Reharmonising Minor ii-V's

[needmoney]

Woo my first post on the DB side!

For an assessment, I'm writing a four-part harmony for Blue Bossa and I threw in a couple of juicy reharms but I'm kind of stuck for something to do on the Minor ii-V's. Any ideas??

Thanks!

[Cosmos]

Don't know anything about jazz theory, but...

When you say minor II do you mean Phyrigian-II (Neapolitan)? If so, the most common inversion of this chord is 6/3 inversion, although it can also be found in 5/3 less commonly.

If it's followed by V in root position and the N-II is in 6/3, the bass notes will ascend by step.

The 5th of the II can also move by step, and the lowered root of the II can move chromatically by step as well.

This is probably very unhelpful considering that I know nothing about jazz theory.

[PocketGroove82]

You can effectively use tritone substitutions for both chords or try using bVIIdom7 to lead back to the Imin7...but ultimately your ears and the melody are going to determine what reharms work best.

[nypiano]

Originally Posted by needmoney

Woo my first post on the DB side!

For an assessment, I'm writing a four-part harmony for Blue Bossa and I threw in a couple of juicy reharms but I'm kind of stuck for something to do on the Minor ii-V's. Any ideas??

Thanks!

Meaning the D-7b5 G7 change? That's the only written s minor II-Vs in the entire tune. There's a II-V to C- and a II V to Db.

Anyway, these are standard subs on minor II-Vs:

Half step above II-V (if II-V is 2 bars)
Vis: Eb-7 Ab7 /D-7b5 G7

IV-V
F-7 G7alt/C-

VI- V
Abmaj (or Ab7) G7

II7b5 -V
D7b5 G7alt/C-

Plus your standard tritone subs:

for Example

D- /Ab-7 Db7/C-

You could also ad approach chords in same vein to your F- chord (ie. C7, F#7, G-7b C7 etc, etc

[ryco]

Welcome back nyp - I always enjoy your posts tremendously!