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    QuickJazzTheory PDF 81

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    yola222
    The ii-V elaboration technique embellishes a V7 chord by preceding it with a ii minor 7 or half-diminished chord a perfect fifth above the V7 chord. For example, in the key of C, a G7 chord would be preceded by a D minor 7 chord. The V7 chord could also arise from a V prefix operation or tritone substitution and then be preceded by ii. This creates temporary tonal centers built off of the ii chord.

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    QuickJazzTheory PDF 81

    Uploaded by

    yola222
    9 views1 page
    The ii-V elaboration technique embellishes a V7 chord by preceding it with a ii minor 7 or half-diminished chord a perfect fifth above the V7 chord. For example, in the key of C, a G7 chord would be preceded by a D minor 7 chord. The V7 chord could also arise from a V prefix operation or tritone substitution and then be preceded by ii. This creates temporary tonal centers built off of the ii chord.

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    The ii-V elaboration technique embellishes a V7 chord by preceding it with a ii minor 7 or half-diminished chord a perfect fifth above the V7 chord. For example, in the key of C, a G7 chord would be preceded by a D minor 7 chord. The V7 chord could also arise from a V prefix operation or tritone substitution and then be preceded by ii. This creates temporary tonal centers built off of the ii chord.

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    9 views1 page

    QuickJazzTheory PDF 81

    Uploaded by

    yola222
    The ii-V elaboration technique embellishes a V7 chord by preceding it with a ii minor 7 or half-diminished chord a perfect fifth above the V7 chord. For example, in the key of C, a G7 chord would be preceded by a D minor 7 chord. The V7 chord could also arise from a V prefix operation or tritone substitution and then be preceded by ii. This creates temporary tonal centers built off of the ii chord.

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    80

    -The ii V Elaboration [an embellishing technique] The sign for an embellishing technique is:

    Places before the object chord [x7] a min7 or halfdim7 chord which is a P5 above the object
    chord.

    V dom7 Becomes
    G7

    Ii min7
    D min7

    V dom7
    G7

    Possible for the object chord to be a min7/halfdim7 and then altered to a dom7 and then preceded
    by ii.
    The dom7 may have also arisen through a V Prefix operation or Tritone Sub substitution and then
    preceded by ii.
    (Temporary Key C)
    VI Dom7
    G7
    Becomes
    D min7
    G7

    (Temporary Key F)
    II dom7
    C7
    G min7

    C7

    OR (with Tritone Sub)


    (III dom7)
    (IV dom7)
    D7
    G7
    Becomes
    A min7
    D7
    D min7
    G7

    Key of B

    V dom7
    F7
    C min7

    F7

    (II dom7)
    C7 (B7)
    F# min7

    B7

    I Maj7
    B Maj7
    B Maj7

    I Maj7
    B Maj7
    B Maj7

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