Basic Chord Progressions - Contemporary/Jazz Aural

  

5

     

The I-vi-IV-V progression, and its various permutations, is very common in contemporary music. Familiarising the sound of each of these chords is a good idea. Here are some (but not all) possibilities.

     
IV V

I

vi

   

IV

   

V

   
V

vi

   

IV

   

   
IV

I

V

     

   

   

I

vi

   

   

vi

   

   

   

I

In a minor key the IV and V chords can be minor chords too though the V is often still major/dominant
Imin Vmin IVmin Imin

9

         

   

   

   

IVmin

V7

   

    

 

In a minor key the 6th note is flat, which means our VI chord is now a bVI chord. A major chord is built on this note.
Imin bVI V Imin

13

        

   

   

   

Imin/bvii

   

bVI

V

   

   

 

iimi7 17       V7     Imaj7     Imaj7     vimi7      iimi7     V7     21 iiimi7            VI7 iimi7     V7     Chords outside of the previously mentioned formulae are often diatonic to the key/scale iimi7 23 Imaj7             iiimi7      IVmaj7      V7      vimi7      viimi7(b5)      Imaj7      Passing chords are sometimes used between diatonic chords. Here are some examples. iimin7 27 Imaj7             iimin7                bII7 Imaj7      . Ascending they are often diminished chords #Idim7 Descending they are often dominant chords. as the bII (Db) chord is replacing the V (G) chord.2     ii-V based progressions are also common. This is called a tritone substitution.

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