EXAMPLEs10-11 the ubiquitous 11-v-1
In standard jazz, the II-v-I is a fundamental chord progression that needs complete theoretical and practical understanding. It is defined as a type of Minor chord going up a 4th (or down a 5th) to a type of Dominant chord which goes up a 4th (or down a 5th) to a root chord. There are two types of II-v-I; a Major II-v which is a m7th chord (with or without added notes) going to a Dominant 7th (which usually but not always has ‘natural’ extensions) and 2) a Minor II-v which is a m7 5 chord moving to a b9, b13). Dominant 7th (which usually has ‘altered’ extensions such as #9 and Major and Minor II-v devices ‘expect’ resolutions to Major and Minor chords but counter-examples are numerous and well established. Here I’ve used
Dm7-G7-Cmaj7-Em7b5-A7, the progression which embeds both types of 2 II-v-I very neatly and offers tons of scope for soloing.
EXAMPLE 10 I’ve used the voicings of Dm7, G7 and Cmaj7 from Examples 3-5 to create a major II-v-I and Minor II-v (by altering the 5th of the m7 voicings) in four different positions on the fretboard. These are great for harmonising solos (as Joe Pass and Wes Montgomery did) and interjecting little comping patterns between phrases.
EXAMPLE 11 This example takes the shapes from Example 10 and adds some extensions and alterations to create a little more flavour and flow. With these you can – ultimately – navigate a lot of standard jazz repertoire in any key, and at any position on the fretboard.