ii–V–I–vi progression in B♭ major

Cm7F7B♭maj7Gm7

The ii–V–I–vi chord progression in B♭ major is a smooth and sophisticated sequence that uses Cm7 – F7 – B♭maj7 – Gm7. It's one of the cornerstone harmonic patterns of Jazz — instantly familiar to listeners and effortless to play once you understand its structure.

This progression has a smooth and sophisticated character. It works beautifully for jazz songs, but you'll also hear it across countless adjacent styles. Try it with steady eighth-note strumming, broken arpeggios or a four-on-the-floor rhythm to instantly change the feel.

Hear this progression

Cm7F7B♭maj7Gm7

Tempo: 90 BPMVolume: 75%Beats per chord: 4

Chords in this progression

These are the chords for the progression in B♭ major. Click any chord to open its dedicated page with diagrams and theory.

Step	Roman numeral	Chord	Open
1	ii	Cm7	Open chord page
2	V	F7	Open chord page
3	I	B♭maj7	Open chord page
4	vi	Gm7	Open chord page

What this progression means

In B♭ major, the ii–V–I–vi progression places each chord on a specific scale degree. Roman numerals describe how the chords function regardless of the key you're in, while the actual chord symbols (Cm7 – F7 – B♭maj7 – Gm7) tell you exactly what to play on guitar, piano or any other instrument.

Each Roman numeral represents a chord built on a degree of the B♭ major scale. Uppercase numerals (I, IV, V) are major chords; lowercase (ii, iii, vi) are minor; ° marks a diminished chord; ♭ in front of a numeral lowers the root by a half step (e.g. ♭VII).

Practice tips

Loop the progression slowly with a metronome at around 80 BPM. Once each change is comfortable, try arpeggiating the chords, then experiment with inversions, common-tone voicings and adding 7ths or 9ths to taste.

Variations and substitutions

You can extend this progression with secondary dominants (e.g. V/vi → vi), borrowed chords from the parallel minor, or by repeating one chord for multiple bars before moving on. These variations keep the progression fresh while preserving its core sound.

Famous songs with this progression

You'll hear the ii–V–I–vi progression in songs like Heart and Soul — Hoagy Carmichael. Many of these are originally in different keys — transpose them to B♭ major to play along.

If you like the ii–V–I–vi progression in B♭ major, you'll probably enjoy these closely related progressions. Some share the same key, others use the same Roman numeral pattern in a new key.

ii–V–I–vi in C major

Dm7 – G7 – Cmaj7 – Am7

ii–V–I–vi in C♯ major

D♯m7 – G♯7 – C♯maj7 – A♯m7

ii–V–I–vi in D major

Em7 – A7 – Dmaj7 – Bm7

ii–V–I–vi in E♭ major

Fm7 – B♭7 – E♭maj7 – Cm7

ii–V–I–vi in E major

F♯m7 – B7 – Emaj7 – C♯m7

ii–V–I–vi in F major

Gm7 – C7 – Fmaj7 – Dm7

I–V–vi–IV in B♭ major

Frequently asked questions

What chords are in the ii–V–I–vi progression in B♭ major?

The ii–V–I–vi progression in B♭ major uses these chords: Cm7 – F7 – B♭maj7 – Gm7. Each chord corresponds to a specific scale degree, which is why the same Roman numerals can be transposed to any key.

What tempo and time signature work best for this progression?

ii–V–I–vi works in a wide tempo range — typically 80–180 BPM in 4/4. Slower tempos give a ballad feel; faster ones make it feel like an upbeat jazz track.

Why is this progression so popular?

ii–V–I–vi packs strong harmonic motion into a short loop. It moves through tonic, predominant and dominant functions with a satisfying resolution, which makes it instantly memorable in Jazz and many other styles.

Can I use the same chords in a different key?

Yes — Roman numerals like ii–V–I–vi are key-independent. To play it in another key, just take the I, IV, V (and so on) chords of that key. Browse our progression pages in every root to see the chord names already worked out for you.

Keep exploring chord progressions

Use this progression in your own songs in B♭ major or transpose it to any key with our tools.

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