EXAMPLEs10-11 the ubiq­ui­tous 11-v-1

Guitar Techniques - - PLAY JAZZ -

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.

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