Scribd
Upload
1K views2 pages

ii-V-I Lines CAGED

A short but effective study in ii-V-I lines for the guitar.

Uploaded by

Milton Mermikides
Copyright
© Attribution Non-Commercial (BY-NC)
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF or read online on Scribd
1K views2 pages

ii-V-I Lines CAGED

A short but effective study in ii-V-I lines for the guitar.

Uploaded by

Milton Mermikides
Copyright
© Attribution Non-Commercial (BY-NC)
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF or read online on Scribd
You are on page 1/ 2

Crossed Lines: ii-V-I Lines Everywhere.

©2011 Milton Mermikides


Negotiating a ii-V-I harmonic progression in a fluid manner is an extremely useful jazz tool.
Here, 2 examples are given in each of the 5 fretboard positions, so that material is always available to you
in the flight of improvisation. Although learning lines such as these might seem mechanical,
if you understand their relation to the harmony and practise them thoroughly they become
extremely malleable. The better these are learned the more malleable, and amenable to creative improvisation,
they become. Each pair of phrase is written so that you can interchange material from each bar (so that you
pick either bar for each chord), as indicated, meaning that learning this material will give you a total of
40 useful ii-V-I phrases in any position of the neck (many more with further editing), and 480 including all keys.
Not a bad day's work.

D‹7 G7 CŒ„Š7

& w w w
7th 7th
w w
3rd

3rd
w
7th 3rd
Notice how all the phrases follow the basic skeleton above. Taking the 'guide-tones' the 3rd and 7th of each chord,
we find the C on the Dm7 moving to B on the G7, and the F on the G7 moving to E on Cmaj7. This is not the
only strategy though the harmony, but it;s a really effective one that is best to learn before subverting.

Position II-III
C Shape E Shape A Shape
D‹7 G7
œ bœ œ œ CŒ„Š7
œ œœœœ Ó
& œ # œ œ œ œ nœ œ #œ œ œ œ #œ J
3
pick either bar
pick either bar pick either bar
œ b œ œ œ œ œ bœ #œ œ œ nœ œ œ œ œ œ œ #œ nœ œ ‰
& œ œ #œ
J

Position V

A Shape D Shape G Shape

nœ œ nœ œ #œ œ n œ œ bœ œ œ
G7 CŒ„Š7
œ œ œ œ œ bœ j ‰ Œ
D‹7
œ
& œ #œ nœ

pick either bar pick either bar pick either bar

œ œ œ œ œ œ œ b œ bœ œ œ œ œ œ bœ
& œ œ œ œ #œ œ Œ
2 Position VII-VIII
G Shape C Shape E Shape
bœ œ œ œ nœ œ
D‹7
œ œ œ œ #œ
G7
œ œ œ #œ œ œ
CŒ„Š7

& œ nœ œ œ Œ

pick either bar pick either bar pick either bar

#œ œ œ b œ nœ œ œ œ œ œ #œ œ œ nœ œ œ ‰ Œ
& œ #œ œ œ œ J

Position IX

E Shape A Shape D Shape


œ #œ
D‹7
œ œ œ œ bœ G7
nœ œ bœ œ œ œ œ œ
CŒ„Š7

& nœ œ œ nœ œ Ó

pick either bar pick either bar pick either bar

œ œ #œ œ œ bœ œ œ œ œ œ nœ #œ œ œ œ œ œ œ œ œ Œ
&

Position XII

D‹7
D Shape G Shape C Shape
œ œ
G7
œ œ œ b œ œ œ b œ œ b œ ∫ œ œ œ œ œ
œ œ œ œ œ œ b œ
CŒ„Š7

& Œ Œ
3 3 3 3

pick either bar pick either bar pick either bar

‰ j œ œ œ œ #œ œ œ œ nœ œ œ Œ
& œ œœ œ bœ œ œ œ œ nœ œ

Practise these carefully at a variety of tempi, feels and keys. Practising a ii-V-I in a cycle of IVs
(C - F - Bb - Eb) in position, is a great and helpful challenge. And as ever, apply them to your
repertoire and with some creativity and imagination, and they will transform your playing.
(For the better).

You might also like