Ii–V–I turnaround
The II-VI cadence is the most common chord connection in jazz music. The tonic can be major or minor chord. The bass moves jazz typically in descending fifths. The cadenza often occurs without resolution tonic. It can be derived from the classic full cadence with added sixth on the subdominant.
An alternative function harmonious interpretation summarizes the II chord as a Dominant derivative.
Use in the major scale
The cadence of the seventh chords with chord symbols is in a major key:
IIm7 - V7 - Imaj7
Use of minor-seventh chord of the second stage, the major seventh chord of the fifth and the major chord on the first stage with major seventh or sixth great.
If C tonal center, you get the chord progression ( changes are in jazz harmony exchange of a piece, which form the basis for improvisation ):
Dm7 - G7 - Cmaj7 ( Midi File / i?)
Use in the minor scale
The chord progression II-VI can be applied not only to the major, but also to the ( smooth ) minor scale. In this minor scale the cadence is:
IIm7 ♭ 5 - Im7 ♭ 9/ 13 ♭ - Immaj7 or IIm7 ♭ 5 - Im7 ♭ 9/ 13 ♭ - IM6
All three chords using different minor scales: natural minor IIm7 ♭ 5, V7 ♭ 9 harmonic minor, melodic minor in. The minor tonic contains a major seventh or major sixth and not minor seventh from the natural minor scale.
Attila Zoller has pointed out this common error by amateurs. Wolf Burbat holds together the whole clay material: 1, 2, b3, 4, 5, b 6, 6, B7, maj7. From this he builds different scales. Jungbluth uses the Melodic Minor scale upwards. In jazz, engaged in a battle with the tones of the scale rather than heard. To melodic structure lends itself to melodic minor, harmonic minor uses only the V7 ♭ 9/ 13 ♭ namely vertically.
Or as an altered version:
IIm7 ♭ 5 - V7alt - Immaj7 or IIm7 ♭ 5 - V7alt - IM6
The first chord of this episode is a half diminished chord on the second stage and the second chord is harmonically seen a dominant seventh chord in harmonic minor, resulting in lowering the ninth and thirteenth, or alternatively usually one of altered dominant seventh chord, which additionally excessive None ( # 9 ) may contain. If you have for example a minor as a home key, this is the chord progression:
Hm7 ♭ 5 - E7 ♭ 9/ 13 ♭ - Ammaj7 or HM7 ♭ 5 - E7 ♭ 9/ 13 ♭ - Am6
B9 here is the f, b13 the c which lacks g, or
Hm7 ♭ 5 - E7alt - Ammaj7 or HM7 ♭ 5 - E7alt - Am6 here you have the fisis as # 9, which corresponds to the enharmonic g ( ie, the blue note ).
Relation to the sequence of descending fifths
The root notes of this chord progression form a sequence of descending fifths:
H ... - E - A - D - G - C - F - ...
Conversely, the mere sequence of descending fifths almost exclusively a II-VI sequence represents, for example, the beginning of Autumn Leaves:
Dm7 - G7 - Cmaj7 - Fmaj7 - HM7 ♭ 5 - E7 - Am ( repeat) This is equivalent to: II - V - I - ii - v - i
Practical Application
Typical closing cadence
One finds the II -VI compound often at the end of a song or chorus.
Examples:
- And I ( Dm7 ) think to myself: (G7) WHAT A WONDERFUL (C ) WORLD
- Tell me ( Em7 ) dear ARE YOU (A7 ) LONESOME TO- (D ) NIGHT
- ( Dm7 ) SUMMER FEELING (G7) with Bacardi (C ) Rum
- ( Am7 ) saying SOMETHING (D7 ) STUPID like I (G ) love you
- DO NOT ( Am7 ) WORRY, (D7 ) BE (G ) HAPPY
- It's ( Em7 ) just another (A7 ) MANIC (D) MONDAY
- ( Am7 ) I want to ( D7) back after WESTER (G ) LAND
Jazz improvisation
A repertoire of solo phrases and Akkordvoicings on the II-VI compound belonging to the tools of every jazz musician since
Some jazz standards consist almost exclusively of such compounds such as the Changes ( M7 it describes the major seventh ) of " tune-up " ( Miles Davis) show:
The changes as MIDI files (< 2 KB)? / I to listen to ( with a repetition ).
Here each phrase the harmonies raced each in the third bar into a target sound, to which the preceding stages relate. The target sounds are relatively far apart: D major has 2 crosses, C major and B flat major no sign turn 2 Bes (see: circle of fifths ). Cohesion creates here, however, that the target sounds are " vermollt " at the beginning of the next phrase and can be used as stage II of the next target sound so. The only sound that breaks out of this scheme, is the designated IV E-flat sound. (IV with respect to the still valid in B flat major ). This sound is necessary to warp back to the starting point within the present 16 measures. Would you continue to spin the model, one would at in A flat major. E-flat major at this point offers itself as a bridge between B major and E minor, since E-flat is like saying the IV stage of B, but on the other hand, only by chromatic change of chord tones ( It to E, B to H ) can be converted to e minor. The final, faster turn in the last bar leads than standard turnaround back to the first chord of the piece.
II-V
Also, a spin-off II-V is often used: for example, use the first six bars of " Satin Doll " (Duke Ellington ) only this turn. To this end, waiting for the seventh time with a little surprise by the immediately preceding II-V - formations is not brought to an end as expected. Only the turnaround in the eighth clock is a complete II -VI - connection to repetition.
Often found in textbooks scale material as a basis for the melodic soloing on II -VI. In our example, it may be enough to get you started in the improvisation that all audio material without any problems from the C major scale ( Ionian mode) can be seen. Even with the C major pentatonic scale to get along well here. The alterations, only give the melody line of a little spice, stem from either the Blue Notes the home key, Tritonussubstitutionen or parallel shifts of the indicated chords.
VI - II-V -I
The extended impact VI - II -VI, also in variants is also common. If one starts with the sequence I has one I- VI, II-VI, wherein said I-VI are the tonic and relative minor. In addition, VI and II Gegenklang and relative minor of the subdominant, which one functional approaches the full cadence. In rock / pop music can be heard accordingly, the variation in the II is replaced by IV: I-VI -IV -VI.
II-V, II-V
Chords a fifth apart are also called chains of II- V strung together in different tonalities: Eg Em - A7 - Dm - G7 ( - C). The first episode Em - A7 is in D major, dissolves, however, by d- Moll ( free through the end) on which at the same time the second II-V sequence is achieved in C major.
VI - II-V -I Variants
One can replace the one hand, the V chord, by a suitable variant ( mixolydian, altered, V7 ♭ 9 b9, # 11, 13) and are available for the following VIm7 replacement options:
- # I ° 7, uses the Ganztonhalbtonskala
- BIII ° 7, uses the Ganztonhalbtonskala
- II7, used above scale V7 ♭ 9 b9, # 11, 13, so Mixolydian with minor ninth and excessive fourth.
- VI7, the scale harmoniously used from minor of the fifth stage or altered.
- BIII7benutzt the scale V7 ♭ 9 b9, # 11, 13, so Mixolydian with minor ninth and excessive fourth.
The last variant is when it begins with the sixth chord of the tonic and provides it with the altered dominant, a chromatic bass case from the third to the root of the tonic.