Minor II-V-I Lines CAGED

Crossed Lines: Minor ii-V-I Lines Everywhere. ©2011 Milton Mermikides Alongside the Major ii-V-I lines studied previously, the ability to negotiate 'minor ii-V-i s' - for example Dm7(b5) G7(usually with altered intervals) to Cm7. These lines are extremely useful in improvisatio as long passages, crossed in various hybrid forms, or broken up in bars or approach figures. Although their initial learning may feel mechanical, a deep absorption will manifest in an intuitive and creative manner in the flight of improvisation. G7½

D‹7(b5)

w b &b b w w

C‹7

w nw w3rd

b5 7th

w5 bw7th w

b9

3rd

3rd 7th 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.

Position II-III D‹7(b5)

b &b b

C Shape

E Shape

G7½

bœ œ œ œ œ œ œ œ nœ J œ œbœ œ œ œ #œ œ œ 3

pick either bar

pick either bar

G7½

pick either bar

pick either bar

nœ œ œ Œ œ œ

G Shape

D Shape

œ n œ œ œ n œ b œ œ œ œ bœ œ œ œ b œ & b b œ #œ D‹7(b5)

A Shape

œ nœ œ œ Œ œ œ

pick either bar

bb œ œ œ œ œ œ œ œ nœ bœ b & œ œ bœ nœ œbœ œ

A Shape

C‹7

C‹7

œ œ j nœ bœ œ ‰ Œ

pick either bar

œ n œ œ b œ #œ œ bœ œ bœ b œ œ b &b b œ œ œ œ œ

œ nœ œ œ Ó

Position VII-VIII

2

C Shape

G Shape

G7½ œ œ œ œ œ œ bœ œ œ œ œ œ œ b œ œ œ nœ &b b D‹7(b5)

pick either bar

pick either bar

E Shape

œ œ nœ

C‹7

œ œ

Œ

pick either bar

œ œ œ œ œ œ œ œ œ bœ œ b nœ #œ œ œ œ &b b

œ nœ œ œ œ Œ

Position IX D‹7(b5)

E Shape

A Shape

œ nœ œ œ œ œ œ œ œ œ œ œ b œ œ œ nœ &b b G7½

D Shape C‹7

œ œ Œ

œ Œ

pick either bar

œ œ œ œ œ œ œ œ œ b œ œ n œ œ œ œ nœ œ œ œ œ b œ Œ &b b pick either bar

pick either bar

Position XII D‹7(b5)

G Shape

D Shape G7½

œ n œ œ n œ œ œ œ œ œ œ nœ œ œ œ b n œ œ nœ &b b pick either bar

pick either bar

b œ bœ œ & b b œ œ bœ œ 3

nœ œ œ bœ œ œ nœ œ

C Shape

œ œ œ nœ nœ Œ

C‹7

pick either bar

œ œ nœ

Ó

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 vocabulary to negotiate a large range of repertoire. The material presented here is fairly 'straight-ahead' of the jazz idiom but a similar approach can be used in any genre, sub-genre or personal style.