Jazz progression 2-5-1?
 

Hey im completely new to jazz and im learing about chord progression. As far as i understand a 2-5-1 contains a m7 chord a 7 and a Major. ex. Dm7 A7 Cmaj... is this correct?? and how many 2-5-1 is there in the tune Beutiful Love by Victor Young, is the only 2-5-1 one in the tune G-7 - C7 - Fmaj7 and is that a 2-5-1 if the Fmaj has the seventh tone on it???? :)

Hi and welcome to MB!

There are several different ways of using the ii-V-I progression in jazz music. Most often, this progression is used as a turn-around, i.e.: in a typical phrase like I-IV-V7-I, it can be used to go back towards I, like so: I-IV-V7-ii-V7-I.

In Beautiful Love, the ii chord is a half-diminished chord, meaning the fifth of the chord is flat. So now it's a slightly different progression. Since the piece is in F major (Bb in the key signature), the ii half-diminished (or ø) chord is spelled as G-Bb-Db-A, instead of G-Bb-D-A if it were a normal ii7 chord.

You asked if the Fmaj is still a I chord if there is a seventh added. Yes, it is. The seventh is there to add texture, and as long as it fits the progression, there's nothing wrong with it. You also asked how many ii-V7-I progressions there are in Beautiful Love. I can't give you an exact number, but after listening to the piece, I know that there are several. As I don't have the lead sheet for the song, I really can't tell you where they are located. However, you could probably find this information elsewhere on the Internet :)

I really hope this is the answer you are looking for!

Thank you very much for replying me :D it helped med a lot :)

rules are meant to be broken

do you know chord substitution?

You're welcome. I hope I didn't throw too much jargon at you. I'm learning to be a music teacher so this is great practise for me :)
Yes, they are. Especially in jazz! As for chord substitution, in this case ii is taking the place of IV. Where the progression would normally be (if following the traditional rules) IV-V(7)-I, here it is changed to ii-V7-I. Chord substitution isn't hard and is used in all kinds of music, even classical.

I prefer the 'just listen to a bunch of it, and imitate what you like' approach. That's just me, though.

Same here! I go for the overall feel, and look into some theory when I'm short on inspiration, though - which may not be what you do at all. But sometimes, actually using theory to play in certain keys can start some really interesting thought processes regarding the music I'm playing, and lead to some really nifty stuff.

i only do that with Coltrane