ii–V–I–VI7: Bebop Tag
Dm7–G7–Cmaj7 sounds like the end, but adding A7 keeps the door open. In swing and bebop, that VI7 chord functions as a secondary dominant that points straight back to ii (Dm7), so the band can loop the cadence for a tag or kick off another chorus. The motion is satisfying because guide tones resolve cleanly: the tritone in G7 resolves into Cmaj7, then A7 introduces C# that wants to rise to D when Dm7 returns. For comping, use shell voicings and make the 3rds and 7ths move by half-step wherever possible; it will sound like a real jazz ending even at tempo. For improvising, treat A7 as a brief color change and aim for chord tones on strong beats. A practical trick is to accent the first Cmaj7, then play A7 softer; it signals “we are not done yet.”
- Key
- C major
- Tempo
- 160 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 C shapes for open chords.
Chords: Dm7 – G7 – Cmaj7 – A7
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 C major: IImaj7–V7–Imaj7–VI7
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