Don Mock - I-V-I Progression Scales & Sub

Guitar Axis Lesson

The II-V-I Progression by Don Mock Every musician who studies jazz finds themselves in the land of II-V-I’s at some point in their learning. This short chord progression offers an immense amount of possible harmonic and melodic substitutions. Most players, including myself, would have to admit 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 the workings of music; all packed into three little chords. The progression (especially the VI) dates back to early classical music. Composers used the “tension/resolution” effect created by a V chord moving to I to add emotion and a feel of of movement to their music. II-V-I progressions are the mainstay of traditional jazz standards. Many tunes owe their entire structure to linked II-V-I’s in various keys. A trip through any “fake” book reveals hundreds of tunes crammed with II-V-I progressions. And it made sense, a few decades ago, for jazz students to make the study of the progression the central theme of their learning. Today, jazz composers have strayed from the traditional progressions such as the II-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 modern approach? The answer is no! A lot can still be learned from the progression. The most important musical device all players must understand to be successful is “tension/resolution.” Without it music would sound dead and be directionless. The II-V-I is a perfect teacher of “tension/resolution” regardless of which style/era you want to play. I would bet 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 phrases and substitutes. How does a II-V-I work? Let’s first talk about each of the chord’s functions. The II chord (which is usually a minor 7th) works with and “sets-up” the V chord. It’s job is to serve notice that a resolution is coming. II chords by definition are dorian (II in C is Dmin7 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 always signal 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 personality. V chords are the “tension” sounds and usually must be resolved. A simple dominant 7th chord is tense by it’s makeup. The infamous “devils b5 interval” between the 3rd and the b7th create what we might call “basic tension.” From a classical point of view, these two notes want to resolve to a more stable place ie; the 3rd wants to move up 1/2 step and 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. Besides adding on extensions (9th, 11th, 13th) we can raise or lower the 5th and the 9th giving us a vast array of tension colors to work with. The possibilities don’t end there. V chords also invite several chord and melodic tension substitutes such as b5 substitution. A quick glance and the following chart (“II-V-I Scale and Substitution Ideas”) shows that the V chord has an overwhelming number of scale and chords substitutes when compared to the 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 like and 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 gravitate towards sounds they like and typically use those. In fact, you might be surprised how 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 tastes and may use a variety of choices. A final tip before launching into a study of the II-V-I progression. Start with chords only at first. Learn to play the substitutes with chords so you can immediately hear the sounds created. Only then will the soloing substitutes make musical sense to you.

Major II-V-I: Scale

and Substitution Ideas

The following list shows what improvisers refer to as “thinking changes” These are imagined chords that a player creates with tools such as scales, arpeggios, melodies and other soloing devices. Thinking changes do not necessarily mean that the chords must be played by the accompanist. In most cases an improvisers “thinking changes” do not 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 basic form, all three chords are in the key center of C major. All three chords can be extended by adding the appropriate notes from the key (9th, 11th, 13th). In most cases, only the V chord, 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 up your own combinations of the three chords. Lines 6, 7 and 10 demonstrate popular substitute II-V moves over the primary V chord. Many players favor superimposing these progressions. Wes Montgomery, for example, used and wrote several tunes relying on the b5 II-V sub as shown in line 6. Again, as I mentioned earlier, zero in on only a few of the possibilities. Find the one 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) D min. pentatonic

G Mixolydian (C major) G maj. pentatonic

C Ionian (C major) C maj. pentatonic

Db7 (b5 substitution) Bb min. pentatonic

Cmaj7 B min. pentatonic

2. Dm7

Dbmaj7 Db, Ab major scales

Cmaj7

3. Dm9 (Fmaj7)

G7b9 (Ab dim. arpeggio & scale)

Cmaj9 (Am7)

4. Dm7

G7#5 (G aug. arpeggio) G whole tone scale

Cma7b5 C lydian (G major)

5. Dm11

G7b5 D melodic minor scale

Cmaj6/9

6. Dm7

Abm7 - Db7 (AbmMaj7) Ab melodic minor scale Ab Dorian, Db mixolydian

G/C

7. Dm7

Fm7 - Bb7 F melodic minor scale F Dorian, Bb Mixolydian

D/C C lydian

8. Dm9 (Fmaj9)

FmMaj9

C6

9. Dm7 (Bm7b5)

E7b9#5 A harmonic minor scale

Cmaj7 (Am7)

10. Dm7

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

Cmaj7

1. Dm7

A min. pentatonic

*Chords in bold are “thinking” substitution ideas.