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Harmonic Analysis - Common Chord Progressions
There is a lot more in common thany you might think.

Category: Theory Instrument: Theory Subjects(s): Theory • Intermediate • Advanced • Progressions

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Harmonic Analysis - Common Chord Progressions

Common chord progression are simply the sequence of chords that contiounly show up in various styles of music and common keys.

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For a thorough listing of common chord progressions see my book The Advanced Guide to Chord Progressions - Vol I and II.

Volume I deals with chord progressions using the Full Diatonic, Partial Diatonic and Chromatic harmonic principles.

Volume II deals with Internal Modulation, Unresolved and Cycle principles.

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This series, is the book Harmonic Analysis for Chord Substitution and Scale Selection by Curt sheller broken out into individual lessons with additional examples and content. Always, the latest version of the book.

Common Chord Functions and Progressions

Common Major Keys

Rock, Folk, Country, Pop, Bluegrass:

C, G, D, A, E

Jazz:

C, F, B, Eb, A, Db, G

NOTE: Their relative minor keys are also common.

The common keys actually corresponded to the dominant, popular instruments used during the particular style. Guitar for the Rock, Folk, Country keys and big band instruments, the horns for Jazz.

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Harmonic Analysis - Common Chord Progressions…

Common Chord Progressions

For a thorough listing of common chord progressions see my book The Advanced Guide to Chord Progressions — Vol I and II . Volume I deals with chord progressions using the Full Diatonic, Partial Diatonic and Chromatic harmonic principles. Volume II deals with Internal Modulation, Unresolved and Cycle principles.

Harmonic Functions of Chords

Individual chords can be categorized by their most common harmonic function. The following partial list is based on the Major Harmonized Chord Scale and shows a chord's most common harmonic function.

I
II
V

Tonic
Supertonic
Dominant

The Classic II V I
Approximately 75 to
80% of ALL Jazz
Chord Progressions

I

Tonic – is the first scale degree / chord of a Diatonic scale (the first note of a scale) and the tonal center or final resolution chord of Tonic/Dominant harmony.

I7

A Partial Diatonic, V of IV Secondary Dominant chord to temporarily tonize the next chord. Also used as a pivot chord for an Internal Modulation to new key/tonal center.

Idim7

A true Diminished linking chord typically used between the I and II .

#Idim7

Or ♭II°7 is not a true Diminished chord.

It's actually a Disguised V of VI Secondary Dominant chord, a VI7b9 .

A notational shortcut vs. using the correct slash chord notation. Example: C♯°7 vs. A7♭9/C♯ . This can often be a publisher's marketing decision based on the perceived ability and level of their customers. Or, I think they just don't have good music editors.

bIIdim7

An Enharmonic Equivalent for the #dim7 above.

bII7

Minor Third Substitution , A tritone sub for V , Usually precedes the I , a common Chromatic harmonic move.

II

Supertonic – functions as the subdominant of I , replacement substitute for IV .

I7

V of V, Secondary Dominant . A Secondary Dominant chords are a Partial Diatonic pivot chord and often used for an Internal Modulation to a new key.

#IIdim7

An Enharmonic Equivalent for the ♭III°7 below.

bIIIdim7

Not a true Diminished chord. A VII7b9 , Disguised V of III Secondary Dominant . A notational shortcut vs. using the correct slash chord notation. Example: D♯°7 vs. B7♭9/D♯ .

bIII7

Minor Third Substitution , A tritone sub for VI , Usually precedes the II , a common Chromatic harmonic move.

III

Mediant, replacement substitute for I .

III7

V of VI Partial Diatonic, Secondary Dominant chord to temporarily tonize the next chord. Also used as a pivot chord for an Internal Modulation to new key/tonal center.

IV

Subdominant

IVm7

m7 or m6 – The II of the bVII7 below . A Minor Third Substitution substitution for a V chord. Or, a mis-named ninth chord a fourth up or fifth below.

IV7

Partial Diatonic chord found in a Blues progression.

#IVdim7

Not a true Diminished chord. A II7b9 , Disguised V of VI Secondary Dominant . A notational shortcut vs. using the correct slash chord notation. Example: F♯°7 vs. E7♭9/G♯ .

bVdim7

An Enharmonic Equivalent for the #IVdim7 above.

V

Dominant

Vm7

The II of the V of IV .

#Vdim7

Not a true Diminished chord. A II7b9 , Disguised V of V Secondary Dominant . A notational shortcut vs. using the correct slash chord notation. Example: G♯°7 vs. D7♭9/C♯ .

bVI7

Substitute for IV usually leads to V .

VI

Submediant – substitute for I , often follows I or occurs between III and II .

bVII7

A Minor Third Substitution substitution. A sub for V leading back to a I . Typically used as IVm7 bVII7 to the I — coming back to the tonic using the backdoor and not via the dominant, front door, V .

VII7

Leading Tone – substitute for V , often follows I or occurs between III and II .

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End of Lesson - Thanks, Hope You Enjoyed It!

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