The formula
- Major: Dm7 – G7 – Cmaj7 (ii7 – V7 – Imaj7).
- Minor: Bm7b5 – E7(b9) – Am6 or Am(maj7) (iiø7 – V7b9 – i).
It is the circle of fifths in miniature and the basic cell of jazz standards.
Guide tones
- Dm7: F (3) and C (7). G7: B (3) and F (7). Cmaj7: E (3) and B (7).
- Line 1: C → B → B. Line 2: F → F → E.
Just playing these two notes is enough to hear the whole progression: the seventh of one chord falls by semitone and becomes the third of the next.
Rootless voicings (piano)
- Dm9: F A C E
- G13: F A B E
- Cmaj9: E G B D
From Dm9 to G13 only C → B moves; from G13 to Cmaj9 F → E, A → G and E → D fall while B stays: almost perfect voice leading.
Variations
- Chained ii–V: Em7 A7 | Dm7 G7 | C.
- Backdoor ii–V: Fm7 – Bb7 – C (from modal interchange).
- ii–V with tritone substitution: Dm7 – Db7 – C.
- ii–V toward the ii: C – Em7b5 A7 – Dm7.
Why learn it even for pop
The ii–V is everywhere in R&B, neo-soul, city pop and K-pop: Dm9 – G13sus – Cmaj9 is an “elegant” cadence ready to use. Being able to play it in all keys is training for both ear and hand.
Real example
“Autumn Leaves” (Kosma, standard version in G minor): Cm7 F7 Bbmaj7 Ebmaj7 | Am7b5 D7 Gm6. In the same eight bars there is a major ii–V–I (toward Bb) and a minor one (toward Gm).