ii7
3rd + 7th
Establish the minor seventh predominant.
ii–V–I voice leading
See why ii–V–I can move smoothly even when the roots jump.
In a ii–V–I, the roots move strongly by fifths, but the inner voices can move very little. Track the 3rds and 7ths to hear the cadence clearly.
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Guide tones
Focus on the 3rd and 7th of each seventh chord.
These notes create much of the functional motion.
V7
3rd + 7th
Create dominant tension.
Imaj7
3rd + 7th
Resolve into tonic color.
Shell voicings
Reduce the progression to essential voices.
Root, 3rd and 7th are enough to hear the full cadence function.
Dm7
D–F–C
ii shell in C.
G7
G–B–F
V shell.
Cmaj7
C–E–B
I shell.
Expand
Add fifths, ninths or melody notes after the guide tones work.
The core voice-leading path should survive the larger voicing.
Add 9th
Color
Place the extension above stable guide tones.
Drop 2
Full chord
Choose an inversion that preserves small motion.
Top melody
Arrange
Keep the cadence underneath a controlled upper line.
FAQ
Quick answers about voice leading ii V I.
Use these answers as a reference, then explore the relationships interactively.
What notes should I watch in ii–V–I voice leading?
The 3rds and 7ths are especially useful because they define the seventh-chord qualities and create clear resolutions.
Why use shell voicings for ii–V–I?
They expose the essential functional notes and make the voice-leading movement easy to hear.
Can I use drop 2 voicings for ii–V–I?
Yes. Choose inversions that keep common tones and move the other voices by small intervals.
ChordRevelation
Move from explanation to interactive harmony.
Change the key, compare voicings, follow voice leading and see the same idea directly on the fretboard.