Blues Scale

The ii-V-I chord progression is by far the most popular chord progression in the world of jazz.  It is the main focal point of many jazz soloist and is essential to understand to be a great jazz or blues soloist.  Here I’ll look at a few techniques to help you navigate the ii-V-I chord progression.

The first straightforward approach one can take is using the related modes to solo over their respective chords.  So in a ii-V-I progression in the key of C Major.  (Dm7 – G7 – CMaj7) one could use the D Dorian, G Mixolydian, and C Ionian (or C major scale).  You can place each in its diatonic setting — Dorian over the ii chord, Mixolydian over the V chord, and Ionian over the I chord.  This can also be applied be used in a minor setting.  So for the progressions  Dm7(flat 5) – G7 – Cm7, you could use the following scales respectively -  D Locrian, G Phrygian dominant, and C Aeolian.

In addition many players also use arpeggios as well as scales to solo over these changes and can help highlight the tones of the chords.  Here is an example of how one might use this technique:  Use the Dm7 arpeggio on the ii chord (Dm7) use a G9 arpeggio on the V chord, and resolve to the E note (3rd) of the C Major chord.  Don’t be afraid to use passing tones in between the arpeggios to spice things up.

Once you get good at playing the standard arpeggios and scales over there respective chords don’t be afraid to start spicing things up with altered scales and notes.  Here is an example of what that might look like in C minor.

Dm7b5 – D Locrian #2 | G7alt – G Altered Scale | Cm7 – C Aeolian

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