How to Play Jazz Guitar Part II Minor II_V_ I by Andy Drudy

Dealing with II, V, I progressions is fundamental to playing over diatonic chord sequences. Asides from major II, V, I’s we also have to deal deal with the minor alternative. The chords in this sequence in the ey of ! "Am# are.. $m% & ' (% ) ' Am The harmony for this sequence is derived from A harmonic minor. *cales for the II and V chords will +e modes of the harmonic minor. owever for the I chord, we will revert to natural minor, giving us a minor %th chord instead of a tricy, unresolved sounding minor-major %th. or improvising improvising over over an % ) chord we can use a diminished diminished arpeggio up a half step. step. *o to play over /% )

We could use A diminised ar!e""io# A common cord se$uence to !ractice o%er is as &ollows#

We can see &ro tis common cord !ro"ression, tat a&ter te (% ) chord, we revert +ac into the ey of !.

1

Pattern )

Pattern *

Pattern +

Pattern 

Pattern (

2

Pattern )

Pattern *

Pattern +

Pattern 

Pattern (

3

Pattern )

Pattern * Tese are diminised ar!e""ios tat will wor/ o%er te altered ' t cord# 0or diminised we only need two !atterns as eac !attern re!eats u! a minor tird# To reca!, a G't &lat . cord consist o&1# G232D20 a G't &lat . cord consist o&1#  G 2 3 2 D 2 0 2 A I& we lea%e out te root note1# 32D202A All te notes are a minor tird a!art and tere&ore a diminised cord# Any note can be te root note# -o &or a 't . cord, we can use a diminised ar!e""io u! a al& ste!# 4G't . 5 A dim).

4

0or tis e7ercise we are "oin" to learn to im!ro%ise around Am'  5 8 D'  9 8 Gm#

Play eac ar!e""io o%er te corres!ondin" cord in te se$uence# Try and %ary wat you !lay eac time and use all te notes in te ar!e""ios# 9e!eat o%er and o%er# Te tree ar!e""ios we are "oin" to use are as &ollows# Attem!t to de%elo! your ideas melodically and rytmically as you "o#

Am'  5

D'  .

46 Diminised

Gm'

5

0or tis e7ercise we are "oin" to learn to im!ro%ise around Dm' 5 8 G'  9 8 ;m#

Te tree ar!e""ios we are "oin" to use are as &ollows#

Dm'  5

G'  .

4A Diminised

;m' 6

0or tis e7ercise we are "oin" to learn to im!ro%ise around Gm' 5 8 ;' 9 2 0m'#

Te tree ar!e""ios we are "oin" to use are as &ollows#

Gm' 5

;'  .

4D Diminised

0 m'

7

0or tis e7ercise we are "oin" to learn to im!ro%ise around ;m'  5 8 0'  9 2 3  m'#

Te tree ar!e""ios we are "oin" to use are as &ollows#

;m'  5

0'  .

4G Diminised

3  m' 

8

0or tis e7ercise we are "oin" to learn to im!ro%ise around 0m'  5 8 3 '  9 2 6 m'##

The three arpeggios we are going to use are as follows.

0m'  5

3  '  9

6  m' 

9

In a Minor II8 V8 I !ro"ression, &or te II and V cord, te /ey modulates to te Harmonic Minor# Tere&ore we can use modes o& te armonic minor to im!ro%ise o%er tese cords# Te II cord 4 
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0or te V cord or '  . cord, we use te &i&t mode o& te Harmonic Minor# Te !atterns are1

0or te I cord, te scale would be a ma=or>minor ty!e wit a ma=or se%ent and a minor tird i& we remained in te armonic minor# Tis armony &or most !eo!le is a little too colour&ul# -o at tis !oint it is best to return to ma=or scale armony and !lay te natural minor or si7t mode, te aolean# It is usually te case, as in te e7am!le "i%en at te be"innin", tat te minor II8V I is used as a transition to a minor cord in a standard ma=or /ey# -o it is best to e7amine ow te I minor cord &its into te /ey center and !lay te a!!ro!riate mode &or te minor cord# ;o!yri"t belon"s to Andy Drudy# ?se by !ermission only#

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