Message number: 1075852008
the following will be a series of articles about what chord progressions we should practice ii v licks over. .. how we can best practice them. what to play in the left hand while playing right hand licks. how to compose your own ii v licks… etc..
there are three ii v progressions that should be practiced. why these three? because upon analysis virtually all ii v progressions fit into one of these three categories. so if you prepare yourself for these three situations you will be prepared for virtually any ii v situation you encounter while improvising. after introducing and talking about these three progressions we will identify the names of many standards that contain these progressions and also try to find some exceptions to the rule. i have made up my own names for these three progressions which i will henceforth use for ease of reference:
the rhythm fives, the tune up fives, and the giant fives,
an introduction
i the rhythm fives:
what are the rhythm fives?
answer: (i have also uploaded a file on manuscript paper called “the rhythm fives” that it may be useful to print out at this point to follow what i am talking about.)
the bridge to the composition by george gershwin “i’ve got rhythm” consists of a series of dominant 7 chords that in the key of bb read as follows:
\d7 \ \ g7 \ \ c7 \ \ f7 \\
if we back pedal and precede every dominant chord by its ii minor 7 chord we get:
\a-7 \ d7\ d-7 \ g7 \ g-7 \c7 \ c-7\ f7\
this is what i am calling the rhythm fives... this type of ii v sequence occurs in countless tunes , not just rhythm changes tunes as we will find , but an endless list of standards have these ii v’s or segments of them in them. there are many different ways we will want to practice this progression. … altering the harmonic rhythm, apply chord substations, and especially transpose to all twelve keys. here are some tricks to help thinking of the transposition:
after you figure out the first ii v of the new key it’s easy to figure out the second one.
the ii minor chord of the second ii v will have the same root as the dominant chord of the first ii v. figuring out the first ii v is easy too because the root of the ii chord in the firs ii v will be vii of the key you are transposing to. for example;
if we want to transpose to practice the rhythm fives the key of c it’s easy to figure out without writing it out. first we just need to figure out what vii is in the key of c… the answer is b... so the first chord will be b – 7 making the first ii v \b-7 \ e7\ then to figure out the second ii v we just need to start out with the ii minor 7 chord with the same root as e7…. that’s e-7 so, so far we have \b-7 \ e7\ e-7\ a7\ and continuing on
the rhythm fives in the key of c end up being
\b-7 \ e7\ e-7\ a7\ a-7\ d7 \ d-7 \ g7 \\
click on uploaded files in my room to get a file containing examples of all this stuff
on staff paper. soon i will be uploading files containing chord voicing, bass lines, and
lydian parent chord scales to practice over the rhythm fives.
that sums up the introduction to “the rhythm fives”. soon to come: parts ii and iii , introduction to the tune up fives and the giant fives.
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