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Minor ii V I Soloing Parallel m7b5 Arpeggios

Learning minor ii V I soloing ideas over this common chord progression, in all 12 keys, is essential for any jazz guitarist.


e often spend more time on their relatively easier cousins the major ii!V!I progression, studying and e all need to do in order to guarantee that e can make the gig, ays to navigate it from a

shedding the minor ii!V!I is something that

play interesting solos on standard tunes and never fum"le through any section of a tune on the "and stand. #ne of the reasons the minor ii!V!I progression is tricky is "ecause there are so many single!line perspective. $ou can use %ltered &cales, 'odes of 'elodic 'inor, all sorts of chord su"s and everything in "et een. (ut, sometimes the "est 'y favorite ay to do this ay to get through a tough series of changes, or at least get your feet ith minor ii!V!I)s is to use *arallel m+", -oncept. et ith them, is to take a simple musical concept and manipulate it to make tough chords easier to play.

'inor ii V I &oloing . *arallel m+", %rps

The idea "ehind this concept is very simple, yet highly effective. $ou are going to take something you already kno , a m+", %rpeggio, and moving it around the neck to apply it to all three chords of a minor ii!V!I chord progression. /ere is ho each arpeggio is applied to the three chords in the progression.

iim+", 0 play a m+", off of the tonic note V+alt 0 play a m+", off of the "+ of the chord Im+ 0 play a m+", off of the '1th of the chord
That)s it. If you look at it for a ii!V!I in 2 minor you can see that you are going to play three different m+", chords, %m+",!-m+",!3m+",. /ere is ho each arpeggio looks from an intervallic standpoint hen played over the different chords.

%m+", 0 4, "5, ",, "+ 6+"7 0 "+, "7, '5, "15 2m+ 0 '1, 4, "5, *,
&o each arpeggio helps to outline the main notes of each voicing in the progression. 8o that e understand the concept, you can take this kno ledge and apply it to the guitar. /ere is one fingering for each arpeggio in the progression. 'ake sure to take this idea and use many different fingerings for each chord in all 12 keys toma9imize your time in the practice room.

'inor ii V I &oloing . %rps %scending


that you have the concept in your head, the arpeggios under your fingers and the sound in your ears, you ith this idea.

are ready to start improvising

To start, try soloing using only the notes in each arpeggio, sticking to each m+", strictly in order to further your understanding and retention of this concept. Then, once you feel comforta"le doing that, you can mi9 in these ideas it sound more like music and less like an e9ercise. /ere are three of my favorite minor ii!V!I licks using this concept. -heck them out, then o n to add to your o n :licktionary.; rite out three of your ith scale and chromatic notes, making

'inor ii V I &oloing . Licks

'inor ii!V!I)s can "e tricky to navigate from "oth a comping and soloing perspective. (ut, ith the help of a m+", arpeggio, and some parallel motion, you can find yourself running these changes ithout "urning out your "rain or your fingers at the same time.