Guitar · progressions # ii–V–I in D♭ on guitar ii–V–I in D♭: E♭m7 – A♭7 – D♭maj7 – D♭maj7. The core major-key cadence, voiced for smooth four-voice movement. | Chord | Numeral | Notes | Pages | | --- | --- | --- | --- | | E♭m7 | ii7 | E♭ G♭ B♭ D♭ | [E♭m7 arpeggio](https://practice.graph.audio/guitar/arpeggios/ebm7) · [E♭m7 drop 2 voicings](https://practice.graph.audio/guitar/chords/ebm7-drop-2) · [E♭ Dorian scale](https://practice.graph.audio/guitar/scales/eb-dorian) | | A♭7 | V7 | A♭ C E♭ G♭ | [A♭7 arpeggio](https://practice.graph.audio/guitar/arpeggios/ab7) · [A♭7 drop 2 voicings](https://practice.graph.audio/guitar/chords/ab7-drop-2) · [A♭ Mixolydian scale](https://practice.graph.audio/guitar/scales/ab-mixolydian) | | D♭maj7 | Imaj7 | D♭ F A♭ C | [D♭maj7 arpeggio](https://practice.graph.audio/guitar/arpeggios/dbmaj7) · [D♭maj7 drop 2 voicings](https://practice.graph.audio/guitar/chords/dbmaj7-drop-2) · [D♭ major scale](https://practice.graph.audio/guitar/scales/db-major) | | D♭maj7 | Imaj7 | D♭ F A♭ C | [D♭maj7 arpeggio](https://practice.graph.audio/guitar/arpeggios/dbmaj7) · [D♭maj7 drop 2 voicings](https://practice.graph.audio/guitar/chords/dbmaj7-drop-2) · [D♭ major scale](https://practice.graph.audio/guitar/scales/db-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. **E♭m7 (ii7)** Grip x-x-4-6-4-6 · frets 4–6 **A♭9 (V7)** Grip x-x-4-5-4-6 · frets 4–6 Voiced: ♭7 3 5 9 **D♭maj9 (Imaj7)** Grip x-x-3-5-4-4 · frets 3–5 Voiced: 3 7 9 5 **D♭6/9 (Imaj7)** Grip x-x-3-3-4-4 · frets 3–4 Voiced: 3 6 9 5 *Bar 4: the same chord held, another voicing* Top line: B♭ – B♭ – A♭ – A♭ [Practice ii–V–I in D♭ in drop 2 voicings](https://practice.graph.audio/#progression=ii-v-i-major:1: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 4 semitones in all; the largest single step is 2. Notes that moved from the chord before are in the darker color. **E♭m11 (ii7)** Grip x-9-x-10-9-9 · frets 9–10 Voiced: ♭3 9 11 ♭7 **A♭7 (V7)** Grip x-9-x-8-9-8 · frets 8–9 **D♭maj9 (Imaj7)** Grip x-8-x-8-9-8 · frets 8–9 Voiced: 3 9 5 7 **D♭maj9 (Imaj7)** Grip x-8-x-8-9-8 · frets 8–9 Voiced: 3 9 5 7 *Bar 4: the same chord held* Top line: D♭ – C – C – C [Practice ii–V–I in D♭ in drop 3 voicings](https://practice.graph.audio/#progression=ii-v-i-major:1: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. **E♭m7 (ii7)** Grip x-6-4-6-x-x · frets 4–6 **A♭7 (V7)** Grip 4-x-4-5-x-x · frets 4–5 **D♭maj7 (Imaj7)** Grip x-4-3-5-x-x · frets 3–5 **D♭maj7 (Imaj7)** Grip x-4-3-5-x-x · frets 3–5 *Bar 4: the same chord held* Top line: D♭ – C – C – C [Practice ii–V–I in D♭ in shell voicings](https://practice.graph.audio/#progression=ii-v-i-major:1: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. **E♭m9 (ii7)** Grip x-9-8-10-x-9 · frets 8–10 Rootless: ♭3 5 9 ♭7 **A♭13 (V7)** Grip x-9-8-10-x-8 · frets 8–10 Rootless: ♭7 9 13 3 **D♭maj9 (Imaj7)** Grip x-8-x-8-9-8 · frets 8–9 Rootless: 3 9 5 7 **D♭maj9 (Imaj7)** Grip x-8-x-8-9-8 · frets 8–9 Rootless: 3 9 5 7 *Bar 4: the same chord held* Top line: D♭ – C – C – C [Practice ii–V–I in D♭ in rootless voicings](https://practice.graph.audio/#progression=ii-v-i-major:1:rootless:4:jazz) ### With the tritone substitute: E♭m7 – D7 – D♭maj7 – D♭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. **E♭m7 (ii7)** Grip x-x-11-11-11-11 · fret 11 **D7 (tritone sub)** Grip x-x-10-11-10-10 · frets 10–11 **D♭maj9 (Imaj7)** Grip x-x-10-10-9-11 · frets 9–11 Voiced: 7 3 5 9 **D♭6/9 (Imaj7)** Grip x-x-11-10-11-11 · frets 10–11 Voiced: 1 3 6 9 *Bar 4: the same chord held, another voicing* Top line: E♭ – D – E♭ – E♭ [Practice ii–V–I in D♭ with the tritone substitute](https://practice.graph.audio/#progression=ii-v-i-major:1: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. - [Blue Bossa](https://practice.graph.audio/guitar/tunes/blue-bossa) (bar 9) ## 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♭ - [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](https://practice.graph.audio/guitar/progressions/ii-v-i-in-b) ## Practice it in Practice Lab Comp ii–V–I in D♭ 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:1:drop2:4:jazz)