Dm7 – G7 – Cmaj7 (ii–V–I in C)
Dm7ii7G7V7Cmaj7Imaj7
A compact jazz and soul cadence that makes the pull from ii to V to I easy to hear on guitar.
Why this progression matters
The ii–V–I is a foundational cadence in jazz, standards and soul. These compact open voicings let guitarists hear the harmonic movement before learning more advanced extensions.
Practice note
Start with one light strum on beat 1 of each bar and listen for G7 resolving to Cmaj7.
Bottleneck change: G7 → Cmaj7
How to practice it
- 1Play Dm7 slowly and let every fretted note ring.
- 2Move to G7 without rushing the change; keep four even beats per chord.
- 3Listen for the pull of G7 into Cmaj7, then repeat the three-chord cycle.
- 4When the changes feel settled, use a lighter strum or arpeggiate each chord.
Where you'll hear it
- Jazz standards in C
- Soul and R&B turnarounds
- Songwriting and harmonic ear practice
The chords you'll need
Drill the hard changes
Progressions break at their weakest transition. Drill adjacent pairs in isolation:
FAQ
What do ii–V–I numbers mean?
They name chords built from the second, fifth and first scale degrees of the key. In C major those are Dm7, G7 and Cmaj7.
Is this only for jazz?
No. The same resolution appears in pop, soul, standards and songwriting; jazz simply uses it often.
Keep learning
Pair this loop with a practice guide so the changes stick.