The fundamental jazz cadence. Subdominant chord (ii) → dominant (V) → tonic (I). Forms a complete functional cycle S-D-T.
The ii-V-I cadence with 3 chords creates an extended harmonic motion. The character depends on context and surrounding harmony.
In the ii-V-I cadence each chord serves a role: ii⁷ — Subdominant, V⁷ — Dominant, Imaj7 — Tonic. Double fifth motion: ii→V and V→I. Each step is a fifth down — the strongest tonal motion. ii contains the 4th scale degree (subdominant function), V contains the 7th degree (pulls to tonic). Together they create maximum directional pull toward I.
Tension builds through the stepwise motion. The nature of resolution is defined by the final chord of the cadence.
The ii-V-I cadence is typical of major. Jazz standards (Autumn Leaves, All The Things You Are), improvisation, modulations, reharmonization.
Common modifications: replacing one chord with an inversion, adding passing chords, rhythmic variation. Extending the cadence is achieved by adding preceding or following chords.
The ii-V-I cadence is used for creating a particular harmonic color. Jazz standards (Autumn Leaves, All The Things You Are), improvisation, modulations, reharmonization. In form, it can appear at the end of a verse, chorus, or section. When analyzing harmony, notice how the cadence affects the perception of form — it can emphasize structural boundaries or blur them.
On guitar, the ii-V-I cadence can be played in open position (keys of C, G, D, A, E) or with barre chords (any key). Pay attention to voice leading — try to keep common tones in place while other voices move smoothly. This creates a more connected and professional sound. Also try playing the cadence on higher frets using partial barres and jazz voicings.