Re: [Harp-L] II V I

"Bill" <bill.eborn@xxxxxxxxxxxxxx> · Sat, 9 Jan 2010 19:42:38 -0000

Bluesette's another nice one to look at.
If we're in Bb there's a couple of bars of Bbmaj7, then a minor ii,V,i in 
the relative minor Gm, then the Gm becomes the ii of a minor ii,V,i in Fm, 
then the Fm becomes the ii of a major ii,V,I in Eb after which you get a 
similar pattern of the modulation but through major ii,V,I's with the major 
I's changing after two bars to minor ii's until you get to the last four 
bars when the pattern breaks Dm7, Db7 and then a major ii,V to take you to 
the Bbmaj7 at the top of the tune.
Hopefully that's not too confusing but if you get hold of a copy of the 
chart it should all become apparant.  The Aebersold version that i've got is 
in G instead of Bb but the same thing applies.  It's such a lovely tune to 
play, I've had loads of fun messing about with it in band in a box playing 
it in lots of different keys - A, E & B are a bit of a stretch but it's a 
good excercise.
Sometimes you get tunes where you just see the ii,V's without the resolving 
I/i chords, Tenderly has that in a few places - works nicely on a Bb 
diatonic too in the written key Eb, although you need ob's or whatever to 
make the most of the harmony i think.
Anyway my nicotine addiction is forcing me out to brave the snow for more 
supplies
Laterz
Bill

----- Original Message ----- 
From: "Winslow Yerxa" <winslowyerxa@xxxxxxxxx>

To: <harp-l@xxxxxxxxxx>

Sent: Saturday, January 09, 2010 6:09 PM

Subject: Re: [Harp-L] II V I

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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