Negotiating ii-V7's when each gets 2 beats in a bar...

Discussion in 'Music [DB]' started by JazznFunk, May 28, 2002.

  1. JazznFunk

    JazznFunk Supporting Member

    Mar 26, 2000
    Asheville, NC
    Lakland Basses Artist
    I'm currently studying Rufus Reid's book, among other materials, so I'm already comfortable and familiar with the usual method of negotiating ii-V7's when they're 2 to a bar (i.e [Amin7 - D7alt] [Gmin7 - C7alt]), where you play the root on one, a chromatic approach on 2, the next root on 3, and then another approach tone into the one of the next bar. I usually try to vary this by perhaps starting on another chord tone if applicable (3, 5, 7, etc.), and if the musicians I'm playing with are comfortable with it. My question is what other methods do you all think about over these types of progressions? Anything you guys have to suggest would be appreciated!
  2. anonymous0726

    anonymous0726 Guest

    Nov 4, 2001
    You can 'prune' the chords and play one or the other. Playing on the two chord an ignoring the five will give you a brighter sound and less tension (softer resolution), where playing on only the five will give you, well, it'll give you a V-I...
  3. Here's a few ideas:

    Sub bII7 for the V7 if the V7 is resolving to I.

    You could simply play root-5 or 5-root, or both.

    Play a chord tone other than the one. Remember though, part of your job is to outline the harmony, but just because you play a chord tone doesn't necessarily mean anyone is going to hear the harmony and it won't necessarily swing. I could give you examples of things that work and don't work in this regard in person with my bass, but I don't really feel like typing examples, that's too pedantic at the moment.

    Something that can work in conjunction with playing a different chord tone on one is the delayed resolution- playing the leading tone or other chord tone on 1 or 3 and the root or 5th on 2 or 4. Use your ears.

    Also, the occassional 3rd/7th double stop on the V chord (3rd beat) sounds cool.

    Subdivide the quarter note.

    Depending on the progression there are other chord substitutions you can play eg. I-vi => iii-vi is very common. Or if you have |ii-V|, you could play |iii-vi-ii-V| like one chord per beat.

    But I can't stress enough don't just do this stuff anywhere, use your ear and play it where it makes sense and sounds good.
  4. Another thing:

    You can pedal the same note through both chords.
  5. JazznFunk

    JazznFunk Supporting Member

    Mar 26, 2000
    Asheville, NC
    Lakland Basses Artist
    Thanks guys.... I appreciate the suggestions thus far. Time to practice! :)
  6. Phil Smith

    Phil Smith Mr Sumisu 2 U

    May 30, 2000
    Peoples Republic of Brooklyn
    Creator of: iGigBook for Android/iOS
    I've been working recently to get a couple of different ways to play these ii V's and have been using "Rhythm Changes" as a basis to listen to how the different approachs sound and also to get them comfortably under my fingers. Mostly I've been leading with a root note followed by the chord's 7th either a whole or half step below, 3rd, 5th, or a note a half step above or below the root of the next chord. I've also been playing root, whole step down, half step down, major third down (C-7 F7 - C Bb A F).
  7. I have been having a hell of a time when it comes to soloing over that. I know I should do some work and have, I got the Abersold ii-V-I book among other things, I just started with a new teacher and will ask him, but until then any ideas?
  8. James S

    James S

    Apr 17, 2002
    New Hampshire

    All of the previous suggested info is good stuff.

    In addition you might want to transcribe some lines from Ray, or Ron, or PC. After you have done this enough you will see their tendencies and patterns.

    It sounds to me like you are ready to move beyond the theory of ii-Vs.