HARMONIC /the-sau-rus #10 - Chromatic ii-V7-I (descending)
In this harmonic study series I will be presenting some of my favorite voicings for a number of different chord types. Each installment will concentrate on a specific intervallic harmonic structure or chordal concept/technique that I find attractive and interesting to my ears.
Part 10 presents a fun and intricate way to practice your ii-V-I voice-leading and chord patterns over a descending chromatic melody line. Forcing oneself to be able to voice any ii-V-I progression anywhere on the fretboard and over any possible melody note is a great tool and important harmonic technique that can bring a degree of comfort and harmonic understanding of the instrument that is essential for the development of the modern chordal improviser.
As the descending chromatic melodic line is bound to present certain melody to chord relationships that are outside of the main key/chordal structure we need to voice at each point of the progression, when such melodic tensions arise we will simply use the harmonic options presented to us by the tritone substitution of the original progression. So, if a melody note does not function as a regular chord tone or chord extension/alteration of the harmony at play then we will use the tritone substitution of such chord which will always find a functioning role for that same melody note/chord degree in question.
All ii-V-I examples are presented in the key of C major but from time to time we will use the tritone substitutions of each one of the three chords from the key of F# major to accommodate the different chromatic melody choices.
"Harmonic Thesaurus #10" - Chromatic ii-V7-I (descending) study (PDF file - TAB and Standard Notation).
"HD Video" of all harmonic phrases at tempo and slowed down.
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"Harmonic Thesaurus #10" - Chromatic ii-V7-I (descending) study (PDF file - TAB and Standard Notation). "HD Video" of all harmonic phrases at tempo and slowed down.