ii–V–I Chord Progression

ii–V–I is the backbone of jazz: a minor 7th, a dominant 7th and a major 7th, each a fifth above the next. Learn it in every key and most standards open up.

Play them in C major — or pick another key

ii–V–I in C major

The most important progression in jazz: each chord is a fifth above the next, ending on the tonic. 4 bars, then it loops.

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012345678910111213141516171819EFGABCDEFGABABCDEFGABCDEDEFGABCDEFGAGABCDEFGABCDBCDEFGABCDEFEFGABCDEFGAB
Chord tones C major Key note

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Pick a progression

ii–V–I in every key

KeyChords
C majorDm7 – G7 – Cmaj7
D♭ majorE♭m7 – A♭7 – D♭maj7
D majorEm7 – A7 – Dmaj7
E♭ majorFm7 – B♭7 – E♭maj7
E majorF♯m7 – B7 – Emaj7
F majorGm7 – C7 – Fmaj7
F♯ majorG♯m7 – C♯7 – F♯maj7
G majorAm7 – D7 – Gmaj7
A♭ majorB♭m7 – E♭7 – A♭maj7
A majorBm7 – E7 – Amaj7
B♭ majorCm7 – F7 – B♭maj7
B majorC♯m7 – F♯7 – Bmaj7

The progression and its variations

  1. ii–V–I

    ii7 – V7 – Imaj7 (2 bars)

    The most important progression in jazz: each chord is a fifth above the next, ending on the tonic.

    In C: Dm7 – G7 – Cmaj7

    In G: Am7 – D7 – Gmaj7In D: Em7 – A7 – Dmaj7

  2. ii–V–I with 9ths & 13ths

    ii9 – V13 – Imaj9 (2 bars)

    The same ii–V–I with richer colours — the way pianists and guitarists usually voice it.

    In C: Dm9 – G13 – Cmaj9

    In G: Am9 – D13 – Gmaj9In D: Em9 – A13 – Dmaj9

  3. Minor ii–V–i

    iiø7 – V7 – i (2 bars)

    The minor-key version of ii–V–I: a half-diminished ii and a major V7 from the harmonic minor.

    In Am: Bm7♭5 – E7 – Am

    In Em: F♯m7♭5 – B7 – EmIn Dm: Em7♭5 – A7 – Dm

  4. Tritone substitution

    ii7 – ♭II7 – Imaj7 (2 bars)

    V7 is swapped for the 7th chord a tritone away, so the bass slides down by half steps to I.

    In C: Dm7 – D♭7 – Cmaj7

    In G: Am7 – A♭7 – Gmaj7In D: Em7 – E♭7 – Dmaj7

  5. Backdoor ii–V

    iv7 – ♭VII7 – Imaj7 (2 bars)

    Comes home through the back door: a minor iv7 and ♭VII7 instead of ii and V — soft and wistful.

    In C: Fm7 – B♭7 – Cmaj7

    In G: Cm7 – F7 – Gmaj7In D: Gm7 – C7 – Dmaj7

  6. Jazz turnaround

    Imaj7 – vi7 – ii7 – V7

    I–vi–ii–V loops back to the start; the last three chords walk round the circle of fifths.

    In C: Cmaj7 – Am7 – Dm7 – G7

    In G: Gmaj7 – Em7 – Am7 – D7In D: Dmaj7 – Bm7 – Em7 – A7

Why they work

The 7th of each chord falls by a half step to the 3rd of the next (C in Dm7 → B in G7, F in G7 → E in Cmaj7). That smooth voice leading is why the progression sounds so natural.

In a minor key the ii is half-diminished and the V gets its major 3rd from the harmonic minor: Bm7♭5–E7–Am.

See them on the circle of fifths · Chord charts · Metronome

More chord progressions