10 2 5 1 guitar licks

10 II V I Jazz Guitar Licks For Beginners

2 5 1 guitar soloThe II-V-I sequence is the most common chord progression played in jazz music and a must know for any guitarist who wants to learn jazz language.

The II, the V and the I (chords and scales) are constructed based on the corresponding second (II), fifth (V)  and first (I) step of the major scale.

In this guitar lesson you will learn what's the 2 5 1 progression and how to play easy jazz lines over a 2-5-1 using the most common scales found in jazz music.

What is a 2 5 1 Chord Progression?

The II V I progression consists of three basic chords constructed on each degree of the C major scale.

The chord corresponding to the first degree is a major seventh chord (CM7), the chord corresponding to the second degree is a minor seventh chord (Dm7) and the chord corresponding to the fifth degree is a dominant seventh chord (G7).

These chords are essential for a first approach. When they are grouped together they form what we call the II-V-I progression.


10 II V I Guitar Licks

Here are 10 II-V-I jazz guitar lines in the key of C. using the scales previously discussed. Please note that these lines are focused on the II | V progression. Major lines are not very developed in this eBook, you can check out this PDF Method to get more major jazz guitar licks.

40 II V I (2-5-1) Jazz Guitar Licks - PDF eBook Method Trailer

II V I Lick 1

  • D Dorian over Dm7.
  • G Mixolydian with a passing tone (b5) over G7.
  • Ending on the root of CM7

II V I Lick 2

  • D Dorian with passing tones over Dm7.
  • G Mixolydian with passing tones over G7
  • Ending on the fifth of CM7

II V I Lick 3

  • D Dorian over Dm7.
  • G Altered with passing tones over G7.
  • Ending on the fifth of C.

II V I Lick 4

  • D Dorian bebop scale over Dm7.
  • G Dominant bebop over G7.
  • Cmaj7 arpeggio over CM7.

II V I Lick 5

  • D Dorian including a Dm7 arpeggio over Dm7.
  • G Dominant bebop over G7.
  • Third and root of Cmaj7.

II V I Lick 6

  • D Dorian over Dm7.
  • B diminished triad and G Altered scale over G7.
  • Ending on the third of CM7.

II V I Lick 7

  • D Dorian over Dm7.
  • G Altered scale over G7.
  • Ending on the fifth or third of CM7.

II V I Lick 8

  • D Dorian bebop over Dm7.
  • G half-whole diminished over G7.
  • Ending on the fifth of CM7.

II V I Lick 9

  • D Dorian over Dm7.
  • G dominant bebop over G7.
  • Cmaj6 arpeggio.

II V I Lick 10

  • D Dorian over Dm7.
  • G Mixolydian and passing tone over G7.
  • Ending on the root of Cmaj7.

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