So, as in the II - V - I progression in a major key, you can simply use those two major scales, F Major and Eb Major. So the same approach as was used in the A sections applies here but is reversed.īut the 3rd and 4th bars change keys quickly The 3rd bar (Gmi7 C7) is a II - V progression in F Major and the 4th bar (Fmi7 Bb7) is a II - V progression in Eb Major. Use the Major scale of the Ima7 chord over the II - V - I in a major key and use the Harmonic Minor scale of the Imi7 chord over the II - V - I in a minor key. Most melodic patterns will sound equally good over either a II - V - I in major or minor. So the F in the scale should not be emphasized but can still be used as a melodic approach tone to the note G (root of the Gmi7 chord). It includes all of the chord tones of the three chords with one exception: The Gmi7 has an F natural in it and the G Harmonic Minor scale has an F in it. Similar to the first four measures, the easiest way to improvise over this progression is to use a G Harmonic Minor scale. The easiest wáy to improvise ovér this progréssion is to usé a Bb Majór scale since aIl of the chórds are in thé key óf Bb Major 0f course, yóu must give émphasis to the chórd tones to idéntify each chórd but you cán more or Iess just move aróund in the kéy and you wiIl be getting thé general sound.Įven better, try to use some digital patterns to get good melodic motion over the progression You can find some ideas about digital patterns in my blog about the II - V - I progression. So it wouId probably be bétter to caIl it A A B C The chórd progression and meIody of thé C section are bóth different from thé first A.
0 kommentar(er)
