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Four-voice classical, three-voice and four-voice jazz "versions" of the ii–V–I progression. The classical example features inversions to emphasize the bass line's independence while the jazz examples feature root progression by fifths and "perfectly smooth voice leading" produced by the 7th of each
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The ii is sometimes replaced by the II, giving it a more dissonant, bluesy feel; this is especially common in turnarounds. Additionally, the ii can be treated like a temporary minor tonic, and preceded by its own "ii–V", extending the basic progression to a iii–VI–ii–V–I; again, this is quite common
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between the thirds and sevenths of these chords; the third of one chord becomes the seventh of the next chord, and the seventh of one chord moves down a half-step to become the third of the next chord. For example, in the key of C, the standard jazz ii–V–I progression is Dm–G–C, and the thirds and
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In jazz, the ii is typically played as a minor 7th chord, and the I is typically played as a major 7th chord (though it can also be played as a major 6th chord). The ii–V–I progression provides smooth
411:), a series of applied ii–V–I progressions is used to first lead to Gm, which then itself is reinterpreted as a ii and used to lead back to F through its own V, which is C. In the last bar (the "
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415:"), the same type of substitution is used as that in bar 4. In practice, musicians often extend the basic chords shown here, especially to 7ths, 9ths, and 13ths, as seen in this example:
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in turnarounds (with the iii–VI replacing the I in the second-to-last bar; in the example above, the last two bars would change from F | Gm–C to Am–D | Gm–C).
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II for V, and the III–VI–II–V extension can be combined in different permutations to produce many different variations on the same basic progression—e.g. iii–
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140:" (1928), which, "features several bars in which the harmony goes back and forth between the II and V chords before finally resolving on the I chord," "
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The ii–V–I progression is "a staple of virtually every type of popular music", including jazz, R&B, pop, rock, and country. Examples include "
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II has the same third and seventh as the V, but inverted; for example, the third and seventh of G are B and F, while the third and seventh of D
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tonalities and to lead strongly toward a goal (the "I" chord). One potential situation where ii–V–I progressions can be put to use is in
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of root movement by descending fifths, which establishes tonality and also strengthens the key through the contrast of minor and major.
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473:–C) creates smooth chromatic movement in the chord roots—the root of the ii (D) moves down a half-step to become the root of the
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II-V-I progression, comparison of four tuning systems: 12 equal, pythagorean, meantone, adaptive just intonation
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sevenths of these chords are F–C, B–F, E–B; inverted for smoother voice leading, these become F–C, F–B, E–B.
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In bar 4, instead of the simple V–I root motion in the original blues, the ii chord of the B
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Das Wesen des musikalischen
Kunstwerks: Eine Einführung in Die Lehre Heinrich Schenkers
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chord falling a semitone to become the 3rd while the 3rd becomes the 7th of that chord.
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is shown followed by a similar one with some basic ii–V–I substitutions (in bold).
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to B. Performing this substitution (in this case, changing Dm–G–C to Dm–D
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The ii chord appears in the natural minor scale and may be considered a
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485:), which moves down another half-step to become the root of the I (C).
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190:. Statements consisting only of original research should be removed.
117:. The dominant is, in its normal form, a major triad and commonly a
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The
Beatles As Musicians: The Quarry Men Through Rubber Soul
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In minor, a seventh chord built on the supertonic yields a
58:("two–five–one progression") (occasionally referred to as
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Audio playback is not supported in your browser. You can
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Audio playback is not supported in your browser. You can
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Audio playback is not supported in your browser. You can
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Audio playback is not supported in your browser. You can
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133:, limitless variations exist on this simple formula.
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Jazz
Standards Songs and Instrumentals (Satin Doll)
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ii–V–I progression (with seventh chords) in C major
435:The ii–V–I can be further modified by applying a
109:, the supertonic triad (ii) is minor, and in a
696:Workman, Josh. "Chops: II–V–I Survival Tips",
488:The tritone substitution, the substitution of
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8:
218:ii–V–I progressions are extremely common in
792:Andrews, William G; Sclater, Molly (2000).
566:ii–V–I in Bach's WTC I, Prelude in D major.
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206:Learn how and when to remove this message
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445:II chord. This is possible because the
597:ii–V–I progression in C minor: Dm–G–Cm
439:to the V chord, replacing it with the
621:Four-voice ii–V–I in C minor: Dm–G–Cm
7:
571:A ii–V–I progression is part of the
645:and is used in the ii–V–I in minor
89:descend in fifths from the second
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794:Materials of Western Music Part 1
160:
766:Introduction to the Theory of
1:
1493:Electroacoustic improvisation
775:). Translator: John Rothgeb.
628:half-diminished seventh chord
121:. With the addition of chord
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842:Jerry Coker's Jazz Keyboard
186:the claims made and adding
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1360:List of chord progressions
316: →
73:used in a wide variety of
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700:37:4 (April 2003), p. 90.
630:, which is a very strong
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740:Humphries, Carl (2002).
720:Everett, Walter (2001).
81:. It is a succession of
27:Common chord progression
1218:Tadd Dameron turnaround
815:Jazz Chord Progressions
675:Tadd Dameron turnaround
612:download the audio file
588:download the audio file
557:download the audio file
97:) to the fifth degree (
40:download the audio file
1313:Montgomery-Ward bridge
1293:Royal road progression
1188:Montgomery-Ward bridge
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119:dominant seventh chord
101:), and finally to the
1258:Borrowed (contrafact)
573:vi–ii–V–I progression
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1423:Backdoor progression
1349:Irregular resolution
1127:Backdoor progression
924:Backdoor progression
437:tritone substitution
813:Boyd, Bill (1997).
639:minor seventh chord
1645:Chord progressions
1552:Jazz improvisation
1498:Free improvisation
1483:Constant structure
1463:Chord-scale system
1283:Passamezzo moderno
1243:Andalusian cadence
1173:Andalusian cadence
1152:Passamezzo moderno
1052:Constant structure
1023:Chord progressions
742:The Piano Handbook
665:Circle progression
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171:possibly contains
56:ii–V–I progression
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1458:Call and response
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1343:Pachelbel's Canon
1278:Passamezzo antico
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1193:Passamezzo antico
1147:Sixteen-bar blues
1112:V–IV–I turnaround
1107:ii–V–I turnaround
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969:V–IV–I turnaround
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18:Ii-V-I turnaround
16:(Redirected from
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1655:Jazz terminology
1650:Circle of fifths
1614:Twelve-bar blues
1473:Coltrane changes
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1298:"Rhythm" changes
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1168:'50s progression
1137:Twelve-bar blues
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112:
108:
104:
100:
96:
92:
88:
84:
80:
76:
72:
69:
65:
61:
57:
41:
19:
1607:Tadd Dameron
1601:
1438:Bird changes
1308:Tadd-Dameron
1106:
1057:Double tonic
963:
841:
838:Coker, Jerry
814:
809:
793:
788:
772:
765:
757:
741:
736:
721:
716:
705:
697:
660:Bird changes
636:
625:
570:
487:
434:
430:
422:
394:
383:
375:
370:
363:
337:
217:
202:
193:
170:
135:
79:jazz harmony
77:, including
75:music genres
63:
59:
55:
53:
1592:Syncopation
1535:Jam session
1515:Harmolodics
1443:Block chord
1433:Bebop scale
1339:Ground bass
1208:IV–V–iii–vi
1030:Terminology
518:II–I, etc.
463:, which is
457:are F and C
123:alterations
1634:Categories
1597:Turnaround
1572:Polyrhythm
1557:Lead sheet
1540:Jazz chord
1488:Contrafact
1418:Avoid note
1075:Turnaround
959:Turnaround
919:Andalusian
744:, p. 128.
724:, p. 231.
465:enharmonic
413:turnaround
180:improve it
142:Satin Doll
131:extensions
115:diminished
95:supertonic
1468:Chordioid
1448:Blue note
1213:Romanesca
1198:I–V–vi–IV
1183:vi–ii–V–I
1086:of chords
1084:By number
1062:Notation
844:, p. 23.
543:Classical
506:II–I–III–
196:June 2019
184:verifying
146:If I Fell
111:minor key
107:major key
68:cadential
1640:Cadences
1530:Jam band
1334:Chaconne
1248:Backdoor
1119:♭
1102:I–IV–V–I
978:♭
908:Cadences
840:(1984).
817:, p. 6.
764:(1982).
649:See also
515:♭
509:♭
503:♭
500:III–iim–
497:♭
491:♭
482:♭
476:♭
470:♭
460:♭
454:♭
448:♭
442:♭
404:♭
398:♭
355:♭
347:♭
329:♭
298:♭
278:♭
269:♭
252:♭
99:dominant
1567:Outside
1545:So What
1520:Harmony
1478:Comping
1453:Cadenza
1322:Related
1288:Ragtime
1273:Omnibus
1231:By name
1139: (
1047:Changes
1042:Cadence
944:Landini
939:English
934:Corelli
929:Cadenza
872:YouTube
681:Sources
641:with a
512:III–II–
419:iim V I
224:passing
178:Please
105:. In a
1602:ii-V-I
1510:Groove
1403:theory
1263:Circle
1037:Bridge
949:Lydian
848:
821:
800:
779:
748:
728:
536:ii–V–I
479:II7 (D
307:C (V)
304:F (I)
292:C (V)
287:F (I)
284:F (I)
261:F (I)
258:F (I)
246:F (I)
129:, and
113:it is
91:degree
85:whose
83:chords
64:ii–V–I
62:, and
1587:Swing
1582:Scale
1303:Stomp
1178:Folía
1094:Three
301:(IV)
281:(IV)
272:(IV)
255:(IV)
228:blues
103:tonic
87:roots
1525:Head
1503:List
1405:and
1400:Jazz
1202:list
1161:Four
846:ISBN
819:ISBN
798:ISBN
777:ISBN
746:ISBN
726:ISBN
220:jazz
152:Jazz
54:The
1238:50s
870:on
182:by
148:".
1636::
830:^
689:^
380:F
371:Gm
360:F
334:F
323:F
125:,
1392:e
1385:t
1378:v
1345:)
1341:(
1204:)
1200:(
1143:)
1015:e
1008:t
1001:v
900:e
893:t
886:v
852:.
825:.
804:.
783:.
752:.
614:.
590:.
559:.
376:C
352:B
344:B
326:B
295:B
275:B
266:B
249:B
209:)
203:(
198:)
194:(
176:.
93:(
42:.
20:)
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