presents

II-V-I Progression

By

Mel Booker
http://www.themusiccenter.com/MBmusic.htm
E-mail: MBMusic98@aol.com

1998 by Mel Booker

(used by permission)

Note: For best viewing it is recommended to print out the article.

Guitar 4 u
www.guitar4u.com
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 The ii-V-I Progression

Lets jump right in. ii-V-I refers to where the chords are within the key:
CMaj7/D-7/E-7/FMaj7/G7/A-7/B-7b5/CMaj7
I ii iii IV V vi vii I
The progression uses the 2nd,5th, & 1st chords from the key(in this
case- the key of C). Learn the chords,then learn the scale patterns.
The scales are one-octave,so be sure and expand them later. Also-
take note that the Modes(scale patterns) correspond with the chords:
Ionian/Dorian/Phrygian/Lydian/Mixolydian/Aeolian/Locrian
I ii iii IV V vi vii
By the way this study will help you in any style-so have fun!!

ii V I
D-7 G9 CMaj7
1

10 1 X 2 3 10 2 3 4 8 1 X
2 3

D Dorian G Mixolydian C Ionian

10 8

10
 ii-v-Is Using Arpeggios

An exellent way to practice ii-V-Is(or any other type of progression), is to use

Arpeggios to outline the chords. Outline the Chords refers to playing the
notes that make up each individual chord. Memorize these arpeggios-they
can be played all over the neck since they start on the root. Once you do that,
learn the line and Go Shed.

D-7 G7 CMaj7

10 1 b7 10 1 b7 10 1

5 5 5 7

b3 1

3 3

D-7 G7 CMaj7

Q Q Q H
q q Q Q Q Q
4
&4 q q Q }
13
12
10 12
10 12 10 14
12 10 14
10 13
 Mixed Arpeggio ii-V-I

Any study of Jazz uses arpeggios-for improv,and to learn concepts.

The usual method is to play through each chord using chord tones.
Almost always(myself included) we play: R-3-5-7 etc. Why not mix
the arpeggio up a little? In this line the order is 3-R-7-5. This sound might
take some getting used to. Try other combinations as well-just mix up the
notes of the arpeggio and see what happens.

A-7 D7 GMaj7

4 QQQ Q Q#Q
& 4 Q #q q q q Q h }

5 4
7 5 4 5 4
7 5 5
8 5 3

b3 R b7 5 3 R b7 5 3 R 7 5 R

The 1-2-3-5 Pattern

This is the scale pattern made popular by John Coltrane. I havent heard
many guitarists doing this,but it sounds great! Just play the scale degrees
as follows:R-2-3-5(Major)/R-2-b3-5(Minor). Actually try this with any scale
you are working on. This assumes you already know your Modes. These
patterns are based on one-octave scales. Have at it!
 C-7 F7

Q H BbMaj7

q q q bQ Q Q
4
& q q
4 bq q q }
11
10
10 8 10 12
10 8 10 12
8 10 11

R 2 b3 5 R 2 3 5 R 2 3 5 R

Try these Chords

;
C-7 F9 BbMaj7

V 4
7
8

8
 The 1-2-3-7 Pattern

Here is a variation on the famous 1-2-3-5 Coltrane Pattern. I happened

to try this out,and it sounded great. Just play the appropriate scale
pattern using these degrees: R-2-3-7(Major)/R-2-3-b7(Dominant)/
R-2-b3-b7(Minor). There is some string skipping so take your time.

C-7 F7 BbMaj7

q Q b H
b q q b b Q Q Q
& 4 q q bq q q
4
}

10 11
8
8 8 10 12
8 10 12
8 10 11

R 2 b3 b7 R 2 3 b7 R 2 3 7 R

;
C-7 F9 BbMaj7

V 4
7
8

8
 Stitt Style ii-V-I

E-7 A7 DMaj 7
This is a Sonny Stitt
#H H Q Q #Q
Q Q Q style lick.

&
4
4 g Q It is played over a ii-
V-i in the
key of D.

The first two notes

give you a
9th & 11th over the
11 14 14 12 11 E-7 chord
12 12
14 12 -sweet!!

The next measure

has a
9th,11th, & 13th as
its extensions.

This is a great
phrase to practice
hitting those nice
extended
notes-and training
your ear to hear
them.