This chord change evokes a ii-V-I progression that is left unfinished.

A complete ii-V-i progression in C-minor might suggest the following:

The chord changes are relatively simple, a straightforward application of the ii-V-I progression, which is extremely common in jazz.

It can be used on all three chords of a minor II-V-I progression.

The harmonic structure makes frequent use of the standard ii-V-i progression in the key of D minor.

One potential situation where ii-V-I progressions can be put to use is in a blues, whose generic form has no such progressions.

In particular, the ii-V-I progression is the most important chord progression in jazz music.

The following example shows the V pentatonic scale over a II-V-I progression.

The composition is a modified twelve-bar blues in F major with heavy use of the ii-V-I progression.

The second common usage of the tritone substitution is in ii-V-I progression, which is extremely common in jazz harmony.

In the tonal tradition, the ii-V-I progression is most often reserved for cadences, and is one of many often used cadential progressions.

In an ii-V-I progression, some jazz musicians play a V pedal note under all three chords, or under the first two chords.

The chords are typically emphasize the 3rd and 7th tones of its corresponding scale (see Seventh chord) and can consist of ii-V-i progressions or improvisational comping.

Altered chords are commonly substituted for regular dominant V chords in ii-V-I progressions, most commonly in minor harmony leading to an i7 (tonic minor 7th) chord.

The song has no melody, but instead is defined by a set of 8-bar chord changes that ultimately cycles through the circle of fourths; in this case, all twelve major keys (via ii-V-I progressions).

The ii-V-I turnaround, ii-V-I progression, or ii V I, also known as the dominant cadence, is a common cadential chord progression used in a wide variety of music genres, especially jazz harmony.

If we are in the key of G, then, the melody maker provides the I chord, the IV chord, the V chord and the II chord, allowing II-V-I progressions as well as I-IV-V progressions.

For instance the ii in the ii-V-I turnaround.

Techniques include the ii-V-I turnaround, as well as movement by half-step or minor third.

Its chord progression is well known for its unusual use of chords and opening with a ii-V-I turnaround.

Given the ii-V-I turnaround lasting four measures:

A very common variation is having ii substitute for the subdominant, IV, creating the ii-V-I turnaround.

The chord progression is based on the "I Got Rhythm" changes and makes extensive use of the ii-V-I turnaround.

After another "reversed" repeat, the E minor to A functions as a ii-V-I turnaround in the key's relative major of D.

These include the ii-V-I turnaround and its variation the backdoor progression, though all turnarounds may be used at any point and not solely before the tonic.

The composition features a series of dominant chords and ii-V-I turnarounds resolving to three tonalities built on the B augmented triad (the three-tonic system):

The 'A' section uses conventional chord progressions including ii-V-I turnarounds in the home key of Db, however the bridge is highly unusual in its tonal center shifts.

This name derives from an assumption that the normal progression to the tonic, the ii-V-I turnaround (ii-V to I, see also authentic cadence) is, by inference, the front door.

The ii-V-I turnaround, ii-V-I progression, or ii V I, also known as the dominant cadence, is a common cadential chord progression used in a wide variety of music genres, especially jazz harmony.

In a progression going up a fourth, if the first chord is a minor seventh chord, it can also be substituted for a seventh chord; a relative second degree can also be added before it to create a ii-V-I turnaround.