Power Progressions

Major

• I IV V
• I VIm IV V
• I IIm IIIm IV

Mixolydian

• I7
• I bVII
• || I | bVII IV || - notice the IV chord is quick

Minor

• Im IVm
• Im Vm
• Im bVII
• Im V

Notice minor uses the V, Vm, and bVII—all options when you're in
a minor-key color.

Dorian

• Im6
• Im IIm
• Im IIm bIII IIm
• Im IV major
• Im IV 7
 Blues

• I7
• I7 IV7
• I7 bIII IV7
• bVII V IV bIII I

12-bar blues progression:

I7 I7 I7 I7

IV7 IV7 I7 I7

V7 IV7 I7 I7

Build Progression

• V (used at the end of verses)

• IV V (work well for Bridges)
• ii V
• ii iii IV V

use the same progression in the verse and chorus, the best way
of contrasting them is melodically. Use different:

• notes
• rhythms
• shapes
• rests
• lyrics
• phrasings
• number of phrases
• length of phrases
 If you're bored by using the same progression in the verse and
chorus, you can also contrast a verse/chorus pair by using
different Power Progressions and/or a one-chord groove. This can
help support a lyric structure that has a clear difference in
meaning, or it can simply be a way to add harmonic variety.

As you listen to the following verse/chorus pairs, notice other ways

the sections are contrasting:

• the number of chords

• beginning chord
• ending chord
• length of the chord progression
• rhythmic motives

Power Progression Variations (Rhythmic)

Ex. | I | IV |

1. Keep the length the same (in this case, to two measures)
but change the time signature, tempo, feel, and chord
variations:

You can take also vary the progression by changing its length in
the following common ways. Notice how changing the
progression's timing achieves a variety of unique effects.

2. Expand it to eight measures:

3. Expand it to four measures:

4. Compress it to one measure (in this case, two beats on each

chord):
5. Change the time signature (in this case change it from 4/4 to
3/4, 6/8, or 12/8):

6. Compress into 1/2 a measure (in this case, two beats per
chord):

7. Compress into one beat per chord:

Reordered Variations of Four-Chord Progression

C Am G F(Dm)
C F(Dm) Am G
C F(Dm) G Am
C G Am F(Dm)
C G F(Dm) Am

Am G F(Dm) C
Am G C F(Dm)
Am C F(Dm) G
Am C G F(Dm)
Am F(Dm) C G
Am F(Dm) G C

F(Dm) G C Am
F(Dm) G Am C
F(Dm) Am C G
F(Dm) Am G C
F(Dm) C Am G
F(Dm) C G Am

G C Am F(Dm)
G C F(Dm) Am
G F(Dm) Am C
G F(Dm) C Am
G Am F(Dm) C
G Am C F(Dm)

Power Progression Variations (Pitch)

• Contrast between sections – vary the number of chords used in each

section
• Contrast how many beats/measures the progression lasts
• Vary the number of beats for each chord
• Change the order of chords in the progression
• Add color notes to the chords - extensions, suspensions
• Contrast articulated rhythm between sections – strumming patterns, drum
patterns, rhythmic activity (quarters, 8ths, triplets, 16ths, etc.)
• Subtract chords from the progression
• Add chords to the progression
• Secondary Dominants – Temporary tonicization using the V7 chord from
the key of the chord you are going to.
V7 of ii | V7 of iii | V7 of IV | V7 of V | V7 of vi |
Ex. Key of C: | A7 – Dm | B7 – Em | C7 – F | D7 – G | E7 – Am |
Use Secondary Dominants for chords outside the key.
• Modal Borrowing – Use chords from the parallel Minor key or other modes.
Ex. C Major – Use chords from the parallel C Minor key:
Natural Minor
i iiº bIII iv v bVI bVII
Cm Dº Eb Fm Gm Ab Bb
Cm7 Dm7b5 Ebmaj7 Fm7 Gm7 Abmaj7 Bb7
Harmonic Minor
i iiº bIII+ iv V bVI Viiº
Cm Dº Eb+ Fm G Ab Bº
C-maj7 Dm7b5 Ebmaj7#5 Fm7 G7 Abmaj7 Bº7
Melodic Minor
i ii bIII+ IV V VIº Viiº
Cm Dm Eb+ F G Aº Bº
C-maj7 Dm7 Ebmaj7#5 F7 G7 Am7b5 Bm7b5
• Use chords with whose root is outside the key
• Change the quality of a chord in the key (major chord becomes minor,
minor becomes major, change the type of 7th chord)
• Use a chord with whose root is outside the key and change the chord
quality – Ex. CMajor: Borrowed bVII(Bb) root is outside the key, chord
quality is Bbmajor, change it to bvii(Bbm)
• Pedal Point – Repeated bass note as the chords change above it (usually
Tonic or Dominant of the key).
Repeated bass figure or repeated riff in other instruments as the chords
change.
Pedal in higher register part.
• Create rhythmic motives and use exact repetition, varied repetition, or
contrasting motives.
• Change the style of the piece – Rock, R&B, Funk, Pop, Classical, Hip-Hop

I ii iii IV V vi viiº
C Dm Em F G Am Bº
Cmaj7 Dm7 Em7 Fmaj7 G7 Am7 Bm7b5

Coloring Words with Harmony

Change the meaning of words by setting them to different chords (Major, Power, Minor, 7ths
etc.)
• Major – hopeful, positive
• Power – powerful, assertive
• Minor - sad, introspective
• Seventh – bluesy, sexy

The meaning of the word will also change depending on how the note functions in the chord
(tonic, 3rd, 5th, 7th, 9th, 11th, 13th)

The meaning of a phrase can also change depending on the chord colors. If the phrase ends on
the tonic it will sound resolved and positive.

Make a list of chords for either a particular note, or word and then create a setting for the lyric.
The emotional meaning will change depending on which chords are set to the lyric or melodic
phrase.
Cadences

Tonic chord = “home”, all other chords are varying degrees of “away”
Full cadences – strongest motion from “away” to “home”. Full cadences are common in all key
colors except Dorian.

Major Key Full Cadences – most resolved

• V to I
• IV Vsus4 V I
• vi V7 I
• iim7 V7 I

Minor Full Cadences – somber feeling

• bVII to i
• V to i
• bVII7 i
• bVI bVII7 i
• bVI V i

Blues Full Cadences – Bluesy

• V7 IV7 I7

Mixolydian Full Cadences

• I bVII I

Half Cadences – Progression ends “away” from “home” on the V chord. Unresolved, used to
build tension. End a verse to build tension, setting up the chorus.
• I vi IV V

Deceptive Cadences – Ambiguous. Comes to a resolution that is not the tonic. It sounds
resolved, but not as resolved as ending on the tonic. Usually used in major key. V chord resolves
to a chord that isn’t the I chord. Most common is V to vi. Use a deceptive cadence when the
lyric meaning is ambiguous.
• I IV V vi
• iim7 V IV
• IV V VI

Plagal Cadence – “Amen”. IV to I. Coming home in a subtler way. Most common in major keys.
• IV to I
• iim7 I
• IV iii ii I
Mixed Cadences – Mixed cadences use chords from keys of a different key color, but on the
same tonic. They often use minor-key chords in a major key. Most common in major keys.
bVI bVII imin cadence from minor and bVII from Mixolydian between V to I.
• bVI bVII I
• V7sus4 bVII I
• V7sus4 bVII I

Major
V I
IV V I
VImin V I
IImin7 V I

Mixo
VII7 I
VII IV I

Minor
VI VII Imin
VI Vmin Imin
VI V Imin
IVmin Vmin Imin
IVmin V Imin
IVmin VII Imin

Blues
V7 IV7 I7

Half
I VII
I V
I VImin IV V

Deceptive
IV V VImin
IImin V IV
IV V VI major
Plagal
IV I
IImin7 I
IV IIImin IImin I

Mixed
VI VII I major
V7 VII I major
V7sus4 VII I major
IV IVmin I major
IV 7 I major