The Minor ii–V–i
Updated: 2026-07-06Half of the jazz repertoire is in (or passes through) minor keys, and minor tunes lean on the minor ii–V–i. It's the same cadence you just learned, darkened by two changes: the ii becomes half-diminished and the V gets a flat-nine.
Key takeaways
- The minor version is iiø7 → V7(♭9) → i.
- In A minor: Bm7♭5 → E7♭9 → Am7.
- The dominant keeps its raised 3rd (G♯ in E7) — the leading tone that pulls to the tonic.
- The ♭9 on the dominant is the signature dark color of a minor ii–V.
This builds on The Major ii–V–I.
How is the minor ii–V–i different from major?
Two chords change. The ii becomes a half-diminished m7♭5 (ø7), and the V becomes an altered dominant — most often a 7♭9. The tonic is a minor chord. In A minor (verified with tonal):
| Chord | Roman | Notes |
|---|---|---|
| Bm7♭5 | iiø7 | B–D–F–A |
| E7♭9 | V7♭9 | E–G♯–B–D–F |
| Am7 | i | A–C–E–G |
Note the G♯ in the E7 — even in a minor key the dominant borrows a raised 3rd, so the leading tone still pulls up to A.
Why the ♭9 on the dominant?
The ♭9 (F over E7) comes straight out of the A-minor scale, so it sounds native to the key — and it intensifies the pull home. That dark, urgent dominant is what makes a minor ii–V instantly recognizable.
Listen
- "Blue Bossa" — a friendly first minor-key tune (about).
- Any minor blues: hear the iiø–V7♭9–i cadence turning the corner.
Practice
Play Bm7♭5 – E7♭9 – Am7 as 3–7 shells, then as fuller rootless voicings. Pay attention to the G♯ leading up to A. Then take it around all 12 keys.
Common mistakes
- Using a natural 9 on the minor-key dominant — the ♭9 is what belongs there.
- Forgetting the raised 3rd (G♯ in E7) and playing a plain minor v — you lose the pull home.
- Voicing the ø7 and the dominant with big leaps instead of smooth voice leading.
Frequently asked questions
How is the minor ii–V–i different from the major one? The ii is half-diminished (m7♭5) instead of a plain m7, the V is an altered dominant (usually 7♭9) instead of a plain 7, and the tonic is minor. The root motion — down in fourths — is identical, so it still feels like a strong cadence, just darker.
What is E7♭9 and why the ♭9? E7♭9 = E–G♯–B–D–F: a dominant seventh with its 9th flattened to F. That F is diatonic to A minor and heightens the tension resolving into Am, which is why the ♭9 is the default dominant color in minor keys.
Now you know both cadences — let's connect them into longer loops. Continue with Common Progressions & Turnarounds.