What Is the ii-V-I Progression in Jazz?
A ii-V-I progression moves from the chord on the second degree through the dominant chord to the tonic chord. In C major the jazz form is Dm7, G7 and Cmaj7.
The chords of a major ii-V-I
In C major the three chords are Dm7 (D–F–A–C), G7 (G–B–D–F) and Cmaj7 (C–E–G–B). Their qualities are minor seventh, dominant seventh and major seventh in that order.
The roots fall a perfect fifth at each change. They move from D to G and from G to C. These falling fifths lead strongly to the tonic.
Jazz musicians practice the progression in all twelve keys. In F major it is Gm7, C7 and Fmaj7. In B♭ major it is Cm7, F7 and B♭maj7.
The minor ii-V-i
In a minor key the ii chord becomes half-diminished. A half-diminished chord is a diminished triad with a minor seventh. In C minor the progression is Dm7♭5 (D–F–A♭–C), G7 and a minor tonic chord such as Cm6 or Cm7.
The dominant is still a major triad with a minor seventh. Jazz players often add an altered tone to it. An altered tone is a raised or lowered fifth or ninth. A frequent choice is the flat ninth. G7♭9 adds A♭ to G–B–D–F.
That A♭ is the fifth of Dm7♭5 as well, so it can be held across the first change. It then falls a semitone to G, which is the fifth of the tonic chord.
Guide tones in a ii-V-I
The third and the seventh of each chord are called guide tones. They show the quality of the chord, and in a ii-V-I they move by the smallest possible steps.
In a major ii-V-I, the seventh of each chord falls a semitone to the third of the next chord. The third of each chord is held over and becomes the seventh of the next chord.
In C major one guide-tone line is F, F and E. A second line is C, B and B. When the two lines are played together, they outline the harmony without any roots.
The ii-V-I and the classical cadence
Classical harmony describes the same motion as predominant, dominant and tonic. The ii chord and the IV chord are both predominant chords, because both usually lead to V.
When V moves to I at the end of a phrase, the ii-V-I contains an authentic cadence. Classical writers often use ii6 here. That chord has its third in the bass.
Jazz harmony usually adds a seventh to each chord. A ii-V can also lead to a key other than the tonic. A chain of ii-V pairs can pass through several keys in a few measures.
How it sounds
How it looks
| Chord | Notes | Third | Seventh |
|---|---|---|---|
| Dm7 (ii7 in C major) | D–F–A–C | F | C |
| G7 (V7 in C major) | G–B–D–F | B | F |
| Cmaj7 (Imaj7 in C major) | C–E–G–B | E | B |
| Dm7♭5 (iiø7 in C minor) | D–F–A♭–C | F | C |
| G7♭9 (V7 in C minor) | G–B–D–F–A♭ | B | F |
| Cm7 (i7 in C minor) | C–E♭–G–B♭ | E♭ | B♭ |
In exams and courses
The AP Music Theory course calls ii and IV predominant harmonies because they usually come before the dominant. ABRSM Grade 5 Music Theory covers the tonic, supertonic, subdominant and dominant chords and the choice of chords at cadences.
Practice it
- Circle Motion. Hear four progressions and pick out Dm7, G7 and Cmaj7. Sing the falling roots to check your answer.
- Guide-Tone Line. Play Dm7, G7 and Cmaj7 and sing the guide-tone line F, F and E over the chords.
- Jazz · Guide tones. Follow the thirds and sevenths through linked ii-V pairs in short jazz scenes.
- AP Music Theory. Answer questions on predominant, dominant and tonic functions in the format of the AP exam.
Flashcard
What is the ii-V-I progression?
A ii-V-I progression moves from the chord on the second degree through the dominant chord to the tonic chord. In C major the jazz form is Dm7, G7 and Cmaj7.
Related terms
- Chord changes
- The sequence of harmonies over which musicians accompany or improvise.
- Turnaround
- A short harmonic sequence leading back to the beginning of a form.
- Tritone substitution
- Replacing a dominant chord with another whose root lies a tritone away.
- Secondary dominant
- A dominant-function chord temporarily pointing toward a harmony other than the tonic.
- Voice leading
- How each part moves from one chord to the next, smoothly and with a clear line of its own.
- Shell voicing
- A reduced chord voicing emphasizing structurally important tones, often root, third and seventh.