Tag Archives: 2 5 1

Simple And Easy Approach To A Minor 2 5 1

The minor 2 5 1 is difficult because you need more scales for it and the m7b5 and dom7(b9) chords are sounds we are less familiar with. But you can actually get started improvising on this progression quite easily and both nail the changes and play something that sounds like music and not just exercises.

In this video, I am going to go over how you can get more used to the chords and start improvising building from 2 arpeggios and adding the rest along the way, step by step.

Learn the chords, Play Them and Listen to Them

The first step here is really simple: Let’s play the chords of a II V I in G minor.

This is really quite simple if you want to improvise over the chords then you want to know what they sound like. Playing them will help you hear how the harmony is moving and feel the time, all basic but very useful stuff.

Play this a few times:

Then you can start playing some other rhythms and add a little interpretation to it like this, where ou get a little more used to it then you can try to change it up a little, add some rhythm, and a leading chord.

Arpeggios and how to solo with them

Now you have played the chords a few times and you have an idea about how they sound.

I am going to show you 2 arpeggios and a trick that will help you nail the changes on this progression.

First, you need an Aø Arpeggio

and then you need a Gm6 arpeggio:

A “Hack” for the D7(b9)

Now you are probably wondering what to do with the D7 chord since there is no arpeggio for it, but that is pretty simple.

Since you already know the Aø arpeggio then the arpeggio that you can use for the D7 is the same notes except that you change the G to an F# like this:

Aø:

F#dim:

I know that this sort of makes this 3 arpeggios and not two, but for my students, this really has worked very well so maybe give it a shot

Practice them on the progression

Let’s go over these on the progression. Here are two exercises, but you can explore it more if you want to.

A basic version could be this:

And a descending variation to also check out the upper part of the arpeggios:

How To Solo with the arpeggios

Now you can start practicing to make lines with these arpeggios and it is really really easy to make the D7 clear because there is only one note changing: G becomes and F# so for now just try to hit that F# on the 1 of the D7 bar, then you can hear in your solo how the chord changes.

In the same way, try to make melodies that smoothly move from the D7 to the Gm6 by picking notes that are close to each other when you go from one chord to the next.

You can hear me play these examples in the video, both rubato and in time.

In the example below you can see how I move from G to F# to emphasize the D7 and from Eb to D to really bring out the resolution to Gm6:

Similar to the previous one, but now resolving to Bb on the Gm6:

And the final example that is again spelling out the D7(b9) by playing the F# on beat 1 and resolving to the 5th of Gm6.

As you can hear you in the last example, you can also change chord on the 4 and which is a nice change from just hitting the downbeat.

Try to play these and then try to make your own lines, in the beginning then just hit that F# on the D7 so you can really hear that change.

Adding the Scales

Now we can add the scale notes around the notes we already have.

There are three scales in use on the minor II V I:

Aø is from Bb major, or G natural minor
D7 is from G harmonic minor
Gm6 from G melodic minor

You can play them through the progression like this:

But you also want to check out the complete scale positions, so for Aø:

For D7:

And for Gm6:

Small note on CAGED or 3NPS

You may have noticed that this is actually using CAGED positions which I don’t normally use, but the Student that I originally made this for was using those so I kept the whole thing in that system. In the end, scale fingering systems are not that important🙂

Licks with Scales and Arpeggios

With this material, you can add notes around the arpeggio notes. In the added notes are mostly used as melodic passing notes.

The second example again illustrates how you can change to the next chord on the 4&, both on the D7 and on the Gm6.

Put this into a song

Autumn Leaves – Solo Lesson 2

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II V I – When you want to sound different (in 8 ways)

Check out other videos on Reharmonization

Why Reharmonization Is For You And How To Get Started

Reharmonization – Are you getting it wrong?

Content:

0:00 Intro – Changing up the II V I sounds

0:20 8 Ways to change the sound of a 2 5 1

0:44 Example 1 – IImMAj7

0:59 What The Chords Sound Like and why that is important for solos….

2:29 Example 2 – IIø(9)

3:19 More Different Rhythms

3:36 Triplets Groupings

3:53 Example 3 – IIsus4(b9) – The Prhygian Chord

4:58 The Elephant In The Room

6:11 Example 4 – IIalt

7:04 8th note triplet groupings on altered dominants

7:45 Example 5 – Imaj7(#11)

8:47 Example 6 – Imaj7(#5)

9:29 Sneaking in Melodic Minor sounds

10:04 Triplet rhythms for medium swing – Hancock, Rosenwinkel, Mehldau

10:29 Example 7 – Imaj7(#9,#11)

11:43 Example 8 – Imaj7(#9,#5)

11:58 The Augmented Scale – That I never practiced

13:33 Like the video? Check out my Patreon Page

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2 5 1 – How To Solo with Diatonic Arpeggios (the most important approach)

The 2 5 1 chords and scale

One of the most important and common chord progressions is the 2 5 1, sometimes written with Roman numerals as II V I.

In this lesson I am going to focus on how to improvise over this progression in the key of C major.

First let us look at how t play the C major scale and then the chords contained in there.

Building Diatonic Chords in C major

If you build diatonic chords in a scale then you stack thirds in the scale. In C major that would be:

C major : C D E F G A B C

Stacking 3rds:

1 C E G B = Cmaj7

2 D F A C = Dm7

3 E G B D = Em7

4 F A C E = Fmaj7

5 G B D F = G7

6 A C E G = Am7

7 B D F A = Bø

How to play these chords is shown here below

As you can see I have added numbers to each of the chord signifying the degree in the scale.

This is how to understand the 2 5 1 progression. A 2 51 in C major is shown below:

Practicing and Playing Diatonic Arpeggios

The next thing to check out how to play the arpeggios of all the chords in the scale. Playing each of the chords within the scale is shown here below.

Of course there are now more chords and arpeggios than we need, but that will become very useful later.

Putting the arpeggios in the Progression

The first logical thing to practice now is to take the arpeggios throught the progression. That is what is shown here below:

Making Great Licks with Basic Arpeggios

Already just using the arpeggios, so the basic chord tones of each chord. You can make some great licks:

Really using Arpeggios (so not just playing the arpeggios..)

When you check out solos from famous Jazz Artists you will notice that their lines are not only consisting of the arpeggios. The melodies are a mic of scale notes and arpeggios, but the arpeggios are on the heavy beats and work as a frame to hold the melody together.

An example of this is shown here below:

The most important Other arpeggio

Now that you know the arpeggio for each chord and can work on incorporation it in lines that also mix it with the scale. We can haveea look at the next arpeggio to check out which wil almost always work in a line: The arpeggio from the 3rd of the chord

For the progression we have these arpeggios:

Dm7: Arpeggio Fmaj7

G7: Arpeggio – Bø

Cmaj7: Arpeggio Em7

Practicing this on the progression becomes this exercise:

Making lines with the Arpeggios from the 3rd.

Now with two arpeggios for each chord you can make a lick like this:

And mixing it with the scale then something like this is possible

Adding the mighty Triad!

One of the strongest melodies we have is triads. The diatonic triads as arpeggios in the scale is shown here below.

Finding triads for the chords

There are several triads that fit with each chord.

For a Dm7 you can use the three below.

Notice that if you have a Dm7(9) arpeggio: D F A C E then you have all 5 notes that make up the 3 triads.

The same approach applied to G7 is yielding these 3 triads. So a triad from the root, 3rd and 5th.

And finally we have the C, Em and G for Cmaj7:

Using Triads in a 2 5 1 Lick

Putting some of the triads to use in a lick could give us something like this:

If you want to explore more ideas with Arpeggios and scales in the key of C major then check out this lesson based on a solo on the Strayhorn tune Take The A-train:

Take The A-Train – One Position Workout

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5 Charlie Parker Licks – This is How To Play Bebop Blues

The Most Famous Charlie Parker Lick – Opening of the Solo

This first example is an opening phrase that Parker uses in both Now’s The Time and Billie’s Bounce. The first part is really just an F major 2nd inversion triad with some chromatic approach. This is followed with a more bebop encircling and trill. From here he runs down an F major pentatonic scale and repeats the root in a dotted quarter note rhythm.

The lick really starts with a blues phrase and then morphs into a bebop line to go back to a repeated simple rhythm.

Parker really bringing the Blues

Where the first example is somewhere in between the blues and bebop, this is more directly Blues phrasing and melody.

The core idea is a motif that is repeated and developed through the first 4 bars. The basic motif is a major pentatonic line.

The first repetition is changing the A to an Ab. This way of marking the transition from F7 to Bb7 is quite common for Parker. The idea is to play an F major phrase on F7 and then repeat or develop that phrase but play it in F minor on the Bb7.

Keeping the b7 untill we need to move on

Another typical Parker choice is to delay the b7, the Eb over F7 in this case, until the song is moving to Bb7. This is clear here where the Eb does not appear until bar 4.

Charlie Parker’s Riffs

Bebop is as a style famous for long lines and surprising twists and turns. But Parker certainly developed from the swing era checking out people like Lester Young and Coleman Hawkings. And Charlie Parker does play riffs as well as bebop lines.

This example is a clear example of a riff. A simple motif that is repeated and developed in a basic way through the changes.

The main motif is a basic F major melody build around an F major triad. The development is also following the F major -> F minor that I alread mentioned, and the riff stays pretty in tact and true to the original phrase.

Start in Blues and end in Bebop

This shorter example demonstrates how Parker starts with a basic Blues leading note lick and connects this to a Bebop trill and F7 arpeggio to get the best of both worlds.

Blues Phrasing and Bebop Phrasing

One of the traits of Blues phrasing is sliding or bending to notes. In Jazz, we mostly do this with sliding. In this example, you see a beginning which is starting with sliding to the 5th. The first part of the phrase is more blues based. Using basic chord tones from the triad, being rhythmically free. The part of the phrase on the F7 is using a trill followed by a scale run that is a very typical Bebop phrase.

Want to get more at home in Jazz Blues?

Blues Etude 1 – F Blues 132bpm Solo

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10 II V I Chord Embellishments – The Ultimate Guide

The most important chord progression in Jazz is probably the II V I. It is every where and we play it all the time. But if we play it all the time then it is also important to have a lot of different ways to play these jazz chords.

In this video I am going to take a look at 10 different ways you can embellish and add some variation to your II V I comping and chord melody playing.

The Examples on the II V I Chord Progression are different ways to use line-clichés, passing chords and secondary dominants.

#1 Stairway To Heaven

The first example is using the descending line-cliche associated with Stairway to Heaven or My Funne Valentine. This way of adding some extra movement and color to a II V I is a great addition to your chord melody or comping vocabulary.

#2 James Bond

A similar and equally famous idea is this use of the line-cliché on the 5th of the minor chord.

In this example it is working great as a way to add a chromatic approach that lands on the V chord. Usually it is all on Dm and the movement A A# B is related to Dm. Here the B is used as a target and marks the transition to G7.

#3 Diatonic Passing Chords

Adding Diatonic Passing chords is a fantastic way to add movement to a chord progression. Notice that this way of comping the II V I would still work if the bass player is still playing a regular II V I bass line.

The Passing chords are really just adding two chords so that the progression walks up from Dm7 to G7. Looking for step-wise or 4th intervals in the bassline are both strong and common ways to add passing chords like this.

#4 Tritone Substitution

The Tritone substitution is a very powerful way to add some extra tension and color to a II V I cadence. In this example I am substituting a Db7 for the G7 and creating a top-note melody that helps move the progression along.

#5 Tritone II V Progression

Taking the tri-tone idea a step further is to substitute the G7 with a complete II V, so in this case an Abm7 Db7.

The idea is roughly speaking the same as #4 but instead of just using the Db7 it is now a complete II V: Abm7 Db7.

This example is played as a continuous stream of chords and a great little chromatic inner-voice movement on the Cmaj7

#6 Secondary Dominants

A variation of the Tritone substitution is also to use it as a secondary dominant. In the example below I am using Ab7 to pull towards the G7. So here Ab7 is a tritone substitute of D7, the secondary dominant of G7.

#7 Borrowing Minor Cadence

Modal Interchange is a great way to add color to a cadence. When ever we use a G7(b9) in a II V I in C major it is actually a dominant that is borrowed from C minor.

In this example I am borrowing an entire cadence, so first a bar of Dm7 and then followed by the minor cadence Dø G7 before resolving to Cmaj7

#8 Chromatic Passing Chord

Chromatic Passing Chords are a really useful addition to your comping and chord melody vocabulary.

This example is approaching the G7 from a half-step below. The idea is to have an F#7 at the end of the Dm7 bar that then resolves to G7 in the second bar.

#9 Neapolitan Subdominant

The Neapolitan Subdominant is an overlooked way to color cadences. In this example I am using the Dbmaj7 as a way to add a different color and pull to the Cmaj7.

The Neapolitan Subdominant is a IVm chord with a bII in the bass, so it is Fm/Db. Which is also why it is a (minor) subdominant chord.

#10 Chromatic Resolution

Of course it is also possible to use Chromatic passing chords in the resolution to the I chord.

This example uses the 2nd half of the G7 bar to introduce a Bmaj7 chord that is then used to create a chromatic approach to Cmaj7.

How To Use This Lesson

The way I think you can benefit from this material is probably to think about how I am playing the examples and try to insert that into your own comping or chord melody using your own voicings and songs.

In the end the best way to learn something new is to insert it into what you already play and use it when you are playing real music

Check out more Comping Ideas

If you want to check out how I comp and many of the ideas I use then check out this lesson on a 5 chorus example on Autumn Leaves:

Autumn Leaves Comping – Lesson

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Download the PDF

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10-II-V-I-chord-embellishments Download

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Minor II V I options – Melodic Minor, Phrygian Chords and Tritone Substitutions

The minor II V I can be a difficult chord progression to play on and have a varied vocabulary on. In this video I am going to go over how you can approach it in several different ways with Phrygian Chords, Melodic minor and Tritone Substitutions.

In the video I will demonstrate the different Minor II V I approaches and talk about how to use them both in terms of comping, voicing choices et and also soloing and arpeggios.

I also talk a bit about what will fit with the melody of a piece.

Content of the video:

0:14 Minor II V I The Progression in this video

0:42 Basic II V I – Demonstration

1:03 Scales, Voicings, extensions

2:31 Arpeggios for a m7b5 chord

4:33 Locrian natural 2/ Locrian #2 – Demonstration

4:54 Melodic minor for m7b5

5:15 Chord voicings for m9(b5)

5:54 How does it fit the melody?

6:48 Arpeggios from Melodic minor

7:50 Tritone sub – Demonstration

8:12 Using a Tritone sub dom7th instead of the IIm7b5

8:26 The progression with these chords

8:56 When does it fit the melody?

9:41 Voicing Options and considerations

9:57 The bonus Blue note!

11:51 Phrygian Chord – Demonstration

12:10 What is a Phrygian Chord

13:19 Comping a Phrygian sound

14:06 Soloing on a Phrygian Chord

14:36 How you can use them and where

14:55 Tritone II V – Demonstration

15:17 Tritone substitution of the entire cadence

16:23 Strategies for soloing over a tritone sub

17:27 Borrowing II from Major – Demonstration

17:49 How it works – modal interchange

18:13 Using the brighter sounding II chord

19:34 Voicing considerations

19:56 Soloing over the borrowed II chord

20:43 Do you have a great reharmonization or scale choice for a minor II V I?

21:26 Like the videos? Support me on Patreon!

II V What?! – How not to resolve a II V I (on purpose) – Modern Jazz Guitar Lesson

Probably you know a lot of choices dominant scales in a II V I, but no matter what you do it will always be the same old II V I chord progression that sounds predictable.

In this video I will go over how you can break up that pattern by suspending the resolution of the I chord. Our ear really expects the dominant to resolve so going somewhere else is one of the most powerful reharmonization techniques.

The video covers how you can get started playing outside by insering IV minor, diminished chords or altered dominant ideas on places where your ear expects resolution not tension. I demonstrate how I use chord substitution in this context with both comping and soloing. The video also discusses how and where you can use this in a reharmonization of a jazz standard. Some of the songs I mention are Stella By Starlight, I Love You and Fly Me To The Moon.

List of contents

0:42 What is a Cadence

1:12 How can we use that to surprise the listener

1:46 #IV diminished Solo

2:03 #IV dim What it does and how it works

3:30 Using this in arranging or comping

3:58 Song example: I Love You

4:34 Song example: Stella By Starlight

5:04 Using Dim suspension when comping

5:36 Song example: Misty

6:30 IV minor Solo

6:48 How IV minor works in a solo context

8:04 Other Iv minor sounds than Melodic minor

8:58 Songs with a IV minor suspension in the melody

9:53 When can you use this suspension on the melody

11:07 Maj7#5 solo

11:24 Maj#5 as a suspension – Using chords to practice

12:59 solo ideas

13:15 In Comping or Reharmonizations

14:06 Song example: Stella By Starlight

14:48 Altered Dominant suspension

15:06 What Altered Dom7th suspension is

16:30 Where this often works the best – Relating it to the form

18:00 VImaj7 solo

18:18 How it works and how I use it.

20:55 Resolve the Maj7 sound and playing difficult modern changes

22:03 Using it to reharmonize standards

23:04 Using Common Progressions in Funny places

23:50 This ReHarmonization series and reinterpreting chords

24:53 Don’t think in scales think in chords and sounds

25:26 Using Standards as reharmonization exercises

Drop2 – Tactics to Create Cutting-Edge Jazz Guitar Harmony

Drop2 voicings is probably one of the most important chord types that we use in jazz guitar. This video is going to demonstrate how you can embellish the melody you play with inner-voice movement and sometimes an extra layer of harmony.

Exploring ideas like this are great for really understanding how the harmony moves and how each voice is moving. This will give you a great overview of the notes in the chord and also a lot of useful insight in what is possible with a chord voicing.

The Cadence

For this video I will demonstrate the ideas on a II V I in A minor. The basic A minor cadence would be:

Bm7(b5) E7(b9) Am6

Since we use melodic minor on tonic minor chords the A minor chord is an Am6.

The II and V chords are coming out of A harmonic minor.

The basic Drop2 voicings

To begin with it is probably useful to just go over the basic cadences on the top string set. This is shown in all inversions here below:

I have kept the voicings very basic but did opt for using a dim chord for the E7 to have the b9 in the chord.

Adding Extensions and alterations

One possible next step could be to add some more extensions to the chords. This can be done following the ideas that I went over in this lesson: http://jenslarsen.nl/jazz-chord-essentials-drop2-voicings-part-2/

To quickly demonstrate this you can look at the example below:

Here the Bm7(b5) has an 11 which replaces the 3rd and the E7b9 has an b13 that replaces the 5th. The Am6 has an added 9 where the 9th(B) is replacing the root.

Inner-voices in a Minor Cadence

The first example has a half note top melody moving from A to C and finally B on the Am6(9).

The second highest voice is moving from D up to F on the E7(b9) and on the E7 it makes a small melodic movement with F, G and D. The is voice then resolves to E on the Am6.

On the Am6 the lowest voice travels from 6(F#) chromatically up to the Maj7(G#).

Melodic movement in more parts of the harmony.

In this second example the top note melody is moving on the Bm7(b5) and then the 2nd voice takes over on the E7. The E7 voicing on beat 3 has a #9 and also a #11 suspending the 3rd. The inner voice moves from A# to C and on the C the top note melody takes over and moves from F to G to resolve to the 5th(E) on Am.

On the Am the first voicing is an Am6(Maj7) and there is an inner voice melody travelling from G# to B on the final chord.

Counter Harmony – Counterpoint 2.0

The beginning of the 3rd example has the top note melody moving, similar to what was happening in the 2nd example.

On the E7 the melody is a high C and under this I move all three voices adding a different layer of harmony. The first voicing is an E7(#9b13) and the idea is to move the #9 down to the b9 via the 9th. The way I do this is by adding B7 on the F# so that there’s a quick B7 passing chord under the sustained C note melody.

From there the E7 is resolved via a dim chord voicing to an Am6. On the Am6 the 2nd voice is moving from the 6th(F#) via the root to the Maj7(G#).

A practical way to learn this

The examples that I went over in this lesson are of course quite dense with innner-voice movement. I made them like this to demonstrate what is possible and to give you some ideas to make your own chord progressions.

When you want to work on this you should probably try either take one of the ideas I use (so one of the chords in the example) and then insert that into your playing. This will make it easier to work on getting used to thinking like this.

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Drop2 – Inner-voice movement and Melody – Minor II V I

If you have any questions, comments or suggestions for topics or how I can make the lessons better then please let me know. Leave a comment on the video or send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

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6 Triads for a Cmaj7 Chord (well 10 actually..)

Using triads to play jazz chords is a great way to get the sound of the chord and have a flexible three note voicing that you can change the extensions and melody on. This video is going over 6 triads that I use for my Cmaj7 voicings and will also demonstrate how you can use them in a II V I cadence in C major. At the end of the video I go over 4 more triads that are a bit tricky to use but also yield more interesting sounds!

Finding the triads

The most important note in a Cmaj7 voicing is probably the major 3rd: E.

If we want to find the triads that can be used it is probably a good idea to just look at what options are available with the diatonic triads that contain an E.

As you can see here below I have written out the triads where E is the 3rd, the root and the 5th. Which gives us C, Em and Am triads. But we can also use the sus4 triads. The second half of the example below are the sus4 triads where E is the root, 5th and 4th.

The Bsus4 is not really diatonic to C major, but is a great sound to use for a Cmaj7(#11) or Lydian sound.

The Tonic triads

The C major triad is of course a good candidate to convey a Cmaj7 sound. The example below shows how that might be used:

The C major is of course lacking a bit of color, but it can still be used. I chose to use it with the E in the melody because if it has the root in the melody it immediately sounds like the ending of the song.

Em triads – Triad from the 3rd of the chord

A lot of very common Cmaj7 voicings are in fact just Em triads with a C bass note (as I demonstrate in the video) This of course means that yet again the structure from the 3rd of the chord is incredibly useful as a voicing for the chord.

The Am triad – C6 chords

When using the Am triad we don’t actually get a Cmaj7 sound but instead a C6 sound. As you probably already know, the two are interchangeable so this is also a useful triad to have in your vocabulary

Esus4 The super triad

A very rich Tonic sound is the Cmaj7(13) and this is what you get if you use an Esus4 triad to spell out the Cmaj7 as shown here below:

Asus4 The 6/9 upper structure

Using an Asus4 as a Cmaj7 voicing gives you an C6 chord with an added 9. This sound is very common in Bossa Nova and other Brazilian styles but is in general of course also a beautiful sound on a tonic chord and a great alternative to the more common Cmaj7 sounds.

Lydian with a Bsus4

The last sus4 triad is the Bsus4 which is in fact diatonic to G major not C major. Bsus4/C gives us a maj7, 3rd and b5 (or #11) which is a lydian sound.

Combining the triad sounds

Now that we have 6 different ways to play the Cmaj7 chord we can combine them to get a varying set of colors on the tonic chord.

This is shown in the example below where I am first resolving to Asus4 then Am and further on to Esus4. This small move on Cmaj could also be a riff for a song with a period of static Cmaj7.

The second example is starting with a very basic II V voicing set. From there it resolves to C using Asus4, then an inversion of Asus4 that moves up to a Bsus4 and on to Esus4 before it resolves to a Gsus4.

The Gsus4 is a great choice for a Cmaj7 but it is a little more context sensitive as it does not contain an E.

The secret triads

There are four more triads that I often use for voicing a Cmaj7, but these last ones are a litte more difficult to work with because they are more incomplete or very specific in the sound that they convey.

The four triads are shown here below:

The first three are difficult because they don’t contain an E, and the last one is tricky because it has the #5 of C in the voicing.

The beautiful incomplete voicing – Gsus4

In the example here below I am using the Gsus4 triad. The Gsus4 mostly works as a C voicing because the fact that is missing the E is somehow compensated by the C in the voicing.

G/C Upper-structure triads

This voicing is fairly open sounding and not too specific as a Cmaj7 sound. This comes from it only containing the upper part of the chord. One way that it still sounds great as a Cmaj7 voicing is to have it preceded by a G7alt, because the strong pull from the G7 will then automatically make it sound like a resolution.

The Lydian Upper-structure

Another example of only using an upper structure is the D major triad. This triad spells out the 9th, #11 and 13th over the chord. Since we are missing both 3rd and 7th it is not really giving us the sound of the chord, at the same time the Lydian sound is so heavily represented that it is still fairly clear what is going on.

The Augemented Maj7 – E/C

In this last example the chord sound is actually altered, but since it is by now a very common sound I chose to include it anyway. The E major triad is in fact a Cmaj7#5 without a C, so it is in that respect a very clear sound. That said you should probably be a bit careful with what is going on in the music before you start using this sound.

How to use these 10 triads

This exercise is mostly and overview of what triads you have available as voicings but it should give you some idea on what you can try to use.

You probably want to spend some time with each one that you want to get into your vocabulary and work on them one at a time to get used to how they work in different contexts.

This can ofcourse also be applied to solos, so maybe that is something to do a video on at some point.

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6 Triad Voicings for Cmaj7

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How many ways can you Reharmonize a II-V-I in C major?

The II-V-I is at the center of almost all jazz harmony. In this lesson, I set out to try and see a big set of the possibilities you have in reharmonizing a II V I and make a long list of possible chord substitutions. The Jazz Theory that I mostly apply to the II V I chord progression in this reharm lesson is classical or functional harmony. The approach I mostly use. In the later options, I also rely on some modal interchange and more freely associated jazz chord substitutions.

List of contents:

0:59 Different sounds on G7
6:09 Tritone substitution
7:59 IV minor chords
15:45 V minor chords
16:28 Diatonic substitution from the Altered Scale
17:45 Diatonic substitution with Tri-tone subs
18:59 Other Dominants from the Diminished scale
19:14 Dominant derived from the diminished scale
19:58 Combining substitutions and getting far out
22:30 Did I miss a good substitution?