Re: [Harp-L] II V I

[michael rubin <michaelrubinharmonica@xxxxxxxxx>]

Winslow,
Perhaps I am taking Mark Levine too literally.  He says Dm7b5 GAlt7
Cminor Maj7 is a minor II V I, You point out Autumn Leaves as IIm7b5
V7 Im as a minor II V I.  Before I read Levine, I always thought that
any combination of II V I chord types was a II V I, but Levine made me
rethink it.

Would you still use the same jazz melodic minor modes for the slightly
different chord choices?  To be specific, Levine says use the Ab jazz
melodic minor scale over the G Alt7.  Would you still use that scale
during G7?  Then, he says use the C jazz melodic minor over the C
minor Maj7 chord.  Would you still use that chord over Cm?
Thanks,
Michael Rubin
Michaelrubinharmonica.com

On 1/9/10, Winslow Yerxa <winslowyerxa@xxxxxxxxx> wrote:
> A tune that comtains both major and minor ii-V-I's is Autumn Leaves.
>
> let's put the tune in E minor (Toots likes to play it in G minor).
>
> The chords of the A part go
>
> Am7 D7 GMaj7 CMaj7 F#m7b5 B7 Em
>
> Notice how the chord roots go around the circle of fifths
>
> Now the first three chords are ii-V-I in G Major. (Am7-D7-G)
>
> But then they continue through the IV chord (CMaj7), the VII chord (F#m7b5). So far this is all compatible with the key of G major - all the chords are built on the notes of the G major scale.
>
> But the next chord, B7, doesn't belong in the key of  G major. It has a D#, which is not part ofo the scale.
>
> B7 is the V chord in the key of E, and indeed the next chord is E minor. F#m7b5 is the II chord, B7 is the V and E minor is the I chord, so we have a ii-V-i in E minor.
>
> The entire progression viewed from E minor could be described as iv-VII-III-VI-ii-V-i.
>
> Another place you'll find ii-V I's is at the end of the jazz-style 12-bar blues. Instead of going V-IV-I it usually goes II-V-I.
>
> II-V-Is are built into the common "salty dog" progression, where you might go
>
> C - A7-Dm-G7, which is I-VI7-ii-V. You can ehar this in "Heart and Soul" and "Santa Catalina" for two examples.
>
> The progression of George Gershwin's "I Got Rhythm" is the basis for the 32-bar song form comomnly called rhythm changes, which underly a lot of jazz tunes. This incorporates the salty dog progression in the A part:
>
> C-A7-Dm7-G7  C-A7-Dm7-G7
>
> C - C/E - F - F#dim7 - C/G G7 C
>
> This forms part of a AABA form, where you play the A part twice, then play a B part, then play the A aprt a ast time.  The B part would go:;
>
> E7 E7 A7 A7 D7 D7 G7 G7
>
> Which is like a cascading series of V-I candences, but with each new I being the V to the next chord until you arrive back at the V chord of the original key.
>
> Sonny Rollins' Saint Thomas also uses a salty-dog progression:
>
> C C A7A7 Dm7 G7 C (repeat)
>
> E7 Am Dm7 G7 C C7 F Fm Dm7 G7 C
>
> Note the use of both II-Vs and II-V-like progressions.
>
> These are just the examples that come to mind before my morning coffee.
>
> Winslow
>
>
> Winslow Yerxa
>
> Author, Harmonica For Dummies ISBN 978-0-470-33729-5
>
>
> On 1/9/10, Mick Zaklan <mzaklan@xxxxxxxxx> wrote:
>
> >   So, somebody please give me a straight answer.  Name a tune.  Because I'm
> > telling you, I've asked around about this and I'm tired of hearing "oh, that
> > progression is all over the place".
> >
> > Mick Zaklan
>
>
>
>
>
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