hey all,
i was wondering if any one could record a minute or two of improvising over minor ii-v-i.  it's what i'm working on right now, but wanted to hear how a more experienced player would do it.  i can't really find a pre existing recording, since no one would release something like that..
There are 6 comments, leave a comment.
just so you know what it is i'm working on:
i'm strictly sticking to the harmonic minor for now and just concentrating on phrasing, as in maintaining long 8ths, putting in breaths, etc.
although i don't have recording of myself playing over minor ii v i (nor would i wish to share them if did) here's two resources that come to mind: jamey aebersold 11 v i play along- includes lots of patterns in both major and minor.  

there's lots of latin tunes built just around  minor ii v i. carlos santana's "floor de luna" or "moon flower" has an extended solo section over a minor ii v i.
hi-
i think you might be going down a dead end. maybe you should ask yourself why you are studying 2-5-1 so heavily. and if the answer is that you heard a someone playing a beautiful solo over a tune, then maybe you could transcribe that and adapt their ideas. but if it's because you read somewhere that jazz musicians should practice 2-5's, that's a incorrectly oriented goal. you should reevaluate your goals. ideally, every time you sit down to practice it should be because you are in love with the music, not because someone told you to practice this or that.
there a countless patterns you could study if you took the time to transcribe even one chorus of a charlie parker solo. but you should find the musicians that speak to you, when you study their music your motivation will go through the roof.
good luck
there are several bill evan's recording and transcriptions of beautiful love. it features ii v i in d minor. why not study that?
" - use of altered chords and their corresponding scale possiblities" https://www.jeff-brent.com/lessons/altered.html )


arriving at the i minor chord, you can end on a simple m7 chord, a crunchier m6, also a m9, a m69, or a m11.

whichever ending minor chord you choose, the bottom five notes of your scale will always be 1 2 b3 4 5.  

dealing with the 6ths and 7ths is a matter of personal preference and the underlying key signature.  

as such your 6th can either be lowered (as in the natural aeolian minor and harmonic minor) or raised (as in the ascending melodic minor and dorian).  

your 7th can be lowered (as in the aeolian and dorian) or raised (as in the harmonic minor and ascending melodic minor).

one common trick is to play both types of 6ths and 7ths chromatically.

for a full discussion of minor scales and minor progressions, see https://www.jeff-brent.com/lessons/minors.html


while it is certainly both possible and common to solo horizontally over a minor ii-v-i progression using just one scale, it is often more interesting both for the player and the listener to have a solo which takes into account the components of each chord as it comes down the pike (vertical soloing).

because of the great number of combinations of chord possibilities (especially with regards to the altered v7 forms), it would be better if you used a program like band-in-a-box to try different soloing ideas while varying the chords in the underlying progression.


ps: the minor blues scale ( 1 b3 4 #4 5 b7 ) also works great over this entire progression, but don't tell anyone that i said that (it'll be our little secret, sshhhh ... )
i was just looking for a point of reference.  it's a two week ramp up phase just go get the feel of the flow..  tom, the reason why i am studying the ii-v is because i haven't yet.  simple as that.

i'll definitely look for the santana and evans tunes..  it's odd because if the left hand continuously does a ii-v-i in without changing keys, with the same voicing (i'm locking that to ii7b5-v7-i6 for now), it's hard to keep things interesting with just varying the right hand.  but still, i think it's good practice because it forces me to try my best to make cohesive ideas through phrasing rather than let out a stream of notes.
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