Guitar · progressions # I–vi–ii–V in B♭ on guitar I–vi–ii–V in B♭: B♭maj7 – Gm7 – Cm7 – F7. The common 1625 turnaround, voiced for smooth voice leading. | Chord | Numeral | Notes | Pages | | --- | --- | --- | --- | | B♭maj7 | I | B♭ D F A | [B♭maj7 arpeggio](https://practice.graph.audio/guitar/arpeggios/bbmaj7) · [B♭maj7 drop 2 voicings](https://practice.graph.audio/guitar/chords/bbmaj7-drop-2) · [B♭ major scale](https://practice.graph.audio/guitar/scales/bb-major) | | Gm7 | vi | G B♭ D F | [Gm7 arpeggio](https://practice.graph.audio/guitar/arpeggios/gm7) · [Gm7 drop 2 voicings](https://practice.graph.audio/guitar/chords/gm7-drop-2) · [G minor scale](https://practice.graph.audio/guitar/scales/g-minor) | | Cm7 | ii | C E♭ G B♭ | [Cm7 arpeggio](https://practice.graph.audio/guitar/arpeggios/cm7) · [Cm7 drop 2 voicings](https://practice.graph.audio/guitar/chords/cm7-drop-2) · [C Dorian scale](https://practice.graph.audio/guitar/scales/c-dorian) | | F7 | V | F A C E♭ | [F7 arpeggio](https://practice.graph.audio/guitar/arpeggios/f7) · [F7 drop 2 voicings](https://practice.graph.audio/guitar/chords/f7-drop-2) · [F Mixolydian scale](https://practice.graph.audio/guitar/scales/f-mixolydian) | ### Drop 2 voicings Four notes on four neighboring strings, the second voice from the top dropped an octave. The voices move 5 semitones in all; the largest single step is 2. Notes that moved from the chord before are in the darker color. **B♭maj7 (I)** Grip x-x-8-10-10-10 · frets 8–10 **Gm9 (vi)** Grip x-x-8-10-10-10 · frets 8–10 Voiced: ♭3 ♭7 9 5 **Cm7(11) (ii)** Grip x-x-10-10-11-11 · frets 10–11 Voiced: 1 11 ♭7 ♭3 **F7 (V)** Grip x-x-10-10-10-11 · frets 10–11 Top line: D – D – E♭ – E♭ [Practice I–vi–ii–V in B♭ in drop 2 voicings](https://practice.graph.audio/#progression=turnaround:10:drop2:4:jazz) ### Drop 3 voicings Four notes with a string skipped above the bass, the third voice from the top dropped an octave. The voices move 7 semitones in all; the largest single step is 3. Notes that moved from the chord before are in the darker color. **B♭6 (I)** Grip 10-x-8-10-8-x · frets 8–10 Voiced: 3 1 5 6 **Gm7 (vi)** Grip 10-x-8-10-8-x · frets 8–10 **Cm7(11) (ii)** Grip 11-x-10-10-11-x · frets 10–11 Voiced: ♭3 1 11 ♭7 **F7 (V)** Grip 11-x-10-10-10-x · frets 10–11 Top line: G – G – B♭ – A [Practice I–vi–ii–V in B♭ in drop 3 voicings](https://practice.graph.audio/#progression=turnaround:10:drop3:4:jazz) ### Shell voicings Three notes: the root in the bass with the 3rd and 7th, the notes that name the chord. The voices move 32 semitones in all; the largest single step is 5. Notes that moved from the chord before are in the darker color. **B♭maj7 (I)** Grip x-1-x-2-3-x · frets 1–3 **Gm7 (vi)** Grip 3-x-3-3-x-x · fret 3 **Cm7 (ii)** Grip 8-x-8-8-x-x · fret 8 **F7 (V)** Grip x-8-7-8-x-x · frets 7–8 Top line: D – B♭ – E♭ – E♭ [Practice I–vi–ii–V in B♭ in shell voicings](https://practice.graph.audio/#progression=turnaround:10:shell:jazz) ### Rootless voicings Four notes without the root, with a 9th or 13th in its place: the bass player plays the root. The voices move 6 semitones in all; the largest single step is 2. Notes that moved from the chord before are in the darker color. **B♭maj9 (I)** Grip x-5-x-5-6-5 · frets 5–6 Rootless: 3 9 5 7 **Gm7(11) (vi)** Grip x-5-x-5-6-6 · frets 5–6 Rootless: 5 11 ♭7 ♭3 **Cm11 (ii)** Grip x-6-x-7-6-6 · frets 6–7 Rootless: ♭3 9 11 ♭7 **F7(♭9,13) (V)** Grip x-6-x-7-7-5 · frets 5–7 Rootless: ♭7 13 ♭9 3 Top line: A – B♭ – B♭ – A [Practice I–vi–ii–V in B♭ in rootless voicings](https://practice.graph.audio/#progression=turnaround:10:rootless:4:jazz) ### With the tritone substitute: B♭maj7 – Gm7 – Cm7 – B7 Dominant a tritone away; preserves the 3rd/7th guide tones and often creates chromatic bass motion. In drop 2 voicings. The voices move 9 semitones in all; the largest single step is 3. Notes that moved from the chord before are in the darker color. **B♭6 (I)** Grip x-x-8-10-8-10 · frets 8–10 Voiced: 1 5 6 3 **Gm7 (vi)** Grip x-x-8-10-8-10 · frets 8–10 **Cm9 (ii)** Grip x-x-8-8-8-10 · frets 8–10 Voiced: ♭7 ♭3 5 9 **B7 (tritone sub)** Grip x-x-9-11-10-11 · frets 9–11 Top line: D – D – D – D♯ [Practice I–vi–ii–V in B♭ with the tritone substitute](https://practice.graph.audio/#progression=turnaround:10:drop2:4:jazz:s-tritone) ## Try a substitution The same progression with a substitution the app offers, voice-led the same way, with the chords in every key. - [Secondary dominants](https://practice.graph.audio/guitar/substitutions/secondary-dominant) - [Passing diminished chord](https://practice.graph.audio/guitar/substitutions/passing-diminished) ## I–vi–ii–V (1625) in every key - [I–vi–ii–V in C](https://practice.graph.audio/guitar/progressions/i-vi-ii-v-in-c) - [I–vi–ii–V in D♭](https://practice.graph.audio/guitar/progressions/i-vi-ii-v-in-db) - [I–vi–ii–V in D](https://practice.graph.audio/guitar/progressions/i-vi-ii-v-in-d) - [I–vi–ii–V in E♭](https://practice.graph.audio/guitar/progressions/i-vi-ii-v-in-eb) - [I–vi–ii–V in E](https://practice.graph.audio/guitar/progressions/i-vi-ii-v-in-e) - [I–vi–ii–V in F](https://practice.graph.audio/guitar/progressions/i-vi-ii-v-in-f) - [I–vi–ii–V in F♯](https://practice.graph.audio/guitar/progressions/i-vi-ii-v-in-f-sharp) - [I–vi–ii–V in G](https://practice.graph.audio/guitar/progressions/i-vi-ii-v-in-g) - [I–vi–ii–V in A♭](https://practice.graph.audio/guitar/progressions/i-vi-ii-v-in-ab) - [I–vi–ii–V in A](https://practice.graph.audio/guitar/progressions/i-vi-ii-v-in-a) - I–vi–ii–V in B♭ - [I–vi–ii–V in B](https://practice.graph.audio/guitar/progressions/i-vi-ii-v-in-b) ## Practice it in Practice Lab Comp I–vi–ii–V in B♭ in Practice Lab: voicings chosen to move smoothly, which voice moves where, and substitutions such as the tritone sub to hear what they change. Free, in your browser, no account. [Open it in Practice Lab](https://practice.graph.audio/#progression=turnaround:10:drop2:4:jazz)