EXAMPeLE»6ªCºoMPARInG II-V-I CADenCeDSmI n MAJoRGA nD MInComRaj..7.CONTINUED
Here’s a II-V-I progression and accompanying jazz line that switches from a minor to a major key.
Now a progression/melody that does the reverse (C Major to C Minor). Since we land on a minor chord, this sort of idea can be used to create a series of II-V cadences (Dm7-G7-Cm7-F7-Bbm7-Eb7 etc).
C Minor contains two chords (Fm7 and Bb7), which look like a II-V in a different major key (namely Eb major); using these as a ‘deceptive’ cadence back to the I chord in major is known as a ‘backdoor’ (or I call it
‘Aeolian’) II-V and is a common device in standard jazz. Figure 6F: A brief detour into the brave world of creating chords and melodies by mixing notes from the Major and Minor scale. The first and last chords are triads from C Minor but with their upper notes from the Major scale, and the middle chord is the V chord from Major with an ‘extended’ note from Minor. The scales are more usually described as D Locrian nat. 2 (from C Melodic minor), G Altered and C Melodic minor, but this venture into the world of ‘mixed modes’ might prove inspiring.