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 Db7 triton technique

G7(b9)
G7 Db7 Ab7 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
 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
 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

D7 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

 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# C7#/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
 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 C7 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
 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

 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 G7 Gb/G C(9)/G

77 II-V substitution with double pedal on the bass

 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
 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-7Eb7 E7F-6 G7 B7C7Db7(9) D-7 G7 A7 Bb7 G7/B

 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

D7 G7 (C-^7) D7 G7 (C-7) D7(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) D7 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

 II-V substitution techniques

II- substituted by chordal substitution, same notes, just difference tensions.

175
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 Bb^9 G9sus4 G7 G-7 G7 Eb^7(9) G7 C-^7(9) G7 Ab7(b9) G7 B7(b5) G7 Ab7(13) G7

II- same technique, but double substituted exchanging D-7 for D-7b5
and using chordal substitutions from that one
176
D-7 G7 D-7 G7 D-7 G7 D-7 G7 D-7 G7 D-7 G7 D-7 G7 D-7 G7

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

II- same technique, double substituted exchanging D-7 for D-7#5

177
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-7 G7 F-6(11) G7 Eb^7(%) G7 G-7(11) G7 Bb9 G7 D7 G7 E7(b5) G7 Ab13# 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)# 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

V7 same technique, double substituted exchanging G7 for G7#5

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

V7 same technique, double substituted exchanging G7 for G7b5

180
D-7 G7 D-7 G7 D-7 G7 D-7 G7 D-7 G7 D-7 G7

G7b5 G7b5 G7b5
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

181 V7 same technique, double substituted exchanging G7 for G7sus4

D-7 G7 D-7 G7 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 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

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 F7(13)# G9sus4 B7(#5) G-7 D-6(11) Eb^7(9) F^7(13)#

C-^7(9) E7 Ab7(b9) A-7b B7(b5) E7() Ab7(13) E7()

183 COMBINATION OF CHORDAL SUBSTITUTION II-V TECHNIQUES D-7b5 and G7b5

Bb9 Eb7(#5)9 Eb-^7(9) D-^7() E7 A9(#5) G7sus4(b9) Bb13

Eb-^7() Ab-^7() B13b5() Eb13 C-7 Eb7(#5)9 Ab6(#11) D-^7()

184 COMBINATION OF CHORDAL SUBSTITUTION II-V TECHNIQUES D-7#5 and G7#5

C-7 F7(b5)9 F-6(11) C-^7(11) Eb^7(%) F9(b5) G-7(11) B7() Bb9 Eb9(#5)

D7 A7(b5)b E7(b5) Ab-^7(6) Ab13# A7b Eb^7(%) Ab-^7(6)

185 COMBINATION OF CHORDAL SUBSTITUTION II-V TECHNIQUES D-7 and G7sus4

Bb^9 D-7(11) G9sus4 Ab^7(b5)(6) G-7 Eb^7(%) Eb^7(9) B7()

C-^7(9) F% Ab7(b9) Bb B7(b5) A7(b) Bb^9 E7(#5)

186 COMBINATION OF CHORDAL SUBSTITUTION II-V TECHNIQUES D-7b5 and G7sus4

Bb9 D-7(11) Eb-^7(9) Ab^7(b5)(6) E7 Eb^7(%) G7sus4(b9) B7()

Eb-^7() F% B13b5() Bb C-7 A7(b) Ab6(#11) E7(#5)

 II-V substitution techniques

mirror techniques

195 II-V mirror 196 sequence mirrors 197 II-V cell mirrors

D-7 G7 D-7 G7 D-7 G7

G7 (D-7)
Eb-7 Ab7 D-7 G7 Eb-7 Ab7 D-7 G7
D-7sus

D-7 G7 Eb-7 Ab7 Ab7 Eb-7 G7 D-7

198 199
internal intervalic II-V chord structure mirrow chord structure mirrow in a sequence
D-7 G7 D-7 G7

E-7 A7 Eb-7 Ab7 Ab-7 Db7

D-7
F-7 Bb7 Bb-7 Eb7


intervalic mirror G7

E-7
A7

200 simple enharmonic substitution

Db-7 Gb7 Gb-7 Cb7

C#-7 F#7 F#-7 B7

 II-V substitution techniques

others techniques

201 intervallic links technique 202 multitonal Coltrane changes

D-7 G7 D-7 G7

G7

203 chordal techniques mixing coltrane changes 204 chordal techniques mixing mirrow techniques
D-7 G7 D-7 G7

205 chordal techniques mixing clusters 206 chordal techniques mixing turnarounds
D-7 G7 Db-7 Gb7 Gb-7 Cb7

207 politonal turnarounds 208 polichords turnarounds

D-7 G7 D-7 G7

209 using bird phrasing tecniques on II-V 210

D-7 G7 D-7 G7

211 212
D-7 G7 Db-7 Gb7 Gb-7 Cb7

 II-V substitution techniques

EXEMPLES OF SUBSTITUTION CHANGES

ON SOME JAZZ STANDARTS SONGS
 II-V substitution techniques

exemple 1
scrapple from the apple
Charlie Parker

G-7 C7 G-7 C7(b9)
originals changes

3

G-7 C7 Ab-7 Db7 G-7 C7(b9) F#7(b5)

substitution changes

1. 2.

F^7 G-7 C7 F^7 G-7 A-7 D7 F

3

3

F^7 Bb^7 B7 A-7 D7 D7 D7(#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 Ab7b13C7 F^7 G-7 C7(b9) F^7

 II-V substitution techniques

exemple 2
Here's That Rainy Day Jimmy Van Heusen
A
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 Ab7 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 G7 Ab7 A7 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) E7 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

 II-V substitution techniques

exemple 3
Blues for Alice
Charlie Parker

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
B-7 E-7
Eb7 F6 A-7 D7

Ab-7 Db7 G-7 C7

3

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

exemple 4
It's you or no one
Sammy Cahn/Jule Styne

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
C7
G-7 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
exemple 5 Bluesette
jazz waltz Toots Thielemans

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

exemple 11 Fisher/Segal
Ballad


G-7 C7sus Bb-7 Eb7





3

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 A7(b9) D^7




3
D-7 G&7 C^7 A-7 F^7 D-7 G7


3
G-7 C7




G-7 Gb^7 Ab-7 G^7 A-7 Ab7 Bb7 B7 C7

3 3 3 D.S. al Coda

G-7 C7alt F^7 Gb7 G-7 Gb7 F^7


3 3
 II-V substitution techniques
exemple 13 LOVE FOR SALE
latin-swing Cole Porter

Eb7 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



B7(11)
Db^7 C7alt Gb7sus13#9/B

D7 G7 Db-7 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 Bb7 E-7 A7

3 3

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

exemple 14 ASK ME NOW T. Monk

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