{"id":2102,"date":"2018-05-02T17:14:55","date_gmt":"2018-05-02T16:14:55","guid":{"rendered":"https:\/\/www.londonpianoinstitute.co.uk\/?p=2102"},"modified":"2021-03-01T10:38:03","modified_gmt":"2021-03-01T10:38:03","slug":"importance-ii-v-i-progression-jazz","status":"publish","type":"post","link":"https:\/\/www.londonpianoinstitute.co.uk\/importance-ii-v-i-progression-jazz\/","title":{"rendered":"The importance of the II V I progression in jazz!"},"content":{"rendered":"<p><em>The II V I progression is the harmonic motor of jazz music! Jazz harmony is based on the cycle of fourths and II V Is are the king of fourths&#8230; Understand the II V I and you understand jazz!<\/em><\/p>\n<p>Let&#8217;s face it.<\/p>\n<p>Jazz is a style of music that moves in cycles and is quite predictable from a harmonic point of view.<\/p>\n<p>Even though chord movements in jazz are predictive and reasonably straightforward, many melodic and harmonic variations can be created on the spot. So within a predictive and &#8216;set&#8217; framework, we have the freedom to make things less predictive and more colourful!<\/p>\n<p>Most of the progressions in jazz moves in the cycle of fourths. The II V I is the most important progression, and knowing how to improvise and use this progression intimately is of paramount importance to your jazz piano playing!<\/p>\n<p>The chord progressions and movements of\u00a0Johann Sebastian Bach is also very similar to jazz compositions. (Bach is a big fan of harmonic cycles!)<\/p>\n<p>The wonderful pianist Jacques Loussier has demonstrated this throughout his musical career!<\/p>\n<p>Cycles, cycles and more cycles&#8230; study cycles and YOU will understand\u00a0the internal motor of jazz!<\/p>\n<h3>The II V I progression is derived from the cycle of fourth progression through the tone center!<\/h3>\n<p>Knowing your keys inside out is a must!<\/p>\n<p>If you want to become a competent jazz pianist, you have to know your keys &#8211; yes all 12 of them!<\/p>\n<p><em>I frequently ask my students to say and play the following cycle throughout all 12 keys: (The Cycle Of Fourths Diatonic Progression)<\/em><\/p>\n<ul>\n<li>I Major 7<\/li>\n<li>IV Major 7<\/li>\n<li>VII Minor 7b5<\/li>\n<li>III Minor 7<\/li>\n<li>VI Minor 7<\/li>\n<li>II Minor 7<\/li>\n<li>V Dominant 7 (Final tension)<\/li>\n<li>I Major 7 (Back home &#8211; resolving the tritone!)<\/li>\n<\/ul>\n<p><u>In the key of C Major this would be:<\/u><\/p>\n<ul>\n<li>C Major 7 or I Major 7<\/li>\n<li>F Major 7 or IV Major 7<\/li>\n<li>B Minor 7b5 or VII Minor 7b5<\/li>\n<li>E Mnor 7 or III Minor 7<\/li>\n<li>A Minor 7 or VI Minor 7<\/li>\n<li>D Minor 7 or II Minor 7<\/li>\n<li>G Dominant 7 or V Dominant 7 (V7)<\/li>\n<li>Then back home to C Major 7 or I Major 7<\/li>\n<\/ul>\n<p>It is basically playing harmonies through a key in the cycle of fourths (within that key or tone center).<\/p>\n<p>As a jazz pianist, you need to know this progression in all its inversions throughout the piano.<\/p>\n<p>By doing this essential groundwork,\u00a0you will internalise all 12 keys (eventually) and drastically improve your ability to improvise over chord changes!<\/p>\n<p><strong>Take a look at the <span style=\"text-decoration: underline;\">last three chords<\/span> in the Cycle of Fourths Diatonic Progression:<\/strong><\/p>\n<ul>\n<li>II Minor 7th<\/li>\n<li>V Dominant 7th<\/li>\n<li>I Major 7th<\/li>\n<\/ul>\n<p><em>That means that the movement of the cycle of fourths throughout a tone center will have the II V I as it&#8217;s final set of chords!<\/em><\/p>\n<p><strong>Also, it is vital that you also look at this part of the progression:<\/strong><\/p>\n<ul>\n<li>IV Major 7th<\/li>\n<li>VII Minor 7th b5<\/li>\n<li>III Minor 7th<\/li>\n<\/ul>\n<p><span style=\"text-decoration: underline;\"><strong>From a superimposed point of view, we can also see this as:<\/strong><\/span><\/p>\n<ul>\n<li>II Minor 9th (Rootless)<\/li>\n<li>V Dominant 9th (Rootless)<\/li>\n<li>I Major 9th (Rootless)<\/li>\n<\/ul>\n<p>As you may know, playing the bass or root note is not always necessary in jazz as the wonderful bass player will take care of this important task!<\/p>\n<p>Study the Cycle of Fourths Diatonic Progression and you will definitely get much better at this wonderful musical language called jazz!<\/p>\n<h3>A visual diagram of the Cycle of Fourths Diatonic Progression:<\/h3>\n<p>I recommend that you study the diagram below and try to play the chords on your piano.<\/p>\n<p>Remember, actually trying it will always beat just reading about it!<\/p>\n<p>You will also need to get the sound of the progression into your musical ear!<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.londonpianoinstitute.co.uk\/wp-content\/uploads\/2018\/05\/II-V-I-Cycle-of-Fourth-Progression-600x588.png\" alt=\"Jazz Cycle of Fourths\" \/><\/p>\n<h3>Why is the II V I progression so prominent in jazz?<\/h3>\n<p>Why is the II V I progression so prominent in jazz piano and jazz playing?<\/p>\n<p>What makes it so special???<\/p>\n<p>At the very essence, it has certain harmonic factors that need to be considered.<\/p>\n<ul>\n<li>The II Minor 7th is basically a sub-dominant function chord that PRECEDES the dominant chord.<\/li>\n<li>The V Dominant 7th is the dominant chord containing the tritone\u00a0which cries out\u00a0for resolution. (Hence why the Superlocrian mode works so well or the half-whole scale!)<\/li>\n<li>The I Major 7th is the home key or the final resolution!<\/li>\n<\/ul>\n<p>All chord progressions in tonal music follow this sequence to some degree:<\/p>\n<p>HOME &#8211; AWAY FROM HOME &#8211; TENSION &#8211; RELEASE (BACK HOME)<\/p>\n<p>That is the way music works!<\/p>\n<h3>The II V I progression allows for a chromatic bass line with the tritone substitute dominant chord<\/h3>\n<p>Another quality that is inherent in the II V I progression is for us to create a II bII I progression.<\/p>\n<p><em>This is an optional step &#8211; used by lots and lots of jazz musicians to add a little extra flavour in their II V Is!<\/em><\/p>\n<p>Bear with me a little&#8230;<\/p>\n<p>I know it is not bII but rather tritone substitute dominant 7th to I.<\/p>\n<p>I&#8217;m just writing it in the above manner to make understanding a little easier!<\/p>\n<p><strong>The traditional II V I:<\/strong><\/p>\n<p>D Minor 7<\/p>\n<p>G Dominant 7 (Contains T2 or F and B)<\/p>\n<p>C Major 7<\/p>\n<p><strong>The tri-tone substitute II V I:<\/strong><\/p>\n<p>D Minor 7<\/p>\n<p>Db Dominant 7b5\u00a0(Contains T2 or F and B)<\/p>\n<p>C Major 7<\/p>\n<h3>The basic II V I progression on the piano in the key of C Major:<\/h3>\n<h3>The II chord &#8211; D Minor 7th:<\/h3>\n<p><strong>Description:<\/strong> <em>The subdominant part of the cadential progression. The chord precedes the dominant tension chord.\u00a0<\/em><\/p>\n<p>Jazz players will often play an F Major 7 as a substitute chord to get D Minor 9 (with no root). Remember the bass player takes care of the root.<\/p>\n<p><em>The chord diagram below contains the basic &#8216;vanilla&#8217; voicing of the chord &#8211; the actual root position D Minor 7:<\/em><\/p>\n<p><img decoding=\"async\" class=\"alignnone wp-image-4832\" src=\"https:\/\/www.londonpianoinstitute.co.uk\/wp-content\/uploads\/2018\/05\/D-Minor-7-II.png\" alt=\"D Minor 7 - II\" width=\"700\" height=\"404\" \/><\/p>\n<h3>The V chord &#8211; G Dominant 7th:<\/h3>\n<p><strong>Description:<\/strong>\u00a0<em>The dominant part of the cadential progression. The G7 chord contains the tritone. I call this particular tritone T2. The notes are F and B. Basically the 4th and 7th degree of the C Major scale&#8230; The tritone SCREAMS for resolution. That&#8217;s why we can often go &#8216;wild&#8217; with our improvisational ideas on the V7 chord!<\/em><\/p>\n<p>Jazz players will often play a B Minor 7b5 as a substitute chord to get G9 (with no root). Remember the bass player takes care of the root.<\/p>\n<p><em>The chord diagram below contains the basic &#8216;vanilla&#8217; voicing of the chord &#8211; the actual root position G Dominant 7:<\/em><\/p>\n<p><img decoding=\"async\" class=\"alignnone wp-image-4834\" src=\"https:\/\/www.londonpianoinstitute.co.uk\/wp-content\/uploads\/2018\/05\/G-Dominant-7-V.png\" alt=\"G Dominant 7th - V Chord\" width=\"700\" height=\"404\" \/><\/p>\n<h3>The I chord &#8211; C Major 7th:<\/h3>\n<p><strong>Description:<\/strong>\u00a0<em>The tonic (HOME) part of the cadential progression. The I Major 7 chord represents home: a place of security, a place of rest, a place of arrival.\u00a0<\/em><\/p>\n<p>Jazz players will often play an E Minor 7 as a substitute chord to get C Major 9 (with no root). Remember the bass player takes care of the root.<\/p>\n<p><em>The chord diagram below contains the basic &#8216;vanilla&#8217; voicing of the chord &#8211; the actual root position C Major 7:<\/em><\/p>\n<p><img decoding=\"async\" class=\"alignnone wp-image-4835\" src=\"https:\/\/www.londonpianoinstitute.co.uk\/wp-content\/uploads\/2018\/05\/C-Major-7-I.png\" alt=\"C Major 7th - I Chord\" width=\"700\" height=\"404\" \/><\/p>\n<h3>Real music examples with II V I: using the structure of jazz blues as a study of II V!<\/h3>\n<p><img decoding=\"async\" class=\"alignnone wp-image-4841\" src=\"https:\/\/www.londonpianoinstitute.co.uk\/wp-content\/uploads\/2018\/05\/II-V-I-in-Jazz-Blues.png\" alt=\"II V I in Jazz Blues\" width=\"700\" height=\"404\" \/><\/p>\n<h3>Exhibit 1 &#8211; G Minor 7 to C7 resolving to F7:<\/h3>\n<p>The standard 12 bar jazz blues progression is a wonderful basis for the study of II V I progressions.<\/p>\n<p>Let&#8217;s consider the move from bar 4 to bar 5 &#8211; called exhibit 1.<\/p>\n<p>In bar 5 we are resolving to the IV chord. In exhibit 1 we have a II V moving to the IV7 chord progression.<\/p>\n<p>The correct analysis here is II of V7 of IV and then V7 of IV (A secondary dominant chord).<\/p>\n<p>A perfect II V I resolution resolving into the IV chord of the blues!<\/p>\n<h3>Exhibit 2 &#8211; E Minor 7b5 to A7b9 to D Minor 7:<\/h3>\n<p>Let&#8217;s consider the move from bar 8 to bar 9 &#8211; called exhibit 2.<\/p>\n<p>In bar 9 we are resolving to the II Minor 7 chord. In exhibit 2 we have a minor II V moving to the II Minor 7 chord.<\/p>\n<p>The correct analysis here is II Minor 7b5 of V7 of II and then V7 of II (Another secondary dominant chord).<\/p>\n<p>A perfect II V I resolution resolving into the II Minor chord!<\/p>\n<h3>Exhibit 3 &#8211; D Minor 7 to G7 to C7:<\/h3>\n<p>Let&#8217;s consider the move from bar 9 to bar 10 &#8211; called exhibit 3.<\/p>\n<p>In bar 10 we are resolving to the I7 chord. In exhibit 3 we have the diatonic II V moving to the I7 chord.<\/p>\n<p>A perfect DIATONIC II V resolution resolving into the I7 chord!<\/p>\n<h3>Exhibit 4 &#8211; D Minor 7 to G7 to C7:<\/h3>\n<p>Let&#8217;s consider the move from bar 12 to bar 1 &#8211; called exhibit 4.<\/p>\n<p>In bar 1 we are resolving to the I7 chord. In exhibit 4 we have the diatonic II V moving to the I7 chord.<\/p>\n<p>A perfect DIATONIC II V resolution resolving into the I7 chord!<\/p>\n<p><em><strong>A great example of history repeating itself!<\/strong><\/em><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.londonpianoinstitute.co.uk\/wp-content\/uploads\/2018\/05\/II-V-I-tritone-sub-in-Jazz-Blues.png\" alt=\"Tritone substitute II V I in Jazz Blues graph\" width=\"700px\" \/><\/p>\n<h3>Exhibit 1 &#8211; G Minor 7 to Gb7b5 resolving to F7:<\/h3>\n<p><em>Tritone substitution creates chromatic bass movements and they can really make your jazz\/blues playing a lot more interesting!<\/em><\/p>\n<p>Please note that the tritone of C7 and Gb7 (I call this one T1) is ACTUALLY the same &#8211; the notes are E and Bb!<\/p>\n<p>Let&#8217;s consider the move from bar 4 to bar 5 &#8211; called exhibit 1.<\/p>\n<p>In bar 5 we are resolving to the IV chord. In exhibit 1 we have a II tritone sub V moving to the IV7 chord progression.<\/p>\n<p>The correct analysis here is II of V7 of IV and then tritone sub V7 of IV (A tritone sub secondary dominant chord).<\/p>\n<p>A perfect II tritone sub V I resolution resolving into the IV chord of the blues!<\/p>\n<h3>Exhibit 2 &#8211; E Minor 7b5 to A7b9 to D Minor 7:<\/h3>\n<p>Let&#8217;s consider the move from bar 8 to bar 9 &#8211; called exhibit 2.<\/p>\n<p>In bar 9 we are resolving to the II Minor 7 chord. In exhibit 2 we have a minor II V moving to the II Minor 7 chord.<\/p>\n<p>The correct analysis here is II Minor 7b5 of V7 of II and then V7 of II (Another secondary dominant chord).<\/p>\n<p>A perfect II V I resolution resolving into the II Minor chord!<\/p>\n<h3>Exhibit 3 &#8211; D Minor 7 to Db7b5 to C7:<\/h3>\n<p>Let&#8217;s consider the move from bar 9 to bar 10 &#8211; called exhibit 3.<\/p>\n<p>In bar 10 we are resolving to the I7 chord. In exhibit 3 we have the diatonic II\u00a0 tritone sub V moving to the I7 chord.<\/p>\n<p>A perfect DIATONIC II tritone sub V resolution resolving into the I7 chord!<\/p>\n<p>Please take note again the tritone (F and B) belongs to Db7b5 and G7. (They share the same tritone&#8230; I call it T2!)<\/p>\n<h3>Exhibit 4 &#8211; D Minor 7 to Db7b5 to C7:<\/h3>\n<p>Let&#8217;s consider the move from bar 9 to bar 10 &#8211; called exhibit 4.<\/p>\n<p>In bar 10 we are resolving to the I7 chord. In exhibit 4 we have the diatonic II\u00a0 tritone sub V moving to the I7 chord.<\/p>\n<p>A perfect DIATONIC II tritone sub V resolution resolving into the I7 chord!<\/p>\n<p>Please take note again the tritone (F and B) belongs to Db7b5 and G7. (They share the same tritone&#8230; I call it T2!)<\/p>\n<p><em><strong>ONCE AGAIN: A great example of history repeating itself!<\/strong><\/em><\/p>\n<h3>In conclusion<\/h3>\n<p>Jazz is a complex style with cyclical underlying harmonic structure. The secret to really becoming accomplished at playing jazz is to thoroughly internalise the important cycles such as II V I or I VI II V or III VI II V.<\/p>\n<p>This requires dedication, study and introspection.<\/p>\n<p>The language of the cycles needs to become second nature if you want to learn how to make serious progress in your jazz playing going forward.<\/p>\n<p>Remember the old saying &#8220;Rome was not built in a day&#8221;&#8230; therefore give yourself LOTS of time and space to explore and you will get there!<\/p>\n<p>The more time you spend with a free open mind whilst practising, the quicker you will see results and improvement in your own jazz performance.<\/p>\n<p>I wish you the best of success with your jazz journey!<\/p>\n<h3>The best application for practising your II V Is:<\/h3>\n<p>I highly recommend iRealPro as a serious practice tool for any budding jazz pianist!<\/p>\n<p>You simply cannot afford to practice without this amazing tool.<\/p>\n<p>In fact, now that it is available, jazz is no longer a secret&#8230; Now EVERYONE can learn how to play jazz!<\/p>\n<p>The only barrier to entry is practice, practice and some more practice!<\/p>\n<p>Make sure you get the iRealPro application right now and drastically improve your jazz piano improvisation and comping!<\/p>\n<ul>\n<li><a href=\"https:\/\/irealpro.com\/\" target=\"_blank\" rel=\"noopener\">iRealPro Application<\/a> &#8211; or go to the AppStore and download it on your smartphone!<\/li>\n<\/ul>\n<h3>I also highly recommend Frank Mantooth&#8217;s voicings for jazz keyboard<\/h3>\n<p>Frank Mantooth is a master at making complex jazz voicings really really easy.<\/p>\n<p>I cannot recommend Frank Mantooth&#8217;s material enough.<\/p>\n<p>I really recommend getting his books on jazz voicings as this will really help you with your II V I and overall jazz studies in the future.<\/p>\n<h3>Recommended book 1: Voicings for Jazz Keyboard<\/h3>\n<p><a href=\"https:\/\/amzn.to\/2T6vzv1\" alt=\"_blank\" target=\"_blank\" rel=\"noopener\"><img decoding=\"async\" src=\"https:\/\/www.londonpianoinstitute.co.uk\/wp-content\/uploads\/2018\/05\/Frank-Mantooth-Best-Voicings.jpg\" alt=\"Frank Mantooth Best Voicings\" width=\"202\" height=\"237\" class=\"alignnone size-full wp-image-4344\" srcset=\"https:\/\/www.londonpianoinstitute.co.uk\/wp-content\/uploads\/2018\/05\/Frank-Mantooth-Best-Voicings-200x235.jpg 200w, https:\/\/www.londonpianoinstitute.co.uk\/wp-content\/uploads\/2018\/05\/Frank-Mantooth-Best-Voicings.jpg 202w\" sizes=\"(max-width: 202px) 100vw, 202px\" \/><\/a><\/p>\n<ul>\n<li><a href=\"https:\/\/amzn.to\/2T6vzv1\" target=\"_blank\" rel=\"noopener noreferrer\">Voicings for Jazz Keyboard<\/a> &#8211; Frank Mantooth<\/li>\n<\/ul>\n<h3>Recommended book 1: The Best Chord Changes for the World&#8217;s Greatest Standards<\/h3>\n<p>Frank Mantooth recommends the best chord changes to make learning the best standards really easy! A true gem for any aspiring jazz musician!<\/p>\n<p><a href=\"https:\/\/amzn.to\/2Tia7ls\" target=\"_blank\" rel=\"noopener noreferrer\"><img decoding=\"async\" src=\"https:\/\/www.londonpianoinstitute.co.uk\/wp-content\/uploads\/2018\/05\/Frank-Mantooth-Chord-Changes.jpg\" alt=\"Frank Mantooth Chord Changes\" width=\"215\" height=\"241\" class=\"alignnone size-full wp-image-4346\" srcset=\"https:\/\/www.londonpianoinstitute.co.uk\/wp-content\/uploads\/2018\/05\/Frank-Mantooth-Chord-Changes-200x224.jpg 200w, https:\/\/www.londonpianoinstitute.co.uk\/wp-content\/uploads\/2018\/05\/Frank-Mantooth-Chord-Changes.jpg 215w\" sizes=\"(max-width: 215px) 100vw, 215px\" \/><\/a><\/p>\n<ul>\n<li><a href=\"https:\/\/amzn.to\/2Tia7ls\" target=\"_blank\" rel=\"noopener noreferrer\">The Best Chord Changes for the World&#8217;s Greatest Standards<\/a> &#8211; Frank Mantooth<\/li>\n<\/ul>\n<h3>Perhaps you are thinking: I would love to learn jazz piano and really become competent at playing jazz!<\/h3>\n<p><img decoding=\"async\" class=\"alignnone size-full wp-image-4855\" src=\"https:\/\/www.londonpianoinstitute.co.uk\/wp-content\/uploads\/2018\/05\/jazz-pianist.jpg\" alt=\"jazz pianist\" width=\"350\" height=\"241\" \/><\/p>\n<p>Well, you are thinking of productive and positive thoughts!<\/p>\n<p>The truth is, excellent jazz piano education is the fastest route to becoming a successful jazz pianist!<\/p>\n<p>Jazz is a tough nut to crack and requires hours and hours of dedication, but I can absolutely assure you that it can be done!<\/p>\n<p>With enough determination and a long time-frame with top-notch jazz piano lessons, you can make your dreams come true!<\/p>\n<p>Do you need prior experience?<\/p>\n<p>Absolutely not!<\/p>\n<p><span style=\"background: #FFFBCC;\">If you want to learn jazz, you can start immediately even if you have never ever played a note in your life!<\/span><\/p>\n<p><span style=\"background: #FFFBCC;\">All that you need is passion, a willingness to learn and the ability to continue through testing times!<\/span><\/p>\n<p><span style=\"background: #FFFBCC;\">Playing jazz is great&#8230; it is a strict framework but within that framework, you have the freedom to TRULY express yourself and improvise and play in waves of music!<\/span><\/p>\n<p><span style=\"background: #FFFBCC;\">If you want to know more about our jazz piano courses, please visit our <a href=\"https:\/\/www.londonpianoinstitute.co.uk\/jazz-piano-courses-london\/\">jazz course page here<\/a>.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>The II V I progression is the harmonic motor of jazz music! Jazz harmony is based on the cycle of fourths and II V Is are the king of fourths&#8230; Understand the II V I and you understand jazz! Let&#8217;s face it. Jazz is a style of music that moves in cycles and is quite predictable from a harmonic point of view. Even though chord movements in jazz are predictive and reasonably straightforward, many melodic and harmonic variations can be created on the spot. So within a predictive and &#8216;set&#8217; framework, we have the freedom to make things less predictive and [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":4339,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"rank_math_lock_modified_date":false,"footnotes":""},"categories":[138],"tags":[133,139,134],"class_list":["post-2102","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-jazz-piano","tag-improvisation","tag-jazz-piano","tag-piano-improvisation"],"_links":{"self":[{"href":"https:\/\/www.londonpianoinstitute.co.uk\/wp-json\/wp\/v2\/posts\/2102","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.londonpianoinstitute.co.uk\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.londonpianoinstitute.co.uk\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.londonpianoinstitute.co.uk\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.londonpianoinstitute.co.uk\/wp-json\/wp\/v2\/comments?post=2102"}],"version-history":[{"count":8,"href":"https:\/\/www.londonpianoinstitute.co.uk\/wp-json\/wp\/v2\/posts\/2102\/revisions"}],"predecessor-version":[{"id":4348,"href":"https:\/\/www.londonpianoinstitute.co.uk\/wp-json\/wp\/v2\/posts\/2102\/revisions\/4348"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.londonpianoinstitute.co.uk\/wp-json\/wp\/v2\/media\/4339"}],"wp:attachment":[{"href":"https:\/\/www.londonpianoinstitute.co.uk\/wp-json\/wp\/v2\/media?parent=2102"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.londonpianoinstitute.co.uk\/wp-json\/wp\/v2\/categories?post=2102"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.londonpianoinstitute.co.uk\/wp-json\/wp\/v2\/tags?post=2102"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}