Practice Lab

Guitar · progressions

ii–V–I in B♭ on guitar

ii–V–I in B♭: Cm7 – F7 – B♭maj7 – B♭maj7. The core major-key cadence, voiced for smooth four-voice movement.

ChordNumeralNotesPages
Cm7ii7C E♭ G B♭Cm7 arpeggio · Cm7 drop 2 voicings · C Dorian scale
F7V7F A C E♭F7 arpeggio · F7 drop 2 voicings · F Mixolydian scale
B♭maj7Imaj7B♭ D F AB♭maj7 arpeggio · B♭maj7 drop 2 voicings · B♭ major scale
B♭maj7Imaj7B♭ D F AB♭maj7 arpeggio · B♭maj7 drop 2 voicings · B♭ major scale

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.

1011121314E4B3G3D3A2E2String 4, fret 10, 11String 3, fret 10, 1111String 2, fret 11, b7b7String 1, fret 11, b3b3
Cm7(11) (ii7)
Grip x-x-10-10-11-11 · frets 10–11Voiced: 1 11 ♭7 ♭3
1011121314E4B3G3D3A2E2String 4, fret 10, 55String 3, fret 10, 11String 2, fret 10, 33String 1, fret 11, b7b7
F7 (V7)
Grip x-x-10-10-10-11 · frets 10–11
89101112E4B3G3D3A2E2String 4, fret 8, 11String 3, fret 10, 55String 2, fret 10, 77String 1, fret 10, 33
B♭maj7 (Imaj7)
Grip x-x-8-10-10-10 · frets 8–10
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89101112E4B3G3D3A2E2String 4, fret 8, 11String 3, fret 10, 55String 2, fret 10, 77String 1, fret 10, 33
B♭maj7 (Imaj7)
Grip x-x-8-10-10-10 · frets 8–10
89101112E4B3G3D3A2E2String 4, fret 8, 11String 3, fret 10, 55String 2, fret 8, 66String 1, fret 10, 33
B♭6 (Imaj7)
Grip x-x-8-10-8-10 · frets 8–10Voiced: 1 5 6 3Bar 4: the same chord held, another voicing

Top line: E♭ – E♭ – D – D

Practice ii–V–I in B♭ in drop 2 voicings

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.

1011121314E4B3G3D3A2E2String 6, fret 11, b3b3String 4, fret 10, 11String 3, fret 10, 1111String 2, fret 11, b7b7
Cm7(11) (ii7)
Grip 11-x-10-10-11-x · frets 10–11Voiced: ♭3 1 11 ♭7
1011121314E4B3G3D3A2E2String 6, fret 11, b7b7String 4, fret 10, 55String 3, fret 10, 11String 2, fret 10, 33
F7 (V7)
Grip 11-x-10-10-10-x · frets 10–11
1011121314E4B3G3D3A2E2String 6, fret 10, 33String 4, fret 10, 99String 3, fret 10, 55String 2, fret 10, 77
B♭maj9 (Imaj7)
Grip 10-x-10-10-10-x · fret 10Voiced: 3 9 5 7
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1011121314E4B3G3D3A2E2String 6, fret 10, 33String 4, fret 10, 99String 3, fret 10, 55String 2, fret 10, 77
B♭maj9 (Imaj7)
Grip 10-x-10-10-10-x · fret 10Voiced: 3 9 5 7
1011121314E4B3G3D3A2E2String 6, fret 10, 33String 4, fret 10, 99String 3, fret 10, 55String 2, fret 10, 77
B♭maj9 (Imaj7)
Grip 10-x-10-10-10-x · fret 10Voiced: 3 9 5 7Bar 4: the same chord held

Top line: B♭ – A – A – A

Practice ii–V–I in B♭ in drop 3 voicings

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.

89101112E4B3G3D3A2E2String 6, fret 8, 11String 4, fret 8, b7b7String 3, fret 8, b3b3
Cm7 (ii7)
Grip 8-x-8-8-x-x · fret 8
7891011E4B3G3D3A2E2String 5, fret 8, 11String 4, fret 7, 33String 3, fret 8, b7b7
F7 (V7)
Grip x-8-7-8-x-x · frets 7–8
678910E4B3G3D3A2E2String 6, fret 6, 11String 4, fret 7, 77String 3, fret 7, 33
B♭maj7 (Imaj7)
Grip 6-x-7-7-x-x · frets 6–7
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678910E4B3G3D3A2E2String 6, fret 6, 11String 4, fret 7, 77String 3, fret 7, 33
B♭maj7 (Imaj7)
Grip 6-x-7-7-x-x · frets 6–7
12345E4B3G3D3A2E2String 5, fret 1, 11String 3, fret 2, 77String 2, fret 3, 33
B♭maj7 (Imaj7)
Grip x-1-x-2-3-x · frets 1–3Bar 4: the same chord held, another voicing

Top line: E♭ – E♭ – D – D

Practice ii–V–I in B♭ in shell voicings

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.

56789E4B3G3D3A2E2String 5, fret 6, b3b3String 4, fret 5, 55String 3, fret 7, 99String 1, fret 6, b7b7
Cm9 (ii7)
Grip x-6-5-7-x-6 · frets 5–7Rootless: ♭3 5 9 ♭7
56789E4B3G3D3A2E2String 5, fret 6, b7b7String 4, fret 5, 99String 3, fret 7, 1313String 1, fret 5, 33
F13 (V7)
Grip x-6-5-7-x-5 · frets 5–7Rootless: ♭7 9 13 3
56789E4B3G3D3A2E2String 5, fret 5, 33String 3, fret 5, 99String 2, fret 6, 55String 1, fret 5, 77
B♭maj9 (Imaj7)
Grip x-5-x-5-6-5 · frets 5–6Rootless: 3 9 5 7
Show 1 more chordShow 2 more chordsShow less
56789E4B3G3D3A2E2String 5, fret 5, 33String 3, fret 5, 99String 2, fret 6, 55String 1, fret 5, 77
B♭maj9 (Imaj7)
Grip x-5-x-5-6-5 · frets 5–6Rootless: 3 9 5 7
56789E4B3G3D3A2E2String 5, fret 5, 33String 3, fret 5, 99String 2, fret 6, 55String 1, fret 5, 77
B♭maj9 (Imaj7)
Grip x-5-x-5-6-5 · frets 5–6Rootless: 3 9 5 7Bar 4: the same chord held

Top line: B♭ – A – A – A

Practice ii–V–I in B♭ in rootless voicings

With the tritone substitute: Cm7 – B7 – B♭maj7 – B♭maj7

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.

89101112E4B3G3D3A2E2String 4, fret 8, b7b7String 3, fret 8, b3b3String 2, fret 8, 55String 1, fret 8, 11
Cm7 (ii7)
Grip x-x-8-8-8-8 · fret 8
7891011E4B3G3D3A2E2String 4, fret 7, b7b7String 3, fret 8, 33String 2, fret 7, 55String 1, fret 7, 11
B7 (tritone sub)
Grip x-x-7-8-7-7 · frets 7–8
678910E4B3G3D3A2E2String 4, fret 7, 77String 3, fret 7, 33String 2, fret 6, 55String 1, fret 8, 99
B♭maj9 (Imaj7)
Grip x-x-7-7-6-8 · frets 6–8Voiced: 7 3 5 9
Show 1 more chordShow 2 more chordsShow less
678910E4B3G3D3A2E2String 4, fret 7, 77String 3, fret 7, 33String 2, fret 6, 55String 1, fret 8, 99
B♭maj9 (Imaj7)
Grip x-x-7-7-6-8 · frets 6–8Voiced: 7 3 5 9
7891011E4B3G3D3A2E2String 4, fret 8, 11String 3, fret 7, 33String 2, fret 8, 66String 1, fret 8, 99
B♭6/9 (Imaj7)
Grip x-x-8-7-8-8 · frets 7–8Voiced: 1 3 6 9Bar 4: the same chord held, another voicing

Top line: C – B – C – C

Practice ii–V–I in B♭ with the tritone substitute

Try a substitution

The same progression with a substitution the app offers, voice-led the same way, with the chords in every key.

Hear it in a tune

Tunes with this ii–V–I in their changes, comped through the whole form.

ii–V–I (major) in every key

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