Quite often when learning jazz guitar we can spend more time shedding major ii-V-I’s leading us to neglect the minor ii V I.

In this lesson I will be showing you a cool and easy trick you can use when blowing and comping over minor ii-V chord progressions to give you some new ideas.

For this lesson you will need to know your minor 7b5 inversions like the back of your hand, so I have written them all out here in the resource section of the website for you to check out.

Not only will this method give you new ways to solo and comp over minor ii-V-I’s it will also double your alt dominant chord dictionary as well as give you cool new minor 6th chords.

Don’t forget you can always use the ii-V voicings over major chord progressions and just change the I chord to a major 6 or 7.

 

 

Up a Minor 3rd, Up a Major 3rd Concept

 

In an earlier article I explained how dominant 7th chords can be symmetrical and today we are looking at how mi7b5 chords can also be.

As much as I enjoy smoothly voice leading minor II-V’s within a small fret span, another easy and tasteful way to comp and play in a minor ii-V-I situation is to simply move the arpeggio or chord shape up a minor third or 3 frets to get an altered dominant chord, than up a major 3rd or 4 frets to get a minor 6th chord.

Check out the example below which shows how you can move two drop 2 E-7b5 inversions up and achieve this.

 

 

I have only used two inversions to avoid going too high up the neck, but this will work with each minor 7b5 drop inversion and certain inversions will obviously work better in different keys.

The next few examples are some of my favourites that work for the full ii-V-I and sound particularly effective because you have free fingers to have movement within the voicings.

Check out the example below for two positions that give you a free fourth finger to create movement to use in chord solos or solo jazz guitar arrangements.

 

 

The first example uses drop 2 voicings on strings 1234 and I’m using a minor ii-V-I in the key of D- (E-7b5, A7b9, and D-7) so that we stay within good fret range.

 

 

Using the Major 7#11 in ii-V

 

Still not enough minor ii-V-I volcab? There’s more! Another very cool trick that you can do is use the major 7#11 as a half diminished or minor 7b5 chord.

Typically in a minor blues progression you will see the D-7b5 in the turnaround tritone substituted for a dominant 7th or a major 7#11 chord.

 

Minor Blues Progression

 

Abmaj7#11 contains the same notes as D-7b5 – Ab (b5), C (7th), D (R), and G (11), so what does this mean?

It means that we can move the #11 chord the same, first by a minor 3rd, then by a major 3rd for a minor ii-V-I voicing, pretty cool huh?

Check out the example below to see how this works using a favourite major 7th#11 chord grip.

 

 

Of course this works with all the major 7#11 chord inversions that you know, but here’s a cool trick you can do with this one.

If you loose the root to each of the voicings in the example you get some hip first inversion 4th voicing chords.

 

 

 

How To Practice This Minor II-V-I Concept

 

  • Work through minor ii-V-I’s in all keys in each inversion
  • Apply the concept to tunes that you are working on
  • Practice one chord per measure at first, then start to increase change

 

Hopefully you will find this lesson useful in developing your minor ii-V-I chops. This is a great concept and using them for a chord is only the beginning, don’t forget you can superimpose these changes in your single line blowing too.

Have you come across this way to play minor ii-V-I’s before? What are some of your favourite ways to play this progression? Share your thoughts in the comment section below.

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