Jazz Progressions
ii–V–I, rhythm changes, and beyond · ii7 – V7 – Imaj7
Jazz progressions are built on three core devices: the ii–V–I (the genre's single most common motion), the Rhythm Changes form (the second-most-played jazz progression after the 12-bar blues), and a constant stream of chord substitutions that decorate basic functional motion with passing harmonies. Master ii–V–I in all twelve keys and you have the harmonic literacy to navigate roughly 80% of the Real Book.
ii – V – I in major — the foundational jazz progression
Dm7 → G7 → Cmaj7 in C major. This three-chord motion is the building block of jazz the way I–IV–V is the building block of folk. Try it in every key.
Toggle voice leading in the player to hear it smooth out, or learn voice leading →
The midnight brass palette on this page is inspired by music-color synesthesia — jazz progressions maps to midnight brass, reflecting its sophisticated, after-hours warmth.
About Jazz Progressions
The ii–V–I is to jazz what the I–IV–V is to folk: the irreducible unit of harmonic motion that builds everything else. Each chord plays a clear role. The ii chord (minor seventh) is the predominant — it sets up motion away from tonic. The V chord (dominant seventh) is the active ingredient — it contains the tritone between the third and seventh that makes the chord want to resolve. The I chord (major seventh or minor sixth in minor keys) is the resolution. The whole motion takes two or four bars and can be transposed to any key in the cycle of fourths.
Rhythm Changes is the second pillar of the jazz repertoire. Originally the chord changes to Gershwin's "I Got Rhythm", the form is 32 bars in AABA structure, with the A section built around I – vi – ii – V cycling and the bridge climbing through dominant chords (III7 – VI7 – II7 – V7). Hundreds of bebop heads — "Anthropology", "Oleo", "Lester Leaps In", "Cottontail" — were composed over Rhythm Changes precisely because the form is so well known that any working jazz musician can play it without rehearsal.
Once you internalize ii–V–I and Rhythm Changes, the next layer is substitutions. The backdoor ii–V (iv7 → ♭VII7 → I) approaches the tonic from a flat side instead of through V. Tritone substitution replaces V7 with ♭II7 — the same tritone, but the bass moves chromatically down to I. Secondary dominants (V7/V, V7/vi) borrow dominant chords from other keys to temporarily tonicize new targets. Every jazz standard is a different combination of these devices laid on top of a basic ii–V–I framework.
Variations
ii – V – i in minor
The minor-key version: iiø7 (half-diminished) → V7 → i. The opening of "Autumn Leaves".
Rhythm Changes A section
Two bars of I – vi – ii – V, twice. The form Gershwin used for "I Got Rhythm" and Parker built bebop on.
Backdoor ii – V
iv7 → ♭VII7 → Imaj7. Approaches the tonic from the flat side instead of through V.
Autumn Leaves A section
The cycle-of-fourths ii–V loop that defines one of the most-played jazz standards.
Tritone substitution
Replace V7 with ♭II7 — same tritone, chromatic bass descent to I.
Famous songs & pieces
- Autumn Leaves — Joseph Kosma (ii–V–I in major and minor, cycle-of-fourths motion)
- All the Things You Are — Jerome Kern (Concatenated ii–V–I motions through four different keys)
- I Got Rhythm — George Gershwin (The original Rhythm Changes — source of hundreds of bebop heads)
- Take the A Train — Billy Strayhorn (Iconic II7 (V7/V) into ii–V–I)
- Tune Up — Miles Davis (Stepwise descending ii–V–I sequence)
- Satin Doll — Duke Ellington (Repeated ii–V motions decorating a simple AABA form)