JAZZ THEORY (BeBop Drills)
The IIm7 - V7 Progression - II V
series
One
of the most difficult aspects of improvising on BeBop chord
progressions is the rapid harmonic changes indigenous to the art
form. Passing and approach chords appear and disappear, pivotal
and direct modulations are the order of the day, and cycle of
fifths root motion is everywhere. The most typical solution to
this challenge is to isolate and manipulate recurrent patterns
of harmony in practice sessions. In light of this, we will
examine the most prevalent chord pattern in BeBop, the IIm7 - V7
relationship.
The
IIm7 - V7 represents the chords built on the second, then fifth
degrees of a major scale, identified in functional harmony as
the secondary sub-dominant and primary dominant. In C major, the
chords are Dm7 and G7. These chords create a sense of movement
towards the primary tonic or Imaj7, Cmaj7 in our example.
Equally as often, the target chord is something other than a
maj7, but one which has the same root.
Three
practice chord progressions isolate the most typical chains of
IIm7 - V7 [II - Vs], the first two using II - Vs from major key
areas moving down in whole steps, the last using major key areas
moving down in half steps. These are:
-
1)
Dm7 - G7, Cm7 - F7, Bbm7 - Eb7, Abm7 - Db7, F#m7 - B7, Em7 -
A7,
-
2)
C#m7 - F#7, Bm7 - E7, Am7 -D7, Gm7 - C7, Fm7 - Bb7, Ebm7 -
Ab7, and
-
3)
Dm7 - G7, C#m7 - F#7, Cm7 - F7, Bm7 - E7, Bbm7 - Eb7, Am7 -
D7, Abm7 - Db7, Gm7 - C7, F#m7 - B7, Fm7 - Bb7, Em7 - A7,
Ebm7 - Ab7.
To
begin your work with these II - V series progressions, first
arpeggiate each chord in a root-3-5-7 [ l-&-2-& ]
fashion, as in d-f-a-c, g-b-d-f. This will apply to situations
in which both chords appear in one measure of 4/4 time. Next,
play the arpeggio twice for each chord in a 1-&-2-&-3-&-4-&
fashion, as in d-f-a-c-d-f-a-c, g-b-d-f-g-b-d-f. This covers
situations where each chord lasts a full measure. Harmonic
instruments should also practice chording these II - V chains in
both harmonic rhythms indicated above.
Look
for these chord patterns in your favorite jazz tunes, and listen
for their distinctive sound in recordings and performances.
Experiment with as many ways as you can think of to play solos
on these progressions, and as always,
happy drilling! [top]
- Frank Singer ©2002
I originally learned these concepts from Charlie Banacos, private
instructor.
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BACK
TO THEORY DEN CONTENTS
The
Language of BeBop
The
Use of Tensions 1
The
Use of Tensions 2
The
Use of Tensions 3
The Jazz
Sub-Dominant Chord - II-7
The Jazz Dominant Chord - V7
The II-7 V7 Progression - II V series
The Key of the Moment
"Watch out for
those chromatics!"
Ear Training
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eCUTS
