Jazz Guitar Improvisation.pdf

presentsII-V-I Progression By Mel Booker http://www.themusiccenter.com/MBmusic.htm E-mail: [email protected] © 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 e-mail: [email protected] The ii-V-I Progression Let’s jump right in.the key of C).then learn the scale patterns. & 1st chords from the key(in this case. 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. The scales are one-octave. Learn the chords.so be sure and expand them later.5th. 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 . Memorize these arpeggios-they can be played all over the neck since they start on the root. is to use Arpeggios to outline the chords. 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 . Outline the Chords refers to playing the notes that make up each individual chord. Once you do that. ii-v-I’s Using Arpeggios An exellent way to practice ii-V-I’s(or any other type of progression). Mixed Arpeggio ii-V-I Any study of Jazz uses arpeggios-for improv. Actually try this with any scale you are working on.but it sounds great! Just play the scale degrees as follows:R-2-3-5(Major)/R-2-b3-5(Minor). Have at it! . These patterns are based on one-octave scales.and to learn concepts. Almost always(myself included) we play: R-3-5-7 etc. 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 haven’t heard many guitarists doing this. This assumes you already know your Modes. This sound might take some getting used to. The usual method is to play through each chord using chord tones. Why not mix the arpeggio up a little? In this line the order is 3-R-7-5. Try other combinations as well-just mix up the notes of the arpeggio and see what happens. 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 . Just play the appropriate scale pattern using these degrees: R-2-3-7(Major)/R-2-3-b7(Dominant)/ R-2-b3-b7(Minor). The 1-2-3-7 Pattern Here is a variation on the famous 1-2-3-5 Coltrane Pattern. 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 . There is some string skipping so take your time. C-7 F9 BbMaj7 V 4 7 8 8 . I happened to try this out.and it sounded great. & 13th as it’s extensions.11th. This is a great phrase to practice hitting those nice extended notes-and training your ear to hear them. 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. .