ii-V-I for Trumpet: Major and Minor in 12 Keys
A step-by-step method to learn to improvise over the most important progression in jazz, in written pitch for B♭ trumpet. For each chord you see which scale to use, which notes are chord tones and which guide tone to reach on the next chord. Always with the chords sounding underneath.
Play the arpeggios (or scales, or 1-2-3-5) over the chords to get the sound of each chord in your ear.
C major: Dm7 – G7 – Cmaj7
Dm7 · concert Cm7 · 1 bar
G7 · concert F7 · 1 bar
Cmaj7 · concert B♭maj7 · 2 bars
Which scale to use on each chord of the ii-V-I
- iim7: dorian. The bebop minor scale adds the major 3rd as a passing note so that, descending in eighths, chord tones fall on the strong beats.
- V7: mixolydian. The bebop dominant scale adds the major 7th as a passing note with the same effect. Altered and half-whole diminished add tension before resolving.
- Imaj7: major (ionian) or bebop major; lydian sounds more open.
- In minor: iiø7 with locrian (or locrian ♮2), V7♭9 with phrygian dominant or half-whole diminished, and im6 with melodic minor.
- Rule of thumb: chord tones on strong beats (1 and 3), passing notes on weak beats, and land on the guide tone when the chord changes.
Frequently asked questions
What is a ii-V-I progression?
It is the chord sequence built on the 2nd, 5th and 1st degrees of a key, such as Dm7 – G7 – Cmaj7 in C major. It is the most common progression in jazz standards, so practicing it in every key is the fastest way to learn to improvise.
What is the difference between a major and a minor ii-V-I?
The major ii-V-I is iim7 – V7 – Imaj7. The minor ii-V-I uses a half-diminished ii (iiø7), a dominant with a flat 9 (V7b9) and a minor tonic, written here as im6. The minor version has a darker sound and uses scales such as locrian and phrygian dominant.
What are guide tones and how do I use them?
Guide tones are the 3rd and 7th of each chord, the two notes that make it major, minor or dominant. In a written C major ii-V-I (Dm7 – G7 – Cmaj7) the F stays as the 7th of G7 and then drops to E, and the C drops to B. Play them one per chord over the backing, then improvise landing on them on beat 1 of each chord.
Which scale should I use on each chord of a ii-V-I?
On a major ii-V-I: dorian on the iim7, mixolydian on the V7 and major on the Imaj7. Bebop scales add one passing note so chord tones fall on the beat in eighth-note lines. On a minor ii-V-I: locrian on the iiø7, phrygian dominant or half-whole diminished on the V7b9 and melodic minor on the im6.