Welcome! Contrary to popular belief, no matter what level of musicianship we attain, whether beginner, intermediate, or advanced, there is always a hierarchy of levels within a level, so to speak. With that in mind, let’s take a look at II-V-I patterns, and build their harmonicdensity in three levels of difficulty. When playing a II-V-I progression, the first way to approach it is by outlining the chords using chord tones and tensions, scalar passing tones, diatonic approach notes, and chromatic approach notes. The second way would be to superimpose a bII7 (tritone substitute) for the V7. The third way would be to superimpose the IV-7 to bVII7 over the original II-7 to V7.
We could do this while another instrument comps the original II VI chords—so the chords you would outline for Exercise 1 in the key of Bb major are C-7, F7 to Bbmaj7; Exercise 2 would be C-7, B7 to Bbmaj7; and Exercise 3 would be Eb-7, Ab7 to Bbmaj7.