The minor ii–V–i
Music theory · Jazz harmony · Level 4 · 12 min
In minor, the ii–V–i changes colour. Let's build it on C harmonic minor (C D E♭ F G A♭ B):
- ii: Dm7♭5 (D F A♭ C), the half-diminished chord;
- V: G7♭9 (G B D F A♭), a dominant with a flat ninth — also written G7alt, with altered tensions;
- i: Cm6, Cm(maj7) or Cm7 depending on the style.
The A♭ shared by the first two chords gives the dark, dramatic flavour so typical of minor ballads and Latin jazz.
M:4/4
L:1/4
%%staves {RH LH}
V:RH clef=treble
V:LH clef=bass
K:C
[V:RH] "Dm7b5"[F_Ac]4 | "G7b9"[F_A=B]4 | "Cm6"[_EAc]4 |]
[V:LH] D,4 | G,,4 | C,4 |]
Follow the voices: F → F → E♭, A♭ → A♭ → A♮, C → B → C. Three almost motionless lines, and yet three very different colours.
Which tonic chord?
- Cm6 (C E♭ G A): a “melodic minor” sound, very jazzy, stable.
- Cm(maj7) (C E♭ G B): film-noir colour, mysterious.
- Cm7 (C E♭ G B♭): softer, modal, often when the chord lasts a long time or in a bossa/soul context.
Mixing major and minor
Musicians happily mix the two: a “normal” minor ii (Dm7) followed by an altered V (G7♭9) resolving to a major I (Cmaj7). The V7♭9 adds a dark tension just before the brightness of the resolution.
Keyboard tip: over Dm7♭5, simply play an F minor triad (F A♭ C) in the right hand above the D bass. Over G7♭9, play a diminished seventh chord (B D F A♭) above the G bass: that's exactly G7♭9 without its root.
Don't confuse Dm7♭5 (D F A♭ C) with D°7 (D F A♭ B). The half-diminished has a minor seventh, the diminished a diminished seventh.