Re: II-V-I scales

Bert Ligon ( BLigon@mozart.music.sc.edu )
Tue, 4 Mar 1997 13:48:28 -0500

>I recently started taking improv lessons from a person not affiliated
>with my school and everything he tells me runs counter to what I learned
>in school. I was wondering what the "right" scale to play over a II-V-I
>progression is. My school improv course taught me to play the major
>scale based on I. Now I'm told it's the dominant scale. For example:
>Cm F7 Bb
>the scale would be F G A Bb C D Eb E F
>My teacher told me that the dominant is everything. In jazz it is the
>tonic. Everything moves toward it or away from it so that it can move
>back to it. I guess my question is should I stick with the school
>coursework or this new guy?
>Jeff Osgood

Jeff:

The dominant scale you show above is the same as the Bb major scale. Rather
than think of three scales, be aware that you are in the key of Bb and the
home scale works for all three chords. Why? the chords were derived from
that scale. The music points to the I chord. That is the essence of
functional harmony: that it functions to point out the tonic. The dominant
is still extremely important in its role in pointing out the tonic.

Regarding playing through the chords: each chord, though derived from the
same scale emphasises different notes. The Cm7 = C-Eb-G-Bb, F7 = F-A-C-Eb,
Bb = Bb-D-F-A. finding those tones is a lgical second step after finding
the scale.

Isolating the individual tone that makes each chord sound is a logical
third step. So for Cm the 3rd=Eb, F7 the 3rd=A, Bb the 3rd=D. Creating
paths through these notes will create harmonically clear lines. Once you
can hear the harmonic clarity, you will feel more comfortable finding
tother paths. I think it is easier to stray from the well-worn path when it
is in fact well-worn from hours of practice.

Adding chromatic embellishment coudl come next. Using upper and lower
neighbor tones creates some interesting lines around the established chord
tones.

upper neighbor tones are are usually from the scale (diatonic).
lower neighbor tones are are usually chromatic.

You must know the scales to use neighbor tones in order to find the correct one.

There are some examples of lines following the chord tones at the following
page:

http://www.music.sc.edu/Departments/Jazz/examples.html

I have written a book (which you can read about at the web page) dealing
with nothing but how to connect chords with linear harmony.

http://www.music.sc.edu/Departments/Jazz/book.html

_______________________________________
Bert Ligon
Director of Jazz Studies
_______________________________________
School of Music
University of South Carolina
Columbia, SC 29208
Voice: (803) 777-6565
Fax: (803) 777-2151
http://www.music.sc.edu/Departments/Jazz/
bligon@mozart.sc.edu
_______________________________________