MINOR ii-V-i SUBS:



Here are a few variations and/or substitutions for ii - V - i in the key of A minor:


1. | Bm7(b5) | E7 | Am | % ||

2. | Bm7(b5) | Bdim7 | Am | % ||

3. | B7 | Bb7| Am | % ||

4. | Dm7(9) | E7 | Am | % ||

5. | Dm7 | G7 G#dim7| Am | % ||

6. | G7 | G#dim7| Am | % ||

7. | F7(13) | E7 | Am | % ||
or: | FMaj7 | E7 | Am | % ||
or: | F+Maj7 | E7 | Am | % ||

8. | F6/C | Bdim7 | Am | % ||

9. | Bm7(b5) E7 | Fm7(b5) Bb7 | Am | % ||

10. | BbMaj7 | Bdim7 | Am/C | % ||

11. | G7 Gb7 | F7 E7 | Am | % ||

12. | Cm7(11) F7 | Bm7(b5) E7 | Am | % ||



The Am chord can be treated either as Am7 or as Am6 (if it is a tonic minor). You can read more on this subject here: "Minor Chords and Minor Keys").

The E7 chord should preferably be Altered-- meaning it should contain one or more of the following tensions: b9 or #9, and/or b5 or #5.

All of the previous examples may be used as chords (while comping) or as arpeggios (while soloing).









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