The related ii
In Berklee teaching, every dominant (primary or secondary) can be preceded by its related ii: the minor seventh (or half-diminished) chord built a fifth above the root of the dominant. The ii–V pair becomes a single functional unit, analyzed with a square bracket under the two chords.
Quality rule:
- major target → ii m7 (Am7 – D7 → G)
- minor target → ii ø7 (Eø7 – A7 → Dm)
Secondary ii–V in C major
| Target | Secondary dominant | Secondary ii–V |
|---|---|---|
| Dm7 (ii) | A7 | Eø7 – A7 (or Em7 – A7) |
| Em7 (iii) | B7 | F#ø7 – B7 |
| Fmaj7 (IV) | C7 | Gm7 – C7 |
| G7 (V) | D7 | Am7 – D7 |
| Am7 (vi) | E7 | Bø7 – E7 |
Practical note: for the target Dm7, Em7 (diatonic) is often used instead of Eø7: the fifth B is diatonic and the sound is softer.
Chains of ii–V
- By fifths: Em7 A7 | Dm7 G7 | Cmaj7. Each ii–V resolves onto the next ii (Dm7 is both target and new ii).
- Chromatic descending: Em7 A7 | Ebm7 Ab7 | Dm7 G7 | Cmaj7. The second pair is a "passing" ii–V a half step above the target.
- Isolated (unresolved): a ii–V that goes elsewhere, as color. In Satin Doll (Ellington/Strayhorn, C): | Dm7 G7 | Dm7 G7 | Em7 A7 | Em7 A7 | Am7 D7 | Abm7 Db7 | Cmaj7 |: ii–Vs that descend by whole steps and then chromatically, resolving only at the end.
Examples in standards
- Autumn Leaves: Cm7 F7 Bbmaj7 (ii–V–I of the relative major) and Aø7 D7 Gm (iiø–V–i of the minor).
- All the Things You Are (Kern): ii–V toward Ab, C, Eb, G, E: the most used standard for studying ii–Vs in different keys.
- Rhythm changes: in the bridge the dominants D7 G7 C7 F7 are often preceded by their ii chords (Am7 D7 | Dm7 G7 | Gm7 C7 | Cm7 F7).
Scale choices
| Chord | Major target | Minor target |
|---|---|---|
| ii | Dorian | Locrian or Locrian #2 |
| V | Mixolydian (with 9 and 13) | Mixolydian b9 b13, altered, diminished |
How to insert them into a song
- Identify the important arrival chords (start of a phrase, long chords).
- In the preceding bar, replace the chord with the ii–V of the target.
- Check the melody: it must be compatible with at least one available tension.
- If the bar is too full, use only the V7 (secondary dominant) or only the ii.
Reharmonization example
Original: | C | C | F | F | G | G | C | C |
With ii–V: | C | Gm7 C7 | F | Fm7 Bb7 | Am7 D7 | Dm7 G7 | C | Dm7 G7 |
Every arrival is "announced"; Fm7 – Bb7 adds the backdoor as an alternative.
Exercise
Play all the major and minor ii–Vs in the 12 keys following the circle of fifths, with 3-note voicings (third, seventh, ninth). Then apply them to an 8-bar progression from one of your own pieces.
Related topics
The ii–V–I in jazz, secondary dominants, extended tritone substitution, jazz harmonic analysis, Bird blues.