View Full Version : Let's see your ii-V licks!

03-20-2004, 05:46 AM
Well, I'm looking for some good ii-V licks, so if you guys feel like sharing...

Here's one I wrote earlier today. I wrote in the chords, but they don't play with the powertab, but I guess you could play those chords to the powertab to see how it sounds, then play the lick.

03-20-2004, 10:41 AM
nice one unhorizon!

here is my II-I lick ... i don't feel like playing V's today.. their always so dominating..... :p ;)

03-22-2004, 03:36 PM
here's an okay ii-V lick... and if anybody else has any, please share! We are working on ii-Vs in my jazz improv class, and I want to walk in there with some firepower

ii-V-I in C, Dm arpeggio and Ab melodic minor

G-------7-5-4----------- |---------4------2----------------

03-26-2004, 12:44 AM
BMin7 E7 AMaj7

This is just something I made up today, I haven't really played it against a backing track, but most of it was based off of smooth-voice lead arpeggios with passing tones, and the rest was whatever I thought sounded good.

By the way, right after the double stop on the E7, play an AMaj7 to get a nice resolution. You can use xx7999 for a nice voicing.

03-29-2004, 02:15 AM
BMin7.........................................E7(b 9)

Heres another ii-V lick, which I take a little bit of melodic liberty with the last couple notes, where I chromatically descend from the b7 through the M6 to the m6, leaving a bit of tension.

04-02-2004, 02:14 PM
ii-v, I take it this means a chord progression. Sorry I'm new here, and I'm still learning all the lingo. So in C would be D-G. That right? Why all the use 7ths and Maj7ths tho? Is it a jazz thing?

04-02-2004, 04:45 PM
When you harmonize the C Major scale, you can either omit the 7ths for less tension, or include the 7ths to add more tension. All you are doing is stacking M3rds. Triads or tetrachords, take your pick.


I'm sure you can get a lot more information on ii-V changes if you search the forums. But I'll leave you with this last thing: the reason why ii-V's are used so much is because is creates a cadence that goes from a sub-dominant to a dominant, adn can either resolve to the tonic chord, in this case CMaj7, or another chord with few active tones, such as IIIMin7 or EMin7, or VIMin7 or AMin7.

06-21-2004, 05:09 PM
someone showed me this recently and it's wicked cool:
ii-V-I in C
Dmin7 - G7 - Cmaj7

play a C major pent over the Dmin7 (gives you root, 2, 4, 5, b7)
Db major pent on the G7 (sounds b5, #5, b7, b9, #9)
D major pent over Cmaj7 (9, 3, #11, 13, 7)

how cool is that?