EXPANDED FINGERING TECHNIQUES

by
PERE SOTO
THE MODERN GYPSY JAZZ GUITAR PLAYERS
THROUGH THEIR LICKS
by
PERE SOTO
250 II-V SUBSTITUTION TECHNIQUES
by
PERE SOTO

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substitution on V7
triton technique + tensions harmonic chords substitutions
35
D-7
more techniques
G7
G7 Db7
triton technique
G7 Db7
G7(b9)
Ab7 B^7(b5)/G
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36
substitution on II-7
by minor 2ths steps descending
D-7 G7 C^7
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D-7
by 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
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38
D-7
chromatic ascending
G7 C^7
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D-7
by 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
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40
D-7
by major 3rd step ascending
G7 C^7
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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
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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
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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
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combination of triton relationships + approximation chords to I
D-7 G7 C^7
D-7 G7
triton
Ab-7 Db7
approximation descending
C^7
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45 combination of triton relationships and approximation chords to delaying I
D-7 G7 C^7
D-7 G7
triton
Db-7 Gb7
approximation descending
F^7
IV
delay to I
I
C^7
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II-V substitution according to melody

D-7 G7 C^7

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D-7 G7

C^7
D-7
the F note is diatonic one every chord
G7 Bb-7 Eb7 C^7
the F note is one every chord
D-7 G7 Eb-7(9) Ab7(13) C^7
II-V substitution techniques
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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
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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
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II-V substitution according chordal inversions
D-7 G7 C^7
same chord diferent inversion
D7 G7 F-6 Bb7 C^7
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II-V delaying the diatonic sequence
D-7 G7 C^7
II-V delaying the diatonic sequence
Eb-7 Ab7 D-7 G7 C^7
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52
D-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
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53
D-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
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54
D-7
the same quality chord approximation
G7 C^7
D-7 G7 Db^7
final triton
C^7
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55
D-7 G7
different quality chord approximation
C^7
D-7 G7 Db-7(9) C^7(b5)
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II-V substitution with different quality chords
D-7 G7 C^7
F^7 E7(#9) C7# C7#/Bb
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57
D-7
II-V substitution with 1 momentaneous hybrid
G7
^7
C^7
D-7 G7 F-7 Bb7
false secundary tonality
false subdominant function, Ebmaj7 instead of D-7
Eb^7 G7 C^7
II-V substitution techniques
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58
D-7
II-V substitution with more than 1 momentaneous hybrid
G7
^7
C^7
D-7 G7 Ab-7 Db7 Gb^7 Db^7 C^7
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59
D-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
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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 C7 C^7
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II-V substitution using inversions chords
D-7 G7 C^7
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D-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
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63
D-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
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64
D-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
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diatonic II-V
C^7
II-V substitution techniques
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65
D-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
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non diatonic II-V
C^7
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66
D-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
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chromatic descending II-V
C^7
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67
D-7 G7 C^7
D-7/C Eb7/Db Ab^7/C Gb-7 B7
3
chromatic ascending II-V
C^7
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68
D-7
II-V substitution by false II-V
G7 C^7
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D-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
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70
D-7
II-V substitution by Coltrane changes
G7 C^7
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D-7
II-V substitution with Coltrane changes
delaying the diatonic II-V
G7 C^7
C^7 Eb7Ab^7 Db7 C^7 C^7 Eb7Ab^7 Db7 D-7 G7
II-V substitution techniques
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72
D-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
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73
D-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
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74
D-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
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75 II-V substitution with add appoggiatura chords
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76
D-7
II-V substitution with pedal on the bass
G7 C^7 D-7 G7 C^7
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D-7/G Db7(#9)/G

C^7/G

D-7/G G7 Gb/G

C(9)/G
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77
II-V substitution with double pedal on the bass
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II-V substitution techniques
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152
D-7
coltrane changes + triton plus
space-time technique
G7 C^7
153
D-7
voice leading as a only harmonic rule
G7 C^7
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154
D-7
using paralel chords
G7 C^7
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D-7
using cluster
G7 C^7

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using cluster + sincopation

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Bb-7 Eb7 Ab-7 Db7

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157
D-7
using open/wide intervals
G7 C^7
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158
D-7
using cluster + wide intervals
G7 C^7
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159
D-7
mixing complex rythm concepts
with substitution techniques
G7 C^7
160
D-7
using direct modulation techniques
G7 C^7
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3

D-7 A7
modulating to B tonality
Bb7 B^7 G#-7
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D#-7 D-7 G7
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C^7
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5
II-V substitution techniques
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161
using direct modulation with
pivot chord techniques
D-7 G7
modulating to A tonality
C^7
162
D-7
using momentaneous blues changes + blues
scale as a substitution technique
G7 C^7
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pivot chord
D-7
V from C
VII from A
G7 A^7 B-7 C#-7 G7 C^7
D7 G7 C7
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163
II-V substitution for a modal II- chordal
C-7

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Footprints, bar 1,2 exemple
C-7

Db-7

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Gb7
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G-7

F-7

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Bb7 C-7sus

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164
D-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)
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165
D-7
II-V substituted by turnarounds
G7 C^7 D-7 G7 C^7 D-7 G7 C^7
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C^7 A-7 D-7 G7
C^7 A7 Ab^7 G7
C^7 Eb7 Ab^7 Db7
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166
D-7
II-V substituted by passing chords
G7 C^7
167
D-7
V7 substituted by Django Reinhardt sequence
G7 C^7
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D-7Eb7E7F-6 G7 B7C7Db7(9)
D-7 G7 A7 Bb7 G7/B
II-V substitution techniques
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168
II-V chords substituted by same chords from differents scales
D-7 G7 C^7 D-7 G7 C^7 D-7 G7 C^7
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C harmonic minor scale
D7 G7 (C-^7)
C natural minor scale
D7 G7 (C-7)
F- melodic minor scale ascending
D7(9) G713(b9) C^7
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169
D-7 G7
II-V substituted by same chords, differents quality status
C^7 D-7 G7 C^7 D-7 G7 C^7
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D-713(11)
G713(b9)
D7
G7(#5)
D-^7
G7alt
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170
enharmonic substitution
Db-7 Gb7 Gb-7 Cb7
171
D-7
Constant Structure Modal Progressions
G7
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C#-7 F#7 F#-7 B7
G7sus4 Bb7sus4 F7sus4 G7sus4
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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.
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D-7 Eb7 Ab7 B7 E7 G7 C^7

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173
D-7
Extended Coltrane II- V7 changes substitution
G7 C^7
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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
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174
F-7
Coltrane II- V7 Chromaticism changes substitution
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
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F-7 Bb7 E-7 A7 Eb-7 Ab7 D-7 G7
II-V substitution techniques
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175
D-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
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G7 Bb^9 G9sus4 G7 G-7 G7 Eb^7(9) G7 C-^7(9)G7 Ab7(b9) G7 B7(b5) G7 Ab7(13) G7

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176
D-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
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D7
D7 D7 D7 D7 D7
D7 D7
Bb9 G7 Eb-^7(9) G7 E7 G7 G7sus4(b9)G7 Eb-^7() G7 B13b5() G7 C-7 G7 Ab6(#11) G7

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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
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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-7 G7 F-6(11) G7 Eb^7(%) G7 G-7(11) G7 Bb9 G7 D7 G7 E7(b5) G7 Ab13# G7

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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)# D-7 B7(#5) D-7 D-6(11) D-7 F^7(13)# D-7 E7 D-7 A-7b D-7 E7()
II-V substitution techniques

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179
V7 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
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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() D-7 Eb9(#5) D-7 A7(b5)b D-7Ab-^7(6) D-7 A7b

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180
V7 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
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G7b5
G7b5 G7b5
D-7 Eb7(#5)9 D-7 D-^7() D-7 A9(#5) D-7 Bb13 D-7 Ab-^7() D-7 Eb13

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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
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G7sus4 G7sus4 G7sus4 G7sus4 G7sus4 G7sus4 G7sus4
D-7D-7(11) D-7Ab^7(b5)(6) D-7Eb^7(%) D-7 B7() D-7 F% D-7 Bb D-7A7(b) D-7E7(#5)
II-V substitution techniques
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COMBINATION OF CHORDAL SUBSTITUTION II-7 V7 TECHNIQUES
using chord species chordal of D-7b5, D-7#5 and G7sus4, G7b5, G7#5
182
Bb^9
COMBINATION OF CHORDAL SUBSTITUTION from II-7 and V7
F7(13)# G9sus4 B7(#5) G-7 D-6(11) Eb^7(9) F^7(13)#
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C-^7(9) E7 Ab7(b9) A-7b B7(b5) E7()
Ab7(13)
E7()
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183
Bb9
COMBINATION OF CHORDAL SUBSTITUTION II-V TECHNIQUES D-7b5 and G7b5
Eb7(#5)9 Eb-^7(9) D-^7() E7 A9(#5) G7sus4(b9) Bb13
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Eb-^7() Ab-^7() B13b5() Eb13 C-7 Eb7(#5)9 Ab6(#11) D-^7()
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184
C-7
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() Bb9 Eb9(#5)
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D7 A7(b5)b E7(b5) Ab-^7(6) Ab13# A7b Eb^7(%) Ab-^7(6)
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185
Bb^9
COMBINATION OF CHORDAL SUBSTITUTION II-V TECHNIQUES D-7 and G7sus4
D-7(11) G9sus4 Ab^7(b5)(6) G-7 Eb^7(%) Eb^7(9) B7()
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C-^7(9) F% Ab7(b9) Bb B7(b5) A7(b) Bb^9 E7(#5)
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186
Bb9
COMBINATION OF CHORDAL SUBSTITUTION II-V TECHNIQUES D-7b5 and G7sus4
D-7(11) Eb-^7(9) Ab^7(b5)(6) E7 Eb^7(%) G7sus4(b9) B7()
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Eb-^7() F% B13b5() Bb C-7 A7(b) Ab6(#11) E7(#5)
II-V substitution techniques
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195
D-7
II-V mirror
G7
mirror techniques
196
D-7
sequence mirrors
G7
197
D-7
II-V cell mirrors
G7
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G7 (D-7)
D-7sus
Eb-7 Ab7 D-7 G7 Eb-7 Ab7 D-7 G7
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D-7 G7 Eb-7 Ab7
Ab7 Eb-7 G7 D-7
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198
internal intervalic II-V chord structure mirrow
D-7 G7
199
D-7
chord structure mirrow in a sequence
G7
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E-7 A7 Eb-7 Ab7 Ab-7 Db7
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intervalic mirror
A7
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F-7 Bb7 Bb-7 Eb7
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200 simple enharmonic substitution
Db-7 Gb7 Gb-7 Cb7
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C#-7 F#7 F#-7 B7
II-V substitution techniques
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201
D-7
intervallic links technique
G7
others techniques
202
D-7
multitonal Coltrane changes
G7
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G7
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203 chordal techniques mixing coltrane changes
D-7 G7
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D-7
chordal techniques mixing mirrow techniques
G7
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D-7
chordal techniques mixing clusters
G7
206
Db-7
chordal techniques mixing turnarounds
Gb7 Gb-7 Cb7
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207
D-7
politonal turnarounds
G7
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D-7
polichords turnarounds
G7
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using bird phrasing tecniques on II-V
D-7 G7
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D-7 G7
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D-7 G7
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Db-7 Gb7 Gb-7 Cb7
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II-V substitution techniques
EXEMPLES OF SUBSTITUTION CHANGES
ON SOME JAZZ STANDARTS SONGS
II-V substitution techniques
scrapple from the apple
Charlie Parker

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originals changes
exemple 1
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G-7
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substitution changes
G-7 C7

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G-7 C7(b9) F#7(b5)
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F^7
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F^7 Bb^7 B7 A-7 D7 D7 D7(#9) Ab^ Db^ F
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A7
D7
G7 C7
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G-7 A7 Bb^7(#11) Eb-^7 D7(#9) Gb/G

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F^7 G-7 Ab7b13C7 F^7 G-7 C7(b9) F^7
II-V substitution techniques

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Jimmy Van Heusen Here's That Rainy Day
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exemple 2
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G^7 Bb7 Eb^7 Ab^7
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G^7

D-7 G7(b9)
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A-7 D7 G-7 C7 F-7 Bb7 Ab7 D7/A G^7 Eb-7 Ab7 D-7 Db7 G7
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C-7
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C-7 Ab-7 Db7 C#-7 F#7 F7 Bb^7
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A-7
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D7
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G^7 A-7 D7
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A- Ab^7 Gb^7(b5) F-7 Bb7 Ab7 G7 Ab7 A7 G^7/B D/Bb C/Ab D7(b9)
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G^7 F-6 Bb7 D7b13(b9) E7 Eb^7 Ab^7 A-7(11) D7
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G^7

D-7 G7 C^7
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A13

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G#-7 C#7 F#-7 B7 Eb-7 Ab7 D-7 G7 C^7 A-7 D13 B-7 E-7 A13

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E-7 A-7 D7
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II-V substitution techniques

Charlie Parker
Blues for Alice
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,
,
,
,
,
_
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

Db7 Gb^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

D 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#7 D-7 Bb7 A-7 Ab7
_
,
G-7

C7
,
,
,
C-7

F7
_
G-7 G-7/F E7 A7 A7 D7 C-7 F7
_
,
B7
, , , ,
Bb-7
,
Eb7
,
A-7
,
,
D-7
,
,
Bb-7
, ,
, ,
Eb7
,
,

G-7
, , , ,
C7
,
,
_
B7 E7

_
_
,

F%

,
,
_
Bb^7 D7 Gb^7 B7(#11)
II-V substitution techniques

_
Toots Thielemans
Bluesette
_
,
,
jazz waltz
exemple 5
,
Bb^7
,
,
,
,
,
A7
,
,
D7
,
_
Bb^7 G-7 C7 A7 Eb7 D7 Ab-7 Db7
_
,
,
G-7
,
,
,

C7
,
F-7
,
,
Bb7
_
G-7 Db7 C7 Gb-7 B7 F-7 Ab7(9) D7 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 C7 F7 Gb7
_
,
,
Cb^7
, ,
, ,
,
, ,
, ,
,
C7
,
,
F7
,
,
_
Cb^7 C7 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 BLUE
Fisher/Segal

_
,
exemple 11
Ballad
.

,
G-7
,
,
3
C7sus
,

Bb-7 Eb7
,
,
,
, ,
,
,
,

_
Bb-7(9) Ab-7(9) Gb^7(9) B^7(9) Eb7

E7

_
,
F^7

G-7
,
,
,
,
,
,
A-7

D7
_
F^7

G-7 C7 Ab-7 Db7

Bb-7 Eb7 A-7

D7

E-7 A7 Bb7

6 3
_
,
B7
,
,
,
,
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-swing
Eb7
exemple 13
,

,

Bb7

Eb7
, , , , , ,
,

Bb7

_
Eb7 G-7

Gb^7 F7

Bb7 C-7 C#7 Bb7/D

1.

_
,
,
Eb-7
, , , ,
Ab7
,
, ,

Db^7
, , , , ,
Gb7
, ,
, , ,
C7
,
F7(#9)
, ,

Bb7
,

_
Db^7
D7 G7
C7alt
Db-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-7 Eb-7 Db^7 F- Bb-

A^

,
E^

,
,
Eb-7

,
_
,
,

Eb-7
,
,
, ,
,
,
Ab7(b9)
, ,

Db^7
,
, ,
,
,

F-
,
,
,
,
Bb7(b9)
, ,
, ,
Eb-7

,
,
,
, ,
3
,
, ,
_
C7


Db^7
_
,
,
G7
, ,
,
, ,
C7(b9)
,

F#-7 B7
, , , ,
F7
, , ,
Bb7(b9)
_
G7 C7(b9) B-7(9) E7(#5) F#-7 B7 F7 Bb7(b9)
_
,
,
Eb7
,

,

Bb7

Eb7
, , , , , ,
,

Bb7

_
Bb7Db7

C7 B7

E7
Gb-7

B7

F-7

3
Bb7

E-7

3
A7
_
,
,
Eb-7
,,, ,
Ab7
,
, ,

Db7
, , ,, ,
Gb7
, ,
, ,
C7
,

F7(#9)
, ,

Bb7
,

,
,
,
,
,
_
Db7 G7 Gb-^7F7 C7

Gb^7

F7(#9)

B7(9) Bb-6 Bb7

II-V substitution techniques
ASK ME NOW
T. Monk
_
,
,
,
,
,
exemple 14
G-7 C7 F#-7
,
,
, ,
,
B7
,

,

F-7 Bb7 E-7
,
,
,
,
A7
,

,
Eb-7 Ab7
,
,
,
,
,
B7
,
,
Bb7
_
.
Ab7 Db7 G7 C7

F-7Bb7

B-7F7 E7

3
_
,
,
,
,
,
Eb9 D9
,
,
,
, , ,

,

Db^7
,
,
Eb13
,
,
,
,
,
,

Eb-7
,
,
Ab7
,
,
,
,
,
3 3
_
Eb9

A7 Ab7

,
D9

,


Db^7

Bb-7 Bb-7/Ab

Eb13

,


Bb7(#11)
Eb-7 D7(#5)/A Ab7 E7
_
,
,
,
,
,
F-7
,
E7
,
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)
_
,
,
,
,
,
B7

Bb7 Eb9 D9
,
,
,
, , ,

, ,
Db^7
,
,
Eb13
,
,
,
,
,
,

Eb-7
,
,
Ab7
,
,
,
,
Db6
,

3 3
_
B7 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
,
,
,
,
,
B7
, ,

,
Bb7

Eb9 D9
,
,
,
, , ,

, ,
Db^7
,
,
Eb13
,
,
,
,
,
,

Eb-7
,
,
Ab7
,
,
,
,
Db6
,

3 3
_
II-V substitution techniques