Guitar · progressions # ii–V–I in C minor on guitar ii–V–I in C minor: Dm7♭5 – G7 – Cm7 – Cm7. Minor cadence with a half-diminished ii chord. | Chord | Numeral | Notes | Pages | | --- | --- | --- | --- | | Dm7♭5 | iiø7 | D F A♭ C | [Dm7♭5 arpeggio](https://practice.graph.audio/guitar/arpeggios/dm7b5) · [Dm7♭5 drop 2 voicings](https://practice.graph.audio/guitar/chords/dm7b5-drop-2) · [D Locrian scale](https://practice.graph.audio/guitar/scales/d-locrian) | | G7 | V7 | G B D F | [G7 arpeggio](https://practice.graph.audio/guitar/arpeggios/g7) · [G7 drop 2 voicings](https://practice.graph.audio/guitar/chords/g7-drop-2) · [G Phrygian dominant scale](https://practice.graph.audio/guitar/scales/g-phrygian-dominant) | | Cm7 | i7 | 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 minor scale](https://practice.graph.audio/guitar/scales/c-minor) | | Cm7 | i7 | 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 minor scale](https://practice.graph.audio/guitar/scales/c-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. **Dm7♭5 (iiø7)** Grip x-x-3-5-3-4 · frets 3–5 **G7♭9 (V7)** Grip x-x-3-4-3-4 · frets 3–4 Voiced: ♭7 3 5 ♭9 **Cm6/9 (i7)** Grip x-x-1-2-3-3 · frets 1–3 Voiced: ♭3 6 9 5 **Cm6/9 (i7)** Grip x-x-1-2-3-3 · frets 1–3 Voiced: ♭3 6 9 5 *Bar 4: the same chord held* Top line: A♭ – A♭ – G – G [Practice ii–V–I in C minor in drop 2 voicings](https://practice.graph.audio/#progression=ii-v-i-minor:0: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. **Dm7♭5 (iiø7)** Grip x-8-x-7-9-8 · frets 7–9 **G7♭9 (V7)** Grip x-8-x-7-9-7 · frets 7–9 Voiced: ♭7 5 ♭9 3 **Cm6/9 (i7)** Grip 11-x-12-12-10-x · frets 10–12 Voiced: ♭3 9 5 6 **Cm6/9 (i7)** Grip 11-x-12-12-10-x · frets 10–12 Voiced: ♭3 9 5 6 *Bar 4: the same chord held* Top line: C – B – A – A [Practice ii–V–I in C minor in drop 3 voicings](https://practice.graph.audio/#progression=ii-v-i-minor:0: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. **Dm7♭5 (iiø7)** Grip 10-11-x-10-x-x · frets 10–11 **G7 (V7)** Grip x-10-9-10-x-x · frets 9–10 **Cm7 (i7)** Grip 8-x-8-8-x-x · fret 8 **Cm7 (i7)** Grip 8-x-8-8-x-x · fret 8 *Bar 4: the same chord held* Top line: F – F – E♭ – E♭ [Practice ii–V–I in C minor in shell voicings](https://practice.graph.audio/#progression=ii-v-i-minor:0: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. **Dm7♭5(11) (iiø7)** Grip x-8-6-x-8-8 · frets 6–8 Rootless: ♭3 ♭5 11 ♭7 **G7♭9 (V7)** Grip x-8-6-7-x-7 · frets 6–8 Rootless: ♭7 ♭9 5 3 **Cm6/9 (i7)** Grip x-6-5-7-x-5 · frets 5–7 Rootless: ♭3 5 9 6 **Cm6/9 (i7)** Grip x-6-5-7-x-5 · frets 5–7 Rootless: ♭3 5 9 6 *Bar 4: the same chord held* Top line: C – B – A – A [Practice ii–V–I in C minor in rootless voicings](https://practice.graph.audio/#progression=ii-v-i-minor:0:rootless:4:jazz) ### With the tritone substitute: Dm7♭5 – D♭7 – Cm7 – Cm7 Dominant a tritone away; preserves the 3rd/7th guide tones and often creates chromatic bass motion. In drop 2 voicings. The voices move 14 semitones in all; the largest single step is 3. Notes that moved from the chord before are in the darker color. **Dm7♭5(11) (iiø7)** Grip x-x-3-1-1-3 · frets 1–3 Voiced: ♭3 ♭5 ♭7 11 **D♭7 (tritone sub)** Grip x-x-3-4-2-4 · frets 2–4 **Cm6/9 (i7)** Grip x-x-1-2-3-3 · frets 1–3 Voiced: ♭3 6 9 5 **Cm7 (i7)** Grip x-x-1-3-1-3 · frets 1–3 *Bar 4: the same chord held, another voicing* Top line: G – A♭ – G – G [Practice ii–V–I in C minor with the tritone substitute](https://practice.graph.audio/#progression=ii-v-i-minor:0:drop2:4:jazz:s-tritone) ## Hear it in a tune Tunes with this ii–V–I in their changes, comped through the whole form. - [Blue Bossa](https://practice.graph.audio/guitar/tunes/blue-bossa) (bar 5) ## ii–V–I (minor) in every key - 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](https://practice.graph.audio/guitar/progressions/ii-v-i-in-b-minor) ## Practice it in Practice Lab Comp ii–V–I in C 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:0:drop2:4:jazz)