^7(9)È
Eb-^7(Í)
F%
B13b5(âÄ)
Ab^7(b5)(6) E7äÁ
BbÆ
C-7àÁÈ
Eb^7(%)
AØ7(bÈ)
G7sus4(b9)
Ab6(#11)
B7(âÀâÄ)
E7(#5)âÄ
II-V substitution techniques
mirror techniques
195 D-7
196
II-V mirror
(D-7) D-7sus
Ab7
D-7 G7
D-7
G7
Eb-7
internal intervalic II-V chord structure mirrow D-7 G7
E-7
E-7
AØ7
D-7
intervalic mirror
200
AØ7
simple enharmonic substitution Db-7 Gb7
C#-7
F#7
G7
199 D-7
Eb-7 F-7
II-V cell mirrors G7
D-7
Eb-7
198
197
G7
D-7
G7
G7
sequence mirrors
Ab7
Eb-7 Ab7 Ab7
Eb-7
D-7 G7 G7
D-7
chord structure mirrow in a sequence G7
Ab7 BbØ7
Ab-7 Bb-7
Gb-7
Cb7
F#-7
B7
Db7 EbØ7
II-V substitution techniques
others techniques
201
202
intervallic links technique
D-7
multitonal Coltrane changes G7
D-7
G7
G7
203
chordal techniques mixing coltrane changes G7
D-7
204
chordal techniques mixing mirrow techniques G7
D-7
205 D-7
chordal techniques mixing clusters G7
207
politonal turnarounds
D-7
206 Db-7
chordal techniques mixing turnarounds Gb7 Gb-7 Cb7
208
polichords turnarounds G7
D-7
G7
209
using bird phrasing tecniques on II-V G7
D-7
210 D-7
G7
211
D-7
G7
212 Db-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 apple
exemple 1
Charlie Parker
G-7
originals changes
substitution changes
F^7
G-7
C7
G-7
3
C7 Ab-7 Db7
G-7
C7
Bb^7
Bº7
F^7
F^7
1.
G-7
A-7
A-7 D7 D7 D7(#9) Ab^
D7
A7
G-7
C7(b9) F#7(b5)
D7
3
3
C7(b9)
Db^
G7
2.
F
F
C7
C7 C7(b9) G-7 G-7
3
G-7 F^7
A7
Bb^7(#11) G-7
Eb-^7 C7
F^7
F^7
3
G-7
3
Abº7b13C7
F^7
D7(#9)
Gb/G
G-7 C7(b9) F^7
G-7 C7(b9)
F^7
II-V substitution techniques
exemple 2
A
G^7
G^7
A-7(11)
C-7
G^7
G^7
Bb7
D-7
A-7(11)
Eb^7
G7
D7
G^7
Eb-7
Ab^7 G7(b9)
Ab7
D-7 Db7 G7
Eb^7
G^7
Ab^7
A-7
G6
E-7
A-7(11)
E-7
D7
A-7(11)
D13
A-7
D7
D/Bb C/Ab D7(b9)
Ab^7
A-7
G^7/B
A-7
G6
G^7
Eb^7
C^7
Bb^7
Eb-7 Ab7 D-7 G7 C^7
D7
D-7
Ab7 Gº7 Abº7 Aº7
Ab^7
G^7
D7
Bb^7
F-6 Bb7 D7b13(b9) E7äÁ
G#-7 C#7 F#-7 B7
A- Ab^7 Gb^7(b5) F-7 Bb7
A-7(11)
D7
Abº7 D7/A
Jimmy Van Heusen
Eb^7
Ab-7 Db7 C#-7 F#7 F7
Bb7
F7
C-7
Bb7
G^7
Eb^7
B
Bb7
A-7 D7 G-7 C7 F-7
A-7
Here's That Rainy Day
D13
D7
B-7
E-7
B-7
E-7
A13
A13
D7
A-7A-^7A-7A-6Eb-7 Ab7 D7Ab7
II-V substitution techniques
Blues for Alice
exemple 3
Charlie Parker
F6
F7(#5)
A7
F6
C-7
E-7
E-7
Bb6
A7
Eb7
D-7
Bb-7
D-7
G7
G7 Db-7 Gb7
Eb7
F6
3
C-7
F7(#5)
Ab-7
Ab-7
A-7
A-7
3
Db7
Bb6
D-7
D-7
G-7
Bb-7
3
G-7
Db7 Gb^7 B^7 F-7
Eb-7 Ab7
Ab7(13) A7(#5)
Ab^7
G-7
G-7
B-7 E-7
Eb7
F6
C7
A-7 D7
Bb/B
C7
Ab7 Db7(9) Gb7(b5)
C7
C7
Gb-7
B7
II-V substitution techniques
It's you or no one
exemple 4
Sammy Cahn/Jule Styne
G-7
C7
Bb-7
C/G
B7
Bb7(9)
Ab7
C7
G-7
G-7
G-7/F
BØ7
BØ7 E7
C7
EØ7 Bb-7
Eb7
F%
Bb^7
G-7
Bb-7 Eb7 A-7 Ab^7
G7
G-7
Eb7
A-7
F-7
D7
A-7
D-7 Bb7
A-7
AØ7 Bb-7
Eb7
Gb^7
Ab-7
D7
F7
D7
C-7 G-7
F7 C7
D7
DØ G7
Ab7
A7
C-7
A-7 D-7
G7(#5)
F^7 Bb7
C#Ø7
C7
Gb^7(b5) Ab^7 A-7
A7
C7
Ab^7
Bb-7
G-7
Db^7
D-7
F^7
D7
Eb7
A-7
F^7
Eb7
F^7 Bb7
Gb7
Db7(9) C7
Db^7 C7
G-7
C7
B7(#11)
II-V substitution techniques
Bluesette
exemple 5
Toots Thielemans
jazz waltz
Bb^7
Bb^7
G-7
G-7
G-7
Eb^7
C-7
Ab-7
Cb^7
B7
DØ7 G7 Bb7
Ab7
Gb7
Db-7
CØ7
CØ7
Db7
F7
Ab7(13)
Db7
F7
Gb^7
C-7
F7
Gb7
F7
C-7
Ab7
Db-7
Db7
Eb-7
Db7
Bb7
Eb^7
D7 Ab-7
CØ7
D-7
D-7
Eb7
Ab7(9)
Eb-7
F-7
Cb^7
Gb-7
Db^7
AØ7
G-7
Db^7
C7
D7
F-7
Db7
C7
C7
AØ7
F7
B7
II-V substitution techniques
WHEN SUNNY GETS BLUE exemple 11
Ballad
F^7
3 G-7
C7sus
F^7
C7
G-7
D^7
E-7
D-7
G&7
Bb7
F#-7
G-7
C^7
3
C7alt
G^7
A-7
2.
3
F^7 Gb7
3
Bb7
G-7
E-7 A7(b9)
A7(b9)
3
F^7
Ab7
6
3
C7
Ab-7
Db7
Ab-7 Db7 G-7 C7 Gb-7 B7
E-7
A-7
3
3
Eº7
E-7 A7 Bbº7
Ab-7
Eb-7Ab7 A7 D7 Ab7(b5)
B7(#9)
G-7
Gb^7
D7
D7(b9)
A-7
G-7
1.
A-7
F^7
Bb-7 Eb7 A-7
D7
F6/A
A-7
6
Eb7
Eb7
Bb-7(9) Ab-7(9) Gb^7(9) B^7(9) Eb7
C7 Ab-7 Db7
Bb-7
G-7
BØ7
Bb-7
G-7
Fisher/Segal
B7
C7
3
Gb7
F^7
3
D^7
D-7
G7
D.S. al Coda
exemple 13
latin-swing
Eb7
Bb7
Eb7
Ab7
Db^7
2.
Bb7
F-
Eb-7
B^7 A^7 E-7 Eb-7
Eb-7
Ab7(b9)
C7(b9)
Eb7
C7 Db^7
B-7(9)
Bb7
Db^7
F#-7
B7
E7(#5)
Eb-7
Ab7
Bb7(b9)
FØ7
3
FØ7
Bb7(b9)
Gb-7 B7 F-7 Bb7 E-7 A7
Bb7Db7 C7 B7 E7
Eb-7
Bb7
Eb7
Bb- A^ E^ Eb-7
F-
3
Db7
Gb7
CØ7
Db7 G7
Gb-^7F7 CØ7
F7(#9)
Bb7
Bb7(b9)
B7
F-
Db^7
F#-7
Bb7
1.
C7(b9)
GØ7
F-
Bb7 C-7 C#º7 Bb7/D
F7(#9)
Ab7(b9)
Db^7
GØ7
CØ7
B7(11)
Bb7
Bb-6
Gb7
Db^7 C7alt Gb7sus13#9/B DØ7 G7 Db-7 Gb7
G-7 Gb^7 F7
Eb7
Cole Porter
Bb7
Eb-7
II-V substitution techniques
LOVE FOR SALE
Gb^7 F7(#9) B7(9)
Bb7
3
Bb-6 Bb7
II-V substitution techniques
ASK ME NOW
exemple 14
G-7 C7 F#-7 B7
F-7 Bb7 E-7 A7 Eb-7
Eb9
D9
Db^7
B7Áà
B7Áà
Bb7
F-7Bb7 B-7F7 E7
Ab7 Db7 G7 C7
Ab9
Db^7
Eb9 Bb-7 Eb-7
Eb-7
Ab7
Ab9
Bb7
E-7 A7
3
Eb-7
D9
Db^7
Ab7
Eb-7E^7(#11) Ab7 C7(#11)
Eb13
Eb-7 Db-7
Gb9
Eb-7 Ab7àÆ 3
3
Ab9
Db^7
G-7 C7 F#-7 B7
Bb-7
3
D7alt Ab7alt
B7Áà Bb7
Ab7àÆ
F-7
F-7E-7 Eb-7
Eb-7
F7
F#-7 B7
C-7
Eb13
Bb-7/Ab Eb13 Bb7(#11) Eb-7 D7(#5)/A Ab7àÆ Eº7
Eb9
B7Áà Db7 Gb7
Eb-7
3
C7
Bb7
Db^7 Bb-7
F-7 EØ7 Eb-7 D7(b5) G-7
Ab7
3
Eb9 A7 Ab7 D9
T. Monk
Db6
Eb13
E#-7 Bb7 E-7 A7
3 3 Eb9
D9
Db^7
Eb13
Eb-7 Ab7àÆ
Db6