Jazz chord progressions

The books behind this page

These eight families describe how progressions are put together. Harmonic Narrative is about why one of them makes a listener lean forward and another lets them settle.

Start here Project 05 · Harmony

Why learn progressions rather than tunes

A player who knows fifty tunes has fifty things memorised. A player who knows eight progressions can read the fifty-first on sight, because the fifty-first is made of the same parts in a different order. That is the whole argument for analysis, and it is why every tune in this library is opened at the point where its parts are visible.

ii-V-I (62)

The predominant-dominant-tonic sentence. Two chords of preparation and one of arrival, in major or in minor, and the single progression most of the repertoire is assembled from.

ii-V-I, explained →

Standard	Key	Analyzed excerpt	What it shows
Autumn Leaves	B♭ major / G minor	Cm7 \| F7 \| Bbmaj7 \| Ebmaj7	A complete ii-V-I
All The Things You Are	A♭ major	Fm7 \| Bbm7 \| Eb7 \| Abmaj7	A complete ii-V-I
Tune Up	D major	Em7 \| A7 \| Dmaj7 \| Dmaj7	A complete ii-V-I
Solar	C minor	Cm \| Gm7 C7 \| Fmaj7 \| Fm7 Bb7 \| Ebmaj7	A complete ii-V-I
Blue Bossa	C minor	Cm7 \| Cm7 \| Fm7 \| Fm7 \| Dm7b5 \| G7 \| Cm7 \| Cm7	A complete ii-V-I
Stella by Starlight	B♭ major	Em7b5 \| A7 \| Cm7 \| F7	An unresolved ii-V and a secondary dominant
How High the Moon	G major	Gmaj7 \| Gmaj7 \| Gm7 \| C7 \| Fmaj7 \| Fmaj7 \| Fm7 \| Bb7	A complete ii-V-I and a secondary dominant
Ornithology	G major	Gmaj7 \| Gm7 C7 \| Fmaj7 \| Fm7 Bb7	A complete ii-V-I and a secondary dominant
Cherokee	B♭ major	Bbmaj7 \| Bbmaj7 \| Fm7 Bb7 \| Ebmaj7	A complete ii-V-I
Confirmation	F major	Fmaj7 \| Em7b5 A7 \| Dm7 \| Cm7 F7	A complete ii-V-I
Beautiful Love	D minor	Em7b5 \| A7 \| Dm7 \| Dm7	A complete ii-V-I
There Will Never Be Another You	E♭ major	Ebmaj7 \| Ebmaj7 \| Dm7b5 \| G7 \| Cm7 \| Cm7 \| Bbm7 \| Eb7	A complete ii-V-I
I Got Rhythm	B♭ major	Bb G7 \| Cm7 F7 \| Dm7 G7 \| Cm7 F7 \| Bb Bb7 \| Eb Ebm6 \| Bb G7 \| Cm7 F7	A complete ii-V-I and a secondary dominant
Oleo	B♭ major	Bb G7 \| Cm7 F7 \| Dm7 G7 \| Cm7 F7	A complete ii-V-I and a secondary dominant

All 62 in the library →

I-vi-ii-V turnarounds (5)

Four chords that send a section back to its own beginning. Almost every substitution a player learns is a substitution for one of these four.

ii-V-I, explained →

Standard	Key	Analyzed excerpt	What it shows
Ain’t Misbehavin’	E♭ major	Ebmaj7 \| Edim7 \| Fm7 \| Bb7 \| Ebmaj7	A complete ii-V-I, a diminished connector and a turnaround
Body and Soul	D♭ major	Ebm7 Ab7 \| Dbmaj7 Bbm7 \| Ebm7 Ab7 \| Dbmaj7	A complete ii-V-I and a turnaround
But Not for Me	E♭ major	Ebmaj7 \| Cm7 \| Fm7 \| Bb7 \| Ebmaj7	A complete ii-V-I and a turnaround
Basin Street Blues	B♭ major	Bb \| Bdim7 \| Cm7 \| F7 \| Bb	A complete ii-V-I, a diminished connector and a turnaround
Blue Moon	C major	Cmaj7 \| Am7 \| Dm7 \| G7 \| Cmaj7	A complete ii-V-I and a turnaround

Secondary dominant chains (45)

Dominant sevenths in a row, each one the dominant of the next, walking around the cycle of fifths. This is what makes a diatonic song sound like it is travelling.

Secondary dominants, explained →

Standard	Key	Analyzed excerpt	What it shows
Stella by Starlight	B♭ major	Em7b5 \| A7 \| Cm7 \| F7	An unresolved ii-V and a secondary dominant
How High the Moon	G major	Gmaj7 \| Gmaj7 \| Gm7 \| C7 \| Fmaj7 \| Fmaj7 \| Fm7 \| Bb7	A complete ii-V-I and a secondary dominant
Ornithology	G major	Gmaj7 \| Gm7 C7 \| Fmaj7 \| Fm7 Bb7	A complete ii-V-I and a secondary dominant
Cherokee	B♭ major	Bbmaj7 \| Bbmaj7 \| Fm7 Bb7 \| Ebmaj7	A complete ii-V-I
Confirmation	F major	Fmaj7 \| Em7b5 A7 \| Dm7 \| Cm7 F7	A complete ii-V-I
There Will Never Be Another You	E♭ major	Ebmaj7 \| Ebmaj7 \| Dm7b5 \| G7 \| Cm7 \| Cm7 \| Bbm7 \| Eb7	A complete ii-V-I
I Got Rhythm	B♭ major	Bb G7 \| Cm7 F7 \| Dm7 G7 \| Cm7 F7 \| Bb Bb7 \| Eb Ebm6 \| Bb G7 \| Cm7 F7	A complete ii-V-I and a secondary dominant
The Rhythm Changes Bridge	B♭ major	D7 \| D7 \| G7 \| G7 \| C7 \| C7 \| F7 \| F7	A secondary dominant
Oleo	B♭ major	Bb G7 \| Cm7 F7 \| Dm7 G7 \| Cm7 F7	A complete ii-V-I and a secondary dominant
Anthropology	B♭ major	Bb G7 \| Cm7 F7 \| Dm7 G7 \| Cm7 F7	A complete ii-V-I and a secondary dominant
Rhythm-a-ning	B♭ major	Bb G7 \| Cm7 F7 \| Dm7 G7 \| Cm7 F7	A complete ii-V-I and a secondary dominant
Moose the Mooche	B♭ major	Bb G7 \| Cm7 F7 \| Dm7 G7 \| Cm7 F7	A complete ii-V-I and a secondary dominant
Now’s the Time	F major	F7 \| Bb7 \| F7 \| F7 \| Bb7 \| Bb7 \| F7 \| D7 \| Gm7 \| C7 \| F7 D7 \| Gm7 C7	A complete ii-V-I and a secondary dominant
Billie’s Bounce	F major	F7 \| Bb7 \| F7 \| Cm7 F7 \| Bb7 \| Bdim7 \| F7 \| D7 \| Gm7 \| C7 \| F7 D7 \| Gm7 C7	A complete ii-V-I and a secondary dominant

All 45 in the library →

Blues forms (15)

Twelve bars, sixteen, or twenty-four, with a tonic that is a dominant seventh and is not the dominant of anything. The oldest form here and still the most played.

Roman numeral analysis, explained →

Standard	Key	Analyzed excerpt	What it shows
Now’s the Time	F major	F7 \| Bb7 \| F7 \| F7 \| Bb7 \| Bb7 \| F7 \| D7 \| Gm7 \| C7 \| F7 D7 \| Gm7 C7	A complete ii-V-I and a secondary dominant
Billie’s Bounce	F major	F7 \| Bb7 \| F7 \| Cm7 F7 \| Bb7 \| Bdim7 \| F7 \| D7 \| Gm7 \| C7 \| F7 D7 \| Gm7 C7	A complete ii-V-I and a secondary dominant
Blues for Alice	F major	Fmaj7 \| Em7b5 A7 \| Dm7 G7 \| Cm7 F7 \| Bb7 \| Bbm7 Eb7 \| Am7 D7 \| Abm7 Db7 \| Gm7 \| C7 \| Fmaj7 D7 \| Gm7 C7	A complete ii-V-I, a secondary dominant, a tritone substitute and a borrowed chord
Straight, No Chaser	F major	F7 \| Bb7 \| F7 \| F7 \| Bb7 \| Bb7 \| F7 \| F7 \| Gm7 \| C7 \| F7 \| C7	A complete ii-V-I
C Jam Blues	C major	C7 \| C7 \| C7 \| C7 \| F7 \| F7 \| C7 \| C7 \| G7 \| F7 \| C7 \| G7	Plain diatonic motion
Blue Monk	B♭ major	Bb7 \| Eb7 \| Bb7 \| Bb7 \| Eb7 \| Edim7 \| Bb7 \| G7 \| Cm7 \| F7 \| Bb7 G7 \| Cm7 F7	A complete ii-V-I and a secondary dominant
Bags’ Groove	F major	F7 \| Bb7 \| F7 \| F7 \| Bb7 \| Bb7 \| F7 \| F7 \| Gm7 \| C7 \| F7 D7 \| Gm7 C7	A complete ii-V-I and a secondary dominant
Tenor Madness	B♭ major	Bb7 \| Eb7 \| Bb7 \| Fm7 Bb7 \| Eb7 \| Eb7 \| Bb7 \| G7 \| Cm7 \| F7 \| Bb7 G7 \| Cm7 F7	A complete ii-V-I and a secondary dominant
All Blues	G major	G7 \| G7 \| G7 \| G7 \| C7 \| C7 \| G7 \| G7 \| D7#9 \| Eb7#9 D7#9 \| G7 \| G7	A tritone substitute and a borrowed chord
Freddie Freeloader	B♭ major	Bb7 \| Eb7 \| Bb7 \| Bb7 \| Eb7 \| Eb7 \| Bb7 \| Bb7 \| F7 \| Eb7 \| Ab7 \| Bb7	A secondary dominant
St. Louis Blues	G major	G7 \| G7 \| G7 \| G7 \| C7 \| C7 \| G7 \| G7 \| D7 \| D7 \| G7 \| D7	Plain diatonic motion
West Coast Blues	B♭ major	Bbmaj7 \| Ebm7 Ab7 \| Dbmaj7 \| Gbmaj7	A complete ii-V-I
Footprints	C minor	Cm7 \| Cm7 \| Cm7 \| Cm7 \| Fm7 \| Fm7 \| Cm7 \| Cm7	A borrowed chord
Watermelon Man	F major	F7 \| F7 \| F7 \| F7 \| Bb7 \| Bb7 \| F7 \| F7 \| C7 \| Bb7 \| C7 \| Bb7	Plain diatonic motion

All 15 in the library →

Rhythm changes (8)

The most reused thirty-two bars in jazz: a turnaround repeated until it becomes a groove, and a bridge of four dominants falling in fourths.

Secondary dominants, explained →

Standard	Key	Analyzed excerpt	What it shows
I Got Rhythm	B♭ major	Bb G7 \| Cm7 F7 \| Dm7 G7 \| Cm7 F7 \| Bb Bb7 \| Eb Ebm6 \| Bb G7 \| Cm7 F7	A complete ii-V-I and a secondary dominant
The Rhythm Changes Bridge	B♭ major	D7 \| D7 \| G7 \| G7 \| C7 \| C7 \| F7 \| F7	A secondary dominant
Oleo	B♭ major	Bb G7 \| Cm7 F7 \| Dm7 G7 \| Cm7 F7	A complete ii-V-I and a secondary dominant
Anthropology	B♭ major	Bb G7 \| Cm7 F7 \| Dm7 G7 \| Cm7 F7	A complete ii-V-I and a secondary dominant
Rhythm-a-ning	B♭ major	Bb G7 \| Cm7 F7 \| Dm7 G7 \| Cm7 F7	A complete ii-V-I and a secondary dominant
Moose the Mooche	B♭ major	Bb G7 \| Cm7 F7 \| Dm7 G7 \| Cm7 F7	A complete ii-V-I and a secondary dominant
Perdido	B♭ major	Bb6 \| Bb6 \| Cm7 F7 \| Bb6	A complete ii-V-I
Scrapple from the Apple	F major	F D7 \| Gm7 C7 \| Am7 D7 \| Gm7 C7	A complete ii-V-I and a secondary dominant

Modal progressions (6)

Progressions that stop cadencing. Two or three chords with no dominant between them, held long enough that the mode rather than the cadence organises the piece.

Modal interchange, explained →

Standard	Key	Analyzed excerpt	What it shows
So What	D dorian / E♭ dorian	Dm7 \| Dm7 \| Ebm7 \| Ebm7	A borrowed chord
Impressions	D dorian / E♭ dorian	Dm7 \| Dm7 \| Ebm7 \| Ebm7	A borrowed chord
Maiden Voyage	no single key	D7sus4 \| D7sus4 \| F7sus4 \| F7sus4	A secondary dominant and a borrowed chord
Milestones	G dorian / A aeolian	Gm7 \| Gm7 \| Gm7 \| Gm7 \| Am7 \| Am7 \| Am7 \| Am7	A borrowed chord
Giant Steps	no single key	Bmaj7 D7 \| Gmaj7 Bb7 \| Ebmaj7 \| Am7 D7	An unresolved ii-V, a secondary dominant, a borrowed chord and a major-third cycle
Countdown	no single key	Em7 F7 \| Bbmaj7 Db7 \| Gbmaj7 A7 \| Dmaj7	A secondary dominant, a borrowed chord and a major-third cycle

Chromatic and substituted dominants (20)

Tritone substitutes, chromatic approach chords and diminished connectors — everything that makes a bass line walk by semitone instead of leaping by fifths.

Tritone substitution, explained →

Standard	Key	Analyzed excerpt	What it shows
Blues for Alice	F major	Fmaj7 \| Em7b5 A7 \| Dm7 G7 \| Cm7 F7 \| Bb7 \| Bbm7 Eb7 \| Am7 D7 \| Abm7 Db7 \| Gm7 \| C7 \| Fmaj7 D7 \| Gm7 C7	A complete ii-V-I, a secondary dominant, a tritone substitute and a borrowed chord
All Blues	G major	G7 \| G7 \| G7 \| G7 \| C7 \| C7 \| G7 \| G7 \| D7#9 \| Eb7#9 D7#9 \| G7 \| G7	A tritone substitute and a borrowed chord
So What	D dorian / E♭ dorian	Dm7 \| Dm7 \| Ebm7 \| Ebm7	A borrowed chord
Impressions	D dorian / E♭ dorian	Dm7 \| Dm7 \| Ebm7 \| Ebm7	A borrowed chord
Cantaloupe Island	F minor	Fm7 \| Fm7 \| Db7 \| Db7 \| Dm7 \| Dm7 \| Fm7 \| Fm7	A tritone substitute and a borrowed chord
Lady Bird	C major	Cmaj7 \| Ebmaj7 \| Abmaj7 \| Dbmaj7	A borrowed chord
The Girl from Ipanema	F major	Fmaj7 \| Fmaj7 \| G7 \| G7 \| Gm7 \| Gb7 \| Fmaj7 \| Gb7	A secondary dominant and a tritone substitute
Desafinado	F major	Fmaj7 \| G7 \| Gm7 \| Gb7	A secondary dominant and a tritone substitute
Half Nelson	C major	Cmaj7 \| Ebmaj7 \| Abmaj7 \| Dbmaj7 \| Cmaj7	A borrowed chord
Summertime	A minor	Am6 \| Bm7b5 E7 \| Am6 \| A7 \| Dm7 \| F7 \| Bm7b5 E7 \| Am6	A complete ii-V-I, a tritone substitute and a borrowed chord
Just Friends	G major	Cmaj7 \| Cmaj7 \| Cm7 \| F7 \| Gmaj7 \| Gmaj7 \| Bbm7 \| Eb7	A tritone substitute, a backdoor resolution and a borrowed chord
Out of Nowhere	G major	Gmaj7 \| Gmaj7 \| Bbm7 \| Eb7 \| Gmaj7	A tritone substitute and a borrowed chord
On Green Dolphin Street	C major	Cmaj7 \| Cmaj7 \| Cm7 \| Cm7 \| D7/C \| Dbmaj7/C \| Cmaj7 \| Cmaj7	A secondary dominant and a borrowed chord
Satin Doll	C major	Dm7 G7 \| Dm7 G7 \| Em7 A7 \| Em7 A7 \| Am7 D7 \| Abm7 Db7 \| Cmaj7	An unresolved ii-V, a secondary dominant and a tritone substitute

All 20 in the library →

Backdoor progressions (4)

Reaching the tonic from a whole tone below, with no leading tone in sight. It arrives, and it arrives warm rather than final.

Backdoor progression, explained →

Standard	Key	Analyzed excerpt	What it shows
Misty	E♭ major	Ebmaj7 \| Bbm7 Eb7 \| Abmaj7 \| Abm7 Db7 \| Ebmaj7	A complete ii-V-I, a backdoor resolution and a borrowed chord
Just Friends	G major	Cmaj7 \| Cmaj7 \| Cm7 \| F7 \| Gmaj7 \| Gmaj7 \| Bbm7 \| Eb7	A tritone substitute, a backdoor resolution and a borrowed chord
Days of Wine and Roses	F major	Fmaj7 \| Eb7 \| Am7 D7 \| Gm7	A complete ii-V-I, a secondary dominant and a borrowed chord
The Sidewinder	F major	F7 \| F7 \| F7 \| F7 \| Bb7 \| Bb7 \| F7 \| F7 \| Db7 \| Eb7 \| F7 \| F7	A tritone substitute and a backdoor resolution

Analyze a progression

Paste any of these, or your own, and see the key, the Roman numerals and the function of every chord.

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Jazz Chord Progressions