ii V7 I A basic structure to begin mastering Jazz progressions

 

 

The II-V-I progression is considered one of the most important and fundamental chord progressions in jazz music. It refers to a series of chords played in sequence: a minor 7th chord (II), followed by a dominant 7th chord (V), and resolving to a major 7th chord (I). For example, in the key of C major, the II-V-I progression would be Dm7-G7-Cmaj7.

 

Here are some reasons why the II-V-I progression is crucial in jazz learning:

 

Harmonic Foundation: The II-V-I progression serves as a foundation for understanding and navigating the harmonic language of jazz. It appears in countless jazz standards and compositions, so learning to recognize and navigate this progression is essential for jazz musicians.

 

Tonal Center and Resolution: The II-V-I progression creates a sense of tension and resolution. The dominant 7th chord (V) creates tension that wants to resolve to the major 7th chord (I). Understanding and internalizing this resolution is vital for improvising and creating melodic lines in jazz.

 

Chord Substitutions: The II-V-I progression provides a framework for chord substitutions and reharmonizations. Jazz musicians often substitute or alter the chords within the progression to add harmonic interest and create different colors and tensions. Mastering the II-V-I progression allows you to experiment with substitutions and expand your harmonic vocabulary.

 

Improvisational Vocabulary: The II-V-I progression is a common backdrop for improvisation in jazz. Practicing improvisation over this progression helps develop melodic ideas, phrasing, and the ability to navigate chord changes effectively. By studying the II-V-I progression in different keys and contexts, you'll enhance your improvisational skills and develop a deeper understanding of jazz harmony.

 

Transcription and Analysis: Many jazz musicians learn and transcribe solos by renowned players. The II-V-I progression appears extensively in these solos, making it a valuable tool for transcription and analysis. By studying how jazz greats navigate this progression, you can gain insights into their melodic choices, rhythmic phrasing, and overall improvisational approach.

 

In summary, the II-V-I progression is of utmost importance in jazz learning due to its foundational role in jazz harmony, its use in countless jazz standards, its function as a basis for chord substitutions and reharmonizations, its significance in improvisation, and its relevance for transcription and analysis. By dedicating time to understanding and internalizing the II-V-I progression, aspiring jazz musicians can greatly enhance their musical abilities and develop a deeper connection with the language of jazz.

What was my biggest Breakthrough in guitar playing?

The first breakthrough occurred when I started a band called Orquesta de Animales. Prior to that, I had been focused on playing virtuosic music, attempting to master complicated and fast pieces. However, I became frustrated with the limited scope of this approach and sought a different path. I began playing more improvised jams in a nearly unrestricted style, relying heavily on pentatonic scales. Our jams were inspired by the psychedelic and kraut rock bands of the early days, employing a simple language that fostered profound dialogue within the band. I found that I could communicate effectively with my fellow bandmates as well as with myself.

 

The second breakthrough came when I grew bored with my limitations and felt the need for more musical tools. I made the decision to re-enroll in formal studies. Initially, the goal was to obtain diplomas, but it quickly evolved into a desire to acquire a broader range of musical tools for creating more interesting music. This shift led to the systematic use of musical language in my daily routine. I began incorporating sight-reading, theory, and non-instrumental abilities such as ear training as essential elements in a never-ending self-improvement discipline.

I don´t like the CAGED system

 

I´ve never been interested in CAGED, and after seeing that diagram, my only interest 

is to explain why I don´t like it. First of all, what is called there A is not really A. 

If it was placed in the 2nd fret, it would be a 2nd inversion of A, because it would be rooted in the 

note E. So I would not recommend calling A something that isn´t (In the diagram the chord highlited as A is in fact a 2nd inversion of C!)

If you are a beginner, this would be 

confuse. I´d say to you, you can learn patterns, which is useful in guitar, but better to name 

them like "Pentatonic first shape" or "Tonic shape" rather than using unrelated names that use 

incorrectly the music lexicon.

I suggest learning patterns, but use the correct names of the notes that you are playing. You´ll

develop a stronger basis. It ´ll be further better to learn the notes, learn the relationship between the notes 

played, and then recognize the visual and mecanic pattern. 

The sooner you start reading notes the better. Start with simple melodies, you´ll progress and every time it´ll get easier

(no matter your age!)