The D Dorian and G Mixolydian modes are both derived from the C major scale.

The same seven notes are therefore used for the entire II-V-I segment.
(The mode, and as a result, the perceived tonality changes from one chord to the next.
Even if you do not consciously think of different modes, the underlying chords will
produce the associated mode sound and your ear will select the notes accordingly.)

The D harmonic minor 2-mode and G harmonic minor 5-mode are both derived
from the C harmonic minor scale. The same seven notes are therefore used for the
entire II-V-I segment.
The mode, and as a result, the perceived tonality changes from one chord to the next.
Even if you do not consciously think of different modes, the underlying chords will
produce the associated mode sound and your ear will select the notes accordingly.

In many song progressions the I minor triad is replaced by the I minor 7th chord :

(II -) V7 - Imin7
This chord does not belong to the harmonic minor scale (its b7 is not in the scale).
In these instances use
the harmonic minor 2-mode over the II chord, and
the harmonic minor 5-mode over the V7 chord, and

 the Dorian mode over the Imin7 chord.

I just love figuring out different ways to play a jazz chord progression or just mixing up jazz
chords with other styles of music.
It can add nice flavors to a song and give it some extra magic. Its really fun to experiment with
that.
Learning jazz expands your guitar vocabulary to a whole new level if you are ready for it.
In the meantime its just fun to play some beautiful jazz chord progressions and it will certainly
contribute to your playing skills and creativity as well.
There are also more advanced II-V-Is than the ones I show here but these are really nice to start
out with and get your feet in the dirt. It can be a little bit overwhelming if you learn to play jazz
chords and progressions for the first time, but after a few runs youll get the hang of it. Youll be
amazed!
The II-V-I is one of the most used chord progressions in jazz standards, so it is an important
progression for jazz players to learn. The II-V-I are roman numerals for 2-5-1 and so the chords
are built of the second, fifth and first degree of the major scale. The II is from the minor chord
family, the V is from the dominant 7 chord family and the I is from the major chord family.
Check out these 5 beauties and memorize each one by heart.
Dont forget to take a break if you need it. A nice cappuccino will do the job.
For an explanation of how the read the chords below check out 10 Ways to Play the Most
Beautiful Open Chord Shapes
Enjoy and have fun!

/ Em9 / A13 / Dmaj9 / Dmaj9 /

Em9 = x7577x
A13 = 5x567x
Dmaj9 = x5465x

/ Am7 / D7#9 / G6 / G6 /
Am7 = 5x555x
D7#9 = x5456x
G6 = 3x243x

/ Bm9 / E13 / Amaj7 / Amaj7 /

Bm9 = 77779
E13 = x7x799
Amaj7 = 5x665x
/ Em9 / A7#5 / Dmaj9 / Dmaj9 /
Em9 = xx5432
A7#5 = 5x566x
Dmaj9 = x5765x
/ Am11 / D7b9 / Gmaj13 / Gmaj13 /
Am11 = 5x553x
D7b9 = x5454x
Gmaj13 = 3x445x
December 22, 2011 at 1:13 am
I like this one a lot:
D11 / D7b5 / Gmaj7
D11 5X553x
D7b5 4X453X
Gmaj7 3X443xf
and this one:
Dm9 / Db7#9 / Cmaj7
Dm9 X5355X
Db7#9 X4345X
Cmaj7 X3535X
They are nice as they have chromatic bass movement.

These are two of my favorites.

/ Dm9 / G7b5#5b9 / Cmaj13 / Cmaj13 /
Dm9 = X53555
G7b5#5b9 = 343444
Cmaj13 = X3X455
/ Em7b9 / A7#5 / Dmaj7 / Dmaj7 /
Em7b9 = X7576X
A7#5 = 5X566X
Dmaj7 = X5767X
I love that G7b5#5b9.

Ryan:

October 11, 2012 at 12:54 pm

I just modified one of the progressions that was posted above. So its now II-V-I-V
/Em9 / A13 / Dmaj9 / Amaj7 Amaj /
play the Amaj like this 5x765x
It sound so beautiful if played in 4/4 but gets down and dirty when you play is in swing at
a high tempo.
Well thats my 2 cents, enjoy!
March 3, 2013 at 12:56 am
Here is one I like: It is a 2 5 1 in Gmaj. I am not sure what you would
call these voicings. I hope you like it. It is, of course, movable.
X5557X
X3445X
X2223X
May 19, 2013 at 9:47 am
This article is great. If you like those chord progressions, have a look at bossa nova. In
the late 1950s, those brazilian guitarists were using 9ths, 11ths and 13ths chords where
most jazzmen limited themselves to 7ths. The chord progression for One note samba, for
instance is :
X2423x (Bm7)
6x653x (Bb7/9)
5x553x (Am7/11)

4x553x (Ab7M/#11)
4x453x (Ab7/#11)
Etc.

Dave Lewis:

June 10, 2013 at 10:47 pm

I got this from Jody Fisher on youtube.
http://www.youtube.com/watch?v=geYgMyDtoKg
These are variations on II V I in the key of F.
What hes doing is using the same formation (finger pattern) for the V chord. He moves it
up 2 frets each time.
Note that some folks would call the C9b5b13 chord a C9b5#5.
XX3333 Gm7
XX2312 C7b5
XX0011 F6/9 (no 3rd)
XX3333 Gm7
XX4534 C9b5b13
XX3555 Fmaj7
XX3333 Gm7
XX6756 C9#5
XX3555 Fmaj7
XX3333 Gm7
XX8978 C7b5
XX3555 Fmaj7
XX3333 Gm7
X.X.10.11.9.10 C9b5b13
X.8.10.9.10.8 Fmaj7
X.10.12.10.11.10 Gm7
XX.12.13.11.12 C9#5
XX.12.12.13.13 F6/9 (no 3rd)

I think I got all of the fingers right. Let me know if I need to make any corrections