1Major
ii – V – ICompare with
Listen for: The ii’s seventh falls a half step to the V’s third, which holds as the major seventh.
Listen for: The ii’s seventh falls a half step to the V’s third, which holds as the major seventh.
Listen for: The ii’s ninth holds as the V’s thirteenth, then falls a whole step to the I’s ninth.
Listen for: The ii’s flat fifth holds as the V’s flat nine, then falls a half step to the fifth, in minor or major.
Heard in“There Will Never Be Another You”“Night and Day”, resolving to major
Listen for: The ii’s minor third falls a whole step to the V’s ♭13, which holds as the minor third of the i.
Listen for: The bass walks down by half steps. Swap in the V and the third and seventh stay where they are.
Fm7 and Bb7 are the ii–V of the key a minor third above C major.
Listen for: The key’s flat sixth holds through the first two chords, then falls a half step to the fifth of the I.
G7sus4 is close to Dm7 over the V’s root, a ii–V in one chord.
Listen for: The ii’s seventh and third hold over the new bass, then each falls a half step.
Shows each chord the way this style would voice it, and marks which of its alternatives belong to the idiom.