iiø7V7i

iiø7V7i refers to a common minor-key harmonic progression in which a supertonic half-diminished seventh chord (iiø7) leads to a dominant seventh (V7) that resolves to the tonic minor (i). This sequence parallels the major-key ii–V–I progression, adapted to the tonal needs of minor keys, and is frequently used to create a strong pull toward the tonic.

In harmonic minor, the iiø7 is built on scale degree two and is characterized as a half-diminished seventh: a diminished triad with a minor seventh. For example, in C minor, iiø7 is D–F–Ab–C. The accompanying V7 is typically the dominant seventh built on the fifth degree, here G7 (G–B–D–F), which then resolves to i, Cm (C–Eb–G).

The functional purpose of iiø7 is to function as a predominant chord, intensifying the motion toward the dominant. Voice-leading often emphasizes keeping common tones (such as D and F when moving from Dø7 to G7), while chromatic or stepwise motion resolves tensions: Ab tends to move down to G, and C (the seventh of iiø7) can move to B to join the V7’s third. This prepares a clean resolution to the tonic.

Variations and context: Jazz and pop arrangements frequently realize iiø7 as Dm7b5 with inversions, followed by G7 and resolving to i (or i6). Classical practice may embellish with passing chords or substitute dominant colors, but the core cadence remains iiø7–V7–i.