The II-V-I Progression: Insights from David Detweiler

The ii-V-I chord progression is an ever-pervasive sequence found throughout much of music history, though it came to true prominence with the rise of jazz. Since then, these chords have been improvised over by countless instrumental soloists, establishing the progression as an essential building block for anyone learning to perform within the genre.

In this blog, we'll dive into the inner workings of the ii-V-I chord progression and its origins. Plus, an extended excerpt from David Detweiler’s fantastic, recently released book, The II-V-I Progression: 80 Patterns from the Masters of the Saxophone, is featured, exploring a number of improvised solos over the sequence from renowned icons of jazz!

What is the II-V-I Chord Progression?

The ii-V-I Chord Progression

If one were to ask what you could find at the core of jazz music, one answer would surely be the ii-V-I progression. Though it isn’t locked into the genre, it’s prevalence among the jazz standards makes it a stand-out aspect by comparison. This essential progression is composed of the ii (minor 7^th), V (dominant 7^th) and I (major 7^th) chords. These elements are used for the creation and release of tension, as well as providing an excellent flexibility in navigating voice leading and modulation.

The historical origins of the ii-V-I progression

The origins of the ii-V-I chord progression are difficult to pinpoint, given it has been found naturally within compositions from the western classical tradition through to contemporary music. Its practical uses have provided a solid bedrock for many pieces and songs over the centuries, but at the advent of jazz, with its dissemblance and reconstruction of traditional classical harmony, a prominence was gained.

During the 1920s and 1930s, the chord sequence was adopted widely in jazz improvisation and composition, as increasingly complex harmonic structures and chord substitutions were developed by musicians of the time.

How different instruments approach the ii-V-I progression

A unique approach to the ii-V-I progression is brought by each instrument, largely influenced by their role in the band and their specific capabilities as either lead or accompaniment.

For instance, improvisation on scales or arpeggios is typically employed by saxophonists, with care taken to highlight the cycling tension and resolution inherent in the chord movement.

Finger positioning and chord shapes might be chosen carefully by an accompanying guitarist to allow for smooth voice leading, incorporating chord extensions (7ths, 9ths, 13ths) to further embellish the song.

In a ii-V-I progression, the upright bass typically contributes by playing root notes, establishing walking bass lines with chromatic passing tones, and reinforcing both rhythmic and harmonic foundations for the ensemble.

The saxophone is an excellent case study to take further. Excerpts can be found below from David Detweiler’s "The II-V-I Progression: 80 Patterns from the Masters of the Saxophone". Released in 2024, this book explores iconic jazz improvisations on the ii-V-I progression with 80 licks from tenor sax greats and original etudes, plus play-along tracks and transposed material for alto sax.

Read An Excerpt from The II-V-I Progression: 80 Patterns from the Masters of the Saxophone

Introduction

I strongly believe that transcription is the key to learning jazz improvisation. This certainly was the case for me and for the numerous jazz musicians that I have performed with over the years. I do not believe that I have met a great improviser that claimed to have never transcribed. For me, a light bulb came on sometime during my freshman year of college while transcribing a Sonny Rollins solo. I suddenly understood how to create a line and use it in the correct place of a song. I was finally learning how to use the jazz language correctly, much like we learn how to speak as a child by copying our parents. While learning entire solos is essential, I also think that learning shorter phrases can be just as beneficial. These short phrases may then be put together to create longer phrases. The ii-V7-I chord progression is a great example of a short phrase, usually four measures. As young students, we are taught the theory behind this progression and that it is the most important progression to know. However, I do not recall anyone telling me to go out and learn how the great improvisers use that progression. Perhaps that was just understood, and I did eventually figure it out. I now have my students at Florida State University not only focus on solo transcription but also on learning these shorter phrases and in every key. Focusing on a short phrase can quickly have a student improvising using authentic language. For that reason, I have decided to put together this book of ii-V7-I phrases from four of my favourite jazz masters.

Hank Mobley, John Coltrane, Sonny Rollins and Dexter Gordon are wonderful players to transcribe. Their lines are expertly crafted and are excellent examples of how the jazz language works. I have transcribed twenty ii-V-I chord progressions from each of these musicians and have provided a short analysis of each progression. Upon review, many similarities occur throughout these eighty progressions: All four musicians will frequently land on chord tones, or the root, third, fifth and seventh of a chord, usually on beats one or three, the strong beats of a measure. They frequently arrive at these strong beats by using chromatic passing tones, chromatic enclosures, diatonic enclosures and by use the leading tone. The Mixolydian bebop scale, diminished scale and the altered scale are frequently used in their improvised lines.

Please refer to the following key for definitions of the following markings as shown in the written examples:

KEY:

• CPT=CHROMATIC PASSING TONE

• CE=CHROMATIC ENCLOSURE

• DE=DIATONIC ENCLOSURE

• LT=LEADING TONE

Hank Mobley

Ex. 1

This passage begins with a triplet figure, a rhythm that Mobley frequently uses.  He is implying F7 (instead of Cmin7) here because he starts on A (the third of F7) and then uses the F mixolydian bebop scale on beat three. On beat four, Mobley arpeggiates up the Cmin7 chord starting on Eb and ends on the ninth of the chord, D, on beat one of the second measure. He plays another triplet figure on beat 2, implying a F7(#5) chord and lands on the third of the F7 chord on beat three. The line continues diatonically down to the third of the Bbmaj7 chord on beat one of the third measure.

Ex. 2

Example two focuses on the iiø-V7-i progression. Mobley begins by playing the C mixolydian bebop scale over the iiø chord. This works quite well and is a nice way to deal with half-diminished chords in the bebop style. The third of the V chord is targeted on beat three of the second measure followed by Bb, the flat nine of the V chord. Measures two and three contain the notes of a D harmonic minor scale. Mobley lands on the third of the i chord on beat one of the third measure. He continues with a line that uses the leading tone C#, which resolves to the third of the i chord on beat one of the fourth measure an octave higher.

John Coltrane

Ex. 1

This example begins with a line diatonic in E minor. There is a diatonic enclosure to C# on beat four that anticipates the V chord. The second measure suggests E minor on beats one and two as Coltrane descends down a minor triad. Beats three and four suggest an altered sound as the raised fifth and lowered ninth are used to connect to the fifth of the I chord in the third measure. The third is targeted on beat three of the third measure with a delayed diatonic enclosure and a chromatic passing tone.

Ex. 2

Like Mobley, Coltrane uses the mixolydian bebop scale over the iiø chord. In this example, the G mixolydian bebop scale is implied. One way to conceptualize this idea is to transpose the spelling of the iiø chord (in this case B) down a major third (G) and play that mixolydian bebop scale. Coltrane continues the line stepwise down to the third of the V chord on beat three of the second measure. A leap of a 6th and a chromatic passing tone targets the fifth of the i chord or the third of C major as he seems to be implying in measure three.

Sonny Rollins

Ex. 1

Measure one of this line contains a simple outline of the ii chord that is very common in the Rollins vocabulary. Rollins then plays a diatonic enclosure on beat four that targets the seventh of the V chord. Please note the use of the raised fifth of the V chord in measure two, also used by Coltrane and Mobley. He concludes the line in measure three with an arpeggio down the I chord starting on the ninth and ending on the sixth scale degree.

Ex. 2

Rollins uses numerous enclosures in this example. He begins the line with the same diatonic enclosure as in example 13.  The triplet figure moves the line to the leading tone and a diatonic enclosure on beat four. Another diatonic enclosure follows on beat one of the second measure. A triplet figure on beat two of that measure uses the lowered ninth of the V chord and targets the root of the chord on beat three. A diatonic and chromatic enclosure on beats three and four target the third of the I chord on beat one of the third measure. Rollins outlines the I chord with an ascending line that contains a diatonic enclosure to the root on beat four. The line continues to ascend by outlining the I chord in measure four and ends on the root.

Dexter Gordon

Ex. 1

This example begins with a sequence of diatonic enclosures in measure one that target the fifth of the V chord in measure two. Gordon continues by targeting the third of the V chord on beat three. Notice the use of two chromatic lower neighbor tones, both on beat four of the third and fourth measures. Gordon arpeggiates down an A minor chord (delaying the I chord) in the third measure and lands on the third of the I chord before finishing the line on the fifth of the I chord in measure four.

Ex. 2

This is an example of a iiø-V-I in a minor key where Gordon uses the harmonic minor scale of the i chord in the entire progression. He begins the line on the leading tone of the i chord and moves stepwise to target the third of the V chord on beat one of the second measure. Gordon then leaps to the flatted ninth of the V chord or the sixth scale degree of D harmonic minor. He targets the third of the i chord on beat three of the second measure and then outlines a D minor triad followed by a diatonic enclosure to the root in the third measure.

 

The II-V-I Progression: 80 Patterns from the Masters of Saxophone David Detweiler What makes great solos sound so good? In search of an answer, beginning and intermediate players will benefit from David Detweiler's examination of jazz improvisations by four giants of the tenor saxophone. You'll study 80 lines transcribed from groundbreaking recordings; undetsand the melodic and harmonic content; practice transposing and using the patterns; improve your jazz technique by working on 10 etudes; and learn how to create expressive solos with clearly outline ii-V-I cadences in any given tune. Arrangements of the etudes for alto saxophone can be downloaded free of charge.  This long-awaited prequel to “Exploring Folk Fiddle” provides players with a clear, structured foundation, starting with simple tunes before introducing progressively complex pieces and techniques. Every tune in the book is available as an audio download, recorded at a slow to medium tempo to allow players to master ensemble playing. The audio tracks aid the learning experience of the player by providing an example of how to play each tune which in turn allows players to hear and emulate different folk styles and techniques. Ideal for anyone wanting to learn folk fiddle in a fun and engaging way! ISMN: 979-0-2063-0359-3 Price: £ 19.50 / € 22.50 Order No: ADV 7164   View in store

About the Author

David Detweiler is a tenor saxophonist, composer, and educator known for his post-bop style, blending influences from John Coltrane and Michael Brecker while maintaining a unique voice in modern jazz. A Vandoren Artist, Detweiler holds degrees from William Paterson University, Florida State University, and the Eastman School of Music. He is currently Associate Professor of Jazz Saxophone at Florida State University. Detweiler’s discography includes New York Stories (2014), The Dave Detweiler Trio (2015), Celebrating Bird (2020), The Astoria Suite (2021), and There Used to Be Rain (2023).