The II-V-I Progression: Your Jazz Guitar Compass

The II-V-I (2-5-1) progression is the bread and butter of jazz harmony. Whether you're comping behind a saxophone solo or learning your first bebop lick, this chord movement shows up everywhere. So let’s break it down, guitar-style, and see how this mighty little trio of chords helps you navigate the fretboard like a pro.

What’s a II-V-I, Anyway?

In plain terms, a II-V-I is a diatonic progression, meaning all the chords come from the same key. The Roman numerals tell you the degree of the scale each chord is built from. So in C major:

• II = Dm7

• V = G7

• I = Cmaj7

Boom! That’s your jazz DNA right there.

Quick Fretboard Hack

Need a fast way to find these chords on the guitar?

• Start with your I chord (say, Cmaj7).

• Go up two frets to find the II chord (Dm7).

• Then go up a fifth (or down a fourth) from the I chord to find the V chord (G7).

This visual trick works all over the neck and is your best friend when modulating to new keys.

Weird Keys? No Problem.

Let’s say you’re in E major. Your II chord isn’t Fm7 (that would sound wrong), it’s F#m7, and your V chord is B7. Same shape, same distance—just different names. The logic stays intact, even if you’re swimming in sharps and flats.

It’s All About the Cycle

Ever notice how jazz feels like it’s constantly moving forward? That’s because II-V-I progressions follow the cycle of fourths. Dm7 to G7 to Cmaj7? Yep—each root moves up a fourth. This pattern keeps repeating and can even extend beyond the I chord:

Dm7 → G7 → Cmaj7 → Fmaj7 → ... and so on.

This means you can tag on chords before (A7 as the VI chord) or after (Fmaj7 as the IV) your II-V-I to build longer, more flowing progressions like:

A7 → Dm7 → G7 → Cmaj7 → Fmaj7

Recognize that? You’re halfway to “Autumn Leaves,” “All The Things You Are,” or even “I Will Survive.” Seriously.

Add Some Color

Jazz players love their chord extensions. You can dress up the basic II-V-I with jazzy colors:

• Dm9 → G13 → Cmaj9

• Or go full spicy: Dm11 → G13♭9 → Cmaj7♯11

These are still II-V-I progressions underneath all the glitter. The bass line doesn’t change, and the harmonic function remains the same—it just sounds way cooler.

Pro Tip: Think in Home Keys

In jazz, the key center isn’t always obvious from the first chord. Unlike pop or rock, which usually start on the I, jazz standards often circle around the tonic. So if you're unsure what key you're in, try checking the last chord of the tune first.

This mindset shift helps you make sense of standards like “On Green Dolphin Street” or “Stella by Starlight,” where the song travels through multiple II-V-I’s.

Final Thoughts

The II-V-I is more than a chord progression—it’s your navigation tool for understanding jazz. Master it in all keys. See it on the fretboard. Hear it in the tunes. Color it with extensions. Whether you’re just brushing up or diving in for the first time, this is essential jazz vocabulary.

As I always say: “The tune is where the lesson is.”

Want More?

Check out our Standards Navigator series for deep dives into real tunes.
Listen to the Jazz Guitar Insights podcast.
Join the free Jazz Guitar Fellowship on Skool.

Until next time, don’t forget to have fun!

—Marc from JazzGuitarLessons.net