ROMAN NUMERALS

ROMAN NUMERALS apply to chords which, in , are represented by numerals as well as symbols. A II-V-I sequence, for example, represents the same chord movement (but at different pitches) in every key. As with chord construction, ROMAN NUMERALS are generated from the degrees of the scale: & ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ IIIIII IV V VI VII VIII (I)

01 Ô 02 023 3

The resulting triads (3 note chords), built on these degrees, can then be referred to both by name or number e.g.: ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ & ˙ ˙ ˙ ˙ ˙ IIIIII IV V VI VII VIII (I) C Dm Em F G Am Bmi7≤5 C 013 013135 Ô 02024245 23235 35

˙ ˙ ˙ ˙ & ˙ ˙˙˙ ˙ ˙˙˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ II V I IVIII V IIVV Dm GC C Am Dm G C F G etc. 0 3 13 13 Ô 240 0224 024 352 235235 5335 3

Chords II, III and VI are generally minor 7s (mi7), but can also be denoted as Dom 7ths, e.g. II (dom7), III (dom7), VI (dom7)

10 II - V - I PROGRESSIONS

The II-V-I (Dmi7, G7, Cmaj7, in the key of C major) is the most frequently used chord sequence in jazz. It occurs in every key. The II and I are usually EXTENDED, while the V chord is EXTENDED and ALTERED, e.g. Bmi9, E7≤9, Amaj9 (II-V-I in A major), Gmi9, D13≤9, G6/9 (II-V-I in G major) Here are two basic II-V-Is+ for++ you to practice:++ ++ ( *+ `````^ `` ➂ ```` ➂ ````➄ ` ``➂ `` ➂ )➄ )`` ) ) )` )`` ˙ ˙ 3 ˙˙ 1 4 ˙ ˙ w 4 4 w 4 ˙ ˙ 1 w 2 . . ˙ ˙ w . &4 ˙ 3 #˙ 4 #w 4 2 2 w 2 ˙ 2 3 ˙ w 3 ˙ 3 w 1 ˙ 1 2 1 1 Ami7 D7 Gmaj7 Dmi7 G7 Cmaj7 53 53 3 . . 66 5 . Ô 55 4 . . 54 4 . 54 4 5 5 5 3 5 3 3

Tunes like CHEROKEE reveal how well the Roman Numeral system simplifies the amount of material we have to deal with, by enabling us to reduce thirteen different chords to just four II-V-I progressions:

II-V-I in B

`````^ `` ➆ ```` ➆ ```` ➆ )➈ )`` ) ) #w # w #w #w w w 1 # w 2 # w w 3 4 4 # w 2 # w # w & # w 3 #w 3 w w 2 1 C≥mi7 F≥7 Bmaj7 Bmaj7

9 7 7 7 Ô 9 9 8 8 9 8 8 8 9 9 7 7

11 II-V-I in A

`````^ `` ➄ ```` ➄ ```` ➄ )➆ )`` ) ) #w w ww 1 #w 2 #w & w 3 #w 4 # w 4 # w w 2 3 w 3 2 w 1 w Bmi7 E7 Amaj7 Amaj7

7 5 5 5 Ô 7 7 6 6 7 6 6 6 7 7 5 5

II-V-I in G

`````^ `` ➂ ```` ➂ ```` ➂ )➄ )`` ) ) w w w w w w 1 w 2 w & w 3 4 4 #w 2 #w #w w 3 w 3 w w 2 1 Ami7 D7 Gmaj7 Gmaj7

5 3 3 3 Ô 5 5 4 4 5 4 4 4 5 5 3 3

`II-V-I in` F` ``` _````^ _``` _`` _` w bw bww 1 w 2 w 3 & w 3 w 4 w 4 bw 4 w 2 3 2 w 3 2 w 1 w 1 Gmi7 C7 Fmaj7 F7

3 1 1 1 Ô 3 3 2 2 3 2 2 1 3 3 1 1

12 Remember that the chords of II-V-I progressions can be extended and/or altered. Here is the example played on the video: ````^ ` `` ➄ )` ➆ )``` ➅ )` #w )` 4 # w nw 4 w w #w 1 & w 1 #w 3 w 2 w 1 # w 3 2 4

Bmi9 E7˜9 Amaj6

9 7 8 5 Ô 7 7 6 7 6 7 7 9

The MINOR II-V-I works in exactly the same way as the MAJOR II-V-I with one ESSENTIAL difference: the II chord is generally a Mi7≤5 which is sometimes referred to as a Half-Diminished, or notated as a circle with a diagonal slash Ÿ. It is simply a mi7 chord, in which the 5th has been lowered by a half-step: + f ➅````` ≤5 `` ➄ ````% ) )`` )➄ wm ≤5 1 w ww 1 4 4 w & w #w w 3 3 w 2 w 3 2 w 2 Bmi7≤5 E7 Ami7

6 5 Ô 7 7 5 7 6 5 7 7 5 The V of a minor II-V-I `frequently uses the^ sharp and flat` 9, sometimes`^` both:^ ➅ ➅ ➅ ```` ` ➅ ````` ```` `` ````` ) )``` )➄ ) ) )➄ ˙ n˙ m ≥9 ˙ ˙m ≤9 ˙ 1 4 ˙ w ˙ 1 1 ˙ w 4 3 w 4 w & ˙ #˙ w 3 ˙ 3 #˙ w 3 3 1 ˙ 3 1 ˙ 2 2 ˙ 2 w ˙ 2 w 2 2 Bmi7≤5 E7˜9 Ami7 Bmi7≤5 E7≤9 Ami7

68 5 66 5 Ô 77 5 77 5 76 5 76 5 7 7 7 5 7 5

13 Here are 2 major and minor II-V-I progressions, side by side. Study their sound and movement.

II V I +II ++V ++I `````^ `` ➄ ```` ➄ `````^ `` ➂ ```` ➂ ➆ ➄ MAJOR: ) )`` ) ) )`` ) #˙ 4 ˙ ˙˙ 1 w 2 ˙ ˙ w 3 4 #w 4 n˙ ˙ 1 w 2 ˙ 3 4 4 &4 #˙ 2 # w 3 n ˙ #˙ #w ˙ ˙ 2 3 ˙ 3 3 2 w 1 ˙ w 2 1 Bmi7 E7 Amaj7 Ami7 D7 Gmaj7

75 5 53 3 Ô 77 6 55 4 76 6 54 4 7 5 7 5 5 3

+II` V` I^ +II` V` I ^ ➅ ➅ ➃ ➃ ```` `` ı ````` ➄ ```` `` ı ````` ➂ MINOR: ) )` ) ) )` )

˙ nœ œ nœ 4 4 ˙ 1 ˙ 4 1 w b˙ 1 ˙ bœ 1 w ˙ 4 3 4 bw &4 #˙ w 3 ˙ #˙ 3 w 3 3 ˙ 1 3 ˙ ˙ 2 1 2 w ˙ 2 2 w 2 2 Bmi7≤5 E7≥9(≤9) Ami7 Ami7≤5 D7≥9(≤9) Gmi7

6865 464 3 Ô 77 5 55 3 76 5 54 3 7 5 7 5 5 3

14 I - VI - II - V PROGRESSION

Another frequently used progression is the I-VI-II-V. Notice that this ESSENTIAL progression also includes the II-V-I (the concluding I appears when the progression repeats). This progression appears` ` in literally ^hundreds of tunes.^ ` ➇ ➇ `` ````` ➄ ````` ➉ ``` ) ) )w ) w 2 w w ww 1 w 4 w w 3 w 4 & 3 w 3 w 2 w w 3 1 w 2 2 etc. Cmaj7 Ami7 Dmi7 G7

8 5 10 8 Ô 9 5 10 10 9 5 10 9 10 8 5 10

Here is the same progression in B≤: ```` ➅ `````^ `````^ `` ➅ ) )➂ )➇ )`` w w w b w 2 w w w 1 b 4 w w 3 4 & w 3 w 3 w w 2 w w 3 1 w 2 2 etc. B≤maj7 Gmi7 Cmi7 F7

6 3 8 6 Ô 7 3 8 8 7 3 8 7 8 6 3 8 Because Chord III has three NOTES in common` with` Chord` I, it is often used as a substitute. ➄)``` ➄)``` w w w 1 w 1 w 2 w 2 & bw 3 w 4 4 w 3 1 B≤maj7 Dm etc. 55 66 Ô 77 87 5

15 Here is our I-VI-II-V in B≤ made more interesting, by the inclusion of the III chord, on its repeat:

```` ➅ `````^ `````^ `` ➅ ) )➂ )➇ )`` ˙ ˙ ˙ b 4 ˙ 2 ˙ ˙ ˙ 1 b 4 ˙ ˙ 3 4 & 4 ˙ 3 ˙ 3 ˙ ˙ 2 ˙ ˙ 3 1 ˙ 2 2 B≤maj7 Gmi7 Cmi7 F7

6 3 8 6 Ô 7 3 8 8 7 3 8 7 8 6 3 8

`````^ `` ➇ `````^ `` ➅ )➉ )`` )➇ )`` ˙ ˙ ˙˙ 1 ˙ ˙ b 3 4 ˙ ˙ 1 b ˙ n ˙ A˙ 3 4 & ˙ 2 ˙ 3 ˙ 2 ˙ ˙ 3 2 2 etc. Dmi7 *G7 Cmi7 F7

10 8 8 6 Ô 10 10 8 8 10 9 8 7 10 8 10 8

*Chord VIdom7 is usually coupled with the III for I substitute, thereby creating the much-loved II-V movement.

THE RHYTHM CHANGES

Jazz musicians like to write music based on the chord changes to other tunes. Literally dozens have been written on the for the tune I’ve Got Rhythm. This progression, which contains no less than seven I-VI-II-V sequences, is affectionately known as: THE RHYTHM CHANGES.

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