•

86

ALL ABOUT CHORD PROGRESSIONS I

Root Movement, Cycle-Based Patterns,
Secondary Dominants, and Circled-Based Chromatic Patterns

by Jim Ferguson and Howard Morge

Most forms of music, from complex Wagnerian opera to the lightest pop, have chord pro-
gression-one chord moving to another-at their core. If you've ever arranged a piece for sol
guitar, transcribed a song off of a record, sat in with a band playing an unfamiliar tune, ana-
lyzed a difficult composition, or written an original work, then you've undoubtedly encoun-
tered chord patterns and have an idea of how tricky they can be and how valuable an under-
standing of them is.

Statistically, any given harmony can move to an almost bewildering array of chords. For
instance, even if you limit chord quality to four different general types-major, minor
dominant, and diminished-and consider only root position (where the root of the cho
is the lowest sounding note), any given chord can progress to one of 44 others (the ~_
remaining notes of the chromatic scale multiplied by four). But that's only the tip of the
iceberg. Once you add inversions and other qualities to the equation, things become g
-metrically more complex.
-
The bottom line for why a composer, songwriter, or improviser uses a particular set of chor
is that they sound good. One of the beauties of music is that practically any given chord c
follow another one, which can make a piece interesting by adding an element of unpn
dictability. However, certain progressions, sequences, series, or patterns-whatever Y'
choose to call them- ..are pleasing because they sound familiar and are acceptable to the ear
This is because they tend to occur over and over again. These common patterns can vary .
length from as short as two consecutive chords to sequences lasting for an entire piece (
common 12-bar blues, for instance).

Music theory is not a set of formulas for writing music, but instead it is a collection of musi
cal practices observed to have been used over a long time frame and therefore considered
be common practice. In practical terms, theory is a system for analyzing, studying, and co
ifying musical techniques, which gives you an understanding of what has gone on in the p
so that you can then use and manipulate these techniques for your own purposes.

Central to music theory is harmony-the chord realm, encompassing harmonic sa-~:

voice leading, inversion, progression, modulation, and other subjects. This chapter ~;;;.:
ed to chord progression in terms of root movement, common chord sequences dete:=-:J:
by the succession of root (tonic) notes. Keep in mind that although root movemen; ~ .
sents only part of the harmonic landscape, knowledge of chord patterns is invaluable
serious guitarist, regardless of style.

Although melodies, voicings, inversions, and the location of harmonic sequences vary ~
song to song, progressions remain essentially the same. Rather than a seemingly long s
of unrelated chords. a relatively complex song is often merely a series of short, logical
terns that often temporarily pass through a variety of keys. Understanding the routes
chords tend to move in and how those connections form larger patterns can help you
 87

everything from improvisation to songwrtting to serious composition, learning new reper-

oire, accompanying other musicians, and understanding more advanced material such
as substitution.

A complete, in-depth study of progressions, encompassing everything from the classical

commonpractice period to modern classical techniques to jazz to rock, is beyond the scope
of this book. Progressions that are dependent upon specific voice-leading, modulation, voic-
ing, substitution, and inversion can't be considered here in detail. But although this chap-
er is primarily limited to diatonic progressions and chromatic root movement within a sin-
gle key center, it covers a wide range of useful patterns and chord movement tendencies .
.~

oman Numeral Symbolization:

denttfytng progressions with symbols, such as C, F, G7, and so on, limits their discussion
o only one key at a time. However, symbolizing sequences with Roman numerals not only
nables you to transpose examples from key to key with great ease, but it also allows you to
ee the exact function of each chord within a given pattern and to quickly recognize similar
equences in other keys. (Although symbolization is not standardized and a variety of sys-
ems are in use, they usually have many similarities and can be quickly deciphered).

hords derived from notes of a given major or minor scale can be described as diatonic.
Harmonized scales, where chords are constructed upon each scale degree using only notes
estdent in-the scale, constitute the basic harmonies of a given key. The following example
hows a C major scale harmonized. with diatonic root-position triads; observe that these
hords are constructed of consecutive third intervals found within in the major scale, a char-
cteristic of conventional harmonic practice. The Roman numeral beneath each chord Indl-
ates its position within the particular key, and the designation following certain numerals
. dicates the quality of each chord. A Roman numeral by itself indicates a major chord, an
" indicates a minor chord, and "dim" indicates a diminished chord; in subsequent exam-
les, "7" by itself indicates a dominant 7th chord, "maj7" represents a major 7th chord, "aug"
epresents an augmented chord, and "mn5" stands for a half-diminished chord. (Various
ombtnations of these symbols are also employed.)

ajor Scale Triads:

c Dm Em F G Am Bdim
I I

a! -6- o
I I I
,
I TIm Illm IV V VIm VlIdim
i
,
~...
~
A
~
D
v
~
J
J

C7
J
J

r.
J

~v
A_
~.
A.
 88

Jazz and other forms of music use diatonic 7th chords. Here is the C major scale harmo-
nized in diatonic 7th chords with their coinciding symbols:

Diatonic Seventh Chords:

Cmaj7 Dm7 Em? Fmaj? G7 Am? Bm?(~5)

n r, ...
aJ .g (J
I I I .:0
I

Imaj7 11m? IIIm7 IVmaj? V? VIm? VIIm?(~5)

-r<
-{ -:

•..u
II. J /

~ .~
J
J

J
J

-
~ ..
/

.~ .~
!':

Chords whose roots are diatonic but otherwise contain one or more non-diatonic notes, such
as A7(~5)in the key of C major, can be designated in Roman numeral form by qualifying it
like so: VI7(#5),VI7, VIm7(~5),VIldim7, and so on. Moreover, placing the appropriate acci-
dental before the numeral can indicate chords whose roots are outside of the relative dia-
tonic scale. For example, in the key of C, the progression Cmaj7 - Elrnaj'Z - Al-ma]? - Dlrnaj?
..; - Cmaj7 translates as Imaj7 - bIIlmaj7 - bVImaj7 - bIlmaj7 - Imaj7.

Since there is more than one minor scale, identifying and symbolizing minor key-based pro-
gressions is a bit tricky. Here are the C melodic minor scale and the C natural minor scale
harmonized in triads (minor scales harmonized in 7th chords are covered later). It is impor-
tant to observe that in the melodic minor tonality, II is minor, III is augmented, IV and V are
major, and VI and VII are diminished; while in natural minor, II is diminished, III is major,
IV and V are minor, and VI and VII are major. (These qualities change considerably when
minor scale-based triads are extended to 7th chords; this also will be discussed later.)

Melodic Minor Scale:

Cm Dm Eb+ F G Adim Bdim

aJ '.g '-' I
I I
1m 11m III + IV V Vldim Vlldim
.•.....
4-
~
.u
v

J
~
-:
~
J.. -:

.~
..~
.,.
 89

Natural Minor Scale:

em Ddim Eb Fm Gm Ab Bb

eJ '-9 v
I I I

1m IIdim III IVm Vm VI VII

'""
-I.
.<1 ~ oJ
~ u
:
~v

~ ~ ~ ~ v
v u ~v
D J J

Some progressions rely on inversions or chords with bass notes other than the root. To indi-
cate such chords, the Roman numeral is followed by a slash U) and the required bass note.
For instance, the progression C/E:' Eidim? - Dm7 - G7 can be symbolized as I/3rd - ~IIIdim7
- IIm7 - V7. '

Root Movement:
Most harmony texts include tables of common diatonic root progressions. Although theo-
reticians do not completely agree on chord sequences, the following is a general compendi-
um of chord movement tendencies. These chords are written relative to major keys; howev-
er, they also can be interpreted in terms of minor keys. Keep in mind that the strongest har-
monte resolution is V - I (or Im).

• I can progress to any other chord; however, it favors IV or V. In addition, it can act as an
intermediate harmony between any two chords formulated from this list.

• IIm gravitates toward V or VIIdim and-sometimes toward IV.

IIIm usually moves to VIm or IV, less so to V and IIm/3rd.

IV is usually followed by V or I and sometimes by Vim, lIm, and VIIdim.

V most often goes to I and sometimes to IV or VIm.

VIm can progress to IIm, IV, or V.

VIIdim usually resolves to I but also goes to IIIm (VII-IIIis common in minor keys).

eel free to construct progressions from the preceding list by assembling strings of chords
ccordmg to their natural tendencies. As an exercise, plot these sequences: I - IV - VIm - IIm
V - I; I - VIIdim - IIIm - IV - V - I; and IIIm - VIm - IIm - VIIdim - I.

analysis of the preceding list reveals some of the common intervals that chords tend to
ove in. Perhaps the largest percentage of progressions move a perfect fifth down (or its
version, a perfect fourth up), exemplified by patterns such as I - IV, V - I, IIm - V, VIm-
, VIIdim - IIIm, IIIm - VIm - IIm - V - I, and so on. Also notice that diatonic stepwise
otion is apparent (t.e.. IV - V, VIIdim - I, IIIm - IIm/3rd, VIm - V), as is root movement by
. d intervals (IIIm - V, IIm - VIIdim , etc). While the preceding table pertains to diatonic
ot movement, patterns derived from it make up the framework for many of the progres-
Ions using chromatic notes to be discussed later.
90

Although the preceding list refers to triads, the root movements are also valid for extended
and altered chords. (Inversions can also be employed; however, if improperly used or over-
used, the characteristic root-based sound of a given progression can be obscured.) Observe
that, in the music examples throughout this chapter, Roman numeral symbols indicate the
basic progression; chord letter names and specific inversions and votcings usually represent
only one way in which each sequence can be treated. Now let's explore other common chord
practices.

Cycle-Based Patterns:
As mentioned earlier, the roots of many patterns including those found in classical music,
and especially pop and jazz, progress through the cycle (or circle) of fifths, moving either a
fifth lower in pitch or a fourth higher in pitch (see the arrangements for "Misty," "In Your
Own Sweet Way," "Laura," and "Invitation"). In terms of the following diagram, this move-
ment goes counterclockwise through the circle of fifths and is often referred to as back-
cycling (for more on backcycling, see Putting the Ohhh! ... in "Oh Susanna" and my book,
Concepts, pages 74-104):

Cycle (or Circle) of Fifths

F,,---C--"G
/ I
B~ -IV V
/ bV1l1l

E~ ~III VI A
\ bVI III 7
A~ ~II ~v VII E
~ . IIV /
D~__ F~ B'
G~

Note that root movement of the diatonic pattern VIIdim - UIm - VIm - Urn - V - I coincides
with the circle of fifths; however, longer circle-based sequences incorporate non-diatonic
roots. Circle sequences are often used as turnarounds or endings for songs; see the
 91

following example. Since each of these progressions enters the cycle from a chord built on
the key's tonic, the final resolution to I necessitates a half-step chromatic movement MI - I),
which will be discussed momentarily.

Ex. 1

"
It ~ J ~ ~ a..Q.

......
eJ

Imaj7
r
IVmaj7
I
bVIImaj7
br
bIIImaj7 bVImaj7
~f
bUmaj7
U"

Imaj~
..... ~.
... ~.
~~
A
w..
D
~-
~~
/

~.
-:
~~
u
~
~
J

Ex. 2

"
.. J- ..j ..I 1
v_ ~J I I

eJ I!r b p- ~~
v ~
- -
,,; I7 _IV7 bVI17 bUI7 bVI7 bIl7 Imaj7
.....
... ~
-.
-:
A ~
~ ~
~
w.. u

u
~
~ -:
~
D J

be chord qualities employed in circle patterns can vary, depending on the context and the
lestred effect. The preceding examples use strings of major 7th and dominant chords (9ths
nd 13ths), respectively, which resolve to a major tonality. Circle-based, the IIm - V7 - Imaj7
; the most common of all patterns (see "It Might Be You," measures 1-3). The IIm - V7 rela-
onship is maintained throughout circle sequences resulting in series such as #Nm - VII7 -
Im - VI7 - IIm - V7 - I (#Nm - VII7 is a IIm7 - V7 in the key bearing the same name as
le root of III). Such cases can also be thought of as a series of Urn - V7 movements that
'mporartly pass through a number of tonalities (see "Take Five," measures 13-16; "It
on't Mean a Thing," measures 5-8; and "In Your Own Sweet Way."
 92

Ex. 3
j J
• ~ .a-
~ ~

IIIm7 VIm7 IIm7 V7 Imaj7

,....,
..L
"%
~
-y
11 J J

,.,. J .> J J J

D J ;J

Secondary Dominant Chords:

One of the most common variattons of diatonic circle sequences employs the secondary dom-
inant 7th chord, frequently referred to as "five of five" and symbolized as V7 IV. Early on,
composers discovered that they could build upon the strong tendency of V to go to I (or 1m)
by preceding V with its V, the secondary dominant 7th, resulting in the progression 117- V7
- I. This idea can be chained by preceding each chord with its dominant, forming long seIies,
such as VII7 - 1117- VI7 - 117- V7 - I (extended and altered chords can be freely substituted
for dominant 7ths). A common chordal embellishment of circle-based strings of dominant
chords is to precede each chord with its IIm7. (See measure 26 of "You Stepped Out of a
.; Dream.") Secondary dominants are highly versatile because almost any chord, especially
one that-Is major, minor, or dominant, can be preceded by its dominant. This results in pat-
terns such as IIIm7 - VI7 - IIm7 - V7 - I and Imaj7 - VI7 - IIm7 - V7 - Imaj7, and so on. These
examples offer an idea of how secondary dominants can be used in context:

Ex. 1

J.I I r: ~ J ~ h
·· ··· ··
• -
r
· -
-
r ~,--"..
- - '-""
r
Imaj7 VI7 II7 V7
,....,
~ --: J ~
~
..L

11
,.,.
'1
:..
J
'1 ··
D
 93

Ex. 2

E7(#9) A7 D7 G9 Crnaj9
.VI ar WIV m g
·· I

-
· ,. f,- - -e
• -
r
br r r
r r
ill7 VI7 II7 V7 Imaj7
.':""
,....,
... 1- -:~
A ;.- ~ ~ M

~ J ~ J
Tlo
.u ~ J J

Ex. 3

E7(#9) A13(~5~9) D7(#9) G13(~9) C6/9

Ir Ir e lx

e V1I1
Ir l

J~ 1
-
-
b1
~ lit'
bJ-- IL~
1 J
- b
Pi9-
1
-
-e
TT
..
:;

Tl
40

III7 VI7 II7 V7 16/9

,...., ~~
~-
~J ~v
... ':'!
~M ~' ~M

~ ~, /

..,.11 ....
....
....
.•v
.•v 7
7 u
D

Analyze these short secondary dominant 7th patterns: 1117- VIm7 - IIm7 - V7 - I, I - IV - 117
- V7 - I, and I - IIm7 - 117- V7 - I. Secondary dominant chords can be found in virtually all
forms of music, including jazz standards such as "Blue Moon," ''The Shadow of Your Smile,"
and "Laura."

Circle-Based Chromatic Patterns:

Chords fitting this description invariably use what is referred to as the "flatted-5th princi-
ple" or "flatted-fith substitution." In this usage, a dominant chord is replaced by a chord-
usually a dominant-whose root is the same as the lowered 5th of the original chord.
Applying this concept to a IIm7 - V7 - Imaj7 in the key of C produces the sequence Dm7 -
D~7 - Cmaj7, where G7 is replaced by D~7,whose root is the lowered 5th of G7. (Comparing
the notes of G7 = G, B, D, F to those of D~7 :: D~,F, M, Cbreveals that the two chords are
strikingly similar.) Keep in mind that major and minor chords are sometimes built upon the
lowered 5th of a dominant 7th. (For more on this topic, see chapter, Putting the Ohhh! ... in
"Oh, Susanna." See also "Invitation," measures 29-30; "YouStepped Out of a Dream," mea-
sure 30; and "In Your Own Sweet Way," measures 13-14.)

~~A :--:- •••• -, -", .-'. • - - --- !- ~ -

Lfl!WI LII4 LWII LIII4

llIAIi
HWO

r
~
L

r
L

r
r
;.
r
;. ....
a
.;. L

~
L

~
r r: V
.r r:
.•..
T

Lfl!WI LII4 LWII

-e- 11 n r-

I y

n n. ..
n.
n.
n.
.... .
_~.
n-
....
V
r
;..
~~ n. -;
.•..
T

.;.
I LII4 LWII LWIII4 LWIII

9- 11 r-

9- II ~'q .. ~'1 VI

JI
(6)J 1.40

r 'X3

176
 9-

Consider the sequence IIIm7 - VI7 - IIm7 - V7 - I. If you replace each dominant chord with
one built upon its lowered 5th, the result is the descending chromatic pattern IIIm7 - bIII7-
IIm7 - HIm7 - I. Earlier it was mentioned that in a circle-based series of dominant chords,
each member could be preceded by its IIm (or extended version of IIm). This is often applied
to chords built upon the lowered 5th. For example, start with a circle-based series of domi-
nant chords, such as 1117- VI7 - II7 - V7 - I. If you replace the VI7 and V7 with chords built
upon their lowered 5ths, you derive the pattern 1117- ~III7- 117- HI? - I. Finally, preceding
each chord with its IIm7 produces the sequence VIlm7 - IIl7 - ~VIIm7- ~III7- VIm7 - II7 -
~VI7- ~IIm7 - I. (Another way in which to view this pattern is as a series of IIm7 - V7 pro-
gressions that descends chromatically instead of resolving to a tonic that is a fifth lower or
a fourth htgher.)

Analyze these progressions: I - ~III7- IIm7 - V7 - I and IIIm7 - VI7 - IIm7 - HI7 - I. Combining
circle-based patterns with the lowered 5th principle and IIm7 chords can produce a vast
number of patterns of varying lengths.