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 The II-V-I Progression in Major
The IIm7 - V7 - I progression is formed by three chords that are all diatonic to the key
center (that is, they are naturally- formed in accordance with the key signature of I), the
three chord roots are consecutive in the cycle, and move in a forward (clockwise)
direction within the cycle.

Figure 1-A

C
G F
D Bb
A Eb
E Ab
B Db
F#
Bb

Cyclic motion of this sort is very common in most forms of tonal music, including
classical music, where its use can be traced back for at least three centuries.
Identifying this 3-chord segment of the cycle, when viewing part of a lettered chord
progression of a tune, is one of the two "tests" needed to determine the existence of a II-
V-I cell.
The other aspect to be examined are the chord-types of each of the three chords.
So if we see three consecutive chord roots that agree with a 3- letter segment of the cycle
(in a forward direction, and the chord-types are minor seventh, dominant seventh, and
major seventh respectively, then we can be certain that we are viewing a II-V-I
major seventh respectively, then we can be certain that we are viewing a II-V-I
progression in a major key.

It was stated earlier that the II-V-I progression satisfies the requirements for establishing
a key center.
In jazz and pop music, this statement can be extended to include nearly every
modulation to a new key center within a given tune's length.
In other words, the II- V-I is frequently used as the modulating apparatus itself!

The II-V-I Progression in Minor

Approximately 25% of the tunes in the jazz musician's repertoire are in a minor key.
Add to this the high incidence of tunes that are chiefly in major, but which modulate to
one or more minor keys within their overall length (especially at the "bridge" or "B
section"), it is easy to see why we cannot afford to overlook aspects found in the minor
mode.
Though the II-V-I progression in a minor key is used in much the same way as it is in a
major key, especially with regard to establishing the key center(s), the structures of the
individual chords are quite different and more complex.
We could relate those differences by discussing the nature of the tonic minor scale (or
scales would be more accurate) from which all three chords are derived, as was done
with the major version of the cell. However, it is less confusing to simply discuss the
chord structures themselves.

First of all, since many songs will include both major and minor key segments, there is
the need to prepare the listener/player for the change of mode, so that the hearer can
sense the impending change even before the tonic (I) chord arrives.
We can surmise, in the case of II- V-I in major, that the fact that all three of the chords
The II-V-I Progression in Major
derive their notes from the major scale of the I chord, that the ear is prepared to hear the
approaching I major chord even before it arrives, during the closely- related II and V
The IIm7 - V7 - I progression is formed by three chords that are all diatonic to the key
chords.
center (that is, they are naturally- formed in accordance with the key signature of I), the
three chord the
To prepare roots are consecutive
sound in the
of a minor key cycle,we
center, and move
need in a forward
chord-types for (clockwise)
the II and V that
direction within the cycle.
will already be hinting at the minor I chord that is to follow.

Figure 1-A
?? And so we generally find that the II chord will be a half-diminished seventh
chord (m7b5), instead of the IIm7 that was used in major.
C
The half- diminished seventh chord only differs from the minor seventh structure
by Gone note, that being a F
fifth that is lowered one half-step.
In fact, as pointed out in the Introduction of this book, an alternate symbol for
D the half- diminished chord is theBb minor seventh with a lowered fifth (b5).
A Eb to the key center, we find it to be the
If we relate that b5 of the IIm7b5 chord
lowered sixth (b6) of the key, a note that is found in two of the tonic minor
E scales (harmonic and natural minors).
Ab
Hence
B the half- diminished Dbform of the II chord prepares the ear to anticipate an
approaching minor key center.
 approaching minor key center.
F#
Furthermore, the most common substitute for a IIm7b5 is a IVm (or IVm6)
Bb
chord, which has the same note for its third of the chord as the IIm7b5 has for its
fifth.
Cyclic motion
In fact, of
thethis sortisisspelled
IVm6 very common in most
with exactly theforms
same of tonal
notes asmusic, including
the IIm7b5 of the
classicalsame
music, where its use can be traced back for at least three centuries.
minor key (example: an Fm6, which is IV of C minor, is spelled F, Ab, C,
Identifying
and this
D, and3-chord segment
a Dm7b5, whichof the
is IIcycle,
of C when
minor,viewing part
is spelled D,ofF,aAb,
lettered chord
and C).
progression of a tune, is one of the two "tests" needed to determine
?? The V chord could prepare a I minor chord by simply adding a lowered the existence of a II-
V-I cell.ninth (b9), which is also the b6 of the key center.
The other
Theaspect
moretocomplete,
be examined are the
common, andchord-types of each offor
effective structure thethe
three chords.
V chord, however,
So if weissee three consecutive
a dominant seventh withchord roots that
a raised fifthagree
( + 5with
) anda a3-raised
letter segment of the cycle
ninth ( +9),
(in a forward direction,
sometimes and to
referred theaschord-types
the "alteredare minor seventh, dominant seventh, and
dominant."
major seventh
A b9 in place of the +9 is equally effective that
respectively, then we can be cer tain (theywecan
areeven
viewing a II-V-I
co-exist in the same
progression in a major key.

It was stated earlier that the II-V-I progression satisfies the requirements for establishing
a key center. 5
In jazz and pop music, this statement can be extended to include nearly every
modulation to a new key center within a given tune's length.
In other words, the II- V-I is frequently used as the modulating apparatus itself!

chord), still including the +5 as well, but the +9 is the most commonly- used
form of the ninth in an altered dominant.

We already know that the b9 helps to prepare a minor I chord, and the +5 causes the
sounding of the same note that will be the lowered third of the I chord, which is a great
preparation for a minor key.
But what about the seemingly preferred +9?
Why should that note foretell the sound of an impending minor I chord?
After all, if the V chord was a G chord (V of C), the +9 would be an A#, which is an
enharmonic spelling for Bb. 4
Wouldn't the presence of an equivalent for Bb reduce the powerful effect of the "leading
tone" (B natural) that is already in the V chord as its third, and which propels the chord
toward a logical resolution to I?
There are several answers to this, all worth presenting at this time:

?? First of all (staying in C minor for the moment), Bb does exist in the "natural
minor scale" on C.
?? Secondly, the "leading tone" (B natural) is still present, as the third of the G7
chord.
?? Thirdly, the The II-V-I
inclusion Progression
of Bb (A#) gives the V chord in Minor
the illusion of being minor,
offering a sort of poetic support to the minor I chord.
?? Finally, 25%
Approximately the "altered dominant"
of the tunes in the chord is, by nature
jazz musician's of its sound,
repertoire are in aa minor
very dramatic,
key.
almost
Add to this the "bluesy" chord,of
high incidence enhancing
tunes thatthe
areusually
chiefly- desired intent
in major, of composers
but which modulateto to
employ
one or more minor
minor keyskeys for dramatic
within effect.
their overall length (especially at the "bridge" or "B
section"), it is easy to see why we cannot afford to overlook aspects found in the minor
So the common form of the II-V-I progression in minor is: IIm7b5 - V7alt -
mode.
Though the II-V-I progression in a minor key is used in much the same way as it is in a
Im(maj7)
major key, especially with regard to establishing the key center(s), the structures of the
individual
Despite thechords
fact thearechord
quitestructures
different and more
for the complex.
II and V, in major and minor keys, are
We couldused
primarily relatetothose differences
prepare by discussing
the listener the nature
for the expected formofofthe tonic minor
I (major scale (or
or minor),
scales wouldsometimes
songwriters be more accurate) from which
like to surprise us, byallusing
threeachords
I chordare
wederived, as was done
didn't expect.
with
In the major
nearly all of version of the
such cases, thecell. However,
composer willitset
is less confusing
us up to hear atominor
simplyformdiscuss the
of I (by
chord structures
preceding it withthemselves.
IIm7b5 and V7alt), but surprise us with a I major instead.
Examples of this delightful sort of deception are in:
First of all, since many songs will include both major and minor key segments, there is
First of all, since many songs will include both major and minor key segments, there is
the need to prepare the listener/player
?? EVERYTHING HAPPENS TO forMEthe (measure
change ofB5), mode, so that the hearer can
sense the impending
?? PENSATIVA (m.13), change even before the tonic (I) chord arrives.
We ??canWHAT'S
surmise, in the case of II
NEW (m.7 and B7) and - V-I in major, that the fact that all three of the chords
derive
?? their
FORnotes from theSAKE
HEAVEN'S major (m.1).
scale of the I chord, that the ear is prepared to hear the
approaching I major chord even before it arrives, during the closely- related II and V
chords.
This almost never happens in reverse, where a composer precedes a minor tonic with
the major forms of II and V (m7 and 7, respectively).
To prepare the sound of a minor key center, we need chord-types for the II and V that
will prototypical
The already be hinting
forms at ofthe
the minor
II-V-I Iprogression,
chord that isintomajor
follow.and minor, are so
commonplace in the tunes played by jazz musicians that it is very difficult to locate
tunes And so
?? which wecontain
don't generally find that
at least the II progression,
one II-V-I chord will beeven a half-diminished seventh
among contemporary
chord
tunes, and most (m7b5)
tunes ,haveinstead
many of occurrences
the IIm7 thatofwas thatused
cell. in major.
For thisThe halfit
reason - diminished seventh chord
would be pointless, only differs
and perhaps from thetominor
impossible, list allseventh structure
the tunes which
by one note, that being
have at least one II-V-I progression. a fifth that is lowered one half-step.
In fact, as pointed out in the Introduction of this book, an alternate symbol for
the half- diminished chord is the minor seventh with a lowered fifth (b5).
If we relate that b5 of the IIm7b5 chord to the key center, we find it to be the
lowered sixth (b6) of the key, a note that is found in two of the tonic minor 6
scales (harmonic and natural minors).
Hence the half- diminished form of the II chord prepares the ear to anticipate an
approaching minor key center.
Furthermore, the most common substitute for a IIm7b5 is a IVm (or IVm6)
chord, which has the same note for its third of the chord as the IIm7b5 has for its
fifth.
In fact, the IVm6 is spelled with exactly the same notes as the IIm7b5 of the
same minor key (example: an Fm6, which is IV of C minor, is spelled F, Ab, C,
and D, and a Dm7b5, which is II of C minor, is spelled D, F, Ab, and C).
?? The V chord could prepare a I minor chord by simply adding a lowered
Variation 1: IIm7 - #II°7 - IIIm7 (or I)
ninth (b9), which is also the b6 of the key center.
The more complete, common, and effective structure for the V chord, however,
This peculiar, yet popular, progression cell substitutes a #II°7 for the V7, and
is a dominant seventh with a raised fifth ( + 5 ) and a raised ninth ( +9),
sometimes a IIIm7 for the tonic major chord (I).
sometimes referred to as the "altered dominant."
The latter is easier to understand, as a IIIm7 has at least two notes in common with the I
A b9 in place of the +9 is equally effective (they can even co-exist in the same
chord, hence it has always been regarded as a logical substitution.
The #II°7, on the other hand, has little or nothing in common with the V7. In fact, the
third of the #II chord is the major seventh of the V chord, which is a virtual
anachronism to a dominant function. 5
It only works because the #II functions as a "leading tone chord" of III (or VII°7 of III,
as a classical theorist would put it).
Since VII° has long been considered as a substitute for V7, when going to I, the door is
open to precede any object chord with a diminished chord whose root is a half- step
below the root of the object chord (in this case, the object chord is IIIm7).
When the I chord is used instead of III, it is usually in first inversion, so that its bass
note (not its root) is the same as the root of the III chord, causing the #II to become a
leading tone chord (or VII) of the third of the object chord.
The reader might find it hard to believe that this variation would resemble the
prototypical
chord),II-V-I
stilldiscussed
including earlier.
the +5 But consbut
as well, iderthe
that+9it has been
is the used
most so often-in
commonly tune
used
progressions
form of andthein ninth
arrangements that even
in an altered improvisers will consciously and
dominant.
unconsciously play the variation against a sounded II-V-I progression!
The two phrases
We already knowshown that thein b9
Figure
helps1B tohave
prepareappeared
a minor in Inumerous
chord, andjazz
therecordings, each
+5 causes the
time against
sounding conventional
of the same note thatIIwill
- V-I.be the lowered third of the I chord, which is a great
The first onefor
preparation has been played
a minor key. by many players over the years, whereas as the second
example
But whatwas aboutinvented by Johnpreferred
the seemingly Coltrane +9? and then adopted by his many
followers/imitators.
Why should that note foretell the sound of an impending minor I chord?
After all, if the V chord was a G chord (V of C), the +9 would be an A#, which is an
Figure 1B spelling for Bb.
enharmonic
Wouldn't the presence of an equivalent for Bb reduce the powerful effect of the "leading
tone" (B natural) that is already in the V chord as its third, and which propels the chord
toward a logical resolution to I?
There are several answers to this, all worth presenting at this time:
There are several answers to this, all worth presenting at this time:

?? First of all (staying in C minor for the moment), Bb does exist in the "natural
minor scale" on C.
?? Secondly, the "leading tone" (B natural) is still present, as the third of the G7
chord.
?? Thirdly, the inclusion of Bb (A#) gives the V chord the illusion of being minor,
offering a sort of poetic support to the minor I chord.
?? Finally, the "altered dominant" chord is, by nature of its sound, a very dramatic,
(sometimes No. 2 is used with a 2-bar duration of I maj7)
almost "bluesy" chord, enhancing the usually- desired intent of composers to
employ minor keys for dramatic effect.
The likely historical source for the IIm7 - #II°7 - IIIm7 (or I) progression is the solo
piano style of the 20's and 30's, in which self- accompanying pianists frequently used the
So the common form of the II-V-I progression in minor is: IIm7b5 - V7alt -
progression in the left hand, usually voiced in tenth intervals.
Im(maj7)
The cell generally happened at times when the given chord was a relatively long
duration (4 beats or more) of a tonic major chord.
Despite
Since thethe fact the
music chord
of that timestructures forlively,
was pretty the II and V, in major
a sustained chordand
in minor
the leftkeys,
handare
would
primarily used to prepare the listener for the expected form of I (major or minor),
inhibit the needed pulse- like effect, hence pianists would expand, say a one- measure
songwriters
duration of asometimes
tonic chord,like to quarter-
into surprise note
us, by using a by
durations I chord we Ididn't
playing - IIm7expect.
- #II°7 - IIIm7
In nearly all of such cases, the composer will set us up to hear a minor form of I (by
preceding it with IIm7b5 and V7alt), but surprise us with a I major instead.
Examples of this delightful sort of deception are in: 7

?? EVERYTHING HAPPENS TO ME (measure B5),

?? PENSATIVA (m.13),
?? WHAT'S NEW (m.7 and B7) and
?? FOR HEAVEN'S SAKE (m.1).

This almost never happens in reverse, where a composer precedes a minor tonic with
the major forms of II and V (m7 and 7, respectively).

TheI prototypical
(or forms with
in first inversion) of thethe
II-V-I progression, in major and minor, are so
left hand.
commonplace
This practice wasin the tunes played
particularly by jazzinmusicians
noticeable that itby
performances is Art
veryTatum
difficultand
to by
locate
the
tunes which don't contain at least one
countless admirers/imitators who followed him.II-V-I progression, even among contemporary
tunes,
An even andmore
mostexpanded
tunes have manyof
version occurrences of thatwas
the progression cell.
used by George Gershwin in
For this reason it would be pointless, and perhaps impossible,
LIZA, where the first three and one-half measures use a five-chord to listprogression,
all the tunesinwhich
half-
have durations
note at least one
(inII-V-I
a fast progression.
alla breve tempo), that is I - #I°7 - IIm7 - #II°7 - I (in first
inversion).
That same progression also forms the first three and one-half measures of Eubie Blake 's
MEMORIES OF YOU.
Unamplified rhythm guitarists, like the legendary Freddy Green in the Count Basie 6
Orchestra of the 30's and 40's, also needed to transform long durations of a given chord
into quarter- note durations to support the pulse, and so they also were given to using the
progression under discussion (and others as well).

In all of the foregoing examples, whether II - #II - III, I - II - #II - III, or I - #I - II - #II -
III, the progressions result in a bass-note motion that rises by step and/or half- step,
creating a strong feeling of climbing and a growing intensity.

The excerpt shown in Figure 1-C is a classic tune that exemplifies the use of the
harmonic device we are studying.
It occurs in the fifth measure, tonicizing the IIIm chord in the key of F (Am7).
It is interesting to note that, before we encounter the device of mm.5-7, a regular II- V-I
has already occurred in mm.1-3.
If we listen closely to the tune, or if we play the progression on piano, the two cells can
be heard to function in the same way, though they don't sound identical.
As is the case with all the harmonic traits studied in this book, it is essential to learn the
appearance and sound of each, and to be able to distinguish between the basic form of a
trait and its common variations.

Figure 1-C
(bossa nova)
8
Jazz Theory Advanced
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note samba
one note
key centers
cesh
pattern
got rhythm
key center
api_user_11797_pirni
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cisacksonleft a comment

This is an excellent text, but I cannot find it's source using

Google. Can you let me know what book this is from, as I
hope to purchase it?? Many thanks.

07 / 31 / 2010
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miathatismeleft a comment

:D

06 / 07 / 2009
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