As you recall, it's not just the V chord that has a substitute with the Vii diminished triad. But it's also the iv chord, and that the iv chord and the ii chord can substitute for each other. And I want to show how that's the case. Actually the theory will be very similar here. Here we have a i, iv, V, i chord progression. And I want to look at this iv chord. Well, okay, we're in the key of D-minor, we have a iv chord that's in, a G-minor chord. And then the ii chord would be. [MUSIC] Actually in minor, the ii chord is diminished. And if I flip this root of this ii chord up to the top, we can see, again, just like with the V and the Vii diminished there's it's only a whole tone away from each other. So, the substitution, again, relies on certain notes staying the same, and one note changing by its step. So, if that's the case, that means that I should be able to take this thing here, move this one by step, and get what I need as a substitute. I want to erase this, because I want to play these two in succession, so that you can compare them. [MUSIC] Now, truth be told, this, while we've been working with this i, iv, V progression a lot, the, the ii, ii VI or ii diminished VI in minor, the ii, VI, V, i progression, is much more common in classical music. Well, at least in, in, in Mozart's era, its late 18th century. so, you know, and we can have all sorts of versions of this, I want to show a couple of different ones. It's essentially the same, but I just want to go through a couple of different options. So, what could we, for instance, have rather than this, have a Vii. [MUSIC]. So move that like that. Is this possible? It's completely possible. Let me play it so that you can hear it. [MUSIC] What about this ii chord? This is another thing that we often find. Could we make the ii chord a Viith chord? Yes and this you find, actually, a fair bit. I would need to change couple of things. Let me move this down here. And put this up here, so that we get a ii diminished VI, V. So, root third oops. [MUSIC] Root third in the bass, V, VII. And then to V, ViII. And then I, does it have to go to V, VII? No, it could just go to V. Let me play this one. [MUSIC] Then there's one more version. One, one more that actually, a thing that I, one more thing I want to introduce. sorry. I want to take this out. And, I want to take this chord. And, then I want to take this. Sorry, bear with me as I sort of switch things around. Now we have, I've mentioned earlier, the, the i, VI, ii, V chord progression. So, could we have that here? Sure, why not? Let me throw that in. [MUSIC] We have the i, VI in root position, and then to ii, but ii is not going to be in root position. Instead, we're going to put it in first and version. We'll keep it as a VII chord, we'll go here as a VII chord into one. This one you wouldn't, at this stage you wouldn't, in this kind of progression you wouldn't put this as a VII chord. I mean, I guess you can see it, but it would be less common in this. So, let's take a listen to this one. [MUSIC] So all of these different progressions utilizing the substitution of ii, VI, or a minor ii diminished VI for the iV chord are possible. And again, remember you can use it in just, just a first inversion triad, or also a VII chord. And that when it goes to the V, the V itself can either be root position. Sorry it can either be a triad or a VII chord. It's usually root position, by the way. And this then gives you several more options in terms of the, the kinds of what I call turnaround progressions that you have. This iV, V, i progression. Now all of a sudden you have a bunch of options, and you can choose which one you think sounds the best.
