All the harmonic options in Figure 19.4 rely on the use of dominant 7th tritonesubstitutions, ii7–V7 diminutions, and/or [ii7–V7]/X interpolations. The use of a dominant7th tritone substitution in its clearest manifestation is shown in Figure 19.4b. Chords inmm. 18, 20, 22, and 24 function as tritone substitutions of the preceding dominant 7ths.The use of ii7–V7 diminutions results in the faster harmonic rhythm, as each dominant7th of the bridge can be potentially expanded with a predominant ii 7. In Figure 19.4c,the ii7–V7s occurring in mm. 18, 20, 22, and 24 expand the underlying dominant 7thchords. The combination of ii7–V7 diminutions with [ii7–V7]/X interpolations can producemore intricate harmonic progressions as demonstrated in Figure 19.4d and 19.4e. Themost obvious consequence of such combinations is even faster harmonic rhythm with twochords per measure. For instance, in Figure 19.4d, the [ii7–V7]/X interpolations in mm.18, 20, 22, and 24 establish a logical voice-leading connection with the upcoming ii7–V7progression. In addition, the ii 7–V7s in mm. 17–18, 19–20, 21–22, and 23–24 are a halfstep away from each other, which further assures good voice leading. The neighboringii7–V7s are also on display in Figure 19.4e. But unlike Figure 19.4d, the [ii7–V7]/Xprogressions in mm. 18, 20, 22, and 24 from Figure 19.4e function as lower chromaticneighbors in relation to the diatonic ii 7–V7 progressions

Chapter 26 provides an analysis of Lennie Tristano’s “Line Up.” Based on this analysis,specific elements of his style of improvisation are codified