minor ii-v-i lines caged
TRANSCRIPT
D‹7(b5) G7½ C‹7
D‹7(b5) G7½ C‹7
D‹7(b5)G7½ C‹7
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Alongside the Major ii-V-I lines studied previously, the ability to negotiate 'minor ii-V-i s' - for exampleDm7(b5) G7(usually with altered intervals) to Cm7. These lines are extremely useful in improvisatioas long passages, crossed in various hybrid forms, or broken up in bars or approach figures. Althoughtheir initial learning may feel mechanical, a deep absorption will manifest in an intuitive and creativemanner in the flight of improvisation.
3rd
7thb5
7th
3rd
b9
3rd7th
5
Crossed Lines: Minor ii-V-I Lines Everywhere.©2011 Milton Mermikides
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Notice how all the phrases follow the basic skeleton above. Taking the 'guide-tones' the 3rd and 7th of each chord, we find the C on the Dm7b5 moving to the non-diatonic B on the G7 , and the F on the G7 moving to Eb on Cm7. Another line Ab-Ab-G (b5-b9-5) is also included as a useful tool.This is not the only strategy though the harmony, but it's a really effective one that is best to learn before subverting.
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Position II-III
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C Shape E Shape A Shape
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A Shape D Shape G Shape
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wwwwwwn
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œ œ œ œ œ œ œ œ œn œ œbJ œ œ œ œb œ œ œ# œ œ œ œn œ œ Œ
œ œ œ œ œ œ œ œ œn œ œ œb œn œb œ œb œ œ œ œn œ œ Œ
œ œ# œ œ œ œn œ œ œn œb œ œ œ œb œ œ œ œ œn œb œj ‰ Œ
œ œ œ œ œ œ œb œ œn œ œb œ# œ œb œ œb œ œn œ œ Ó
D‹7(b5) G7½ C‹7
D‹7(b5)G7½ C‹7
D‹7(b5)G7½ C‹7
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Position VII-VIII
G Shape C Shape E Shape
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Position IX
E Shape A Shape D Shape
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Position XII
D Shape G Shape C Shape
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Practise these carefully at a variety of tempi, feels and keys. Practising a iiø-V-i in a cycle of IVs(e.g. the keys of Cm - Fm - Bbm - Ebm etc.) in position, is a great and helpful challenge. Together with the major ii-V-Is - and by writing your own patterns- you will now have a useful vocabularyto negotiate a large range of repertoire. The material presented here is fairly 'straight-ahead' of the jazz idiombut a similar approach can be used in any genre, sub-genre or personal style.
pick either bar
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œ œ œ œ œ œ œ œ œn œ œ œ œ œb œ œ œ œ œ œn œ œŒ
œ œ œ œ œ œ œ œ œn œ# œ œ œ œ œb œ œ œn œ œ œ Œ
œ œ œ œ œ œ œ œ œn œ œ œ œn œ œ œ œ œ Œ œ Œ
œ œ œ œ œ œ œ œ œn œ œ œ œ œb œ œ œn œ œ œ œŒ
œ œn œ œ œ œ œn œ œn œ œ œ œ œ œ œn œn œ œ œn œ œnŒ
œ œ œb œ œ œb œ œn œ œ œb œ œ œn œ œ œ œnÓ
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