The Role of the ii Chord in Jazz Improvisation Over Fast Changes
In jazz improvisation, particularly over fast chord changes, the ii chord often serves a crucial but sometimes overlooked role. Musicians may choose to simplify their approach to certain chords, including the ii chord, leading to a more harmonically stable and consonant outcome.
The Function of the ii Chord
The ii chord typically functions as a predominant chord, leading to the V chord in a ii-V-I progression. In a fast-paced context, improvisers may prioritize the stronger and more harmonically stable V and I chords, sometimes neglecting the ii chord.
Simplification in Improvisation
During fast changes, jazz improvisers may simplify their lines by focusing on the chord tones of the V and I chords. These tones provide stronger resolutions and are more consonant, making them a logical choice for improvisers aiming to maintain a clear harmonic progression.
Contextual Decisions
The decision to emphasize or ignore the ii chord can depend on the musical context. Factors such as the tempo, the specific tune, and the improviser's personal style all play a role. Some musicians incorporate the ii chord into their solos to create more intricate and harmonically rich lines, while others treat it as a stepping stone to the V or I chords.
Voice Leading Techniques
Skilled improvisers often use voice leading techniques to connect lines across chords. This can involve targeting chord tones or passing tones that smoothly transition through the ii chord rather than explicitly outlining it. By using voice leading, improvisers can maintain a sense of harmonic movement and resolution even when the ii chord is not prominently featured.
Personal Style and Approach
The approach to the ii chord can vary widely among musicians, reflecting their unique personal styles. Some jazz musicians may make the ii chord a focal point in their solos, while others may treat it as a less emphasized element in their improvisations. This flexibility allows for a wide range of interpretations and styles within jazz improvisation.
My Approach to Improvisation on Complex Forms
My advocacy for thinking through the shell of overtones led me to simplify the process of looking at complex melodies, such as those in I Got Rhythm and Giant Steps. I divide everything into stable and unstable sections.
The basis of the stable tonic is the tonic scale and its first and fifth steps. In the harmonic shape of Rhythm Changes, every fourth bar is typically the least stable, while the first of these bars is the most stable. Improvisers can create a chain of tensions and resolutions by targeting phrases to resolve or create the highest tension points, in accordance with the original form.
Instead of sewing every melodic note to every chord, the performer creates a chain where tensions and resolutions, instabilities and stabilities, are interconnected. This approach allows for a more fluid and dynamic improvisation, reflecting the underlying harmonic progression of the piece.