Mi Jazz ii–V–I

Mi Jazz ii–V–I — ii – V – I

The E ii–V–I (F#m – B – E) is jazz's defining cadence — every standard revolves around it. Use Dorian on the ii7, Mixolydian on the V7, and the Bebop Major scale to outline the IMaj7 with chromatic passing tones. The chord-scale approach to this cadence is the entry point to all jazz improvisation. Voicings: F#m7 – B7 – EMaj7.

Playing in Mi major

E major is arguably guitar's most powerful key. The open low E and high E strings ring sympathetically as the root, while the open B provides the fifth. This triple reinforcement gives E-based riffs and chords unmatched depth and volume. E is a beginner-level key on guitar because both the low E and high E strings ring as the root, and the open B is the fifth — three open strings reinforce the tonic chord. Beginners will find this key approachable since most chords use open voicings with minimal stretching.

Voice Leading

The bass line moves through F# to B (ascending perfect fourth), B to E (ascending perfect fourth). The root motion by larger intervals (fourths and fifths) gives each chord change a strong, decisive character. When the progression loops, the bass returns from E to F# by whole step.

Capo Transposition

To play in E using familiar open chords: capo 2 with open D shapes; capo 4 with open C shapes; capo 7 with open A shapes. Choose the capo position that gives you the voicings you prefer — lower capo positions produce a fuller sound, while higher positions create a brighter, mandolin-like timbre.

Scales for Soloing

E major pentatonic works because every note is either a chord tone or a safe passing tone — there are no avoid notes. For soloing, this means you can play freely without clashing. Over dominant seventh chords, E Mixolydian adds the flat seventh for an authentic blues-rock edge.

Strumming Pattern

Use Freddie Green-style comping: short, muted chord stabs on beats 2 and 4 at 120-160 BPM. Keep the chords tight and percussive, lifting your fretting hand slightly after each attack to control sustain.