Harmony
ii-V-I progression
The ii-V-I is the progression of chords built on degrees 2, 5 and 1 of a key, such as Dm7 G7 Cmaj7 in C major, and it is the basic cadence of jazz.
What is a ii-V-I progression?
It is jazz's favourite cadence: a minor seventh chord on degree 2, a dominant seventh on degree 5, then the tonic chord. In C major: Dm7 G7 Cmaj7. In G: Am7 D7 Gmaj7. In F: Gm7 C7 Fmaj7. In B♭: Cm7 F7 B♭maj7.
The roots fall in fifths (D, G, C) and the three functions follow each other: subdominant, dominant, tonic. You find it everywhere, from Broadway standards to bossa nova, often several times per tune and in different keys.
How to play a ii-V-I on guitar
Two positions cover every key by alternating roots on the 5th and 6th strings.
In C, starting on the 5th string: Dm7 x5756x, G7 353433, Cmaj7 x3545x. Your hand stays between frets 3 and 7.
In F, starting on the 6th string: Gm7 353333, C7 x3535x, Fmaj7 1x221x.
Slide these shapes to change key: the first set played two frets higher gives Em7 A7 Dmaj7 (ii-V-I in D). The minor seventh, dominant seventh and major seventh chords each have their own colour: dark, tense, settled.
Why does a ii-V-I sound so smooth?
Because of the guide tones, the thirds and sevenths of each chord. Play just two notes on the G and B strings:
- Dm7: C (5th fret, 3rd string) and F (6th fret, 2nd string)
- G7: B (4th fret, 3rd string) and F (6th fret, 2nd string)
- Cmaj7: B (4th fret, 3rd string) and E (5th fret, 2nd string)
At each change only one note moves, by a half step. The seventh of Dm7 (C) becomes the third of G7 (B), and the seventh of G7 (F) becomes the third of Cmaj7 (E). That thread is what makes the progression feel inevitable.
The minor ii-V-i and common variations
In minor, the ii chord is half-diminished and the V often carries a flat ninth: Bm7♭5 E7 Am7 in A minor (x2323x, 020100, x02010), written iiø-V7-i.
A common variation is the tritone substitution, which swaps G7 for D♭7. Dm7 D♭7 Cmaj7 (x5756x, x4646x, x3545x) gives a bass line that walks down in half steps on the 5th string.
To improvise, aim for the third of each chord on beat one: F over Dm7, B over G7, E over Cmaj7. The solo builder shows these target notes and the matching arpeggio for every chord of a progression.
Key takeaways
- ii-V-I = minor 7, dominant 7, major 7: Dm7 G7 Cmaj7 in C.
- Two movable shapes (5th-string start, 6th-string start) cover every key.
- Guide tones move by only a half step: that is the secret of the jazz sound.
- In minor: m7♭5, 7, m (Bm7♭5 E7 Am).
Frequently asked questions
Why is the ii written in lowercase?
In Roman numeral analysis, lowercase means a minor chord: ii is Dm or Dm7 in C major. V and I are uppercase because G7 and Cmaj7 are major. You will also see it written IIm7-V7-Imaj7.
What scale do you play over a ii-V-I?
The major scale of the key works over all three chords: C major over Dm7 G7 Cmaj7. To sound more like jazz, play the arpeggio of each chord and land on thirds and sevenths on the strong beats.
Do pop and soul songs use ii-V-I?
Yes, often without sevenths: Dm G C at the end of a chorus, or Am7 D7 G in soul and bossa nova. Whenever a minor chord leads into a dominant chord that resolves, you have a ii-V-I, even outside jazz.
Related terms
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