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Exercise
— switch — The Cycle Shells with Color Rootless Voicings Bud Powell Left Hand The Turnaround Tritone Substitution Reharm the V Diatonic Sevenths Secondary Turnaround Minor ii–V–i Minor ii-V-i with ♭9 Minor Turnaround Diatonic 7ths in Minor Backdoor Progression Twelve-Bar Blues Minor Blues Bird Blues Blues Stride LH Blues Walking Bass Rhythm Changes Boogie Blues Shuffle Rhythm Changes Bridge Blues Rootless (Evans) Coltrane Changes Blues Pedal Point Standard Intro Blues Block Chords Two-Handed Comping Blues Freddie Green Charleston Comping Bebop Blues Comp Freddie Green Comping Blues Guide Tones Walking Bass Charleston Blues Tritone-Sub Walking Bass Bud Powell Blues Drop Two Two-Handed Modern Blues Stride Bass Stride with Melody Quartal Voicings Upper Structure Triads Hybrid Voicings Kenny Barron Voicing Sus Chord Vamp The Mu Chord Maiden Voyage Chord 4-Way Close Pedal Point Lydian Vamp Phrygian Vamp Bossa Nova Guide Tones Bebop Scale Dominant Bebop Dorian Bebop Bebop Minor The Enclosure ii-V-I Lick Pentatonic Patterns Plain Locrian Melodic Minor Dorian ♭2 Lydian Augmented Lydian Dominant Mixolydian ♭6 Locrian ♮2 Altered Scale Harmonic Minor Phrygian Dominant Half-Whole Diminished Whole-Tone Scale Minor Blues Major Blues Aeolian (Natural Minor) Dorian Mode Ionian (Major) Lydian Mode Minor Pentatonic Mixolydian Mode Phrygian Mode Whole-Half Diminished
(MED. SWING ♩=80 )
7
Jazz Piano · Seven Ways to Replace a V7
Reharm the V
Catalog of common V7 substitutions in a ii-V-I, twelve keys
Play exercise
The V7 in a ii-V-I is jazz's most-substituted chord. Each
reharmonisation is a different colour, applicable in different
contexts. This exercise plays through seven common
substitutions in sequence, in the same key, so you can
hear what each does to the cadence.
For each key, the progression cycles through: ii → [V7 variant 1]
→ ii → [V7 variant 2] → ... ending with the final I. The ii and
I are unchanged; only the middle chord changes. The exercise's
pedagogical move is making you hear the V7 substitutions
side-by-side — not in the abstract, but as actual cadential
moves into the I.
Seven variants V7 · V7♭9 · V7alt · V7sus · ♭II7 · ♭III°7 · V7♯11
Land same All resolve to the same I chord at the end.
Jump to
C F B♭ E♭ A♭ D♭ F♯ B E A D G
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7
The Daily Drill
Hear the spectrum
8 min Play one key all the way through. The ii is constant; the I is constant; only the V changes — seven times. Listen to what each substitution does to the cadence's quality. 10 min Cycle three keys. The substitutions are the same in every key (V7 → V7♭9 → V7alt → V7sus → ♭II7 → ♭III°7 → V7♯11), just transposed. Pick the substitution you hear as most useful in YOUR playing context and identify why. 4 min Build a tune cadence: pick one substitution and use it throughout a 32-bar form's cadences. Then change to a different substitution for the next chorus. Notice how the same tune feels different depending on which V7 reharm you commit to. 3 min Compose a 4-bar phrase that uses three different V7 substitutions in sequence (e.g., V7sus → V7♭9 → V7alt), each leading back to a new ii-V-I. This is how Bill Evans and Brad Mehldau extend cadences across multiple choruses without ever sounding repetitive. When each substitution applies Each V7 reharm has a natural context. V7 : the default, most common. V7♭9 : minor-key cadence (V7 going to a minor i); also vanilla V7 with bebop colour. V7alt : maximum tension, modern jazz; works going to either a major or minor I. V7sus : modal/static contexts where you want no cadential pull (Maiden Voyage style). ♭II7 (tritone sub): voice-leads chromatically down a half step into I; smoothest bass line. ♭III°7 : passing diminished, common in stride and standards repertoire. V7♯11 (lydian dominant): tritone-sub-flavoured but with the original root preserved; non-functional brightness. Mix them by ear; no substitution is "correct," only fitting.
Seven cadences in seven flavours. The cadence palette every jazz pianist eventually internalises.