II-V substitution techniques

LOGICAL CONCEPTS
of Chords Substitution techniques:

- one chord by one chord

- one chord by two chords
- one chord by three chords
- one chord by four chords
- one chord by more than four chords

- two chords by one chord (two chords creates a sequence !)

- one sequence by another sequence

- one sequence by two sequences
- one sequence by a group of sequences
-chords or sequences of chords by other music parametres such as:
(tempo, rythm, timbre, space, silence, melody, etc)

one chord by another chord

1 D-7 G7

original 
Ab7 Db7
substitution changes

other combinations
D-7 G7 D-7 G7


D-7 Db7 Ab7 G7

one chord by two chords

2 G7
D-7

D-7 Ab7 Db7 G7

other combinations
D-7 G7 D-7 G7


D-7 Ab7 G7 D-7 Db7 G7

4
 II-V substitution techniques
one chord by three chords
3 D-7 G7


D-7  A-7 Ab7 D-7  Ab7 G7

other combinations
D-7 G7 D-7 G7

D-7 D-7  Ab7 G7 D-7  A-7 Ab7 G7

4 oneD-7chord by four chordsG7


D-7 A-7 Ab-7 Ab7 D-7 Db7 Gb7 G7

other combinations
D-7 G7 D-7 G7


D-7 A-7 Ab-7 Ab7 G7 D-7 D-7 Db7 Gb7 G7

one chord by more than four chords

5 D-7 G7

         
D-7 A-7 Ab-7 Db7 Ab7 D-7 Db7 Ab-7 Gb7 G7

3 5
other combinations
D-7 G7 D-7 G7

         
D-7 A-7 Ab-7 Db7 Ab7 G7 D-7 D-7 Db7 Ab-7 Gb7 G7

3 5
D-7 G7


          
D-7 Bb7 A-7 Ab-7 Db7 Ab7 D-7 G7 Db- Gb7 Db7

5
 II-V substitution techniques

D-7 G7 D-7 G7


          
D-7 D-7 G7 Db- Gb7Db7 D-7 Bb7A-7Ab-7 Db7 Ab7 G7

6 two chords by one chord

D-7 G7 C^ D-7 G7 C^

outside II-V sequence, not related to the II-V
inside II-V sequence as a chromatic chord from D-7 or bitonal fro G7, etc...

Db7 B7

one II-V sequence by another II-V sequence

7 D-7 G7 C^

A-7 D7

8 one II-V sequence by a non II-V sequence

D-7 G7 C^


E-7 G7

9 one sequence by two II-V sequences

D-7 G7 C^


A-7 D7 F-7 Bb7

one sequence by two non II-V sequences

10 D-7 G7 C^


A-7 Eb7 E-7 G7

6
 II-V substitution techniques

one sequence by a group of sequences

11 mixing II-V sequences and non II-V sequences
D-7 G7 C^


A-7 D7 E-7 G7

12 using
D-7
diatonic II-V sequences
G7 C^


E-7 A7 D-7 G7

13 non diatonic II-V sequences

D-7 G7 C^


Eb-7 Ab7 Ab-7 Db7

14 mixing diatonic and non diatonic II-V sequences

D-7 G7 C^ ex.2 D-7 G7 C^


D-7 G7 Ab-7 Db7 D-7 G7 Ab-7 Db7

15 one sequence by a group of sequences

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


D-7 G7 Ab-7Db7Db-7 Gb7 D-7 G7 Ab-7 Db7 Db-7 Gb7 Gb-7 B7

7
 II-V substitution techniques
chords or sequences of chords by other music parametres as:
16 (tempo, rhythm, timbre, space, silence, melody, etc)
D-7 G7 C^



substituting by silence
  G7

DOUBLE DIMENSIONAL SUBSTITUTION CONCEPT

This concept means a double substitution step, a chord can be substituted by another of same o different quality
and that one is the one generates a new substitution concept, so; a substitution of an imaginary substitution chord.

using single imaginary chords on II-7

17 using imaginary dominant secundary
D-7 G7 C^
 in this case the D-7 has been substituted by
himself as a secondary dominant D7 and then
(D7) imaginary substitution chord on a second thought has been created a
A- A-^7 A-7 D7 substituted sequence of this imaginary D7

18 using imaginary triton chord on II-7

D-7 G7 C^
 here, the imaginary substituted chord is
(Ab-7) imaginary triton chord the triton relationship Ab-7.
from that one comes two substituted sequence
BbØ7 Eb7 Ab-7 Db7
IIØ7 V7 I-7
II-7 V7

19 using imaginary major relative chord

D-7 G7 C^
 here, the imaginary substituted chord is
(F6) imaginary major relative chord the relative major chord F6.
from that one comes two substituted sequence
G-7 A-7 Ab-7 Db7
II-7 III-7 II-7 V7

using single imaginary chords on V7

20 using imaginary triton chord on V7
D-7 G7 C^
 here, the imaginary substituted chord is
imaginary chord Db7) the triton's G7, Db7.
has been created a sequence of secondaries
D-7 Eb7 Ab7 Db7 dominants of Db scale
II7 V7 I7

8
 II-V substitution techniques

21 using imaginary diminished chord from the overtones extension V7b9 chord
D-7 G7 C^
 here, the imaginary substituted chord is
the diminish chord Ab dim7.
Abøº7 imaginary chord F half diminish and Ab dim are both chords
from the same parent chord root; G7b9 or
D-7 FØ7 Abº7 Abdim7/G

using double imaginaries chords on II-7 and V7

It's posible to combinate the last techniques from singles imaginary chords together;

22 D-7 G7 C^
 here, the imaginary substituted chord is
the D-7sus (very close to G7) for the II-7 and
D-7sus Bb7 imaginary chord Bb7 (called back door chord as has the same
function of V7 sometimes to approach to I)
for the V7.
G7 Abº7 C-7 F7
II-7 V7

23 D-7 G7 C^
 here, the imaginary substituted chord is
imaginaries chords F7 the D half dim 7 (II degree of C minor scale)
DØ7 for the II-7 and F7 for the V7. This F7 belongs
to the whole tone scale steps
Bb7 DØ7 F7 Eb7 Db7
whole tone scale descending direction

24 every imaginary chord can be substituted by a sequence or a group of sequence

D-7 G7 C^
 here, the imaginary substituted chords
are maj7 chords, and this ones are
Ab^7 substituted by a group of sequences
Bb^7 imaginaries chords
belonging to each imaginary chord

  
Ab^7 G7 C^ tonality, resolving to G7 dominant.
D-7 Dbº7 C-7 F7 C-7 Cbº7 Bb-7 A^7

9
 II-V substitution techniques

Analytic II-V Substitution Techniques

inner-dimensional techniques
I called inner-dimensional because the chords substitution comes up
from inside the first chord D-7 as a dimensional level technique

25 one chord can be substitute by two chords at half value

D-7 G7


D-7 Ab7 G7

D-7 Eb-7 D-7 Ab7 G7

D-7 G7 Eb-7 Ab7 D-7 A-7 Ab7 Db7

26 one chord can be substitute by one II-V sequence

D-7 G7

D-7 G7 G7

D-7 G7 Eb-7 Ab7 G7

A-7 D7 D-7 G7 Bb-7 Eb7 Eb-7 Ab7

27 one chord can be substitute by a non II-V sequences

D-7 G7


A7 Ab7 G7

A7 Ab7 G^7 E-7 G7

D7 G7 A7 Bb7 B^7 Ab-7 E-7 G7

10
 II-V substitution techniques
28 one chord can be substitute by two chords, alternating II-V and non II-V sequences
D-7 G7


D-7 G7 G7

(II-V) (non II-V)

Eb-7 Ab7 G^7 E-7 G7

Bb-7 Eb7 G-7 Ab7 G^7 C^7 B-7 E-

(II-V) (non II-V) (non II-V) (non II-V)

29 one chord can be substitute by more than two chords alternating II-V and non II-V sequences
D-7 G7


A7 Ab7 Db7 Gb7 G7

A7 Ab7 G^7 C^7 E-7 G7

3

D-7 Eb-7 Bb-7 Ab7 Db7 C7 G^7 Ab^7 C^7 Bb^7 E-7 F-7

3 3 3

30 one II-V sequence can be substitute by two II-V sequences at half speed

D-7 G7 C^7

D-7 G7 Db-7 Gb7 C^7

D-7 G7 Db-7 Gb7 Gb-7 B7 F-7 Bb7 C^7

11
 II-V substitution techniques
31 one II-V sequence can be substitute by three II-V sequences

D-7 G7 C^7


D-7 G7 Db-7 Gb7 C-7 F7 C^7

D-7 G7 Db-7 Gb7 Gb-7 B7 F-7 Bb7 C-7 F7 F-7 Bb7 C^7

32 one II-V sequence can be substitute by three non II-V sequences o mix II-V and non II-V

D-7 G7 C^7

D-7 G7 Db-7 A7 Bb-7 F7 C^7

D-7 Ab7 Db-7 Gb7 Gb-7 F7 F-7 B7 C-7 B7 Bb-7 Bb7 C^7

33 one II-V sequence can be substitute by three II-V sequences mix with coltrane changes

D-7 G7 C^7


D-7 G7 Gb7 A7D^7 F7 Bb-7 Eb7 C^7

coltrane changes

C^7 Eb7 Ab^7 B7 C^7

D-7 G7 Db-7 Gb7 Gb-7 B7 F-7 Bb7 coltrane changes

12
 II-V substitution techniques
34 one II-V sequence can be substitute by three non II-V sequences mix with coltrane changes

D-7 G7 C^7

D-7 C7 Gb7 A7 D^7 F7 Bb-7 Db7 C^7
coltrane changes

C^7 Eb7 Ab^7 B7 C^7

D-7 Ab7 Db-7 Bb7 Gb-7 G7 F-7 Db7 coltrane changes

13
 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

14
 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

15
 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

16
 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

17
 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

18
 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

19
 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




20
 II-V substitution techniques

78 II-V substitution with melodic minor chords

79 II-V substitution with cells of two chords descending

D-7 G7 C^7

 cells

DØ7 Eb-7(9) DbØ7 D-7(9) C^7



D-7 G7 C^7


cells

DØ7 Eb-7(9) DbØ7 D-7(9) C7#Å Db-7(9) C-^7



80 II-V substitution with cells of three chords descending

D-7 G7 C^7
 cells

DØ7 Eb-7(9) Ab7(13) DbØ7 D-7(9) G7 C^7


3 3

D-7 G7 C^7
 cells

DØ7 Eb-7(9) Ab7(13) G7(13) Gb7(13) B7 C^7


3

81 II-V substitution with cells of four chords descending

D-7 G7 C^7

DØ7 Eb-7(9)Ab7(13) D7(#9) DbØ7 D-7(9) G7(13) Db7(#9) C^7


21
 II-V substitution techniques

82 II-V substitution with cells of two chords ascending

D-7 G7 C^7

 cells

DØ7 Db-7(9) EbØ7 D-7(9) C^7



D-7 G7 C^7
cells


DØ7 Db-7(9) EbØ7 D-7(9) E7Å Eb-7(9) C^7


83 II-V substitution with cells of three chords ascending
D-7 G7 C^7
 cells

DØ7 Eb-7(9) Ab7(13) E-7 F-7(9) Bb7 C^7


3 3

D-7 G7 C^7
 cells

DØ7 Eb-7(9) Ab7(13) Eb^7(13) E7 B7 C^7


3

84 II-V substitution with cells of four chords ascending

D-7 G7 C^7

DØ7 Eb-7(9)Ab7(13) D7(#9) EbØ7 E-7(9)Gb-7(13) Db7(#9) C^7


85 II-V substitution with anticipate Imaj7 86 II-V substitution with anticipate I maj7
D-7 G7 C^7 D-7 G7 C^7

also the syncopation helps to set up the I


D-7 B^7 C^7 D-7 Db^7 C^7
 
same quality chord helps to substain the anticipate I

22
 II-V substitution techniques

87 II-V substitution with anticipate I degree previous a false Imaj7

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



   
D-7 Eb7 Ab^7(#11) C^7 D-7 A7 Ab^7(#11) C^7
  
false I false I

II-V substitution with anticipate I degree previous a false I + reaffirming I

88
D-7 G7 C^7 D-7 G7 C^7

 same chord but diferent quality

       
D-7 Eb7Ab^7(#11) C^7 Db^7 C^7(#11) D-7 A7 Ab^7(#11) C^7
   C-^7(#11)

false I adding tensions helps to reconfirm chord state false I

89 II-V substitution with anticipate I maj7 and double conclusion II-V

D-7 G7 C^7


 
C^7(9)
 
D-7 B^7 C^7 G7(#5)



90 II-V substitution on minor tonality by sequences

DØ7 G7 C-^7 DØ7 G7 C-^7


DØ7 G7(b5) Gb-7B7(b5) C-^7 DØ7 G7alt Db7alt Gb7alt C-^7


91 II-V substitution with minor chords same quality than I-maj7

DØ7 G7 C-^7 DØ7 G7 C-^7(9)


DØ7 Db-^7 C-^7 B-^7 C-^7 DØ7 Eb-^7(9) D-^7(9) Db-^7(9) C-^7
 cromatic descending

23
 II-V substitution techniques
92 II-V substitution with quartal chords
DØ7 G7 C-^7

D-7sus Bb-7sus A-7sus Db-7sus C-7sus Ab-7sus G-7sus C-^7


93 II-V substitution with quartal chords with unexpected change tonality from major to minor

D-7 G7 C-^7

D-7sus Bb-7susA-7susDb-7sus C-7susAb-7susG-7sus C-^7


94 using dorian quartal chords

D-7 G7 C^7

D-7sus E-7sus F^7(b5) G7sus A-7sus B-7sus C^7

diatonic ascending

95 using diatonic dorian quartal chords combining chords

D-7 G7 C^7

D-7sus G7sus F^7(b5) E-7sus C^7

combining

96 using diatonic phrygian quartal chords

D-7 G7 C^7

D-7sus Eb^7(b5) F7sus G-7sus A-7susBb?7sus C-7

diatonic ascending

97 using phrygian quartal chords combining chords

D-7 G7 C^7

D-7sus Eb^7(b5) F7sus G-7sus A-7susBb?7sus C-7

combining

24
 II-V substitution techniques

98 mixing dorian and phrygian quartal chords

D-7 G7 C^7

D-7sus Eb^7(b5) F^7(b5) G-7sus A-7sus E-7sus C-7

combining

99 II-V substitution with mix quartal and triads chords with

unexpected change tonality from major to minor
D-7 G7 C-^7

D-7sus Bb-7sus A-7sus Db-7sus D7(#9) Db7 G7alt


100 II-V substitution using mixing chords from differents quality scales

D-7 G7 C^7

D-7 G7 AbØ7 Db7alt C-^7
 C major Gb melodic minor C harmonic minor

101 II-V substitution using mixing chords of non II-V sequences from differents quality scales

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


D-7 G7 A^7(b5) EbØ7 C-^7 D-7 G7 G#^7(b5) BØ7 C^7
 C major Gb harmonic minor C major scale A melodic minor
C major
C harmonic minor

102 II-V substitution using mixing chords of differents quality scales in fourths chordal

D-7 G7 C^7

D-7sus G7sus A^7(b5) Db7sus C7sus
 C major Gb harmonic minor
chromatic aprox. descending

25
 II-V substitution techniques

103 II-V substitution with mix quartal and triads chords with unexpected
change tonality from minor to major

DØ7 G7 C^7

DØ7sus Bb-7sus AØ7sus Db-7sus D7(#9) Db7 G7alt C^7


104 II-V substitution with whole tone aascending sequence with same quality Imaj7

DØ7 G7 C^7
 root


DØ7 EØ7sus GbØ7sus AbØ7sus AØ7sus/C = (C-^7(9))


105 II-V not going at I

this kind of II-V has from freedom to be substitute
as a cell itself into a global structure

  
DØ7 G7 GØ7 C7 CØ7 F7 Gb7 G7 Ab7
         
      
it depends de melody can be all kinds of variations and substitution techniques

  
DØ7 Db7#11 Gb-7 F-7 Ab7alt G7alt Gb7àÆ


106 melodic counterpoint helping the chords substitution

  
D-7 G7 C^7
   
 
play this melody instead of the original one
          
   
3
this second melody never can't be as important as the original one

mixing polychords and counterpoint bass lines

107
D-7 G7 C^7

D-7 B/A C/Ab Db/G F/Db approx. descending

  3
  
descending bass line


26
 II-V substitution techniques

108 whole tone scale descending of maj7 chords quality

D-7 G7 C^7


   
D-7 C^7 Bb^7 Ab^7 G7

whole tone scale descending whole tone scale descending

109 of m7 chords quality 110 of m-maj7 chords quality

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



      
D-7 C-7 Bb-7 Ab-7 G7 D-7 C-^7 Bb-^7Ab-^7 G7

whole tone scale descending

111 whole tone scale descending
of 7/b5 chords quality 112 of 7/#5 chords quality

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



      
D-7 C7(b5) Bb7(b5) Ab7(b5) G7 D-7C7(#5) Bb7(#5)
Ab7(#5) G7

whole tone scale descending

113 whole tone scale descending
of maj/b5 chords quality
114 of maj/#5 chords quality

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



      
D-7C^7(#5)Bb^7(#5)Ab^7(#5)G7 D-7C^7(#5)Bb^7(#5)Ab^7(#5) G7

115 using dim 7 chords as a turns

D-7 G7 C^7 D-7 G7 C^7

Ebº7 Dbº7D-7 Abº7 G7 Eb-7D-7 Gbº7 Aº7 G7

ornaments as turns to D-7 ornaments as turns to G7

27
 II-V substitution techniques

116 using dim 7 chords as a turns + tritons

D-7 G7 C^7

Ebº7 Dbº7 Ab7 Gbº7 Aº7 Db7

ornaments as turns to D-7 ornaments as turns to G7

117 using dim 7 chords chromatically

D-7 G7 C^7

Dº7 Dbº7 Cº7 Bº7 Cº7 Bbº7 Bº7
 
because of his symetrical properties dim 7 chords works chromatically everywhere as long are keeping organic structure

118
D-7 Barney Kessel changes G7 C^7


    
    
Gº7 Gbº7 Fº7 Db9 C9

   
 
 

     
    

descending the root to the 6

119 as a technique of substitution 120 ascending the root of II-7 to the 7
as a technique of substitution
D-7 G7 C^7 D-7 G7 C^7

D-D-^7 D-7 D-6 G7 D-D-#5 D-6 D-7 G7


121 ascending the fith of V7 to the 7 122 mixing both techniques

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


D-7 G7 G7(#5) G7(6) G7 D- D-^7 D-7 D-6 G7 G7(#5) G7(6) G7


28
 II-V substitution techniques

123 mixing both techniques + variations of chord cadence

D-7 G7 C^7

B7(#9)#11
Db7
D- D-^7 D-7 D-6 G7 G7(#5) G7(6) Dº7 C^7(#11)


124 descending the root to the 6 + V7 inversions movements

D-7 G7 C^7

D- D-^7 D-7 D-6 G7 Abº7 Bbº7 G7/B


125 ascending the root of II-7 to the 7 + V7 inversions movements

D-7 G7 C^7

D- D-#5 D-6 D-7 G7 Abº7 Bbº7 G7/B


126 sus4 chords substitution techniques

D-7 G7 C^7

these chords can flow all over the places because their symetric
properties doesn´t insinuate any tonality

 
D-7sus E-7sus B-7sus Db-7sus Gb-7susG-7sus Eb-7sus Eb7sus/G C^7
 G7alt 
3
G7(b5)áÆ
rit...the Imaj7

127 contrary melody motives


D-7 G7 C^7
  
  
contrary melody motives movements at the top of the chordal structure helps to posibles substitution
D-7 Db7(b9)/Ab
   
 
 
   
 
 
  

29
 II-V substitution techniques

128 mixing chords with phrases made by complex rythms

G7
D-7
 complex rythms on licks helps to atrack attention and fortify
the posibles chords changes substitutions

D-7 Ab-7
  Db7(#11)
    
    
7

129 jazz syncopation rythm helps to fortify the substitution changes

D-7 G7 C^7


D-7sus Ab7 Db^7 E7 D-7sus Ab7(b5) G7(b5)

         

mixing jazz syncopation rythm and same quality chords helps much more
to fortify the substitution changes
130
D-7 G7 C^7

D-7sus Db-7sus Eb-7sus Db-7sus D-7sus Ab7(b5)G7(b5)
         

131 ascending symetrical phrases helps unexpectable changes substitutions

D-7 G7 C^7


         
D-7 Ab-7 F#Ø7 F-7 C^7(#11)
             

3 3 3 3 3 3

132 ascending symetrical phrases helps unexpectable changes substitutions + delaying the Imaj7

D-7 G7 C^7

short delay to Imaj7
D-7 Ab-7 F#Ø7 F-7 Bb7alt C^7(#11)
                     

3 3 3 3 3 3

30
 II-V substitution techniques

D-7 G7 C^7

longer delay to Imaj7
D-7

Ab-7
  
F#Ø7
  
F-7
    
Bb7alt
  
B^7
    Db^7
    C^7(#11)
  
  
3 3 3 3 3 3 3

133 chordal tensions as a substitution technique

134 reharmonization as a substitution technique




chords + bass line intercalate
135
D-7 G7 C^7
 chord

D-7  
G7alt
         
C^7


  
bass line bass line + chord same time

136 7#9 on dim. scales

D-7 G7 C^7

D7(#9) Eb7(#9) F7(#9) Gb7(#9) G7
 
dim. scale Half tone - Whole tone

D-7 G7 C^7


Db7(#9) D7(#9) E7(#9) F7(#9) Gb7(b5) G7(b5)


dim. scale Whole tone - Half tone changing tensions helps resolution to Imaj7

31
 II-V substitution techniques

137 combination of m7sus4 and 7#9 as a substitution cell

C^7
D-7 G7


 
D-7sus Eb7(#9) C-7sus Db7(#9)

 

138 combination of m7sus4 and 7#9 as a substitution cell inside a dim. scale
D-7 G7 C^7

C#-7sus D-7sus E-7sus F7(#9) G7alt
 

dim. scale

139 combination of m7sus4, dim7 and 7#9 as a substitution cell inside a dim. scale
D-7 G7

C#º7 D-7sus E-7sus F7(#9) Abº7/G
 

dim. scale

140 II dominant secondaries 5 altered

D-7 G7 C^7

D7(b5) delaying the II V D-7 G7 C^7 


others dominants secondaries 5 altered

141
D-7 G7 C^7

Eb7(b5)
delaying the II V
D-7 G7 C^7 

B7(b5)
Db7(b5)

32
 II-V substitution techniques

142 natural tensions substitutions 143 space-time diminution techniques

D-7#5 G+7 C^7 D-7 G7 C^7 D-7 G7 C^7




Ab9sus4 Db9b5 D-7G7 C^7
  
D-7 G7 C^7
 
3
chords with same notes

144 space-time augmentation technique 145 space-time syncopation technique

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



          
D-7 G7 C^7
 D-7 G7 C^7

3 3


146 combination coltrane changes + triton 147 coltrane changes + triton plus
space-time technique
D-7 G7 C^7 D-7 G7 C^7


       
3
     
  
C^7 Eb7 Ab7 D7 Gb7 C^7
 
C^7 Eb7 Ab7 B7 F7 G7 C^7
space-time
triton triton
coltrane changes coltrane changes triton

148 polychord substitutions

149
D-7 G7 C^7 double polychord substitutions

150 same quality chord but different names 151 same quality chord with altering the I
D-7 G7 C^7 D-7 G7 C^7

good for blues
F-6/D Bº/G C^7 F-6/D Bº/G EØ7/C
 C9

33
 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

34
 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


35
 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



36