307 named progressions, from I–V–vi–IV to the 12-bar blues and the Andalusian cadence, in any key and with any capo.
In D major, the ii–V–I is Em7 – A7 – Dmaj7 – Dmaj7. The most important move in jazz: tension built on ii, sharpened on V, released on I.
The library above is set to ii–V–I in D major. Press Play to hear it with strummed guitar, bass and drums in a jazz swing groove, tap any chord to hear it on its own, or pick another key or a capo.
| Numeral | Chord | Notes | What it does |
|---|---|---|---|
| ii7 | Em7 minor seventh | E G B D | predominant (moving away) |
| V7 | A7 dominant seventh | A C♯ E G | dominant (pulling home) |
| Imaj7 | Dmaj7 major seventh | D F♯ A C♯ | tonic (home) |
Chords that share notes slide into each other; a change with no common notes sounds like a bigger step. Here is what each change keeps:
The easiest shape for each chord, with finger numbers. All of them are open-position shapes.
No capo needed: in D major the shapes without a capo are already easy. Each row shows the shapes you play and how easy they are (capo positions above the 7th fret are left out: the guitar sounds thin up there).
| Capo | Shapes you play | How easy |
|---|---|---|
| No capo | Em7 A7 Dmaj7 | Very easy |
| 2nd fret | Dm7 G7 Cmaj7 | Very easy |
| 5th fret | Bm7 E7 Amaj7 | Very easy |
| 7th fret | Am7 D7 Gmaj7 | Very easy |
Em7, A7 and Dmaj7, played Em7 – A7 – Dmaj7 – Dmaj7.
You don’t need one: in D the shapes without a capo are already easy.
Keep the numerals (ii7, V7, Imaj7) and build each chord from the new key, or tap another key in the library above and the chords change for you.
B minor. It has the same notes as D major, so Bm (the vi chord) sounds at home in D progressions.