Chord Progressions

Why This Matters

Chord progressions aren't just sequences of chords—they're the emotional architecture of music. When you understand why certain progressions work, you unlock the ability to analyze any song, compose with intention, and recognize patterns across centuries of music. You're being tested on your ability to identify harmonic function, understand voice leading principles, and explain how progressions create tension, resolution, and emotional movement.

The progressions in this guide demonstrate core concepts like tonic-dominant relationships, circle-of-fifths motion, and the interplay between major and relative minor tonalities. Don't just memorize the Roman numerals—know what each progression does harmonically and why composers and songwriters reach for it. That's what separates surface-level recall from real theoretical understanding.

---

Foundational Cadential Progressions

These progressions establish the most fundamental harmonic relationships in tonal music. The movement from dominant (V) to tonic (I) creates the strongest sense of resolution in Western harmony.

I-V-I (Simple Cadence)

• Authentic cadence in its purest form—demonstrates the essential dominant-to-tonic resolution that defines tonal music
• Foundation for all other progressions; understanding this relationship is prerequisite to analyzing more complex harmony
• Common in folk, hymns, and traditional music where harmonic simplicity supports memorable melodies

I-IV-V-I (Primary Triads Progression)

• Uses only primary triads (built on scale degrees 1, 4, and 5), establishing the complete tonal framework of a key
• Subdominant (IV) adds pre-dominant function, creating the classic tension-building arc before dominant resolution
• Genre-spanning utility—works equally well in rock, country, folk, and classical because it maximizes harmonic clarity

I-IV-V7 (Blues Foundation)

• Dominant seventh on V adds chromatic tension—the $\hat{4}$ to $\hat{3}$ resolution creates characteristic blues pull
• All three chords often become dominant sevenths in blues, breaking classical voice-leading rules for expressive color
• 12-bar blues structure built on this progression forms the harmonic basis for jazz, rock, and R&B

---

Jazz and Smooth Voice Leading

These progressions prioritize stepwise motion between chord tones, creating seamless harmonic flow. Circle-of-fifths root movement (down a fifth or up a fourth) produces the smoothest voice leading in tonal harmony.

ii-V-I (Jazz Fundamental)

• Circle-of-fifths root motion (ii to V to I) creates the strongest harmonic pull toward resolution
• Superior voice leading—chord tones move by step rather than leap, enabling smooth melodic lines over changes
• Platform for extensions and alterations; jazz musicians add 7ths, 9ths, 13ths, and chromatic substitutions to this skeleton

I-vi-ii-V (Turnaround Progression)

• Extended circle-of-fifths motion adds vi before ii-V-I, creating four-bar phrases that cycle back to the beginning
• Diatonic descent through the circle (I-vi-ii-V = roots descending by thirds, then fifths) maximizes harmonic momentum
• Standard jazz and blues turnaround—signals the end of a chorus and sets up the next repetition

---

Pop Progressions and Relative Minor

These progressions balance major and minor tonalities by incorporating the vi chord (relative minor). The relationship between I and vi—sharing two common tones—allows seamless shifts between bright and melancholic moods.

I-V-vi-IV (Pop Progression)

• Most ubiquitous progression in modern pop—appears in hundreds of hit songs from the 1990s to present
• Delays minor color until chord 3, creating an emotional arc that starts bright and introduces tension mid-phrase
• Four-chord loop structure enables infinite repetition without listener fatigue; ideal for verse-chorus forms

I-vi-IV-V (50s Progression)

• Minor chord arrives early (position 2), giving immediate emotional depth before resolving through IV-V
• Doo-wop and early rock signature—evokes nostalgia through association with 1950s recordings
• Strong backbeat compatibility; the predictable harmonic rhythm supports driving rhythmic patterns

vi-IV-I-V (Minor-Start Variation)

• Rotation of the pop progression starting on vi creates ambiguous tonality—is it minor or major?
• Darker opening mood that brightens as progression moves toward I, reversing the typical emotional arc
• Modern pop and rock favorite for verses that need emotional weight before uplifting choruses

---

Extended and Circular Progressions

These progressions use longer chord sequences to create sustained harmonic journeys. Extended progressions build complexity while maintaining clear tonal direction.

I-V-vi-iii-IV-I-IV-V (Circle Progression)

• Eight-chord sequence following partial circle-of-fifths logic creates extended harmonic narrative
• iii chord appearance (rare in pop) adds modal color and connects vi to IV through stepwise bass motion
• Dynamic sectional transitions—length allows for building intensity across verses or bridge sections

I-IV-vi-V (Four-Chord Variant)

• Reorders the pop progression to place IV before vi, creating different voice-leading implications
• Subdominant before relative minor emphasizes the plagal (IV-I) relationship alongside dominant function
• Chorus-friendly construction; the IV-vi-V ending creates strong melodic hook opportunities

---

Quick Reference Table

---

Self-Check Questions

1. Which two progressions demonstrate circle-of-fifths root motion, and how does this motion affect voice leading?

2. Compare I-V-vi-IV and vi-IV-I-V: they use the same chords, so why do they create different emotional effects?

3. What harmonic function does the ii chord serve in ii-V-I, and why is this progression preferred over IV-V-I in jazz?

4. If you needed to demonstrate the difference between authentic cadence and plagal motion on an exam, which progressions would you use as examples?

5. The I-vi-ii-V turnaround and the 50s progression (I-vi-IV-V) both feature the vi chord in position 2—what distinguishes their harmonic purposes and typical genre associations?