ii-v-i ? 4 4 Dm7 G7 CMaj7 Gm7 C7 FMaj7 Cm7 F7 B Maj7 Fm7 B 7 E Maj7 B m7 E 7 A Maj7 E m7 A 7 D Maj7 A m7 D 7 G Maj7 C # m7 F # 7 BMaj7 F # m7 B7 EMaj7

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1 The most common chord progression found in jazz music is the ii-v-i (2-5-1), and the source of the minor ii, dominant V, and major I chords is the modes of the major scale. For example, the C major scale consists of the notes C-D-E-F-G-A-B. The corresponding modes of the C major scale which go along with those notes include C Ionian, D Dorian, E Phrygian, F Lydian, G Mixolydian, A Aeolian, and B Locrian. To construct a ii-v-i in C major, use the second, fifth, and first scale degrees, respectively, of the C major scale along with their associated modes and seventh chords. Seventh chords are constructed y playing every other note of a scale or mode. If you start with the first note of a scale and skip every other one, you will play the first, third, fifth, and seventh notes. These notes are also the root, third, fifth, and seventh of the chord. They are called chord tones, and they define the quality (major, minor, dominant, etc.) of each seventh chord. The second scale degree of the C major scale is the note D. The second mode of the C major scale is D Dorian, and the seventh chord generated y D Dorian is Dm7 ecause D Dorian contains a root, minor third, perfect fifth, and minor seventh scale degrees. Dm7 is the minor ii (2) chord in the key of C major ecause it is uilt off the second mode of the C major scale. The fifth scale degree of the C major scale is the note G. The fifth mode of the C major scale is G Mixolydian, and the seventh chord generated y G Mixolydian is G7 ecause G Mixolydian contains a root, major third, perfect fifth, and minor seventh scale degrees. G7 is the dominant V (5) chord in the key of C major ecause it is constructed from the fifth mode of the C major scale. The first scale degree of the C major scale is the note C. The first mode of the C major scale is C Ionian, and the seventh chord generated y C Ionian is CMaj7 ecause C Ionian contains a root, major third, perfect fifth, and major seventh scale degrees. CMaj7 is the major I (1) chord in the key of C major ecause it is uilt from the first mode of the C major scale. The ii-v-i chord progression in the key of C major is Dm7-G7-CMaj7. Maj7, m7, and 7 also happen to e the three most commonly played chords in jazz. As long as you understand the order or sequence of the major scale modes, you can easily think through the ii-v-i in every key without referring to your instrument. For example, the ii-v-i in the key of G major is Am7-D7-GMaj7. The ii-v-i in the key of D major is Em7-A7-DMaj7 and so forth. Although the ii-v-i is the most common chord progression played in jazz, there are several other progressions that need to e examined including the ii-v and the V-I. A ii-v (2-5) chord progression doesn't have to end with a major I chord, and a V-I (5-1) chord progression doesn't have to e preceded y a minor ii chord. Both of these chord progressions are often found in classic jazz compositions. In the final two measures of the 12-ar lues and many other song forms, you will frequently find another common chord progression known as the I-VI-ii-V ( ) which functions as a turnaround to take you ack to the top of the song form. The I-VI-ii-V is a slightly altered chord progression ecause a completely diatonic I-vi-ii-V in the key of F major would feature the chord changes of FMaj7-Dm7-Gm7-C7. The I-VI-ii-V which often appears as a turnaround in the lues, such as the 12-ar lues in F, contains the chords of F7-D7-Gm7-C7. The I (1) chord in a 12-ar lues is normally a dominant seventh chord type so this would explain why F7 is utilized instead of FMaj7. Rather than playing a minor seventh chord as the vi in a I-vi-ii-V chord progression, most musicians usually make a very asic chord sustitution y modifying the minor seventh chord to a dominant seventh chord change. Playing D7 instead of Dm7 heightens the underlying sense of tension and resolution within the chord progression. Plus, there are also many more opportunities to alter dominant seventh chords than there are to alter minor seventh chords. If you play a I-vi-ii-V chord progression (F7-Dm7-Gm7-C7) on a piano using asic voice leading techniques, the chord progression will sound smooth. If you sustitute a dominant VI for a minor vi and then play a I-VI-ii-V chord progression (F7-D7-Gm7-C7), you will feel a stronger sense of tension and resolution within the turnaround.

2 Common variations of the I-vi-ii-V and I-VI-ii-V chord progressions are the iii-vi-ii-v ( ) and iii-vi-ii-v progressions. In the key of C major, a diatonic iii-vi-ii-v chord progression features the chord changes of Em7-Am7-Dm7-G7. Like with the I-vi-ii-V chord progression, the minor vi chord often gets sustituted and played as a dominant seventh chord thus making it a chord progression of Em7-A7-Dm7-G7 (I-VI-ii-V) in order to heighten the underlying sense of tension and resolution within the chord progression. In addition to the ii-v-i, you should feel comfortale improvising ass lines over the ii-v, V-I, I-VI-ii-V, I-vi-ii-V, iii-vi-ii-v, and the iii-vi-ii-v ecause these common chord progressions are utilized extensively in many styles of music. Other common chord progressions include the V of V (5-5) and the I-IV (1-4). In a V of V chord progression, a dominant seventh chord resolves down a fifth to another dominant chord such as C7-F7. You will often find several V chords in a row as they follow each other counterclockwise around the circle of fifths. The ridge or "B" section of "I Got Rhythm" (Rhythm Changes) y George Gershwin is a classic example of V of V chord progressions where four V chords appear in a row with each one resolving down a fifth over the span of eight measures. There are two measures of D7 followed y two ars of G7, two measures of C7, and two ars of F7. In a I-IV chord progression, major seventh chords are frequently followed y major seventh and dominant seventh chords a fourth higher such as CMaj7-FMaj7 or CMaj7-F7. With this lesson, you will find a collection of chord charts and play-along tracks. You can use the chord charts to notate ass lines. If you aren't proficient at writing standard notation, you can still print the chord charts and place them in front of you for reference as you improvise. Along with the chord charts, use the play-along tracks that I have provided to help simulate a live performance application, and improvise ass lines over these common chord progressions. Depending on how much time you have availale to devote to improvising on these chord progressions, you might consider practicing a different key every day, every other day, or possily one per week. If you work on one key each week, you will have covered these chord progressions in every key in just three months.

3 ii-v-i 4 4 Dm7 G7 CMaj7 Gm7 C7 FMaj7 Cm7 F7 B Maj7 Fm7 B 7 E Maj7 B m7 E 7 A Maj7 E m7 A 7 D Maj7 A m7 D 7 G Maj7 C # m7 F # 7 BMaj7 F # m7 B7 EMaj7

4 Bm7 E7 AMaj7 Em7 A7 DMaj7 Am7 D7 GMaj7 Dm7 G7 CMaj7 Gm7 C7 FMaj7 Cm7 F7 B Maj7 Fm7 B 7 E Maj7 B m7 E 7 A Maj7 E m7 A 7 D Maj7 A m7 D 7 G Maj7 C # m7 F # 7 BMaj7 F # m7 B7 EMaj7 Bm7 E7 AMaj7 Em7 A7 DMaj7 Am7 D7 GMaj7

5 I-VI-ii-V 4 4 C7 A7 Dm7 G7 F7 D7 Gm7 C7 B 7 G7 Cm7 F7 E 7 C7 Fm7 B 7 A 7 F7 B m7 E 7 D 7 B 7 E m7 A 7 G 7 E 7 A m7 D 7 B7 G # 7 C # m7 F # 7 E7 C # 7 F # m7 B7 A7 F # 7 Bm7 E7 D7 B7 Em7 A7 G7 E7 Am7 D7

6 I-vi-ii-V 4 4 CMaj7 Am7 Dm7 G7 FMaj7 Dm7 Gm7 C7 B Maj7 Gm7 Cm7 F7 E Maj7 Cm7 Fm7 B 7 A Maj7 Fm7 B m7 E 7 D Maj7 B m7 E m7 A 7 G Maj7 E m7 A m7 D 7 BMaj7 G # m7 C # m7 F # 7 EMaj7 C # m7 F # m7 B7 AMaj7 F # m7 Bm7 E7 DMaj7 Bm7 Em7 A7 GMaj7 Em7 Am7 D7

7 iii-vi-ii-v 4 4 Em7 A7 Dm7 G7 Am7 D7 Gm7 C7 Dm7 G7 Cm7 F7 Gm7 C7 Fm7 B 7 Cm7 F7 B m7 E 7 Fm7 B 7 E m7 A 7 B m7 E 7 A m7 D 7 D # m7 G # 7 C # m7 F # 7 G # m7 C # 7 F # m7 B7 C # m7 F # 7 Bm7 E7 F # m7 B7 Em7 A7 Bm7 E7 Am7 D7

8 iii-vi-ii-v 4 4 Em7 Am7 Dm7 G7 Am7 Dm7 Gm7 C7 Dm7 Gm7 Cm7 F7 Gm7 Cm7 Fm7 B 7 Cm7 Fm7 B m7 E 7 Fm7 B m7 E m7 A 7 B m7 E m7 A m7 D 7 D # m7 G # m7 C # m7 F # 7 G # m7 C # m7 F # m7 B7 C # m7 F # m7 Bm7 E7 F # m7 Bm7 Em7 A7 Bm7 Em7 Am7 D7

9 4 4 The Blues In F F7 B 7 F7 F7 D7 B 7 B 7 F7 Am7 Gm7 C7 F7 D7 Gm7 C7

10 4 4 I Got Rhythm B Maj6Gm7 Cm7 F7 B Maj6Gm7 Cm7 F7 B Maj6B 7 E Maj6E m6 Dm7 G7 Cm7 B Maj6Gm7 Cm7 F7 B Maj6 Gm7 Cm7 B Maj6B 7 E Maj6E m6 Cm7 F7 B Maj6 F7 F7 D7 D7 G7 G7 C7 C7 F7 F7 B Maj6Gm7 Cm7 F7 B Maj6 Gm7 Cm7 F7 B Maj6B 7 E Maj6E m6 Cm7 F7 B Maj6

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