ii-V-I Progression
The following pieces that are on this website contain examples of ii-V-I progressions.
Pieces that are not in the Public Domain are marked as NON-PD and may not have a score.
| PERIOD/PAGE | COMPOSER | COMPOSER CATEGORY | COMPOSITION | ANALYTIC TOPICS |
|---|---|---|---|---|
| Jazz, Pop, and Film Music | Bacharach, Burt and David, Hal | American, male | “Alfie” (1966) – NON-PD | Tritone sub, cto7, ii-V-I progression |
| Jazz, Pop, and Film Music | Berlin, Irving | American, Male | “Easter Parade” (1933) – NON-PD | cto7, secondary dominants, ii-V-I progression |
| Jazz, Pop, and Film Music | Kern, Joseph and Oscar Hammerstein II | American | “All the Things You Are” from the musical Very Warm for May (1939) – NON-PD | Circle of 5ths progression, altered dominant, ii-V-I progression, descending passing diminished 7th |
| Jazz, Pop, and Film Music | Kern, Jerome | American | “Smoke Gets in Your Eyes” from the musical Roberta (1933) – NON-PD | 32-bar song form, Altered dominants, ii-V-I progression |
| Jazz, Pop, and Film Music | Noble, Ray | British, jazz | “Cherokee (Indian Love Song)” (1938) – NON-PD | Altered dominants (V+), Major-Minor movement of the same chord, sequence of ii-V-I progressions. |
| Jazz, Pop, and Film Music | Jones, Isham and Symes, Marty | American | “There Is No Greater Love” (1936) – NON-PD | Tritone sub, secondary dominants, ii-V-I progression, Aug 6 |
| Jazz, Pop, and Film Music | Wells, Robert and Torme, Mel | American | “The Christmas Song (Chestnuts Roasting on an Open Fire)” (1944) – NON-PD | ii-V-I progressions, Tritone sub |
| Jazz, Pop, and Film Music | Warren, Harry and Gordon, Mack | American, male | “There Will Never Be Another You” (1942) – NON-PD | ii-V-I, mixture, passing diminished 7th, 3rd relationship |
| Jazz, Pop, and Film Music | Porter, Cole | American, Male | “Could It Be You” (1942) – NON-PD | mixture, ii-V-I progression, secondary dominants |
| Jazz, Pop, and Film Music | Loesser, Frank | American Broadway songwriter | “I’ve Never Been in Love Before” from Guys and Dolls (1950) – NON-PD | Mixture, Expanded ii-V-I progressions |
| Jazz, Pop, and Film Music | Lerner, Alan Jay and Lowe, Frederick | American | “Almost Like Being in Love” (1947) – NON-PD | passing diminished 7th (descending), ii-V-I progression, “screendoor” progression – deceptive resolution in ii-V-I progression |
| Baroque | Bach, J.S. | German, Male | Well Tempered Clavier, Book 1, Prelude 1 in C major, BWV 846 | ii-V-I progression, secondary dominants |
| Jazz, Pop, and Film Music | Rodgers, Richard and Hammerstein II, Oscar | American, Male | “The Surrey with the Fringe on Top” (1943) – NON-PD | 32-bar song form, vi-ii-V-I progression |
| Jazz, Pop, and Film Music | Mancini, Henry and Mercer, Johnny | American, Male | “Days of Wine and Roses” (1962) – NON-PD | vi-ii-V-I progression, stanzas |
| Jazz, Pop, and Film Music | Mingus, Charles | American, Black | “Self Portrait in Three Colors” (1957) – NON-PD | Circle of 5ths progression, II-V-I |