INTRODUCTION This series of books are for the student who desires to become a creative musician through the study of improvisation. Each book deals with a specific scale, or a specific chord progression. Scale application is at the heart of improvisation. There are countless guitar players who only know one scale, the minor pentatonic. Every solo they play has the same sound. This of course will result when only one scale is used to the total exclusion of all others. Each scale creates its own unique tonality or colour. Application of all scales is vital to the art of improvisation, and it is that which defines a creative musician. This series of books teaches you several fingerings of each scale, and how to link them, so that when soloing you're able to move seamlessly from one position to the next. The most important, and yet least understood, aspect covered by these books is the application of the scales. This entails knowing over which chords the scales can be used. This particular text presents a clear explanation of the II - V - I chord progression and soloing over it. There are many licks included which you can insert into your own solos. Audio files along with backing tracks for you to play along to are included. Tab is supplied along with music notation.
TUNING NOTES To be sure that you're in tune with the backing tracks, tune your guitar to the guitar tuning on track one. This text was written by Joe Willis, a professional session guitarist of many years experience at the cutting edge of the music business. He has played and worked with many of the biggest names in the world of music including, Tom Jones, Ray Charles, Cilla Black, Lulu, Dusty Springfield, Rick Wakeman, Englebert Humperdink, The Everly Bros, Irene Cara etc, and jazz icons, Kurt Edelhagen, Jan Luc Ponty, Attila Zoller, Dave Brubeck, Stan Getz, Art Farmer, Michel Colombier to name just a few.
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CONTENTS Page
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Introduction And Tuning Notes....................................................................2...................1 Chapter What Is A II - V - I ?.......................................................................................7 1 Major Scale Harmony......................................................................................7 Diatonic chords...................................................................................................7 Example 1.1........................................................................................................7 Diatonic seventh chords......................................................................................7 Examples 1.2 1.3..............................................................................................8 Major Key II - V - I............................................................................................8 Examples 1.4 1.5...............................................................................................8 Example 1.6........................................................................................................9 Major II - V - I in all keys..................................................................................9 Major Scale Modes.............................................................................................10 Example 1.7.........................................................................................................11 Modes Over II - V - I........................................................................................13 Examples 1.8 1.9................................................................................................13...............2 Major scale forms...............................................................................................13 Chapter Arpeggios Part One..........................................................................................17 2 IIm7.....................................................................................................................17 V7........................................................................................................................19 IMaj7..................................................................................................................21 Arpeggios Over II - V - I.................................................................................23 Examples 2.1 through 2.3...................................................................................23...............3 Example 2.4........................................................................................................24 ...............3 Example 2.5........................................................................................................26...............3 Chapter Superimposing Major Scale Arpeggios.....................................................30 3 Example 3.1........................................................................................................30 Superimposing over IIm7...................................................................................30 Example 3.2........................................................................................................30 Example 3.3........................................................................................................31 Superimposing over V7......................................................................................31 Examples 3.4 3.5................................................................................................31 Licks Over Major II - V - I.............................................................................32...............4 Examples 3.6 through 3.9...................................................................................32 Examples 3.10 3.11............................................................................................33...............4 Examples 3.12 through 3.15...............................................................................34...............5 Example 3.16......................................................................................................35...............5 The Lydian Mode..............................................................................................35...............6 Examples 3.17 3.18 3
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Examples 3.19 through 3.21..............................................................................36................6 Chapter 4
The Melodic Minor Scale...............................................................................37 Examples 4.1 thriugh 4.4...................................................................................37 Functioning and non-functioning dominant 7ths..............................................38 Functioning dominant 7ths................................................................................38 Melodic Minor Over Dominant Sevenths................................................38 Up a half step.....................................................................................................38 Up a fourth.........................................................................................................39 Up a fifth............................................................................................................39 Down a whole step.............................................................................................39 Melodic Minor Scale Forms.........................................................................39 Melodic minor over functioning dominants......................................................39 Up a half step approach.....................................................................................40 Up a half step applied to major II - V - I..........................................................40................7 Examples 4.5 4.6...............................................................................................40 Examples 4.7 through 4.9.................................................................................41 Examples 4.10 through 4.12..............................................................................42 Examples 4.13 through 4.16..............................................................................43 Example 4.17......................................................................................................44 ................8 Up A Half Step Melodic Minor Licks.........................................................47 Examples 4.18 through 4.20..............................................................................47................9 Examples 4.21 through 4.24..............................................................................48................9 Examples 4.25 through 4.28..............................................................................49................9 Examples 4.29 through 4.32..............................................................................50................9 Up A Fifth Melodic Minor Licks.................................................................51 Examples 4.33 through 4.35..............................................................................51................10 Examples 4.36 through 4.38..............................................................................52 ................10 Down A Whole Step Melodic Minor Licks...............................................53 Examples 4.39 through 4 41...............................................................................53................11 Examples 4.42 through 4 44...............................................................................54................11
Chapter Tritone Substitution.........................................................................................55 5 Examples 5.1 through 5.3..................................................................................55 Examples 5.4 through 5.6..................................................................................56 Non-functioning dominant 7ths........................................................................57 Pentatonics Over Altered II - V - I.............................................................57 Example 5.7.......................................................................................................57 Examples 5.8 through 5.10................................................................................58 Chapter The Natural Minor Scale...............................................................................59 6 Example 6.1.......................................................................................................59 Minor scale Harmony........................................................................................59 Diatonic triads...................................................................................................59 4
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Example 6.2.......................................................................................................59 Diatonic seventh chords....................................................................................59 Example 6.3......................................................................................................59 Example 6.4......................................................................................................60 Relative Minor To Major................................................................................60 Examples 6.5 6.6 ................................................................................................60 Examples 6.7 6.8..............................................................................................61 Minor key signatures.........................................................................................62 Natural Minor Scale Forms..........................................................................62 Minor Key Cadence...........................................................................................63 Examples 6.9 6.10............................................................................................63 Minor II - V - I...................................................................................................64 Example 6.11.....................................................................................................64 Harmonic Minor Scale Forms.....................................................................64 Example 6.12....................................................................................................65................12 Modes Over Minor II - V - I.........................................................................68 Example 6.13.....................................................................................................68.................13 Chapter Arpeggios Part Two...........................................................................................71 7 m7 b5...................................................................................................................71 m7......................................................................................................................73 Arpeggios Over Minor II - V - I....................................................................75 Examples 7.1 through 7.3..................................................................................75 Examples 7.4 through 7.6..................................................................................76 Example 7.7.......................................................................................................77.................14 Superimposing Arpeggios Part Two............................................................80 Ex7.8..................................................................................................................80 Superimposing over IIm7 b5...............................................................................80 Ex7.9..................................................................................................................80 Superimposing over V7.....................................................................................81 Examples 7.10 7.11...........................................................................................81 Superimposing over Im7...................................................................................81 Example 7.12....................................................................................................81 Examples 7.13 7.14..........................................................................................82 Superimposing Arpeggios Over Minor II - V - I.....................................82 Example 7.15.....................................................................................................82.................15 Examples 7.16 7.18..........................................................................................83.................15 Examples 7.19 7.20..........................................................................................84.................15 Practising Licks..................................................................................................84 Chapter Minor II - V - I Licks........................................................................................85 8 Examples 8.1 through 8.4.................................................................................85.................16
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Examples 8.5 through 8.8..................................................................................86.................16 Examples 8.5 through 8.8..................................................................................87.................16 Example 8.13.....................................................................................................88.................17 Major II - V - I Licks......................................................................................89 Examples 8.14 through 8.17..............................................................................89.................18 Examples 8.18 through 8.21..............................................................................90 Examples 8.22 8.23..........................................................................................91 Minor II - V - I Licks......................................................................................91 Example 8.24....................................................................................................91.................19 Examples 8.25 through 8.28.............................................................................92 Examples 8.29 through 8.32.............................................................................93 Example 8.33.....................................................................................................94 Coda......................................................................................................................95
========================================== Also in this series Soloing With The Major And Natural Minor Scales Soloing With The Pentatonic Scale Soloing With The Harmonic Minor Scale Soloing With The Melodic Minor Scale Soloing With The Diminished And Whole Tone Scales Soloing With Arpeggios Soloing Over The Major And Minor II - V - I The Blues From Basic To Advanced Modern Chord Progression And Rhythm Changes
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CHAPTER ONE
WHAT IS A II - V - I ?
Of the many chord patterns that exist in modern chord progression, the one most common is the II - V - I. The pattern is a series of three chords taken from the major or minor scale. Let us begin with the major key pattern. MAJOR SCALE HARMONY If you don't know where chords and chord progressions originate from, this brief theory lesson will be of help. Diatonic means belonging to the scale. Only the seven notes found in a major or minor scale are diatonic to that specific scale. Any note that's not contained in that scale is non-diatonic. The notes C D E F G A B are diatonic to C major scale. Any altered pitch such as B b or F # are non- diatonic since they are not part of C major. DIATONIC CHORDS Diatonic chords are constructed on each degree of the scale, using only the notes of that scale. They're constructed by way of stacking scale notes which are a third apart. Every type of scale and mode will produce its own fixed set of diatonic chords. The degrees of the major scale and the chords constructed upon them are numbered in relation to their position in the scale: I to VII using the Roman numeral system. The eighth note of the scale is degree I placed an octave higher. Ex1.1
As stated, diatonic chords are numbered in relation to their position in the scale, i.e. the chord constructed on the first degree is the one chord. The chord constructed on the fifth degree is the five chord, etc.
DIATONIC SEVENTH CHORDS Seventh chords consist of four notes, they're constructed by placing a third, fifth and seventh onto the top of each scale degree /root. The third, fifth and seventh are calculated from the root of the chord being constructed. When constructing the one chord in the key of C major, count up the scale from and including C to E for the third. Count up the scale from C to G for the fifth. Count up the scale form C to B for the seventh. Place the third, fifth and seventh onto the top of the root C. We now have a Cmaj7. When constructing the five chord in the key of C major, count up the scale from G to B for the third. Count up the scale from G to D for the fifth. Count up the scale from G to F for the seventh. Place the third, fifth and seventh onto the top of the root G. We now have a G7. 7
Diatonic seventh chords cont'd
diatonic 7th chords of C major
Chapter One
Ex1.2
The preceding chord construction process applies when constructing the diatonic chords of any other major scale and, any other type of scale. There will be flats or sharps in other keys. Since the key signature is placed at the beginning of the stave, sharp or flat symbols are not placed before the relevant notes in the chord structures, the key indicates which notes will be sharp or flat. To be sure that the foregoing is perfectly clear here's the diatonic seventh chords in the key of G major. All F notes in the chord structures are F#. Ex1.3
The importance of learning the diatonic seventh chords of the major scale in all keys can not be overstated. Okay, let's look at the major key II - V - I.
MAJOR KEY II - V - I Check out the chords in the above C major scale. Degree II is Dm7, degree V is G7 and degree I is Cmaj7, resulting in a II - V - I in the key of C. The pattern is usually two bars or four bars. Either way the I chord has twice the time value of II and V. As a 2 bar pattern. Ex1.4
Ex1.5
As a 4 bar pattern.
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Major key II - V - I cont'd
Chapter One
Ex1.6 shows the pattern in six keys progressing down in whole tones. Ex1.6
Notice how IIm7 and V7 create forward motion toward Imaj7, giving impetus to the progression. Given the importance of the II - V- I, it is vital that you're familiar with the pattern in all keys.
The one chord can be any type of major chord : C, C6, C 69, Cmaj7, Cmaj9.
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MAJOR SCALE MODES
Chapter One
There are several devices that one can apply to an improvised solo, such as modes, arpeggios, sequence patterns, licks etc. Let's take a look at the modes. Since there are seven notes in the major scale, there are then seven start points available. The scale is in tonic position when played from its tonic to an octave higher. The scale is in its first inversion when played from its second note to an octave higher, second inversion when played from its third note, and so on. Each of these inversions is referred to as a mode. The modes are relative to their parent scale in so far as they contain the same notes in the same order but, each has a different start point. Each mode has its own unique intervalic definition based upon its start point. For identification, each mode has its own name of Greek origin. You may be thinking that after all this wafling all we're doing is playing the scale from each degree, and you're right but, it's how the modes are applied that's important. Plus, out there in the real world of the music business you will (if you work hard enough) be playing and discussing music with musicians of a very high standard, so you'll have to know the subject material and all that appertains to it. There are of course other scales from which related modes can be derived, these will be covered in later chapters. Here are the seven modes of the major scale in the key of C.
MODES OF C MAJOR
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Modes cont'd
Chapter One
As you have learned, each degree of the major scale is numbered in relation to its position in the scale. Each diatonic chord is numbered in relation to the scale degree on which it is constructed. Each mode is numbered in relation to the scale degree on which it starts. Each mode is related to a diatonic chord, and can be used for soloing over that related chord i.e. over the one chord play mode one, over the two chord play mode two etc. The mode conveys the sound of its related chord. On examination you'll see the four notes of the related chord contained within each mode. The three remaining non-chord notes are the chord's diatonic extensions 9, 11 and 13. It should be understood that the 2nd, 4th and 6th degrees of the major scale (and each of its modes) become the 9th, 11th and 13th respectively when they're used to extend the chord above its seventh. This nomenclature results because chords are constructed in intervals of thirds, i.e. a third above the seventh is the 9th which is also the 2nd, a third above the 9th is the 11th which is also the 4th, a third above the 11th is the 13th which is also the 6th. Ex1.7 shows C major scale over two octaves. Compare the upper with the lower numbering of the degrees. Ex1.7
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Modes cont'd
Chapter One
Scale degrees within the compass of one octave are numbered from 1 to 7, see the upper numbering in each octave of the scale. Intervals within the compass of one octave are referred to as simple intervals. Scale degrees above the seventh are numbered 8 to 15, see the lower numbering of the degrees. Intervals greater than an octave are referred to as compound intervals. Note, 9th, 11th and 13th are the same notes as the 2nd, 4th and 6th respectively. As stated above, each mode is related to a diatonic chord. The mode can be thought of as being a melodic expression of its related chord complete with its diatonic extensions. In the following examples the chord notes are bracketed. The remaining three notes of the mode are the chords extensions 9, 11 and 13. RELATED MODE CHORD C ionian
Cmaj7
D dorian
Dm7
E phrygian
Em7
F lydian
Fmaj7
G mixolydian
G7
A aeolian
Am7
B locrian
Bm7 b5
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MODES OVER II - V - I
Chapter One
Each mode should be thought of as being a separate scale related to a specific chord, so that when soloing you are able to relate the correct mode to each chord.
Ex1.8
IIm7
V7
IMaj7
Dm7
G7
Cmaj7
D Dorian
G Mixolydian
C Ionian
Since modes are basically scale inversions, they exist in the major scale fingerings you already use. If you're not familiar with the major scale, here's C major in seven fingerings. Modes in Ex1.9 are fingered in accordance with these scales forms. form 1 1fr
form 2 3fr
form 3 5fr
form 4 7fr
form 5 8fr
form 7
form 6 10fr
12fr
Ex1.9 moves the II - V7 - I pattern through the cycle of fourths. Dilligent practise of this exercise will enable you to quickly locate the related modes in whatever key they occur. If possible record a rhythm track of Ex1.9, or get a friend to play the chords. You need to hear how the modes sound against them. track 2 Ex1.9
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Ex1.9 cont'd
Chapter One
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Ex1.9 cont'd
Chapter One
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Ex1.9 cont'd
Chapter One
Ex1.9 is purely an exercise to help you learn where the II - V - I modes lie on the guitar. We'll solo with them over the chord pattern later. The next soloing device to explore is the application of arpeggios.
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