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Over the years I’ve had several teachers, bought many instruction books, dvd’s, cassettes, online courses, etc trying to learn more about my instrument. I’m a relative newcomer to jazz. It’s been daunting because it seems that most teachers or methods want me to learn scales, arpeggios (Yuck! Calisthenics. Get me off the bench and let’s play!) and advanced theory when all I needed was just to be shown a song and explained how it is put together.
So, my jazz instruction has been largely self-taught with Hal Leonard and Reader’s Digest real books. Finally, a couple months ago, something clicked and the II-V-I thing became abundantly clear to my thick head. It happened while I was figuring out Michael Franks’ “Down In Brazil”, unavailable in my real books, fake books, chordie, wiki, yada, yada.....
I’d like to share my insight with you in the hopes it may help you get that "click" as well.
“Down In Brazil” is a simple Bossa Nova tune. What’s remarkable about it is that, except for the intro and outro, it is nothing but II-V-I, going through the octave until it simply repeats. Wow! I can play a song and know what the intervals are! I can see and hear the II-V-I relationship all over the neck! It’s fun! It required no memorization of scales, and, truth be told, you can even enjoy it without knowing it’s II-V-I at all.
Directions for playing:
The number in parentheses is the fret that your index finger should be on. At least to start. There are two basic fingerings for each of the 3 chords. The first, for the Bmaj7 is x788x7 from 1st to 6th strings. The Bm7 is 7777x7. E7 is 797977. Proceed down the neck.
For the Fmaj7, slide up to the 8th fret and use what I call the “Misty” maj7 form:
8 10 9 10 8 8
Fm7 is 8 9 8 10 8 8
Bb7 is 667686 Proceed down the neck.
Slide up to the Gb7
9 11 9 11 9 9
Then back to Bmaj7 for verse II.
Timing:
Intro and outro; each chord gets 8 beats
Verse chords; maj7’s get 8 beats, the m7’s and dominant 7’s get 4 beats each
Solo is over a complete verse, between II and III.
Get this: The “Clicky” part. Each maj7 is the I chord. Each minor7 is the II chord. Each 7 is the V chord as the song goes around.
After you’re good with this, try substituting other chord voicings, or perhaps substitute 9th’s for the 7th’s. (Hint: a V9th chord is a IIm6th chord. In other words, play an E9 instead of an E7. An E9 is a Bm6. Just don’t tell the bassist.) Then substitute the weirder, stretchier stuff.
I hope this opened up the fingerboard for you as it did for me. I prefer learning it in the context of a song, rather than the “calisthenics” of scales and runs. Enjoy! (Note: B is not the original key, but rather the one I can sing it in.)
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Well, I've tried twice to paste my version into this post, but it comes out too weird. So, here's the chords all the way through:
"Down In Brazil" by Michael Franks
Intro: (7)Bmaj7 (7)Bm7 (x2)
Verse and solos:
(7)Bmaj7 (7)Bm7 (7)E7
(5)Amaj7 (5)Am7 (5)D7
(3)Gmaj7 (3)Gm7 (3)C7
(8)Fmaj7 (8)Fm7 (6)Bb7
(6)Ebmaj7 (6)Ebm7 (4)Ab7
(4)Dbmaj7 (9)Dbm7 (9)Gb7
Repeat as necessary
Outro: Same as intro. Repeat to fade.
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03-22-2012 04:21 PM
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If you want to approach the II-V-I cadenza in a non-modal way (which is a logical thing to do since this cadenze is most often used in non-modal music and is the mostly used building block in the well known older standards), check out Bert Ligons book "Connecting Chords with Linear Harmony", which is almost all about playing over II-V.
Amazon.com: Connecting Chords with Linear Harmony (Jazz Book) (0073999729023): Bert Ligon: Books
Also check out bebop tunes by Bird, Dizzy and others from that period. Those bebop tunes were often written over the changes of standards or the 12 bar blues (about the half of Birds compositions were the blues, albeit sophisticated blues), but reharmonized with extra II-V cadenzas crammed in where possible.
A general "rule" is that any dominant chord can be replaced by a II-V cadenze with the dominant chord as the V, for example:
/Eb7-Eb7-Eb7-Eb7/ becomes /Bbm7-Bbm7-Eb7-Eb7/ or /Bbm7-Eb7-Bbm7-Eb7/
and that was what the boppers regularly did. Sometimes they also used reharmonizations with III-VI-II-V cadenzas (which is basically a more elaborate way of doing the same thing), for example:
/Cm7-F7-Bbm7-Eb7/ - which will resolve to Ab unless it's a deceptive cadenza going somewhere else. This is seen in what is now known as a generic "Bird blues".
Chromatic movement can involve repeated II-V cadenzas, each a half step apart. Check out Thelonius Monks beautiful ballad "Ask me Now" for an example of this.
OT: As for chromatism, Duke Ellington once wrote a tune called "A chromatic Love Affair", and as Duke explained the title at concerts, "that's a half step a time".
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Benthayer,
Why would you use such a racist picture for your posts, i would be embarressed by that!
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Good evening, Ben...
Originally Posted by BenThayer
Nice post; especially nice sentiment. Yes, this helps; I'd already worked out much the same from the Mickey Baker book, and just messing about. I had 'written' a close relative of this sequence many years ago; your run-down is clear enough (I like the 'Misty' reference...). Well done; I wish more 'clicks' could be shared this way. This is what helps the beginners such as myself really progress and advance in understanding, far more, imho, than the endless debates on 'tone' or 'pick choice' (although they're doiubtless useful for some...).
Thanks, Ben...
Good evening, guitarplayer007... Originally Posted by guitarplayer007
Sorry, but all I see is a man with an open mouth. Is there a connotation that I've missed somewhere..? Perhaps it's me...
Just sayin', no big issue.
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Thanks for sharing your thought process and your findings. I always like it when a person explains their logic, although it can be difficult to do in written communication. Originally Posted by BenThayer
I am not going to comment on your avatar but what I want to know is whether or not you are going to upload a recording of yourself playing and singing the song?
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Reply to all participants:
Oldane - Thanks for the link and tips. Nice little add-ons to the comping! I'll try the book.
Douglas - thanks as well. The "Misty Maj7" is self-explanatory. I'd like to have a nickname for the other maj7 form I used in this song. I got it from the Mickey Baker book. "Mickey maj7"? LOL!
AlsoRan - I shall rise to the challenge and record this and post it. Can you point me in a direction for uploading my effort? Thanks.
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Originally Posted by Dad3353
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Alas Sir Ben, Originally Posted by BenThayer
I am of limited help when it comes to uploading since I have not tried it yet. My only guess is to have your performance on an "uploadable" file, and then click on the "Attachment" icon (the paper clip looking thingy in the top row of this box).
Or you could put in on Youtube for the whole world to see and then create a link here.
I just remembered, someone asked a question about uploading recently on the forum. I think it pertained to Soundcloud. But I would be afraid someone would steal your performance, sell it, and then become millionaires at your expense .
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Ok, as promised, here is my recording of "Down In Brazil" (Jeez, I had a lot more time during the winter.) A variant from my chord formation in the original post is: Gb7 as 6 5 6 4 x x.
I comped a full turn for your solo and used a couple of different forms here and there. The dog farts you hear in the background are the vocals by a finalist from American Idle.
Hope this helps. Enjoy!
See Post#12Last edited by BenThayer; 04-23-2012 at 12:43 PM. Reason: Link didn't work.
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You are a person of your word, but aw no, I couldn't open your link! Originally Posted by BenThayer
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Thanks for trying, AR. I'm workin' on it.
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BT, Now the soundcloud site is down!
One day I will get to hear that song...
Thanks.
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Maybe it's for the best. You know, it could be my little track might bring on a modern day "Danny Gatton Effect", which caused many a superb guitarist to put his guitar back under the bed after hearing that great one burn the fretboard. LOFL!!
Or, maybe it's to save me from planet-wide ridicule.... More likely!
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Originally Posted by BenThayer
You are too funny, BT.
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ii, V, I ,,,,, Three chords and the Truth
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