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II-V-I And The Diatonic Functionality

Functionality

Almost every (tonal) Jazz song ever made contains a II-V-I progression. There is a reason for this, and
that reason is the Diatonic Function.

All the diatonic chords in a particular key can be assigned to one of three speci c functions: Pre-
dominant, Dominant or Tonic. Chords in each of these categories produce di ering amounts of
‘tension’ and each have a di erent ‘feel’. They are summarised below (in the key of C Major):

Function Tension Chord

Tonic None CMaj7, Em7, Am7

Dominant Lots G7, Bø7

Pre-Dominant Some Dm7, FMaj7

Each chord in each category is just a substitution (http://www.thejazzpianosite.com/jazz-piano-

lessons/jazz-chords/chord-substitution/) of the other chords in that category (Em7 and Am7 are both
Median Note Substitutions of CMaj7).

Tonic: Em7 = rootless CMaj9; Am7 = C6

Dominant: Bø7 = rootless G9
Pre-Dominant: FMaj7 = rootless Dm9

Below I have written out all the chords in the key of C Major with their scale degree names and
associated chords & functions.

Degree I II III IV V VI VII

 Degree I II III IV V VI VII 
Name Tonic Super- Mediant Sub- Dominant Sub- Leading
tonic dominant mediant tone

Note C D E F G A B

Chord CMaj7 Dm7 Em7 FMaj7 G7 Am7 Bø7

Function Tonic Pre-Dom Tonic Pre-Dom Dom Tonic Dom

Now that we have allocated each diatonic chord a function, we can create a chord progression based
on this function. The natural or usual sequence of a chord progression based on functionality is:

Pre-Dominant → Dominant → Tonic

Free Guitar Chords

Includes over 3000 of the most commonly used guitar chords. guitaristsreference.com

II-V-I

Playing chord progressions is just like improvising (http://www.thejazzpianosite.com/jazz-piano-

lessons/jazz-improvisation/creating-resolving-tension/) a melody or writing a story. You want to start
with a little bit of tension (Pre-Dominant), build on that tension (Dominant), and then nally resolve
that tension towards the end of the story. You can use any chord from each category and still create
a strong sounding progression for the aforementioned reason. In this way you can get a number of
di erent chord progressions – the simplest variant of which is the II-V-I.

 
 Pre-Dom Dom Tonic 
Dm7 G7 CMaj7

FMaj7 G7 Am7

FMaj7 Bø7 Em7

Further to these basic 7th Chords (http://www.thejazzpianosite.com/jazz-piano-lessons/jazz-

chords/extensions-alterations/), you can then extend, alter or substitute the chords and still stay true
to this general Pre-dominant → Dominant → Tonic structure. All the below chords are often seen
in chord progressions which still follow this basic functional logic and structure.

Pre-dominant

Base Chord Substitutes Reason

Dm7 D7 Dominant Substitute

Dø5 Minor II Substitute

Do7 Diminished Substitute

A♭7 Tritone Substitution

D♭Maj (Fm#5) Neapolitan sixth

FMaj7 Fm7 Minor Substitute

F#o7 Diminished Substitute

F#ø7 Leading Tone Substitute

Dominant

Base Chord Substitutes Reason

G7 G9/♭9/13 Extension/Alteration

D♭7 Tritone Substitute

E7 or B♭7 Minor 3rd Substitute

G7sus or G7sus♭9 Sus/Phrygian Chord

 Bø7 Bo7 Diminished Substitution 
Tonic

Base Chord Substitutes Reason

CMaj7 CMaj9#11 Extension/Alteration

C69 or C69#11

Cm7 CmMaj7 Extension/Alteration

Cm6 or Cm69

C7 (Blues) C13 Extension/Alteration

C7#9 or C7♭9

Deceptive Am7 Tonic Substitute

Em7 Tonic Substitute

FMaj7 Back to Predominant

Other NA

When analysing a chord progression, your goal is to try break it down into smaller components. A II-
V-I is one such component. You will nd them everywhere. They are one of the building blocks of Jazz
harmony.

This is an important concept to understand, because it will lead us to a discussion about ‘non-
functional harmonies’ in future lessons.

Have a Listen to

Autumn Leaves ~ Joseph Kosma

Afternoon in Paris ~ John Lewis
Satin Doll ~ Duke Ellington
Solar ~ Miles Davis
Tune up ~ Miles Davis
Every Pin Pan Alley Song Ever Written
 

Jazz Piano Tutorial - II-V-I and the Diatonic Function

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