The following is a list of commonly used chord progressions in music.
| Code | |
|---|---|
| Major | Major |
| Minor | Minor |
| Atonal | Atonal |
| Bitonal | Bitonal |
| Ind. | Indeterminate |
| PD | Phrygian dominant |
| Mix. | Mixolydian |
| Name | Image | Sound | # of chords | Quality |
|---|---|---|---|---|
| 50s progression |  I–vi–IV–V |
4 | Major | |
| IV-V-I-vi |  IV-V-I-vi progression in C major
|
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 –I |
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 I |
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 | .svg){kind=small} 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 |  I-iv-ii-V / I-I7-iv-I-V-I / III7-VI7-II7-V7 |
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–V |
3 | Major | |
| I−vi−ii−V |  I–vi–ii–V |
4 | Major | |
| ♭VII–V7 cadence |  ♭VII–V–I |
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
[edit]- R., Ken (2012). DOG EAR Tritone Substitution for Jazz Guitar, Amazon Digital Services, Inc., ASIN: B008FRWNIW.
See also
[edit]Music theory lists | ||
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