Bird Turnaround · iii–VI–ii–V — the lane's top half, sharpened
Minor ii–V (to 6-) · the 7♭9 does the crying
↳ reharmii–V–I, tritone-subbed · the 5⁷ trades for its twin — chromatic bass↳ reharmTurnaround, Lady Bird style · Tadd Dameron's famous respray
Inside moves to graft onIN·28 ii–V of 5tonicize the 5 with its own ii–V — the turnaround inside the turnaroundIN·36 Tritone Substitutionsub any 5⁷ for b2⁷; the bass line becomes chromatic silkIN·39 Chromatic Dominant Slidethe chromatic dominant slide as an ending — the lane repavedWays outOUT·20 ii–V Launchpadlaunch a ii–V at any key you can name — jazz's universal passportOUT·21 Circle-of-Fifths Travelride the circle three stations for the bridge; every stop is legal
Target notes, chord by chordGuide-tone lines: the 3rd and 7th of every chord, connected by step. Through a ii–V–I the 7th of each chord falls a half step to become the 3rd of the next — find that lane and the changes play themselves.How the scale is playedSwing 8ths, arpeggio-first thinking, chromatic enclosures around target tones (approach from above AND below, then land). Scales are the connective tissue between arpeggios, not the meal.Genre theoryOver the 5⁷, alterations are invitations: b9 implies the diminished family, #5 the augmented push. The tritone sub works in lines too — play the b2⁷ arpeggio over the 5⁷ and you're instantly 'out' and instantly resolved.