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    Jeff Lorber

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    daniel Segall
    The document discusses ii-V patterns in the key of F, including a descending Gmin9 arpeggio that leads to a modal phrase over a C13 chord. It also demonstrates a chromatic approach to Bb in a Gmin9 chord, and an indirect resolution to G in a C13 chord. Examples 4a through 4d show expanded ii-V patterns to analyze and incorporate into improvisations, noting how starting on different scale degrees can impart unique flavors.

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    Jeff Lorber

    Uploaded by

    daniel Segall
    247 views3 pages
    The document discusses ii-V patterns in the key of F, including a descending Gmin9 arpeggio that leads to a modal phrase over a C13 chord. It also demonstrates a chromatic approach to Bb in a Gmin9 chord, and an indirect resolution to G in a C13 chord. Examples 4a through 4d show expanded ii-V patterns to analyze and incorporate into improvisations, noting how starting on different scale degrees can impart unique flavors.

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    Piano Music

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    The document discusses ii-V patterns in the key of F, including a descending Gmin9 arpeggio that leads to a modal phrase over a C13 chord. It also demonstrates a chromatic approach to Bb in a Gmin9 chord, and an indirect resolution to G in a C13 chord. Examples 4a through 4d show expanded ii-V patterns to analyze and incorporate into improvisations, noting how starting on different scale degrees can impart unique flavors.

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
    247 views3 pages

    Jeff Lorber

    Uploaded by

    daniel Segall
    The document discusses ii-V patterns in the key of F, including a descending Gmin9 arpeggio that leads to a modal phrase over a C13 chord. It also demonstrates a chromatic approach to Bb in a Gmin9 chord, and an indirect resolution to G in a C13 chord. Examples 4a through 4d show expanded ii-V patterns to analyze and incorporate into improvisations, noting how starting on different scale degrees can impart unique flavors.

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
    of 3

    Ex. 2 is a ii-V pattern that’s a little more sophisticated in the key of F.

    The phrase starts out

    with a descending Gmin9 arpeggio (starting on the ninth), continues with a modal phrase,

    and then plays the #9 and b9 over the C13 chord before it resolves to the fifth degree of the

     Fmaj9 chord, which adds some nice color to the lick. Playing a C7#9b13 would also sound good

    3. Chromatic Approaches and Indirect Resolutions

    Ex. 3 demonstrates both a chromatic approach to Bb, the minor third of the Gmin9 chord,

    and then an indirect resolution (chromatic from below but modal from above) to G, the fifth

    of the C13 chord.

    4. Expanded ii-V Patterns

    Ex. 4a
    Chromatic Approaches and Indirect Resolutions

    Ex. 3 demonstrates both a chromatic approach to Bb, the minor third of the 

    Gmin9 chord, and then an indirect resolution (chromatic from below but modal from above)

    to G, the fifth of the C13 chord.

    4. Expanded ii-V Patterns

    Ex. 4a

    Ex. 4b

    Ex. 4c

    Ex. 4d

    Exs. 4a through 4d are more ii-V patterns for you to get into your ears and under your fingers.

    Try analyzing them on their own to see the chord-to-scale relationships inherent in each. Notice

    how starting lines on different scale degrees of the target chords can impart unique flavors to your improvisations.
    5. ii-V Patterns in Use

    Note how you can seamlessly connect solo lines by linking up different ii-V patterns

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