Guitar · progressions # ii–V–I in B on guitar ii–V–I in B: C♯m7 – F♯7 – Bmaj7 – Bmaj7. The core major-key cadence, voiced for smooth four-voice movement. | Chord | Numeral | Notes | Pages | | --- | --- | --- | --- | | C♯m7 | ii7 | C♯ E G♯ B | [C♯m7 arpeggio](https://practice.graph.audio/guitar/arpeggios/c-sharp-m7) · [C♯m7 drop 2 voicings](https://practice.graph.audio/guitar/chords/c-sharp-m7-drop-2) · [C♯ Dorian scale](https://practice.graph.audio/guitar/scales/c-sharp-dorian) | | 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♯ Mixolydian scale](https://practice.graph.audio/guitar/scales/f-sharp-mixolydian) | | Bmaj7 | Imaj7 | B D♯ F♯ A♯ | [Bmaj7 arpeggio](https://practice.graph.audio/guitar/arpeggios/bmaj7) · [Bmaj7 drop 2 voicings](https://practice.graph.audio/guitar/chords/bmaj7-drop-2) · [B major scale](https://practice.graph.audio/guitar/scales/b-major) | | Bmaj7 | Imaj7 | B D♯ F♯ A♯ | [Bmaj7 arpeggio](https://practice.graph.audio/guitar/arpeggios/bmaj7) · [Bmaj7 drop 2 voicings](https://practice.graph.audio/guitar/chords/bmaj7-drop-2) · [B major scale](https://practice.graph.audio/guitar/scales/b-major) | ### 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(11) (ii7)** Grip x-x-11-11-12-12 · frets 11–12 Voiced: 1 11 ♭7 ♭3 **F♯7 (V7)** Grip x-x-11-11-11-12 · frets 11–12 **Bmaj7 (Imaj7)** Grip x-x-9-11-11-11 · frets 9–11 **B6 (Imaj7)** Grip x-x-9-11-9-11 · frets 9–11 Voiced: 1 5 6 3 *Bar 4: the same chord held, another voicing* Top line: E – E – D♯ – D♯ [Practice ii–V–I in B in drop 2 voicings](https://practice.graph.audio/#progression=ii-v-i-major: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 2 semitones in all; the largest single step is 1. Notes that moved from the chord before are in the darker color. **C♯m7(11) (ii7)** Grip 12-x-11-11-12-x · frets 11–12 Voiced: ♭3 1 11 ♭7 **F♯7 (V7)** Grip 12-x-11-11-11-x · frets 11–12 **Bmaj9 (Imaj7)** Grip 11-x-11-11-11-x · fret 11 Voiced: 3 9 5 7 **Bmaj9 (Imaj7)** Grip 11-x-11-11-11-x · fret 11 Voiced: 3 9 5 7 *Bar 4: the same chord held* Top line: B – A♯ – A♯ – A♯ [Practice ii–V–I in B in drop 3 voicings](https://practice.graph.audio/#progression=ii-v-i-major: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 14 semitones in all; the largest single step is 7. Notes that moved from the chord before are in the darker color. **C♯m7 (ii7)** Grip 9-x-9-9-x-x · fret 9 **F♯7 (V7)** Grip x-9-8-9-x-x · frets 8–9 **Bmaj7 (Imaj7)** Grip 7-x-8-8-x-x · frets 7–8 **Bmaj7 (Imaj7)** Grip x-2-x-3-4-x · frets 2–4 *Bar 4: the same chord held, another voicing* Top line: E – E – D♯ – D♯ [Practice ii–V–I in B in shell voicings](https://practice.graph.audio/#progression=ii-v-i-major: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 10 semitones in all; the largest single step is 5. Notes that moved from the chord before are in the darker color. **C♯m9 (ii7)** Grip x-7-6-8-x-7 · frets 6–8 Rootless: ♭3 5 9 ♭7 **F♯13 (V7)** Grip x-7-6-8-x-6 · frets 6–8 Rootless: ♭7 9 13 3 **Bmaj9 (Imaj7)** Grip x-6-x-6-7-6 · frets 6–7 Rootless: 3 9 5 7 **Bmaj9 (Imaj7)** Grip x-6-x-6-7-6 · frets 6–7 Rootless: 3 9 5 7 *Bar 4: the same chord held* Top line: B – A♯ – A♯ – A♯ [Practice ii–V–I in B in rootless voicings](https://practice.graph.audio/#progression=ii-v-i-major:11:rootless:4:jazz) ### With the tritone substitute: C♯m7 – C7 – Bmaj7 – Bmaj7 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 2. Notes that moved from the chord before are in the darker color. **C♯m7 (ii7)** Grip x-x-9-9-9-9 · fret 9 **C7 (tritone sub)** Grip x-x-8-9-8-8 · frets 8–9 **Bmaj9 (Imaj7)** Grip x-x-8-8-7-9 · frets 7–9 Voiced: 7 3 5 9 **B6/9 (Imaj7)** Grip x-x-9-8-9-9 · frets 8–9 Voiced: 1 3 6 9 *Bar 4: the same chord held, another voicing* Top line: C♯ – C – C♯ – C♯ [Practice ii–V–I in B with the tritone substitute](https://practice.graph.audio/#progression=ii-v-i-major:11: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. - [Tritone substitute](https://practice.graph.audio/guitar/substitutions/tritone) - [Tritone sub with its related ii](https://practice.graph.audio/guitar/substitutions/tritone-related-ii) - [Backdoor ii–V](https://practice.graph.audio/guitar/substitutions/backdoor) - [Minor iv](https://practice.graph.audio/guitar/substitutions/minor-iv) ## Hear it in a tune Tunes with this ii–V–I in their changes, comped through the whole form. - [Giant Steps](https://practice.graph.audio/guitar/tunes/giant-steps) (bar 12) ## ii–V–I (major) in every key - [ii–V–I in C](https://practice.graph.audio/guitar/progressions/ii-v-i-in-c) - [ii–V–I in D♭](https://practice.graph.audio/guitar/progressions/ii-v-i-in-db) - [ii–V–I in D](https://practice.graph.audio/guitar/progressions/ii-v-i-in-d) - [ii–V–I in E♭](https://practice.graph.audio/guitar/progressions/ii-v-i-in-eb) - [ii–V–I in E](https://practice.graph.audio/guitar/progressions/ii-v-i-in-e) - [ii–V–I in F](https://practice.graph.audio/guitar/progressions/ii-v-i-in-f) - [ii–V–I in F♯](https://practice.graph.audio/guitar/progressions/ii-v-i-in-f-sharp) - [ii–V–I in G](https://practice.graph.audio/guitar/progressions/ii-v-i-in-g) - [ii–V–I in A♭](https://practice.graph.audio/guitar/progressions/ii-v-i-in-ab) - [ii–V–I in A](https://practice.graph.audio/guitar/progressions/ii-v-i-in-a) - [ii–V–I in B♭](https://practice.graph.audio/guitar/progressions/ii-v-i-in-bb) - ii–V–I in B ## Practice it in Practice Lab Comp ii–V–I 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=ii-v-i-major:11:drop2:4:jazz)