Negotiating the ii, V7, I Progression

The ii, V7 I chord progression is one of the most common chord progressions in all of music. From a jazz perspective it is important to be able to improvise through this type of progression. Indeed, if you are able to successfully improvise over the ii - V7- I progression, you are well prepared to improvise through almost any chord progression. In this article I will demonstrate a number of concepts for improvising through this important chord progression.

CONCEPT #1
In most ii - V7- I chord progressions the V7 chord will be altered. An altered dominant chord is a dominant chord that contains one or more of the following altered tones: b5, #5, b9 and #9. It is important to emphasize the altered dominant chord sound. In example #1 note how the altered idea starts by using three chord tones from the D7#9 chord. Example #2 uses an Eb diminished idea to emphasize the D7b9 sound.

Ex. #1

# 4 & 4

Am7

1 4 3 1 -1 2
5 8 7 5 4

# GM7 n b # n b n b
D7 9 3
6

1
4

4 4 2
7 7 5

3
6

1
4

4
7

3
6

n 1 - 1 2 2 1-1
4 3 4 4 3 2

Ex. #2

GM7 b b b # 4 b . & 4 3 2 1 4 3 1 - 1 4 2 4 1 4 3 1 2 1 Am7

7 6 5 8 7 5 4 7

D7(b 9) E dim

CONCEPT #2
This concept emphasizes the altered dominant sound over the ii minor chord and V7 chord. This technique simplifies the ii - V7- I progression by limiting the Progression to two chords: V7 and I chords.

Ex. #1

GM7 b n b D7 # n b b & # j 4 1 2 3 1 4 3 1 - 1 3 2 1- 1 4 3 1 - 1 1 4 -2 Am7

2

(D7 Alt.)

10 7 8

10

9 7

7 5 4

6 4

67

Ex. #2 Am7

(D7 Alt.)

D7 GM7 # J b b # & 4 4 4 1 3 4 1 4 1 2 4 1 4 2 1 - 1 2 3 4
8 8 8 5 7 7 4 4 3

8 5

CONCEPT #3
Side-Slipping is a technique of approaching a chord from a half step above or below. In this ii -V7- I progression the ii minor chord will be viewed improvisationally as a flat ii M7 chord (AbM7). Ex. #1 uses AbM7 over the ii minor chord. Ex. #2 uses AbM7 over the ii minor chord and V7 chord.

Ex. #1

GM7 # b & b n b J w 1 3 1 1 4 3 1 - 1 2 2 1 -1 4 3 1 1 Am7 D7

5 7 5 5 8 7 5 4

AbM7

AbM7 Ex. #2

&

D7 GM7 b n b b n b b n b J J 3 4 2 1 4 1 2 3 1 - 1 4 3 4 1 4 3 1- 1 3 1 3 3 1 Am7
6 4 6 3 4

6 5

65 3

4 2

4 2

CONCEPT #4
This concept demonstrates substituting the iii minor chord (Bm7) for the I chord (GM7). Using Bm7 over GM7 produces a GM9 sound. When using this technique, think in minor (Am7) then think up a step to the iii minor chord (Bm7).

Ex. #1 Am7 D7

Bm7 GM7

# # # . & # n # # 3 2 1 4 3 1 -1 2 1 4 3 1 -1 3 4 1 2 1
4 3 2 5 4 2 3 4 3 6 5 3 4 6 7 4 5 4

Bm7 Ex. #2

D7 b GM7 # J n n # w J & 4 2 3 2 1 1 1 4 1 2 3 1- 1 3 3 1 3 1
Am7
10 8 9 8 7 6 5 8 5 6 7 6 5 7 7 5 7 4 4

CONCEPT #5
This concept demonstrates the key center approach. This approach is the simplest way to improvise over a ii - V7- I progression because you are only thinking in one tonality. Although simple, the key center technique is very effective. Take note of the polyrythmic effect produced in Ex. #2 by using 3 / 4 time against 4 / 4 time. 3 / 4 time is Indicated with brackets.

Ex. #1

GM7 D7 GM7 b J w 3 4 1 2 4 1 2 3 1 - 1 4 3 4 1 3 4 1 Am7

10 8 10 7 8

&

10 9

10

9 10

GM7 Ex. #2 Am7 D7 GM7 # w & 1 2 4 2

7 8 10 8

1 3
5 7

4 3
8 7

1 2 4 2
3 5 7 5

1 2 4 1
2 3 5 2 2 2

A final note regarding mastering the guitar - it takes time! There are no shortcuts to mastery of any area of knowledge. Even though we may all think it will be great when we finally reach the point of mastery, mastering the guitar is a lifelong pursuit. Genuine masters continue to hone their craft throughout their lives. So enjoy the road to mastery - the process is so much fun! Take care, Jay Umble