This is another harmonic substitution etude that incorporates the very distinct sound of minor triads in ascending order. Take a look at the example above.
In the first bar (D-7) I’ve started with the minor triad in root position. Then by using the lower neighbor passing tone (Ab) I move to the C- triad, and then carry this pattern out to the end of the 4-bar pattern in this sequence (utilizing D-, C-, Bb-, Ab-, F#-, E-, then again D-). You can see that there are some rich tensions over the V chord (G7), such as Bb (+9), Db (b5), Eb, (b13) and Ab, (-9). Yet these tensions almost become incidental because of the descending movement pattern of the triads. Even when I reach the I chord (C Maj7) I have some dissonant notes (C#, Eb), but they function as part of the pattern and will still sound as though they move toward resolution.
I start each pattern from a different part of the chord (root, 3rd or 5th). The pattern starting with the 5th resolves somewhat differently, but still works. I’ve broken the etude into two parts: The first series (keys C, Bb, Ab, F#, E and D) and the second series (keys Db, B, A, G, F and Eb). This, and other forms of triad substitution are introduced and explored in my book, Melodic Minor Scale Jazz Studies: Tonal Organizations and Applications Over Dominant 7th Chords. If you’re interested in a comprehensive study of the specific concept of connecting triads with chromatic passing tones, please consider my ebook, Four-Note Diatonic Triad Cells. Finally, if you’d like to find some more unique and interesting ways to approach the ii-V7-I chord progression, please consider another of my e-books, ii-V7-I: 40 Creative Concepts for the Modern Improviser.