The ii-V-I progression is the most common chord progression used in jazz. If you’re seeing this for the first time, let’s look at an example of a ii-V-I in C major. The ii refers to the D minor, the V refers to G7, and the I refers to C major. How did we derive this? We’ve taken the corresponding chords of the C major scale (I. C major, ii. D minor, iii. E minor, IV. F major, V. G7, vi. A minor, vii. B half diminished). Below you’ll find examples of major ii-V-I licks.
Lick #1
This lick uses both the b5 and #5 over the F7 chord. This lick is in the key of Bb major.
Lick #2
This lick begins with a few chromatic notes in the first bar, mostly staying within the Bb Dorian mode. In measure 2, Eb super locrian is used basically outlining an Eb7 chord. This lick ends on the 9 (Bb) of Amaj7 which creates an unresolved sound. This lick is in the key of Ab major.
Lick #3
This one will get your fingers moving. All of the notes in measure one are in the Ab major scale, but measure two adds a few chromatic passing notes.
Lick #4
The first measure begins outlining a Bbmin7 chord and then essentially descends a Cmin7 arpeggio. The second measure features a chromatic ascending pattern hitting the #5, b9, and b5. The lick ends on the b5 over the Abmaj7, creating a bit of dissonance. This lick is in the key of Ab major.
That’s a wrap on four licks you can play over major ii-V-I’s. Practice these in different keys and try to sprinkle these into your solos!