ii–V–I–vi: Jazz-Pop Resolution
Em7–A7–Dmaj7 is the classic cadence, but ending on Bm7 extends the story. After the resolution to I, slipping to vi feels like an afterthought or a sigh, which is perfect for bridges and intros that want to keep moving without restarting the whole form. The voice leading is elegant: the tritone in A7 resolves into Dmaj7, and then Dmaj7 shares tones with Bm7, so the final shift is smooth and intimate. This progression sits well under swing comping, but it also works for pop ballads when you play it with a gentler rhythm. On piano, play guide tones in the right hand and roots in the left; the changes will sound clear even at higher tempos. For melody, aim for F# over Dmaj7, then move to D over Bm7; that small drop emphasizes the emotional turn.
- Key
- D major
- Tempo
- 120 BPM
- Groove
- swing
Play it on guitar
Start slow, keep your right hand steady, and aim for clean changes on the downbeats. Once it’s comfortable, add a groove and increase tempo.
Capo suggestion: try capo 0 and play in D shapes for open chords.
Chords: Em7 – A7 – Dmaj7 – Bm7
Roman numerals & theory
Roman numerals describe the chord’s function relative to the key. This helps you transpose the “shape” to any key without memorizing new chord names.
In D major: IImaj7–V7–Imaj7–VImaj7
Variations (keep the progression, change the feel)
- • Add 7ths for color (try maj7 on I, m7 on vi, and V7 before resolving).
- • Use a sus4 resolve on the V chord (e.g. Gsus4 → G) to create tension and release.
- • Change the rhythm instead of the chords: try anticipations (hit the next chord on the “and” of 4).
- • Arpeggiate the top notes to create a hook while the harmony stays the same.
- • Borrow a darker chord for contrast (in a major key, try iv for one bar before returning).
Related
FAQ
Select a chord below to start building your progression