Switching roles in the II-V-I Jazz chord progression in jazz. To conclude we can say that the 3rd and the 7th notes of the chords are Now it's his turn to be the active note by moving to E the 3rd of C major7. G7 is moving to Cmaj7 you'll notice that B which played an active role in the first part is now playing a passive role when it changes functionality from the 3rd of G7 to the major 7th of Cnaj7 without moving at all.į the 7th of G7 on the other hand was passive in the first part.

If you'll look at the second part of the jazz chord progression where It is therefore the active note in the jazz chord progression. The third note of Dm has no become the seventh of G7 without performing any movement at all.Ĭ, the seventh of Dm has moved a half step down to B which is the 3rd of G seven. The voice leading in the jazz chord progression goes as follows.į is passive when moving to G7. Of D so what we deal with is a seventh chord and not a major seventh chord or a sixth chord. The third let us know if the chord is a major chord or a minor chord. Two voices are necessary in jazz music to indicate the identity of the chord. To G (or climbing an fourth instead) and then falling another fifth to the tonic (or climbing an fourth instead). The bass is starting from the D (the second scale degree of C major) then falling a fifth This picture shows us the II-V-I Jazz Chord progression in C major with only three voices. Your browser does not support the audio tag. II-V-I chord progression and see how to play it as a jazzy chord progression. Now that we know how to form jazz chords I'd like us to go back to the Jazz Chord Progressions - II-V-I With Extensionsĭuring the past three lessons we started to talk about extensions. Jazz Chord Progressions - II-V-I with Extensions

Jazz chords chart piano