ii–V–I · the cornerstone
The ii–V–I is the single most important progression in jazz — the cadence under most of the standards. Pick a key and quality below, hit play, and the tool loops the changes while the chords and chord-scales light up on piano and guitar. Everything you hear is synthesized in your browser.
Interactive trainer
Chord-scales are the common defaults: Dorian / Mixolydian / Ionian for major; Locrian / Phrygian-dominant / Aeolian for minor. Melodic-minor and altered-dominant colors are valid alternatives. Music theory and original synthesized audio only.
The progression
Three diatonic chords: a minor predominant, a dominant that creates tension, and the tonic that resolves it. Shown in C as the reference key.
| Degree | Major (in C) | Chord-scale | Minor (in C) | Chord-scale |
|---|---|---|---|---|
| ii | Dm7 | Dorian | Dm7♭5 | Locrian |
| V | G7 | Mixolydian | G7♭9 | Phrygian dominant |
| I / i | Cmaj7 | Ionian (major) | Cm7 | Aeolian |
All 24 keys
Each key has its own page — the real chords, the chord-scales spelled correctly, and the loopable vamp. Twelve major, twelve minor.
How to practice this
Play the three chords first so your ear knows where the tension is and where it resolves. The motion that matters is the tritone inside the V7 pulling into the third and root of the I.
For lines, connect the guide tones — the third and seventh of each chord move by step from one chord to the next. Over the V7 you can stay diatonic with Mixolydian or add color with the altered scale.
Loop one key until it's automatic, then move it. The goal is the same cadence in all twelve keys, major and minor.
FAQ
The most common progression in jazz: the minor-seventh on the second degree, the dominant-seventh on the fifth, and the major-seventh tonic — for example Dm7 – G7 – Cmaj7 in C major.
Dorian over the ii, Mixolydian over the V, and Ionian over the I. In minor: Locrian over the iiø, an altered or Phrygian-dominant sound over the V7, and Aeolian or melodic minor over the i.
The ii becomes half-diminished (m7♭5) and the V7 usually carries a flat-nine, resolving to a minor tonic — for example Dm7♭5 – G7♭9 – Cm7 in C minor.