Guitar · progressions # ii–V–I in F♯ minor on guitar ii–V–I in F♯ minor: G♯m7♭5 – C♯7 – F♯m7 – F♯m7. Minor cadence with a half-diminished ii chord. | Chord | Numeral | Notes | Pages | | --- | --- | --- | --- | | G♯m7♭5 | iiø7 | G♯ B D F♯ | [G♯m7♭5 arpeggio](https://practice.graph.audio/guitar/arpeggios/g-sharp-m7b5) · [G♯m7♭5 drop 2 voicings](https://practice.graph.audio/guitar/chords/g-sharp-m7b5-drop-2) · [G♯ Locrian scale](https://practice.graph.audio/guitar/scales/g-sharp-locrian) | | C♯7 | V7 | C♯ E♯ G♯ B | [D♭7 arpeggio](https://practice.graph.audio/guitar/arpeggios/db7) · [D♭7 drop 2 voicings](https://practice.graph.audio/guitar/chords/db7-drop-2) · [C♯ Phrygian dominant scale](https://practice.graph.audio/guitar/scales/c-sharp-phrygian-dominant) | | F♯m7 | i7 | F♯ A C♯ E | [F♯m7 arpeggio](https://practice.graph.audio/guitar/arpeggios/f-sharp-m7) · [F♯m7 drop 2 voicings](https://practice.graph.audio/guitar/chords/f-sharp-m7-drop-2) · [F♯ minor scale](https://practice.graph.audio/guitar/scales/f-sharp-minor) | | F♯m7 | i7 | F♯ A C♯ E | [F♯m7 arpeggio](https://practice.graph.audio/guitar/arpeggios/f-sharp-m7) · [F♯m7 drop 2 voicings](https://practice.graph.audio/guitar/chords/f-sharp-m7-drop-2) · [F♯ minor scale](https://practice.graph.audio/guitar/scales/f-sharp-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. **G♯m7♭5 (iiø7)** Grip x-x-9-11-9-10 · frets 9–11 **C♯7♭9 (V7)** Grip x-x-9-10-9-10 · frets 9–10 Voiced: ♭7 3 5 ♭9 **F♯m6/9 (i7)** Grip x-x-7-8-9-9 · frets 7–9 Voiced: ♭3 6 9 5 **F♯m6/9 (i7)** Grip x-x-7-8-9-9 · frets 7–9 Voiced: ♭3 6 9 5 *Bar 4: the same chord held* Top line: D – D – C♯ – C♯ [Practice ii–V–I in F♯ minor in drop 2 voicings](https://practice.graph.audio/#progression=ii-v-i-minor:6: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 8 semitones in all; the largest single step is 2. Notes that moved from the chord before are in the darker color. **G♯m7♭5 (iiø7)** Grip x-11-x-11-12-10 · frets 10–12 **C♯7♭9 (V7)** Grip x-11-x-10-12-10 · frets 10–12 Voiced: 5 3 ♭7 ♭9 **F♯m7 (i7)** Grip x-9-x-9-10-9 · frets 9–10 **F♯m6 (i7)** Grip x-9-x-8-10-9 · frets 8–10 Voiced: 1 6 ♭3 5 *Bar 4: the same chord held, another voicing* Top line: D – D – C♯ – C♯ [Practice ii–V–I in F♯ minor in drop 3 voicings](https://practice.graph.audio/#progression=ii-v-i-minor:6: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. **G♯m7♭5 (iiø7)** Grip 4-5-x-4-x-x · frets 4–5 **C♯7 (V7)** Grip x-4-3-4-x-x · frets 3–4 **F♯m7 (i7)** Grip 2-x-2-2-x-x · fret 2 **F♯m7 (i7)** Grip 2-x-2-2-x-x · fret 2 *Bar 4: the same chord held* Top line: B – B – A – A [Practice ii–V–I in F♯ minor in shell voicings](https://practice.graph.audio/#progression=ii-v-i-minor:6: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 15 semitones in all; the largest single step is 5. Notes that moved from the chord before are in the darker color. **G♯m7♭5(11) (iiø7)** Grip x-9-9-7-x-9 · frets 7–9 Rootless: ♭7 ♭3 ♭5 11 **C♯7♭9 (V7)** Grip x-x-3-4-3-4 · frets 3–4 Rootless: 3 ♭7 ♭9 5 **F♯m9 (i7)** Grip x-x-2-2-2-4 · frets 2–4 Rootless: ♭7 ♭3 5 9 **F♯m6/9 (i7)** Grip x-4-x-2-4-4 · frets 2–4 Rootless: 5 ♭3 6 9 *Bar 4: the same chord held, another voicing* Top line: C♯ – G♯ – G♯ – G♯ [Practice ii–V–I in F♯ minor in rootless voicings](https://practice.graph.audio/#progression=ii-v-i-minor:6:rootless:4:jazz) ### With the tritone substitute: G♯m7♭5 – G7 – F♯m7 – F♯m7 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. **G♯m7♭5(11) (iiø7)** Grip x-x-9-7-7-9 · frets 7–9 Voiced: ♭3 ♭5 ♭7 11 **G7 (tritone sub)** Grip x-x-9-10-8-10 · frets 8–10 **F♯m6/9 (i7)** Grip x-x-7-8-9-9 · frets 7–9 Voiced: ♭3 6 9 5 **F♯m7 (i7)** Grip x-x-7-9-7-9 · frets 7–9 *Bar 4: the same chord held, another voicing* Top line: C♯ – D – C♯ – C♯ [Practice ii–V–I in F♯ minor with the tritone substitute](https://practice.graph.audio/#progression=ii-v-i-minor:6: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 - [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 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. [Open it in Practice Lab](https://practice.graph.audio/#progression=ii-v-i-minor:6:drop2:4:jazz)