EXAMPeLE»6ªCºoMPARInG II-V-I CADenCeDSmI n MAJoRGA nD MInComRaj..7.CON­TIN­UED

Guitar Techniques - - PLAY: CHORDS -

Fig­ure 6c:

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

Fig­ure 6d:

Fig­ure 6e:

‘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.

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.