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{ \new PianoStaff << \new Staff << \new Voice \relative c'' { \stemUp \clef treble \key c \major \time 4/4 c2 b c1 } \new Voice \relative c' { \stemDown f2 d e1 } >> \new Staff << \new Voice \relative c' { \stemUp \clef bass \key c \major \time 4/4 a2 g g1 } \new Voice \relative c { \stemDown f,2_\markup { \concat { \translate #'(-4 . 0) { "C: IV" \hspace #2.2 "V" \hspace #5.3 "I" } } } g c1 \bar "||" } >> >> }
A IV–V–I progression in the key of C major. The chords shown are F major, G major, and C major.

In a musical composition, a chord progression or harmonic progression (informally chord changes, used as a plural, or simply changes) is a succession of chords. Chord progressions are the foundation of harmony in Western musical tradition from the common practice era of classical music to the 21st century. Chord progressions are the foundation of popular music styles (e.g., pop music, rock music), traditional music, as well as genres such as blues and jazz. In these genres, chord progressions are the defining feature on which melody and rhythm are built.

In tonal music, chord progressions have the function of either establishing or otherwise contradicting a tonality, the technical name for what is commonly understood as the "key" of a song or piece. Chord progressions, such as the extremely common chord progression I-V-vi-IV, are usually expressed by Roman numerals in classical music theory. In many styles of popular and traditional music, chord progressions are expressed using the name and "quality" of the chords. For example, the previously mentioned chord progression, in the key of E♭ major, would be written as E♭ major–B♭ major–C minor–A♭ major in a fake book or lead sheet. In the first chord, E♭ major, the "E♭" indicates that the chord is built on the root note "E♭" and the word "major" indicates that a major chord is built on this "E♭" note.

In rock and blues, musicians also often refer to chord progressions using Roman numerals, as this facilitates transposing a song to a new key. For example, rock and blues musicians often think of the 12-bar blues as consisting of I, IV, and V chords. Thus, a simple version of the 12-bar blues might be expressed as I–I–I–I, IV–IV–I–I, V–IV–I–I. By thinking of this blues progression in Roman numerals, a backup band or rhythm section could be instructed by a bandleader to play the chord progression in any key. For example, if the bandleader asked the band to play this chord progression in the key of B♭ major, the chords would be B♭-B♭-B♭-B♭, E♭-E♭-B♭-B♭, F-E♭-B♭-B♭.

The complexity of a chord progression varies from genre to genre and over different historical periods. Some pop and rock songs from the 1980s to the 2010s have fairly simple chord progressions. Funk emphasizes the groove and rhythm as the key element, so entire funk songs may be based on one chord. Some jazz-funk songs are based on a two-, three-, or four-chord vamp. Some punk and hardcore punk songs use only a few chords. On the other hand, bebop jazz songs may have 32-bar song forms with one or two chord changes every bar.

Basic theory

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The key note, or tonic, of a piece of music is called note number one, the first step of (here), the ascending scale iii–IV–V. Chords built on several scale degrees are numbered likewise. Thus the chord progression E minor–F–G can be described as three–four–five, (or iii–IV–V).

A chord may be built upon any note of a musical scale. Therefore, a seven-note diatonic scale allows seven basic diatonic triads, each degree of the scale becoming the root of its own chord.[1] A chord built upon the note E is an E chord of some type (major, minor, diminished, etc.) Chords in a progression may also have more than three notes, such as in the case of a seventh chord (V7 is particularly common, as it resolves to I) or an extended chord. The harmonic function of any particular chord depends on the context of the particular chord progression in which it is found.[2]

Diatonic and chromatic chords

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The diatonic harmonization of any major scale results in three major triads, which are based on the first, fourth, and fifth scale degrees. The triads are referred to as the tonic chord (in Roman numeral analysis, symbolized by "I"), the subdominant chord (IV), and the dominant chord, (V), respectively.[3] These three triads include, and therefore can harmonize, every note of that scale. Many simple traditional music, folk music and rock and roll songs use only these three chord types (e.g. The Troggs' "Wild Thing", which uses I, IV and V chords).

The same major scale also has three minor chords, the supertonic chord (ii), mediant chord (iii), and submediant chord (vi), respectively. These chords stand in the same relationship to one another (in the relative minor key) as do the three major chords, so that they may be viewed as the first (i), fourth (iv) and fifth (v) degrees of the relative minor key. For example, the relative minor of C major is A minor, and in the key of A minor, the i, iv and v chords are A minor, D minor and E minor. In practice, in a minor key, the third of the dominant chord is often raised by one semitone to form a major chord (or a dominant seventh chord if the seventh is added).

In addition, the seventh degree of the major scale (i.e. the leading tone) forms a diminished chord (viio).[4]

A chord may also have chromatic notes, that is, notes outside of the diatonic scale. Perhaps the most basic chromatic alteration in simple folk songs is the raised fourth degree (♯scale degree 4) that results when the third of the ii chord is raised one semitone. Such a chord typically functions as the secondary dominant of the V chord (V/V). In some instances, chromatic notes are introduced to modulate to a new key. This in turn may lead to a resolution back to the original key later on, so that the entire sequence of chords helps create an extended musical form and a sense of movement.

Progressions

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Although there are many possible progressions, in practice, progressions are often limited to a few bars' lengths and certain progressions are favored above others. There is also a certain amount of fashion in which a chord progression is defined (e.g., the 12-bar blues progression) and may even help in defining an entire genre.[citation needed]

In western classical notation, chords are numbered with Roman numerals. Other types of chord notation have been devised, from figured bass to the chord chart. These usually allow or even require a certain amount of improvisation.

Common progressions

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Simple progressions

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Diatonic scales such as the major and minor scales lend themselves particularly well to the construction of common chords because they contain many perfect fifths. Such scales predominate in those regions where harmony is an essential part of music, as, for example, in the common practice period of western classical music. In considering Arab and Indian music, where diatonic scales are used, there are also available a number of non-diatonic scales, the music has no chord changes, remaining always upon the key-chord, an attribute which has also been observed in hard rock, hip hop,[5] funk, disco,[6] jazz, etc.

Alternation between two chords may be thought of as the most basic chord progression. Many well-known pieces are built harmonically upon the mere repetition of two chords of the same scale.[2] For example, many of the more straightforward melodies in classical music consist entirely or mostly of alternation between the tonic (I) and the dominant (V, sometimes with an added seventh), as do popular songs such as "Achy Breaky Heart".[7] The Isley Brothers' "Shout" uses I–vi throughout.[8]

Three-chord progressions

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See also: Three-chord song

Three-chord progressions are more common since a melody may then dwell on any note of the scale. They are often presented as successions of four chords (as shown below), in order to produce a binary harmonic rhythm, but then two of the four chords are the same.

  • I – IV – V – V
  • I – I – IV – V
  • I – IV – I – V
  • I – IV – V – IV

Often the chords may be selected to fit a pre-conceived melody, but just as often it is the progression itself that gives rise to the melody.

Similar progressions abound in African popular music. They may be varied by the addition of sevenths (or other scale degrees) to any chord or by substitution of the relative minor of the IV chord to give, for example, I–ii–V. This sequence, using the ii chord, is also used cadentially in a common chord progression of jazz harmony, the so-called ii–V–I turnaround.

Three-chord progressions provide the harmonic foundation of much African and American popular music, and they occur sectionally in many pieces of classical music (such as the opening bars of Beethoven's Pastoral Symphony[9]).

Where such a simple sequence does not represent the entire harmonic structure of a piece, it may readily be extended for greater variety. Frequently, an opening phrase has the progression I–IV–V–V, which ends on an unresolved dominant, may be "answered" by a similar phrase that resolves back onto the tonic chord, giving a structure of double the length:

I IV V V
I IV V I

Additionally, such a passage may be alternated with a different progression to give a simple binary or ternary form such as that of the popular 32-bar form (see musical form).

Blues changes

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Blues progressions influenced a great deal of 20th century American popular music

The 12-bar blues and its many variants use an elongated, three-line form of the I–IV–V progression that has also generated countless hit records, including the most significant output of rock and rollers such as Chuck Berry and Little Richard. In its most elementary form (and there are many variants), the chord progression is

I I I I
IV IV I I
V IV I I

Blues progressions have also been subjected to densely chromatic elaboration, as in the Bird blues.

Steedman (1984) proposed that a set of recursive rewrite rules generate all well-formed transformations of jazz, both basic blues chord changes and slightly modified sequences (such as the "rhythm changes"). Important transformations include:

  • replacement of (or addition to) a chord with its dominant, subdominant or the tritone substitution.
  • use of chromatic passing chords.
  • extensively applying the ii–V–I turnaround.
  • chord alterations such as minor chords, diminished sevenths, etc.[10]

1950s progression

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{ \relative c' { \clef treble \time 4/4 \key c \major <c e g>1_\markup { \concat { \translate #'(-3.5 . 0) { "C: I" \hspace #7 "vi" \hspace #6 "IV" \hspace #6 "V" \hspace #7 "I" } } } <a c e a> <f c' f a> <g b d g> <c e g> \bar "||" } }
A 50s progression in C

Another common way of extending the I–IV–V progression is by adding the chord of the sixth scale degree, giving the sequence I–vi–IV–V or I–vi–ii–V, sometimes called the 50s progression or doo-wop progression.

This progression had been in use from the earliest days of classical music and then generated popular hits such as Rodgers and Hart's "Blue Moon" (1934)[11] and Hoagy Carmichael's "Heart and Soul" (1938).[12]

Taken up into the pop mainstream, it continued to be used sectionally, as in the last part of The Beatles' "Happiness Is a Warm Gun".[13]

Circle progressions

[edit]
{ \new PianoStaff << \new Staff << \new Voice \relative c' { \clef treble \time 4/4 \stemUp e2 f d e c d b c } \new Voice \relative c' { \stemDown c2 c b b a a g g } >> \new Staff << \new Voice \relative c' { \clef bass \time 4/4 \stemUp g2 a f g e f d e } \new Voice \relative c { \stemDown c_\markup { \concat { \translate #'(-4 . 0) { "C: I" \hspace #2.8 "IV" \hspace #3 "vii" \raise #1 \small "o" \hspace #1.5 "iii" \hspace #3.2 "vi" \hspace #2.5 "ii" \hspace #3.8 "V" \hspace #3 "I" } } } f, b e, a d, g c, } >> >> }
A circle progression in C major
{ \relative c' { \clef treble \time 4/4 \key c \major <e gis b d>1_\markup { \concat { \translate #'(-3.5 . 0) { "C: III" \raise #1 \small "7" \hspace #5 "VI" \raise #1 \small "7" \hspace #5.5 "II" \raise #1 \small "7" \hspace #5.5 "V" \raise #1 \small "7" } } } <a, e' g! cis> <d fis a c!> < g, d' f! b> \bar "||" } }
The ragtime progression (E7–A7–D7–G7) often appears in the bridge of jazz standards.[14] The III7–VI7–II7–V7 (or V7/V/V/V–V7/V/V–V7/V–V7) leads back to C major (I) but is itself indefinite in key.

Introducing the ii chord into these progressions emphasises their appeal as constituting elementary forms of circle progression. These, named for the circle of fifths, consist of "adjacent roots in ascending fourth or descending fifth relationship"—for instance, the sequence vi–ii–V–I ascends with each successive chord to one a fourth above the previous. Such a motion, based upon close harmonic relations, offers "undoubtedly the most common and the strongest of all harmonic progressions".[15] Short cyclical progressions may be derived by selecting a sequence of chords from the series completing a circle from the tonic through all seven diatonic chords:[15]

I–IV–viio–iii–vi–ii–V–I

This type of progression was much used by classical composers, who introduced increasingly subtle inflections. Particularly, substitution of major for minor chords giving, for example, I–VI–II–V allowed a more sophisticated chromaticism as well as the possibility of modulation. These harmonic conventions were taken up by American popular entertainers, giving rise to many variations on those harmonic staples of early jazz that have been dubbed the ragtime progression and the stomp progression. All such progressions may be found used sectionally, as for example in the much-used "rhythm changes" of George Gershwin's "I Got Rhythm".

Harmonizing the scale

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As well as the cyclical underpinning of chords, the ear tends to respond well to a linear thread; chords following the scale upwards or downwards. These are often referred to as step progressions[16] because they follow the steps of the scale, making the scale itself a bassline. In the 17th century, descending bass lines found favour for "divisions on the ground", so that Pachelbel's canon contains very similar harmonizations of the descending major scale.

At its simplest, this descending sequence may simply introduce an extra chord, either III or V, into the I–vi–IV–V type of sequence described above. This chord allows the harmonization of the seventh degree, and so of the bass line I–VII–VI....

The finale measures of the first movement of Ravel's Piano Concerto in G feature the harmonization of a descending hybrid scale (phrygo-major). In this special case, Ravel used a parallel series of major triads (G F♯ E D C B♭ A♭ G).

Minor and modal progressions

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{ \relative c'' { \clef treble \time 4/4 \key a \minor <a c e>1_\markup { \concat { \translate #'(-3.5 . 0) { "a: i" \hspace #6.5 "VII" \hspace #5.5 "VI" \hspace #6 "V" \raise #1 \small "7" \hspace #6 "i" } } } <g b d> <f a c> <e gis b \parenthesize d> <a c e> \bar "||" } }
A typical Andalusian cadence por arriba (i.e. in A minor). G is the subtonic and G♯ is the leading tone.

Similar strategies to all the above, work equally well in minor modes: there have been one-, two-, and three-minor-chord songs, minor blues. A notable example of a descending minor chord progression is the four-chord Andalusian cadence, i–VII–VI–V.

Folk and blues tunes frequently use the Mixolydian scale, which has a flat seventh degree, altering the position of the three major chords to I–♭VII–IV. For example, if the major scale of C, which gives the three chords C, F and G on the first, fourth and fifth degrees, is played with G as the tonic, then the same chords will now appear on the first, fourth, and seventh degrees. A common chord progression with these chords is I-♭VII–IV-I, which also can be played as I-I-♭VII–IV or ♭VII–IV-I-I.

The minor-third step from a minor key up to the relative major encouraged ascending scale progressions, particularly based on an ascending pentatonic scale. Typical of the type is the sequence i–III–IV (or iv)–VI.

According to Tom Sutcliffe:[17]

... during 1960s some pop groups started to experiment with modal chord progressions as an alternative way of harmonizing blues melodies. ... This created a new system of harmony that has influenced subsequent popular music.

This came about partly from the similarity of the blues scale to modal scales and partly from the characteristics of the guitar and the use of parallel major chords on the pentatonic minor scale. With barre chords on guitar, the same chord shape can be moved up and down the neck without changing the fingering. This phenomenon is also linked to the rise in use of power chords in various sub-genres of rock music.

See also

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References

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Further reading

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

Chord progression

View on Grokipedia
from Grokipedia
A chord progression, also known as a progression, is a series of chords played in a specific order to form the harmonic foundation of a , supporting the and while establishing . In Western tonal , these progressions typically consist of diatonic chords derived from a key's scale, following principles of functional where chords serve roles such as tonic (providing stability), (building tension), and dominant (leading to resolution). They create a of movement and emotional arc, often repeating to structure verses, choruses, or entire sections of a piece. Common chord progressions include the I–IV–V in major keys, a foundational sequence used extensively in blues, rock, and folk music to evoke straightforward energy and resolution. The ii–V–I progression, prevalent in jazz and standards like "Autumn Leaves," relies on the supertonic (ii) to approach the dominant (V), culminating in the tonic (I) for a smooth, conclusive feel. Another ubiquitous example is the I–vi–IV–V (or "50s progression"), which alternates major and minor chords to generate nostalgia and uplift, appearing in countless pop songs from the mid-20th century onward. These patterns, notated in Roman numerals to indicate scale degrees, allow composers to transcend specific keys and adapt progressions across transpositions. Chord progressions have evolved from the Baroque era's emphasis on cadences like the authentic (V–I) and plagal (IV–I) to more expansive uses in modern genres, where extensions, substitutions, and modal mixtures add complexity and genre-specific flavor. In analysis and composition, understanding progressions reveals how influences listener perception, evoking emotions from tension to release, and remains a core element in music education and creation.

Fundamentals

Definition and purpose

A chord progression is a succession of chords, each consisting of three or more simultaneous notes, arranged in a specific order to form the framework of a musical piece. This sequence provides the underlying structure that supports the and , defining the movement within a composition. The primary purpose of a chord progression is to establish by implying a central key, while generating musical tension through dissonant or unstable chords and resolution via or ones, thereby shaping the emotional arc of the music. In various genres, from classical to popular, progressions serve as the foundational backbone for , influencing mood and listener engagement by creating predictable yet expressive patterns that enhance memorability and structural coherence. Fundamental to understanding chord progressions are basic chords, typically triads formed by stacking a note, a third above it, and a fifth above the , which can be major or minor depending on the interval qualities. These are often analyzed using Roman numeral notation, where uppercase numerals (e.g., I for the tonic chord built on the first scale degree) denote triads and lowercase (e.g., ii for the chord on the second degree) indicate ones, allowing progressions to be represented independently of specific pitches and highlighting their function within an implied key. This system underscores how a series of such chords collectively suggests a tonal center, guiding the harmonic direction of the music. For instance, the dominant chord on the fifth scale degree is denoted V (major triad). Chord progressions emerged prominently in Western classical music during the era (circa 1600–1750), as homophonic textures and the - tonal system gained prevalence, enabling more systematic harmonic sequences that evolved into staples of later traditions.

Diatonic chords

Diatonic chords are triads constructed exclusively from the notes of a given key's diatonic scale, providing the foundational harmonic framework in tonal music. In a major key, such as C major, these chords follow a specific pattern of qualities: major, minor, minor, major, major, minor, and diminished, denoted by Roman numerals as I, ii, iii, IV, V, vi, and vii°. These chords serve distinct functions that contribute to the sense of stability, movement, and resolution in progressions. The tonic function, embodied by I and vi, establishes a sense of rest and home within the key, offering stability without demanding further progression. The subdominant (or pre-dominant) function, represented by IV and ii, prepares tension by leading toward the dominant, creating anticipation for resolution. The dominant function, carried by V and vii°, generates the strongest pull back to the tonic through its inherent , promoting resolution and closure. In the key of , the diatonic chords are as follows:
Roman NumeralChord NameNotesQuality
ICC-E-GMajor
iiDmD-F-AMinor
iiiEmE-G-BMinor
IVFF-A-CMajor
VGG-B-DMajor
viAmA-C-EMinor
vii°BdimB-D-FDiminished
These triads can be notated in lead-sheet style or analyzed in four-part harmony to illustrate their roles; for instance, a simple I-IV-V-I progression in C major (C-F-G-C) demonstrates the cycle of tonic-subdominant-dominant-tonic functions. A common alteration to these diatonic triads involves extending them to seventh chords by adding a note a third above the fifth, which introduces additional dissonance. The dominant seventh chord (V7), such as G7 (G-B-D-F) in C major, is particularly prevalent as it combines the major triad with a minor seventh, heightening tension and strengthening the resolution to the tonic.

Chromatic chords

Chromatic chords are those that incorporate pitches outside the diatonic collection of the prevailing key, introducing foreign to the scale for purposes such as temporary modulation, , or heightened expressiveness. Unlike diatonic chords, which derive solely from the key's degrees, chromatic chords alter or borrow elements to create tension and color, often resolving back to diatonic . Common types of chromatic chords in the common-practice period include secondary dominants, borrowed chords, augmented sixth chords, and chromatic mediants. Secondary dominants are major triads or major-minor seventh chords that function as the dominant (V or V7) of a non-tonic diatonic chord, temporarily tonicizing it within the key. For instance, in C major, the chord D7 (V/V) leads to , introducing the raised fourth scale degree (F♯) as a chromatic leading tone. Borrowed chords, also known as mode mixture, are drawn from the parallel mode—typically the minor in a major key or vice versa—resulting in flattened scale degrees like ♭3, ♭6, or ♭7. An example is the bVII chord, such as in C major, borrowed from to add a modal flavor. Augmented sixth chords form another key category, characterized by the interval of an augmented sixth (enharmonically equivalent to a ) between the ♭6 (bass) and ♯4, typically functioning as predominants leading to the dominant. There are three principal types: the Italian (It+6), consisting of ♭6, 1, and ♯4 (e.g., F-A-D♯ in ); the French (Fr+6), adding 2 (e.g., F-A-B-D♯); and the German (Ger+6), adding ♭3 (e.g., F-A-C-D♯). Chromatic mediants, meanwhile, connect chords whose roots are separated by a major or minor third, sharing exactly one common tone while maintaining the same quality (both major or both minor), often without a pivot. These chords serve multiple functions, such as generating surprise through unexpected tensions, enhancing resolution by amplifying leading-tone effects, or smoothing transitions between keys via pivot-like alterations. Secondary dominants, for example, create stronger pulls toward target chords by introducing chromatic leading tones, while borrowed chords infuse modal ambiguity for emotional depth. Augmented sixth chords heighten pre-dominant urgency, often resolving to the dominant via that treats the augmented sixth as a doubly . Chromatic mediants facilitate abrupt yet smooth key shifts, exploiting their shared tone for continuity amid chromatic root movement. In C major, E7 (V/vi) might precede for temporary , or could appear as a to the tonic, sharing the common tone C while introducing A♭ and E♭ for color. Historically, chromatic chords gained prominence in the Romantic era, where composers like employed them extensively to evoke yearning and ambiguity, expanding tonal boundaries through intensified . Wagner's manipulations, such as prolonged chromatic alterations in , blurred traditional resolutions, influencing later harmonic practices by prioritizing expressive tension over strict diatonicism.

Constructing progressions

Scale harmonization

Scale harmonization involves constructing chords by stacking thirds above each degree of a musical scale, creating a series of diatonic chords that form the foundation for progressions. For a major scale, triads are built using the , third, and fifth degrees relative to each scale tone; for instance, starting on the first degree yields a major triad (I), the second a minor triad (ii), and so on through the seventh degree, which produces a (vii°). This process can extend to seventh chords by adding a fourth note a third above the triad, resulting in structures like major seventh (IM7), minor seventh (ii7), and dominant seventh (V7). The resulting chords in natural order for the —I, ii, iii, IV, V, vi, vii°—provide a basic linear progression that outlines the scale's harmonic potential, though composers often employ shortcuts by skipping degrees to create smoother or more emphatic sequences, such as the common I-IV-V turnaround. In the , similarly yields i, ii°, III, iv, v, VI, VII, enabling progressions like the (i-VII-VI-V), a descending pattern rooted in but widely adapted elsewhere. These diatonic progressions serve as the structural basis for many pop and rock songs, where the major scale's harmonized chords underpin verse-chorus frameworks and melodic support. For applications, variations include extended with added tensions (9ths, 11ths, 13ths) beyond seventh chords, enriching the texture while staying within scale degrees for improvisational flexibility.

Simple progressions

Simple chord progressions form the building blocks of tonal , typically employing 2 to 4 diatonic chords with root motions by step or fifth to ensure predictability and accessibility, particularly for beginners learning composition or . These sequences prioritize basic functional relationships among chords, avoiding complex alterations to maintain clarity and ease of resolution. Derived from the harmonization of major or minor scales, simple progressions draw primarily from the tonic (I), subdominant (IV), and dominant (V) chords, creating linear or stepwise harmonic paths that feel intuitive and stable. A classic example is the I–IV–V–I progression, ubiquitous in folk and rock genres, which often unfolds over a 4-bar phrase with each chord sustaining for a full measure on whole notes. In the key of C major, this appears as C–F–G–C, where the root ascends a fourth from I to IV (a step in contrary motion), then a second to V, before descending a fifth back to I. This progression establishes the key rapidly by cycling through core harmonic functions: the tonic grounds the , the introduces gentle departure, the dominant builds tension via its leading tone, and the return to tonic delivers resolution. Rhythmic placement emphasizes structural beats, with changes typically occurring on the to align with the underlying and enhance memorability. Another foundational sequence is I–V–vi–IV, a versatile four-chord loop prevalent in , repeating cyclically over 4-bar units to provide ongoing support without strong cadential closure. Here, the roots move by fifth (I to V), third (V to vi), and fourth (vi to IV), blending stability with subtle variety while quickly reinforcing the tonal center through alternation of major and minor qualities. These uncomplicated structures gained prominence in early 20th-century compositions, where they underpinned verse-chorus forms and facilitated the mass production of accessible sheet music for broad audiences.

Circle progressions

Circle progressions, also known as circle-of-fifths progressions, involve a sequence of chords where the roots descend by perfect fifths, creating a natural and smooth harmonic flow within a diatonic framework. This pattern typically follows the order I–IV–vii°–iii–vi–ii–V–I in a major key, traversing all seven diatonic chords in a complete cycle that reinforces the tonal center through stepwise between adjacent harmonies. The descending fifth motion provides a sense of directed resolution, as each chord's root leads efficiently to the next, often with minimal movement in the inner voices. One primary benefit of circle progressions is their facilitation of strong , where individual chord tones can shift by small intervals—such as common tones or steps—minimizing leaps and enhancing contrapuntal smoothness. This structure also reinforces the key by systematically cycling through the diatonic collection, building tension that resolves convincingly back to the tonic. Partial segments of the circle, such as the ii–V–I turnaround, are particularly prevalent in for their cadential pull and adaptability in . In , circle progressions appear frequently in chorales, including those by Johann Sebastian Bach, where they underpin harmonizations and provide structural coherence amid melodic lines. For instance, Bach's chorales often employ full or partial circles to delineate phrases and affirm the key, as seen in works like BWV 1, which integrates descending-fifth chains for emphatic resolution. The "Autumn Leaves" exemplifies partial circle motion through a series of ii–V–I progressions in related keys, such as Dm7–G7–Cmaj7 followed by similar patterns, creating a winding path that evokes seasonal imagery while maintaining harmonic drive. In modern (EDM), circle progressions are adapted for builds and drops, leveraging their tension-release dynamic to heighten energy in tracks. Producers often use abbreviated fifths sequences, like , over synthesized pads or arpeggios to create escalating euphoria, as heard in builds by artists like or in subgenres where the cycle supports layered textures and key modulations.

Standard progressions

Three-chord progressions

Three-chord progressions, utilizing exactly three diatonic chords within a key, form the backbone of countless songs across genres due to their simplicity and emotional versatility. These progressions often draw from the strongest functional harmonies—the tonic (I), (IV), and (V)—or incorporate relative minors for added color, enabling songwriters to create tension and resolution with minimal harmonic complexity. Among the most prevalent forms is the I-IV-V progression, a staple in , , and that establishes a straightforward tonal framework. In the key of , this translates to C-F-G chords, where the I provides stability, IV introduces movement, and V builds dominant tension leading back to I. This progression underpins the 12-bar blues structure, originating in African American musical traditions of the late and popularized through early 20th-century recordings. Examples include The Beatles' "Twist and Shout" (1963), which cycles through A-D-E (I-IV-V) in its verse for an energetic rock drive, and Eddie Cochran's "" (1958), employing the same pattern to evoke youthful rebellion. Its expansion into 1950s rock amplified its reach, influencing countless hits by blending roots with energy. Another common variant is the I-vi-IV progression, favored in ballads and folk for its melancholic, introspective quality through the inclusion of the relative minor (vi). In C major, this is C-Am-F, creating a cycle that evokes without the sharp resolution of a dominant chord. This form appears in Ben E. King's "Stand By Me" (1961), where the verse primarily revolves around I-vi-IV (A-F#m-D) before briefly incorporating V, lending emotional depth to the soulful plea. It suits ballads by prioritizing smooth, descending bass lines over aggressive tension. In jazz standards, the ii-V-I progression dominates, offering a sophisticated cycle of fifths that resolves elegantly while allowing for rich substitutions and improvisations. In C major, this is Dm-G-C, with the minor ii chord providing a gentle approach to the dominant V before landing on I. Rooted in late 19th-century ragtime and early 20th-century songs, it became a cornerstone of by the 1920s, as seen in standards like "Autumn Leaves" (1945) and "" (1939), where it frequently appears in turnarounds or entire sections. Variations in chord order can alter mood significantly; for instance, rearranging I-IV-V to I-V-IV (e.g., C-G-F in C major) imparts an uplifting, anticipatory feel by delaying the , as heard in certain adaptations of forms. These three-chord frameworks, while rooted in the 12-bar , evolved in the rock era to underpin verse-chorus structures in , enabling accessibility for amateur musicians.

Blues changes

The blues changes, also known as the 12-bar blues, form a foundational chord progression in music, consisting of 12 measures typically in 4/4 time that revolve around the tonic (I), (IV), and dominant (V) chords. This structure provides a repeatable harmonic framework that emphasizes tension and resolution, originating in African American musical traditions of the late 19th and early 20th centuries. The classic form begins with four bars of the I chord (bars 1-4), followed by two bars of the IV chord (bars 5-6), a return to two bars of the I chord (bars 7-8), and then a climactic sequence of one bar each of the chord, IV chord, and I chord (bars 9-12), often incorporating a turnaround—a brief dominant chord or at the end to lead back to the start. Central to the blues flavor are dominant seventh chords, which add dissonance and color: the I7 (tonic with added minor seventh), IV7 (subdominant with minor seventh), and V7 (dominant with minor seventh), creating a gritty, expressive tension that distinguishes blues from simpler major-key progressions. These chords are derived from the and pentatonic scales, allowing for bends, slides, and blue notes in melodies that interact seamlessly with the . In practice, the progression can be notated in the key of C as:
Bar123456789101112
ChordC7C7C7C7F7F7C7C7G7F7C7G7
This turnaround on bar 12, often a V7 or V7/IV, sets up repetition or modulation. Iconic examples include Elvis Presley's "Hound Dog" (1956), which adheres closely to the standard I7-IV7-V7 form in a rockabilly adaptation, and Robert Johnson's "Cross Road Blues" (1936), a Delta blues staple that uses the progression with slide guitar embellishments. The blues changes evolved into rock music through artists like the Rolling Stones, whose "Honky Tonk Women" (1969) integrates the 12-bar structure with electric riffs, amplifying its rhythmic drive. This evolution highlights the progression's versatility while retaining its core I-IV-V backbone, akin to simpler three-chord forms but extended for narrative depth. The shuffle rhythm, a swung eighth-note pattern (often notated as triplet-based), integrates tightly with the blues changes to create a propulsive groove, as heard in Big Bill Broonzy's recordings from the 1930s, enhancing the harmonic repetition with forward momentum. Minor blues variants, such as those in "The Thrill Is Gone" by (1969), adapt the structure by starting on a minor i chord (e.g., Cm7) while incorporating dominant IV7 and V7 for resolution, blending melancholy with blues tension.

1950s progression

The 1950s progression, also known as the doo-wop or ice cream changes, consists of the cyclical sequence I–vi–IV–V, a harmonic loop that dominated mid-20th-century popular music genres such as doo-wop, rock ballads, and early rock and roll. In the key of C major, this translates to the chords C–Am–F–G, typically repeated in four-bar phrases to form extended structures of 16 or 24 bars, providing a repetitive yet versatile foundation for verses and choruses. This form extends the basic three-chord progression by incorporating the relative minor, offering a variant that enriches the harmonic palette without complicating the arrangement. A key characteristic of the progression is its emotional depth, achieved through the vi chord, which introduces a tonality and subtle melancholy within the major key context, evoking themes of longing and romance central to the era's . Furthermore, it excels in smooth , as each chord shares at least two common tones with the next—I and vi share the and fifth of I (or third and fifth of vi), vi and IV share the third of vi ( of IV), and IV and V share the fifth of IV (third of V)—enabling fluid, stepwise motion in accompanying parts and vocal harmonies. Iconic examples illustrate its prevalence in 1950s doo-wop, such as "Earth Angel" by (1954), where the progression underpins the entire song in a looping 16-bar format, enhancing its tender doo-wop balladry. Similarly, Ben E. King's "Stand By Me" (1961) employs a close variant of I–vi–IV–V (G–Em–C–D) throughout its structure, amplifying the song's soulful plea for companionship. "Unchained Melody" by The Righteous Brothers (1965) features the progression in the first half of its verse riff (C–Am–F–G), contributing to the song's timeless romantic and nostalgic appeal. Additionally, "Blue Moon," originally composed in 1934 by Richard Rodgers and popularized by various artists in the 1950s, utilizes I–vi–IV–V (C–Am–F–G in C major) to evoke a melancholic, dreamy atmosphere. The progression's influence extended to early Beatles work, notably "" (1963), which uses I–vi–IV–V to evoke doo-wop-style harmonies in their ballad repertoire. Culturally, the 1950s progression defined the sound of teen music in the and , capturing optimism blended with youthful sentimentality in hits by artists like and , and becoming synonymous with the romantic idealism of groups. Its simplicity made it accessible for amateur musicians and radio play, fueling the explosion of independent record labels and youth subcultures. Today, it endures in modern indie and pop, where bands like revive its nostalgic vibe in tracks such as "" (2016), demonstrating its timeless versatility across genres.

Variations in keys and modes

Minor key progressions

In keys, chord progressions are derived from the natural, , and melodic s, each providing distinct diatonic chord sets that contribute to the characteristic somber or tense emotional quality of . The natural yields the triads i (minor), ii° (diminished), ♭III (major), iv (minor), v (minor), ♭VI (major), and ♭VII (major), forming a foundation for progressions that emphasize and dominant functions without a strong leading tone. In contrast, the raises the seventh degree, altering the v to (major) and introducing vii° (diminished), which strengthens resolution to the tonic by incorporating a leading tone for heightened tension. The melodic , often used in ascending contexts, further modifies the sixth degree to produce ii (minor), IV (major), and vi° (diminished), allowing for smoother in certain progressions while maintaining the tonic. Basic progressions in minor keys frequently adapt major-key structures to these diatonic sets, such as the i–V–i turnaround, which uses the minor's V chord for a conclusive return to the tonic, or the i–iv–V–i , evoking a darker resolution compared to its major counterpart. These sequences rely on the iv and dominant V to build forward momentum, with the raised leading tone in V creating pull toward i. Among common sequences, the —i–♭VII–♭VI–V—features a stepwise descending bass line that generates a sense of inevitable descent and emotional intensity, often repeating in flamenco-derived styles. In , this appears as Am–G–F–E, drawing from natural minor chords for a phrygian-inflected flavor. Another prevalent in is the i–♭VII–♭VI–♭VII oscillation, which cycles between minor and borrowed major chords to sustain energy without full resolution, as in Am–G–F–G. The darker tonality of minor progressions arises from the minor third in the tonic chord, fostering melancholy or introspection, while the harmonic minor's raised leading tone introduces dissonance and urgency, particularly in V–i resolutions that mimic major-key dominance but within a minor framework. Notable examples include the introduction to Led Zeppelin's "Stairway to Heaven," which employs a descending chromatic line over an A minor framework (Am–Am/G#–Am/G–Fmaj7), incorporating harmonic minor elements for subtle tension buildup. In Baroque music, passacaglia forms like J.S. Bach's Passacaglia and Fugue in C Minor (BWV 582) present variations on a recurring bass motif in C minor, using harmonic minor's V and vii° to explore ostinato-based progressions that evolve through i–iv–V sequences and modal mixtures. Modal progressions derive from church modes or contemporary modal frameworks, emphasizing harmonic stasis and avoiding the dominant-tonic resolutions characteristic of major and minor keys. In the Dorian mode, a common progression is the i-IV movement, such as Am-D in A Dorian, which leverages the mode's major sixth for a melancholic yet brighter tone than natural minor. The Mixolydian mode frequently employs the I-bVII shuttle, like C-Bb in C Mixolydian, creating a bluesy, anhemitonic feel through the flat seventh. Aeolian, equivalent to the natural minor scale, often features i-iv sequences, exemplified by Cm-Fm in C Aeolian, maintaining modal purity by eschewing the raised seventh that would imply a leading tone. These progressions exhibit static harmony, where individual chords persist over extended measures to highlight modal colors rather than functional tension, often incorporating pedal points—a sustained , such as a tonic drone—to reinforce the mode's scalar identity. Quartal voicings, built from stacked fourths, further enhance this ambiguity by minimizing triadic definitions and emphasizing linear melodic flow over vertical resolution. In folk traditions, a Dorian i-bVII-i pattern, like Am-G-Am, evokes rustic introspection while preserving the mode's lack of dominant pull. In jazz, modal progressions gained prominence through Miles Davis's "So What" from the 1959 album , which sustains Dm7 (D Dorian) for eight bars before shifting to Ebm7 (Eb Dorian) on the bridge, prioritizing improvisational freedom over chord changes. This approach influenced , where sparse, prolonged harmonies allow scalar exploration, as seen in subsequent works by Davis and contemporaries like . adopted similar structures, such as the Am-D vamp in Santana's "Oye Como Va" (A Dorian), blending Latin rhythms with modal stasis for a hypnotic groove. Non-Western influences appear in adaptations of Indian ragas to Western chord frameworks, where ragas—modal entities akin to Dorian or Mixolydian—are harmonized using static progressions to evoke raga-specific moods without disrupting melodic ascents and descents. For instance, fusion artists harmonize ragas like Bhairav (phrygian-like) with i-bII drones, integrating lines over sustained minor chords to bridge Hindustani traditions with jazz-rock modalities.

Voice leading considerations

Voice leading in chord progressions refers to the linear movement of individual voices (typically , , , and bass in four-part writing) between consecutive chords to ensure smooth, independent melodic lines that enhance the overall musical flow. The core principles emphasize minimizing motion: common tones between chords remain stationary, while changing voices move by the smallest possible interval, ideally stepwise, to maintain contrapuntal independence and avoid abrupt leaps. Parallel perfect intervals, such as fifths or octaves, are strictly prohibited in classical and contexts, as they undermine voice independence by creating a sense of motion; this rule derives from perceptual principles where such parallels reduce the audibility of distinct lines. Techniques for effective voice leading include using chord inversions to facilitate smoother bass lines and passing tones to connect distant notes, allowing the bass to outline the harmonic progression while upper voices resolve tensions gradually. In root position chords, voices adhere closely to the minimize-motion rule, but inversions—such as first-inversion triads (with the third in the bass)—can reduce leaps by up to a fifth in the bass line. A prominent example is the ii-V-I progression common in jazz, where guide tones (the third and seventh of each chord) move by half or whole steps for seamless connection: from Dm7 (F–C) to G7 (B–F) to Cmaj7 (E–B), the guide tones move primarily by half steps, such as the 7th of ii (C) to the 3rd of V (B), and the 7th of V (F) to the 3rd of I (E), with the 3rd of ii (F) common to the 7th of V and the 3rd of V (B) common to the 7th of I, creating efficient voice leading with minimal displacement. This approach prevents awkward jumps and supports the progression's functional resolution. The importance of voice leading lies in its role in classical , where it ensures harmonic progressions sound coherent and expressive rather than disjointed, as evidenced by historical treatises emphasizing linear fluency over mere chord stacking. In modern analysis, software tools facilitate voice leading checks; for instance, applications like Auralia evaluate four-part harmony exercises against rules, providing feedback on parallel intervals via input, while academic tools such as Dmitri Tymoczko's voice-leading maximizer compute optimal note displacements between chords. Genre differences influence strictness: classical and maintain rigorous adherence to avoid parallels and prioritize stepwise motion for polyphonic clarity, whereas rock often employs looser voice leading, favoring parallel fifths or power chords for rhythmic drive over contrapuntal smoothness. Circle progressions, with their fifth-wise root motion, naturally support efficient voice leading due to stepwise guide-tone shifts.

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