IMPROVISATION  - by Michael Furstner

Lesson 10 : The IIm7 - V7 - Imaj7 CHORD PROGRESSION  
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CONTENTS
10-1. Chord Function
10-2. The IIm7 - V7 - Imaj7 Chord Progression
10-3. 'I Told You So'  
10-4. Practice for 'I Told You So'
10-5. Improvisation 
10-6. The Woodshed
10-7. Quiz 10 (and Answers to Quiz 9)

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10-1. CHORD FUNCTION

Each and every chord in chord progression of a song has a function.

Having a function means : being a scale-tone chord of an underlying scale.

In most cases the chord represents one of the chords in the scale-tone chord 
progression of the major scale we discussed in Lesson 9. IVmaj7 - VIIm7b5 - IIIm7 - VIm7 - IIm7 - V7 - Imaj7 In C : Fmaj7 - Bm7b5 - Em7 - Am7 - Dm7 - G7 - Cmaj7 In F : Bbmaj7 - Em7b5 - Am7 - Dm7 - Gm7 - C7 - Fmaj7 Viewing any chord in isolation from above perspective : * an Fmaj7 chord for example could either represent 1. the IV chord of the C major scale, or 2. the I chord of the F major scale. In case 1 we use the C major scale for improvisation (with a B natural), while
in case 2 the F major scale should be used (with a Bb). Likewise : * a Dm7 chord for example could either represent 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 This is what we mean by the function of a chord. It represents a specific
scale-tone chord 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 ______________________________________________________________________________ 10-2. THE IIm7 - V7 - Imaj7 PROGRESSION The IIm7 - V7 - Imaj7 progression is the most commonly used sequence in Jazz
tunes. Therefore, if you cannot spot 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 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 5th UP) use the major scale. For a II-V-I in C : Dm7 - G7 - Cmaj7 use : D Dorian mode over Dm7 : D E F G A B C D use : G Mixolydian mode over G7 : G A B C D E F G use : C major scale over Cmaj7 : C D E F G A B C Note that both D Dorian mode and the G Mixolydian mode are derived from the
same C major scale. For a II-V-I in F : Gm7 - C7 - Fmaj7 use : G Dorian mode over Gm7 : G A Bb C D E F G use : C Mixolydian mode over C7 : C D E F G A Bb C use : F major scale over Fmaj7 : F G A Bb C D E F Note that both G Dorian mode and the C Mixolydian mode are derived from the
same F major scale. For a II-V-I in G : Am7 - D7 - Gmaj7 use : A Dorian mode over Am7 : A B C D E F# G A use : D Mixolydian mode over D7 : D E F# G A B C D use : G major scale over Gmaj7 : G A B C D E F# G Note that both A Dorian mode and the D Mixolydian mode are derived from the
same G major scale. (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. (DEMO 50) <------------ C - - F G - - Bb D - - Circle Eb of A Fifths - - Ab E - - Db B - - Gb (F#) -------------> COMMENT The dominant 7th is the PRINCIPLE 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 maj7, m7 or dom7. Gm7 - C7 - Fm7 or Dm7 - G7 - C7 (But this does of course create a modulation to another key for the last
chord.) ______________________________________________________________________________ 10-3. I TOLD YOU SO '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. (MELODY) I TOLD YOU SO (by Michael Furstner) Gm7 C7 Fmaj7 F6 ----------------------------------------------------------------- 4 d a g f - e | d | c g f e - d | c | 4 1 + 2 + 3 + 4 + | 1 2 3 4 | 1 + 2 + 3 + 4 + | 1 2 3 4 | ----------------------------------------------------------------- 1 2 3 4 Gm7 C7 Fmaj7 D7 ----------------------------------------------------------------- | B G A B - d | d c B - c | A | || | 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 + | 1 2 + 3 4 | 1 2 3 4 || ----------------------------------------------------------------- 5 6 7 8 Gm7 C7 Fmaj7 F6 ----------------------------------------------------------------- | d a g f - e | d | c g f e - d | c | | 1 + 2 + 3 + 4 + | 1 2 3 4 | 1 + 2 + 3 + 4 + | 1 2 3 4 | ----------------------------------------------------------------- 9 10 11 12 Gm7 C7 Fmaj7 ----------------------------------------------------------------- | B G A B - c | c A G - F | | || | 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 + | 1 2 3 4 | 1 2 3 4 || ----------------------------------------------------------------- 13 14 15 16 (Bridge) Cm7 F7 Bbmaj7 ------------------------------------------------------------------ | - c d eb f eb d c | a - g f eb d c | d A - A F A | | | 1 + 2 + 3 + 4 + | 1 2 + 3 + 4 + | 1 + 2 + 3 + 4 + | 1 2 3 4 | ------------------------------------------------------------------ 17 18 19 20 Bbm7 Eb7 Abmaj7 ----------------------------------------------------------------- | - Bb c db eb db c Bb | g - f eb db c Bb | c | || | 1 + 2 + 3 + 4 + | 1 2 + 3 + 4 + | 1 2 3 4 | 1 2 3 4 || ----------------------------------------------------------------- 21 22 23 24 Gm7 C7 Fmaj7 F6 ----------------------------------------------------------------- | d a g f - e | d | c g f e - d | c | | 1 + 2 + 3 + 4 + | 1 2 3 4 | 1 + 2 + 3 + 4 + | 1 2 3 4 | ----------------------------------------------------------------- 25 26 27 28 Gm7 C7 Fmaj7 ----------------------------------------------------------------- | B G A B | d d c A - F | | || | 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 + | 1 2 3 4 | 1 2 3 4 || ----------------------------------------------------------------- 29 30 31 32 Copyright 1995 Michael Furstner. ______________________________________________________________________________ 10-4. PRACTICE for I TOLD YOU SO Practice in the usual way : (DEMO 51) 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 : Gm7 C7 Fmaj7 F6 --------------------------------------------------------------------------- 4 G A Bb c d e f g | C D E F G A Bb c | F G A Bb c d e f | e d c Bb A G F | 4 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 | --------------------------------------------------------------------------- 1 2 3 4 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. ______________________________________________________________________________ 10-5. IMPROVISATION Four bars long II-V-I chord progressions 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. For the right sequence see the Woodshed below. (DEMO 52) I play each routine twice, both times in C major only. Music Notation 1. Start on each chord root and end on each 3rd. Dm7 G7 Cmaj7 -------------------------------------------------------- 4 D E F | G A B | c d e | g f e :|| 4 1 2 3 4 | 1 2 3 4 | 1 2 3 4 | 1 2 3 4 || -------------------------------------------------------- 1 3 1 3 1 3 5 3 Cm7 F7 Bbmaj7 etc. -------------------------------------------------------- | C D Eb | F A Bb | Bb c d | f eb d :|| | 1 2 3 4 | 1 2 3 4 | 1 2 3 4 | 1 2 3 4 || -------------------------------------------------------- 1 3 1 3 1 3 5 3 2. Start on the 3rd and end on the 5th of each chord. Dm7 G7 Cmaj7 etc. -------------------------------------------------------- 4 F G A | B c d | e f g | b a g :|| 4 1 2 3 4 | 1 2 3 4 | 1 2 3 4 | 1 2 3 4 || -------------------------------------------------------- 3 5 3 5 3 5 7 5 3. Start on the 5th and end on the 7th of each chord. Dm7 G7 Cmaj7 etc. -------------------------------------------------------- 4 A B c | d e f | g a b | d' c' b :|| 4 1 2 3 4 | 1 2 3 4 | 1 2 3 4 | 1 2 3 4 || -------------------------------------------------------- 5 7 5 7 5 7 9 7 4. Start on each chord root and end on each 5th. Dm7 G7 Cmaj7 --------------------------------------------------------------- 4 D E F G A | G A B c d | c d e f g f e d | c :|| 4 1 + 2 + 3 4 | 1 + 2 + 3 4 | 1 + 2 + 3 + 4 + | 1 + 2 + 3 4 || --------------------------------------------------------------- 1 5 1 5 1 5 1 Cm7 F7 Bbmaj7 etc. -------------------------------------------------------------- | C D Eb F G | F G A Bb c | Bb c d eb f eb d c | Bb :|| | 1 + 2 + 3 4 | 1 + 2 + 3 4 | 1 + 2 + 3 + 4 + | 1 2 3 4 || -------------------------------------------------------------- 1 5 1 5 1 5 1 5. Start on each chord 3rd and end on each 7th Dm7 G7 Cmaj7 ------------------------------------------------------------------ 4 F G A B c | B c d e f | e f g a b a g f | e :|| 4 1 + 2 + 3 4 | 1 + 2 + 3 4 | 1 + 2 + 3 + 4 + | 1 2 3 4 || ------------------------------------------------------------------ 3 7 3 7 3 7 3 Cm7 F7 Bbmaj7 etc. ----------------------------------------------------------------- | Eb F G A Bb | A Bb c d eb | d eb f g a g f eb | d :|| | 1 + 2 + 3 4 | 1 + 2 + 3 4 | 1 + 2 + 3 + 4 + | 1 2 3 4 || ----------------------------------------------------------------- 3 7 3 7 3 7 3 6. Start on the 3rd of the IIm7 chord and end on the 3rd of the Imaj7 chord. Dm7 G7 Cmaj7 ---------------------------------------------------------------- 4 - F G A B c d e | f e d c B A G F | E | :|| 4 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 + | 1 2 3 4 | 1 2 3 4 || ---------------------------------------------------------------- 3 7 3 Cm7 F7 Bbmaj7 etc. ---------------------------------------------------------------- | - Eb F G A Bb c d | eb d c Bb A G F Eb | D | :|| | 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 + | 1 2 3 4 | 1 2 3 4 || ---------------------------------------------------------------- 3 7 3 7. Same as Example 3, but start on the 5th of IIm7 and end on the 5th of Imaj7. (For Dm7-G7-Cmaj7 : start on A, end on G) 8. Same as Example 3, but start on the 7th of IIm7 and end on the 7th of Imaj7. (For Dm7-G7-Cmaj7 : start on c, end on B) 9. Start on the 5th of IIm7, end on the 7th of Imaj7 Dm7 G7 Cmaj7 ---------------------------------------------------------------- 4 A B c d e f | a g f e d c B A | B G A B | :|| 4 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 + | 1 2 3 + 4 + | 1 2 3 4 || ---------------------------------------------------------------- 5 9 7 Cm7 F7 Bbmaj7 etc. ---------------------------------------------------------------- | G A Bb c d eb| g f eb d c Bb A G | A F G A | :|| | 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 + | 1 2 3 + 4 + | 1 2 3 4 || ---------------------------------------------------------------- 3 7 3 10. Start on the 7th of IIm7, end on the 9th of Imaj7 Dm7 G7 Cmaj7 etc. --------------------------------------------------------------- 4 - c d e f g a | b c' b a g f e d | B G | - :|| 4 1 2 + 3 + 4 + | 1 + 2 + 3 + 4 + | 1 2 3 4 + | 1 2 3 4 || --------------------------------------------------------------- 7 9 7 5 Practice above exercises first slowly on your instrument in all keys. Then use the Play-a-Long track . ______________________________________________________________________________ 10-6. THE WOODSHED On the Play-a-Long track each II-V-I is played TWICE (8 bars
total). The sequence is : II V I 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. (DEMO 53) Dm7 G7 Cmaj7 ----------------------------------------------------------------- 4 D E F G A B c d | G A B c d e f g | C D E F G A B c | :|| 4 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 + | 1 2 3 4 || ----------------------------------------------------------------- ______________________________________________________________________________ 10-7. QUIZ 10 A. What are the II-V-I progressions for these major scales. 1. F 2. G 3. Eb 4. A 5. Bb 6. D B. 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 C. Write out these Dorian modes 1. F 2. G 3. Bb 4. D 5. C 6. A D. Write down from memory the Circle of Fifths, starting C - F - ? E. Identify all the II-Vs and II-V-Is in the chord progression of this famous
tune by Duke Ellington. | Dm7 G7 | Dm7 G7 | Em7 A7 | Em7 A7 | | Am7 D7 | Abm7 Db7 | C7 B7 | Bb7 A7 || | Dm7 G7 | Dm7 G7 | Em7 A7 | Em7 A7 | | Am7 D7 | Abm7 Db7 | C | C || | Gm7 | C7 | Fmaj7 | | | Am7 | D7 | G7 | || | Dm7 G7 | Dm7 G7 | Em7 A7 | Em7 A7 | | Am7 D7 | Abm7 Db7 | C | C || Do you recognise the song ? ANSWERS IN NEXT LESSON -------------------------------------- Answers to Quiz 9 A. Write down (in ascending order) the Scale-tone 7th Chord Progressions for : 1. Fmaj7 - Gm7 - Am7 - Bbmaj7 - C7 - Dm7 - Em7b5 - Fmaj7 2. Bbmaj7 - Cm7 - Dm7 - Ebmaj7 - F7 - Gm7 - Am7b5 - Bbmaj7 3. Gmaj7 - Am7 - Bm7 - Cmaj7 - D7 - Em7 - F#m7b5 - Gmaj7 4. Dmaj7 - Em7 - F#m7 - Gmaj7 - A7 - Bm7 - C#m7b5 - Dmaj7 5. Amaj7 - Bm7 - C#m7 - Dmaj7 - E7 - F#m7 - G#m7b5 - Amaj7 B. Write down the Scale-tone 7th Chord Progressions for : 1. Bbmaj7 - Em7b5 - Am7 - Dm7 - Gm7 - C7 - Fmaj7 2. Ebmaj7 - Am7b5 - Dm7 - Gm7 - Cm7 - F7 - Bbmaj7 3. Cmaj7 - F#m7b5 - Bm7 - Em7 - Am7 - D7 - Gmaj7 4. Gmaj7 - C#m7b5 - F#m7 - Bm7 - Em7 - A7 - Dmaj7 5. Dmaj7 - G#m7b5 - C#m7 - F#m7 - Bm7 - E7 - Amaj7 C. Place these scale-tone 7th chords in their proper Circle of Fifths order, (IVmaj7 - Bm7b5 - IIIm7 - VIm7 - IIm7 - V7 - Imaj7) 1. Gm7 - Em7b5 - Fmaj7 - C7 - Bbmaj7 - Dm7 - Am7 Bbmaj7 - Em7b5 - Am7 - Dm7 - Gm7 - C7 - Fmaj7 2. Gmaj7 - Em7 - D7 - F#m7b5 - Cmaj7 - Bm7 - Am7 Cmaj7 - F#m7b5 - Bm7 - Em7 - Am7 - D7 - Gmaj7 3. C#m7b5 - Gmaj7 - F#m7 - Em7 - Dmaj7 - Bm7 - A7 Gmaj7 - C#m7b5 - F#m7 - Bm7 - Em7 - A7 - Dmaj7 D. Which chords are missing in these scale-tone 7th chord progressions 1. Dmaj7 - G#m7b5 - (C#m7) - F#m7 - Bm7 - E7 - (Amaj7) 2. (Bbmaj7) - Em7b5 - Am7 - (Dm7) - Gm7 - C7 - Fmaj7 3. Cmaj7 - (F#m7b5) - (Bm7) - Em7 - Am7 - D7 - Gmaj7 E. What is the Guide Tone Line for the MELODY in bars 1 - 16 of Street Dance ? | c | B | B | A | | F | F (G) | E | d || | c | B | B | A | | F | F (G) | C | C || (In bars 6 and 14 any of the notes in those bars could have been the guide
tone) ______________________________________________________________________________ JAZCLASS - www.jazclass.aust.com Copying permitted for personal use only. Copyright 1997 Michael Furstner. All rights reserved.