Decoding standards #2 - the II V I

Decoding Standards Series Handout Available Here
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The II V I is the celebrity of jazz chord progressions. A cornerstone of many jazz improvisation syllbuses and a staple of the great American songbook as well as post war jazz this chord progression has attracted more attention than any other. And who am I to disagree? In this video I will go through some of the most commonly encountered variations of the chord progression and give some tips on how to play through them.
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[@mckengineer5727]

Like this series ❤

[@isaacbeen2087]

Looking forward to this series. I can't think of a better feller to do it!

[@insidejazzguitar8112]

Useful and clear as always - thank you! The back door dom wouldn’t go in this category of cadences?

[@JazzGuitarScrapbook]

It could do. For the purposes of this series I’ve put it into another category. But yes, it is closely related and subbable.

[@Zenzodiene]

Hey Christian, Great video as always :). Good idea for a series! Could you please make a video about the biiidim7 (flat 3 diminished) chord going to ii. How do you look at it? There is some info about what to play over it. But how do you view it in the context of functional harmony? I always consider it to be a II7b9. So if we have the following in C: Ebdim7 - Dmin7 - G7 - Cmaj7 I "simplify" it to the following: D7alt - G7 - G7 - Cmaj7 So G7 for 2 bars since the Dmin7 is basically G7 as you mentioned in the video. And the D7 is alt not #4. But do you agree with this approach? Hahha, I understand this is jazz and you can do what you want. But I'm just curious how you look at these things and how you analyse it. Alternatively you have: ii - biiidim7 - iii and IV - #ivdim7 - I Here the biiidim7 (and its inversion the ivdim7) basically let you go from the subdominant (iimin7, IVmaj7) to I. Essentially like a V chord right? But these dim7 chords are not the Vb9 chord (i.e., inversions of G7b9 in key of C). However, it could be like a IV7 - I. As the 6 and 7 bar in a blues, like a plagal cadence. What do you think when you see this? On the other hand you can look at it as "tension - release", where tension can be anything basically. Thanks!

[@JazzGuitarScrapbook]

Alllll in good time ;-)

[@isaacbeen2087]

A few very quick ideas: ii - biiidim7 - iii - in your terms, this could be a VII7b9, or a V7b9 of iii (I prefer to think of the root of the dim7 being a half-step below the tonic, so I would think of this as a #iidim7) ... IV - #ivdim7 - I - often this is in the context of a cadential progression, where the I chord has the fifth in the bass, then going to V7; classical musicians would call this a cadential 6/4 ... I would also queer the pitch against any use of the term "plagal cadence," which, as far as I can tell, isn't really any kind of cadence. Here's a relevant video - kzbin.info/www/bejne/jqbcYo2qlJeCmqs