The following is a list of commonly used chord progressions in music.
Code | |
---|---|
Major | Major |
Minor | Minor |
Atonal | Atonal |
Bitonal | Bitonal in |
Ind. | Indeterminate |
PD | Phrygian dominant |
Mix. | Mixolydian |
Name | Image | Sound | # of chords | Quality |
---|---|---|---|---|
50s progression | ![]() I–vi–IV–V | 4 | Major | |
I–V–vi–IV | ![]() I–V–vi–IV chord progression in C |
4 | Major | |
I–IV–♭VII–IV | ![]() I–IV–♭VII–IV. | 3 | Mix. | |
ii–V–I progression | ![]() ii–V–I | 3 | Major | |
ii–V–I with tritone substitution (♭II7 instead of V7) | ![]() ii–♭II ![]() | 3 | Major | |
ii-V-I with ♭III+ as dominant substitute | ![]() ii–♭III+–I | 3 | Mix. | |
viio7/V–V–I
(common in ragtime) |
![]() viio7/V–V–I | 3 | Major | |
Andalusian cadence | ![]() iv–III–♭II–I | 4 | PD | |
Backdoor progression (front door is V7) | ![]() ii–♭VII ![]() | 3 | Major | |
Bird changes | ![]() I viiø–III7 vi–II7 v–I7, IV7 iv–♭VII7 iii–VI7 ♭iii–♭VI7, ii V7 I–VI7 ii–V | 20 | Major | |
Chromatic descending 5–6 sequence | ![]() I–V–♭VII–IV | 4 | Mix. | |
Circle progression | ![]() vi–ii–V–I | 4 | Major | |
Coltrane changes | ![]() Coltrane changes in C: I–V/♭VI ♭VI–V/III III–V I. | 6 | Major | |
Eight-bar blues | ![]() I–V–IV–IV–I–V–I–V | 3 | Major | |
Folia | ![]() i–V–i–♭VII–♭III–♭VII–i–V–i–V–i–♭VII–♭III–♭VII–i–V–i | 4 | Minor | |
Irregular resolution
(Type I: Two common tones, two note moves by half step motion) |
![]() V7–III7 | 2 | Major | |
Montgomery–Ward bridge | ![]() I–IV–ii–V | 4 | Major | |
Omnibus progression | ![]() Omnibus progression. | ? | Major | |
Pachelbel's Canon | ![]() I–V–vi–iii–IV–I–IV–V | 5 | Major | |
Passamezzo antico | ![]() i–VII–i–V–III–VII–i–V–i | 4 | Minor | |
Passamezzo moderno | ![]() I–IV–I–V–I–IV–I–V–I | 3 | Major | |
I–V–vi–IV progression | ![]() I–V–vi–IV | 4 | Major | |
Ragtime progression | ![]() III7–VI7–II7–V7 | 5 | Major | |
Rhythm changes | ![]() V/V/V/V–V/V/V–V/V–V–I | 15 | Major | |
Romanesca | ![]() III–VII–i–V–III–VII–i–V–i | 3 | Major | |
Sixteen-bar blues | ![]() I–I–I–I–I–I–I–I–IV–IV–I–I–V–IV–I–I | 3 | Major | |
Stomp progression | ![]() IV7–#ivdim7–I7/5–I7–IV7–#ivdim7–I7/5–I7–IV7–#ivdim7–I7/5–V7/V/V–V7/V–V7–I7 | 6 | Major | |
Twelve-bar blues | ![]() I–I–I–I–IV–IV–I–I–V–IV–I–I | 3 | Major | |
I−vi−ii−V | ![]() I–vi–ii–V | 4 | Major | |
♭VII–V7 cadence | ![]() ♭VII–V ![]() | 2–3 | Mix. | |
V–IV–I turnaround | ![]() V–IV–I | 3 | Major | |
I–♭VII–♭VI–♭VII | ![]() I–♭VII–♭VI–♭VII | 3 | Minor | |
IV△7–V7–iii7–vi | ![]() IV△7–V7–iii7–vi in C | 4 | Major | |
♭VI-♭VII-I | ![]() ♭VI - ♭VII - I |
3 | Major |
Further reading
- R., Ken (2012). DOG EAR Tritone Substitution for Jazz Guitar, Amazon Digital Services, Inc., ASIN: B008FRWNIW.
See also
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