Guitar Axis Lesson

The II-V-I Progressionby Don Mock

Every musician who studies jazz finds themselves in the land of II-V-I’s at somepoint in their learning. This short chord progression offers an immense amount of possi-ble harmonic and melodic substitutions. Most players, including myself, would have toadmit that nearly every thing we know how to play from licks, substitution concepts,chord voicings etc., can be applied to a II-V-I progression. It’s the ultimate study of theworkings of music; all packed into three little chords. The progression (especially the V-I) dates back to early classical music. Composers used the “tension/resolution” effectcreated by a V chord moving to I to add emotion and a feel of of movement to theirmusic.

II-V-I progressions are the mainstay of traditional jazz standards. Many tunes owetheir entire structure to linked II-V-I’s in various keys. A trip through any “fake” bookreveals hundreds of tunes crammed with II-V-I progressions. And it made sense, a fewdecades ago, for jazz students to make the study of the progression the central theme oftheir learning.

Today, jazz composers have strayed from the traditional progressions such as theII-V-I. We hear experiments with new harmonies, static and parallel chord movements.So, does this mean students should toss out the study of II-V-I in favor of some modernapproach? The answer is no! A lot can still be learned from the progression. The mostimportant musical device all players must understand to be successful is “tension/resolu-tion.” Without it music would sound dead and be directionless. The II-V-I is a perfectteacher of “tension/resolution” regardless of which style/era you want to play. I wouldbet that most modern jazz players, who are known for employing techniques such as“superimposition” or “playing outside,” probably paid their dues learning II-V-I phrasesand substitutes.

How does a II-V-I work? Let’s first talk about each of the chord’s functions. TheII chord (which is usually a minor 7th) works with and “sets-up” the V chord. It’s job isto serve notice that a resolution is coming. II chords by definition are dorian (II in C isDmin7 etc.) and that scale (C major) works the best over it.

Let’s skip over the V chord for now and address the I chord. I chords will alwayssignal the arrival to home. I chords are stable and relaxed and are usually major 7ths,although a I chord may be dominant (as in a blues) or even minor.

Now to the V chord. No other chord in music has such a huge and diverse person-ality. V chords are the “tension” sounds and usually must be resolved. A simple dominant7th chord is tense by it’s makeup. The infamous “devils b5 interval” between the 3rd andthe b7th create what we might call “basic tension.” From a classical point of view, thesetwo notes want to resolve to a more stable place ie; the 3rd wants to move up 1/2 stepand the b7th down 1/2 step.

But the real excitement begins when we start applying additional tension to V

chords. This is done by manipulating or “altering” notes within the chord. Besidesadding on extensions (9th, 11th, 13th) we can raise or lower the 5th and the 9th giving usa vast array of tension colors to work with. The possibilities don’t end there. V chordsalso invite several chord and melodic tension substitutes such as b5 substitution. A quickglance and the following chart (“II-V-I Scale and Substitution Ideas”) shows that the Vchord has an overwhelming number of scale and chords substitutes when compared tothe II and the I.

Where to start on II-V-I’s

Although there are many substitutes that can be applied to a II-V-I progression,the goal is not to try to apply every single one, but rather find a select few that you likeand can comfortably use. Don’t be intimidated by lists of possibilities like the one below.It’s easy, when studying music, to figure out all the mathematical possibilities of scales,etc., for a given situation. It’s difficult. however, using every possibility. Players gravi-tate towards sounds they like and typically use those. In fact, you might be surprisedhow few of the possible choices some of the great players rely on.

The reason I’ve presented this complete list is that everyone has different tastesand may use a variety of choices.

A final tip before launching into a study of the II-V-I progression. Start withchords only at first. Learn to play the substitutes with chords so you can immediatelyhear the sounds created. Only then will the soloing substitutes make musical sense toyou.

Major II-V-I: Scale and Substitution Ideas

The following list shows what improvisers refer to as “thinking changes” Theseare imagined chords that a player creates with tools such as scales, arpeggios, melodiesand other soloing devices. Thinking changes do not necessarily mean that the chordsmust be played by the accompanist. In most cases an improvisers “thinking changes” donot have to match the bass and/or keyboard players chords.

At the top of the list is the primary II-V-I chords. Dm7-G7-Cmaj7. In their basicform, all three chords are in the key center of C major. All three chords can be extendedby adding the appropriate notes from the key (9th, 11th, 13th). In most cases, only the Vchord, G7 can be altered (b9,b5, #9, #5). The bolded chords are the “thinking changes.”Below them are suggested scales or “key centers.”

The individual “thinking changes” in each column are interchangeable. Make upyour own combinations of the three chords. Lines 6, 7 and 10 demonstrate popular sub-stitute II-V moves over the primary V chord. Many players favor superimposing theseprogressions. Wes Montgomery, for example, used and wrote several tunes relying onthe b5 II-V sub as shown in line 6.

Again, as I mentioned earlier, zero in on only a few of the possibilities. Find theone you like and use them right away.

- Don Mock

Major II-V-I Scale and Substitution Ideas

by Don Mock

Dm7 (extended) G7 (extended & altered.) Cmaj7 (extended)

D Dorian (C major) G Mixolydian (C major) C Ionian (C major)D min. pentatonic G maj. pentatonic C maj. pentatonic

Dm7 Db7 (b5 substitution) Cmaj7A min. pentatonic Bb min. pentatonic B min. pentatonic

Dm7 Dbmaj7 Cmaj7Db, Ab major scales

Dm9 (Fmaj7) G7b9 Cmaj9 (Am7)(Ab dim. arpeggio & scale)

Dm7 G7#5 (G aug. arpeggio) Cma7b5 G whole tone scale C lydian (G major)

Dm11 G7b5 Cmaj6/9D melodic minor scale

Dm7 Abm7 - Db7 (AbmMaj7) G/CAb melodic minor scaleAb Dorian, Db mixolydian

Dm7 Fm7 - Bb7 D/C F melodic minor scale C lydianF Dorian, Bb Mixolydian

Dm9 (Fmaj9) FmMaj9 C6

Dm7 (Bm7b5) E7b9#5 Cmaj7 (Am7) A harmonic minor scale

Dm7 Dm7 - G7 Fm7 - Bb7 Cmaj7 Bm7b5 - E7 Abm7 - Db7

*Chords in bold are “thinking” substitution ideas.

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