Welcome to your first step on the road to ii–V–I mastery. This first step contains 3 videos that cover ii-V-I harmony.

The ii–V–I progression is the backbone of countless jazz standards and appears across styles from blues to pop. From the fluid lines of Wes Montgomery to the refined voicings of Joe Pass, this timeless sequence has shaped the sound of generations. In this course, we’ll explore both the fundamentals and more advanced concepts—diving into creative substitutions and harmonic possibilities to help expand your musical vocabulary and deepen your understanding of this essential progression. By mastering the ii-V-I, you’ll gain access to one of the most versatile and widely used harmonic tools in music.

Lesson Video (1/3)

Key Learning Outcomes and Topics Covered

• Understand the structure and theory behind the ii-V-I progression.
• Learn the difference between diatonic and non-diatonic notes.
• Explore long and short ii-V-I progressions and their rhythmic variations.
• Master voice leading for smooth chord transitions.
• Incorporate inversions and bass note substitutions to add variety.
• Discover extensions and alterations to color the V chord.
• Apply practical tips for fluid harmonic movement.
• Learn practice strategies, including solo guitar arrangements, to integrate ii-V-I progressions into your playing.

Introduction

We begin by unpacking the ii-V-I progression, which is rooted in the harmonic structure of the major scale. The “two,” “five,” and “one” chords correspond to the second, fifth, and first degrees of the scale, respectively. In the key of C, for instance, the ii chord is D minor 7, the V chord is G7, and the I chord is C major 7. This progression forms the backbone of countless jazz standards and serves as a gateway to understanding more complex harmonic ideas.

Lesson Summary

This lesson dives deep into the ii-V-I progression, breaking it down into digestible segments:

1. The Basics: Understanding the harmonic structure of the ii-V-I and its diatonic nature. Diatonic chords use only notes within the key, while non-diatonic notes introduce chromaticism for added tension and color.
2. Rhythmic Variations: We explore “long” ii-V-I progressions (where each chord lasts a full measure) and “short” ones (where the ii and V share a single measure). Both approaches offer unique rhythmic and harmonic possibilities.
3. Voice Leading: To achieve smooth transitions, we focus on how individual notes move between chords. For example, the flat 7th of the ii chord (C in Dm7) often becomes the 3rd of the V chord (B in G7).
4. Chord Voicings: Starting from the lowest register of the guitar, we build ii-V-I voicings with clear voice leading. Movable shapes are introduced, allowing you to transpose the progression across the fretboard.
5. Inversions and Substitutions: By using different bass notes and inversions, such as Dm7 with F in the bass or Cmaj7 with E in the bass, we add depth and variety to the progression.
6. Extensions and Alterations: On the V chord, we explore chromatic alterations like sharp 5, flat 5, flat 9, and sharp 9, demonstrating how these create tension that resolves beautifully to the I chord.
7. Practical Application: Integrating these ideas into solo guitar arrangements of jazz standards. This approach helps internalize the progression while learning to highlight melody and harmony simultaneously.

Practice Tips:

• Start with simple voicings and gradually add complexity.
• Focus on one area of the fretboard at a time before expanding.
• Use a metronome to internalize rhythmic variations.
• Transpose the progression to different keys to build fluency.

Soundbites

• “A ii-V-I is like the heartbeat of jazz; it’s everywhere and essential to master.”
• “The flat 7th of the ii chord often becomes the 3rd of the V chord—a subtle but beautiful transition.”
• “Don’t just learn voicings; learn to connect them with fluid harmony.”
• “If music were a language, the ii-V-I would be its most common sentence.”

Video 1 Wrap-Up

The ii-V-I progression is more than just a harmonic tool; it’s a pathway to understanding and creating music at a deeper level. By working through the material in this lesson, you’ll not only improve your technical skills but also your ability to communicate musically. Take your time, revisit the concepts often, and enjoy the journey. Remember, this is a lifetime’s work—a rich field of study that will continue to reward you as you grow.

Once you feel comfortable here, head for Chapter 2, where we’ll explore ii-V-I progressions with substitute chords. Until then, happy playing!

Lesson Video (2/3)

Key Learning Outcomes and Topics Covered

• Understand the concept and mechanics of the ii-V-I progression.
• Explore tritone substitutions and their harmonic foundations.
• Learn the “flat 5 substitute” concept and its application.
• Integrate diminished chord movements within the ii-V-I framework.
• Master melodic approaches and arpeggios over substituted chords.
• Discover how to apply substitutions in both long and short ii-V-I progressions.
• Experiment with alternative bass movements and companion minor chords.
• Develop strategies to voice and connect substitutions across the fretboard.

Introduction

The ii-V-I progression serves as the backbone of countless jazz standards. In this lesson, we take this essential progression further by introducing substitutions that add depth, complexity, and a touch of personal style. We’ll examine how these substitutions arise from the harmonic structure of the chords and their shared “guts,” such as the tritone. For example, in the key of C, substituting G7 with Db7 or Db9 introduces exciting new colors while maintaining the progression’s integrity.

Lesson Summary

This lesson delves into substitutions for the ii-V-I progression, offering a wealth of harmonic tools and ideas:

1. Tritone Substitutions:
   Learn how G7 and Db7 share the same tritone interval, allowing Db7 to replace G7 seamlessly. Explore variations like Db9 and Db13 to add richness to the progression.
2. Flat 5 Substitutions:
   Understand the “flat 5 substitute,” where chords like Db7 or Ab7 can replace or complement the ii or V chord. These substitutions create smooth bass movement and harmonic tension.
3. Companion Minor Chords:
   Substitute the V chord (G7) with its companion minor (Abm7), leading to a Db7 resolution. This approach provides a darker, more nuanced sound.
4. Diminished Chords:
   Incorporate diminished chords into the progression, such as moving from Dm7 to D diminished, and explore their inversions to create seamless transitions.
5. Melodic Approaches:
   Superimpose arpeggios and melodic ideas over substituted chords, crafting lines that flow through ii-V-I and its variations.
6. Practice Applications:
   Experiment with substitutions across the fretboard, using full chords or partial voicings. Start with long ii-V-I progressions to fully explore substitutions, then apply them to short ii-V-I for faster harmonic shifts.

Soundbites

• “The tritone of G7 lives inside Db7—the roots differ, but the guts are the same.”
• “Substitutions create movement, sometimes in the bass, sometimes in the melody, and often in both.”
• “Think of these as harmonic possibilities, not rules—each substitution adds its own flavor to the ii-V-I.”

Video 2 Wrap-Up

Substitutions transform the ii-V-I progression into a playground of harmonic exploration. By integrating tritone subs, diminished chords, and companion minors, you’ll expand your understanding and deepen your musical expression. Start slowly, experiment with different voicings and inversions, and let your ear guide you. This lesson lays a solid foundation for further exploration—keep exploring, stay curious, and enjoy the journey.

Lesson Video (3/3)

Key Learning Outcomes and Topics Covered

• Understanding the concept of “altered” harmony and its application in jazz progressions.
• Using the F melodic minor scale to harmonize and replace the dominant chord in ii-V-I progressions.
• Building smooth voice leading across substituted chords.
• Applying these principles to both major and minor ii-V-I progressions.
• Creating compelling melodic lines using extensions and diatonic tones.
• Strategies for pairing melodic minor voicings to maximize harmonic richness.

Introduction

We begin by rethinking the traditional ii-V-I progression, focusing on the dominant chord. Instead of a standard altered E7 chord, we explore substituting it with chords derived from the F melodic minor scale. This method brings a fresh, modern sound to the progression while maintaining smooth voice leading. The F melodic minor scale acts as a “parent scale,” offering a rich array of harmonic options to replace or enhance the V chord.

Lesson Summary

This lesson focuses on harmonizing the melodic minor scale and integrating it into ii-V-I progressions. Key points include:

• Substituting the V chord: Replace the E7 with chords derived from the F melodic minor scale, such as FmMaj7, Gm7, Ab7, and others. Each chord introduces unique extensions (e.g., natural 9, sharp 11, flat 13) that enhance the harmonic texture.
• Voice leading: Prioritize smooth transitions between chords by considering their extensions and inner voices.
• Extensions and melodies: Use the diatonic tones of F melodic minor to craft melodies that complement the substituted chords.
• Application to minor ii-V-I: Adapt these principles to minor progressions by altering the ii and I chords appropriately. For example, Bm7b5, Fm(maj7), and Am6 create a cohesive and harmonically rich minor ii-V-I.
• Advanced possibilities: Explore all seven chords of the melodic minor scale as substitutes for the ii, V, and I chords. Pair adjacent melodic minor voicings to achieve full coverage of the scale tones and create interesting harmonic movement.

Practice tips:

• Start by mastering the voicings for each chord derived from the melodic minor scale.
• Focus on voice leading by moving smoothly between adjacent chords.
• Experiment with creating melodies that highlight the extensions of each substituted chord.

Soundbites

• “The melodic minor scale has no avoid tones—every note can be useful.”
• “By substituting the dominant chord with melodic minor harmonies, we open up a world of new textures.”
• “Smooth voice leading is the secret to making these substitutions sound natural and musical.”

Video 3 Wrap-Up

Expanding beyond the standard ii-V-I progression by incorporating melodic minor harmony allows you to express more sophisticated ideas in your playing. These techniques encourage you to think creatively about harmony and voice leading while providing a strong foundation for improvisation. Take your time to explore each substitution, and don’t hesitate to experiment with combining these ideas in your own compositions and solos. Keep practicing, and enjoy the journey of unlocking new sounds on your guitar.