250 II-V SUBSTITUTION TECHNIQUES by PERE SOTO

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Mervin Goodwin
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1 250 II-V SUBSTITUTION TECHNIQUES by PERE SOTO

2 more techniques substitution on V7 triton technique + tensions harmonic chords substitutions 5 Db7 triton technique (b9) Db7 Abº7 B^7(b5)/G 6 substitution on II-7 by minor 2ths steps descending 7 by 4ths step ascending Db-7 Gb7 triton relation C7 change quality chord chromatic descending 8 chromatic ascending Eb-7 Ab7 9 by 4# step ascending (one note common between Ab7 and Cmaj7) Ab-7 Db7 approximation descending 40 by major rd step ascending 41 by minor rd step ascending Gb-7 B7 approximation ascending F-7 diatonic ascending

3 42 by whole tone scale descending sequences C-7 F7 Bb-7 Eb7 Ab-7 Db7 approximation descending 4 by whole tone scale ascending sequences E-7 A7 Gb-7 B7 Ab-7 Db7 approximation descending 44 combination of triton relationships + approximation chords to I Ab-7 Db7 triton approximation descending 45 combination of triton relationships and approximation chords to delaying I triton Db-7 Gb7 II-V substitution according to melody 46 * the F note is diatonic one every chord Bb-7 Eb7 approximation descending F^7 IV I delay to I 47 the F note is one every chord Eb-7(9) Ab7(1)

4 48 the F note is one every chord as a tension (not included on the chord) Eb-7 Ab7 Bb-7 Eb7 Db7 F-7 49 melody on tope voice of every chord with differents substitution techniques sus Db7#11 Bb-7(6) (b5) 50 II-V substitution according chordal inversions DØ7 F-6 same chord diferent inversion 51 II-V delaying the diatonic sequence Eb-7 Ab7 II-V delaying the diatonic sequence 52 II-V delaying the diatonic sequence Eb-7 Ab7 A-7 D7 a sequence of II-V delaying the diatonic sequence

5 5 II-V sequences with chord same quality aproximation to I degree C7 B^7 the same quality chord aproximation a sequence of II-V delaying the diatonic sequence II-V that never comes, 54 Db^7 the same quality chord approximation final triton 55 different quality chord approximation Db-7(9) (b5) 56 II-V substitution with different quality chords F^7 E7(#9) C7#Å C7#Å/Bb 57 II-V substitution with 1 momentaneous hybrid ^7 F-7 Eb^7 false subdominant function, Ebmaj7 instead of false secundary tonality

6 58 II-V substitution with more than 1 momentaneous hybrid ^7 Ab-7 Db7 Gb^7 Db^7 59 II-V substitution by cycles of hybrid chords ^7 Ab^7 Db^7 Gb^7 B^7 Eb^7 Ab^7 D^7 Db^7 60 II-V substitution by cycles of hybrid chords different quality Bb-7 Ab7 D-^7 Db7 Eb^7 Eb-7 Ab^7 Cøº7 61 II-V substitution using inversions chords 62 II-V substitution using inversions chords + tritons chords /A /B /A Ab7 Db7/B 6 II-V substitution using inversions chords + tritons chords + hybrids maj7 chords /A Ab7 Db^7 Gb7/E /C Eb7/Db Ab^7/C /B 64 II-V substitution using inversions chords + tritons chords + hybrids maj7 chords delaying a II-V diatonic cadence /C Eb7/Db Ab^7/C diatonic II-V

7 65 II-V substitution using inversions chords + tritons chords + hybrids maj7 chords delaying a non-diatonic II-V /C Eb7/Db Ab^7/C F-7 non diatonic II-V 66 II-V substitution using inversions chords + tritons chords + hybrids maj7 chords delaying a chromatic cadence II-V /C Eb7/Db Ab^7/C Db-7 Gb7 chromatic descending II-V 67 /C Eb7/Db Ab^7/C Gb-7 B7 chromatic ascending II-V 68 II-V substitution by false II-V 69 II-V substitution by false II-V cycles Ab7 Ab7 A-7 70 II-V substitution by Coltrane changes 71 II-V substitution with Coltrane changes delaying the diatonic II-V Eb7Ab^7 Db7 Eb7Ab^7 Db7

8 72 II-V substitution with foreign Coltrane changes delaying the diatonic II-V Bb^7 Db7 Gb^7 B7 7 II-V substitution with foreign Coltrane changes delaying with different II-V Bb^7 Db7 Gb^7 B7 F-7 74 II-V substitution with foreign Coltrane changes delaying with different II-V cycles Bb^7 Db7 Gb^7 B7 F#-7 B7 F-7 75 II-V substitution with add appoggiatura chords 76 II-V substitution with pedal on the bass /G Db7(#9)/G /G /G àæ Gb/G C(9)/G 77 II-V substitution with double pedal on the bass

9 152 coltrane changes + triton plus space-time technique 15 voice leading as a only harmonic rule 154 using paralel chords Bb-7 Eb7 Ab-7 Db7 155 using cluster 156 using cluster + sincopation 157 using open/wide intervals 158 using cluster + wide intervals 159 mixing complex rythm concepts with substitution techniques 160 using direct modulation techniques modulating to B tonality A7 B^7 G#-7 D#-7 5

10 161 using direct modulation with pivot chord techniques modulating to A tonality 162 using momentaneous blues changes + blues scale as a substitution technique pivot chord A^7 B-7 C#-7 D7 C7 V from C VII from A 16 II-V substitution for a modal II- chordal C-7 Footprints, bar 1,2 exemple C-7 Db-7 Gb7 F-7 C-7sus 164 II-V substitution by Pointillism tecniques 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 A-7 A7 Ab^7 Eb7 Ab^7 Db7 166 II-V substituted by passing chords 167 V7 substituted by Django Reinhardt sequence Ebº7Eº7F-6 BØ7CØ7Db7(9) Aº7 Bbº7 /B

11 II-V chords substituted by same chords from differents scales 168 DØ7 äá (C-^7) DØ7 åá (C-7) C harmonic minor scale C natural minor scale II-V substituted by same chords, differents quality status 169 DØ7(9) 1(b9) F- melodic minor scale ascending 1(11) 1(b9) DØ7 (#5) D-^7 alt 170 enharmonic substitution Db-7 Gb7 Gb-7 Cb7 171 Constant Structure Modal Progressions C#-7 F#7 F#-7 B7 sus4 sus4 F7sus4 sus4 Classic Coltrane II- V7 changes substitution 172 This substitutions was created by John Coltrane and first used on his composition Giant Steps. Eb7 Ab7 B7 E7 17 Extended Coltrane II- V7 changes substitution Bb-7 Eb7 Ab F#-7 B7 E7 variation Bb-7 Eb7 Ab F#-7 B7 E7 174 F-7 Coltrane II- V7 Chromaticism changes substitution 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 and F-7 E-7 A7 Eb-7 Ab7

12 175 II- substituted by chordal substitution, same notes, just difference tensions. Bb^9 G9sus4 Å Eb^7(9)ãÈ C-^7(9)ãÈ Ab7(b9)ãÈ B7(b5)âÄ Ab7(1)âÅ II- same technique, but double substituted exchanging for b5 and using chordal substitutions from that one 176 DØ7 DØ7 DØ7 DØ7 DØ7 DØ7 DØ7 DØ7 Bb9 Eb-^7(9)È E7äÁ sus4(b9) Eb-^7(Í) B1b5(âÄ) C-7àÁÈ Ab6(#11) II- same technique, double substituted exchanging for #5 177 #5 #5 #5 #5 #5 #5 #5 #5 C-7Å F-6(11) Eb^7(%) (11) Bb9 D7åÁ E7(b5)áÆ Ab1#Å 178 V7 same technique, substituted by chordal substitution, same notes, ust difference tensions. F7(1)#Å B7(#5)åÅ D-6(11) F^7(1)#Å E7âÄ A-7àÁbÈ E7(âÄ)

13 V7 same technique, double substituted exchanging for #5 179 #5 #5 #5 #5 #5 #5 #5 #5 F7(b5)9 C-^7(11) F9(b5) B7(âÀ) Eb9(#5) A7(b5)bÆ Ab-^7(6) AØ7bÆ V7 same technique, double substituted exchanging for b5 180 b5 b5 b5 b5 b5 b5 Eb7(#5)9 D-^7(È) A9(#5) Bb1âÄ Ab-^7(È) Eb1âÄ 181 V7 same technique, double substituted exchanging for sus4 sus4 sus4 sus4 sus4 sus4 sus4 sus4 sus4 (11) Ab^7(b5)(6) Eb^7(%) B7(âÀâÄ) F% BbÆ AØ7(bÈ) E7(#5)âÄ

14 COMBINATION OF CHORDAL SUBSTITUTION II-7 V7 TECHNIQUES using chord species chordal of b5, #5 and sus4, b5, #5 182 Bb^9 COMBINATION OF CHORDAL SUBSTITUTION from II-7 and V7 F7(1)#Å G9sus4 B7(#5)åÅ Å D-6(11) Eb^7(9)ãÈ F^7(1)#Å C-^7(9)ãÈ E7âÄ Ab7(b9)ãÈ A-7àÁbÈ B7(b5)âÄ E7(âÄ) Ab7(1)âÅ E7(âÄ) 18 COMBINATION OF CHORDAL SUBSTITUTION II-V TECHNIQUES b5 and b5 Bb9 Eb7(#5)9 Eb-^7(9)È D-^7(È) E7äÁ A9(#5) sus4(b9) Bb1âÄ Eb-^7(Í) Ab-^7(È) B1b5(âÄ) Eb1âÄ C-7àÁÈ Eb7(#5)9 Ab6(#11) D-^7(È) 184 COMBINATION OF CHORDAL SUBSTITUTION II-V TECHNIQUES #5 and #5 C-7Å F7(b5)9 F-6(11) C-^7(11) Eb^7(%) F9(b5) (11) B7(âÀ) Bb9 Eb9(#5) D7åÁ A7(b5)bÆ E7(b5)áÆ Ab-^7(6) Ab1#Å AØ7bÆ Eb^7(%) Ab-^7(6) 185 COMBINATION OF CHORDAL SUBSTITUTION II-V TECHNIQUES and sus4 Bb^9 (11) G9sus4 Ab^7(b5)(6) Å Eb^7(%) Eb^7(9)ãÈ B7(âÀâÄ) 186 C-^7(9)ãÈ F% Ab7(b9)ãÈ BbÆ B7(b5)âÄ AØ7(bÈ) Bb^9 E7(#5)âÄ COMBINATION OF CHORDAL SUBSTITUTION II-V TECHNIQUES b5 and sus4 Bb9 (11) Eb-^7(9)È Ab^7(b5)(6) E7äÁ Eb^7(%) sus4(b9) B7(âÀâÄ) Eb-^7(Í) F% B1b5(âÄ) BbÆ C-7àÁÈ AØ7(bÈ) Ab6(#11) E7(#5)âÄ

15 mirror techniques 195 II-V mirror 196 sequence mirrors 197 II-V cell mirrors () sus Eb-7 Ab7 Eb-7 Ab7 Eb-7 Ab7 Ab7 Eb internal intervalic II-V chord structure mirrow 199 chord structure mirrow in a sequence E-7 AØ7 Eb-7 Ab7 Ab-7 Db7 E-7 intervalic mirror AØ7 F-7 BbØ7 Bb-7 EbØ7 200 simple enharmonic substitution Db-7 Gb7 Gb-7 Cb7 C#-7 F#7 F#-7 B7

16 others techniques 201 intervallic links technique 202 multitonal Coltrane changes 20 chordal techniques mixing coltrane changes 204 chordal techniques mixing mirrow techniques 205 chordal techniques mixing clusters 206 Db-7 chordal techniques mixing turnarounds Gb7 Gb-7 Cb7 207 politonal turnarounds 208 polichords turnarounds 209 using bird phrasing tecniques on II-V Db-7 Gb7 Gb-7 Cb7

17 EXEMPLES OF SUBSTITUTION CHANGES ON SOME JAZZ STANDARTS SONGS

18 exemple 1 scrapple from the apple Charlie Parker originals changes C7 C7(b9) substitution changes C7 Ab-7 Db7 C7(b9) F#7(b5) F^7 C7 F^7 1. A-7 D7 2. F F^7 Bb^7 Bº7 A-7 D7 D7D7(#9) Ab^ Db^ F A7 D7 C7 C7 C7(b9) A7 Bb^7(#11) Eb-^7 D7(#9) Gb/G F^7 C7 F^7 C7(b9) F^7 F^7 Abº7b1C7 F^7 C7(b9) F^7

19 exemple 2 A A-7(11) G^7 Here's That Rainy Day Eb^7 Jimmy Van Heusen Ab^7 G^7 Eb^7 Ab^7 D7 G^7 (b9) A-7 D7 C7 F-7 Abº7 D7/A G^7 Eb-7 Ab7 Db7 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 B A- Ab^7 Gb^7(b5) F-7 Ab7 Gº7 Abº7 Aº7 G^7/B D/Bb C/Ab D7(b9) G^7 Eb^7 Ab^7 A-7(11) D7 G^7 F-6 D7b1(b9) E7äÁ Eb^7 Ab^7 A-7(11) D7 G^7 A-7 D1 B-7 E-7 A1 G#-7 C#7 F#-7 B7 Eb-7 Ab7 A-7 D1 B-7 E-7 A1 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

20 exemple Blues for Alice Charlie Parker F6 E-7 A7 F6 E-7 A7 Eb7 Db-7 Gb7 C-7 F7(#5) Bb6 Bb-7 Eb7 F6 C-7 F7(#5) Bb6 Eb-7 Ab7 Bb-7 Eb7 B-7 E-7 F6 A-7 D7 Ab-7 Db7 C7 Ab-7 Db7 Gb^7 B^7 F-7 Ab7(1) A7(#5) Bb/B C7 Ab7 Db7(9) Gb7(b5) A-7 C7 A-7 Ab^7 C7 Gb-7 B7

21 exemple 4 It's you or no one Sammy Cahn/Jule Styne C7 Db^7 C7 Gb7 F^7 A-7 D7 Bb-7 Eb7 A-7 Ab^7 C7 F^7 Db7(9) C7 B7 (9) F^7 Ab7 Db^7 Gb^7(b5) Ab^7 A-7 Bb-7 C/G Eb7 Ab^7 (#5) Eb7 A7 F-7 DØ C7 Bb-7 Eb7 A-7 D7 Ab-7 C7 F^7 A-7 D7 C7 C7 C#Ø7 A-7 Ab7 /F EØ7 A7 AØ7 D7 C-7 F7 BØ7 Bb-7 Eb7 A-7 Bb-7 C-7 Eb7 F7 C7 BØ7 E7 F% Bb^7 D7 Gb^7 B7(#11)

22 exemple 5 Bluesette jazz waltz Toots Thielemans Bb^7 AØ7 D7 Bb^7 C7 AØ7 Eb7 D7 Ab-7 Db7 C7 F-7 Db7 C7 Gb-7 B7 F-7 Ab7(9) DØ7 Eb^7 Eb-7 Ab7 C-7 Eb^7 Eb-7 Ab7 Db^7 Db-7 Gb7 Db^7 Ab-7 Db7 Db-7 CØ7 F7 Gb7 Cb^7 Cb^7 CØ7 F7 CØ7 F7 Db7 C-7 F7 Ab7(1) Db7 Gb^7 C-7 F7 B7

23 exemple 11 Ballad F^7 F^7 BØ7 WHEN SUNNY GETS BLUE C7sus Bb-7 Eb7 Bb-7(9) Ab-7(9) Gb^7(9) B^7(9) Eb7 A-7 C7 Ab-7 Db7 Bb-7 Eb7 A-7 Bb-7 Eb7 F6/A D7 D7 Fisher/Segal Eº7 E-7 A7 Bbº7 6 F^7 Ab-7 Db7 Ab-7 Db7 C7 Gb-7 B7 6 C7 1. A-7 D7(b9) 2. E-7 A7(b9) D^7 E-7 G&7 F#-7 A-7 Eb-7Ab7 A7 D7 B7(#9) E-7 Ab7(b5) A-7 A7(b9) Gb^7 Ab-7 G^7 A-7 Ab7 B7 C7 C7 F^7 D^7 D.S. al Coda C7alt F^7 Gb7 Gb7 F^7

24 latin-swing Eb7 exemple 1 LOVE FOR SALE Eb7 Eb7 Gb^7 F7 Cole Porter C-7 C#º7 /D Eb-7 Ab7 Db^7 Db^7 DØ7 C7alt Gb7 B7(11) Gb7sus1#9/B Db-7 Gb7 CØ7 F7(#9) Bb-6 F- B^7 A^7 Eb-7 Ab7(b9) Db^7 F- E-7 Eb-7 Db^7 F- Bb- A^ E^ Eb-7 Eb-7 Ab7(b9) Db^7 F- (b9) C7 Db^7 Eb-7 GØ7 C7(b9) F#-7 B7 FØ7 (b9) GØ7 C7(b9) B-7(9) E7(#5) F#-7 B7 FØ7 (b9) Eb7 Eb7 Db7 C7 B7 E7 Gb-7 B7 F-7 E-7 A7 Eb-7 Ab7 Db7 Gb7 CØ7 F7(#9) Db7 Gb-^7F7 CØ7 Gb^7 F7(#9) B7(9) Bb-6

25 exemple 14 ASK ME NOW T. Monk C7 F#-7 B7 Eb9 D9 Eb9 A7 Ab7 D9 F-7 E-7 A7 Db^7 Db^7 Eb-7 Ab7 Eb1 B7Áà Ab7 Db7 C7 B-7F7 E7 F-7 Eb-7 Bb-7 Bb-7/Ab Ab7àÆ Eb1 (#11) Eb-7 D7(#5)/A Ab7àÆ Eº7 F-7 EØ7 Eb-7 D7(b5) C7 F#-7 B7 F-7 E-7 A7 Eb-7 Ab7 Eb-7E^7(#11) Ab7 C7(#11) B7Áà Eb9 D9 B7Áà Db7 Gb7 C-7 F7 Db^7 Eb1 Eb-7 Ab7àÆ Db6 Eb-7 Ab9 Db^7 F-7E-7 Eb-7 Ab9 Eb-7 D7alt Ab7alt Db^7 Bb-7 Eb1 Eb9 Bb-7 Eb-7 Ab9 Db-7 Gb9 C7 F#-7 B7 E#-7 E-7 A7 Eb-7 Ab7 B7Áà Eb9 D9 Db^7 Eb1 Eb-7 Ab7àÆ Db6

BASS MASTER CLASS As Published in DownBeat Magazine, August 2006 by Dr. J.B. Dyas. Linear Bass Line Construction

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