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ii V I

Discussion in 'Ask Michael Dimin' started by JoseNeville, Jan 4, 2002.


  1. Hi Michael!

    First I like your interview and talk bass is doing the job. We need to know the guys who help us and of couse buy the CD, they have to pay the rent.

    Mike I was working in this ii V I
    Am7 / D7 /GM7 /

    I want to add some vamp, is this correct?

    Am7 / D7 /GM7 / Bm7 F#m7 -5/

    or
    Am7 / D7 /GM7 / F#m7 -5/

    or
    Am7 / D7 /GM7 / Bm7 /

    this is not for a song, this is to work on my improvisation
     
  2. Mike Dimin

    Mike Dimin

    Dec 11, 1999
    Clinician: EA, Zon, Boomerang, TI. Author "The Art of Solo Bass"
    Jose,
    Thanks for your support. The CD is available at www.michaeldimin.com

    The F#-7(b5) to B7(b9) could come next. Much depends on the tonal center you're in. You have outlined a ii-v in G major. The F# to B7 is a ii-v to the E minor (the 6th of the G major scale or I of E minor). These are the changes to Autumn Leaves.

    I like to think of a ii-v as approaching a target. sub-dominant to dominant to tonic (resolution). As you develop some you're knowledge of functional harmony (get Mark Levine's Jazz Theory Book or my book, The Chordal Approach) you will begin to see some of the ii-V possibilities as well as some cool reharmonizations. If we thing of the G major as our target, you can try

    B-7(b5)/ E7(b9)/A-7/D7/GM

    you have here a ii-v to Am then a ii-v to G.

    You have jumped into a HUGE topic. Keep asking questions. The more specific the better, so I can be of greater service to you

    Mike
     
  3. stephanie

    stephanie

    Nov 14, 2000
    Scranton, PA
    Hi Mike,

    I just have a little question about this before I go off and confuse myself: :D

    Currently at my bass lesson I am learning harmonization of the major scale and in my book there is a chart with the keys and then the I, ii, iii, IV, V, vi, and Viiº chords for that key. (This chart uses 4-note chords)

    Anyway, you said ii-V is sub-dominant to dominant? In my book it appears ii-V would be Supertonic to Dominant, or am I looking at this wrong?

    Also, what does "vamp" mean?

    Thanks, :)
    Stephanie
     
  4. Why B-7(b5) this chord use F and the scale of G mayor use F# and E7(b9) use Ab?


    Mike could you write the progression of Autumn Leaves?

    The Chordal Approach is your book?
    $25 for the book and the CD is a steal :D


    Thanks for your time

    Feliz Dia de Reyes!!!!:
     
  5. Mike Dimin

    Mike Dimin

    Dec 11, 1999
    Clinician: EA, Zon, Boomerang, TI. Author "The Art of Solo Bass"
    Stephanie,

    The easy question first. A vamp is a repeated chord progression, usually just a few chords. The groove to Chameleon could be considered a ii-v vamp.

    as for the ii as a subdominant - There are really 3 functions that a chord can have: Tonic, SubDominant and Dominant. The I, III, and VI function as the tonic. The II and IV function as the subdomiant and the V and VII function as the dominant. The tonic chord is one of resolution, the dominant is a chord of tension and the subdomiant fuctions as a transition chord. The II and the IV are very similar chords. In fact the II is the IV with a 3rd added below. Try if you can to see the similarity between the chords above, based on their function.

    Your not wrong in the supertonic name for the II. I am talking more about chord function. Is the chord a root chord, a transition chord or a chord of tension needing resolution. Hope this helps

    Jose,
    Good question re: the B-7(b5). The B-7(b5) to E7(b9) function as a ii-v to the tonal center of A minor. Since the v chord in a minor key is naturally a minor chord (as opposed to dominant in a major key) you don't have the v-i resolution needed. To get around this, we build the Harmony off of the A Harmonic Minor Scale. The harmonic minor scale raises the 7th degree (G to G#) in order to get the V chord (E) to be dominant (E,G#,B,D). he A harmonic minor scale is:

    A,B,C,D,E,F,G#,A

    As for autumn leaves, check here www.bassically.net/lessons/online_lessons.htm
    and see my lesson on Autumn Leaves.

    Finally, the Chordal Approach is my book.

    Thanks
    Mike

    Mike
     
  6. Thanks Mike:

    I going to buy your book, I think I need all those answers.

    Another question Mike.

    I know how to play chords on my bass. Suppose I want to play a Em7, what notes I have to play?

    E G A ( this is my option) or
    E B A

    Thanks Again
     
  7. Mike Dimin

    Mike Dimin

    Dec 11, 1999
    Clinician: EA, Zon, Boomerang, TI. Author "The Art of Solo Bass"
    Jose,

    The notes of an Em7 are E,G,B,D. To play all of these notes on bass is going to sound horrible. It will sound muddy, the notes will be undefined. We have to (1) choose the notes that will help define the quality of the chord (minor 7th in this case) and (2) spread the voicings as much as possible to lend clarity to the chord.

    Let's choose to omit the 5th (B). Since the 5th (B) is common in all forms of the chord, except the augmented, it does little to define the quality of the chord. The quality of the chord is much more defined by the 3rd and 7th or guide tones. The relationship betwen the 3rd and 7th is unique to each form of the chord (except againfor the aug 7). We will also kep the root. Therefore we now have Root, Third and Seventh (E,G,D). Iwill take one more step to add clarity. I will move the G up an octave and play the chord E,D,G. E string -12th fret; D String - 12th fret; G string 12th fret.


    Mike
     
  8. Thanks

    I always play the root, third and seventh but I never play in the form that you explain, sound beautiful and the position is easy to play.

    root, seventh, third(octave) perfect!!!!!
     
  9. stephanie

    stephanie

    Nov 14, 2000
    Scranton, PA
    Thanks, Mike. That helps clear things up. :)

    Cheers,
    Stephanie