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#1
10-11-2011, 01:35 PM
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 ii V I VI progression -- what do you play on the VI? Please help with a beginners question... I've relied on etudes for this chord progression so far, yet I want to understand what's going on theory-wise. What scales may be used for the VI chord of this common jazz progression? I "hear" the sound (say, in the key of C: the sound of the descending notes G, F, E, D, Db, Ab, and A over the Adom7), but don't know the derived scale. Also, is the A7 open for any altered approach? Thanks for any responses!!      |
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#2
10-11-2011, 01:42 PM
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| Generally, the ii and the VI chords are altered to Alt dominant chords, the VI even more than the ii. You can play a lot of things over the A7alt, starting with A Dorian (if you were not to alter it), A Mixolydian (when you make it a dominant). If you alter it as a #5 you can play whole tone scale. If you make it a b5, Lydian dominant is a great choice (lydian b7 scale). With any alteration, you can play a whole-half diminished scale starting on the b9, 3rd, 5th, or 7th of the chord, or a half-whole starting on the root. There's also the super-locrian, that also works with any alteration as well. |
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#3
10-11-2011, 01:51 PM
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| Traditionally, the A7 would be open to any scale used to improvise over a dominant 7 chord, but if you're new to this, forget the scales. Look at the chord tones. Say we're in the key of C. ii-V7-I are all diatonic to the key of C, but VI7 is not, because it has a major third in it, instead of the typical minor third on the vi chord. So, back to those chord tones. A7 = A C# E G. The only note in that chord which is not in the key of C is the C#, so zero in on that C# when you are improvising - and notice how it resolves ever so nicely down by half-step into the tonic note, C. Notice how it also leads into the ii chord, this time up by half-step, if you're going back to the ii at the beginning of your progression. Nice, huh? Since this is a dominant 7th chord that is not resolving down by a fifth, I would probably want to shy away from altering it and instead just use nice consonant extensions: the natural 9th (B, which again leads nicely into C) or the 13th (F#, the #11 of C, giving a nice Lydian sound). An altered version of A7 (say, b9 or #5) would give some unusual sounds, like the b13 or the 11 of C, which I don't like the sound of. |
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#4
10-11-2011, 02:41 PM
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#5
10-11-2011, 04:25 PM
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#7
10-13-2011, 09:55 PM
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And since the A7 is acting as a dominant leading to a minor, altered tensions would be appropriate if desired. You don't actually have to think of using a different scale - just play in C Major but introduce a C# (3rd of the A7 chord) and a Bb (b9 of the A7 chord) when playing on the A7 leading to the Dm.
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#9
10-17-2011, 01:51 PM
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Linear Mode
