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PostPosted: Tue Oct 19, 2004 2:43 am    Post subject: II-V-I Reply with quote

I am one confused guitarist.

Many books and websites are a bit too vague when it comes explaining why a certain technique works, or why something is done.

Just what is the big deal with those ii-v-i progressions. Why are they so important, everywhere I look/listen I hear "practice your ii-v-i's"
What is the importance of making/learning ii-v-i licks?
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PostPosted: Thu Oct 21, 2004 2:09 am    Post subject: Reply with quote

get a real book and look at what makes up almost any jazz standard... either a II V I ending in a major or a minor chord
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Joined: 07 Nov 2004
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PostPosted: Sun Nov 07, 2004 3:57 pm    Post subject: ii V I Reply with quote

Yes ii V i in minor and ii V I in major are essential in jazz. In rock the essential chords are I IV V. This comes from the basic twelve bar blues progression that artist like Eric Clapton, Rolling Stones, and Led Zeppelin used and built new songs off of. Also in rock you have I vi IV V etc.

In jazz and in particular, jazz blues the ii V is used in place of IV V. ii can be substituted for IV. Also in a jazz blues progression instead of V, IV, I being the turnaround, ii V I is the turnaround.

Example Jazz Blues:
I/ IV/ I/ ii V of IV/ IV/ #IVdim/ I/ VIb9/ ii/ V/ I VI/ ii/ V:/

Also as you can see the ii V of IV is used as well. In addition the turnaround at the end I/VI/ii/V is also used as the basis of the rhythm changes progression based off of "I've Got Rhythm", the other widely used progression in jazz.

So, there's three places that the ii V is used in a blues alone, not to mention rhythm changes, and many, many standards.

Check out Autumn Leaves... full of ii V's.
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Joined: 04 Jan 2005
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Location: Denmark

PostPosted: Tue Jan 04, 2005 3:13 pm    Post subject: Reply with quote

As jazzguitarman allready said, ii V I appears allover in jazz.......But,
there are alot of ways to think about them,
Which not only makes them nessesary but also much more funny.
Take a ii-V-I ,in C major ( Dm7-G7alt-CM7)
If you are about to play D dorian,Ab Melodic minor and C lydian (which is perfect), for the rest of your life I promise you that you get bored...

Therefor you have here some other flavers to add to your playing, and take your time with each one of them,for we have great musicians today which has dedicated their lives to master just a single on of them...
/ / / / ////
Substitutions for [Dm7-G7alt] CM7.........Good luck from Bjorn.....
/ / / / / / //
[G7 EbM7 Ab7 BM7 E7 G7 CM7 (john Coltrane substitutions)
/ / / / ////
[Abm7-Db7]-CM7 (Tritone substitution)
/ / / / ////
[Dm7 Abm7 G7 Db7] -CM7 ( Tritone sub. Mixed with original)

And to reach even more contemporary sound,try substituting Dm7-G7,for any other of the 11 remaining ii-Vīs Ex: Cm7-F7.CM7 / C#m7-F#7-CM7
Etc.......And finaly non-harmonic lines.....That is:You pick some intervals,that could be (I like the sound of this one) m3,M3 and M7
Then you make up a line of 16th notes at your paper,you might want to start out with an interval inside the keycenter of the iim7 (Dm7) chord...
Where you only stick to those rules: Move up or down in either m3,M3 or M7 intervals.....There will be alot of confusion with these kind of lines,but by the fact that they are made up by just a few intervals (this on 3), they have a very VERY strong personality,and will often take you to unknown places.....May this keep you interest and curriosity busy for....Hmmm, A lifetime Smile ........Once again good lukc from Bjorn.....
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