12 0 obj /CSpg /DeviceGray ;�/93Ba]f��&Ƣ�D���ADwcx�q�wrޭc;�1nU��*�]�[&�P(�ޘ��Bc�p;��-��F�"�L&�Ig��{��܈�D�T9ߚ?�qI�6sv�8۰�s�N`��H�-�'�D����n8��XB'*�C�x�� 5�&�[��G&�.���Jf,a+�X��bԊC�hՌ�߁�F����K!�w"�P5��y/�T����sv�E��"���3Lp������y�[��u�X�N�fJ�ꄆ�q�� ���8�̌%t�r�Z���~֨��A�2)�oA��$
�ځ�*U���߾����|\�:x>�U�g�� /Pattern << /XObject << /F7 7 0 R %PDF-1.4 /F10 10 0 R &>�'�}��E&b���C���z�'�3�j���L�m&�� X��f��������4�q�b�~@# /SMask /None>> /GSa 4 0 R You’ll find this chord progression in hundreds and hundreds of jazz standards and even in some rock songs. /SM 0.02 P?�Jբ|.�T�8P6�˼�I-��� �s�~��8�������ܐ�j��Z�
7,���p@v���/�Ñ38��o����մJKK>��3��t�{Uz��:����b�b�]����8�o����6y}�M�9=@���z�������p�M?Mb���i`s�)b4ڡ�>ޛ�o�.\�_Pdg�o��k�vKػ_?�ݑ�`r�������}���������]�ՙ�}�䆮�w��]�[\������}�*��[u��*��[}���Qp+g�o�[�8ӝ��T�u ހn��&ډ�5�U�����Q+4c7�a�f�F3��wh6G�M�2}�2��O�p�/�&6Gݞ��Q��&�s�5�Q�S���Q����hvO���K���0�.��7\2�7ʇ���� ���MK2}�2O��g����΅���9 endobj Play these chords in the whole keyboard (More than an octave) The Dm7 chord at the start of this example is built out of the So What voicings made famous by Bill Evans on the Miles Davis recording Kind of Blue.. As you continue to develop your jazz theory skills you’re going to want to make it a goal of being able to instantly play a ii-V-I chord progression in all 12 keys. [ ] >> endobj >> endobj To view all of them, please Register OR Login /AIS false Acces PDF Ii V I Piano Voicings In All Keysreally well for II-V-I progressions, because you only need to change a few notes (and by only a small interval) to move from one chord to the next (i.e. << F�ث��p�Ds&�j��p8 �`�mm�E[)=����9Y@Xk��'�$�œ O�Nn��g�p�? We provide a lot of materials to our students. New Warm-Ups in ii-V-I: https://youtu.be/jKMNIB9sk18 Thank you for supporting me on Patreon! >> /ExtGState << 3 o n W i n d o w s 7 5 0 obj IV degree of the harmonic minor key In the next page there are minor 7th chords in all keys and in 4 inversions PLAY them many,many times! >> /MediaBox [0 0 612 793] /AIS false Practicing a piece with pedaling every time can lead you to get lazy with hitting all of the notes, as the pedal can glaze things over. 3. There are 12 files here, one for each of the 12 major keys. << Note: Exercises/ Drills marked NA to be released soon . 6 0 obj The II-V-I-VI (2-5-1-6) chord progression. /CSp /DeviceRGB /Length 13 0 R 4 0 obj /Type /Page in a "New Appendix" (NA) to complement Jazz Piano … 2 0 obj >> /Parent 3 0 R movements at the keyboard. /F8 8 0 R /F11 11 0 R >> Lets get started learning how to play one of the most famous and useful jazz chord progressions there is. Please write to me anytime. << A while ago we did a video called “5 piano exercises for hand independence”, but we haven’t done anything like that in a while – I figured it was time! /Annots 15 0 R /XObject << ) endobj >> &? Most of us know the Major II-V-I(although we will cover it in more detail in an upcoming lesson).This is one of the most commonly used chord progressions in Jazz. Make sure you practice at least once in a while without the pedal so you don’t get in the bad habit of being imprecise. II -V -I Exercise - Drop 2 Voicings Cycle of 5ths? As most jazz players know, and many jazz students quickly learn, ii-V-I jazz licks (and the ii-V-I progression) are at the heart of jazz improvisational study. endobj /Type /ExtGState 1 . /Font << II-V-I Jazz Piano Chords. You would expect a ii – V – i in C minor scale to be built from the notes of C minor scale (C natural minor scale): Building a ii chord within this scale gives you D minor 7 … ) Warm-up exercises in ii-V-I that will make you WORK, but still sound pleasant to the ear. It is very important. << P��Y�����ý�?#��!j?OI�����{�R �\PM�6�i?ikp��7ȧ�o��
�Hj����\S{!�}}���d��7���=�L_@�R��ҧ��Ѣ��� About 80-90% of all Jazz and American Songbook classics are comprised mostly, if not solely, of ii-V-I progressions. fŒ„Š7 a¨9 g‹9 c13 q = 140 121 f6 a¨9 g‹9 c13 125 fŒ„Š9 c‹9 f13 b¨Œ„Š9 e¨9 1. 2 0 obj /SM 0.02 Major II V I VI Chord Progression 5. /ColorSpace << Below is an example of a II-V-I in the key of C using rootless chord voicings. /F9 9 0 R << >> /SA true (��{w�7y�ō�l;h��f��x�bBakB�X�e3iKʝB�%�nj?K`AN�ɓ�%r���������*a ���s~#c��U����`�ci�YL����ӈx /Creator (�� S i b e l i u s v e r s i o n 7 . endobj /Filter /FlateDecode Sheet Music. >> /Creator (�� S i b e l i u s v e r s i o n 7 . /Length 13 0 R /Font << 3 o n W i n d o w s 7 stream 14 0 obj /Pattern << << endobj /CA 1.0 [ ] This “ii-V-I Exercise” is quite simple: you’ll play the root of each chord in your left hand while playing the rootless chord voicing in your right hand. In the key of C Major it is: | Dm7 – G7 | CMaj7 || �mt�[�p�7ѝ�,�F�S���u���f�� ���Q����mT��Fy�Q��@CsT9a��3d��xb�1�2׃#�Q�'$�s��Q�S�F�����e�m���[D4�G���܌M���m��X��f�3��Φ���U�� �)��K}������SD�zD2[�:Ad�`�VG����m��!�ц�l� �tSF*�,���ٿY ��h�w �l! 5 0 obj 8 . << /Producer (�� Q t 4 . stream << W. Waltz For Debby (write to me) Wave . 6 X�:��MF�U�Y�jv5#�n�.0=5�b~�?�?��? /Filter /FlateDecode 4. This exercise is a classic bebop lick that fits over either a V chord or the whole of a short II-V, rounded off by a resolving figure using chromatic enclosure of the root of the I chord. In this video I'll show you everything you need to know about the ii-V-I chord progression. The trick to playing these ii V’s is that we will always go from category A to B to A,or from category B to A to B. 15 0 obj The goal of this lesson is twofold: 1. >> /Parent 3 0 R >> [/Pattern /DeviceRGB] Play a II-V-I in every key going around the Circle of Fifths So for example, start with a II-V-I in D (Em7, A7, DMaj7) then a II-V-I in G (Am7, D7, GMaj7) then a II-V-I in C (Dm7, G7, CMaj7) and so on Play II-V-I’s with different chord voicings Play II-V-I’s with left hand … /Type /Page /GSa 4 0 R /F9 9 0 R /F10 10 0 R I currently have 44,000 subscribers. Ex 1: In the key of C the 5th note is G. So, the V chord would be G7. Many hours are wasted at the piano by adopting an attitude of … �N!� /Contents 12 0 R /PCSp 5 0 R 15 0 obj 1 0 obj The ii-V-I progression is the stalwart of the jazz idiom. @� �5�cxg���-�Ä����U�{ᣂP�����J���F!� �p �k�C˧H\:�����[ν:��_�Z��y��e~J݃���U* /Title (��) Solo & Improvisation. ��睜��r�
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XDj8 ڋ_�Cޙ�h�!�!���xM��3�e�m1�F:P� Dec 29, 2018 - Easy Improvisation Exercise The II-V-I Progression Step 1 and 2 For beginner keyboard improvisers but also good for intermediate and advanced levels. Functionality. endobj Standards. &? the minor ii – V – I The minor ii – V – i is slightly more complicated, and often causes confusion, so let me explain. A��k���S$тT�r�Gs~��5�:N�O0��{��묜���Y�Z���1�����-ν]�i�ꙉ>Cu2�r�7�,�o��^�%QA��L˻g�.Yc�,a�g}�8l�. This can be achieved through aural training, musical dictation and “mental practice” (see p. 50). >> << /Type /Catalog /Contents 12 0 R /ca 1.0 Since you’ll hear the ii V I chord progression in so many great jazz tunes it’s vitally important that you learn how to play it quickly. << /F7 7 0 R /F11 11 0 R /Resources 14 0 R /F8 8 0 R II-V-I's . To give you the tools to create your own exercisesYou can choose to memorise these exercises as licks and use them verbatim in your solos. 129 ™™ ™™ a‹9 d7[äÁ] g‹9 c13 133 c‹9 f13 b¨Œ„Š9 e¨9 fŒ„Š7 g‹9 Excercise for ii - V - I Jazz chord pattern ... Piano/Vocal.