VOICE LEADING AND PHRASE APPLICATION · 12 MIN SUGGESTED

Minor ii–V–i on Jazz Guitar: m7♭5, 7♭9 and m6

Hear iiø7–V7♭9 resolve into an explicitly named minor-sixth tonic and compare two nearby tonic targets.

Resolve a minor cadence into tonic minor six · By Vincent Iannone · Updated 30 October 2026

What is a minor ii–V–i progression?

A minor ii–V–i is the minor-key version of the jazz cadence. In C minor it is commonly Dm7♭5–G7♭9–Cm6, also written iiø7–V7♭9–i6. The ii chord is half-diminished (D F A♭ C), the V chord is a dominant seventh with a lowered ninth (G B D F A♭), and the tonic here is Cm6, spelled C–E♭–G–A, where A is a sixth rather than a seventh. A♭ is shared by the first two chords and resolves at the tonic, either down a semitone to G or up a semitone to A. The guide-tone line F–F–E♭ connects the cadence: F is the third of Dm7♭5, the seventh of G7♭9, then falls a whole tone to E♭, the minor third of Cm6.

The idea

This study uses Cm6, spelled C–E♭–G–A, as its tonic. The A is a sixth, not a seventh. A♭ belongs to Dm7♭5 and G7♭9; at the tonic it can move down to G or up to A. Both authored paths move by a semitone.

Put it under your fingers

1. Hear the worked F–F–E♭ line and name Cm6’s four chord tones.
2. Track A♭ from the half-diminished chord into the dominant, then choose G or A at the tonic.
3. Transfer the original A♭–A♭–G path to F minor and retrieve it in C.

Make it yours

Arpeggiate the four tones of Dm7♭5 individually so its lowered fifth is audible. Compare A♭–G with A♭–A at the Cm6 arrival; then play the compact tonic voicing.