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. | Chord | Numeral | Notes | Pages | | --- | --- | --- | --- | | Cm7 | ii7 | 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 | 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 Mixolydian scale](https://practice.graph.audio/guitar/scales/f-mixolydian) | | B♭maj7 | Imaj7 | 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) | | B♭maj7 | Imaj7 | 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) | ### 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(11) (ii7)** Grip x-x-10-10-11-11 · frets 10–11 Voiced: 1 11 ♭7 ♭3 **F7 (V7)** Grip x-x-10-10-10-11 · frets 10–11 **B♭maj7 (Imaj7)** Grip x-x-8-10-10-10 · frets 8–10 **B♭6 (Imaj7)** Grip x-x-8-10-8-10 · frets 8–10 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: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 2 semitones in all; the largest single step is 1. Notes that moved from the chord before are in the darker color. **Cm7(11) (ii7)** Grip 11-x-10-10-11-x · frets 10–11 Voiced: ♭3 1 11 ♭7 **F7 (V7)** Grip 11-x-10-10-10-x · frets 10–11 **B♭maj9 (Imaj7)** Grip 10-x-10-10-10-x · fret 10 Voiced: 3 9 5 7 **B♭maj9 (Imaj7)** Grip 10-x-10-10-10-x · fret 10 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: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 14 semitones in all; the largest single step is 7. Notes that moved from the chord before are in the darker color. **Cm7 (ii7)** Grip 8-x-8-8-x-x · fret 8 **F7 (V7)** Grip x-8-7-8-x-x · frets 7–8 **B♭maj7 (Imaj7)** Grip 6-x-7-7-x-x · frets 6–7 **B♭maj7 (Imaj7)** Grip x-1-x-2-3-x · frets 1–3 *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: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 10 semitones in all; the largest single step is 5. Notes that moved from the chord before are in the darker color. **Cm9 (ii7)** Grip x-6-5-7-x-6 · frets 5–7 Rootless: ♭3 5 9 ♭7 **F13 (V7)** Grip x-6-5-7-x-5 · frets 5–7 Rootless: ♭7 9 13 3 **B♭maj9 (Imaj7)** Grip x-5-x-5-6-5 · frets 5–6 Rootless: 3 9 5 7 **B♭maj9 (Imaj7)** Grip x-5-x-5-6-5 · frets 5–6 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:10:rootless:4:jazz) ### 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. **Cm7 (ii7)** Grip x-x-8-8-8-8 · fret 8 **B7 (tritone sub)** Grip x-x-7-8-7-7 · frets 7–8 **B♭maj9 (Imaj7)** Grip x-x-7-7-6-8 · frets 6–8 Voiced: 7 3 5 9 **B♭6/9 (Imaj7)** Grip x-x-8-7-8-8 · frets 7–8 Voiced: 1 3 6 9 *Bar 4: the same chord held, another voicing* Top line: C – B – C – C [Practice ii–V–I in B♭ with the tritone substitute](https://practice.graph.audio/#progression=ii-v-i-major: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. - [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. - [Autumn Leaves](https://practice.graph.audio/guitar/tunes/autumn-leaves) (bar 1) - [Rhythm changes](https://practice.graph.audio/guitar/tunes/rhythm-changes) (bar 2) ## 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♭ - [ii–V–I in B](https://practice.graph.audio/guitar/progressions/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:10:drop2:4:jazz)