Like the iii chord, the ii chord is slightly more harmonically distant than IV, V, and vi. However, unlike the iii, the ii does not have the same restrictions as to which chords should follow it. In fact, the ii is extremely versatile and can be used in a number of different situations. To illustrate this, we’ve made a similar chart to the one in the last section, this time showing the statistics for which chords follow a ii chord in the Theorytab database.
One function of ii is as a substitution for a IV. One famous example of this substitution occurred in the so-called “50’s progression”. During the 1950’s, the progression I → vi → IV → V showed up in so many hit songs that people began to take notice. The progression was even lampooned in the musical Grease in the song “Those Magic Changes”
Clearly innovation was needed, and songwriters looking for a “fresh” sound struck upon the idea to use the same progression while simply replacing the IV with the slightly more exotic sounding ii chord. The result was a slew of songs using the much more original I → vi → ii → V. “Sherry” by The Four Seasons is one of many examples from the era:
The reason ii can often substitute for IV so nicely is that both chords can function as what are called pre-cadence chords. In the Harmony-I chapter, we talked about the basic structure that most chord progressions follow. After leaving home base, the progression plays around harmonically before getting back to I through a cadence chord:
In a longer progression, pre-cadence chords smooth the transition to the cadence chord (remember, V is the most common cadence chord in a long progression). Below we show where a pre-cadence chord goes in a general progression:
Along with IV, ii is the most common pre-cadence chord. However, to say that ii is just a substitute for IV in all circumstances is an oversimplification. In shorter progressions, you learned that IV frequently can act as a cadence chord just like V. ii, on the other hand, does not have a strong pull towards I, so it is not normally used to end a chord progression. When IV is acting as a cadence chord, ii is not a good replacement for IV.
In addition to its role as a pre-cadence chord, ii also functions well before or after the IV chord itself. The following example shows the ii chord being used in this way.
Unlike the iii chord, the ii chord offers a fair amount of flexibility even in four-chord progressions. Since the ii is a good pre-cadence chord, it can act as the third chord of the progression: I → X → ii → (IV or V), where X can be a number of chords such as IV, vi, or V. Also ii can act as the second chord: I → ii → X → (IV or V), where there are a number of choices for the third chord before the cadence chord. A common choice for this chord is the vi, which serves nicely to set up a cadence on V or IV, as in “Halo” by Beyonce:
In the next chapter we will be introducing you to chord inversions. You’ll see that the ii has some powerful uses when combined with this new chord type.
Review
Rank the basic chords chords I, ii, iii, IV, vi in order by their utility as a pre-cadence chord.
Review
Which of the following is NOT a recommended use of ii in a four-chord progression?
Challenge Question
Using your knowledge of how each chord functions in a chord progression (and with the notes in the melody), try to figure out which chords belong in the question marks below.
