Hear the roots
At 60 bpm, first find these chord roots: C, F, B♭. Then play or sing the root of each sounding chord as you follow the trainer. Keep counting through the whole form. If you lose your place, return to roots before adding notes.
ii–V–I · B♭ major
ii–V–I in B♭ Major — Cm7 – F7 – B♭△7
The ii–V–I in B♭ major is Cm7 – F7 – B♭△7. Over Cm7 play Dorian (C D E♭ F G A B♭); Over F7 play Mixolydian (F G A B♭ C D E♭); Over B♭△7 play Ionian (major) (B♭ C D E♭ F G A). B♭ major is the home key of trumpet and tenor saxophone; Cm7 – F7 – B♭maj7 is probably the single most-played ii–V–I in jazz.
Interactive trainer
Hear it, see it, play it — in B♭ major.
Loop
Lead
Tempo110 bpm
ii⁷
ii
Cm7
V⁷
V
F7
I△
I
B♭△7
Chord-scale on your instrument
Showing: B♭△7 — Ionian (major)
Piano · Cm7 with Dorian
Guitar · standard tuning
Piano · F7 with Mixolydian
Guitar · standard tuning
Piano · B♭△7 with Ionian (major)
Guitar · standard tuning
RootChord toneScale toneBeing played
Play this chord:
Click any chord card to see its scale, and tap any key or fret to hear that note. Turn on “+ Arpeggios” or “+ Scales” and the guitar or piano plays the line live over the vamp, lighting each note on the diagram as it sounds. All audio is synthesized in your browser — nothing is recorded or copyrighted.
Your next 10 minutes
ii–V–I in B♭: from chords to a solo
Connect the guide tones
Cm7: E♭ and B♭; F7: A and E♭; B♭△7: D and A. Choose one voice and move to the nearest third or seventh in the next chord. Use your ear; not every transition is a half step.
Improvise with a limit
Using the chords Cm7, F7, B♭△7, use only chord tones for one chorus. On the next chorus add a single passing note between targets. Repeat one rhythmic idea, then leave a full bar of space.
Listen for this: Resolve into B♭△7 without rushing. Success means keeping the form and hearing your next target, not reaching the highest tempo.
Understand the sound
ii–V–I in B♭: hear the connections
The ii chord begins the motion, V concentrates the tension, and I gives it a place to settle. The roots explain the harmony, while the thirds and sevenths let you hear the resolution with fewer notes.
| Chord change | One possible line | Movement |
|---|---|---|
| Cm7 → F7 | B♭ → A | Down 1 semitone |
| F7 → B♭△7 | E♭ → D | Down 1 semitone |
Build the line before the solo
Play the first pitch in each row during its chord, then move to the target as the next chord begins. Choose an octave that allows the indicated movement. Sing the line once before playing it; add the bass roots only after the upper voice feels secure.
Check that you can hear the form
Stop playing for one complete cycle while you keep counting. Re-enter on B♭△7. If you miss the entrance, simplify to roots and work at 60 bpm before adding passing notes.
Reference
B♭ major ii–V–I — chords, arpeggios & chord-scales.
| Function | Chord | Chord tones (1–3–5–7) | Chord-scale | Scale notes |
|---|---|---|---|---|
| ii⁷ | Cm7 | C – E♭ – G – B♭ | Dorian | C D E♭ F G A B♭ |
| V⁷ | F7 | F – A – C – E♭ | Mixolydian | F G A B♭ C D E♭ |
| I△ | B♭△7 | B♭ – D – F – A | Ionian (major) | B♭ C D E♭ F G A |
| Guide tones | Cm7 | F7 | B♭△7 |
|---|---|---|---|
| 3rd | E♭ | A | D |
| 7th | B♭ | E♭ | A |
How to practise this
Build the B♭ major cadence into your ear.
1. Arpeggios in time. Loop the vamp at 70–90 bpm and play Cm7, F7, B♭△7 as 1–3–5–7 quarter notes, one chord per bar. Use the “+ Arpeggios” loop above to hear it played and copy the line.
2. Guide tones. Play only the 3rd and 7th of each chord: E♭–B♭ → A–E♭ → D–A. Notice that E♭, the 7th of F7, moves to D, the 3rd of B♭△7 — that is the resolution.
3. Chord-scales. Run Dorian on Cm7, Mixolydian on F7, Ionian (major) on B♭△7, then improvise keeping chord tones on beats 1 and 3.
4. Move it. When B♭ is clean, go to E♭ major — a fourth up — and keep going around the circle.
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<iframe src="https://jazzmusics.com/embed/ii-v-i/?key=Bb" width="100%" height="560" style="border:0;border-radius:12px" loading="lazy" title="ii–V–I trainer by jazzmusics.com"></iframe>
<p><a href="https://jazzmusics.com/practice/ii-v-i/bb-major/">ii–V–I in B♭ major — jazzmusics.com</a></p>
Take it to the bandstand.Practice Radio streams this cadence and every other progression through all twelve keys, with the chord and scale shown live — plus ear-training and call & response modes.
▶ Open Practice RadioCommon questions
B♭ major ii–V–I FAQ.
What are the chords of the ii–V–I in B♭ major?
Cm7 – F7 – B♭△7. The ii chord is Cm7 (C, E♭, G, B♭); The V chord is F7 (F, A, C, E♭); The I chord is B♭△7 (B♭, D, F, A).
Which scales do I play over Cm7 – F7 – B♭△7?
Cm7: Dorian (C D E♭ F G A B♭). F7: Mixolydian (F G A B♭ C D E♭). B♭△7: Ionian (major) (B♭ C D E♭ F G A).
What is the guide-tone line for the ii–V–I in B♭ major?
The thirds and sevenths: E♭ and B♭ over Cm7, A and E♭ over F7, D and A over B♭△7. Connect each voice to the nearest available third or seventh of the next chord; the distance depends on the progression and voicing.
How should I practise this progression?
Loop the vamp at a slow tempo, play each arpeggio 1–3–5–7 in time, then play each chord-scale up and down, then improvise using only chord tones on the strong beats. When it is clean, move to the next key around the circle of fourths.
All twelve keys
The major ii–V–I in every other key.
Explore the relative key: G minor (the relative minor). The same key’s I–vi–ii–V turnaround adds the vi chord in front of this cadence. Read the theory in What is a ii–V–I?, or see the scales on their own pages: C Dorian, F Mixolydian, B♭ Major.