Guitar · progressions # ii–V–I in B♭ minor on guitar ii–V–I in B♭ minor: Cm7♭5 – F7 – B♭m7 – B♭m7. Minor cadence with a half-diminished ii chord. | Chord | Numeral | Notes | Pages | | --- | --- | --- | --- | | Cm7♭5 | iiø7 | C E♭ G♭ B♭ | [Cm7♭5 arpeggio](https://practice.graph.audio/guitar/arpeggios/cm7b5) · [Cm7♭5 drop 2 voicings](https://practice.graph.audio/guitar/chords/cm7b5-drop-2) · [C Locrian scale](https://practice.graph.audio/guitar/scales/c-locrian) | | F7 | V7 | 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 Phrygian dominant scale](https://practice.graph.audio/guitar/scales/f-phrygian-dominant) | | B♭m7 | i7 | B♭ D♭ F A♭ | [B♭m7 arpeggio](https://practice.graph.audio/guitar/arpeggios/bbm7) · [B♭m7 drop 2 voicings](https://practice.graph.audio/guitar/chords/bbm7-drop-2) · [B♭ minor scale](https://practice.graph.audio/guitar/scales/bb-minor) | | B♭m7 | i7 | B♭ D♭ F A♭ | [B♭m7 arpeggio](https://practice.graph.audio/guitar/arpeggios/bbm7) · [B♭m7 drop 2 voicings](https://practice.graph.audio/guitar/chords/bbm7-drop-2) · [B♭ minor scale](https://practice.graph.audio/guitar/scales/bb-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. **Cm7♭5 (iiø7)** Grip x-x-1-3-1-2 · frets 1–3 **F7♭9 (V7)** Grip x-x-1-2-1-2 · frets 1–2 Voiced: ♭7 3 5 ♭9 **B♭m9 (i7)** Grip x-4-6-5-6-x · frets 4–6 Voiced: ♭3 ♭7 9 5 **B♭m6/9 (i7)** Grip x-4-5-5-6-x · frets 4–6 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: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 6 semitones in all; the largest single step is 2. Notes that moved from the chord before are in the darker color. **Cm7♭5 (iiø7)** Grip x-6-x-5-7-6 · frets 5–7 **F7♭9 (V7)** Grip x-6-x-5-7-5 · frets 5–7 Voiced: ♭7 5 ♭9 3 **B♭m6/9 (i7)** Grip 9-x-10-10-8-x · frets 8–10 Voiced: ♭3 9 5 6 **B♭m6/9 (i7)** Grip 9-x-10-10-8-x · frets 8–10 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: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 18 semitones in all; the largest single step is 7. Notes that moved from the chord before are in the darker color. **Cm7♭5 (iiø7)** Grip 8-9-x-8-x-x · frets 8–9 **F7 (V7)** Grip x-8-7-8-x-x · frets 7–8 **B♭m7 (i7)** Grip 6-x-6-6-x-x · fret 6 **B♭m7 (i7)** Grip 6-x-6-6-x-x · fret 6 *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: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 11 semitones in all; the largest single step is 5. Notes that moved from the chord before are in the darker color. **Cm7♭5(11) (iiø7)** Grip x-6-4-x-6-6 · frets 4–6 Rootless: ♭3 ♭5 11 ♭7 **F7♭9 (V7)** Grip x-6-4-5-x-5 · frets 4–6 Rootless: ♭7 ♭9 5 3 **B♭m6/9 (i7)** Grip x-4-3-5-x-3 · frets 3–5 Rootless: ♭3 5 9 6 **B♭m6/9 (i7)** Grip x-4-3-5-x-3 · frets 3–5 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:10:rootless:4:jazz) ### With the tritone substitute: Cm7♭5 – B7 – B♭m7 – B♭m7 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. **Cm7♭5 (iiø7)** Grip x-x-8-8-7-8 · frets 7–8 **B9 (tritone sub)** Grip x-x-7-8-7-9 · frets 7–9 Voiced: ♭7 3 5 9 **B♭m6/9 (i7)** Grip x-x-8-6-8-8 · frets 6–8 Voiced: 1 ♭3 6 9 **B♭m9 (i7)** Grip x-x-6-6-6-8 · frets 6–8 Voiced: ♭7 ♭3 5 9 *Bar 4: the same chord held, another voicing* Top line: C – C♯ – C – C [Practice ii–V–I in B♭ minor with the tritone substitute](https://practice.graph.audio/#progression=ii-v-i-minor:10: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 - [ii–V–I in B minor](https://practice.graph.audio/guitar/progressions/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:10:drop2:4:jazz)