A Brief Introduction:

The II-V-I (or 2-5-1) Progression is one of the most common progressions in music and forms the foundation of much of what we hear in popular western music. It can be found in virtually every style of music, from children’s songs to country to pop and rock and roll to classical. This progression
has been recognized by music theorists, having noticed the patterns that music tends to follow.

More importantly, however, it is the structure that shapes the “happy” sounds that we hear, allowing music to resolve and ease tension that has been built up by transitions. This II-V-I is an extension of the more simply V-I (5-1) progression, offering the “completion” that we hear in music.

If you take the song “Mary Had A Little Lamb” – one that most everyone is familiar with – we can see this V-I progression take place. Toward the end of the 1st verse, the words “whose fleece is white as snow” show this very well. Starting with “fleece”, we have the V – that is, the 5th note in the key that we are playing in. When we arrive at “snow,” the song resolves in that it returns to the I – that is, the 1st note in the key that we are playing in. Although you may not be aware of it, this resolution takes place, indicating very clearly that that the verse has ended and has left us with a sense of “completion.” Without it, the song would might appear incomplete (at least, in terms of western music). In other words, the 5th note of the scale calls for resolution in that it usually proceeds to the I.

I should add that this progression is being referred to in terms of chords – the “accompanyment” to the main melody. The melody or the main tune of the song is not being addresed here.

The II-V-I In Jazz
As I have already explained, jazz often adds the II chord to the front of thi simpler V-I progression. The V-I still has the same functions as indicated above; however the II is incorporated to lead the toward the resolution. It provides more smooth voice leading between the thirds and sevenths of chords (the 3rd and 7th notes of the scale are particularly emphasized in jazz)

The II-V-I progression is found all throughout the jazz standards and acts as the gel, so to speak, of the structure. To illustrate this, listen to the short track below. You will hear 3 chords (the II, V, and I – in that order). While you are listening to the 3 chords that are being played, imagine that the first 2 chords are a piano intro to the song “Summertime” by George Gershwin. After you hear those first 2 chords, begin singing “Summer…” – and by the time the 3rd chord is played, you should be singing “…time”.
With the same song, you can also try it at the end of the 1st verse, with the words “Don’t you cry.” Let the first chord hit, then begin singing, and you will end with the word “cry” on the 3rd chord. This will be the I chord.

As I have mentioned, the ii-V-I has many roles; however the 2 main functions it has is in this resoltuion (to wrap up the end of a verse) and in something called the turnaround. The resloution was in our last example (the last 3 words of the 1st verse). The turnaround is essentially the end of the phrase (or a verse), which transitions into a new section or returns to the original section. This can also be found in our examples of Summertime. Following the end of the first verse – after “don’t you cry,” you will typically hear these 3 chords, acting as a transition into the 2nd verse or into a solo section.

Most typically, when you hear a ii-V-I progression in jazz, these chords will incorporate 7th chords. The chord can be minor or major (whether the 3rd note of the scale is flatted or not, respectively); however the 7th note in that scale will most likely be present regardless of this minor or major. The chords you heard in the example all have the 7 in them. This adds additional color and helps to set the tone of the work. There are many variations to using a 7th chord, but no matter how it is used, it adds an additional layer to the chord, giving us a sound we typically associate with jazz. For more examples of the ii-V-I progression, be sure to view the video below.

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Eric Bolvin (songwriter, teacher, and performer) explains the
II-V-I progression in more detail

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