iiø–V7–i: Minor Jazz Cadence
The minor iiø–V7–i is the darker sibling of the major ii–V–I. In A minor, Bm7b5 contains notes that lean directly into E7, and E7 carries the raised leading tone (G#) that points hard back to Am. That half-step voice leading is the magic: the 7th of E7 (D) falls to C, and the 3rd (G#) rises to A. For jazz piano comping, start with shell voicings: play only the 3rd and 7th of each chord, then add the 5th or a simple top-note line. This cadence shows up in standards, minor turnarounds, and endings that need a decisive, moody resolution. To make it punchier, let E7 last an extra beat and hit Am on beat one with a strong bass note; the contrast sells the release.
- Key
- A minor
- Tempo
- 132 BPM
- Groove
- swing
Play it on guitar
Start slow, keep your right hand steady, and aim for clean changes on the downbeats. Once it’s comfortable, add a groove and increase tempo.
Capo suggestion: try capo 0 and play in A shapes for open chords.
Chords: Bm7b5 – E7 – Am – Am
Roman numerals & theory
Roman numerals describe the chord’s function relative to the key. This helps you transpose the “shape” to any key without memorizing new chord names.
Variations (keep the progression, change the feel)
- • Add 7ths for color (try maj7 on I, m7 on vi, and V7 before resolving).
- • Use a sus4 resolve on the V chord (e.g. Gsus4 → G) to create tension and release.
- • Change the rhythm instead of the chords: try anticipations (hit the next chord on the “and” of 4).
- • Arpeggiate the top notes to create a hook while the harmony stays the same.
- • Borrow a darker chord for contrast (in a major key, try iv for one bar before returning).
Related
FAQ
Select a chord below to start building your progression