Integrated Study - One ii-V-I, Twelve Ways of Hearing It

The following study is not a list to memorize in one sitting. It is a demonstration that the same harmonic progression can support many different organizational models.

1. Functional reference

Dm7 | G7 | Cmaj7

Begin with roots, thirds, and sevenths. If this version does not sound inevitable, do not add color yet.

Functional reference: roots, thirds, and sevenths -- Dm7, G7, Cmaj7.

X:1
M:4/4
L:1/8
K:C
[D,F,C]8 | [G,B,F]8 | [C,E,B,]8 |]

Functional reference: roots, thirds, and sevenths -- Dm7, G7, Cmaj7. Same voicing, arpeggiated instead of stacked.

X:1
M:4/4
L:1/8
K:C
D,2 F,2 C2 z2 | G,2 B,2 F2 z2 | C,2 E,2 B,2 z2 |]

2. Diatonic extension

Dm7 + Em7 | G7 + F major | Cmaj7 + Em7

Analyze:

Dm7 + Em7 = 9-11-13-1
G7 + F major = b7-9-11
Cmaj7 + Em7 = 3-5-7-9

The progression is colorful but remains close to the key.

Diatonic extension: Dm7 + Em7, G7 + F major, Cmaj7 + Em7 -- colorful but close to the key.

X:1
M:4/4
L:1/8
K:C
V:RH clef=treble
[EGBd]8 | [FAc]8 | [EGBd]8 |]
V:LH clef=bass
D,,8 | G,,8 | C,,8 |]

Diatonic extension: Dm7 + Em7, G7 + F major, Cmaj7 + Em7 -- colorful but close to the key. Same voicing, arpeggiated instead of stacked.

X:1
M:4/4
L:1/8
K:C
V:RH clef=treble
E2 G2 B2 d2 | F2 A2 c2 z2 | E2 G2 B2 d2 |]
V:LH clef=bass
D,,8 | G,,8 | C,,8 |]

3. Bright dominant

Keep the ii and I unchanged but use:

G7 + A major = 9-#11-13

Hear how one object changes the emotional profile of the V chord.

Bright dominant: the full ii-V-I with G7 + A major.

X:1
M:4/4
L:1/8
K:C
V:RH clef=treble
[FAc]8 | [A^ce]8 | [EGB]8 |]
V:LH clef=bass
D,,8 | G,,8 | C,,8 |]

Bright dominant: the full ii-V-I with G7 + A major. Same voicing, arpeggiated instead of stacked.

X:1
M:4/4
L:1/8
K:C
V:RH clef=treble
F2 A2 c2 z2 | A2 ^c2 e2 z2 | E2 G2 B2 z2 |]
V:LH clef=bass
D,,8 | G,,8 | C,,8 |]

4. Altered dominant with upward resolution

Use:

G7 + Eb major = b13-1-#9

Resolve Eb-E and Bb-B.

Altered dominant, upward resolution: Dm7, G7 + Eb major resolving Eb-E and Bb-B, Cmaj7.

X:1
M:4/4
L:1/8
K:C
V:RH clef=treble
[FAc]8 | [_EG_B]8 | [EGB]8 |]
V:LH clef=bass
D,,8 | G,,8 | C,,8 |]

Altered dominant, upward resolution: Dm7, G7 + Eb major resolving Eb-E and Bb-B, Cmaj7. Same voicing, arpeggiated instead of stacked.

X:1
M:4/4
L:1/8
K:C
V:RH clef=treble
F2 A2 c2 z2 | _E2 G2 _B2 z2 | E2 G2 B2 z2 |]
V:LH clef=bass
D,,8 | G,,8 | C,,8 |]

5. Altered dominant with downward resolution

Use:

G7 + Db major = b5-b7-b9

Resolve Db-C, F-E, Ab-G.

Altered dominant, downward resolution: Dm7, G7 + Db major resolving Db-C, F-E, Ab-G, Cmaj7.

X:1
M:4/4
L:1/8
K:C
V:RH clef=treble
[FAc]8 | [_DF_A]8 | [EGB]8 |]
V:LH clef=bass
D,,8 | G,,8 | C,,8 |]

Altered dominant, downward resolution: Dm7, G7 + Db major resolving Db-C, F-E, Ab-G, Cmaj7. Same voicing, arpeggiated instead of stacked.

X:1
M:4/4
L:1/8
K:C
V:RH clef=treble
F2 A2 c2 z2 | _D2 F2 _A2 z2 | E2 G2 B2 z2 |]
V:LH clef=bass
D,,8 | G,,8 | C,,8 |]

6. Quartal ii

Use G-C-F / Dm7. The notes are 11-b7-b3. Break the shape melodically before moving to the dominant.

Quartal ii: G-C-F over Dm7, resolving through G7 to Cmaj7.

X:1
M:4/4
L:1/8
K:C
V:RH clef=treble
[Gcf]8 | [Bdf]8 | [EGB]8 |]
V:LH clef=bass
D,,8 | G,,8 | C,,8 |]

Quartal ii: G-C-F over Dm7, resolving through G7 to Cmaj7. Same voicing, arpeggiated instead of stacked.

X:1
M:4/4
L:1/8
K:C
V:RH clef=treble
G2 c2 f2 z2 | B2 d2 f2 z2 | E2 G2 B2 z2 |]
V:LH clef=bass
D,,8 | G,,8 | C,,8 |]

7. Pentatonic ii

Use A minor pentatonic / Dm7 = 5-b7-1-9-11. Notice that the left hand can supply the missing minor third.

Pentatonic ii: A minor pentatonic over Dm7, left hand supplying the missing third, resolving through G7 to Cmaj7.

X:1
M:4/4
L:1/8
K:C
V:RH clef=treble
A c d e g z3 | [Bdf]8 | [EGB]8 |]
V:LH clef=bass
[F,C]8 | G,,8 | C,,8 |]

Pentatonic ii: A minor pentatonic over Dm7, left hand supplying the missing third, resolving through G7 to Cmaj7. Same voicing, arpeggiated instead of stacked.

X:1
M:4/4
L:1/8
K:C
V:RH clef=treble
A c d e g z3 | B2 d2 f2 z2 | E2 G2 B2 z2 |]
V:LH clef=bass
[F,C]8 | G,,8 | C,,8 |]

8. Triad-pair tonic

Use C major + D major / Cmaj7. The combined degrees are 1-9-3-#11-5-13. Do not run the collection. Alternate identities.

Triad-pair tonic: C major + D major combined, reached through the full ii-V-I.

X:1
M:4/4
L:1/8
K:C
V:RH clef=treble
[FAc]8 | [Bdf]8 | [CDE^FGA]8 |]
V:LH clef=bass
D,,8 | G,,8 | C,,8 |]

Triad-pair tonic: C major + D major combined, reached through the full ii-V-I. Same voicing, arpeggiated instead of stacked.

X:1
M:4/4
L:1/8
K:C
V:RH clef=treble
F2 A2 c2 z2 | B2 d2 f2 z2 | C1 D1 E1 ^F1 G1 A1 z2 |]
V:LH clef=bass
D,,8 | G,,8 | C,,8 |]

9. Side-slip tonic

Establish Cmaj7 + Em7 = 3-5-7-9, move briefly to Cmaj7 + Ebm7, then return. Preserve the rhythmic cell.

Side-slip tonic: the full ii-V arriving at Cmaj7 + Em7, briefly to Cmaj7 + Ebm7, then back.

X:1
M:4/4
L:1/8
K:C
V:RH clef=treble
[FAc]8 | [Bdf]8 | [EGBd]8 | [_E_G_B_d]8 | [EGBd]8 |]
V:LH clef=bass
D,,8 | G,,8 | C,,8 | C,,8 | C,,8 |]

Side-slip tonic: the full ii-V arriving at Cmaj7 + Em7, briefly to Cmaj7 + Ebm7, then back. Same voicing, arpeggiated instead of stacked.

X:1
M:4/4
L:1/8
K:C
V:RH clef=treble
F2 A2 c2 z2 | B2 d2 f2 z2 | E2 G2 B2 d2 | _E2 _G2 _B2 _d2 | E2 G2 B2 d2 |]
V:LH clef=bass
D,,8 | G,,8 | C,,8 | C,,8 | C,,8 |]

10. Rootless left hand

Play only guide tones and extensions in the left hand. Repeat examples 3-5. Notice that removing the root does not remove function when context is strong.

Rootless left hand throughout: Dm7, G7 + A major, Cmaj7 -- guide tones and extensions only.

X:1
M:4/4
L:1/8
K:C
V:RH clef=treble
[FAc]8 | [A^ce]8 | [EGB]8 |]
V:LH clef=bass
[F,C]8 | [B,F]8 | [E,B,]8 |]

Rootless left hand throughout: Dm7, G7 + A major, Cmaj7 -- guide tones and extensions only. Same voicing, arpeggiated instead of stacked.

X:1
M:4/4
L:1/8
K:C
V:RH clef=treble
F2 A2 c2 z2 | A2 ^c2 e2 z2 | E2 G2 B2 z2 |]
V:LH clef=bass
[F,C]8 | [B,F]8 | [E,B,]8 |]

11. Rhythmic transformation

Take the bright-dominant line and perform it five ways:

continuous swing eighths;
beginning on the and of one;
with a rest on beat one;
as triplet cells;
grouped in threes across 4/4.

The harmonic object is unchanged. The phrase identity is not.

Rhythmic transformation: the same bright-dominant line, continuous then with a rest on beat one, within the full ii-V-I.

X:1
M:4/4
L:1/8
K:C
V:RH clef=treble
[FAc]8 | A2 ^c2 e2 z2 | z2 A2 ^c2 e2 | [EGB]8 |]
V:LH clef=bass
D,,8 | G,,8 | G,,8 | C,,8 |]

Rhythmic transformation: the same bright-dominant line, continuous then with a rest on beat one, within the full ii-V-I. Same voicing, arpeggiated instead of stacked.

X:1
M:4/4
L:1/8
K:C
V:RH clef=treble
F2 A2 c2 z2 | A2 ^c2 e2 z2 | z2 A2 ^c2 e2 | E2 G2 B2 z2 |]
V:LH clef=bass
D,,8 | G,,8 | G,,8 | C,,8 |]

12. Hear first

Stop reading. Imagine one of the previous colors. Sing its characteristic tension. Find the object. Resolve it.

If you can do this reliably, the book’s model is beginning to reverse from analysis into intention.