VOICE LEADING AND PHRASE APPLICATION · 12 MIN SUGGESTED

Guide-Tone Lines Through a Major ii–V–I

Connect thirds and sevenths through a major ii–V–I, then change one tonic target deliberately.

Connect both guide-tone lines · By Vincent Iannone · Updated 30 October 2026

How do guide-tone lines move through a major ii–V–I?

Guide-tone lines are melodies made from the thirds and sevenths of each chord in a progression. Through a major ii–V–I in C (Dm7–G7–Cmaj7) there are two such lines. The first is F–F–E: F is the third of Dm7, stays as the seventh of G7, then falls a half step to E, the third of Cmaj7. The second is C–B–B: C is the seventh of Dm7, falls to B as the third of G7, and stays as the seventh of Cmaj7. Each line moves by a half step or not at all, which is why guide tones make smooth melodies and inner voices. Changing the final target, for example ending the second line on E, is a deliberate variation rather than a mistake.

The idea

Hear each note against the chord under it. In C, F–F–E connects third, seventh and third; C–B–B connects seventh, third and seventh. These are two separate voices. Smooth motion is a useful choice, not the only valid line.

Put it under your fingers

1. Follow the worked F–F–E line against each chord.
2. Play the second line C–B–B, then change only its last note to E.
3. Move the second line to F major; later retrieve the original C version.

Make it yours

Play each guide-tone line separately, then add compact shells beneath it. Compare the sustained B target with an upward move to E at the tonic.