ACADEMY← Exit to Academy PortalJazz ii-V-I Chord Comping
Sequence smooth guide-tone chord voicings using the syncopated Charleston rhythm in a classic jazz ii-V-I progression.
The ii Chord (Dm7) & Charleston Rhythm
In jazz piano, we often use Guide Tones—the 3rd and 7th degrees of the chord. These notes define the chord's quality (minor, major, or dominant) while keeping the voicing clean.
For Dm7 (D - F - A - C):
* The 3rd is F2 (row 17)
* The 7th is C3 (row 24)
* We also add the root D2 (row 14) in the bass to ground the chord.
We sequence these notes using the classic syncopated Charleston Rhythm: hit on Beat 1 (position 0) and a syncopated push on Beat 2-and (position 6). Press play to hear the Dm7 chord ring out.
Complete Lesson Steps
Step 1: The ii Chord (Dm7) & Charleston Rhythm
In jazz piano, we often use **Guide Tones**—the **3rd and 7th** degrees of the chord. These notes define the chord's quality (minor, major, or dominant) while keeping the voicing clean.
For **Dm7** (D - F - A - C):
* The 3rd is **F2** (row 17)
* The 7th is **C3** (row 24)
* We also add the root **D2** (row 14) in the bass to ground the chord.
We sequence these notes using the classic syncopated **Charleston Rhythm**: hit on Beat 1 (position 0) and a syncopated push on Beat 2-and (position 6). Press play to hear the Dm7 chord ring out.
Step 2: The V Chord (G7) & Voice Leading
Next is the dominant V chord **G7** (G - B - D - F). The guide tones are **F2** (row 17, 7th) and **B2** (row 23, 3rd), and we add the root **G1** (row 7) in the bass.
Notice the smooth **voice leading**: from Dm7 to G7, the F2 stays on F2, and the C3 drops down by just one semitone to B2. The bass line takes a satisfying leap down from D2 to G1.
Let's add the G7 notes on Beat 3 (position 8) and Beat 3-and (position 10). Press play to hear the dominant tension build.
Step 3: Resolving to the I Chord (Cmaj7)
Finally, we resolve the G7 tension to **Cmaj7** (C - E - G - B). The guide tones are **E2** (row 16, 3rd) and **B2** (row 23, 7th), and we resolve the bass to the root **C2** (row 12).
The voice leading resolves seamlessly: B2 stays on B2, and the G7's F2 drops by one semitone to E2.
We place Cmaj7 on Beat 4 (position 12) and Beat 4-and (position 14). Press play to hear the full ii-V-I progression resolve perfectly!
Click **Load Pattern into Studio** to try comping this progression in your studio!