The ii–V–I Progression

In C major

Dm7 – G7 – Cmaj7 — settled, conversational, complete, around 120 BPM.

1. Bar 1 iim7 Dm7
   D · F · A · C
   ▶ Hear it
2. Bar 2 V7 G7
   G · B · D · F
   ▶ Hear it
3. Bar 3 Imaj7 Cmaj7
   C · E · G · B
   ▶ Hear it

Why it works

The roots move down a fifth twice, which is the strongest root motion available. Underneath, the voice leading is almost frictionless: the seventh of ii becomes the third of V, and the seventh of V falls a semitone to the third of I. That falling-seventh chain is what makes the progression feel like a single gesture rather than three chords. The tritone inside V7 resolves outward into the tonic third and root.

Where you'll hear it

Everywhere. Most standards are chains of ii–V–I in different keys, so recognising them is how experienced players read a chart at a glance instead of chord by chord.

iim7–V7–Imaj7 in every key

The same progression transposed. The roman numerals never change — that is the whole point of writing progressions this way.

Related progressions

• iiø7–V7–i The Minor ii–V–i
• Imaj7–vim7–iim7–V7 The Turnaround
• iim7–♭II7–Imaj7 The Tritone Substitution
• iiim7–vim7–iim7–V7–Imaj7 The Circle of Fifths Progression