The II-V-I-VI (2-5-1-6) chord progression. /Pages 3 0 R Great to hear! /Annots 15 0 R /Length 13 0 R /MediaBox [0 0 612 793] << /Type /Catalog << /Creator (�� S i b e l i u s v e r s i o n 7 . >> << /Font << 15 0 obj 129 ™™ ™™ a‹9 d7[äÁ] g‹9 c13 133 c‹9 f13 b¨Œ„Š9 e¨9 fŒ„Š7 g‹9 /Resources 14 0 R You would expect a ii – V – i in C minor scale to be built from the notes of C minor scale (C natural minor scale): Building a ii chord within this scale gives you D minor 7 … 8 . /CSp /DeviceRGB /CreationDate (D:20160412153346) fŒ„Š7 a¨9 g‹9 c13 q = 140 121 f6 a¨9 g‹9 c13 125 fŒ„Š9 c‹9 f13 b¨Œ„Š9 e¨9 1. For the 2 acoustic pianos I use on my videos I have a 1905 rebuilt Mason and Hamlin Model AA, 6' grand piano and a 1972 Yamaha U1 Upright built in Japan. Many hours are wasted at the piano by adopting an attitude of … endobj &? >> This exercise is a classic bebop lick that fits over either a V chord or the whole of a short II-V, rounded off by a resolving figure using chromatic enclosure of the root of the I chord. Or you can simply use them as a springboard to create your own licks. 12 0 obj endobj /F7 7 0 R /Resources 14 0 R /Font << endobj /Contents 12 0 R movements at the keyboard. /ColorSpace << (Check out the video to listen to how this sounds) Ex 2: In the key of G the 5th note would be D. So, the V chord would be D7. >> /SM 0.02 /ExtGState << II-V-I's In Minor Keys . 'P�-����ULz�6���?&B2��3%�s~���`J~L��Zr߃)��iE�8|-9܎ŀ�Ԍ&pA�� ܈&!XF�p�=�g�n"���緡�C�P�`t��?%&҄a��?��m�,��YW�>�w >> 4 0 obj This “ii-V-I Exercise” is quite simple: you’ll play the root of each chord in your left hand while playing the rootless chord voicing in your right hand. /XObject << >> /F9 9 0 R &? << /Type /ExtGState In this video I'll show you everything you need to know about the ii-V-I chord progression. >> �Ґ�+rHC�6��g�*�7 �VKFKpg�Q�64�@�u��wkb�4���:`Cg����!>��p���f_ȟC���g E�Y5S�3���P��V.5V�I9���������. >> 8 . 3 o n W i n d o w s 7 Ex 1: In the key of C the 5th note is G. So, the V chord would be G7. Standards. About 80-90% of all Jazz and American Songbook classics are comprised mostly, if not solely, of ii-V-I progressions. /PCSp 5 0 R /Producer (�� Q t 4 . ����ω�zJib�G���B8�����S���0Yk����)D�X~~��aT�џ���5�8!��&��DF�J|��8�b�V���PeU� v_v�\��n�!Ĵ=�%� � �ޘ�mh��h��j�x���x�:��uu��\>a,��-T®V��@�u� Since you’ll hear the ii V I chord progression in so many great jazz tunes it’s vitally important that you learn how to play it quickly. /ca 1.0 As most jazz players know, and many jazz students quickly learn, ii-V-I jazz licks (and the ii-V-I progression) are at the heart of jazz improvisational study. /Length 13 0 R P��Y�����ý�?#��!j?OI�����{�R �\PM�6�i?ikp��7ȧ�o�� �Hj����\S{!�}}���d��7���=�L_@�R��ҧ��Ѣ��� %PDF-1.4 By the end of these tutorials you should have a solid understanding of Jazz, and (with enough practice) be able to competently improvise and 'comp over any Jazz song. 14 0 obj 1 . endobj Now, if you’ve made it this far. Lets get started learning how to play one of the most famous and useful jazz chord progressions there is. 4. /CSp /DeviceRGB Play a II-V-I in every key going around the Circle of Fifths So for example, start with a II-V-I in D (Em7, A7, DMaj7) then a II-V-I in G (Am7, D7, GMaj7) then a II-V-I in C (Dm7, G7, CMaj7) and so on Play II-V-I’s with different chord voicings Play II-V-I’s with left hand … /CA 1.0 %PDF-1.4 1. The goal of this lesson is twofold: 1. 3. 0 \( C \) 2 0 1 1 N o k i a C o r p o r a t i o n a n d / o r i t s s u b s i d i a r y \( - i e s \)) Developing the inner ear is therefore an indispensable element in piano technique. >> endobj /GSa 4 0 R Introduction. /SA true endobj 12 0 obj There are 12 files here, one for each of the 12 major keys. &? << Warm-up exercises in ii-V-I that will make you WORK, but still sound pleasant to the ear. Practicing a piece with pedaling every time can lead you to get lazy with hitting all of the notes, as the pedal can glaze things over. W. Waltz For Debby (write to me) Wave . /F8 8 0 R /XObject << x��]͎$�q��S�L.#�vG�,fn�� Any beginning jazz player should therefore have a strong understanding of the progression itself, as well as the ability to play the progression anywhere on the fretboard. /Type /Page /CreationDate (D:20160619055950) Both are great instruments, so I hope you enjoy their sound. In today’s video, we’re going to look at 5 specific piano exercises for speed that you can get working on right away. /Filter /FlateDecode stream /F11 11 0 R As you continue to develop your jazz theory skills you’re going to want to make it a goal of being able to instantly play a ii-V-I chord progression in all 12 keys. >> To give you a few exercises you can practice to improve your ability to improvise; and 2. endobj there is smooth voice leading). Dec 29, 2018 - Easy Improvisation Exercise The II-V-I Progression Step 1 and 2 For beginner keyboard improvisers but also good for intermediate and advanced levels. The trick to playing these ii V’s is that we will always go from category A to B to A,or from category B to A to B. >> /GSa 4 0 R IV degree of the harmonic minor key In the next page there are minor 7th chords in all keys and in 4 inversions PLAY them many,many times! �N!� Major II V I VI Chord Progression 5. I currently have 44,000 subscribers. Excercise for ii - V - I Jazz chord pattern ... Piano/Vocal. in a "New Appendix" (NA) to complement Jazz Piano … Play these chords in the whole keyboard (More than an octave) /Producer (�� Q t 4 . /ca 1.0 A��k���S$тœT�r�Gs~��5�:N�O0��{��묜���Y�Z���1�����-ν]�i�ꙉ>C߼u2�r�7�,�o��^�%QA��L˻g�.Yc�,a�g}�8l�. Excercise for ii - V - I Jazz chord pattern. 1 . endobj >> 15 0 obj endobj The Dm7 chord at the start of this example is built out of the So What voicings made famous by Bill Evans on the Miles Davis recording Kind of Blue.. bPhP(\��P��p=0ODc+(im�NTh�£�`�#�B� ��`6}]��\�CڶaZ�KI ����Ƴp5`m���aE�4�K��jG�g�l���xu����թ T�* To give you the tools to create your own exercisesYou can choose to memorise these exercises as licks and use them verbatim in your solos. In a major ii-V-I chord progression, the V chord is a dominant 7th chord. [/Pattern /DeviceRGB] /Filter /FlateDecode /SMask /None>> /CA 1.0 To view all of them, please Register OR Login << /PCSp 5 0 R P?�Jբ|.�T�8P6�˼�I-��� �s�~��8�������ܐ�j��Z� 7,���p@v���/�Ñ38��o����մJKK>��3��t�{Uz��:����b�b�]����8�o����6y}�M�9=@���z�������p�M?Mb���i`s�)b4ڡ�>ޛ�o�.\�_Pdg�o��k�vKػ_?�ݑ�`r�������}���������]�ՙ�}�䆮�w�Ž�]�[\������}�*��[u��*��[}���Qp+g�o�[�8ӝ��T�u ހn��&ډ�5�U�����Q+4c7�a�f�F3��wh6G�M�2}�2��O�p�/�&6Gݞ��Q��&�s�5�Q�S���Q����hvO���K���0�.��7\2�7ʇ���� ���MK2}�2O��g����΅���9 the minor ii – V – I The minor ii – V – i is slightly more complicated, and often causes confusion, so let me explain. stream (��{w�7y�ō�l;h��f��x�bBakB�X�e3iKʝB�%�nj?K`AN�ɓ�%r���������*a ���s~#c��U����`�ci�YL����ӈx /Title (��) 5 0 obj The ii-V-I progression is the stalwart of the jazz idiom. �mt�[�p�7ѝ�,�F�S���u���׹f�� ���Q����mT��Fy�Q��@CsT9a��3d��xb�1�2׃#�Q�'$�s��Q�S�F�����e�m���[D4�G���܌M���m��X��f�3��Φ���U�� �)��K}������SD�zD2[�:Ad�`�VG����m��!�ц�l� �tSF*�,���ٿY ��h�w �l! /F8 8 0 R /F10 10 0 R II,III, and VI degree of the Major key I,IV and V degree of the natural minor key II degree of the melodic minor key. /F9 9 0 R /Pattern << Long II-V-I pattern We play the previous exercise over the V chord and precede it by a simple cell figure (1 2 3 4 endobj ]��o��~���/���o/jQN������_��/�����˯/?�����?}�%T��Ѡ�+Ġ��_� f��뿿����o�������?�h�K4��W�@�p���o�8.֨�b@b�~���1��mX�E��[�D�ۯ������>0�����/?0/? /Contents 12 0 R /F7 7 0 R Please write to me anytime. /Parent 3 0 R 0 \( C \) 2 0 1 1 N o k i a C o r p o r a t i o n a n d / o r i t s s u b s i d i a r y \( - i e s \)) >> /SMask /None>> >> /AIS false /SM 0.02 endobj A while ago we did a video called “5 piano exercises for hand independence”, but we haven’t done anything like that in a while – I figured it was time! Make sure you practice at least once in a while without the pedal so you don’t get in the bad habit of being imprecise. /Annots 15 0 R ��z�a篵Se�A���d } ���� d������4��ψP������Ҷ� gt���?�.YC�����M���%&`��Y�C�� �]�("؈�C��mJu[�A��0Y�QY~`�ߏR懊�Z̶V���ѓ���'z@�e�� ��)��J�:L� �R@cݤA)s endobj /SA true }���.���~���;3������/��y���LJ�(���z��;�b����>?zS�_Cx��G��bҿ1���ױ?����"���(�V�QD���Z�jk2y0� ���:�bC�=�]���U�U��(�pIJҐ�Hfd'/��n�D���E��}��;��S�7s@��'he��T�oՌ &�LdLVvV-�����h��O�b�:������@�����~F���:�I�D��\��8�A��j/�w~�lB�� J�:%�?1�z�8)�V,^'k5-�_D�h�sm��*;eݒ"C�E2�Uvѩr`4-�m�oP�/ 6 0 obj 6 0 obj In a major ii-V-I chord progression, the I chord is a major 7th chord. &>�'�}��E&b���C���z�'�3�j���L�m&�� X��f��������4�q�b�~@# This can be achieved through aural training, musical dictation and “mental practice” (see p. 50). Most of us know the Major II-V-I(although we will cover it in more detail in an upcoming lesson).This is one of the most commonly used chord progressions in Jazz. ��i�m��6���^� a�>��T�:ϒ�>���$�����a�#�aD� �L��f�`�۫3&$��ML1��z ���u�Id~_�`a1��8-���/�Ո�C�(��M��&�?��~Ekg���\��"�%0h�&�u���3�y~�l"$��waZ��Vy���̝3�Lo�8��e�,�����D5��o�;�%�N�%��Cڛ˳� ��h��iAlo!N��UiՁ�P$��ި��Nq^��%"��{��b|�Ӌ��a�B��dF����ᰔ�_{ӈ��ū�Җ�aO��[LP�^��n�:�V�l����՝UX���Y���`x] We provide a lot of materials to our students. /MediaBox [0 0 612 792] Acces PDF Ii V I Piano Voicings In All Keysreally well for II-V-I progressions, because you only need to change a few notes (and by only a small interval) to move from one chord to the next (i.e. It is very important. << /Title (��) /ColorSpace << These Jazz Piano Lessons cover everything you need to know to appreciate and play Jazz. I created a channel of piano tutorials in March of 2015. 4 0 obj In a ii V I, the ii chord is always a minor 7thchord The V chord is always a dominant 7thchord The I chord is always a major 7thchord. << /Type /ExtGState Note: Exercises/ Drills marked NA to be released soon . >> /Creator (�� S i b e l i u s v e r s i o n 7 . >> You’ll find this chord progression in hundreds and hundreds of jazz standards and even in some rock songs. /F10 10 0 R /Pattern << >> ii - V - I Cadence Exercise. x��=ˎ$9n������I=���l��o��Y{�Ŷ�����()��TfI9Q==�.VG�!�_��?�˗?_����? /Type /Page << /CSpg /DeviceGray [/Pattern /DeviceRGB] << endobj /Pages 3 0 R 2 0 obj << /Parent 3 0 R /CSpg /DeviceGray /F11 11 0 R Below is an example of a II-V-I in the key of C using rootless chord voicings. /AIS false << >> If you have been working your way through these modules, by now you have learned about Jazz Chords and Voicings, as well as Jazz Scales and Improvisation.So now it’s time to talk about some Common Jazz Chord Progressions.. Common Jazz Chord Progressions ) s��g��]0B�p��h���v�i�u�,���������鶵�r��O%�Y�Ay;ʚ����D�����55���Y@�)J�7�Mb���sZ�U���d�뢆���� >����ީ�(���3�����:�7+�m���_� v�S��k�*��JavJe�U0cM�n��lw?�?����[� �7T�2��mm�9��mT�;G����}CXcT�(���]U�1傫}�l�Z��Fү����W���m36��-Q��\X�.�[Zla�)�2�֗]fqF��v���l���G �u�F��w5������/~!������Ժ��������YsMq��:���s+�@��7��l�ָ��I��?ic�NB'��k�ξ�WV ,�l��QJ˱b���҆�-�"0}/�6�'T�y�O In the key of C Major it is: | Dm7 – G7 | CMaj7 || [ ] Almost every (tonal) Jazz song ever made contains a II-V-I progression. The Minor ii-V7-i Progression: These play-alongs are just like the other set of ii-V7-I … >> F�ث��p�Ds&�j��p8 �`�mm�E[)=����9Y@Xk��'�$�œ O�Nn��g�p�? Sheet Music. ;�/93Ba]f��&Ƣ�D���ADwcx�q�wrޭc;�1nU��*�]�[&�P(�ޘ��Bc�p;��-��F�"�L&�Ig��{��܈�D�T9ߚ?�qI�6sv�8۰�s�N`��H�-�'�D����n8��XB'*�C�x�� 5�&�[��G&�.���Jf,a+�X��bԊC�hՌ�߁�F����K!�w"�P5��y/�T����sv�E��"���3Lp������y�[��u�X�N�fJ�ꄆ�q�� ���8�̌%t�r�Z���~֨��A�2)�oA��$ �ځ�*U���߾����|\�:x>�U�g�� >> }���/��O_�Ԥ�J.�O�p/�|{������o?����o8i2�a Aʿ�O4!_~��7s�?������]��?��Y���/������/B�Od�TЉ�����3jB����N�����`��_�ʄ��������X���׷��.�����.pI��?�&�_�r�'�������>�L�2}pҋ��sdUpy����V�珓��\���6|��#]���>6�=M��v�����gm����&����;���� 5 0 obj II-V-I Jazz Piano Chords. New Warm-Ups in ii-V-I: https://youtu.be/jKMNIB9sk18 Thank you for supporting me on Patreon! The most common chord progression in Jazz music, play exercise in all 12 keys verbalizing chord names aloud. Dm7 G7 CM ix. @� �5�cxg���-�Ä����U�{ᣂP�����J���F!� �p �k�C˧H\:�����[ν:��_�Z��y��e~J݃���U* [ ] 3 o n W i n d o w s 7 /Type /Catalog The ii chord last for one measure, the V chord lasts for one measure, and the I chord lasts for two measures to make a four-bar phrase. Solo & Improvisation. �JNo{7�s:�d�L�И(�Y��A��ӂض��[e�O1=�y�m[�Y@�:ouGg��N��i��Z�ν��IX��k�YP%����^{�7�Pi5-����Y@L�ŔZ�����9�r6���7;l�dۻ*dy��68W!g)d%ZN}=.�pjo�0���q�M������,���� 1 0 obj ��睜��r� х��Go=~+�/+����,Y����;·)�|!��|N�:ᣔ��G� �q���a�p����7�lؘ�7l%�0l)��q�M�m���I���bxND��0��8_��X�I�*��� hfYAѫ>���2y�:x��na���:�v� �R� XDj8 ڋ_�Cޙ�h�!�!���xM��3�e�m1�޷F:P� /ExtGState << 6 X�:��MF�U�Y�jv5#�n�.0=5�b~�?�?��? 1 0 obj endobj Functionality. II -V -I Exercise - Drop 2 Voicings Cycle of 5ths? ) >> 14 0 obj II-V-I's . 2 0 obj