CHAPTER 2 Major II/V/I Progressions This chapter introduces you to one of the most important progressions in jazz: the II/V/I. Each new line in the II/V/I progressions in this chapter is a separate exercise that should be practiced chromatically from the bottom to the top of the fretboard, from F to D, then back down. Analyze each exercise before playing it. Identify which chord scales correspond to certain chords, which tensions are used, how each note resolves to the next, and, finally, the construction of the chord (3, %7, #9, %13) itself. The extra effort will pay off. The ultimate goal is to be so well versed in the art of voice leading and comping that you can find any number of correct possibilities in real time, without having to think about it. When you are proficient at playing the chords as written, apply other rhythms from the comping rhythms on page 16. Try one rhythm at a time until it becomes easy, then try combining rhythms. Take your time and always count.
II/V/I Practice Guide The first II/V/I exercise provides an example of how you should practice it and all subsequent exercises. Please pay attention to accidentals. Fingerings are notated in the Arabic numbers to the left of each new chord. Fretboard positions (the location of the index finger on the guitar neck) are indicated by Roman numerals above and to the left of the chord. Practicing the II/V/I exercises chromatically is absolutely essential. First, doing so will help you memorize the location of each chord, so that you can automatically find chords while reading changes from a chart. Second, it will allow you to present a series of chords in the correct order and context, regardless of whether or not you have previously had time to familiarize yourself with them. The asterisk beside fingerings in the music means that the note in question must be played with an open string in first position, and with the appropriate finger in all subsequent positions. Just knowing how to play a chord is never enough to make good music. Making sense of a slew of chords–that is to say, presenting them in a context where individual voices lead smoothly from one to another–should always be your goal. If you use good voice leading techniques, you will create a solid harmonic background and in the process automatically compose a support melody whose notes lay naturally on top of each chord played. Play each exercise from the bottom of the neck through the key of D and back, as shown on page 13. In some examples, such as ex. 72, you’ll find that this will quickly take you out of range on the guitar neck. In such cases, drop down an octave and continue playing up to the key of D. Start by listening to track 2, which is played at a medium tempo. Once you’ve mastered the progressions at the slower tempo, try playing along with the faster version on track 4. Important note: Many of the II/V/I progressions include a substitute dominant chord in place of the dominant V chord. (See page 117 for an explanation of substitute dominant chords.)
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Practicing II/V/I Progressions
2
II–7/V7/IMaj7 Chromatic Exercise (Medium), Ex. 1 Play this exercise chromatically, as shown below and as played on track 2.
G–7 3 3 3
C7 1 4 2 3
2
FMaj7
F6
2 4 3
3 4 1
1
2
Move fingerings up one half step for each line of music. A –7 D 7 G Maj7
G 6
A–7
D7
GMaj7
G6
B –7
E 7
A Maj7
A 6
B–7
E7
AMaj7
A6
C–7
F7
B Maj7
B 6
C –7
F 7
BMaj7
B6
D–7
G7
CMaj7
C6
E –7
A 7
D Maj7
D 6
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CHAPTER 2 • Major II/V/I Progressions
14
E–7
A7
DMaj7
D6
E –7
A 7
D Maj7
D 6
D–7
G7
CMaj7
C6
C –7
F 7
BMaj7
B6
C–7
F7
B Maj7
B 6
B–7
E7
AMaj7
A6
B –7
E 7
A Maj7
A 6
A–7
D7
GMaj7
G6
A –7
D 7
G Maj7
G 6
G–7
C7
FMaj7
F6
How to Work With Comping Rhythms Each rhythmic pattern on the following page represents a style or a groove that is frequently encountered during the course of play. Practice these rhythms with both the II–7/V7/IMaj7 exercises and the II–7(%5)/V7/I–7 exercises. Although most rhythms are marked with II–7/V7/IMaj7, it is also possible to assign other chord progressions to them. Choose among the many options on the following page, “Comping Rhythms.” As a general guide, jazz standards sound great with comping rhythms that utilize anticipation on the second and fourth beats of the measure. Latin tunes sound best with syncopated chord comping. (Try rhythms 9–11 with Latin music.) Ballads sound best with an arpeggiated accompaniment. The following example demonstrates the application of rhythm 1 (from the following page) to a II–7/V7/I progression, and to the blues progression that is located on page 107.
II–7
V7
IMaj7
IMaj6
G–7
C7( 9)
FMaj7
F6
II–7
V7
IMaj7
IMaj6
F7( 13)
B 7(9)
B 7
IV7
IV 7
Blues Excerpt
F7(13)
I7
Fig. 19. Comping rhythm 1 and its application to a II/V/I progression and blues
•
•
Listen to track 4, “II–7/V7/IMaj7 Chromatic Exercise (Medium Fast)” to hear comping rhythm no. 4 used with the major II/V/I exercises in chapter II. Listen to track 5, “II–7(%5)/V7/I–7 Chromatic Exercise (Medium Fast)” to hear comping rhythm no. 6 used with the minor II/V/I exercises in chapter III.
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CHAPTER 2 • Major II/V/I Progressions
Comping Rhythms These examples present some common comping rhythms. Try each of them with the II/V/I exercises. 1st Chord
2nd Chord
3rd Chord
4th Chord
II–7
V7
IMaj7
IMaj6
3rd Chord
4th Chord
IMaj7
IMaj6
1.
1st Chord
II–7
2nd Chord
V7
2.
2nd Chord
3rd Chord
4th Chord
1st Chord
V7
IMaj7
IMaj6
II–7
3.
1st Chord
2nd Chord
3rd Chord
4th Chord
1st Chord
II–7
V7
IMaj7
IMaj6
II–7
4.
1st Chord
2nd Chord
3rd Chord
II–7
V7
IMaj7
4th Chord
5.
1st Chord
II–7
2nd Chord
V7
3rd Chord
4th Chord
1st Chord
IMaj7
IMaj6
II–7
6.
1st Chord
2nd Chord 3rd Chord
II–7
V7
IMaj7
4th Chord
1st Chord
IMaj6
II–7
7.
8.
16
1st Chord
2nd Chord
3rd Chord
4th Chord
1st Chord
II–7
V7
IMaj7
IMaj6
II–7
