Soloing Masterclass
Soloing Over Major ii, V7, I Progressions
“Jay’s approach to improvising over the ii-V-I progression-the most common chord progression in standard jazz tunes-is very accessible to all levels of experience. Every player must…”
About this masterclass
Jay Umble demonstrates his approach to soloing over the classic ii–V7–I progression, working in the key of G major (Am7–D7–Gmaj7). The class takes a global, concept-driven view of improvisation rather than overly detailed explanations — Jay's core idea is to gravitate from the ii minor toward the I major and let the dominant chord take care of itself.
What's covered
- The key center concept: how the G major scale plus rhythm covers the whole progression
- Intervallic concepts and using 4ths
- Simplicity vs. complexity in line construction
- Gravitational concepts — resolving up or down the neck into nearby Gmaj7 positions
- Stacking arpeggios
- Ignoring the ii–V7 part of the progression
- Chromaticism, including a simple half-step hand shift that drops you into altered-dominant territory (and side-slipping ideas like Abmaj7 resolving into G)
For intermediate improvisers who want to play over this all-important progression with confidence — built on a few flexible concepts you can apply in any key.
Lessons in this masterclass
Lessons
- 1Soloing Over Major ii, V7, I Progressions1h 13m
Reviews & Ratings
"Invaluable and Highly recommended"
Jay’s approach to improvising over the ii-V-I progression-the most common chord progression in standard jazz tunes-is very accessible to all levels of experience. Every player must be able to hear and negotiate this chord progression in order to improvise well. Some of the things that I really like about Jay’s masterclass are: 1) Key center approach, taking the well-known major scale and breaking it up rhythmically and melodically to sound musical and always be aware of the resolution to the home chord (G major in this lesson), 2) Efficient hand motion, shifting up one fret (Ab major) towards the home key (G major) to get some really nice alterations/tension on the V chord (D7), 3) Use of arpeggios-to get some really nice inside sounds and “a good way to begin improvising,” 4) Position and Shape based movement on the fretboard-gives you better insight into using chord shapes, intervals and triads to build your improvisation, and 5) Use of chromaticism and fourths-to fill your lines out and sound more modern (respectively). Regardless of your level, Jay’s approach will help you see what you already know a little differently and bring new approaches to improvising into view. More importantly, it will help you understand how to better utilize the fretboard. Even without trying to memorize each lick or pattern, I really enjoyed playing around with the concepts presented in the Masterclass to build my own phrases.
"Jay Umble II-V-I Masterclass"
First of all, Jay Umble is a name that should be as well known as any in the jazz world. not only is he an open and approachable guy, he is a first-rate musician and teacher. His prior classes and written books are all outstanding. This class is no exception. There is an endless amount of information on the Net about II-V-I approaches by Experts and "experts", all promising a "new" and "novel" way, but Jay's ideas here are ones I can truly say are different and personal. This class, just over an hour of jam-packed info is totally accessible to those of you with modest or growing abilities as well as for those looking to get more jazz influences in their playing coming from other areas. Jay plays all examples over a backing track, giving context to everything, and sets out a simple approach of getting to G Major from A Minor not by fancy scales or convoluted theory, but by simple hand position shifting! This makes all kinds of Altered or "outside" ideas quite simple. That's the basis from which countless ideas flow. Great, great class, and highly recommended for those who are not yet pros but would not mind getting there. Good camera work, great organization, great content.
"wow"
I make a rule not to write a review because I am not good at both of playing and writing. After this class I am pretty sure I can sound over 2.5.1 without thinking too much. Anyway he has got the system and so do I. Thanks.
"Recommended exposure"
Although Jay's original concepts are not necessarily introduced in methodic order and written examples are not always reflecting note for note what's being played, exposure to Jay's visual and sonic elegant flowing phrasing is a must, and will make you play better just after 20 minutes. Marco
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