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For the II-V-I-I exercise, you should play each chord for a four beat measure in the LH. RH is free to play whatever sounds right over the major scale.

This is the II-V-I-I progression in the key of C:

/ Dm7 / G7 / Cmaj7 / Cmaj7

Dm7 = D-F-A-C or inversions
G7 = D-F-G-B or inversions
Cmaj7 = C-E-G-B or inversions

For LH you can play 4 quarters if you want (a la Errol Garner) or you can just play whole notes -- whatever is easiest at this point. The goal is to stay in time and get a feel for how the major scale (RH) "fits" over each chord.

The Phrygian exercise I was referring to can very well be played in four, but I generally do this one in 3 (waltz).

LH:
C maj (first bar of 3s), Db maj (second bar of 3s), Eb Maj (two beats of 3s), Db Maj (third beat of 3s), C maj (fourth bar of 3s)

RH:
You basically want to be improvising a line using the Ab maj scale. This major scale will sound distinctly different over each of the chords in the LH, but won't sound like any Major scale you've ever played before. It sounds Phrygian (C-based) over these harmonies.

Try it and you will be instantly transported to another world!

Haywood,
I played your II-V-I-I improv suggestion and realized that it's the progression for a song I have on my list to learn. Now I have it, thanks! It's "Sunday Morning" by Maroon 5. The whole song is this progression.

Thanks so much to you and Gregjazz and other contributors of jazz progressions and voicings. I don't always contribute, but I'm often saving your ideas.

You make this forum great; keep it coming.

You'll find hundreds of songs that employ this progression.

Another one is I-VI-II-V or C - Am -|Dm - G7 -|.

Hundreds...

ok Giles.....I have to admit i'm impressed with your knowledge of theory. The first ten years of my piano life evolved around the circle of fifths. But I've noticed from your posts that you automatically call your VI and II chords as minor. I'm a dixieland guy from the getup and the only minor chords called for in a tune (that I know of) is the fifth ONLY after the VII. Example.. I VII III VI II V I. The rest are all major chords. I have to ask you this... are you a stride pianist playing stride tenths with your left?? I'm simply wondering what the difference
is between our styles of jazz, therefore theory. Thanks

You can always try to jazz up the chords a little. For example, if the fake book or lead sheet just has a plain C chord, it often sounds better and richer to play a C6; Instead of C7, try a C9 or a C7 with a flatted 9th.

In a major scale,

The I chord (1st degree of scale) = Major

The ii chord (2nd degree of scale) = minor

The iii chord (3rd degree of scale) = minor

The lV chord (4th degree of scale) = Major

The V chord (5th degree of scale)= dominant

The V1 chord (6th degree of scale) = minor

The V11 chord (7th degree of scale) = half diminished

fingers

Another practice/performance method is to simplify the left hand voicing to free up the right hand. Bud Powell did exactly that.

For example:

Using Haywood's ii/v/1 pattern, the left hand could be voiced as: root-flat7/ root-3/ root-7

So in C Maj. the left hand voicing would be:
D-C/ G-B/ C-B. This makes for easy and short connections and good voice leading.

FWIW, there is another style which eliminates the root altogether(rootless voicings) This can be clearly heard in Bill Evans.

Hope this helps.

fingers

Yeah, using those major 7th intervals in the left hand can sound really good. Rootless voicings are very important, too, especially if you're playing with a bass player.

hgiles....WAKE UP!!!!! Where are you?

Don't ever forget the most important way to learn how to play improvisational piano.

Write. Write. Write.

I firmly believe that the KEY to taking music to the next level, is composition.

Make a decision to start writing a piece.. for whatever reason, and work on it. Try out new ideas. Learn why the chords sound the way they do. Why some chords go with others. The theory only "Trully" makes sense if you can apply it. Then you can use it to your advantage.


Ghost Notes

I think one of the most important things is to listen to other jazz performers: tape CD, live performance? But get me right: not listening at leisure, but with a musical ear - concentrate! Try to be close to a piano, so that you try to figure out what chords they're playing. It'll be hard at the beginning, but as your ear develops, it'll just become easier and easier.

But good luck with the whole transformation thingy, eh?!

greetings

Typically II, III, and VI are minor chords (triads) in tunes written in a Major key. The simple reason is that the diatonic (belonging to the same scale as the local key) third above the root is a minor third away from the root.

I, IV, and V are typically major triads in tunes written in major keys. The diatonic third of these chords are a major third up from the root.

Okay, I am missing one - VII, a diminished triad. This has a minor third, but is NOT a minor chord because the fifth is diminished. All of the other chords have perfect fifths. What makes this VII distinctive is its diminished fifth. If a diminished triad is called for you should be voicing the fifth...

fingers has a pretty good chart of it. However he is calling VII half diminished, and V dominant. This is true when you take into account the sevenths and you are describing the quality of the seventh chord.

If your progression is C - A7 - Dm7 - G7, then from a theoretical perspective the A7 chord is not vi (minor) nor VI (major). It really functions as V of Dm. Or V7/ii.

Semantics really...

Sweep88,
Theory is just our way of rationalizing what we hear. However, respective schools of thought don't always use the same language (chord symbols, etc).

Ultimately the theory is the same whether you're talking about jazz, classical, or pop music. It's a matter of translating in terms you understand what someone else might be illustrating.

The mathematical relationships between groups of notes are going to be the same whether you're playing pop music or Flamenco.

Hmmmmmmm........