ii–V–I · C major

Dm7 – G7 – Cmaj7

iiDm7 · D F A C

VG7 · G B D F

ICmaj7 · C E G B

The ii–V–I is the sentence jazz is written in. Dm7 is the ii of C major, G7 is its V, and Cmaj7 is home. Most standards are strings of these, in one key after another — “Autumn Leaves” is built from them almost bar for bar.

Shells — the left hand

Root, 3rd and 7th: the three notes that say what a chord is. Every jazz pianist learns these first.

Dm7 ii · shell

1 · ♭3 · ♭7

G7 V · shell

1 · ♭7 · 3

Cmaj7 I · shell

1 · 3 · 7

Rootless voicings — the ones on the records

No root at all — the bass player has it — and the colour notes added instead. Watch how little the hand moves.

Dm9 ii · rootless

♭3 · 5 · ♭7 · 9

G13 V · rootless

♭7 · 9 · 3 · 13

Cmaj9 I · rootless

3 · 5 · 7 · 9

Why it works

Each 7th falls a half step to become the next chord’s 3rd: the ♭7 of Dm7 slides down to the 3rd of G7, and the ♭7 of G7 slides down to the 3rd of Cmaj7. That is why the shells above move so little, and why the rootless voicings barely move at all.

ii–V–I in every key

C major D♭ major D major E♭ major E major F major F♯ major G major A♭ major A major B♭ major B major

More progressions in C

ii–V–i in C minor I–V–vi–IV in C major vi–IV–I–V in C major I–vi–IV–V in C major I–IV–V in C major

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