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II V I Progression PDF

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470 views3 pages

II V I Progression PDF

Uploaded by

ecrocamo
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Walking Bass Lines over I-VI-ii-V-I turnarounds John Fremgen

The I-VI-ii-V-I chord progression is one of the most commonly occurring


progressions in jazz harmony. Although it appears in many tunes and chord
structures, its’ most common appearance is as a “turnaround” in the last two
measures of a 32-bar form when the first chord of the tune is I. For instance,
example 1 shows a common ii-V-I progression in the key of F that would occur in
mm 29-32 of a standard jazz tune.

Example 1

You will notice that the piece ends on the I chord in m 31, and a turnaround is not
indicated. Although “lead sheets” will occasionally notate the turnaround back to I,
it is not necessary, because the assumption is that the musicians performing will
always want to return to the top of the form for soloing purposes. Hence, the
assumed turnaround changes that are employed in mm 31-32 are:

Example 2

As always, it is vital to internalize the scales and arpeggios that we use to build these
chord qualities:

Example 3
To begin practicing walking over these changes, start by outlining just the root
motion, without shifting beyond ½ position on the upright bass (or the third fret on
the electric). Each excerpt in example 4 uses a root in a different register, still
available in ½ position.

Example 4

Now practice these excerpts that create moving lines utilizing diatonic scale
degrees:

Example 5

Isolate the chords two at a time, and learn all of the different permeantations
utilizing chromatic leading tones. At this point, you will notice a discrepancy
between the passing tone and the actual 3rd or 7th in some of the chords. Remember,
a good bass line does not need to outline chord qualities above all else—leading
tones that create a strong pull to the upcoming root can supersede a strong chord
tone.

Example 6
Now put these chromatic leading tones in practice in a two measure I-VI-ii-V-I
progression.

Example 7

Practice these exercises in all twelve keys. Next time I will address targeting non-
roots and utilizing chord substitutions in I-VI-ii-V-I turnarounds.

Cheers!

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