Long & Short II-V-Sequences
Lesson time: (2min 9sec)
Improvising over II-V sequences that last one bar each and half a bar each
Course preview
This lesson is part of the course Exploring Jazz Piano: Functional Harmony & Modes
Watch a preview of the full course below.
Lesson transcript:
Long and Short 2-5 Sequences
In this lesson, we'll explore long and short 2-5 sequences. You may recall that in tunes like Take the A Train and Fly Me to the Moon, chords typically lasted one bar each. However, in Ornithology, you'll find instances of what we call a short 2-5, where each chord lasts only two beats.
Scale-Based Routines
I'm going to give you a couple of routines that are scale-based, using shells in the left hand to help you become fluent with these sequences.
Using the Dorian Mode
Remember, over the two chord, you can play the Dorian mode. However, our goal is to make it sound less like a scale and more like an improvisation.
- I will change direction and use the same scale over all three chords.
- The Dorian mode will shift to a scale of F when we reach the I chord.
Short 2-5 in F Major
Here's the first pattern: short 2-5 in F major.
- We will end up in a five-finger position in F.
I suggest getting into the habit of performing this around the cycle of keys.
Progressing to F Minor
Next, we move to F minor, finishing in E flat.
The way I used the scale over the chords here is efficient because the notes of the chords are on the beat.
- This is why it sounds cool!
- If I had reversed that, it would have sounded much less coherent, as if I were on the wrong foot.
Long 2-5 Variation
Now, what if you have a long 2-5?
You can apply the same concept but stay on each chord a bit longer, perhaps changing direction more frequently.
- For example, here's a long 2-5-1 over G minor, C7, F major.
Try adding a little scale pattern at the end and practice it a bit faster.
Expanding the Practice
Then, move to F minor.
- See if you can do this around six keys.
By six keys, I mean the entire cycle of fifths. That's what we will focus on next.
About the instructor
Critically acclaimed jazz pianist and composer Tim Richards is one of Britain’s most experienced jazz educators, teaching piano privately for over 30 years, as well as at Morley College, Goldsmiths College, the University of Surrey, Premises Studios and other venues in the UK and abroad. He has produced numerous titles for Schott Music, including the best-selling two-volume Exploring Jazz Piano, Blues, Boogie & Gospel Collection and the acclaimed Improvising Blues Piano. He is also co-author, with John Crawford, of Exploring Latin Piano and Brazilian Piano Collection.More recently Schott have published Jazz, Latin & Modern Collection (15 pieces for solo piano), comprising Tim Richards originals alongside pieces by Duke Ellington and Thelonious Monk, and the two volume set Beginning Jazz Piano (now a two-part MusicGurus course).“The real joy of Tim’s music… is that it is both hugely educational but also such great fun to play. Anyone with the slightest interest in learning to play or teach jazz piano should really acquire a set of Tim’s books.” PianoDaoAs a performer Tim has been a presence on the UK jazz scene since the 1980s, also playing the blues with UK and US legends such as Otis Grand, Earl Green, Dana Gillespie, Larry Garner, Joe Louis Walker and Mojo Buford. He has released over a dozen albums as a leader (featuring many of London’s best jazz musicians including Pete King, Gilad Atzmon, Tony Kofi, Jason Yarde, Seb Rochford, Ed Jones, Dick Pearce and many others), and toured all over Europe with line-ups ranging from duo to nine-piece. His latest recording, the album ‘Telegraph Hill’ by the six-piece Hextet, was described in The Observer as "A true joy from beginning to end". More info can be found on his website www.timrichards.ndo.co.uk read more