Practice Lab

Guitar · progressions

ii–V–I in F minor on guitar

ii–V–I in F minor: Gm7♭5 – C7 – Fm7 – Fm7. Minor cadence with a half-diminished ii chord.

ChordNumeralNotesPages
Gm7♭5iiø7G B♭ D♭ FGm7♭5 arpeggio · Gm7♭5 drop 2 voicings · G Locrian scale
C7V7C E G B♭C7 arpeggio · C7 drop 2 voicings · C Phrygian dominant scale
Fm7i7F A♭ C E♭Fm7 arpeggio · Fm7 drop 2 voicings · F minor scale
Fm7i7F A♭ C E♭Fm7 arpeggio · Fm7 drop 2 voicings · F minor 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.

89101112E4B3G3D3A2E2String 4, fret 8, b3b3String 3, fret 10, b7b7String 2, fret 8, 11String 1, fret 9, b5b5
Gm7♭5 (iiø7)
Grip x-x-8-10-8-9 · frets 8–10
89101112E4B3G3D3A2E2String 4, fret 8, b7b7String 3, fret 9, 33String 2, fret 8, 55String 1, fret 9, b9b9
C7♭9 (V7)
Grip x-x-8-9-8-9 · frets 8–9Voiced: ♭7 3 5 ♭9
678910E4B3G3D3A2E2String 4, fret 6, b3b3String 3, fret 7, 66String 2, fret 8, 99String 1, fret 8, 55
Fm6/9 (i7)
Grip x-x-6-7-8-8 · frets 6–8Voiced: ♭3 6 9 5
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678910E4B3G3D3A2E2String 4, fret 6, b3b3String 3, fret 7, 66String 2, fret 8, 99String 1, fret 8, 55
Fm6/9 (i7)
Grip x-x-6-7-8-8 · frets 6–8Voiced: ♭3 6 9 5
678910E4B3G3D3A2E2String 4, fret 6, b3b3String 3, fret 7, 66String 2, fret 8, 99String 1, fret 8, 55
Fm6/9 (i7)
Grip x-x-6-7-8-8 · frets 6–8Voiced: ♭3 6 9 5Bar 4: the same chord held

Top line: D♭ – D♭ – C – C

Practice ii–V–I in F minor 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 8 semitones in all; the largest single step is 2. Notes that moved from the chord before are in the darker color.

910111213E4B3G3D3A2E2String 5, fret 10, 11String 3, fret 10, b7b7String 2, fret 11, b3b3String 1, fret 9, b5b5
Gm7♭5 (iiø7)
Grip x-10-x-10-11-9 · frets 9–11
910111213E4B3G3D3A2E2String 5, fret 10, 55String 3, fret 9, 33String 2, fret 11, b7b7String 1, fret 9, b9b9
C7♭9 (V7)
Grip x-10-x-9-11-9 · frets 9–11Voiced: 5 3 ♭7 ♭9
89101112E4B3G3D3A2E2String 5, fret 8, 11String 3, fret 8, b7b7String 2, fret 9, b3b3String 1, fret 8, 55
Fm7 (i7)
Grip x-8-x-8-9-8 · frets 8–9
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89101112E4B3G3D3A2E2String 5, fret 8, 11String 3, fret 8, b7b7String 2, fret 9, b3b3String 1, fret 8, 55
Fm7 (i7)
Grip x-8-x-8-9-8 · frets 8–9
7891011E4B3G3D3A2E2String 5, fret 8, 11String 3, fret 7, 66String 2, fret 9, b3b3String 1, fret 8, 55
Fm6 (i7)
Grip x-8-x-7-9-8 · frets 7–9Voiced: 1 6 ♭3 5Bar 4: the same chord held, another voicing

Top line: D♭ – D♭ – C – C

Practice ii–V–I in F minor 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 18 semitones in all; the largest single step is 7. Notes that moved from the chord before are in the darker color.

34567E4B3G3D3A2E2String 6, fret 3, 11String 5, fret 4, b5b5String 3, fret 3, b3b3
Gm7♭5 (iiø7)
Grip 3-4-x-3-x-x · frets 3–4
23456E4B3G3D3A2E2String 5, fret 3, 11String 4, fret 2, 33String 3, fret 3, b7b7
C7 (V7)
Grip x-3-2-3-x-x · frets 2–3
12345E4B3G3D3A2E2String 6, fret 1, 11String 4, fret 1, b7b7String 3, fret 1, b3b3
Fm7 (i7)
Grip 1-x-1-1-x-x · fret 1
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12345E4B3G3D3A2E2String 6, fret 1, 11String 4, fret 1, b7b7String 3, fret 1, b3b3
Fm7 (i7)
Grip 1-x-1-1-x-x · fret 1
12345E4B3G3D3A2E2String 6, fret 1, 11String 4, fret 1, b7b7String 3, fret 1, b3b3
Fm7 (i7)
Grip 1-x-1-1-x-x · fret 1Bar 4: the same chord held

Top line: B♭ – B♭ – A♭ – A♭

Practice ii–V–I in F minor 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 15 semitones in all; the largest single step is 5. Notes that moved from the chord before are in the darker color.

678910E4B3G3D3A2E2String 5, fret 8, b7b7String 4, fret 8, b3b3String 3, fret 6, b5b5String 1, fret 8, 1111
Gm7♭5(11) (iiø7)
Grip x-8-8-6-x-8 · frets 6–8Rootless: ♭7 ♭3 ♭5 11
23456E4B3G3D3A2E2String 4, fret 2, 33String 3, fret 3, b7b7String 2, fret 2, b9b9String 1, fret 3, 55
C7♭9 (V7)
Grip x-x-2-3-2-3 · frets 2–3Rootless: 3 ♭7 ♭9 5
12345E4B3G3D3A2E2String 4, fret 1, b7b7String 3, fret 1, b3b3String 2, fret 1, 55String 1, fret 3, 99
Fm9 (i7)
Grip x-x-1-1-1-3 · frets 1–3Rootless: ♭7 ♭3 5 9
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12345E4B3G3D3A2E2String 4, fret 1, b7b7String 3, fret 1, b3b3String 2, fret 1, 55String 1, fret 3, 99
Fm9 (i7)
Grip x-x-1-1-1-3 · frets 1–3Rootless: ♭7 ♭3 5 9
12345E4B3G3D3A2E2String 5, fret 3, 55String 3, fret 1, b3b3String 2, fret 3, 66String 1, fret 3, 99
Fm6/9 (i7)
Grip x-3-x-1-3-3 · frets 1–3Rootless: 5 ♭3 6 9Bar 4: the same chord held, another voicing

Top line: C – G – G – G

Practice ii–V–I in F minor in rootless voicings

With the tritone substitute: Gm7♭5 – G♭7 – Fm7 – Fm7

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.

678910E4B3G3D3A2E2String 4, fret 8, b3b3String 3, fret 6, b5b5String 2, fret 6, b7b7String 1, fret 8, 1111
Gm7♭5(11) (iiø7)
Grip x-x-8-6-6-8 · frets 6–8Voiced: ♭3 ♭5 ♭7 11
7891011E4B3G3D3A2E2String 4, fret 8, 33String 3, fret 9, b7b7String 2, fret 7, 11String 1, fret 9, 55
G♭7 (tritone sub)
Grip x-x-8-9-7-9 · frets 7–9
678910E4B3G3D3A2E2String 4, fret 6, b3b3String 3, fret 7, 66String 2, fret 8, 99String 1, fret 8, 55
Fm6/9 (i7)
Grip x-x-6-7-8-8 · frets 6–8Voiced: ♭3 6 9 5
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678910E4B3G3D3A2E2String 4, fret 6, b3b3String 3, fret 7, 66String 2, fret 8, 99String 1, fret 8, 55
Fm6/9 (i7)
Grip x-x-6-7-8-8 · frets 6–8Voiced: ♭3 6 9 5
678910E4B3G3D3A2E2String 4, fret 6, b3b3String 3, fret 8, b7b7String 2, fret 6, 11String 1, fret 8, 55
Fm7 (i7)
Grip x-x-6-8-6-8 · frets 6–8Bar 4: the same chord held, another voicing

Top line: C – D♭ – C – C

Practice ii–V–I in F minor with the tritone substitute

ii–V–I (minor) in every key

Practice it in Practice Lab

Comp ii–V–I in F 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.

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