ii v i progressions

In a ii-V-I progression, the I is usually a major 7th, not a dominant 7. So assuming you've made a typo, here's why this strategy would work:

Over Dm7 (D-F-A-C) you're using Dm pentatonic (D-F-G-A-C). All the chord tones are there, so it works just great.

Over G7 (G-B-D-F) you've got a lot of freedom to add notes outside the key. Jazz lines often alter a dominant chord by using a b5, #5, b9, or #9 to increase tension. By moving the minor pentatonic up a half step, you get D# (the #5), F# (major 7th), Ab# (b9), A# (#9) and Db (b5). I've used enharmonic spellings so it's clear you have all four of the altered tones used over dominant chords.

Over Cmaj7 (C-E-G-B) the Em pentatonic gives you E-G-A-B-D; you've got three chord tones, plus the 6th and 9th, which are often used for color over a major type chord.

So it works because the tones don't cause conflict - or they cause conflict in the right places. As a trick, it works. As an approach to jazz improvisation... well, let's just say it's pretty light on substance.

ah - so it isnt a rule of thumb i should follow to fake my way round jazz then?

thanks again for the exellent response :D

Better yet is a A minor pentatonic over the Dmin7 chord, Bb minor pentatonic over the G7 chord and B minor pentatonic scale over the Cmaj7 chord.

The A minor pentatonic scale over the Dmin7 chord gives you: 5-b7-1-9-11

Bb minor pentatonic over the G7 chord gives you: #9-b5-#5-b7-b9 = perfection for an altered sound.

And B minor pentatonic over the C chord gives you these intervals: 7-9-3-#11-13-7. The B minor pentatonic scale over a C major chord is a dynamite sound.

The other common trick is: E minor pentatonic over the Dmin7 chord.

F minor pentatonic over the G7 chord and

E minor pentatonic once again over the C chord.

cool - i have just packed my practice stuff up, but ill look forward to giving that a good go tomorrow :D

Im assuming that would transpose onto other chords, so for example i could use an F# pentatonic over a Bm7 chord in a ii v i, or a G minor pentatonic over the E7, and a G# pentatonic over the A?

also, does this only work in a ii V i setting, or can these substitutions be used in run of the mill rock songs to give an outside colour to the solo??

thanks.
Al

Yes, it transposes fine. It is a somewhat common trick, Scott Henderson showed it to me years ago. Think up a 5th from the ii chord for a ii-V-I, in other words, you have a ii-V-I in G: Amin7-D7(alt)-Gmaj7, up a 5th from Amin7 is E, so this is the pentatonic scale you start with moving up in half steps. Be weary though, you can do interesting things with this technique but I strongly suggest that (if you want to be able to play jazz), you don't rely on this "trick" exclusively, you should also practice the: dorian-altered-lydian approach as well.

You can use minor pentatonics in various ways: on the 3rd, 6th and 7th of a major chord for example: You have a Cmaj7 chord to play over, you can play a E, A and B minor pentatonic scale.

Minor: root, 2nd and 5th. These ideas are based on dorian and lydian. I wrote a lesson on this if you are interested:

http://chrisjuergensen.com/pentatonics.htm

Thanks very much - i will check that link out when i get home from work :D

EDIT: okay , i have had a look and it makes great sense, your sort of saying that by playing these different pentatonic scales what you are in fact doing, is playing extended arpeggio's of the current chord (albeit sometimes missing notes like the root)?? Im stil at work so havent had chance to pick up my guitar and try it out but im looking forward to doing it later on.

I just wrote out the following as a reference material. From what i read on your site i get the impression that when ever a major or minor chord comes up in a progression, i can check this chart out for different ways to play over them?

EDIT 2: I HAVE TRIED A FEW TIMES, BUT FOR SOME REASON THE FORMATTING OF MY REFERENCE TABLE KEEPS RETURNING TO WHAT YOU SEE BELOW (ALL A BIT SQUASHED TOGETHER)

MAJOR CHORDS..... 3RD......... 6TH ........ 7TH
A.......... C# MIN PENT..... F# MIN PENT..... G# MIN PENT
A#........ D MIN PENT..... G MIN PENT..... A MIN PENT
B......... D# MIN PENT..... G# MIN PENT..... A# MIN PENT
C......... E MIN PENT..... A MIN PENT..... B MIN PENT
C#....... F MIN PENT..... A# MIN PENT..... C MIN PENT
D........ F# MIN PENT ..... B MIN PENT..... C# MIN PENT
D#........ G MIN PENT..... C MIN PENT..... D MIN PENT
E......... G# MIN PENT..... C# MIN PENT..... D# MIN PENT
F........ A MIN PENT..... D MIN PENT..... E MIN PENT
F#....... A# MIN PENT..... D# MIN PENT..... F MIN PENT
G........ B MIN PENT ..... E MIN PENT..... F# MIN PENT
G#........ C MIN PENT..... F MIN PENT..... G MIN PENT

Minor chords ROOT ............2ND ...............5TH
A....... A MIN PENT....... B MIN PENT....... E MIN PENT
A#....... A# MIN PENT....... C MIN PENT....... F MIN PENT
B....... B MIN PENT....... C# MIN PENT....... F# MIN PENT
C....... C MIN PENT....... D MIN PENT....... G MIN PENT
C#....... C# MIN PENT....... D# MIN PENT G# MIN PENT
D....... D MIN PENT....... E MIN PENT....... A MIN PENT
D#....... D# MIN PENT....... F MIN PENT....... A# MIN PENT
E....... E MIN PENT....... F# MIN PENT....... B MIN PENT
F....... F MIN PENT....... G MIN PENT....... C MIN PENT
F#....... F# MIN PENT....... G# MIN PENT....... C# MIN PENT
G....... G MIN PENT....... A MIN PENT....... D MIN PENT
G#....... G# MIN PENT....... A# MIN PENT....... D# MIN PENT

Hope i understood it correctly.
thanks Again.
Al

For a II V I in C, you can actually play the C Major scale for the entire thing. Jazz players have other tricks that they use, but to just jam out, you can play in C Major for the entire II V I because all 3 chords are in the C Harmonized scale so all the notes of the C Major scale simply fall into place.

One trick jazz players use to spice it up is simply play the notes (any of them ) of the G augmented chord for the V it really sounds much cooler but C Major is the most basic scale that will work over the entire II V I progression.