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