Theory · Advanced · 7 min
ii–V–I Arpeggios in C
Spell Dm7, G7 and Cmaj7 note by note in one position.
How to play it
- Dm7 is D, F, A, C. G7 is G, B, D, F. Cmaj7 is C, E, G, B.
- Say each chord name out loud as you start it, then play its notes low to high.
- Notice how few notes change between chords. That is voice leading, and it is next.
What the coach checks: Pitch of each chord tone in order.
Tab player
Hear the line
Tap any number to hear it. Four clicks count you in.
100% is the goal tempo, 100 BPM. The speed presets climb from Learn to Goal about 10% at a time, and the practice slider below uses the same scale. Build a full ladder to your goal
Your practice room
Find each note
Single-note pitch feedback. Practice waits for each note; Play checks the sequence at your chosen tempo. This does not assess chord quality or fret buzz.
This checkpoint needs 100 BPM or faster and the required accuracy. Slower Play attempts still produce practice scores.
Exercise map · 12 targets
- 1. D3Bar 1 · beat 1 · string 5 · fret 5
- 2. F3Bar 1 · beat 1.5 · string 4 · fret 3
- 3. A3Bar 1 · beat 2 · string 4 · fret 7
- 4. C4Bar 1 · beat 2.5 · string 3 · fret 5
- 5. G2Bar 1 · beat 3 · string 6 · fret 3
- 6. B2Bar 1 · beat 3.5 · string 5 · fret 2
- 7. D3Bar 1 · beat 4 · string 5 · fret 5
- 8. F3Bar 1 · beat 4.5 · string 4 · fret 3
- 9. C3Bar 2 · beat 1 · string 5 · fret 3
- 10. E3Bar 2 · beat 1.5 · string 5 · fret 7
- 11. G3Bar 2 · beat 2 · string 4 · fret 5
- 12. B3Bar 2 · beat 2.5 · string 3 · fret 4
Chord names and stroke directions are visual guidance. Rhythm scoring measures attack timing.
Play one note at a time.
Tune first. Audio stays on this device.
Why this drill
The ii–V–I is the central cadence of jazz standards and turns up across soul, bossa nova and pop. Playing each chord as its four notes connects the theory name to the sound and to a place on the neck.
Common mistakes
Playing the wrong seventh by habit
Fix: Cmaj7 takes B natural, string 3 fret 4; B flat would turn it into C7. G7 takes F natural on string 4 fret 3, the same F that sits in Dm7.
Jumping position for every chord
Fix: All twelve notes sit between fret 2 and fret 7. Keep the hand in that area and reach rather than shift; the widest moves are G7's root on string 6 fret 3 and its third, B, on string 5 fret 2.
Pausing at each chord change
Fix: Each chord lasts two beats, four eighth notes, and the next arpeggio starts on the very next eighth. Keep the line moving from C at the top of Dm7 straight into G, the root of G7.
Tempo plan
100% is the goal tempo, 100 BPM. Each rung sits about 10% above the one before it, so every step up is one you can hold. The speed presets in the player above use the same rungs.
- Learn 75 BPM · 75%Say the chord name as its root sounds, and name each note as root, third, fifth or seventh.
- Build 83 BPM · 83%Loop the G7 to Cmaj7 change, the V–I, until the resolution to C sounds like arriving home.
- Push 91 BPM · 91%Switch to Play · full check here. Two clean passes in a row earn the next rung.
- Goal 100 BPM · 100%The full line without a pause at either chord change. A pass at 80% accuracy or better clears the drill.
- Stretch 110 BPM · 110%Run a few passes here, then return to the goal. Time above the goal makes the goal feel settled.
Build a full ladder to your goal with holds and back-off sessions, starting from the tempo you can play today.
Make it music
Loop Dm7, G7 and Cmaj7 for two beats each and play each arpeggio as its chord sounds. Chord tones on the beat are how jazz players outline the harmony, so the progression stays audible even with no chords underneath. Each arpeggio starts on its root on a strong beat, D, then G, then C, so the bass movement is audible inside the single line.
Variation
Play each arpeggio from the top down: C, A, F, D for Dm7, F, D, B, G for G7, and B, G, E, C for Cmaj7. Then move everything up two frets for Em7, A7 and Dmaj7, the ii–V–I in D.