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459:) 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
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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,
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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. For example, many of the more straightforward melodies in classical music consist entirely or mostly of
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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
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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 because they follow the steps of the scale, making the scale itself a
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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
1509:... 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.
1108:
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
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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
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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
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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.
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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
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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
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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
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progressions". 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:
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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
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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
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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
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1117:. These harmonic conventions were taken up by American popular entertainers, giving rise to many variations on those harmonic staples of early
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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
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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
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336:, 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
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in
Classical music theory. In many styles of popular and traditional music, chord progressions are expressed using the name and "
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122:" of a song or piece. Chord progressions, such as the extremely common chord progression I-V-vi-IV, are usually expressed by
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364:(major, minor, diminished, etc.) Chords in a progression may also have more than three notes, such as in the case of a
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This progression had been in use from the earliest days of classical music and then generated popular hits such as
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are numbered likewise. Thus the chord progression E minor–F–G can be described as three–four–five, (or iii–IV–V).
594:. Such scales predominate in those regions where harmony is an essential part of music, as, for example, in the
197:, as this facilitates transposing a song to a new key. For example, rock and blues musicians often think of the
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Introducing the ii chord into these progressions emphasises their appeal as constituting elementary forms of
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Taken up into the pop mainstream, it continued to be used sectionally, as in the last part of The
Beatles' "
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of any particular chord depends on the context of the particular chord progression in which it is found.
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In tonal music, chord progressions have the function of either establishing or otherwise contradicting a
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scales lend themselves particularly well to the construction of common chords because they contain many
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1082:. The III–VI–II–V (or V/V/V/V–V/V/V–V/V–V) leads back to C major (I) but is itself indefinite in key.
111:. In these genres, chord progressions are the defining feature on which melody and rhythm are built.
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back to the original key later on, so that the entire sequence of chords helps create an extended
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Jeff
Pressing (2002). "Black Atlantic Rhythm: Its Computational and Transcultural Foundations".
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Middleton, Richard (1990/2002). "Studying
Popular Music". Philadelphia: Open University Press.
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A IV–V–I progression in the key of C major. The chords shown are F major, G major, and C major.
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and partly from the characteristics of the guitar and the use of parallel major chords on the
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Additionally, such a passage may be alternated with a different progression to give a simple
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130:" of the chords. For example, the previously mentioned chord progression, in the key of E
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1129:. All such progressions may be found used sectionally, as for example in the much-used "
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Blues progressions have also been subjected to densely chromatic elaboration, as in the
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455:(vi), respectively. These chords stand in the same relationship to one another (in the
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of jazz, both basic blues chord changes and slightly modified sequences (such as the "
852:. In its most elementary form (and there are many variants), the chord progression is
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notes, that is, notes outside of the diatonic scale. Perhaps the most basic chromatic
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and rhythm as the key element, so entire funk songs may be based on one chord. Some
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of the dominant chord is often raised by one semitone to form a major chord (or a
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Blues progressions influenced a great deal of 20th century
American popular music
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694:, but just as often it is the progression itself that gives rise to the melody.
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fourth, and seventh degrees. A common chord progression with these chords is I-
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1461:. A notable example of a descending minor chord progression is the four-chord
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replacement of (or addition to) a chord with its dominant, subdominant or the
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encouraged ascending scale progressions, particularly based on an ascending
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of the V chord (V/V). In some instances, chromatic notes are introduced to
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357:
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1286:). In this special case, Ravel used a parallel series of major triads (G F
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In rock and blues, musicians also often refer to chord progressions using
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alternation between the tonic (I) and the dominant (V, sometimes with an
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The Secret Life of Chords: A guide to chord progressions and composition
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of the IV chord to give, for example, I–ii–V. This sequence, using the
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of its own chord. A chord built upon the note E is an E chord of some
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contains very similar harmonizations of the descending major scale.
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412:, (V), respectively. These three triads include, and therefore can
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1844:
Steedman, M. J., "A Generative
Grammar for Jazz Chord Sequences",
1795:"The Isley Brothers "Shout" Sheet Music in F Major (transposable)"
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notation, chords are numbered with Roman numerals. Other types of
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chord alterations such as minor chords, diminished sevenths, etc.
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1256:. In the 17th century, descending bass lines found favour for
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to the 21st century. Chord progressions are the foundation of
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In addition, the seventh degree of the major scale (i.e. the
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118:, the technical name for what is commonly understood as the "
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1502:. Typical of the type is the sequence i–III–IV (or iv)–VI.
1457:: there have been one-, two-, and three-minor-chord songs,
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Similar strategies to all the above, work equally well in
566:. These usually allow or even require a certain amount of
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1961:. Vol. I (7th ed.). McGraw-Hill. p. 178.
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feature the harmonization of a descending hybrid scale (
368:(V is particularly common, as it resolves to I) or an
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Von, Tress, Don; Ray, Cyrus, Billy (26 August 2002).
543:
progression) and may even help in defining an entire
1862:"Jazz Standards Songs and Instrumentals (Blue Moon)"
1632:, 72nd ed. B. F.Wood Music, 1922, Introduction p. xv
1342:. Unsourced material may be challenged and removed.
1179:. Unsourced material may be challenged and removed.
1572:List of songs containing the I–V–vi–IV progression
1513:This came about partly from the similarity of the
761:" by a similar phrase that resolves back onto the
493:in simple folk songs is the raised fourth degree (
392:, which are based on the first, fourth, and fifth
2078:, Amazon Digital Services, Inc., ASIN: B008FRWNIW
912:Steedman (1984) proposed that a set of recursive
300:songs are based on a two-, three-, or four-chord
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2005:Sutcliffe, Tom. "Appendix A (Pt. 4)".
1494:The minor-third step from a minor key up to the
665:, but then two of the four chords are the same.
379:
312:songs use only a few chords. On the other hand,
1307:
750:has the progression I–IV–V–V, which ends on an
1673:, Oxford University Press, 1920, chapters 3–4.
2474:
2097:
1682:
1274:The finale measures of the first movement of
428:songs use only these three chord types (e.g.
2076:DOG EAR Tritone Substitution for Jazz Guitar
2059:Nettles, Barrie & Graf, Richard (1997).
1956:
1779:: CS1 maint: multiple names: authors list (
1640:
1638:
1567:List of songs containing the 50s progression
2008:Pop and Rock Music Modal Blues Progressions
1984:"12. Basic Two-Voice Interval Progressions"
765:, giving a structure of double the length:
650:
598:of western classical music. In considering
170:" indicates that the chord is built on the
75:. Chord progressions are the foundation of
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2467:
2104:
2090:
1952:
1950:
1479:VII–IV-I, which also can be played as I-I-
514:. Such a chord typically functions as the
1998:
1635:
1402:Learn how and when to remove this message
1239:Learn how and when to remove this message
709:) to any chord or by substitution of the
522:to a new key. This in turn may lead to a
320:with one or two chord changes every bar.
1468:Folk and blues tunes frequently use the
1144:
827:
701:. They may be varied by the addition of
416:, every note of that scale. Many simple
356:, each degree of the scale becoming the
344:A chord may be built upon any note of a
327:
180:" and the word "major" indicates that a
2061:The Chord Scale Theory and Jazz Harmony
1957:Benward, Bruce; Saker, Marilyn (2003).
1947:
1607:Traditional sub-Saharan African harmony
1271:, and so of the bass line I–VII–VI....
927:"). Important transformations include:
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79:in Western musical tradition from the
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2004:
1340:adding citations to reliable sources
1311:
1177:adding citations to reliable sources
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952:
690:Often the chords may be selected to
439:The same major scale also has three
396:. The triads are referred to as the
436:", which uses I, IV and V chords).
13:
2027:
1914:. The Beatles Bible. 15 March 2008
384:The diatonic harmonization of any
14:
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1981:
1440:(i.e. in A minor). G is the
721:in a common chord progression of
2584:
1316:
1153:
938:use of chromatic passing chords.
823:
635:), as do popular songs such as "
500:
2011:. Syntactic Structures in Music
1975:
1926:
1904:
1884:
1854:
1838:
1649:Structural Functions of Harmony
1327:needs additional citations for
1164:needs additional citations for
1074:(E–A–D–G) often appears in the
697:Similar progressions abound in
533:
323:
2037:. Australian eBook Publisher.
1813:
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1693:University of California Press
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1663:
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1113:as well as the possibility of
510:of the ii chord is raised one
1:
1959:Music: In Theory and Practice
1723:"Chapter 15---Funk and Disco"
1612:
380:Diatonic and chromatic chords
1671:Elementary Harmony, Part One
1505:According to Tom Sutcliffe:
1419:
1308:Minor and modal progressions
1056:
1028:
962:
812:such as that of the popular
219:major, the chords would be B
136:major, would be written as E
103:, as well as genres such as
32:
18:Succession of musical chords
7:
2488:
1540:
10:
2637:
2551:List of chord progressions
2450:List of chord progressions
1630:Harmony: A Course of Study
1626:George Whitefield Chadwick
1562:List of chord progressions
1121:that have been dubbed the
692:fit a pre-conceived melody
654:
404:, symbolized by "I"), the
348:. Therefore, a seven-note
23:List of chord progressions
20:
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2119:
1912:"Happiness Is A Warm Gun"
1533:in various sub-genres of
941:extensively applying the
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530:and a sense of movement.
209:could be instructed by a
1709:10.1525/mp.2002.19.3.285
1701:10.1525/mp.2002.19.3.285
1260:on the ground", so that
989:or doo-wop progression.
651:Three-chord progressions
647:" uses I–vi throughout.
558:have been devised, from
506:) that results when the
154:major in a fake book or
2308:Tadd Dameron turnaround
1934:Jazz Chord Progressions
1900:(subscription required)
1424:download the audio file
1095:, consist of "adjacent
1091:. These, named for the
1061:download the audio file
1033:download the audio file
1013:Happiness Is a Warm Gun
985:, sometimes called the
967:download the audio file
158:. In the first chord, E
37:download the audio file
2403:Montgomery-Ward bridge
2383:Royal road progression
2278:Montgomery-Ward bridge
1577:Montgomery-Ward bridge
1523:pentatonic minor scale
1511:
1106:
1104:I–IV–vii–iii–vi–ii–V–I
976:A 50s progression in C
833:
596:common practice period
485:A chord may also have
465:dominant seventh chord
402:Roman numeral analysis
341:
2348:Borrowed (contrafact)
2033:Lloyd, Peter (2014).
1892:Heart and Soul (1938)
1866:www.jazzstandards.com
1651:, Norton, 1954, p. 1.
1507:
1145:Harmonizing the scale
1102:
831:
699:African popular music
331:
71:) is a succession of
2439:Irregular resolution
2217:Backdoor progression
1872:on 27 September 2018
1821:"Chord Progressions"
1336:improve this article
1173:improve this article
933:tritone substitution
316:jazz songs may have
61:harmonic progression
2621:Musical terminology
1932:Boyd, Bill (1997).
1756:"Achy Breaky Heart"
1660:Chadwick, 1922, p.1
1351:"Chord progression"
1280:Piano Concerto in G
1188:"Chord progression"
1123:ragtime progression
1072:ragtime progression
1019:Circle progressions
586:scales such as the
579:Simple progressions
574:Common progressions
352:allows seven basic
184:is built on this "E
81:common practice era
53:musical composition
2611:Chord progressions
2373:Passamezzo moderno
2333:Andalusian cadence
2263:Andalusian cadence
2242:Passamezzo moderno
2142:Constant structure
2113:Chord progressions
1825:guitaralliance.com
1645:Schoenberg, Arnold
1582:Passamezzo moderno
1463:Andalusian cadence
1435:Andalusian cadence
1089:circle progression
1044:circle progression
834:
641:The Isley Brothers
516:secondary dominant
457:relative minor key
342:
2593:
2592:
2526:Chord progression
2456:
2455:
2433:Pachelbel's Canon
2368:Passamezzo antico
2316:
2315:
2283:Passamezzo antico
2237:Sixteen-bar blues
2202:V–IV–I turnaround
2197:ii–V–I turnaround
2063:. Advance Music,
1968:978-0-07-294262-0
1898:. Chords marked.
1851:(1) (1984) 52–77.
1592:Root progressions
1552:Diatonic function
1547:Chromatic mediant
1428:
1412:
1411:
1404:
1386:
1262:Pachelbel's canon
1249:
1248:
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1223:
1127:stomp progression
1065:
1037:
971:
953:1950s progression
943:ii–V–I turnaround
901:
900:
800:
799:
727:ii–V–I turnaround
637:Achy Breaky Heart
418:traditional music
406:subdominant chord
388:results in three
332:The key note, or
318:32-bar song forms
101:traditional music
57:chord progression
41:
2628:
2616:Jazz terminology
2588:
2483:
2476:
2469:
2460:
2459:
2388:"Rhythm" changes
2358:Coltrane changes
2258:'50s progression
2227:Twelve-bar blues
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2074:R., Ken (2012).
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1846:Music Perception
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1801:. 23 August 2010
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1685:Music Perception
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1602:Twelve-bar blues
1597:Sequence (music)
1500:pentatonic scale
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1093:circle of fifths
1002:Hoagy Carmichael
994:Rodgers and Hart
857:
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842:rock and rollers
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725:, the so-called
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657:Three-chord song
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480:diminished chord
453:submediant chord
445:supertonic chord
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2636:
2635:
2631:
2630:
2629:
2627:
2626:
2625:
2596:
2595:
2594:
2589:
2580:
2536:Harmonic rhythm
2492:
2487:
2457:
2452:
2443:
2419:Aeolian harmony
2407:
2312:
2246:
2222:Eight-bar blues
2208:
2207:
2175:
2169:
2154:(Roman-numeral)
2153:
2115:
2110:
2030:
2028:Further reading
2025:
2024:
2014:
2012:
2003:
1999:
1989:
1987:
1986:. Milne Library
1980:
1976:
1969:
1955:
1948:
1931:
1927:
1917:
1915:
1910:
1909:
1905:
1899:
1889:
1885:
1875:
1873:
1860:
1859:
1855:
1843:
1839:
1829:
1827:
1819:
1818:
1814:
1804:
1802:
1793:
1792:
1788:
1772:
1771:
1764:
1762:
1752:
1748:
1738:
1736:
1735:on 19 July 2011
1732:
1725:
1721:
1720:
1716:
1681:
1677:
1668:
1664:
1659:
1655:
1643:
1636:
1624:
1620:
1615:
1543:
1487:
1486:
1481:
1480:
1475:
1474:
1451:
1450:
1449:
1431:
1430:
1429:
1427:
1408:
1397:
1391:
1388:
1345:
1343:
1333:
1321:
1310:
1300:
1299:
1294:
1293:
1288:
1287:
1245:
1234:
1228:
1225:
1182:
1180:
1170:
1158:
1147:
1135:George Gershwin
1085:
1084:
1083:
1068:
1067:
1066:
1064:
1049:
1048:
1047:
1040:
1039:
1038:
1036:
1021:
987:50s progression
979:
978:
977:
974:
973:
972:
970:
955:
921:transformations
826:
717:, is also used
685:I – IV – V – IV
684:
679:
674:
669:
663:harmonic rhythm
659:
653:
588:major and minor
581:
576:
536:
499:
495:
494:
382:
372:. The harmonic
354:diatonic triads
326:
292:emphasizes the
281:
280:
275:
274:
269:
268:
263:
262:
257:
256:
251:
250:
245:
244:
239:
238:
233:
232:
227:
226:
221:
220:
215:
214:
186:
185:
176:
175:
166:
165:
160:
159:
150:
149:
148:major–C minor–A
144:
143:
138:
137:
132:
131:
85:Classical music
49:
48:
47:
44:
43:
42:
40:
25:
19:
12:
11:
5:
2634:
2624:
2623:
2618:
2613:
2608:
2591:
2590:
2583:
2581:
2579:
2578:
2573:
2568:
2563:
2558:
2553:
2548:
2546:List of chords
2543:
2538:
2533:
2528:
2523:
2518:
2513:
2508:
2503:
2497:
2494:
2493:
2486:
2485:
2478:
2471:
2463:
2454:
2453:
2448:
2445:
2444:
2442:
2441:
2436:
2426:
2421:
2415:
2413:
2409:
2408:
2406:
2405:
2400:
2395:
2390:
2385:
2380:
2375:
2370:
2365:
2360:
2355:
2350:
2345:
2343:"Bird" changes
2340:
2335:
2330:
2324:
2322:
2318:
2317:
2314:
2313:
2311:
2310:
2305:
2300:
2295:
2285:
2280:
2275:
2270:
2265:
2260:
2254:
2252:
2248:
2247:
2245:
2244:
2239:
2234:
2231:"Bird" changes
2224:
2219:
2214:
2204:
2199:
2194:
2188:
2186:
2177:
2171:
2170:
2168:
2167:
2162:
2157:
2149:
2144:
2139:
2134:
2129:
2123:
2121:
2117:
2116:
2109:
2108:
2101:
2094:
2086:
2080:
2079:
2072:
2057:
2046:
2029:
2026:
2023:
2022:
1997:
1982:Mount, Andre.
1974:
1967:
1946:
1925:
1903:
1896:MusicNotes.com
1883:
1853:
1837:
1812:
1799:Musicnotes.com
1786:
1760:Musicnotes.com
1746:
1714:
1675:
1669:C. H. Kitson,
1662:
1653:
1634:
1617:
1616:
1614:
1611:
1610:
1609:
1604:
1599:
1594:
1589:
1584:
1579:
1574:
1569:
1564:
1559:
1554:
1549:
1542:
1539:
1496:relative major
1465:, i–VII–VI–V.
1432:
1421:
1418:
1415:
1414:
1413:
1410:
1409:
1324:
1322:
1315:
1309:
1306:
1269:seventh degree
1247:
1246:
1161:
1159:
1152:
1146:
1143:
1131:rhythm changes
1080:jazz standards
1069:
1058:
1055:
1052:
1051:
1050:
1041:
1030:
1027:
1024:
1023:
1022:
1020:
1017:
1006:Heart and Soul
975:
964:
961:
958:
957:
956:
954:
951:
950:
949:
946:
939:
936:
925:rhythm changes
903:
902:
899:
898:
895:
892:
889:
885:
884:
881:
878:
875:
871:
870:
867:
864:
861:
850:Little Richard
825:
822:
802:
801:
798:
797:
794:
791:
788:
784:
783:
780:
777:
774:
711:relative minor
688:
687:
682:
680:I – IV – I – V
677:
675:I – I – IV – V
672:
670:I – IV – V – V
652:
649:
592:perfect fifths
580:
577:
575:
572:
556:chord notation
535:
532:
410:dominant chord
408:(IV), and the
381:
378:
370:extended chord
350:diatonic scale
325:
322:
207:rhythm section
195:Roman numerals
124:Roman numerals
91:styles (e.g.,
45:
34:
31:
28:
27:
26:
17:
9:
6:
4:
3:
2:
2633:
2622:
2619:
2617:
2614:
2612:
2609:
2607:
2604:
2603:
2601:
2587:
2577:
2576:Voice leading
2574:
2572:
2569:
2567:
2564:
2562:
2559:
2557:
2554:
2552:
2549:
2547:
2544:
2542:
2541:Harmonization
2539:
2537:
2534:
2532:
2529:
2527:
2524:
2522:
2519:
2517:
2514:
2512:
2509:
2507:
2504:
2502:
2501:Accompaniment
2499:
2498:
2495:
2491:
2484:
2479:
2477:
2472:
2470:
2465:
2464:
2461:
2451:
2446:
2440:
2437:
2434:
2430:
2427:
2425:
2422:
2420:
2417:
2416:
2414:
2410:
2404:
2401:
2399:
2396:
2394:
2391:
2389:
2386:
2384:
2381:
2379:
2376:
2374:
2371:
2369:
2366:
2364:
2361:
2359:
2356:
2354:
2351:
2349:
2346:
2344:
2341:
2339:
2336:
2334:
2331:
2329:
2326:
2325:
2323:
2319:
2309:
2306:
2304:
2301:
2299:
2296:
2293:
2289:
2286:
2284:
2281:
2279:
2276:
2274:
2271:
2269:
2266:
2264:
2261:
2259:
2256:
2255:
2253:
2249:
2243:
2240:
2238:
2235:
2232:
2228:
2225:
2223:
2220:
2218:
2215:
2213:
2212:VII–V cadence
2205:
2203:
2200:
2198:
2195:
2193:
2190:
2189:
2187:
2185:
2181:
2178:
2172:
2166:
2163:
2161:
2160:Rewrite rules
2158:
2156:
2150:
2148:
2145:
2143:
2140:
2138:
2135:
2133:
2130:
2128:
2125:
2124:
2122:
2118:
2114:
2107:
2102:
2100:
2095:
2093:
2088:
2087:
2084:
2077:
2073:
2070:
2069:3-89221-056-X
2066:
2062:
2058:
2055:
2054:0-335-15275-9
2051:
2047:
2044:
2043:9781925029765
2040:
2036:
2032:
2031:
2010:
2009:
2001:
1985:
1978:
1970:
1964:
1960:
1953:
1951:
1943:
1942:0-7935-7038-7
1939:
1935:
1929:
1913:
1907:
1897:
1893:
1887:
1871:
1867:
1863:
1857:
1850:
1847:
1841:
1826:
1822:
1816:
1800:
1796:
1790:
1782:
1776:
1761:
1757:
1750:
1731:
1724:
1718:
1710:
1706:
1702:
1698:
1694:
1690:
1686:
1679:
1672:
1666:
1657:
1650:
1646:
1641:
1639:
1631:
1627:
1622:
1618:
1608:
1605:
1603:
1600:
1598:
1595:
1593:
1590:
1588:
1587:Passing chord
1585:
1583:
1580:
1578:
1575:
1573:
1570:
1568:
1565:
1563:
1560:
1558:
1555:
1553:
1550:
1548:
1545:
1544:
1538:
1536:
1532:
1528:
1524:
1520:
1516:
1510:
1506:
1503:
1501:
1497:
1492:
1471:
1466:
1464:
1460:
1456:
1447:
1444:and G is the
1443:
1439:
1436:
1425:
1406:
1403:
1395:
1384:
1381:
1377:
1374:
1370:
1367:
1363:
1360:
1356:
1353: –
1352:
1348:
1347:Find sources:
1341:
1337:
1331:
1330:
1325:This article
1323:
1319:
1314:
1313:
1305:
1285:
1281:
1277:
1272:
1270:
1265:
1263:
1259:
1255:
1243:
1240:
1232:
1221:
1218:
1214:
1211:
1207:
1204:
1200:
1197:
1193:
1190: –
1189:
1185:
1184:Find sources:
1178:
1174:
1168:
1167:
1162:This article
1160:
1156:
1151:
1150:
1142:
1140:
1136:
1132:
1128:
1124:
1120:
1116:
1112:
1105:
1101:
1098:
1094:
1090:
1081:
1077:
1073:
1062:
1045:
1034:
1016:
1014:
1009:
1007:
1003:
1000:" (1934) and
999:
995:
990:
988:
984:
968:
947:
944:
940:
937:
934:
930:
929:
928:
926:
922:
919:
916:generate all
915:
914:rewrite rules
910:
908:
896:
893:
890:
887:
886:
882:
879:
876:
873:
872:
858:
855:
854:
853:
851:
847:
843:
839:
830:
824:Blues changes
821:
819:
815:
811:
807:
795:
792:
789:
786:
785:
771:
768:
767:
766:
764:
760:
756:
753:
749:
744:
742:
740:
735:
730:
728:
724:
720:
716:
712:
708:
707:scale degrees
704:
700:
695:
693:
683:
678:
673:
668:
667:
666:
664:
658:
648:
646:
642:
638:
634:
633:added seventh
628:
626:
622:
618:
614:
610:
605:
601:
597:
593:
589:
585:
571:
569:
568:improvisation
565:
561:
557:
553:
548:
546:
542:
531:
529:
525:
521:
517:
513:
509:
503:
492:
488:
483:
481:
477:
472:
470:
466:
462:
458:
454:
450:
449:mediant chord
446:
442:
437:
435:
431:
427:
426:rock and roll
423:
419:
415:
411:
407:
403:
399:
395:
394:scale degrees
391:
387:
377:
375:
371:
367:
366:seventh chord
363:
359:
355:
351:
347:
346:musical scale
339:
338:scale degrees
335:
330:
321:
319:
315:
311:
310:hardcore punk
307:
303:
299:
295:
291:
286:
212:
208:
204:
200:
196:
191:
183:
173:
164:major, the "E
157:
129:
125:
121:
117:
112:
110:
106:
102:
98:
94:
90:
89:popular music
86:
82:
78:
74:
70:
66:
65:chord changes
62:
58:
54:
38:
24:
16:
2571:Simultaneity
2525:
2506:Alberti bass
2398:Tadd-Dameron
2147:Double tonic
2112:
2075:
2060:
2034:
2013:. Retrieved
2007:
2000:
1990:18 September
1988:. Retrieved
1977:
1958:
1933:
1928:
1916:. Retrieved
1906:
1895:
1886:
1874:. Retrieved
1870:the original
1865:
1856:
1848:
1845:
1840:
1828:. Retrieved
1824:
1815:
1803:. Retrieved
1798:
1789:
1763:. Retrieved
1759:
1749:
1737:. Retrieved
1730:the original
1717:
1688:
1684:
1678:
1670:
1665:
1656:
1648:
1629:
1621:
1557:Ear training
1531:power chords
1527:barre chords
1519:modal scales
1512:
1508:
1504:
1493:
1491:VII–IV-I-I.
1467:
1452:
1446:leading tone
1437:
1398:
1389:
1379:
1372:
1365:
1358:
1346:
1334:Please help
1329:verification
1326:
1284:phrygo-major
1273:
1266:
1250:
1235:
1226:
1216:
1209:
1202:
1195:
1183:
1171:Please help
1166:verification
1163:
1139:I Got Rhythm
1111:chromaticism
1107:
1103:
1086:
1010:
991:
980:
911:
904:
838:12-bar blues
835:
818:musical form
810:ternary form
803:
745:
738:
731:
723:jazz harmony
696:
689:
660:
629:
582:
560:figured bass
549:
541:12-bar blues
537:
534:Progressions
528:musical form
484:
476:leading tone
473:
441:minor chords
438:
390:major triads
383:
343:
324:Basic theory
287:
199:12-bar blues
192:
113:
67:, used as a
64:
63:(informally
60:
56:
50:
15:
2429:Ground bass
2298:IV–V–iii–vi
2120:Terminology
1695:: 285–310.
1515:blues scale
1459:minor blues
1455:minor modes
918:well-formed
846:Chuck Berry
814:32-bar form
763:tonic chord
719:cadentially
564:chord chart
550:In western
471:is added).
451:(iii), and
398:tonic chord
386:major scale
203:backup band
182:major chord
2600:Categories
2511:Banjo roll
2165:Turnaround
1830:1 February
1613:References
1535:rock music
1485:VII–IV or
1470:Mixolydian
1438:por arriba
1433:A typical
1362:newspapers
1258:"divisions
1199:newspapers
1115:modulation
1046:in C major
1008:" (1938).
907:Bird blues
757:, may be "
752:unresolved
705:(or other
655:See also:
524:resolution
491:alteration
478:) forms a
434:Wild Thing
430:The Troggs
422:folk music
211:bandleader
156:lead sheet
97:rock music
21:See also:
2531:Four-part
2303:Romanesca
2288:I–V–vi–IV
2273:vi–ii–V–I
2176:of chords
2174:By number
2152:Notation
1936:, p. 56.
1392:June 2019
1229:June 2019
998:Blue Moon
983:I–vi–ii–V
734:Beethoven
609:hard rock
552:classical
487:chromatic
414:harmonize
298:jazz-funk
172:root note
93:pop music
2566:Sequence
2424:Chaconne
2338:Backdoor
2209:♭
2192:I–IV–V–I
1775:cite web
1765:1 August
1541:See also
1488:♭
1482:♭
1476:♭
1442:subtonic
1301:♭
1295:♭
1289:♯
1254:bassline
1125:and the
844:such as
759:answered
755:dominant
741:Symphony
739:Pastoral
715:ii chord
703:sevenths
584:Diatonic
520:modulate
512:semitone
496:♯
374:function
282:♭
276:♭
270:♭
264:♭
258:♭
252:♭
246:♭
240:♭
234:♭
228:♭
222:♭
216:♭
190:" note.
187:♭
177:♭
167:♭
161:♭
151:♭
145:♭
142:major–B
139:♭
133:♭
116:tonality
2606:Harmony
2516:Cadence
2490:Harmony
2412:Related
2378:Ragtime
2363:Omnibus
2321:By name
2229: (
2137:Changes
2132:Cadence
2015:22 July
1918:17 July
1805:17 July
1525:. With
1376:scholar
1292:E D C B
1213:scholar
627:, etc.
613:hip hop
562:to the
482:(vii).
469:seventh
467:if the
304:. Some
128:quality
77:harmony
2353:Circle
2127:Bridge
2067:
2052:
2041:
1965:
1940:
1876:22 May
1707:
1378:
1371:
1364:
1357:
1349:
1215:
1208:
1201:
1194:
1186:
1076:bridge
806:binary
748:phrase
604:Indian
447:(ii),
443:, the
294:groove
73:chords
69:plural
2561:Pitch
2521:Chord
2393:Stomp
2268:Folía
2184:Three
1739:6 May
1733:(PDF)
1726:(PDF)
1705:JSTOR
1691:(3).
1383:JSTOR
1369:books
1276:Ravel
1220:JSTOR
1206:books
1133:" of
1097:roots
816:(see
645:Shout
621:disco
545:genre
508:third
461:third
334:tonic
314:bebop
267:, F-E
105:blues
51:In a
2556:Note
2292:list
2251:Four
2065:ISBN
2050:ISBN
2039:ISBN
2017:2008
1992:2020
1963:ISBN
1938:ISBN
1920:2016
1878:2019
1832:2019
1807:2016
1781:link
1767:2019
1741:2011
1355:news
1304:G).
1192:news
1137:'s "
1119:jazz
1070:The
1004:'s "
996:'s "
848:and
836:The
625:jazz
617:funk
602:and
600:Arab
424:and
400:(in
362:type
358:root
308:and
306:punk
302:vamp
290:Funk
109:jazz
107:and
55:, a
2328:50s
1894:",
1697:doi
1517:to
1338:by
1278:'s
1175:by
1141:".
1078:of
1015:".
891:IV
877:IV
874:IV
820:).
808:or
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