|
|
|
|
5. | |
C
I
1
|
Dm
ii
m2
|
Am
vi
m6
|
G
V
5
|
| | |
|
|
|
8. Passamezzo moderno | |
C
I
1
|
F
IV
4
|
C
I
1
|
G
V
5
| C
I
1
| F
IV
4
| G
V
5
| C
I
1
|
| - I–IV–I–V–I–IV–I–V–I | |
|
9. Sixteen-bar blues | |
C
I
1
|
F
IV
4
|
C
I
1
|
G
V
5
| F
IV
4
| C
I
1
|
| - I–I–I–I–I–I–I–I–IV–IV–I–I–V–IV–I–I | |
|
10. Twelve-bar blues | |
C
I
1
|
F
IV
4
|
C
I
1
|
G
V
5
| F
IV
4
| C
I
1
|
| - I–I–I–I–IV–IV–I–I–V–IV–I–I | |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
30. ii–V–I progression | | | - ii–V–I | |
|
31. | |
Dm
ii
m2
|
G
V
5
|
C
I
1
|
C
I
1
|
| | |
|
|
|
|
|
|
37. | |
F
IV
4
|
C
I
1
|
Am
vi
m6
|
Em
iii
m3
|
| Dark | |
|
|
39. | |
F
IV
4
|
Em
iii
m3
|
Dm
ii
m2
|
C
I
1
|
| | |
|
40. | |
F
IV
4
|
Am
vi
m6
|
G
V
5
|
C
I
1
|
| Pop | |
|
|
|
|
44. V–IV–I turnaround | | | - V–IV–I | |
|
45. | |
F
VI
6
|
C
III
3
|
E
V
5
|
Am
i
m1
|
| | |
|
|
|
48. | |
Am
vi
m6
|
F
IV
4
|
C
I
1
|
G
V
5
|
| - minor chord, this progression tends to sound darker and sadder than the other four progressions. Examples of songs that use this progression include the entirety of “Cheap Thrills” by Sia, the chorus | | (4 Songs with this Chord Progression) |
|
|
|
|
|
53. | |
Am
i
m1
|
Amaj7
Imaj7
1maj7
|
Am7
i7
m17
|
Am6
i6
m16
|
| | |
|
|
55. Passamezzo antico | |
Am
i
m1
|
G
VII
7
|
Am
i
m1
|
E
V
5
| G
VII
7
| Am
i
m1
| E
V
5
| Am
i
m1
|
| - i–VII–i–V–III–VII–i–V–i | |
|
56. | |
C
I
1
|
G7
V7
57
|
Am7
vi7
m67
|
| | |
|
|
|
59. IV△7–V7–iii7–vi | |
F
IVmaj7
4maj7
|
G7
V7
57
|
Em7
iii7
m37
|
Am
vi
m6
|
| - IV△7–V7–iii7–vi in C | |
|
60. Irregular resolution | | | - V7–III7 (Type I: Two common tones, two note moves by half step motion) | |
|
61. | |
Am
vi
m6
|
Bm7
vii7
m7
|
C
I
1
|
G
V
5
|
| | |
|
|
63. | |
Am
i
m1
|
Amaj7
Imaj7
1maj7
|
Am7
i7
m17
|
E
V
5
|
| | |
|
|
|
|
|
68. I–IV–♭VII–IV | |
C
I
1
|
F
IV
4
|
Ab
bVI
b6
|
F
IV
4
|
| - I–IV–♭VII–IV. | |
|
69. Chromatic descending
5–6 sequence | |
C
I
1
|
G
V
5
|
Bb
bVII
b7
|
F
IV
4
|
| - I–V–♭VII–IV | |
|
70. Coltrane changes | |
C
I
1
| ? 5/b6 |
Ab
bVI
b6
| ? 5/3 | G
V
5
| C
I
1
|
| - Coltrane changes in C: I–V/♭VI ♭VI–V/III III–V I. | |
|
71. Bird changes | |
C
I
1
| ? 7dim | ? 37 | ? 6 | D7
V7/V
27
| ? m5 | ? I7 | ? m4 |
| - I viiø–III7 vi–II7 v–I7, IV7 iv–♭VII7 iii–VI7 ♭iii–♭VI7, ii V7 I–VI7 ii–V | |
|
72. I–♭VII–♭VI–♭VII | |
C
I
1
|
Bb
bVII
b7
|
Ab
bVI
b6
|
Bb
bVII
b7
|
| - I–♭VII–♭VI–♭VII | |
|
73. Backdoor progression
(front door is V7) | | | - ii–♭VII I | |
|
74. ii–V–I with tritone substitution
(♭II7 instead of V7) | | | - ii–♭II–I | |
|
75. ♭III+ as dominant
substitute | | | - ii–♭III+–I | |
|
76. Ragtime progression | | ? 37 | ? 67 |
D7
V7/V
27
|
G7
V7
57
|
| - III7–VI7–II7–V7 | |
|
77. viio7/V–V–I(common in ragtime) | | | - viio7/V–V–I | |
|
78. ♭VII–V7 cadence | | | - ♭VII–V–I | |
|
79. Andalusian cadence | | | - iv–III–♭II–I | |
|
80. Omnibus progression | | | - Omnibus progression. | | |
|
81. Rhythm changes | | | - V/V/V/V–V/V/V–V/V–V–I | | |
|
82. Romanesca | | | - III–VII–i–V–III–VII–i–V–i | | |
|
83. Stomp progression | | | - IV7–#ivdim7–I7/5–I7–IV7–#ivdim7–I7/5–I7–IV7–#ivdim7–I7/5–V7/V/V–V7/V–V7–I7 | | |
|
84. Folia | | | - i–V–i–♭VII–♭III–♭VII–i–V–i–V–i–♭VII–♭III–♭VII–i–V–i | | |
|