The ii–V–I progression ("two–five–one progression") (occasionally referred to as ii–V–I turnaround, and ii–V–I) is a common cadential chord progression used in a wide variety of music genres, including jazz harmony.

古罗马人最常用的表示 4 的方法是 IIII，所以一直以来，IV 的设计风格经常遭到“正统论者”的强烈抗议。 乔治敦大学古典文献学教授兼教务长詹姆斯·奥东奈尔说，尽管古罗马人有时为了节省空间会把 4 写作 IV，但这种简写直到中世纪才流行起来，事实上这种写法并不正规。 有些钟表专家还提出一种理论：古罗马人用 IV 作为众神之王朱庇特名字的缩写（在古典拉丁文中，J 和 I 同为 I，U 和 V 同为 V，因此 IV 即 JU，朱庇特 Jupiter 的简写），因此，他们不希望神的名字看上去像 …

The ii–V–I progression can be identified through a combination of root motion by fifths plus its distinctive sequence of chord qualities (mi7 – 7 – ma7 in major, or ∅7 – 7 – mi7 in minor). Because this progression is so important to jazz, the concept of applied chords can expand to include applied subdominant chords—i.e., the ii chord.

爵士乐中最常使用的进行叫做ii—V—I进行，也就是前文提到的251。 使用这个和弦进行的理由在于爵士乐中大量的Modulations(转调)和以及短暂的Tonicization（主音化），爵士音乐家利用这样快速的改变来创造音乐里的爵士感，而251进行将古典音乐中附属-属-主的关系 ...

Ⅱ-Ⅴ-Ⅰ 进行在歌曲中是很常用的和弦走向，与 五度圈 有密不可分的关系，正确使用Ⅱ-Ⅴ-Ⅰ 的进行会让你的歌曲更加出彩。 我们今天就来教大家一种简易而实用的使用方法。 以C大调的黄金八小节为例： C丨 G/B 丨Am丨Em/G 丨F 丨Em 丨Dm7丨 G. 我们将Am看作A小调的Ⅰ 级主和弦，A小调的Ⅱ级和Ⅴ级的顺阶和弦分别为Bdim与Em，由于小调的Ⅴ级和弦常用大三和弦，我们就记作E。 同样，我们将F看作 F大调 的Ⅰ 级主和弦，F大调的Ⅱ级和Ⅴ级的顺接和弦分别为Gm和C。 …

The 2-5-1 (or ii-V-I) chord progression is the most common in jazz repertoire. Therefore would it be a great idea to learn licks over 2-5-1 chord progressions? You bet! The most important thing you can do is learn them, and then practice them the right way. So in this lesson, I’m giving you 25 easy ii-V-I licks.

2025年1月14日 · We’ll learn how the ii-V-I progression works and review examples from real jazz standards. We will also review common substitutions jazz musicians use in place of 2-5-1 progressions to add variety, tension, and altered sounds to their chord comping.

Minor II-V-I. However, another very commonly used chord progression is the Minor II-V-I. In the key of C Minor, a Minor II-V-I would have the following chords: | Dm7♭5 – G7alt | CmMaj7 || This chord progression can be derived in two different ways: All from the C Harmonic Minor Scale

The iii–vi–ii–V progression is called a turnaround because it replaces the static harmony of the I chord in the last two measures of a tune with harmonic motion that leads to the I chord that will occur upon repetition to the top of the form. This also applies to the I–VI–II–V progression.

Become a master of solo and comp through the II – V – I chord progression sequence in all 12 keys. Our practice tips will help you play like a pro!