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How to use the locrian mode and a diminished 7th arpeggio over a minor II-V-I progression
- By Stef Ramin
- On 24/01/2016
- Comments (0)
The minor II-V-I chord progression is widely used in jazz music, it's a very important sequence to know for any jazz guitar player 'cause it's present in many jazz standards. How to play over this chord progression ? Which scales to use ? Which notes to play ? There is a lot of ways. In the following lick we will use the Locrian mode (seventh mode of the major scale) to play over the Dm7b5 chord and a B diminished 7th arpeggio over the G7b9 chord. Please notice that the minor II-V-I chord progression is Dm7b5 | G7b9 | Cm (Maj7) | % |
Mode and arpeggio used in the lick
The Locrian mode has a particular sound because of its b2, its b3, b5, b6 and b7. It is the seventh mode of the major scale, the other modes are ionian, dorian, phrygian, lydian, mixolydian, and aeolian.
This mode is commonly played over m7b5 chords.
You will find some guitar fretboard patternsin this lesson.
The diminished 7th arpeggio is made up of four notes :
- Minor third (b3)
- Diminished fifth (b5)
- Diminished seventh (bb7)
It is usually played over diminished 7th chords but also over dominant 7th flat ninth chords (7b9) starting on the major third (3), the fifth (5), the minor seventh (b7) or the flat ninth (b9). This arpeggio is symmetrical, you can move any diminished 7th position up or down three frets, this way you will still find the same notes.
Click here to see some diminished 7th guitar diagrams.
Minor II-V-I jazz guitar line
- Bar one : D descending locrian mode (D-Eb-F-G-Ab-Bb-C) with a passing tone (A).
- Bar two : B diminished arpeggio (B-D-F-Ab) and chromatic line (F-F#-G). In this line the B diminished 7th arpeggio starts on the third of G7b9.
- Bar three : Fifth and b3 of Cm.
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