Guitar · progressions # ii–V–I in B minor on guitar ii–V–I in B minor: C♯m7♭5 – F♯7 – Bm7 – Bm7. Minor cadence with a half-diminished ii chord. | Chord | Numeral | Notes | Pages | | --- | --- | --- | --- | | C♯m7♭5 | iiø7 | C♯ E G B | [C♯m7♭5 arpeggio](https://practice.graph.audio/guitar/arpeggios/c-sharp-m7b5) · [C♯m7♭5 drop 2 voicings](https://practice.graph.audio/guitar/chords/c-sharp-m7b5-drop-2) · [C♯ Locrian scale](https://practice.graph.audio/guitar/scales/c-sharp-locrian) | | F♯7 | V7 | F♯ A♯ C♯ E | [F♯7 arpeggio](https://practice.graph.audio/guitar/arpeggios/f-sharp-7) · [F♯7 drop 2 voicings](https://practice.graph.audio/guitar/chords/f-sharp-7-drop-2) · [F♯ Phrygian dominant scale](https://practice.graph.audio/guitar/scales/f-sharp-phrygian-dominant) | | Bm7 | i7 | B D F♯ A | [Bm7 arpeggio](https://practice.graph.audio/guitar/arpeggios/bm7) · [Bm7 drop 2 voicings](https://practice.graph.audio/guitar/chords/bm7-drop-2) · [B minor scale](https://practice.graph.audio/guitar/scales/b-minor) | | Bm7 | i7 | B D F♯ A | [Bm7 arpeggio](https://practice.graph.audio/guitar/arpeggios/bm7) · [Bm7 drop 2 voicings](https://practice.graph.audio/guitar/chords/bm7-drop-2) · [B minor scale](https://practice.graph.audio/guitar/scales/b-minor) | ### Drop 2 voicings Four notes on four neighboring strings, the second voice from the top dropped an octave. 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. **C♯m7♭5 (iiø7)** Grip x-x-2-4-2-3 · frets 2–4 **F♯7♭9 (V7)** Grip x-x-2-3-2-3 · frets 2–3 Voiced: ♭7 3 5 ♭9 **Bm9 (i7)** Grip x-5-7-6-7-x · frets 5–7 Voiced: ♭3 ♭7 9 5 **Bm6/9 (i7)** Grip x-5-6-6-7-x · frets 5–7 Voiced: ♭3 6 9 5 *Bar 4: the same chord held, another voicing* Top line: G – G – F♯ – F♯ [Practice ii–V–I in B minor in drop 2 voicings](https://practice.graph.audio/#progression=ii-v-i-minor:11: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 6 semitones in all; the largest single step is 2. Notes that moved from the chord before are in the darker color. **C♯m7♭5 (iiø7)** Grip x-7-x-6-8-7 · frets 6–8 **F♯7♭9 (V7)** Grip x-7-x-6-8-6 · frets 6–8 Voiced: ♭7 5 ♭9 3 **Bm6/9 (i7)** Grip 10-x-11-11-9-x · frets 9–11 Voiced: ♭3 9 5 6 **Bm6/9 (i7)** Grip 10-x-11-11-9-x · frets 9–11 Voiced: ♭3 9 5 6 *Bar 4: the same chord held* Top line: B – A♯ – G♯ – G♯ [Practice ii–V–I in B minor in drop 3 voicings](https://practice.graph.audio/#progression=ii-v-i-minor:11: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 18 semitones in all; the largest single step is 7. Notes that moved from the chord before are in the darker color. **C♯m7♭5 (iiø7)** Grip 9-10-x-9-x-x · frets 9–10 **F♯7 (V7)** Grip x-9-8-9-x-x · frets 8–9 **Bm7 (i7)** Grip 7-x-7-7-x-x · fret 7 **Bm7 (i7)** Grip 7-x-7-7-x-x · fret 7 *Bar 4: the same chord held* Top line: E – E – D – D [Practice ii–V–I in B minor in shell voicings](https://practice.graph.audio/#progression=ii-v-i-minor:11: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 11 semitones in all; the largest single step is 5. Notes that moved from the chord before are in the darker color. **C♯m7♭5(11) (iiø7)** Grip x-7-5-x-7-7 · frets 5–7 Rootless: ♭3 ♭5 11 ♭7 **F♯7♭9 (V7)** Grip x-7-5-6-x-6 · frets 5–7 Rootless: ♭7 ♭9 5 3 **Bm6/9 (i7)** Grip x-5-4-6-x-4 · frets 4–6 Rootless: ♭3 5 9 6 **Bm6/9 (i7)** Grip x-5-4-6-x-4 · frets 4–6 Rootless: ♭3 5 9 6 *Bar 4: the same chord held* Top line: B – A♯ – G♯ – G♯ [Practice ii–V–I in B minor in rootless voicings](https://practice.graph.audio/#progression=ii-v-i-minor:11:rootless:4:jazz) ### With the tritone substitute: C♯m7♭5 – C7 – Bm7 – Bm7 Dominant a tritone away; preserves the 3rd/7th guide tones and often creates chromatic bass motion. In drop 2 voicings. The voices move 11 semitones in all; the largest single step is 2. Notes that moved from the chord before are in the darker color. **C♯m7♭5 (iiø7)** Grip x-x-9-9-8-9 · frets 8–9 **C9 (tritone sub)** Grip x-x-8-9-8-10 · frets 8–10 Voiced: ♭7 3 5 9 **Bm6/9 (i7)** Grip x-x-9-7-9-9 · frets 7–9 Voiced: 1 ♭3 6 9 **Bm9 (i7)** Grip x-x-7-7-7-9 · frets 7–9 Voiced: ♭7 ♭3 5 9 *Bar 4: the same chord held, another voicing* Top line: C♯ – D – C♯ – C♯ [Practice ii–V–I in B minor with the tritone substitute](https://practice.graph.audio/#progression=ii-v-i-minor:11:drop2:4:jazz:s-tritone) ## ii–V–I (minor) in every key - [ii–V–I in C minor](https://practice.graph.audio/guitar/progressions/ii-v-i-in-c-minor) - [ii–V–I in C♯ minor](https://practice.graph.audio/guitar/progressions/ii-v-i-in-c-sharp-minor) - [ii–V–I in D minor](https://practice.graph.audio/guitar/progressions/ii-v-i-in-d-minor) - [ii–V–I in E♭ minor](https://practice.graph.audio/guitar/progressions/ii-v-i-in-eb-minor) - [ii–V–I in E minor](https://practice.graph.audio/guitar/progressions/ii-v-i-in-e-minor) - [ii–V–I in F minor](https://practice.graph.audio/guitar/progressions/ii-v-i-in-f-minor) - [ii–V–I in F♯ minor](https://practice.graph.audio/guitar/progressions/ii-v-i-in-f-sharp-minor) - [ii–V–I in G minor](https://practice.graph.audio/guitar/progressions/ii-v-i-in-g-minor) - [ii–V–I in G♯ minor](https://practice.graph.audio/guitar/progressions/ii-v-i-in-g-sharp-minor) - [ii–V–I in A minor](https://practice.graph.audio/guitar/progressions/ii-v-i-in-a-minor) - [ii–V–I in B♭ minor](https://practice.graph.audio/guitar/progressions/ii-v-i-in-bb-minor) - ii–V–I in B minor ## Practice it in Practice Lab Comp ii–V–I in B minor 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=ii-v-i-minor:11:drop2:4:jazz)