“Just wanted to let you know, I took a good look through your new e-book, ii-V7-I: 40 Creative Concepts for the Modern Improviser, and I have to say, “wow!” There’s a lot of impressive material here – clearly enough to keep one busy for a long time! “
-Fred Calandrino, guitarist, Long Island, New York
“Love this book! The descriptions and explanations about each of the exercises are super clear and concise. Each one of these 40 concepts opens up a huge amount of other possibilities to explore.”
-Ross Abrahms, saxophonist, Los Angeles
The ii-V7-I chord progression is still the most fundamental “harmonic-form building block” of so many songs and compositions that jazz musicians enjoy improvising over, studying and memorizing. Gaining basic mastery over this chord progression in all major and minor keys is essential for any serious jazz musician, not just because how common it is in standard jazz repertoire, but also because the ii-V7-I is emblematic of the “tension building to release” (or more specifically, “dominant to tonic”) element that is at the heart of melodic cogency in just about any type of musical expression. Here’s an e-book I’ve put together in response to the many musicians who have purchased and played through my other e-books and etudes, and have asked me to compose a book specifically dedicated to finding some new and interesting ways to approach this very important chord sequence.
In ii-V7-I: 40 Creative Concepts for the Modern Improviser, I have documented, selected, edited and elucidated upon my explorations with this chord cycle, based upon my practice and study over the last several years. The end result yields what I think are some unique and practical ways to avoid cliches, and instead offer some fresh new concepts in approaching “dominant to tonic” components in improvisation.
Each etude begins with a one-page description/analysis of the concept to be explored (complete with a musically notated example), as well as ways to explore variations with it on your own. This serves as a “mini lesson”, of sorts, to help clarify the thinking behind the concept so that you can practice it with a specific learning/listening objective in mind. I then notate the idea into all 12 keys for you to practice and/or to use as a reference. (I also offer suggestions for optimal practice in the book’s Introduction Chapter.)
In essence, this is a book that explores a wide variety of the “materials of music” (as saxophonist Warne Marsh called them), as they apply to improvisation, more specifically: harmony, melody, form, meter and rhythm. Rather than a specific “lick” to memorize, each of the 40 melodic exercise serves to demonstrate one of the countless possibilities to be found by using the concept itself. As you understand and absorb the concept, you’ll be able to find your own new ways of using it to suit your musical taste and expression.
Some of the concepts explored in this book are:
- Harmonic substitutions
- Auxiliary diatonic scales (including melodic minor, harmonic major, Lydian/Lydian extractions, and hexatonic scales extracted from diatonic scales)
- Symmetrical scales (such as diminished, augmented and hexatonic extracted from diminished)
- Four-note triad cells and enclosures
- Triad pairs (including diatonic triad pairs extracted from symmetrical scales)
- Polymeter (implying odd-metered subdivisions over 4/4)
- Polyrhythm (implying metric modulation/tempo modulation)
- Reverse resolutions (moving from a more “tonic” quality to a “resolve” on a more “dominant” one)
- Obscuring/disguising tonic tonality
- Implying strong resolutions to non-tonic keys
- Intervallic shapes
- Stylistic elements from great improvisers and composers (Thelonious Monk, Lester Young and even J.S. Bach!)
- And much more!
There are exercises for ii-V7-I progressions in major keys and minor keys, including multiple key “turnbacks” found in many jazz standards. Working through this book can inspire a wealth of original ideas, helping you to develop your own uniquely personal language as an improviser. Many of the 40 concepts are broad enough that they could actually serve as the subject for an entire, stand alone, book! And in the process of doing so, you’ll broaden your knowledge and understanding of modern jazz harmony, gain valuable rhythmic tools and improve your technique and sight-reading.
This is not a book for beginners! It is recommended for the high intermediate, to advanced jazz improviser who has a working knowledge of essential jazz harmony, and is looking for some unique new ways to approach dominant to tonic tonalities. It is most definitely not a “bebop” based approach (though there are some elements of this essential jazz language explored!), but is instead looking toward more “modern” sounding musical ideas. So if you’re looking for new ways to challenge your ears and open up your musical imagination as an improviser, this book is for you!
For all treble clef instruments. Downloadable in pdf format, 127 pages. Price: $15.00
Click the link below for a pdf SAMPLE EXERCISE (including text discription/analysis, and notated exercise) from the book:
ii-V7-I Sample: notated exercise-pdf
If you’d like to gain more of an idea about the concept, format, benefits and practice guidelines found in the book, click the link below for a pdf copy of the INTRODUCTION CHAPTER:
ii-V7-I Introduction Chapter-pdf
If you have any questions about the material in this book, or are having any problems downloading the pdf, please contact me. I’ll get back to you promptly. Thanks! And please know that when you place your order (through PayPal), you should immediately receive the link for the actual download from WordPress (not PayPal). So check your spam folder, etc., if you don’t seem to be able to find it. And again, if you have any problems at all, let me know!