Progressions in G

Analyze your own changes

Type chord symbols to find their key, each chord's roman numeral and role, the ii-Vs and turnarounds inside them, and a scale for each.

Cadences

Major ii-V

ii7 | V7

In G: Am7 D7

The building block of jazz harmony: a minor 7th chord on the 2nd degree moving up a fourth to the dominant 7th on the 5th.
Major ii-V-I

ii7 | V7 | Imaj7 | %

In G: Am7 D7 Gmaj7

The most common cadence in jazz: a ii-V resolving to the major 7th tonic.
Minor ii-V

iiø7 | V7alt

In G: Am7b5 D7alt

The ii-V of a minor key: a half-diminished ii chord moving to an altered dominant, whose b9 and b13 are the 3rd and 6th of the minor key.
Minor ii-V-I

iiø7 | V7alt | i6 | %

In G: Am7b5 D7alt Gm6

The minor-key cadence, resolving to a minor 6th tonic: its major 6th comes from melodic minor, the usual scale on a minor i chord, and unlike a minor 7th it doesn't sound like another ii chord.
Backdoor ii-V-I

iv7 | ♭VII7 | Imaj7 | %

In G: Cm7 F7 Gmaj7

A ii-V that comes in by the back door: iv7 and bVII7, borrowed from the parallel minor, resolving up a whole step to the major I instead of down a fifth.
Tritone Sub ii-V-I

ii7 | ♭II7 | Imaj7 | %

In G: Am7 Ab7 Gmaj7

The ii-V-I with a tritone substitute: bII7 in place of V7, so the bass falls by half steps from ii to I.
Minor ii-V to Major

iiø7 | V7♭9 | Imaj7 | %

In G: Am7b5 D7b9 Gmaj7

A minor ii-V resolving to a major I: the half-diminished ii and the dominant's b9 darken the approach, then the major tonic brightens it.
Minor Plagal Cadence

IVmaj7 | iv6 | Imaj7 | %

In G: Cmaj7 Cm6 Gmaj7

IV to minor iv to I: a plagal (IV-I) cadence whose IV chord turns minor on the way home, borrowing its b6 from the parallel minor.
Deceptive Cadence

ii7 | V7 | vi7 | %

In G: Am7 D7 Em7

A ii-V that lands on vi instead of I: the harmony sidesteps to the relative minor where the ear expects the tonic.

Analyze your own changes

Cadences

Major ii-V

Major ii-V-I

Minor ii-V

Minor ii-V-I

Backdoor ii-V-I

Tritone Sub ii-V-I

Minor ii-V to Major

Minor Plagal Cadence

Deceptive Cadence

Turnarounds

Major I-vi-ii-V

Major I-VI-ii-V

Major iii-VI-ii-V

Diminished Passing Turnaround

Tritone Sub Turnaround

Chromatic iii-bIII-ii-bII

Tadd Dameron Turnaround

Minor i-vi-ii-V

Cycles & Chains

Cycle of Dominants

Minor ii-V to ii-V-I

Whole-Step ii-V Chain

Half-Step ii-V Chain

Coltrane Changes

Blues

Basic Blues

Blues with ii-V

Jazz Blues

Bebop Blues

Bird Blues

Minor Blues

Tune Forms

Rhythm Changes

Bebop Rhythm Changes

32-Bar AABA Form

16-Bar Form

Modal AABA

Vamps & Lines

i-IV Vamp

Minor Line Cliché

Major Line Cliché