Introduction: Understanding Chord Progressions
Chord progressions are sequences of chords that form the harmonic foundation of music. They create emotional journeys, establish musical styles, and provide the framework upon which melodies and lyrics are built. Understanding chord progressions is essential for songwriters, composers, producers, and performers across all genres. This cheatsheet provides a comprehensive reference for common progressions, their applications, and techniques for creating compelling harmonic movement in your music.
Core Concepts: The Building Blocks of Harmony
Roman Numeral Analysis
Chord progressions are typically analyzed using Roman numerals to represent the relationship between chords within a key:
Roman Numeral | Major Key Function | Chord Quality | Example in C Major |
---|---|---|---|
I | Tonic | Major | C Major (C-E-G) |
ii | Supertonic | Minor | D Minor (D-F-A) |
iii | Mediant | Minor | E Minor (E-G-B) |
IV | Subdominant | Major | F Major (F-A-C) |
V | Dominant | Major | G Major (G-B-D) |
vi | Submediant | Minor | A Minor (A-C-E) |
vii° | Leading Tone | Diminished | B Diminished (B-D-F) |
In minor keys:
Roman Numeral | Minor Key Function | Chord Quality | Example in A Minor |
---|---|---|---|
i | Tonic | Minor | A Minor (A-C-E) |
ii° | Supertonic | Diminished | B Diminished (B-D-F) |
III | Mediant | Major | C Major (C-E-G) |
iv | Subdominant | Minor | D Minor (D-F-A) |
v/V | Dominant | Minor/Major | E Minor (E-G-B) / E Major (E-G#-B) |
VI | Submediant | Major | F Major (F-A-C) |
VII/vii° | Subtonic/Leading | Major/Diminished | G Major (G-B-D) / G# Diminished (G#-B-D) |
Note: In minor keys, the dominant (V) is often borrowed from the parallel major to create a stronger resolution to the tonic.
Chord Functions and Movement
Chords can be categorized by their harmonic functions:
- Tonic Function (I, vi, iii): Creates a sense of stability and rest
- Subdominant Function (IV, ii): Creates movement away from stability
- Dominant Function (V, vii°): Creates tension seeking resolution to tonic
Common Chord Progressions By Genre
Pop/Rock Progressions
Progression | Roman Numerals | Example in C | Emotional Character | Famous Examples |
---|---|---|---|---|
The “1-5-6-4” | I-V-vi-IV | C-G-Am-F | Uplifting, emotional | “Let It Be” (Beatles), “Don’t Stop Believin'” (Journey) |
The “1-4-5” | I-IV-V | C-F-G | Strong, straightforward | “Sweet Home Alabama” (Lynyrd Skynyrd), “Wild Thing” (The Troggs) |
The “1-6-4-5” | I-vi-IV-V | C-Am-F-G | Emotional, classic | “Stand By Me” (Ben E. King), “Every Breath You Take” (Police) |
The “Pop Punk” | I-V-vi-IV | C-G-Am-F | Energetic, emotional | “When I Come Around” (Green Day), “Self Esteem” (Offspring) |
The “50s Doo-Wop” | I-vi-IV-V | C-Am-F-G | Nostalgic, romantic | “Earth Angel” (The Penguins), “Stand By Me” (Ben E. King) |
The “Andalusian Cadence” | i-VII-VI-V | Am-G-F-E | Dramatic, tense | “Hit the Road Jack” (Ray Charles), “Sultans of Swing” (Dire Straits) |
The “Canon” | I-V-vi-iii-IV-I-IV-V | C-G-Am-Em-F-C-F-G | Epic, emotional journey | Based on Pachelbel’s Canon, “Memories” (Maroon 5) |
Jazz Chord Progressions
Progression | Roman Numerals | Example in C | Application | Famous Examples |
---|---|---|---|---|
2-5-1 | ii-V-I | Dm7-G7-Cmaj7 | Core jazz progression | “Autumn Leaves”, “All The Things You Are” |
1-6-2-5 | I-vi-ii-V | Cmaj7-Am7-Dm7-G7 | Jazz standard turnaround | “I Got Rhythm” bridge, “There Will Never Be Another You” |
Minor 2-5-1 | ii°7-V7-i | Dm7♭5-G7-Cm7 | Minor key jazz | “Blue Bossa”, “Fly Me To The Moon” |
Rhythm Changes | I-vi-ii-V | Cmaj7-Am7-Dm7-G7 | Jazz standard foundation | “I Got Rhythm”, “Oleo” |
Blues Jazz | I7-IV7-I7-V7-I7 | C7-F7-C7-G7-C7 | Jazz blues | “Billie’s Bounce”, “Straight No Chaser” |
Minor Blues | i7-iv7-i7-V7-i7 | Cm7-Fm7-Cm7-G7-Cm7 | Minor jazz blues | “Mr. PC”, “Equinox” |
Coltrane Changes | I-♭III7-♭VI7-I | Cmaj7-E♭7-A♭7-Cmaj7 | Advanced substitution | “Giant Steps”, “Countdown” |
Classical Progressions
Progression | Roman Numerals | Example in C | Period/Style | Notable Usage |
---|---|---|---|---|
Authentic Cadence | V-I | G-C | All periods | Endings of phrases, sections, pieces |
Plagal Cadence | IV-I | F-C | Sacred music | “Amen” cadence in hymns |
Deceptive Cadence | V-vi | G-Am | Classical, Romantic | Mozart, Beethoven sonatas |
Half Cadence | I-V | C-G | Classical | Middle of phrases |
Circle of Fifths | vi-ii-V-I | Am-Dm-G-C | Baroque, Classical | Bach preludes, Mozart sonatas |
Descending Bass Line | I-V6-vi-IV6 | C-G/B-Am-F/A | Baroque | Bach “Air on G String” |
Lament Bass | i-VII-VI-V | Cm-B♭-A♭-G | Baroque | Purcell’s “Dido’s Lament” |
Electronic & EDM Progressions
Progression | Roman Numerals | Example in C | Subgenre | Character |
---|---|---|---|---|
Uplifting Progression | I-V-vi-IV | C-G-Am-F | Trance, Progressive House | Emotional, uplifting |
Minor EDM | vi-IV-I-V | Am-F-C-G | Techno, Deep House | Moody, driving |
Future Bass | IV-V-vi-V | F-G-Am-G | Future Bass | Emotional, modern |
Classic House | i-VI-VII-v | Am-F-G-Em | House | Groovy, danceable |
Dubstep Minor | i-VI-III-VII | Am-F-C-G | Dubstep | Dark, intense |
Lo-Fi | ii-V-I with jazz extensions | Dm9-G13-Cmaj9 | Lo-Fi Hip Hop | Relaxed, nostalgic |
Synthwave | i-VII-VI-V | Am-G-F-E | Synthwave | Retro, cinematic |
Blues Progressions
Progression | Structure | Example in C | Style | Character |
---|---|---|---|---|
12-Bar Blues | I7-I7-I7-I7-IV7-IV7-I7-I7-V7-IV7-I7-V7 | C7-C7-C7-C7-F7-F7-C7-C7-G7-F7-C7-G7 | Traditional Blues | Foundational blues form |
Quick-Change Blues | I7-IV7-I7-I7-IV7-IV7-I7-I7-V7-IV7-I7-V7 | C7-F7-C7-C7-F7-F7-C7-C7-G7-F7-C7-G7 | Blues, Jump Blues | Adds early IV chord |
Minor Blues | i7-i7-i7-i7-iv7-iv7-i7-i7-V7-iv7-i7-V7 | Cm7-Cm7-Cm7-Cm7-Fm7-Fm7-Cm7-Cm7-G7-Fm7-Cm7-G7 | Jazz Blues, Soul | More melancholic feeling |
8-Bar Blues | I7-I7-IV7-IV7-I7-I7-V7-V7 | C7-C7-F7-F7-C7-C7-G7-G7 | Swing, Jump Blues | Shorter, punchier form |
16-Bar Blues | I7-I7-I7-I7-IV7-IV7-I7-I7-ii7-V7-I7-VI7-ii7-V7-I7-I7 | C7-C7-C7-C7-F7-F7-C7-C7-Dm7-G7-C7-A7-Dm7-G7-C7-C7 | Jazz, R&B | Extended, more complex |
Country & Folk Progressions
Progression | Roman Numerals | Example in G | Style | Application |
---|---|---|---|---|
Country I-IV-V | I-IV-V | G-C-D | Traditional Country | Countless country songs |
Nashville I-IV-V-IV | I-IV-V-IV | G-C-D-C | Modern Country | Verse progression |
Country Waltz | I-V-I-IV-I-V-I | G-D-G-C-G-D-G | Country Waltz | 3/4 time signature songs |
Folk Circle | I-V-vi-iii-IV-I-IV-V | G-D-Em-Bm-C-G-C-D | Folk Ballad | Storytelling songs |
Bluegrass Run | I-IV-I-V-I | G-C-G-D-G | Bluegrass | Fast-tempo songs |
Country Turnaround | I-IV-I-V | G-C-G-D | Classic Country | Verse endings |
Modern Country | vi-IV-I-V | Em-C-G-D | Contemporary Country | Emotional ballads |
Step-by-Step Chord Progression Development
Building Progressions From Scratch
- Choose a key that suits your vocal range or instrument
- Identify the diatonic chords available in that key
- Start with the tonic chord (I or i) to establish the key
- Add a dominant function chord (V or vii°) to create tension
- Include a subdominant function chord (IV or ii) for movement
- Consider adding a vi chord for emotional contrast
- Experiment with chord order to create different emotional journeys
- Test the progression with a simple melody
Chord Substitution Techniques
Original Chord | Possible Substitutions | Theory | Example |
---|---|---|---|
I | iii, vi, I7 | Shared tones | C → E minor, A minor, or C7 |
ii | IV, ii7, vii° | Subdominant function | D minor → F, Dm7, or B° |
iii | I, vi, iii7 | Tonic function | E minor → C, A minor, or Em7 |
IV | ii, vi, IV7 | Subdominant function | F → D minor, A minor, or F7 |
V | vii°, V7, V/V (secondary dominant) | Dominant function | G → B°, G7, or D7 |
vi | I, iii, vi7 | Tonic function | A minor → C, E minor, or Am7 |
vii° | V7, vii°7, iii | Dominant function | B° → G7, B°7, or E minor |
Secondary Dominants
Adding the dominant of a chord other than the tonic:
- V/V = D7 in key of C (dominant of G)
- V/ii = A7 in key of C (dominant of Dm)
- V/vi = E7 in key of C (dominant of Am)
Tritone Substitutions (Jazz)
Substituting a dominant 7th chord with another dominant 7th a tritone away:
- G7 → D♭7 (in key of C)
- D7 → A♭7 (in key of G)
Voice Leading Principles
Good voice leading creates smooth connections between chords:
- Common Tones: Keep shared notes in the same voice
- Minimal Movement: Move to the nearest chord tone when no common tone exists
- Contrary Motion: Move voices in opposite directions for balanced sound
- Avoid Parallel 5ths/Octaves: Don’t move perfect intervals in the same direction
- Lead the 7th Downward: Resolve the 7th of a chord down by step
- Guide Tones: Follow the 3rds and 7ths of chords for smooth jazz progressions
Modal Chord Progressions
Each mode has characteristic progressions that emphasize its unique sound:
Mode | Characteristic Chords | Example in C | Famous Usage |
---|---|---|---|
Ionian (Major) | I-IV-V | C-F-G | Most pop/rock music |
Dorian | i-IV-v | Dm-G-Am | “Scarborough Fair”, Miles Davis “So What” |
Phrygian | i-♭II-♭vii | Em-F-Dm | Flamenco music, metal riffs |
Lydian | I-II-vii° | C-D-Bm7♭5 | Film scores, The Simpsons theme |
Mixolydian | I-♭VII-IV | G-F-C | “Sweet Home Alabama”, Celtic music |
Aeolian (Natural Minor) | i-♭VI-♭VII | Am-F-G | Rock ballads, “All Along the Watchtower” |
Locrian | i°-♭II-♭V | B°-C-F | Rarely used as tonal center |
Advanced Harmonic Techniques
Borrowed Chords (Modal Interchange)
Borrowing chords from the parallel major/minor or other modes:
Borrowed From | Common Borrowed Chords | In Key of C | Effect |
---|---|---|---|
Parallel Minor | ♭III, ♭VI, ♭VII, iv | E♭, A♭, B♭, Fm | Darker, more dramatic |
Parallel Major | I, IV, V | C, F, G in C minor | Brighter, hopeful |
Dorian | IV | F in C minor | Less dark minor sound |
Phrygian | ♭II | D♭ in C major/minor | Exotic, tense |
Lydian | #IV | F# in C major | Dreamy, floating |
Mixolydian | ♭VII | B♭ in C major | Bluesy, rock sound |
Modulation Techniques
Changing from one key to another:
Modulation Type | Method | Example |
---|---|---|
Direct/Phrase | Change key at phrase boundary | C → G between verse and chorus |
Common Chord | Use a chord common to both keys | C → Em (using G as V of C and III of Em) |
Chromatic | Move chromatically to new key | C → C# minor (via C-C#°-C#m) |
Circle of Fifths | Move through related keys | C → G → D → A |
Parallel | Major to parallel minor (or vice versa) | C major → C minor |
Pivot Chord | Use a chord with dual function | C → D (using G as V of C and IV of D) |
Dominant Preparation | Use secondary dominant | C → E (via B7) |
Common Challenges and Solutions
Challenge: Repetitive Progressions
Solutions:
- Add a passing chord between two main chords
- Use inversions to create bass movement
- Substitute one chord with a related one
- Borrow a chord from parallel minor/major
- Add or remove a 7th, 9th, or other extension
Challenge: Weak Transitions Between Sections
Solutions:
- Use a secondary dominant to lead into the new section
- Create a “pre-chorus” with increasing tension
- Use a deceptive cadence to surprise the listener
- Change the bass note but keep similar harmony
- Introduce a completely new chord before the section change
Challenge: Uninteresting Harmonies
Solutions:
- Add suspended chords (sus2, sus4) for color
- Use add9 or add11 chords for richness
- Try slash chords for unique bass movements
- Experiment with modal interchange
- Use diminished or augmented passing chords
Challenge: Clashing With Melody
Solutions:
- Adjust melody to emphasize chord tones
- Change chord extensions to accommodate melody notes
- Use slash chords to reharmonize under existing melody
- Consider complete chord substitution
- Add passing chords to smooth transitions
Best Practices for Songwriters
For Beginners
- Start with simple progressions (I-IV-V, vi-IV-I-V)
- Use one progression for verse, another for chorus
- Learn progressions from songs you enjoy
- Try playing progressions in different keys
- Experiment with different rhythmic patterns for the same progression
For Intermediate Songwriters
- Use secondary dominants to create stronger cadences
- Experiment with borrowed chords for emotional effect
- Try modulating to a new key for the bridge
- Use inversions to create smoother bass lines
- Add transition chords between sections
For Advanced Songwriters
- Explore modal interchange for unique color
- Use tritone substitutions and altered dominants
- Create deceptive resolutions and unique cadences
- Experiment with pedal points and ostinatos
- Try non-functional harmony and constant structure progressions
Chord Progression Quick Templates
Pop/Rock Song Structure
- Verse: I-V-vi-IV or vi-IV-I-V
- Pre-Chorus: ii-V or iv-V
- Chorus: I-V-vi-IV (stronger emphasis on I) or IV-I-V-vi
- Bridge: vi-ii-V-I or IV-V-iii-vi
Ballad Structure
- Verse: I-vi-IV-V or I-iii-IV-V
- Pre-Chorus: ii-iii-IV-V
- Chorus: I-V-vi-iii-IV-I-IV-V
- Bridge: vi-V-IV-V or ♭VII-IV-I
EDM Structure
- Intro/Build: vi-IV or I-V (repeated)
- Drop: I-V-vi-IV (emphasized)
- Breakdown: vi-I-V or vi-IV-I
- Build: V (sustained) or vi-V-IV-V
- Second Drop: I-V-vi-IV with variations
Resources for Further Learning
Books
- “Harmony” by Walter Piston
- “The Songwriter’s Workshop: Harmony” by Jimmy Kachulis
- “Hooktheory I & II” by Ryan Miyakawa and David Carlton
- “The Jazz Theory Book” by Mark Levine
- “Chord Progressions: Theory and Practice” by Roedy Black
Online Resources
- Hooktheory.com – Interactive chord progression analysis
- Tonegym.co – Ear training for chord progressions
- Scales-chords.com – Chord progression generator
- YouTube: Rick Beato, Adam Neely, Signals Music Studio
- Ultimate-guitar.com – Song chords and progression analysis
Software Tools
- Hooktheory Hookpad – Chord progression creation and analysis
- Scaler 2 – Chord and progression suggestions
- MuseScore/Sibelius/Finale – Music notation with chord tools
- Ableton Live/Logic Pro – DAWs with chord progression tools
- Chord Wheel apps – For visualizing chord relationships
Remember that while understanding chord progressions is essential, the most compelling music often comes from knowing when to follow conventions and when to break them. Use this cheatsheet as a starting point for exploration, not as a rigid set of rules. The best progressions are those that serve your musical expression and resonate with your listeners.