The MAGIC Happens Here in a ii-V-I Progression!

In this lesson, I'll show you three scales (and accompanying licks) to use over the V7 chord in a ii-V-I progression. The altered, half-whole diminished, and whole-tone scales are superb devices for creating tension over the V7 chord to create a smooth resolution back to the I chord.
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Diatonic Chord Lesson: • The BEST Way To Learn ...
Altered Scale Lesson: • What are ALTERED CHORD...
Beginner ii-V-I Lesson: • IMPROVISE Over ii-V-I ...
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Table of Contents
0:00 - Introduction
0:11 - The ii-V-I Progression
0:50 - The V7 Chord Function
1:28 - The Altered Tones
2:30- ii-V-I Approach
3:08 - The Altered Scale
4:35 - Lick 1
7:38 - The Half-Whole Diminished Scale
10:15 - Lick 2
12:50 - Whole Tone Scale
14:32 - Lick 3
16:38 - How To Use These Scales
17:23 - Conclusion

[@TDavisOfficial]

Dude, your delivery is so palatable and unpretentious. Really appreciate ya! 🙏🏻🙏🏻

[@JameyArent]

Thank you!

[@javimartin3521]

Really useful lesson! Thanks from Spain!

[@collinbergkamp7077]

I really enjoy your lessons. A convenient way to think of the Altered scale is as a hybrid of diminished and whole tone.

[@macjam9090]

really good lesson. Easy to follow along with the theory and shows you how to improvise. I am a beginner jazz guitar but you are helping me to learn fast. Thank you.

[@JameyArent]

Thanks! Glad to hear it was helpful!

[@Sammywhat]

Thanks for the links in the description! Truly worth going over again and again.

[@JameyArent]

You’re welcome! Glad it’s helpful!

[@annettesomers7463]

I love your teaching methods. Thanks!

[@JameyArent]

Thank you!

[@Dirt-McGerk]

I don't know why but your method of explaining stuff just 'clicks' for me. I got curious after your Sterling Cutlass CT50 demo and so far your lessons have been super valuable to this rusted up, self taught guitar player. Thanks

[@JameyArent]

Thank you so much! Glad the video is helpful.

[@NicholasStein]

I have been experimenting with finding pentatonic scales within these three scales. That way I can, on the fly, throw in a semi-blues lick using the pentatonic scale and then come back to the CM7. So rather than trying to remember these slightly complicated scales I can just throw in a quick lick and come back to the CM7 or Dm7 anywhere in the progression. For example, in G. Dm7 (IV) Am pentatonic, Abm pentatonic (V7), CM6 (I). So I am thinking: slide up 2 frets and play a half measure lick, slide down a fret and play a half measure lick, slide down a fret and play the CM6 or CM7.
I fully expect to get flamed on this comment.

[@genegabriel9113]

Hello sir. Can i apply this also in bass?

[@JameyArent]

Sure! It applies to any instrument. The notes are the same notes in relation to the chord regardless of instrument.

[@markgoodwin5306]

I was just thinking, can you build a half whole diminished off of a dim7 arpeggio? Like if a chord says G7b9, I like to play a dim7 arpeggio off the flat 9 and just play with phrasing. But if you add a half step in front of the chord tones and a whole step back, I think you're playing the half whole. I don't know, I'm not in front of my guitar haha. I'm doing this in my head.

[@JameyArent]

That’s the idea! Over a fully diminished chord you’d whole-half instead of half-whole with the root being the root of the diminished chord. So this G half-whole would be Ab whole-half if you started it on Ab to play over an Ab diminished chord.

[@markgoodwin5306]

@@JameyArent Thank you

[@talisman964]

Great lesson. Could you play the altered scale in example 1 over a plain g7 chord?

[@JameyArent]

@@talisman964 thanks! Sure! Even if the band isn’t playing a G7 altered, by playing the altered scale, you’re implying those altered sounds over the stock G7 and creating/implying that extra tension.

[@talisman964]

@@JameyArent thanks Jamey 👍