ii v i Jazz Licks

#4 & 5

°

¢

°

¢

°

¢

°

¢

A‹7 D7 GŒ„Š7

Copyright © 2013 Scott's Bass Lessons

A‹7 D7 GŒ„Š7

qaa z=[qp ]e

Ex.1

?#

G Major II-V-I progression

Scott Devine

II-V-I Jazz Lick #4 (L#35)

?#

A minor 7

arpeggios (chord tones)

?#

D Dominant 7

?#

G major 7

¤

Fingering

1 4 3 1

¤

2 1 4 2

¤

2 1 4 3

?#

02:16

Ii-v-i jazz lick

¤

This II V I lick is based on the shorter two bar version for when you

have a II V in one bar.

I constructed this lick so you can clearly see the use of a tri-tone

substitution over the V chord. We descend down an A flat dominant

7th arpeggio over the D7 chord, which is what’s known as a tri-tone

substitution.

"Try changing the rhythm""Try changing the rhythm"

V V V V V V V V

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

5 8

7

5

5

4 7

5

3

2 5

4

œ

œ

œ

œœ

œb

œ

œbœ

œ

œ

œ ˙

12

10

9 12 11 8

10

11 10

9

7 11

°

¢

°

¢

°

¢

°

¢

F‹7 B¨7 E¨Œ„Š7

Copyright © 2013 Scott's Bass Lessons

F‹7 B¨7 E¨Œ„Š7

qaa z=[qp ]e

Ex.1

?

F Minor II-V-I progression

Scott Devine

II-V-I Jazz Lick #5 (L#36)

?

b

b

b

F minor 7

arpeggios (chord tones)

?

b

b

b

Bbb dominant 7

?

b

b

b

Ebb major 7

¤

Fingering

1 4 3 1

¤

1 0 4 2

¤

1 0 4 3

?

b

b

b

01:38

Ii-v-i jazz lick

"the B flat 7 is substituted for an E7""the B flat 7 is substituted for an E7"

3

¤

Within this short II V I lick, again I’m making use of the tri-tone

substitution. Over the Bb7 chord we outline a E7 chord which

gives us our tri-tone substitution. It gives us a lot of tension

that is released when we resolve onto the major chord.

V V V V V V V V

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

1 4

3

1

1

0 3

1

1

0 3 7

œ

œ

œ

œ

œ

œn

œ#

œn œb

œ

œb

œ ˙

12 8

10

11

7

9

11 7 6 10

8

7

Copyright © 2013 Scott’s Bass Lessons

II V I Jazz Lick no.4 & 5 (L#35,36)

Your Action Plan

1. After you've mastered these licks in the keys usedwithin the tutorials. I want you to pick at least 4 morekeys to learn and practice them in making sure youfeel comfortable playing them over the entire neckand not just in one position. A trap many bass playersfall into is being able to play very well in one area ofthe neck, but they fall to pieces when they move outof their comfort zone. You really want to stop thishappening, so whenever you're learning somethingnew it's important that you learn it over the entirefingerboard.

2. The licks presented within the tutorials are fantasticexamples of using the tri-tone substitution within asoloing context. A great exercise is pre-composing IIV I licks like this and then using them within a solo.Compose 3 more licks that are similar to the licksplayed within the tutorials. Make sure they are shortenough to fit within a couple of bars and use the tri-tone substitution in each of them.

Copyright © 2013 Scott’s Bass Lessons

3. Once you have created your pre-learned licks it'stime to start using them in a soloing context. Practicesoloing over a standard such as ‘All The Things YouAre’. Each time a II V I occurs 'plug in' one of yourpre-composed licks. Use the licks that I show youwithin the video tutorials to start with and make sureyou can use the same lick on each II V all the waythrough the entire jazz standard. Once you can dothat it's time to repeat the exercise with the otherlicks you have composed using each lick one at atime. Although you'd never do this in a real livesituation, it's a fantastic exercise you should use tohelp ingrain these licks into your bass playing.

Scott Devine