1. the IV chord of the C major scale, or
   
   
2. the I chord of the F major scale

1. the II chord of the C major scale, or
   
   
2. the VI chord of the F major scale, or even
   
   
3. the III chord of the Bb major scale

In case 1 above we use the D Dorian mode, in case 2 the D Aeolian mode (= D natural minor scale) and in case 3 we use the D Phrygian mode (= notes of the Bb major scale with tonic note D)

This is what we mean by the function of a chord. It represents a specific scale-tone chord position and defines therefore a specific scale. Which scale this is becomes clear by looking at the surrounding chords in the progression and by listening and deciding what sounds most appropriate.
More about this aspect in Lesson 12.

Im 10.2 - The IIm7 - V7 - IΔ Chord Progression

The tail end of the major scale's scale-tone chord progression consists of : IIm7 - V7 - Imaj7.
This is the most commonly used chord segment in Jazz standards, ballads and popular music. Therefore, if you cannot identify a larger scale-tone chord progression segment, it is safe to assume that :

• a minor chord is usually a IIm7 chord
  (especially when followed by a dominant chord a perfect 5th down)
  Use the Dorian mode for improvisation
  
  
• a dominant chord is always a V7 chord
  Use mostly the Mixolydian mode (but see Lesson 11 and 12)
  
  
• a major chord is usually a Imaj7 chord
  (especially when preceded by a dominant chord a perfect 5th up)
  Use the major scale

Audio 10.1

For a IIm7-V7-IΔ in F :   Gm7 - C7 - FΔ
          use : G Dorian mode over Gm7
          use : C Mixolydian mode over C7
          use : F major scale over Fmaj7

Audio 10.2

For a IIm7-V7-IΔ in G :   Am7 - D7 - GΔ
          use : A Dorian mode over Am7
          use : D Mixolydian mode over D7
          use : G major scale over Gmaj7

Audio 10.3

(We have anticipated these chord functions in the WOODSHED program where we have combined the major chords with major scales, the dominant chords with Mixolydian modes and the minor chords with Dorian modes.)

Remember that II , V and I always form a short segment on the Circle of Fifths. It is therefore most important to know this Circle from memory.

Audio 10.4

COMMENT
The dominant 7th is the principal tension chord in music. It commonly resolves to a chord a 5th down, but that can be a chord of any quality. This means that a IIm7 - V7 segment can be completed with a major, minor or dominant I chord :

However this does of course create a modulation (change) to another key for the I chord.

Im 10.3 - I Told You So (Song)

'I Told You So' is a 32 bar song in AABA format. The chord progression consists entirely of II-V-I segments, each of 4 bars length. Each A section consists of two II-V-Is in F major.

The Bridge consists of a II-V-I in Bb major followed by a II-V-I in Ab major. This is an example of the so called II-V-I Bridge (two II-V-Is usually a tone apart). The 'II-V-I Bridge' and the 'Rhythm Bridge' are the two most famous Bridge progressions in Jazz.

Audio 10.5

I Told You So : Demo - Play-along - Swapping 4s.

1. 1st chorus : I play the first 4 bar phrase of each 8 bar section, you play the following 4 bars.

2. 2nd chorus : You play the first 4 bar phrase of each 8 bar section, I play the following 4 bars.

Im 10.4 - Practice for I Told You So

Practice in the usual way :

1. Chord root tones in semibreves (1/1 notes) or rhythm patterns
   
   
2. Chord tones only in crotchets (1/4 notes)
   
   
3. Scale tones in quavers (1/8 notes)
   Play each bar the appropriate mode :

Audio 10.6

When improvising on I Told You so start each phrase on a specific chord tone other than the root. Select the 3rd, 5th 7th or 9th.

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Im 10.5 - Improvisation

II-V-I chord progressions of 4 bars length are ideal for improvisation practice of phrasing and tone selection. First practice the basic mode sequences in all keys as shown in the Woodshed section below.
Then play simple scale runs that start and end on specific chord tones.

Here are 10 Routines for practice. Play each II-V-I twice in each key (8 bars total per key). Numbers indicate the chord tone of the underlying chord. For the correct sequence of keys on the Play-along track see the Woodshed below.

Audio 10.7
Click on any bar to activate its Audio

Practice above exercises first slowly on your instrument in all keys. Then use the Play-a-Long track.

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Im 10.6 - The Woodshed

On the Play-a-Long track each IIm7-V7-IΔ progression is played twice (8 bars total).
The chord sequence is :

IIm7	V7	IΔ
Dm7	G7	Cmaj7
Cm7	F7	Bbmaj7
Bbm7	Eb7	Abmaj7
Abm7	Db7	Gbmaj7
F#m7	B7	Emaj7
Em7	A7	Dmaj7
C#m7	F#7	Bmaj7
Bm7	E7	Amaj7
Am7	D7	Gmaj7
Gm7	C7	Fmaj7
Fm7	Bb7	Ebmaj7
Ebm7	Ab7	Dbmaj7

Practise in quavers (1/8 notes) :

• the Dorian mode over the II chord
  
  
• the Mixolydian mode over the V chord
  
  
• the major scale scale over the I chord

Remember : both modes contain the same notes as the corresponding major scale.

Audio 10.8

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Im 10.7 - Chord Voicings for Keyboard

In the Improvisation Library under 'Scales & Chords' you find two files
(page 1 and page 2) called 'Keyboard II-V-I Chord progression voicings' Below several sets of effective chord voicings (in closed position) for the IIm7 - V7 - Imaj7 chord progression in all keys. You can use these in the left hand while playing the melody or an improvisation in the right hand.

PLAYING RANGE
When playing closed position chords in the left hand place them so that the lowest note of the chord falls within the range from Middle C down to A a 10th lower.
Chords played above this range sound tinny, they also interfere with the melody line. Chords played below this range sound muddy.

Audio 4.8
When playing closed position chords in the right hand place them so that they straddle or touch Middle C.
This leaves the left hand free to play bass notes, a boogie pattern or a walking bass line.

This applies to all "closed position" chords (all chord tones fall within the span of 1 octave and are usually played with one hand.) Chords played above this range sound too tinny, they also interfere with the
melody line. Chords played below this range sound too muddy.

The sheet music covers four different voicing combinations for the
IIm7 - V7 - Imaj7 chord progression.

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BASIC CHORD VOICINGS
The two most basic voicings are basic combinations which alternate root position chords (with the chord root at the bottom of the chord voicing) and 2nd inversions (with the 5th at the bottom of the chord voicing).

1. Voicing 1 = IIm7 in root position - V7 in 2nd inversion - IΔ in root position
   
   
2. Voicing 2 = IIm7 in 2nd inversion - V7 in root position - IΔ in 2nd inversion

Voicings 1 and 2 contain all chord tones : root, 3rd, 5th and 7th.

Audio 10.9
The black note in each chord (which is either the chord root or 5th) may be left out to produce a clearer chord sound, especially on electronic keyboards.

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CONTEMPORARY JAZZ VOICINGS
Voicings 3 and 4 are commonly used contemporary Jazz chords.
For all these voicings the root is omitted from the chord. This produces a less predictable sound. In a small group the root is always covered by the bass player, there is therefore no need to for the keyboard (or guitar) players to include it in their chord voicing.

The IIm7 voicing is in fact a IVmaj7 chord which functions as a IIm9 chord. Likewise the Imaj7 voicing is a IIm7 chord which functions as a Imaj9 chord. Note the most interesting paradox here of using a major chord to produce an inferred minor sound, and a minor chord to produce an inferred major sound. The bass player who will play the chord root will define which is which.

The contemporary V7 voicing leaves out both the root and 5th of the chord. instead it includes the 9th and 13th.

1. Voicing 3 = IIm9 based on the 3rd - V9^add13 based on the 7th - IΔ9 based on the 3rd
   
   
2. Voicing 4 = IIm9 based on the 7th - V9^add13 based on the 3rd - IΔ9 based on the 7th

Audio 10.10

The black note in each chord (which is either the chord root or 5th) may be left out to produce a clearer chord sound, especially on electronic keyboards.

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HOW TO PRACTICE
Practise each combination by progression directly downwards on each page (e.g. from the first voicing combination on the first line to the first voicing combination on the second line, then to the first combination on the third line, and so on down the page).

Play each IIm7 chord for 1 bar, each V7 chord for 1 bar, each Imaj7 chord for 2 bars.

This produces a natural 4 bar long phrase in each key. Play the same sequence twice in each key (2 x 4 bars = 8 bars total in each key).
On page 1 :

On page 2 :

Practise

1. first with the left hand only
   
   
2. with both hands together, right hand 1 octave above the left
   
   
3. left hand chords, right hand corresdonding modes and scale

First practise the two basic voicing combinantions. When you know both well, proceed with practice on the two contemporary voicing combinantions.

Learn all four combinations with the full 4-note voicings. Once you know these it is quite easy to leave out the specified black note for each chord.

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Im 10.8 - Quiz

1. What are the II-V-I progressions for these major scales.
   1. F
   2. G
   3. Eb
   4. A
   5. Bb
   6. D
   
   
   
2. Identify the following modes or scales.
   1. D E F# G A B C D
   2. Bb C Db Eb F G Ab Bb
   3. A B C# D E F# G A
   4. F G A Bb C D Eb F
   5. Bb C D Eb F G A Bb
   6. G A Bb C D E F G
   
   
   
3. Write out these Dorian modes
   1. F
   2. G
   3. Bb
   4. D
   5. C
   6. A
   
   
   
4. Write down from memory the Circle of Fifths, starting C - F - ?
   
   
5. Identify all the II-Vs and II-V-Is in the chord progression of this famous Jazz standard by Duke Ellington and Billy Strayhorne.
   Do you recognise the song ? What is the bridge called ?

Quiz ANSWERS

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Im 10.9 Practice Materials

I Told You So	Lead sheet Bb Eb	Melody & Impro	Play-along
	Swapping 4s
Improvisation	Exercises 1-10	Demo	Play-along
The Woodshed	II-V-I page 1	Demo	Play-along
	II-V-I page 2
Keyboard Chord Voicings	page 1 - page 2		Play-along

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Copyright © 1997 - 2007 Michael Furstner.