II – V – I Killer progression substitution

II – V – I
Killer progression substitution

One of the most interesting and intriguing musical progressions I’ve studied is the II – V – I progression. From the outside it looks quite simple, but when we truly get down and dirty into details of its importance in any song, then we realize this is a must have progression in our music. I personally use this progression all the time, but I like to substitute some aspects of it as well as the chords I use.

From what I have experienced, this progression is one of the most exploited in music, because it provides the songwriter with a musical bridge to either come back to the original key of the song, or to change the key to go somewhere else. The next time you find yourself stuck while composing a song, make sure to use this progression randomly and see where it takes you, if it sounds too good to be true, then you’re on the money! But once again, ultimately have fun with this and go where your heart leads you, no matter if it’s a temporarily ugly place.

Usually this chord is used in the following form, let’s take the key of C to more clearly see what I’m talking about.

Let’s say you want to end up in C from an Eb major chord, thus play this chord first, then the obvious route if we follow the II – V – I progression would be to play a D minor chord; which would be consider the II in the progression (in reference to the C), then we play a G major chord; which would be the V in the progression, and finally we play a C major chord to end in the tonic or I in the progression.

Of course, this sounds too simple. Where is the magic, you may ask? Well, now that we have the skeleton of the progression covered, allow me to open the gates of Chord Heaven:

Remember, our starting point is Eb.

1-) On the left hand we’ll start with this specific hand position on the key of Eb

Eb + Bb + D

2-) On the right hand we’ll play an Eb major 9^th chord, like this:

G + Bb + D + F

This is what it looks like together:

3-) Now we  play on the left hand a D minor 7^th chord omitting the third (F), like this: (Mainly because the F makes the chord kind of muddy in my taste.)

D + A + C

4-) On the right hand we’ll play a delicious D minor 11^th chord, like this:

F + C + E + G

This is what it looks like together:

5-) Now are you still with me? I hope so. This where the magic happens so pay attention, instead of playing the V of the chord we’re trying to get to which is C, we will substitute the V which is G for C# or Db. Think of this as going down the stairs half a step, on the left hand play a diminished 5^th interval like this:

C# + G

6-) On the right hand we will play a G augmented chord, like this:

B + Eb (or D#) + G

This is what it looks like together:

7-) And to put the icing on the cake we will play the tonic with a spicy diminished 5^th added to it, C major 9^th with a diminished 5^th. On the left hand play a fifth interval with the third above the octave like this:

C + G + E

8-) On the right hand play C major 9^th with a diminished 5^th like this:

B + D + E + F#

This is what it looks like together:

So now we have come full circle, and as you can see there’s a huge difference between the first example with natural chords and the second one with the substitution and the added chord elements. This is in my opinion the beauty and complexity of jazz unfolded in front of our very eyes. I like to think of this essential elements as a necessary addition to any kind of popular music. But then again this is my personal opinion and if other people don’t think so then I respect their perspective because it is a good thing to think differently from other people, that is what makes us unique. Remember, music is supposed to be about bringing us together as humans not to divide us. Feel free to play around with these chords and add or subtract as many notes as you wish, or play it as it is, it’s up to you!

Peace, love and prosperity to all!

Carlos Camilo 

(Author)(pianist/singer/arranger/producer/composer from Miami,FL).

www.carloscamilo.com