Let's discover, learn, and play the II-V-I Progression. When studying chords, I encourage students to explore them from four perspectives. The four views are:

1. Family ( C Major, C Dominant, C Minor, etc.)
2. Type/Quality ( C Major, Db Major, D Major, etc.)
3. Scale/Key (C Major, D Minor, E Minor, etc.)
4. Progressions (II-V-I, I-VI-II-V-I, II-bII-I, etc.)

Each perspective reinforces one's understanding and mastery of the sounds and shapes of jazz. Today we're going to look at chords by progression. So, let's discover, learn, and play the most common jazz chord progression of them all, the II-V-I Progression.

​Time to discover the II-V-I Progression. Each key (or scale) of music consists of seven notes. Let's use the key of C Major as an example.

• C D E F G A B

Once we have the correct seven notes of a key (scale), we arrange those seven notes into modes. Modes are created by starting the scale on each of the seven notes.

1. C D E F G A B (Ionian Mode)
2. D E F G A B C (Dorian Mode)
3. E F G A B C D (Phrygian Mode)
4. F G A B C D E (Lydian Mode)
5. G A B C D E F (Mixolydian Mode)
6. A B C D E F G (Aeolian Mode)
7. B C D E F G A (Locrian Mode)

Once we have the scale organized into modes we can construct the seven chords of the key (scale) by selecting every other note of the mode.

1. C D E F G A B (C Major 7)
2. D E F G A B C (D Minor 7)
3. E F G A B C D (E Minor 7)
4. F G A B C D E (F Major 7)
5. G A B C D E F (G Dominant 7)
6. A B C D E F G (A Minor 7)
7. B C D E F G A (B Half Diminished 7)

Once we have our chords built we can discover, identify, and isolate the II-V-I Progression. 
​

• II Chord = D F A C (D Minor 7th)
• V Chord = G B D F (G Dominant 7th)
• I Chord = C E G B (C Major 7th)

​Once we discover the II-V-I Progression we can begin to learn the II-V-I Progression.

Time to learn the II-V-I Progression. As we just discovered, it's essential that you know all 12 major scales before attempting to construct and determine the II-V-I Progression for each key. To save you a little time, here they are:

1. C Major = C D E F G A B
2. F Major = F G A Bb C D E
3. Bb Major = Bb C D Eb F G A
4. Eb Major = Eb F G Ab Bb C D
5. Ab Major = Ab Bb C Db Eb F G
6. Db Major = Db Eb F Gb Ab Bb C
7. Gb Major = Gb Ab Bb Cb Db Eb F
8. B Major = B C# D# E F# G# A#
9. E Major = E F# G# A B C# D#
10. A Major = A B C# D E F# G#
11. D Major = D E F# G A B C#
12. G Major = G A B C D E F#

Now that we have established the correct spelling for each of the 12 major scales, you can begin to construct the II-V-I Progression for each key. Start with the second note of each scale and grab every other note to build the II chord (four notes). Then start with the fifth note of the scale and grab every other note (four notes). Finally, start with the first note of the scale and grab every other note (four notes). The II-V-I Progression diagram for the key of C Major in our discover section above should now make more sense. Here is what the II-V-I Progression for the key of C Major looks like using traditional music notation.

To truly learn the II-V-I Progression you need to produce the above information for each of the major keys. Spend time spelling each of the chords of the II-V-I Progression for each of the keys. If you're really ambitious, construct each II-V-I Progression using traditional music notation as well. The more "paper practice" the better when you're trying to learn a jazz piano skill.

Now it's time to play the II-V-I Progression. You can indeed begin by performing each of the chords in the II-V-I Progression in root position to help you gain mental, physical, and aural familiarity with the sounds and shapes of the progression. Ultimately, however, you want to utilize minimal motion when moving from chord to chord to produce a smooth transition and musical sound. To accomplish this goal, we use inversions when playing the II-V-I Progression as illustrated below.

In my video below I demonstrate each of the options as illustrated so you can see and hear the smooth transitions from chord to chord. You can also observe and take note of my fingerings which you may find beneficial.

Once you play the II-V- Progression in the key of C Major, put a plan in place to play the II-V-I Progression in the remaining eleven keys. I strongly recommend using an app like iRealPro or software like Band In a Box to help you play the II-V-I Progression and all jazz piano skills.

If you wish to discover, learn, and play more II-V-I Progressions and other essential jazz piano skills, you should join JazzPianoSkills.com. In addition to receiving free professional jazz piano lessons on a regular basis via Email, your membership grants you lifetime access to all of my instructional jazz videos (which you can access and study as often as you wish). Additionally, your own private Mavenlink Support Portal is established, hosted, and maintained by The Dallas School of Music allowing you and me to easily interact with one another as often as needed each and every week. Likewise, you’ll receive tuition discounts if you ever choose to have private online jazz lessons with me through The Dallas School of Music.

I welcome the opportunity to answer any questions you may have regarding this blog so feel free to Email me drlawrence@jazzpianoskills.com or call me 972-380-8050 Ext. 211. Please take a moment and listen to a few of my recordings or follow me at SoundCloud to get a feel for how I play and approach this wonderful art form we call jazz. I've included one of my recordings below for you to quickly check out.

I look forward to helping you discover, learn, and play jazz!

Last week we took time to discover, learn, and play voicings for a minor chord. This week let's explore improvising the minor sound. Like with many jazz skills, when mentioning improvisation, most people begin to tremble - why? Because their understanding and idea of improvisation are misguided. The most common belief regarding improvisation is that you "make it up" as you go. That your hands actually play sounds and shapes that they have never played before. This belief, my friends, is simply not true and this understanding of improvisation is simply impossible. So, let's dig in and discover, learn, and play (improvise) the minor sound.

As with any jazz skill we need to discover and begin with a snapshot of the sound we are exploring. In other words, we need a clear picture of what we are dealing with before we begin any attempt at developing and mastering the skill. To do this, let's examine the facts:

1. All sounds in music comprise of 7 notes.

• (do, re, mi, fa, sol, la, ti)

2. The 7 notes can be arranged and played using 2 formats

•  (Format 1, Scale Motion)
• (Format 2, Arpeggio Motion)

3. Regardless of format, the sound can only travel 2 directions

• (Up or Down)

There you have it, the facts of music. You will do well to spend time thinking about these three facts and let them truly sink in. I tell all my students, it is your conceptual understanding of music, and improvisation, that determines your practicing success and development as a jazz pianist. If your conceptual understanding is complicated and confusing, then your practicing and playing will be complicated and confusing. It is imperative that your thoughts about music are true and accurate. Then the mental organization of those thoughts must be crystal clear. In short, if you have the facts (the truth), and they're organized, you're going to have success obtaining your goal of becoming an accomplished jazz pianist.

Let's learn the facts for minor improvisation!

The minor sound consists of seven notes and those seven can be illustrated using two formats. Here they are using C minor as an example:

1. Scale Format: C D Eb F G A Bb
2. Arpeggio Format: C Eb G Bb D F A

Notice, both formats utilize the same seven notes. The scale format arranges the notes in sequential order while the arpeggio format uses an every other note order. Here's what it looks like using music notation.

We now have a very clean and tidy snapshot of the "C Minor Sound" using both the scale and arpeggio formats. Your job is to replicate the above illustrations for the remaining 11 minor sounds. Once you have an organizational diagram created for each minor sound you are ready to practice them (over and over again - repetition!).
 
Once you have done a sufficient amount of "grunt" work (paper practice and piano practice) for the "C Minor Sound", you are ready to begin developing your improvisation skills - you're ready to play!

To begin developing improvisation skills for the "C Minor Sound" choose one of the formats (scale or arpeggio) to focus on and explore before trying to utilize both simultaneously (it only makes sense). Likewise, choose one direction (up or down) to travel (again, it makes sense). So, today, I am going to demonstrate improvisation development for "C Minor" using ascending, arpeggio motion. Be sure to notice how I explore the "C Minor Sound" launching from the Root, 3rd, 5th and 7th. In doing so I cover the entire "C Minor Sound" from the 1 (root) to the 13th.

​Once I am comfy with the ascending/arpeggio approach I can then explore the remaining combination approaches:

1. ascending/arpeggio (demonstrated)
2. descending/arpeggio
3. ascending/scale
4. descending/scale

Remember, always play using comfortable tempos - practicing is never a speed race! Enjoy the entire discover, learn, and play process for mastering improvising with minor sounds.

If you wish to discover, learn, and play more with jazz improvisation and other essential jazz piano skills, you should join JazzPianoSkills.com. In addition to receiving free professional jazz piano lessons on a regular basis via Email, your membership grants you lifetime access to all of my instructional jazz videos (which you can access and study as often as you wish). Additionally, your own private Mavenlink Support Portal is established, hosted, and maintained by The Dallas School of Music allowing you and me to easily interact with one another as often as needed each and every week. Likewise, you’ll receive tuition discounts if you ever choose to have private online jazz lessons with me through The Dallas School of Music.

I welcome the opportunity to answer any questions you may have regarding this blog so feel free to Email me drlawrence@jazzpianoskills.com or call me 972-380-8050 Ext. 211. Please take a moment and listen to a few of my recordings or follow me at SoundCloud to get a feel for how I play and approach this wonderful art form we call jazz.
​
I look forward to helping you discover, learn, and play jazz!

Minor voicings. Just the mention of the word "voicing" creates immediate confusion and frustration for so many aspiring jazz pianists. Why? Because the skill of "voicing chords" is approached with the belief that the possibilities are endless. So, if you begin with this false premise you believe you're tackling a jazz piano skill that can never be fully explored, understood, or mastered - after all, you're trying to learn "infinity!" (tip: never a good idea or strategy to begin any journey, project, or endeavor with this mindset). So, we are going to take a different approach as we set out to discover, learn, and play minor voicings.

Let's discover minor voicings. Our strategy begins with an understanding that there is a "standard way" or approach to voicing chords that all professional jazz pianists adhere to when playing jazz. To voice chords contrary to the "standard way" would create sounds that are not idiomatic to the jazz genre. In other words, you would not sound like a jazz pianist because you're playing voicings not associated with jazz! So let's take a look at how a jazz pianist approaches minor voicings.

We begin with a numeric understanding of a minor scale:

• 1 2 (9th) b3 4 (11th) 5 6 (13th) b7

Our numeric understanding of the scale allows us to discover minor voicings using a universal notation. This universal notation approach allows us to easily construct our minor minor voicings in any key. Below are minor voicings illustrated using our numeric notation organized into three common categories:

Left Hand Only Minor Voicings (traditional style)

• Option 1: 3-7-9
• Option 2: 7-3-5

Left Hand Only Minor Voicings (contemporary style)

• Option 1: 1-4-7
• Option 2: 5-1-4

Two-Handed Minor Voicings (accompaniment style)

• Option 1: LH, 1-4 | RH, 7-3-5
• Option 2: LH, 5-1 | RH, 4-7-3

Time to learn minor voicings. To successfully learn any skill (in any discipline) you must establish an organized approach that allows and promotes repetition and replication. This is exactly what we created in the discover section above - we established three categories of minor voicings with two voicing options in each (structure!). Additionally, we used numeric notation for construction and transposition ease. So, using "C minor" as an example, our organizational diagram from above now looks like this:

C Minor Scale

• 1 2 (9th) b3 4 (11th) 5 6 (13th) b7  - (C D Eb F G A Bb )

Left Hand Only Minor Voicings (traditional style)

• Option 1: 3-7-9 (Eb-Bb-D)
• Option 2: 7-3-5 (Bb-Eb-G)

Left Hand Only Minor Voicings (contemporary style)

• Option 1: 1-4-7 (C-F-Bb)
• Option 2: 5-1-4 (G-C-F)

Two-Handed Minor Voicings (accompaniment style)

• Option 1: LH, 1-4 |  7-3-5 (C-F | Bb-Eb-G)
• Option 2: LH, 5-1 | RH, 4-7-3 (G-C | F-Bb-Eb)

We now have a very clean and tidy snapshot of "C" minor voicings. Your job is to replicate this model for the remaining 11 minor chords. Once you have an organizational diagram created for each minor chord begin putting your hands on the shapes (over and over again - repetition!). Here are what the shapes look like for "C Minor":

We're now ready to play minor voicings. The final step in mastering a jazz piano skill is to practice playing the skill within a musical context placed in time. Hearing and Feeling a skill within a musical context makes all the difference in the world - it expedites your musical development. I strongly recommend using an app like iRealPro or software like Band In a Box to help you accomplish this task. Watch the video below to see me practicing our "C" minor voicings.

Remember, always play using comfortable tempos - practicing is never a speed race! Enjoy the entire discover, learn, and play process for mastering minor voicings.

If you wish to discover, learn, and play more minor voicings and other essential jazz piano skills, you should join JazzPianoSkills.com. In addition to receiving free professional jazz piano lessons on a regular basis via Email, your membership grants you lifetime access to all of my instructional jazz videos (which you can access and study as often as you wish). Additionally, your own private Mavenlink Support Portal is established, hosted, and maintained by The Dallas School of Music allowing you and me to easily interact with one another as often as needed each and every week. Likewise, you’ll receive tuition discounts if you ever choose to have private online jazz lessons with me through The Dallas School of Music.

I welcome the opportunity to answer any questions you may have regarding this blog so feel free to Email me drlawrence@jazzpianoskills.com or call me 972-380-8050 Ext. 211. Please take a moment and listen to a few of my recordings or follow me at SoundCloud to get a feel for how I play and approach this wonderful art form we call jazz.
​
I look forward to helping you discover, learn, and play jazz!

Altered dominant scales are almost always taught as "modes" of either the major, harmonic minor, and melodic minor scales. Understanding these sounds from an academic perspective (modes) indeed is a worthwhile endeavor; however, if you try to play the altered dominant sounds modally, you'll quickly find yourself mentally fatigued and musically frustrated. Therefore, I like to approach the altered dominant scales from a "street perspective" which always begins with the pure dominant sound and then adds the desired alterations. So, this is the objective of this blog post - to discover, learn, and play the altered dominant scales - simply!

All jazz musicians must become comfortable with the following dominant sounds:

• Pure Dominant
  
  • 1 2 3 4 5 6 b7
• Dominant #11
  
  • 1 2 3 #4 5 6 b7
• Dominant b13
  
  • 1 2 3 4 5 b6 b7 
• Dominant b9b13
  
  • 1 b2 3 4 5 b6 b7
• Dominant b9#9b5#5
  
  • 1 b2 b3 b4 b5 b6 b7

Begin with a major scale and then alter the scale as illustrated above. In doing so, you'll create the pure dominant scale plus the four altered dominant scales that derive from the major, harmonic minor, and melodic minor scales. No need to go any further academically - for now, the goal is to discover the altered dominant scales so that we can learn them!

After you discover the pure dominant scale and the four altered dominant scales, it's time to learn them. I tell all my students, "conceptual understanding drive physical development". In other words, you have to have a strong mental command of a of musical skill before you can successfully master playing it. So, to accomplish this goal I recommend some good old fashion "paper practice" to solidify your understanding of the altered dominant scales. Here is what you should be writing out on paper (several times) every day for each key:

• C7
  
  • C D E F G A Bb
• C7#11
  
  • C D E F# G A Bb
• C7b13
  
  • C D E F G Ab Bb
• C7b9b13
  
  • C Db E F G Ab Bb
• C7b9#9b5#5
  
  • C Db Eb Fb Gb Ab Bb
    
  • ​note: we flat the "F" in order to regain an "E" which is the 3rd)

Once you have "C" altered dominant scales under control begin working on the altered dominant scales for "F", then "Bb", and so on until you have done all 12.

Now that you have taken the time to learn the altered dominant scales, it's time to play them! Watch the video below to see me play through each of the "C" altered dominant scales. Notice that my tempo is nice and relaxed - I'm focusing on digesting each scale mentally, physically, and aurally - practicing is not about "speed"!

Below is how each of the "C" altered dominant scales look using music notation.

For additional information about altered dominant scales check out an Email lesson I recently sent to all JazzPianoSkills.com subscribers.

If you wish to discover, learn, and play more altered dominant scales (sounds) and other essential jazz piano skills, you should join JazzPianoSkills.com. In addition to receiving free professional jazz piano lessons on a regular basis via Email, your membership grants you lifetime access to all of my instructional jazz videos (which you can access and study as often as you wish). Additionally, your own private Mavenlink Support Portal is established, hosted, and maintained by The Dallas School of Music allowing you and me to easily interact with one another as often as needed each and every week. Likewise, you’ll receive tuition discounts if you ever choose to have private online jazz lessons with me through The Dallas School of Music.

I welcome the opportunity to answer any questions you may have regarding this blog so feel free to Email me drlawrence@jazzpianoskills.com or call me 972-380-8050 Ext. 211. Please take a moment and listen to a few of my recordings or follow me at SoundCloud to get a feel for how I play and approach this wonderful art form we call jazz.
​
I look forward to helping you discover, learn, and play jazz!