Tag Archives: II V I

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

The II V I is the most important and common chord progressions in Jazz.

But sometimes it is also nice to have some other ways of approaching this progression so that it sounds a little less predictable maybe even less like a II V I.

In this video, I am going over 8 ways to change the chords to get some new sounds, and I am only messing with the II and the I chord because I have a ton of other videos with different V chord options.

Of course, you can also take these examples and use them on a static chord if that fits the music you play better and you want to change it up a little.

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)

You Need to be able to improvise over a II V I or 2 5 1 in Jazz. In this video, I am going to show you how you can get started improvising over this progression using the scale and the diatonic arpeggios in that scale.

The examples are a 2 5 1 in C major, a scale position and the diatonic arpeggios in that position. Then I am going to give you some examples of lines using the basic arpeggios of the chords but also a few other very useful suggestions. Then I am going to add the triads in there, and in the end, you have a lot of material to work with from this very basic approach.

This is the most important part of how I improvise. Having a set of arpeggios that work for a chord in a progression is a great way to have lots of options when you improvise. So you learn to think the chord but you have 8 or 9 different arpeggios that you can use when you are improvising.

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:

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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:

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Download the PDF

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If you have any questions, comments or suggestions for topics 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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3 Charlie Parker II V I Licks How To Play Them On Guitar

If you want to learn how to play jazz then it is probably a good idea to check out how Jazz Giants play like some Charlie Parker II V I licks!

Learning Bebop and Charlie Parker

A thing I never get tired of checking out is Charlie Parker and Bebop in general. I guess I still find it fascinating how the lines are so good and the material they are created with is really quite basic.

In this video I am going to go over 3 II V I licks. I will focus on how Charlie Parker is great at having surprising turns and leaps in his lines so they don’t sound like running up and down scales and he also still manages to get them to sound like real melodies instead of abstract interval exercises. He also often gets away with melodies that move across the bar line.

Hope you like it!

Learning from a Master improviser

These licks are clear examples of Parkers musical or melodic language and are really a great place to get some more ideas on how to come up with great lines. I especially find the way he uses displacement of different parts of the lines to open up the sound of his solo fascinating.

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10 Awesome Ideas for Better Jazz Licks You Should Know

It’s not all scales and arpeggios when it comes to guitar jazz licks. This video is showing 10 ways to come up with new licks using different ideas that are not all based on the notes. This can really open up your vocabulary and make your solos more interesting and I talk about methods working with dynamics, melodic direction and rhythm.

Some of the examples are also borrowing techniques from artists like Jim Hall, Bill Evans and Kurt Rosenwinkel.

Content:

0:00 Intro

0:49 Lick 1 – Shifting Patterns and Parts

1:43 Variation on Lick 1

2:05 Lick 2 – Melodic Direction and using the range of the instrument

3:06 Lick 3 – Accents, Dynamics and breathing life into your 8th note lines

4:13 Lick 4 – Extended arpeggios as a means to get a larger range

5:30 Lick 5 – Chromaticism and Bebop – Add the jazz flavour

6:36 Lick 6 – All the “other” arpeggios

8:13 Lick 7 – Across the bar line – Don’t be tied down by the bar lines!

9:19 Lick 8 – Space and Great Rhythms (Like Jim Hall)

11:04 Lick 9 – Blues in Funny Places (Courtsey of Joe Pass)

12:31 Lick 10 – Triplets and Modern Rhythmical Jazz Phrasing

14:20 Do you have a great idea? Share it in a comment!

14:43 Like the video? Check out my Patreon Page

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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Get the PDF!

You can also download the PDF of my examples here:

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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Vlog: 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 possibilites 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 cord 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?

Refreshing and Easy II V I reharmonization

Rethinking the chords and just adding small details here and there can give you some really beautiful melodic ideas. In this lesson I am going to show you how you can add combine a II V I and a descending bass line cliché that you already know. I will also give you some great lines that demonstrates how this can work in a solo.

Another good feature of this approach is that it ties together the entire movement through the cadence. In that way we have a continues idea that we then resolve. This is a lot stronger than having separate ideas on the II and V that you then resolve to the I chord.

Using a voice movement to connect the melodies

Voice leading may sound like it’s terrible complicated, but in the way we are going to use it in this lesson you will probably find it both easy and familiar. The chord progression that is the foundation for all of this is shown in example 2:

In example 2 I have use a very common C minor bass line cliché and turned it into a II V I in Bb7 by resolving it a Bbmaj7.

You can try for yourself while comping to see how it will fit in most situations. It is also the type of idea that will work without warning the other people in the band.

Turning this progression into II V I licks

The same idea can be translated into a line as shown in the standard bebop lick in example 3:

The line in example 3 is first using the Cm arpeggio. This is followed by a CmMaj7 arpeggio, that continues in to a Bb and a chromatic approach to the 3rd(A) of F7. The line then continues to resolve to Bbmaj7.

This example is really spelling out the chromatically descending line on the strong beats of the bar.

The same idea turned into a less obvious line is shown in example 4:

In this example I am not laying down the descending line on the strong beats and also not keeping them in the same octave. The line does still work quite well though and still makes use of the CmMaj arpeggio. 

Turning the descending line into chords

The descending chromatic line that we have used in the previous examples can of course also be harmonized in a different way. One way to do that is shown in example 5:

So now we are adding a G7 as a dominant to Cm and that is then replacing the CmMaj7. I also changed the F7 to an altered domiantn to get some more tension there. This means that on the weak part of the first bar we have some tension that we can resolve in the second bar. This will work on top of a regular II V as well, though the G7 line may be quite dissonant. 

Lines over the new chord set

The progression in Example 5 is what I used in the line in example 1 (That I played in the beginning of the video).

The first part of the line is a Cm7 arpeggio. On the G7(b9) I am using the arpeggio from the 3rd of the chord: Bdim. This is resolved to Cm7 and on that chord I play a Gm triad. On the final F7 I am using a GbmMaj arpeggio. This is then resolve to the 3rd(D) of Bbmaj7.

Another possibility is to not use a G7(b9) but go for a G7alt. This will still work because the tension of the altered dominants are on the weak part of the bar.

The line is again relying mostly on arpeggios but still sounds quite strong since they are well connected,

I start with the arpeggio from the 3rd of Cm which is an Ebmaj7 arpeggio. On the G7alt I am using the arpeggio from the b7: Fm7b5. This resolves to a Cm triad idea that continues into an altered scale run from the b5 of F7. This is resolved to the 5th of Bb. 

I hope you can use the ideas I went over here to get some new lines and to have one more sound that you can put to use on a II V I, since it is a very common progression.

 

If you want to study the examples I went over in the lesson you can of course also download them as a pdf here:

Refreshing II V I reharmonization

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.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter Google+ or Facebook to keep up to date with new lessons, concerts and releases.