ii-Vs are some of the most commonly used and important chords in the jazz repertoire. It’s a progression you’ll see often as a jazz guitarist, so being able to confidently solo over these chords is an essential skill. When first learning to blow over these chords, we often start with the Dorian and Mixolydian modes over each chord, respectively.
It often seems there are limited voicings for the iim7b5 chord that consistently appears in minor keys, and too many options for the V7alt chord that follows the iim7b5 in a ii V I minor progression. In today’s lesson, we’re going to look at three different licks, with each using different ways of playing the iim7b5 chord as well as specific ways to connect those voicings to the tonic chord through the V7alt chord in various alterations.
Learning to improvise over jazz tunes in a convincing fashion means learning how to move between creating tension and resolving this tension in your lines and phrases. Though there are a ton of different ways to create tension in your lines, from using exotic scales to advanced chord substitutions, one of the easiest and quickest ways to achieve this sound in your solos is to use chromatic passing chords, especially over ii-V-I progressions.
Learning to play both dominant 7th chords and Drop 2 chord voicings are essential steps in the development of any jazz guitarist. While both of these concepts are important to have under your fingers, running them through exercises such as inversions or chromatically across the neck, although productive exercises, can sometimes lead to boredom in the practice room.
One of the first progressions many guitarists tackle when learning to improvise in the jazz idiom is the ii-V-I. This common three-chord progression can be found in countless jazz tunes, and improvising over these chords in a convincing fashion is a must-know skill for any budding jazz guitarist to have under their fingers.
When first learning to solo over 7th chords, most guitarists will begin by checking out the pentatonic and blues scales we all know and love, followed by the Mixolydain mode, which completes the fundamental trifecta for blowing on unaltered dominant chords. But what about altered dominant chords? When adding in b9s, #9s, b5s and #5s, all the “altered” notes of a 7th chord, suddenly these three scales just don’t cut it on the bandstand.
Working on scales in the practice room can sometimes seem like a one-handed event. Sure, the picking hand is there, and it may even be focusing on alternate picking, sweep picking or other picking technique, but beyond that, how deep do we really go with our right hand when practicing scales?
Improvising with arpeggios is a great way to dig into chord changes, bringing out the exact sound of each chord in your lines. While scales and modes are great for outlining keys and creating modal colors, when you want to sound each chord in a progression, arpeggios are the way to go. While they are great for outlining chord changes, arpeggios can often become boring or predictable when you overuse them in a solo.