IMPROVISATION - by Michael Furstner
Lesson 11 : The IIm7b5 - V7 - Im CHORD PROGRESSION
______________________________________________________________________________
CONTENTS
11-1. Scale-tone Chords of the Harmonic minor scale
11-2. The IIm7b5 - V7 - Im Chord Progression
11-3. 'Lonesome Bossa'
11-4. Improvisation practice for 'Lonesome Bossa'
11-5. Improvisation
11-6. The Woodshed
11-7. Quiz 11 (and Answers to Quiz 10)
______________________________________________________________________________
11-1. SCALE-TONE CHORDS of the HARMONIC MINOR SCALE
Scale-tone chords for the harmonic minor scale are constructed in the same way as those for the major scale.
C harmonic minor scale : C - D - Eb - F - G - Ab - B - C
Simply stack three alternate notes of the harmonic minor scale on each of the seven tones in the scale.
This produces once again 7 different scale-tone chords :
(DEMO 54)
CmM7 Dm7b5 Ebmaj7#5 Fm7 G7 Abmaj7 Bo7
-------------------------------------------------------------------
| B c d eb f g ab |
| G Ab B c d eb f |
| Eb F G Ab B c d |
| C D Eb F G Ab B |
-------------------------------------------------------------------
ImM7 IIm7b5 bIIImaj7#5 IVm7 V7 bVImaj7 VIIo7
We can do the same in any key.
In the key of F for example :
F harmonic minor scale : F G Ab Bb C Db E F
FmM7 Gm7b5 Abmaj7#5 Bbm7 C7 Dbmaj7 Eo7
------------------------------------------------------------------
| E f g ab bb c db |
| C Db E f g ab bb |
| Ab Bb C Db E f g |
| F G Ab Bb C Db E |
------------------------------------------------------------------
ImM7 IIm7b5 bIIImaj7#5 IVm7 V7 bVImaj7 VIIo7
The chord qualities of the scale-tone 7th chords are the same in all 12 keys.
Therefore :
The I chord of any harmonic minor scale is always MINOR MAJOR 7TH (ImM7)
The II chord of any harmonic minor scale is always HALF DIMINISHED (IIm7b5)
The bIII chord of any harmonic minor scale is always MAJOR 7TH #5 (bIIImaj7#5)
The IV chord of any harmonic minor scale is always MINOR 7TH (IVm7)
The V chord of any harmonic minor scale is always DOMINANT 7TH (V7)
The bVI chord of any harmonic minor scale is always MAJOR 7TH (bVImaj7)
The VII chord of any harmonic minor scale is always DIMINISHED 7TH (VIIo7)
--------------------------------------
There are two new chords in the above series :
* The minor major 7th is a minor 7th chord with a raised 7th
In C : C Eb G B
In any key 1 b3 5 7
* The major 7th#5 is a major 7th chord with an augmented 5th
In C : C E G# B
In any key : 1 3 #5 7
______________________________________________________________________________
11-2. The IIm7b5 - V7 - Im CHORD PROGRESSION
The IIm7b5 and V7 chords of the harmonic minor scale are extensively used in Jazz and Latin music for songs in minor keys or with minor key modulations.
The ImM7 chord, with its minor Major quality, does not function well as a final chord. Instead an minor triad or minor 7th chord is used to complete the so called 'minor II-V-I progression'.
Here are the basic minor II-V progressions :
IIm7b5 - V7 - Im
IIm7b5 - V7 - Im7
The V7 chord is commonly extended to include the 9th of the chord, which using the notes of the associated harmonic minor scale is a b9.
C harmonic minor : C D Eb F G Ab B C D Eb F G Ab B C
G7b9 : G B D F Ab
1 3 5 b7 b9
This V7b9 chord stays entirely within the harmonic minor tonality.
Therefore use the harmonic minor scale of the I chord in these progressions
(DEMO 55)
IIm7b5 - V7 - (Im) ---> I harmonic minor scale
Dm7b5 - G7 - (Cm) ---> C harmonic minor scale
IIm7b5 - V7b9 - (Im) ---> I harmonic minor scale
Dm7b5 - G7b9 - (Cm) ---> C harmonic minor scale
With the following progressions use the harmonic minor of the I chord over II and V, but the DORIAN MODE over the Im7 chord.
(DEMO 56)
C harmonic minor scale C Dorian mode
Dm7b5 - G7 - Cm7
Dm7b5 - G7b9 - Cm7
IIm7b5 - V7(b9) - (Im7)
----------------------------
[Another V chord, the V7#9, is also used sometimes in minor chord progressions, but this chord requires a special scale for improvisation, the so called '8-note dominant scale. See Chords Book 2 (Chpt.15) for details.]
Looking back at Lesson 8 and the song 'Where there's Rain' we can understand now that the G7 chord functions as the V7 scale-tone chord of the C (harmonic) MINOR SCALE. This is clearly more appropriate as the whole song is in the C minor key.
COMMENT
As stated in Lesson 10, after a V7 chord anything can happen, just to create some musical suprise.
Therefore you see in quite a number of songs a minor II-V resolving to a MAJOR I chord : IIm7b5 - V7 - Imaj7 !!
For example : the ending of 'Stella by Starlight' (Chords Book 2 p.30)
Cm7b5 - F7b9 - Bbmaj7
______________________________________________________________________________
11-3. LONESOME BOSSA
'Lonesome Bossa' is a 32 bar song. It can be described as an ABCB format.
The chord progression consists of a 4 bar IIm7b5 - V7b9 - Im sequence which is repeated 8 times.
(MELODY)
LONESOME BOSSA
(by Michael Furstner)
Dm7B5 G7b9 Cm
----------------------------------------------------------------
4 F F G Ab | G F | Eb C | |
4 1 + 2 + 3 + 4 + | 1 2 3 4 | 1 + 2 + 3 4 | 1 2 3 4 |
----------------------------------------------------------------
1 2 3 4
Dm7B5 G7b9 Cm
--------------------------------------------------------------
| F F G Ab | B Ab | G | ||
| 1 + 2 + 3 + 4 + | 1 2 3 4 | 1 2 3 4 | 1 2 3 4 ||
--------------------------------------------------------------
5 6 7 8
Dm7B5 G7b9 Cm
--------------------------------------------------------------
| F F G Ab | G F | Eb F G | D C |
| 1 + 2 + 3 + 4 + | 1 2 3 4 | 1 2 3 4 + | 1 2 3 4 |
--------------------------------------------------------------
9 10 11 12
Dm7B5 G7b9 Cm
---------------------------------------------------------------
| Eb F Eb | D Eb | C C | ||
| 1 + 2 + 3 + 4 + | 1 2 3 4 | 1 2 + 3 4 | 1 2 3 4 ||
---------------------------------------------------------------
13 14 15 16
(Bridge)
Dm7B5 G7b9 Cm (CmM7)
--------------------------------------------------------------
| - - F Ab c | f eb d c B Ab G F | G G | |
| 1 + 2 3 4 | 1 + 2 + 3 + 4 + | 1 2 + 3 4 | 1 2 3 4 |
--------------------------------------------------------------
17 18 19 20
Dm7B5 G7b9 Cm (CmM7)
-------------------------------------------------------------
| - - F G Ab | d c B Ab G F Eb D | Eb | ||
| 1 + 2 3 4 | 1 + 2 + 3 + 4 + | 1 2 3 4 | 1 2 3 4 ||
-------------------------------------------------------------
21 22 23 24
Dm7B5 G7b9 Cm
--------------------------------------------------------------
| F F G Ab | G F | Eb F G | D C |
| 1 + 2 + 3 + 4 + | 1 2 3 4 | 1 2 3 4 + | 1 2 3 4 |
--------------------------------------------------------------
25 26 27 28
Dm7B5 G7b9 Cm
---------------------------------------------------------------
| Eb F Eb | D Eb | C C | ||
| 1 + 2 + 3 + 4 + | 1 2 3 4 | 1 2 + 3 4 | 1 2 3 4 ||
---------------------------------------------------------------
29 30 31 32
Copyright 1995 Michael Furstner.
There are many Jazz and Latin songs that use the IIm7b5 - V7 prgession.
Some famous examples are :
Alone Together
Black Orpheus
Stella by Starlight (Chords Book 2 p.30)
Autumn Leaves (Chords Book 2 p.29)
A Night in Tunisia
A Foggy Day
The Shadow of your Smile
There will never be another You
What is this Thing called Love
Desafinado
How Insensitive
Little Boat
and many more.
______________________________________________________________________________
11-4. PRACTICE for LONESOME BOSSA
All chords in 'Lonesome Bossa' are scale-tone chords of the C harmonic minor scale.
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)
Start each bar on the ROOT TONE of the chord :
Dm7b5 G7(b9) Cm
--------------------------------------------------------------------------
4 D Eb F G Ab B c d | G Ab B c d eb f g | C D Eb F G Ab B c | |
4 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 + | 1 2 3 4 |
--------------------------------------------------------------------------
On the Song's Play-a-Long track I have used the Cm triad chord throughout.
This allows you also to practice the C Dorian mode on the Cm chord and provide some variation.
Dm7b5 G7(b9) Cm(7) ! !
--------------------------------------------------------------------------
4 D Eb F G Ab B c d | G Ab B c d eb f g | C D Eb F G A Bb c | |
4 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 + | 1 2 3 4 |
--------------------------------------------------------------------------
______________________________________________________________________________
11-5. IMPROVISATION
A most important improvisation skill is VARIATION OF PHRASE LENGTHS.
This can create a lot of energy, interest and excitement.
Check out the Charlie Parker Omnibook for example. He was a master in this aspect.
You can develope this skill by practicing over the Blues and over II-V-I progressions. Lonesome Bossa is a good tune for this as it has only the three chords and stays in the same C harmonic minor scale throughout.
But start with the Blues :
First determine a pattern you are going to follow, then stick to it.
STEP 1.
Start with this pattern for example :
<----2 bars ---> <----2 bars --->
| I | IV | I | I |
<------------- 4 bars ---------->
| IV | IV | I | I |
<----2 bars ---> <----2 bars --->
| V | IV | I | I |
2 - 2 - 4 - 2 - 2
In other words, two 2-bar phrases over the first 4 bars.
Then a whole 4-bar phrase over the second 4 bars.
Finally another two 2-bar phrases over the last 4 bars.
It does not matter where you start in a bar, but once you start keep going (playing 1/8 and 1/4 notes) to keep the phrase pattern as defined.
Keep playing this pattern until you have good control over it. Then try out these patterns :
4 - 2 - 2 - 2 - 2 , 2 - 2 - 2 - 2 - 4 and 4 - 2 - 2 - 4
STEP 2.
Next step is to practise phrases that GO ACROSS THE NATURAL PHRASE ENDINGS of the blues. These occur at the end of bars 4 and 8.
Here some good patterns :
2 - 4 - 2 - 2 - 2 , 2 - 4 - 2 - 4 , 2 - 4 - 4 - 2
2 - 6 - 2 - 2 , 4 - 2 - 4 - 2 , 6 - 2 - 2 - 2
STEP 3.
The final step is to PHRASE ACROSS THE END OF A CHORUS.
For example :
! !
2 - 2 - 4 - 2 - 4 - 2 - 4 - 2 - 4 etc.
The ! marks show where each blues chorus ends.
(DEMO 57)
On DEMO 57 I play the following phrases :
Chorus 1 : 2 - 2 - 4 - 2 - 2
Chorus 2 : 2 - 4 - 2 - 6 -
Chorus 3 : - 2 - 2 - 6
This is all really good practice. As you become more in control of the phrases your improvisation will really start to lift above average.
The even numbers make it easier to keep track of the chord progression in the beginning. But you can also use phrase lengths of 1, 3 and 5 bars.
As stated above also apply this technique to Lonesome Bossa and your II-V-I practice (both major and minor).
______________________________________________________________________________
11-6. THE WOODSHED
Practise the harmonic minor scale over the IIm7b5 - V7 - Im in all keys.
(DEMO 58)
Dm7b5 G7(b9) Cm
---------------------------------------------------------------------------
4 D Eb F G Ab B c d | G Ab B c d eb f g | C D Eb F G Ab B c | :||
4 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 + | 1 2 3 4 ||
---------------------------------------------------------------------------
Practise also the variation with the Dorian mode over the Im chord
(DEMO 59)
Dm7b5 G7(b9) Cm(7) ! !
---------------------------------------------------------------------------
4 D Eb F G Ab B c d | G Ab B c d eb f g | C D Eb F G A Bb c | :||
4 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 + | 1 2 3 4 ||
---------------------------------------------------------------------------
I have used the Cm triad chord on the .
This allows you to practice both above versions.
The P-a-L chord sequence is :
Dm7b5 - G7b9 - Cm
Cm7b5 - F7b9 - Bbm
Bbm7b5 - Eb7b9 - Abm
Abm7b5 - Db7b9 - Gbm
F#m7b5 - B7b9 - Em
Em7b5 - A7b9 - Dm
Am7b5 - D7b9 - Gm
Gm7b5 - C7b9 - Fm
Fm7b5 - Bb7b9 - Ebm
Ebm7b5 - Ab7b9 - Dbm
C#m7b5 - F#7b9 - Bm
Bm7b5 - E7b9 - Am
Good luck. See you next Lesson,
Michael.
______________________________________________________________________________
11-7. QUIZ 11
A.
What are the 'minor II-V-I progressions' in these keys.
1. Fm
2. Ebm
3. Dm
4. Gm
5. Bbm
6. Am.
B.
Which harmonic minor scale do you use for improvisation over these dominant chords.
1. F7b9
2. E7b9
3. G7b9
4. A7b9
5. Bb7b9
6. D7b9
C.
What scale(s) do you use over these chord progressions
1. Fm7b5 - Bb7 - Ebm
2. Am7b5 - D7b9 - Gm7
3. Ebm7 - Ab7 - Dbmaj7
4. Gm7b5 - C7 - Fm
5. Em7b5 - A7b9 - Dm7
6. F#m7 - B7 - Em7
D.
Name five (or as many as you can think of) aspects of phrasing we have dealt with in this course.
E.
Name five (or as many as you can think of) aspects of tone selection for improvisation we have dealt with in this course.
F.
Name five (or as many as you can think of) fundament chord progressions we have dealt with in this course.
ANSWERS IN NEXT LESSON
--------------------------------------
Answers to Quiz 10
A.
What are the II-V-I progressions for these major scales.
1. F Gm7 - C7 - Fmaj7
2. G Am7 - D7 - Gmaj7
3. Eb Fm7 - Bb7 - Ebmaj7
4. A Bm7 - E7 - Amaj7
5. Bb Cm7 - F7 - bbmaj7
6. D Em7 - A7 - Dmaj7
B.
Identify the following modes or scales.
1. D E F# G A B C D ----> D Mixolydian mode
2. Bb C Db Eb F G Ab Bb ----> Bb Dorian mode
3. A B C# D E F# G A ----> A Mixolydian mode
4. F G A Bb C D Eb F ----> F Mixolydian mode
5. Bb C D Eb F G A Bb ----> Bb major scale
6. G A Bb C D E F G ----> G Dorian mode
C.
Write out these Dorian modes
1. F G Ab Bb C D Eb F
2. G A bb C D E F G
3. Bb C Db Eb F G Ab Bb
4. D E F G A B C D
5. C D Eb F G A Bb C
6. A B C D E F# G A
D.
Write down from memory the Circle of Fifths, starting C - F - ?
C - F - Bb - Eb - Ab - Db - Gb - B - E - A - D - G - C
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 ? It is 'Satin Doll'.
______________________________________________________________________________
JAZCLASS - www.jazclass.aust.com
Copying permitted for personal use only.
Copyright 1997 Michael Furstner. All rights reserved.
|