Crossed Lines: Minor ii-V-I Lines Everywhere.

©2011 Milton Mermikides

Alongside the Major ii-V-I lines studied previously, the ability to negotiate 'minor ii-V-i s' - for example
Dm7(b5) G7(usually with altered intervals) to Cm7. These lines are extremely useful in improvisation
as long passages, crossed in various hybrid forms, or broken up in bars or approach figures. Although
their initial learning may feel mechanical, a deep absorption will manifest in an intuitive and creative
manner in the flight of improvisation.

D‹7(b5) G7½
C‹7

b w b5
w b9
w5
&b b w nw bw7th
7th
w w3rd w
3rd 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 Dm7b5 moving to the non-diatonic B on the G7 , and the F on the G7 moving to Eb on Cm7.
Another line Ab-Ab-G (b5-b9-5) is also included as a useful tool.
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(b5) G7½ C‹7
bœ œ
b œ œ œ œ œ nœ J œ œbœ œ
œ œ nœ œ œ Œ
&b b œ œ
œ œ #œ œ œ
3
pick either bar
pick either bar pick either bar

bb œ œ œ œ œ œ œ œ nœ bœ nœ œ œ Œ
& b œ œ #œ œ œbœ bœ œ œ

Position V

A Shape D Shape G Shape

œ nœ œ œ nœ bœ œ œ œ œ œ œ
G7½ C‹7

œ
D‹7(b5)
b œ œ œ j
& b b œ #œ nœ bœ œ ‰ Œ

pick either bar pick either bar pick either bar

œ b œ œ n œ œ b œ #œ œ bœ œ bœ
b œ nœ œ œ Ó
&b b œ œ œ œ œ
2 Position VII-VIII
G Shape C Shape E Shape
œ œ œ œ
œ œ œ œ bœ œ œ œ œ œ nœ
D‹7(b5) G7½
œ œ œ
C‹7
b œ œ œ
&b b nœ Œ

pick either bar pick either bar pick either bar

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

Position IX-X

D‹7(b5) E Shape A Shape D Shape

œ œ œ œ œ œ nœ œ œ œ
G7½
œ œ
C‹7
b œ œ œ œ œ Œ œ Œ
&b b nœ

œ œ
pick either bar pick either bar pick either bar

b œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ
b
& b nœ Œ

Position XII
G Shape
D‹7(b5) D Shape C Shape
G7½

œ n œ œ n œ œ œ œ œ œ œ bœ œ
C‹7

b œ nœ œ œ œ nœ œ œ nœ nœ Œ
&b b

pick either bar pick either bar pick either bar

b œ bœ œ
& b b œ œ bœ œ nœ œ œ bœ œ
œ nœ œ œ œ nœ
Ó
3
Practise these carefully at a variety of tempi, feels and keys. Practising a iiø-V-i in a cycle of IVs
(e.g. the keys of Cm - Fm - Bbm - Ebm etc.) in position, is a great and helpful challenge.
Together with the major ii-V-Is - and by writing your own patterns- you will now have a useful vocabulary
to negotiate a large range of repertoire. The material presented here is fairly 'straight-ahead' of the jazz idiom
but a similar approach can be used in any genre, sub-genre or personal style.