Shortcut to II-V-I
Dan Adler
————————————————
Introduction
————
Getting a good foundation in tackling the II-V-I progression is
essential for any jazz guitarist. In order for the foundation to be
solid, the guitarist must have a strong visual picture in his/her mind
of how the chords relate to the arpeggios and scale fragments.
Unfortunately, if you start by learning all the major scale positions
as well as 4 inversions of each type of chord (m7, dom7, maj7) as well
as all the related arpeggios in every key – it will be a year before
you can even start playing II-V-I progressions.
I suggest you take the opposite approach. First, master II-V-I in
a limited number of positions, and then expand outward from that
foundation rather than the other way around.
This approach is somewhat similar to the way John Mehegan introduces
piano players to Jazz in Volume I: “Tonal And Rhythmic Principles”.
The student learns to combine simple voicings with arpeggios and scale
fragments in all keys over actual tunes.
As a starting point I will show you two positions. The reasons I chose
these two positions over all others are:
1. You can visualize the II-V-I chords in each of them
2. The arpeggios look just like the chord position
3. The scale fragments (1-2-3-5) fit in the position
4. You can visualize the fact that the roots move in perfect 4ths
5. Each position relates to a 2-octave major scale position
6. The chord scales (modes) of each chord fit in the position
I will warn you ahead of time that these are not necessarily the most
widely used positions for actual improvisation, but they are the best
I have found in terms of learning to visualize and hear the most common
patterns on guitar.
What is II-V-I anyway?
———————-
A II-V-I is the main progression used in Jazz. Lets start with triads:
II = a minor triad
V = a major triad a perfect fourth above the II
I = a major triad a perfect fourth above the V
When viewed as 4-note chords, the II-V-I is:
IIm7 = a minor 7th chord
V7 = a dominant 7th chord a perfect fourth above the II
I = a major 7th chord a perfect fourth above the V
6th String Position
——————-
In 6th String Position, the II chord starts on the 6th string.
First lets look at triads. This will be shown in the key of G,
but is a moveable form. In the key of G, the chords are: Am, D and G:
II (Am)
E|-|-|-|-|-|
B|-|-|-|-|-|
G|-|-|-|-|-|
D|-|1|-|-|-|
A|-|-|2|-|-|
E|-|-|-|-|4|
V (D)
E|-|-|-|-|-|
B|-|-|-|-|-|
G|-|1|-|-|-|
D|-|-|-|3|-|
A|-|-|-|-|4|
E|-|-|-|-|-|
I (G)
E|-|-|-|-|-|
B|-|-|1|-|-|
G|-|-|-|2|-|
D|-|-|-|-|3|
A|-|-|-|-|-|
E|-|-|-|-|-|
Exercises:
==========
1. Strum these chords in II-V-I order up and down the neck in every
playable position. As you play each chord, make sure you can say its
name and which I it belongs to. For example, as you play the 3 chords
above you should be saying: “This is the II-V-I in the key of G,
and the chords are: (strum) Am, (strum) D, (strum) G”.
2. Repeat as above, but instead of saying the name of the chord, sing
the root note.
3. Do the same as 2, but play the chord as bass note followed by the
other two notes. Sing in unison with the bass notes saying their name.
Then, try to omit playing the bass notes, and just sing them, followed
by the upper two notes.
4. Play each chord as an arpeggio. Play a 4/4 bar, so play each note for
one beat and let the last (3rd) note ring for two beats. Experiment with
other rhythms, and experiment with singing the root instead of playing.
This will start to drill the visual, intellectual and hearing aspects of
II-V-I progressions into your subconscious. You should start by moving
up and down one fret at a time, and then do 2 frets, 3 frets, etc. You
should be able to set a metronome to a slow beat and play a sequence
of these consecutively without stopping. Continuity is important.
If you are having a hard time singing the roots, keep doing it in unison
until you can hear the perfect fourth movement from II to V and from
V to I.
Do not skip the step of singing the roots. Drilling the sound into your
mind is a crucial step for any jazz improviser and this procedure can
help you hear root progressions very quickly.
5th String Position
——————-
In this position, the II chord starts on the 5th string. First lets
look at triads. This will be shown in the key of C, but is a moveable
form. In the key of C, the chords are: Dm, G and C:
II (Dm)
E|-|-|-|-|-|
B|-|-|-|-|-|
G|-|1|-|-|-|
D|-|-|2|-|-|
A|-|-|-|-|4|
E|-|-|-|-|-|
V (G)
E|-|-|-|-|-|
B|-|-|1|-|-|
G|-|-|-|2|-|
D|-|-|-|-|3|
A|-|-|-|-|-|
E|-|-|-|-|-|
I (C)
E|-|-|1|-|-|
B|-|-|-|-|3|
G|-|-|-|-|2|
D|-|-|-|-|-|
A|-|-|-|-|-|
E|-|-|-|-|-|
Notice that, for now, we always play the entire II-V-I pattern in
one position. We don’t change positions in the middle.
Exercises:
==========
Repeat all previous exercises for the 5th String Position.
Combination Exercise:
=====================
Once you are comfortable with seeing and hearing the II-V-I chords in
these two positions, you can start mixing them by playing a sequence
of II-V-I’s whose roots move up in 4ths: start at the 12’th fret and
play the 6th string position II-V-I in D, then play the 5th string
position II-V-I in G also starting at the 12th fret. Next, move down
two frets and play the same progression from the 10th fret (C). The
move from G to C is down a 5th which is the same as up a fourth. Try
to sing the roots especially when moving from one II-V-I to the next.
Omit the I:
===========
Once you are comfortable with the previous exercise, you can try to omit
the I chords and just play II-V’s in various root movements. Remember to
continue singing roots – this is very important especially when there is
no I chord to anchor you.
Four-Note Chords
—————-
Now it’s time to move on to the next level: playing 4-note chords by
adding the 7th of each of the triads. In order to maintain the visual
link between the strummed chord and the arpeggio, I’m going to ask you
to play these chords on 3 strings, and sound the fourth note separately
from the other notes. Remember, the strummed chords are just a visual
and hearing aid, and are not meant for accompaniment. There is a big
payoff in having this strong visual cue. If you were to play the more
“standard” voicings of these chords (on 4 strings) then you would lose
the visual connection between a chord and its arpeggio while you are
soloing.
6th String Position:
++++++++++++++++++++
IIm7 (Am7)
E|-|-|-|-|-|
B|-|-|-|-|-|
G|-|-|-|-|-|
D|-|1|-|-|4|
A|-|-|2|-|-|
E|-|-|-|-|4|
V7 (D7)
E|-|-|-|-|-|
B|-|-|-|-|-|
G|-|1|-|-|4|
D|-|-|-|3|-|
A|-|-|-|-|4|
E|-|-|-|-|-|
Imaj7 (Gmaj7)
E|-|-|-|-|-|-|-|
B|-|-|1|-|-|-|4|
G|-|-|-|2|-|-|-|
D|-|-|-|-|3|-|-|
A|-|-|-|-|-|-|-|
E|-|-|-|-|-|-|-|
5th String Position:
++++++++++++++++++++
IIm7 (Dm7)
E|-|-|-|-|-|
B|-|-|-|-|-|
G|-|1|-|-|4|
D|-|-|2|-|-|
A|-|-|-|-|4|
E|-|-|-|-|-|
V7 (G7)
E|-|-|-|-|-|-|
B|-|-|1|-|-|4|
G|-|-|-|2|-|-|
D|-|-|-|-|3|-|
A|-|-|-|-|-|-|
E|-|-|-|-|-|-|
Imaj7 (Cmaj7)
E|-|-|1|-|-|-|4|
B|-|-|-|-|3|-|-|
G|-|-|-|-|2|-|-|
D|-|-|-|-|-|-|-|
A|-|-|-|-|-|-|-|
E|-|-|-|-|-|-|-|
Exercises:
==========
1. Strum the triad and then play the 7th (one beat each). Sing roots.
2. Play as arpeggios (one beat each note). Sing roots and always make
sure you can visualize the entire chord as you play each of its notes.
3. Repeat previous exercises and combine.
Major Scale:
————
Before we expand from arpeggios into scale fragments, you should realize
that each II-V-I spells out a single tonal center. The notes in that
tonal center come from the major scale (there is also a minor scale
equivalent, but that can be left for later).
Since we are trying to keep everything in one position, we will have
a 6th String position for the scale and a 5th string position each
going two octaves (the 5th string position doesn’t complete the 2nd
octave).
6th String Major Scale Position:
++++++++++++++++++++++++++++++++
G Major scale
E|-|1|2|-|-|
B|-|-|2|-|4|
G|-|1|-|3|4|
D|-|1|-|3|4|
A|-|1|2|-|4|
E|-|-|2|-|4|
5th String Major Scale Position:
++++++++++++++++++++++++++++++++
C Major scale
E|-|-|1|-|3|-|4|
B|-|-|1|-|3|4|-|
G|-|1|-|3|4|-|-|
D|-|1|2|-|4|-|-|
A|-|-|2|-|4|-|-|
E|-|-|-|-|-|-|-|
Exercises:
———-
1. Play these scales in all positions moving in 1/2 steps as before.
2. Play all 12 major scales with roots moving in 4ths alternating
between the 6th string position and 5th string position.
Chord Scales (Modes):
———————
Sometimes it is useful to think of the major scale from the root of
the chord rather than the root of the scale (which is the root of the I
chord). When applied to the II chord, this is called the Dorian mode,
and when applied to the V chord, this is called the Mixolydian mode.
Note that you are still in the same major scale position as shown
above, you are just starting and ending it in different points. We will
concentrate on 1 octave scales here so that you can easily see the
relationship between the chord, the scale and the parental major scale
from which it is derived.
Chord Scales in 6th String Position
———————————–
II (A Dorian)
E|-|-|-|-|-|
B|-|-|-|-|-|
G|-|1|-|-|-|
D|-|1|-|3|4|
A|-|2|3|-|4|
E|-|-|-|-|4|
V (D Mixolydian)
E|-|-|-|-|-|
B|-|1|-|-|-|
G|-|1|-|3|4|
D|-|1|-|3|4|
A|-|-|-|-|4|
E|-|-|-|-|-|
I (G Major aka Ionian)
E|-|1|2|-|-|
B|-|-|2|-|4|
G|-|1|-|3|4|
D|-|-|-|-|4|
A|-|-|-|-|-|
E|-|-|-|-|-|
5th String Position:
++++++++++++++++++++
II (D Dorian)
E|-|-|-|-|-|
B|-|-|2|-|-|
G|-|1|-|3|4|
D|-|1|2|-|4|
A|-|-|-|-|4|
E|-|-|-|-|-|
V (G Mixolydian)
E|-|-|1|-|-|-|
B|-|-|1|-|3|4|
G|-|1|-|3|4|-|
D|-|-|-|-|4|-|
A|-|-|-|-|-|-|
E|-|-|-|-|-|-|
I (C Major aka Ionian)
E|-|-|1|-|3|-|4|
B|-|-|1|-|3|4|-|
G|-|-|-|-|3|-|-|
D|-|-|-|-|-|-|-|
A|-|-|-|-|-|-|-|
E|-|-|-|-|-|-|-|
The most critical links you have to make in your mind and ear are:
1. The relationship between the chord scales and the parental major
scale – they are just excerpts.
2. The relationship between the chord scales and the II-V-I chords
Exercises:
———-
1. Repeat the arpeggio exercises but play the whole chord scale over
each chord. Sing the roots as you play them.
2. Strum the chord, then play the chord scale.
3. Strum the chord, play the arpeggio ascending and play the chord scale
descending (and vice versa).
4. For the I chords, move the chord scale down an octave (still in the
same position) and repeat previous exercises.
Scale Fragments:
—————-
I mentioned the John Mehegan book earlier (volume 1 is the only one
that is relevant for guitar, although the other may be of interest to
more advanced players). In that book he introduces another common
device called a scale fragment. A scale fragment is created by
taking notes from the underlying chord scale. For example, a 1-2-3-5
fragment is created by skipping the 4th note in the chord scale.
1-2-3-5 Pattern in 6th String Position
————————————–
(This is NOT meant to be strummed – play as single notes)
II (Am)
E|-|-|-|-|-|
B|-|-|-|-|-|
G|-|-|-|-|-|
D|-|1|-|-|-|
A|-|1|2|-|-|
E|-|-|-|-|4|
V (D)
E|-|-|-|-|-|
B|-|-|-|-|-|
G|-|1|-|-|-|
D|-|1|-|3|-|
A|-|-|-|-|4|
E|-|-|-|-|-|
I (G)
E|-|-|-|-|-|
B|-|-|1|-|-|
G|-|1|-|3|-|
D|-|-|-|-|4|
A|-|-|-|-|-|
E|-|-|-|-|-|
Notice that this is just the triad with an extra note between the
1st and 3rd. Technically, this is the 9th of the chord (which is the
2nd degree of the chord scale), but we will simply treat it as a
melodic device here.
1-2-3-5 Pattern in 5th String Position
————————————–
(This is NOT meant to be strummed – play as single notes)
II (Dm)
E|-|-|-|-|-|
B|-|-|-|-|-|
G|-|1|-|-|-|
D|-|1|2|-|-|
A|-|-|-|-|4|
E|-|-|-|-|-|
V (G)
E|-|-|-|-|-|
B|-|-|1|-|-|
G|-|1|-|3|-|
D|-|-|-|-|4|
A|-|-|-|-|-|
E|-|-|-|-|-|
I (C)
E|-|-|1|-|-|
B|-|-|1|-|3|
G|-|-|-|-|3|
D|-|-|-|-|-|
A|-|-|-|-|-|
E|-|-|-|-|-|
The only fingering that is slightly different here is the last one,
where it becomes easier to play the root of the I chord with the
3rd finger.
Exercises:
———-
Play 1-2-3-5 patters in 6th and 5th string positions in all keys.
Try to maintain the visual picture of the underlying triad even
though you are playing single notes, and check occasionally that you
can sing the roots.
You can also try to strum the triads or 7th chords and sing the 1-2-3-5
patterns.
Checkpoint:
===========
You should be able to play through many jazz tunes using combinations
of arpeggios and 1-2-3-5 patterns. Although this is not really jazz
improvisation, you will be acquiring the foundation to play over many
jazz standards. Examples of tunes you could play:
1. Cherokee
2. Rhythm Changes
3. Four on Six
4. Giant Steps
All of these tunes have a rapid succession of II-V’s with and without
the resolution to the I chords, and they lend themselves very well to
practicing arpeggios and 1-2-3-5 patterns. If you learn one or two of
these tunes in all 12 keys you will be very much along the path to
mastering II-V-I’s.
Hearing Resolutions:
——————–
Before we move on to more interesting extensions, you need to learn to
hear the way the II chord resolves into the V and how the V resolves
into the I. Once you can hear and visualize these resolutions, creating
jazz lines will become much easier.
You should already be able to hear the roots moving in perfect 4ths,
now we want to hear the specific qualities that make the chords
different.
6th String Position, Root Resolution:
+++++++++++++++++++++++++++++++++++++
The notes you need to hear resolving are on the 4th string and are
marked with an x: the 7th of the IIm7 resolves into the 3rd of the V7
which resolves into the root of the I.
IIm7 (Am7)
E|-|-|-|-|-|
B|-|-|-|-|-|
G|-|-|-|-|-|
D|-|1|-|-|x|
A|-|-|2|-|-|
E|-|-|-|-|4|
V7 (D7)
E|-|-|-|-|-|
B|-|-|-|-|-|
G|-|1|-|-|4|
D|-|-|-|x|-|
A|-|-|-|-|4|
E|-|-|-|-|-|
Imaj7 (Gmaj7)
E|-|-|-|-|-|-|-|
B|-|-|1|-|-|-|4|
G|-|-|-|2|-|-|-|
D|-|-|-|-|x|-|-|
A|-|-|-|-|-|-|-|
E|-|-|-|-|-|-|-|
So, this progression is reduced to 3 notes all occurring on the 4th
string.
5th String Position, Root Resolution:
+++++++++++++++++++++++++++++++++++++
IIm7 (Dm7)
E|-|-|-|-|-|
B|-|-|-|-|-|
G|-|1|-|-|x|
D|-|-|2|-|-|
A|-|-|-|-|4|
E|-|-|-|-|-|
V7 (G7)
E|-|-|-|-|-|-|
B|-|-|1|-|-|4|
G|-|-|-|x|-|-|
D|-|-|-|-|3|-|
A|-|-|-|-|-|-|
E|-|-|-|-|-|-|
Imaj7 (Cmaj7)
E|-|-|1|-|-|-|4|
B|-|-|-|-|3|-|-|
G|-|-|-|-|x|-|-|
D|-|-|-|-|-|-|-|
A|-|-|-|-|-|-|-|
E|-|-|-|-|-|-|-|
In this position the resolutions are reduced to 3 notes all occurring
on the 3rd string.
Exercises:
==========
1. Play the chords and sing the 3 notes. You might find it helpful to
sing the 5th of the II chord before the 7th (the 1st finger on the high
string of the IIm7 chord). The reason is that singing a 7th interval
from the root can be quite tricky, whereas singing the 5th comes pretty
naturally. That would make it a 4 note pattern to sing (two beats on
the II, one on V and one one I).
2. Try to play just the roots and the resolutions.
Other ways of resolving V to I:
===============================
While the resolution of II to V is almost always the one shown above,
there is another common resolution of V to I which resolves the 7th
of the V7 chord into the 3rd of the I chord.
This resolution is actually more symmetrical with the II-V resolution
because it also represents a movement from the 7th to the 3rd and
resolves a 1/2 step downward as in the II to V case. These 1/2 step
resolutions from the 7th to the 3rd of the next chord are actually
what makes this progression sound so natural, and is also the reason
we use 7th chords primarily in jazz as opposed to triads.
6th String Position, 7-3 Resolution:
+++++++++++++++++++++++++++++++++++++
The notes you need to hear resolving are on the 4th string and are
marked with an x: the 7th of the IIm7 resolves into the 3rd of the V7
and then on the 3rd string, the 7th of the V7 resolves into the 3rd of
the I chord. The first resolution is marked with x’s and the second
resolution is marked with o’s:
IIm7 (Am7)
E|-|-|-|-|-|
B|-|-|-|-|-|
G|-|-|-|-|-|
D|-|1|-|-|x|
A|-|-|2|-|-|
E|-|-|-|-|4|
V7 (D7)
E|-|-|-|-|-|
B|-|-|-|-|-|
G|-|1|-|-|o|
D|-|-|-|x|-|
A|-|-|-|-|4|
E|-|-|-|-|-|
Imaj7 (Gmaj7)
E|-|-|-|-|-|-|-|
B|-|-|1|-|-|-|4|
G|-|-|-|o|-|-|-|
D|-|-|-|-|3|-|-|
A|-|-|-|-|-|-|-|
E|-|-|-|-|-|-|-|
5th String Position, 3-7 Resolution:
+++++++++++++++++++++++++++++++++++++
IIm7 (Dm7)
E|-|-|-|-|-|
B|-|-|-|-|-|
G|-|1|-|-|x|
D|-|-|2|-|-|
A|-|-|-|-|4|
E|-|-|-|-|-|
V7 (G7)
E|-|-|-|-|-|-|
B|-|-|1|-|-|o|
G|-|-|-|x|-|-|
D|-|-|-|-|3|-|
A|-|-|-|-|-|-|
E|-|-|-|-|-|-|
Imaj7 (Cmaj7)
E|-|-|1|-|-|-|4|
B|-|-|-|-|o|-|-|
G|-|-|-|-|2|-|-|
D|-|-|-|-|-|-|-|
A|-|-|-|-|-|-|-|
E|-|-|-|-|-|-|-|
Exercises:
==========
Apply the two 3-7 resolution patterns to all previous root motions and
songs, and learn to sing them. As before, you should add the 5th of
the II chord before the 7th if you find it hard to sing the 7th from
the root. The same would apply to the V chord. For example, if you
are playing the II-V-I in G, you would sing:
A (root of Am7)
[optional E (5th of Am7)]
G (7th of Am7)
F# (3rd of D7)
[optional A (5th of D7)]
C (7th of D7)
B (3rd of G)
You must be able to see these note visually as well as hear them within
the context of the chords in both the 6th and 5th string positions.
Applying Resolution to Arpeggios:
=================================
When you played arpeggios over the chords before, the change from II to
V required you to move down to the root of the V chord, thereby
obscuring the resolution down a half-step. If we eliminate the root of
the V chord, we could simply move from the 7th of the IIm7 chord to
the 3rd of the V7 chord – thereby creating a 3-7 resolution. Then, we
could do the same when moving from the V7 to the I.
The problem is that if we leave the root out, we will be left with just
a 3 note arpeggio. Since most jazz music is played in 4/4 we would
prefer to have 4 notes, so what we will do is move the root up an
octave.
Exercises:
———-
Learn all the previous triads chords and arpeggios with the root doubled
in the next octave. The positions are shown below:
6th String Position (root doubled in higher octave)
—————————————————
II (Am)
E|-|-|-|-|-|
B|-|-|-|-|-|
G|-|1|-|-|-|
D|-|1|-|-|-|
A|-|-|2|-|-|
E|-|-|-|-|4|
V (D)
E|-|-|-|-|-|
B|-|-|2|-|-|
G|-|1|-|-|-|
D|-|-|-|3|-|
A|-|-|-|-|4|
E|-|-|-|-|-|
I (G)
E|-|-|1|-|-|
B|-|-|1|-|-|
G|-|-|-|2|-|
D|-|-|-|-|3|
A|-|-|-|-|-|
E|-|-|-|-|-|
5th String Position (root doubled in higher octave)
—————————————————
II (Dm)
E|-|-|-|-|-|
B|-|-|3|-|-|
G|-|1|-|-|-|
D|-|-|2|-|-|
A|-|-|-|-|4|
E|-|-|-|-|-|
V (G)
E|-|-|1|-|-|
B|-|-|1|-|-|
G|-|-|-|2|-|
D|-|-|-|-|3|
A|-|-|-|-|-|
E|-|-|-|-|-|
I (C)
E|-|-|1|-|-|
B|-|-|-|-|3|
G|-|-|-|-|2|
D|-|-|-|-|-|
A|-|-|-|-|-|
E|-|-|-|-|-|
The last one can’t be doubled. Oh, well.
Arpeggios for 3-7 Resolution:
=============================
Now we are finally able to put together arpeggios with the 3-7
resolution principle and we are getting much closer to something that
sounds like real jazz:
6th String Position:
++++++++++++++++++++
IIm7 (Am7)
E|-|-|-|-|-|
B|-|-|-|-|-|
G|-|-|-|-|-|
D|-|1|-|-|4|
A|-|-|2|-|-|
E|-|-|-|-|4|
V7 (D7)
E|-|-|-|-|-|
B|-|-|2|-|-|
G|-|1|-|-|4|
D|-|-|-|3|-|
A|-|-|-|-|-|
E|-|-|-|-|-|
Imaj7 (Gmaj7)
E|-|-|1|-|-|-|-|
B|-|-|1|-|-|-|4|
G|-|-|-|2|-|-|-|
D|-|-|-|-|-|-|-|
A|-|-|-|-|-|-|-|
E|-|-|-|-|-|-|-|
Here, all we did is move the roots up an octave. If you play the 2nd
arpeggio in the sequence it is shown, you will not get the 7th as the
last note, so the resolution is spoiled. Instead, what you could do is
play the root first and then the 7th, so the notes for D7 would be:
F#-A-D-C which then resolves to B of the G chord. I am showing the
whole Gmaj7 arpeggio, but in most cases you could just play the 3rd
and let it ring.
5th String Position:
++++++++++++++++++++
IIm7 (Dm7)
E|-|-|-|-|-|
B|-|-|-|-|-|
G|-|1|-|-|4|
D|-|-|2|-|-|
A|-|-|-|-|4|
E|-|-|-|-|-|
V7 (G7)
E|-|-|1|-|-|-|
B|-|-|1|-|-|4|
G|-|-|-|2|-|-|
D|-|-|-|-|-|-|
A|-|-|-|-|-|-|
E|-|-|-|-|-|-|
Imaj7 (Cmaj7)
E|-|-|1|-|-|-|4|
B|-|-|-|-|3|-|-|
G|-|-|-|-|-|-|-|
D|-|-|-|-|-|-|-|
A|-|-|-|-|-|-|-|
E|-|-|-|-|-|-|-|
Here again, we play the V7 arpeggio B-D-G-F and allow it to resolve
into the E of the C chord for which we have no root in that position.
In fact, in most cases, it’s enough to play just the 3rd of the I
chord and not the whole arpeggio – since that’s a resting point or
the end of a musical sentence (typically called a cadence).
Resolving the 9th of the V chord into the 5th of the I chord:
=============================================================
Another option for the V-I resolution now is to resolve into the 5th
of the I chord (we already showed resolving into the root and 3rd).
The problem is that the root of the I chord is also the 5th of the V
chord, so we are playing the same note twice. To avoid that we usually
introduce the 9th of the V chord instead of its root.
6th String Position:
++++++++++++++++++++
V7 (D7)
E|-|-|-|-|-|
B|-|-|-|-|4|
G|-|1|-|-|3|
D|-|-|-|3|-|
A|-|-|-|-|-|
E|-|-|-|-|-|
Imaj7 (Gmaj7)
E|-|-|1|-|-|-|-|
B|-|-|1|-|-|-|4|
G|-|-|-|-|-|-|-|
D|-|-|-|-|-|-|-|
A|-|-|-|-|-|-|-|
E|-|-|-|-|-|-|-|
In this case we would play the D7 (really now D9) arpeggio in the
natural order since the 9th (E in this case) will resolve down a
whole step into the 5th of the I chord (D in this case).
5th String Position:
++++++++++++++++++++
V7 (G7)
E|-|-|-|-|3|-|
B|-|-|1|-|-|4|
G|-|-|-|2|-|-|
D|-|-|-|-|-|-|
A|-|-|-|-|-|-|
E|-|-|-|-|-|-|
Imaj7 (Cmaj7)
E|-|-|1|-|-|-|4|
B|-|-|-|-|-|-|-|
G|-|-|-|-|-|-|-|
D|-|-|-|-|-|-|-|
A|-|-|-|-|-|-|-|
E|-|-|-|-|-|-|-|
This could be reduced to one diagram:
6th String Position:
++++++++++++++++++++
E|-|-|-|-|-|
B|-|-|e|-|d|
G|-|b|-|-|c|
D|-|-|-|a|-|
A|-|-|-|-|-|
E|-|-|-|-|-|
Now, I am using a,b,c,d,e to show the order of the notes, and e is the
5th of the I chord.
5th String Position:
++++++++++++++++++++
E|-|-|e|-|d|-|
B|-|-|b|-|-|c|
G|-|-|-|a|-|-|
D|-|-|-|-|-|-|
A|-|-|-|-|-|-|
E|-|-|-|-|-|-|
Exercises:
==========
Combine variations of all the previous arpeggios with this V-I
resolution.
Resolving V-I using b9:
======================
One of the most common variations on the above resolution is to lower
the 9th by a 1/2 step (letter d in the diagrams above) and make the
resolution into the 5th of the I by a 1/2 step from above instead of
a whole step.
6th String Position:
++++++++++++++++++++
E|-|-|-|-|-|
B|-|-|e|d|-|
G|-|b|-|-|c|
D|-|-|-|a|-|
A|-|-|-|-|-|
E|-|-|-|-|-|
5th String Position:
++++++++++++++++++++
E|-|-|e|d|-|-|
B|-|-|b|-|-|c|
G|-|-|-|a|-|-|
D|-|-|-|-|-|-|
A|-|-|-|-|-|-|
E|-|-|-|-|-|-|
Exercises:
==========
Combine 9-5 resolutions with b9-5 resolutions within the context of
the previous II-V-I examples.
Checkpoint:
———–
Once you can play arpeggios that resolve into each other smoothly
over II-V-I patterns, you are only a few steps away from truly
improvising over the chord changes.
At this point you might want to study the concept of “Antecedent
Consequent Phrases” as explained by Reno DeStefano in his articles
in “Just Jazz Guitar” or as featured on his website:
http://mapageweb.umontreal.ca/destefar/e_publi.htm
Other recommended books may be found at:
More Positions:
—————
These two positions are enough to get you started, but they are not
enough to allow you to cover the entire fingerboard. You should now
have the tools to expand these concepts to other positions:
1. Work out the position that would occur if you started on the 4th
string – similar to the 6th and 5th string positions.
2. Experiment with other positions of the II chord. The most common of
these is the Am built starting from the 5th fret of the 6th string,
and the Dm build starting from the 5th fret 5th string. These can then
be related to the V and I chords in the positions shown previously.
IIm7b5 Chords:
————–
You will often see IIm7b5 chords instead of IIm7 chords. These are
borrowed from the I minor scale. You can apply all the procedures
shown here to master these chords.
Other Scales and Modes:
———————–
Once you master the Major scale and its modes, you should be aware that
there are other common scales used in jazz:
1. Melodic Minor
2. Diminished (Whole-Half and Half-Whole)
3. Whole Tone
4. Harmonic Minor
This is just a starting point!
——————————
Keep in mind that everything covered here is just meant to get you
started with II-V-I’s – once you are able to play through the material
shown here you will be ready to expand by studying functional harmony,
chord substitutions, other chord scales and modes.