Introduction to Modern Jazz Lines #21-30 - The I-vi-ii-V (I-VI-ii-V) Progression - Jazz Piano Lesson

This coming week I'll start posting videos from the next Modern Jazz Line series.  In this series we will cover how to voice and improvise over the I-vi-ii-V (I-VI-ii-V) progression.  This week's video covers an introduction to the progression.  In the video you'll discover just what the roman numerals like "ii-V-I" mean, how to construct seventh chords using these numbers and some basic voicing options.

You can find my complete collection of Modern Jazz Line "How to Improvise" playlists below.  You may want to review these lessons before continuing with the series.  They will give you an excellent introduction to voicing and improvising over the ii-V-I progression.

Modern Jazz Line #1-10 - The "ii-V-I" Progression
Video Jazz Piano Lesson Playlist (YouTube)
Sheet Music Collection for Jazz Piano Lesson (1-10)
Blog Posts for Modern Jazz Line #1-10

Modern Jazz Line #11-20 - The Tri-Tone Substitution
Video Jazz Piano Playlist (YouTube)
Sheet Music Collection for Jazz Piano Lesson (11-20)
Blog Posts for Modern Jazz Line #11-20

Sheet Music:  Introduction-to-Modern-Jazz-Lines-21-30-I-vi-ii-V.pdf

Introduction to Modern Jazz Line #21-30:

Tri-Tone Substitution - Introduction to Modern Jazz Lines #11-20

This week I'm beginning the next section of my Modern Jazz Line video series.  The goal of the first ten Modern Jazz Lines was to learn how to hear and improvise creatively over the ii-V-I progression.  Now, I'll admit ten jazz melodies played and sung in all twelve keys probably isn't enough to justify mastery. Please note however that these short ten video segments are meant as an introduction to each progression.  As with all subjects, student exploration and self study is essential to mastery.  I strongly encourage you to take on writing your own ii-V-I jazz melodies no matter how simple they may be.

The next section (#11-20) of the Modern Jazz Line series will cover the tri-tone substitution.  A "tri-sub" within a ii-V-I involves substituting a Dominant 7th chord a tri-tone away from the V7 chord.  The concept is explained simply in the video below.


Simply put, you can substitute a Dominant 7th chord a tri-tone away from the V chord (in a ii-V-I for example) because they share the same guide tones.

G7 = 3rd and 7th = B and F
Db7 (tri-sub) = 7th and 3rd = B and F!

If voiced correctly the two chords can and will function essential the same in a ii-V-I sequence.  If finding a tri-tone away from the V7 chord is hard at first just think a half-step below the ii chord.  I'll show you what I mean.

ii-V-I in C Major = Dm7-G7-CMaj7

with a tri-sub on the V7
ii-V-I in C Major = Dm7-Db7-CMaj7

Notice the root movement of the new progression.  Each note simply moves down in half-steps.  Feel free to use this method if it is easier for you to remember.

Lesson #38: Thirds and Sevenths Voicing Exercise (Part 2)

In this week's lesson we'll be taking a look at a slight variation on Lesson #37 (3rds and 7th Singing Exercise pt.1).  In our last lesson we took simple 3rds and 7ths voicings through all twelve keys using the circle of fourths.  This time we'll use a pattern of ii-V-I resolving in descending whole-tones.  I find this progression to be much easier to sing through than the circle of fourths.  There is less jumping around and the voice leading from key to key is generally much smoother.

This exercise is simple but essential to any pianist (or jazz instrumentalist) wanting to improve their understanding of chord progressions.  The cycles we've been practicing and the resolutions of 3rds and 7ths voicings can be found in every jazz standard ever written.  Even most contemporary compositions retain these foundational building blocks of harmony.  Work through the steps in the exercise slowly and soon you will be able to hear these foundational elements of harmony clearer than ever before.

For an added challenge start playing the 3rds and 7ths voicings in your left hand.  Resolve them the same way as Lesson 37/38 and try to incorporate them in to the tunes you're working on.  All the great jazz pianists including Bill Evans, McCoy Tyner, Bud Powell and Herbie Hancock used these simple voicings.  We'll continue to discuss how to use them while improvising in the following weeks.

Download the Sheet Music:  Lesson #38 .pdf

Watch the lesson:

Jazz Piano Lesson #37: 3rds and 7ths Singing Exercise

As you may have noticed by now, I'm a big advocate of simple voicing exercises.  For me, simple exercises with a slight challenge are what help me make the fastest improvements in my playing.  As Bill Evans eloquently puts it in the Universal Mind of Bill Evans, "The person that succeeds in anything has the realistic viewpoint at the beggining... knowing that the problem is large and he has to take it a step at a time."  Check out an excerpt from the movie below.

Kenny Werner similarly advocates simple more narrowly focused practice throughout his book and DVD.  If you haven't read Effortless Mastery yet you are missing out one of the truly essential books for a jazz musician (or any artist for that matter).

The jazz piano lesson below may seem simple but don't let that detour you from trying it out.  The truly simple parts of my practice routine are often the most gratifying.  Apply the steps in the video to other tunes you are working on and over time you will notice great improvements to your ability to hear and improvise jazz melodies.

Sheet Music for Lesson #37:  Jazz Piano Lesson #37 .pdf

Jazz Piano Lesson #35: Voicing, Melody, Harmony

In this lesson we look at how to compose a fresh melody and improvise over predetermined voicings.  This exercise is inspired primarily by the playing of Bill Evans and Lennie Tristano.


Sheet Music for this Lesson:  http://www.scribd.com/doc/117144112

How to Practice:

Step One:  Play the ii-V-I voicing.  Concentrate on trying to feel the shape of each chord.  Feeling the shape of each voicing will 

Step Two:  Play the melodic line with the metronome.  You may want to try singing the line as described in my other "Moder Jazz Line" lessons.

Step Three: Put it all together.  Play the harmonized melodic line.

Step Four:  Repeat in all 12 keys.  Once mastered, try each like at a performance tempo.

I hope you enjoyed this free jazz piano lesson.  Thank you for considering a donation, purchase of sheet music or my album "Meditations Vol.1" to help support the site.   Please leave a comment below or send me a message if you have any questions about my videos.