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GUITAR TIP - ii V
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II-V-I CHORD PROGRESSION
Since the ii-V-I chord movement is the backbone of most jazz standards
and improvisation, it is essential to have an understanding of what it
consists of and to have many combinations of these chord voicings in your
repertoire.
To understand the ii-V-I chord progression (Roman numerals are used to
denote chord progressions, with minor chords in lowercase and major
chords in uppercase), you must first understand what progression is.
Chord progressions are constructed out of the notes of a scale. By
stacking thirds on top of scale tones, you create chord forms that
dictate progression in Western harmony. If you stack thirds on the G
Major scale, for example, you come up with this chord progression: (I) G
Major7, (ii) A minor7, (iii) B minor7, (IV) C Major7, (V) D7, (vi) E
minor7, and (vii) F-sharp minor7sharp11.
When a progression is built on a major scale, the ii chord is always
minor, the iii chord is always minor, and the vi chord is always minor.
The I, IV, and V chords, on the other hand, are always major. Thus, the
iii-vi-ii-V chord progression in G is B minor7, E minor7, A minor7, and
D7, and the ii-V-I chord progression in G is A minor7, D7, and G Major7.
Ultimately, figuring out chord progressions is as simple as counting on
your fingers. In the next few tips, we will cover some ii-V-I voicings
that can be applied to jazz, swing, blues, and other genres.
This is a ii-V (D minor 7 to G7) chord movement in the style of Joe Pass,
a wonderful jazz guitarist who effortlessly played chord movements that
resemble a piano more than a guitar. The D minor 7 chord has the three
following voicings transcribed below: D minor 9 to D11 to D minor 9. The
G7 is approached from a half step above, with the G-sharp 9 chord going
down to G13. Play the tip as written, then try transposing these chord
voicings up a whole step to play the E minor 7-A7 chord changes. Use the
chord movements of Dm7 to G7 and E7 to A7 to play "Satin Doll." Left-hand
fingering: 1-1-1-3, 1-1-2-2, 1-3-3-3, 1-2-3, 1-2-3. In the fingering
notation, a dash between numbers indicates that they are played
simultaneously.
E---12------8------5----------------------
B---10------8------5------6-----5---------
G---10------7------5------5-----4---------
D---10------7------3------4-----3---------
A-----------------------------------------
E-----------------------------------------
Dm9 D11 Dm9 G#9 G13
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Very good reminder Jim.
If some of you don't have it yet, get the Mickey Baker book for loads of good substitution practices, that helps when working with the Real Book which can be a little clunky.
With a little creativity it's lots of fun messing with this simple progression and you'll find it relates to just about every pop song too.
The V-I resolution is common in just about everything. Even I IV V...it resolves to the I.
You can also use these things as turnarounds to jazz up a blues song.
Study Rhythm Changes and more on the bluesy side T Bone Walker's stuff like Stormy Monday has some nifty things. Duke Robillard's "Swing" album is chock full of cool jazzy blues stuff that's fun to play along with.
I'm guessing though if you are here on this site...everyone already knows this stuff. I certainly don't want to come off as someone preaching to a crowd that probably knows as much or more than I do.
Steve -
I am trying to transcribe Jims “Ain’t She Sweet”. I an kind of new to it. I have a few questions about transcribing. When trying to figure out the chords, do you concentrate on finding one or two notes that you can hear in a chord then try inversions of the chord until you get close? Do you first think about how the song is constructed- abaa for example? Or do you concentrate on the melody and keep that as a reference point?
Thank You,
Neal
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Hi Neal - I'd start with this ...
AttachmentsAin't She Swet Chart.jpg 41K -
i wrote out a few parts to that tune a few months back. there is a really cool lick he uses and once you learn it youll find it in some other tunes. send me your e-mail and ill write it out and send a short tab, it may be a good foothold to figuring out the rest.
ive found the more i transcribe the easier it becomes. guitar is always a battle.
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I hope this helps some ppl out. I wrote it in haste as I was working on it and didnt really intend to share it. The first part is the comping behind the bass, freddie green style. Check out the premier guitar lesson (there is a thread on it in this forum), they go well together.
THe tab part is the B section. Its an Amin D7 Gmin C7 move. Take the little Amin triad and drop the bottom note, its now a piece of a diminished chord that you could more up and down in 4 fret groups. then do the same thing down with the Gmin triad.
Anyway, the pandhandle rag lesson helps with this idea, using little chord movements such as these to lead to a target chord. I suggest that lesson to everyone.
No guarantees that its perfect!!!!! -CoreyAttachments
photo.JPG 33K -
You are correct about the notation but the part that I tabbed is the beginning of the b section. Starting around 50 seconds into the recording and again at 3 min 4 sec. The little movement I tabbed is super imposed over the progression.
I just double checked it and it sounds right to me but who knows. I really hope I cause no confusion.
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