1. Top 15 Chord Progressions in Major Keys 0:52 1 - 5 - 6 - 4 I - V - vi - IV C - G - Am - F Examples: “Time After Time” (Cyndi Lauper), “Right Here Waiting” (Richard Marx) 1:24 1 - 6 - 4 - 5 I - vi - IV - V C - Am - F - G Examples: “The Sign” (Ace of Base), “King of Wishful Thinking” (Go West) 1:57 1 - 4 - 2 - 5 I - IV - ii - V C - F - Dm - G Examples: “You’re Still the One” (Shania Twain), “Love Bites” (Def Leppard) 2:24 1 - 4 - 6 - 5 I - IV - vi - V C - F - Am - G Examples: “She Drives Me Crazy” (Fine Young Cannibals), “Where the Streets Have No Name” (U2) 2:49 1 - 5 - 4 - 5 I - V - IV - V C - G - F - G Examples: “Wild World” (Cat Stevens), “Waking Up in Vegas” (Katy Perry) 3:11 6 - 5 - 4 - 5 vi - V - IV - V Am - G - F - G Examples: “Daniel” (Elton John), “Come Sail Away” (Styx) 3:43 1 - 3 - 6 - 5 I - iii - vi - V C - Em - Am - G Examples: “Party in the USA” (Miley Cyrus), “Want U Back” (Cher Lloyd) 4:09 1 - 4 - minor 4 - 1 I - IV - iv - I C - F - Fm - C Examples: “Breathe Again” (Toni Braxton), “Space Oddity” (David Bowie) 4:38 4 (first inversion 1) 5 IV - I⁶ - V F - C/E - G Examples: “Jump” (Van Halen), “You Shook Me All Night Long” (AC/DC) 5:09 4 (first inversion 1) 2 IV - I⁶ - ii F - C/E - Dm Examples: “Tangerine” (Led Zeppelin), “Let It Be” (The Beatles) 5:32 1 (first inversion) 4 5 I⁶ - IV - V C/E - F - G Examples: “Thinking Out Loud” (Ed Sheeran), “When We Were Young” (Adele) 6:05 1 (first inversion) 5 4 5 I⁶ - V - IV - V C/E - G - F - G Examples: “You Look Wonderful Tonight” (Eric Clapton), “Please Please Please Let Me Get What I Want” (The Smiths) 6:31 1 (first inversion) 5 6 4 I⁶ - V - vi - IV C/E - G - Am - F Examples: “Can You Feel the Love Tonight” (Elton John), “All Out of Love” (Air Supply) 6:44 2 (first inversion) 1 4 (first inversion) 1 ii⁶ - I - IV⁶ - I Dm/F - C - F/A - C Examples: “All-American Girl” (Carrie Underwood), “Tiny Dancer” (Elton John) 7:13 1 - 5 - 6 - 3 - 4 - 1 - 4 - 5 I - V - vi - iii - IV - I - IV - V C - G - Am - Em - F - C - F - G Examples: “Pachelbel’s Canon” (influenced countless pop songs)
2. Top 10 Chord Progressions in Minor Keys (Transposed so “1” = C minor.) 7:55 1 - 6 - 3 - 7 i - VI - III - VII Cm - Ab - Eb - Bb Examples: “Holiday” (Green Day), “Otherside” (Red Hot Chili Peppers), “One of Us” (Joan Osborne) 9:23 1 - 5 - 6 - 7 i - v - VI - VII Cm - Gm - Ab - Bb Examples: “Jenny Was a Friend of Mine” (The Killers), “Reptilia” (The Strokes), “High Hopes” (Pink Floyd) 9:56 1 - 3 - 7 - 4 i - III - VII - IV Cm - Eb - Bb - Fm Examples: “Just Dance” (Lady Gaga), “SOS” (ABBA), “Personal Jesus” (Depeche Mode) 10:36 1 - 4 (major) 5 - 1 i - IV - V - i Cm - F - G - Cm Examples: “If I Needed Someone” (The Beatles), “Bang Bang (My Baby Shot Me Down)” (Nancy Sinatra), “Rasputin” (Boney M) 11:25 1 - 7 - 6 (major) - 5 i - VII - VI - V Cm - Bb - Ab - G Examples: “Smooth Criminal” (Michael Jackson), “Good Vibrations” (The Beach Boys), “Sultans of Swing” (Dire Straits) 12:03 1 - 4 - 7 - 3 - 6 - 4 (major) - 5 i - IV - VII - III - VI - IV - V Cm - Fm - Bb - Eb - Ab - F - G Examples: “It’s a Sin” (Pet Shop Boys), “50 Ways to Say Goodbye” (Train), “Type-C Music” (Tetris) 13:15 4 - 1 - 7 (major) - 4 (major) - 5 iv - i - VII - IV - V Fm - Cm - Bb - F - G Examples: “While My Guitar Gently Weeps” (The Beatles), “A Saucerful of Secrets” (Pink Floyd) 14:08 2 - 7 flat 5 - 5 - 1 ii° (or iiø7) - V - i Dm° - G - Cm Examples: “You Never Give Me Your Money” (The Beatles), “Love You Like a Love Song” (Selena Gomez) 15:00 1 - 4 flat 2 - 3 i - IV - ♭II - III Cm - Fm - Db - Eb Examples: “Frozen” (Madonna) 15:35 4 - 7 dominant 7 - 5 - 7 - 1 - 7 (all 7ths) iv7 - VII7 - v7 - i7 Fm7 - Bb7 - Gm7 - Cm7 Examples: “September” (Earth, Wind & Fire), “Touch” (Daft Punk)
3. 10 Simple Modal Chord Progressions (Transposed so that “1” matches C Dorian / C Mixolydian / C Lydian / C Phrygian as needed.) 17:47 1 - 7 - 3 - 4 (C Dorian) i - VII - III - IV Cm - Bb - Eb - F Examples: “Song 2” (Blur), “Happiness” (Taylor Swift) 18:20 1 - 5 - 4 - 1 (C Dorian) i - v - IV - i Cm - Gm - F - Cm Examples: “Knights of Cydonia” (Muse), “Crystalised” (The XX) 18:51 1 - 2 - 3 - 2 (C Dorian) i - ii - III - ii Cm - Dm - Eb - Dm Examples: “Smooth Criminal” (Michael Jackson), “Headlines” (Drake) 19:49 1 - 7 - 4 - 1 (C Mixolydian) I - VII - IV - I C - Bb - F - C Examples: “Orinoco Flow” (Enya), “Rasputin” (Boney M) 20:25 1 - 5 - 4 - 1 (C Mixolydian) I - v - IV - I C - Gm - F - C Examples: “Speed of Sound” (Coldplay), “You’ve Got the Love” (Florence + The Machine) 21:06 1 - 7 - 2 - 1 (C Mixolydian) I - VII - ii - I C - Bb - Dm - C Examples: “Take It or Leave It” (The Strokes), “Take Your Mama” (Scissor Sisters) 22:07 1 - 2 - 1 - 2 (C Lydian) I - II - I - II C - D - C - D Examples: “Man on the Moon” (R.E.M.) [verses], “Head Over Heels” (Tears for Fears) [intro] 22:41 1 - 5 - 2 (C Lydian) I - V - II C - G - D Examples: “Free Will” (Rush), “Bats in the Attic” (King Creosote & Jon Hopkins) 23:27 1 - 2 - 1 - 7 (C Phrygian) i - II - i - VII Cm - Db - Cm - Bb Examples: “Blood and Thunder” (Mastodon) 24:10 1 - 2 (C Phrygian) i - II Cm - Db Examples: “London Calling” (The Clash), “We’re in This Together” (Nine Inch Nails)
Hey, great lesson my friend! It must have been an exhaustive undertaking to prepare. WOW! Great job. I've been playing professionally and teaching guitar for 30+ years and man I sure wish RUclips and your lesson had been available when I first started many years ago. Even now, I'm forever a student and always open; and just loved reviewing and learning the chord progressions in your lesson, that either I missed along the way or haven't reviewed in a minute and needed too. Lol This was so much fun! More PLEASE! If only I'd known back then, just how IMPORTANT the study of chords, progressions and the study of harmony overall, would prove to be down the road in my development as a musician, I think I would have started with chord studies first. It's the chords that pretty much, in my humble opinion, dictate, the direction of your solo and not the other way around. This lesson is a great reminder of that. Sorry about the book. Lol Peace. 🙂↔️❤
Thanks for the kind words! Yes harmony is critical to understanding music. I started with the guitar and as the first thing I learnt was chords I always seemed to gravitate towards them. Maybe because I'm not a very good lead player!
4:33 … Woah! “i[I]” signifies a first inversion [I] chord? What system is that?! I’ve seen the Ib system, and there’s ye olde I^6 (you know what I mean!) figured bass system, of course … but I’ve never seen that one, before!! How do you symbolise 2nd, 3rd etc inversions, in this system … ?! With a preceding ii, iii, iv etc. … ?!
@@WriteASong. I wasn’t going to ☺️ … I have never even come across it, before … so that system is i, ii, iii, iiii etc … not even i, ii, iii, iv etc … ?
@@JiveDadson yeah, very popular but when bean counting record execs showed up the 1 5 6 4 progression reigned supreme and not much has changed since. I love the fact that someone on RUclips make a satirical 13 hour mashup medley of songs using that progression.
I'm a little confused by the conflation of a first inversion chord with a 6 chord, or to put it another way, why assume that putting the third in the bass necessarily means adding the 6th? Then again, while I see "6" in the chord spelling, I'm not hearing it in the samples. What am I missing?
Hookpad puts a 6 after the roman numeral to represent 1st inversions. Sometimes you might see 63. This is the classical way to do things. The 6 in this case is because with the third in the bass there is a sixth interval between the third and the root above it. There is no added 6th note in this case. I admit this is confusing!
debes escribir, incluso con números romanos, los acordes menores indicados con (m) Caso de la Escala Mayor Natural: I IIm IIIm IV V VIm VII° por supuesto, estos podrán variar según la escala que uses, mira el caso en Menor Natural: Im II° III IVm Vm VI VII *** es extremadamente importante notar la diferencia entre: I - IV I - IVm Im - IV Im - IVm y en algunos casos recomiendo el uso de una "x" para las triadas aumentas (o triadas mayores con 5ta aumentada) como en la siguiente progresión armónica: I - Ix - I6 - I7 *** un problema general ocurre cuando intentas representar grados de una Escala con 8 sonidos, ejemplo la Escala Bebop ajustada para Escala Mayor Natural: C, D, E, F, G, G#, A, B, C. las triadas posibles simples: I (C+E+G) Ix (C+E+G#) IIm (D+F+A) II° (D+F+Ab) III (E+G#+B) IIIm (E+G+B) IIIx (E+G#+B#) IV (F+A+C) IVm (F+Ab+C) IV° (F+Ab+B) V (G+B+D) VIb° (G#+B+D) VIm (A+C+E) VII° (B+D+F) ojalá traigan estas ideas más claridad !!!
Chord progressions. Ot took me years of really learni g them, etc...to actually discover how LAZY it is to do that. Holdsworth is my to go guy. Never ever he repeated progressions, nor even voicings on two songs.
Hmm? Phrygian? I believe the b2 of Phrygian is the key note that distinguishes MINOR from Phyrygian.. the chord progression i II i vii.. Should be i - bII - i - vii (you wrote under the chords: am Bb (bII) am gm I am quite sure that's how it goes.. in phrygian the II is a bII (IV of F major) a-Phrygian comes from the F major scale, the IV chord is Bb, not B as you have in your roman numeral figured bass.. ;) just saying.. I caught it.. but might wanna fix this? (and "polarity chord" i know you mean switch between Major and minor triad base of the chord.. but I've always thought of these as Modal-Exchanges (borrowing from same diatonic note, but borrowing from another of the 6 modes.. (if borrowed from harmonic minor, or melodic minor diatonic chord types, can work as well, much more exotic but works).. thanks man.. love this videos.. very inspiring.. :)
Hey.. have you seen these two books: by [Aaron Krerowicz] : "Vol 1 Structural Analsys of Beatles Music" and "Vol 2: Harmonic Analysis of Beatles Music" you have put quite few examples of theirs in your treatise on these chord progressions.. have a look if you can.. they are wonderful.. covers their entire catalog of music.. phemomenal job..
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Correction : 14:20 - I should have said Minor 7 Flat 5.
and i guess it"s a half diminished chord or semi diminished chord because diminished chord would be C° with a diminished 7. Great job any way.
@@WriteASong That's the half demented chord.
Excellent! Thank you!
❤🎶
You're welcome!
1. Top 15 Chord Progressions in Major Keys
0:52
1 - 5 - 6 - 4
I - V - vi - IV
C - G - Am - F
Examples: “Time After Time” (Cyndi Lauper), “Right Here Waiting” (Richard Marx)
1:24
1 - 6 - 4 - 5
I - vi - IV - V
C - Am - F - G
Examples: “The Sign” (Ace of Base), “King of Wishful Thinking” (Go West)
1:57
1 - 4 - 2 - 5
I - IV - ii - V
C - F - Dm - G
Examples: “You’re Still the One” (Shania Twain), “Love Bites” (Def Leppard)
2:24
1 - 4 - 6 - 5
I - IV - vi - V
C - F - Am - G
Examples: “She Drives Me Crazy” (Fine Young Cannibals), “Where the Streets Have No Name” (U2)
2:49
1 - 5 - 4 - 5
I - V - IV - V
C - G - F - G
Examples: “Wild World” (Cat Stevens), “Waking Up in Vegas” (Katy Perry)
3:11
6 - 5 - 4 - 5
vi - V - IV - V
Am - G - F - G
Examples: “Daniel” (Elton John), “Come Sail Away” (Styx)
3:43
1 - 3 - 6 - 5
I - iii - vi - V
C - Em - Am - G
Examples: “Party in the USA” (Miley Cyrus), “Want U Back” (Cher Lloyd)
4:09
1 - 4 - minor 4 - 1
I - IV - iv - I
C - F - Fm - C
Examples: “Breathe Again” (Toni Braxton), “Space Oddity” (David Bowie)
4:38
4 (first inversion 1) 5
IV - I⁶ - V
F - C/E - G
Examples: “Jump” (Van Halen), “You Shook Me All Night Long” (AC/DC)
5:09
4 (first inversion 1) 2
IV - I⁶ - ii
F - C/E - Dm
Examples: “Tangerine” (Led Zeppelin), “Let It Be” (The Beatles)
5:32
1 (first inversion) 4 5
I⁶ - IV - V
C/E - F - G
Examples: “Thinking Out Loud” (Ed Sheeran), “When We Were Young” (Adele)
6:05
1 (first inversion) 5 4 5
I⁶ - V - IV - V
C/E - G - F - G
Examples: “You Look Wonderful Tonight” (Eric Clapton), “Please Please Please Let Me Get What I Want” (The Smiths)
6:31
1 (first inversion) 5 6 4
I⁶ - V - vi - IV
C/E - G - Am - F
Examples: “Can You Feel the Love Tonight” (Elton John), “All Out of Love” (Air Supply)
6:44
2 (first inversion) 1 4 (first inversion) 1
ii⁶ - I - IV⁶ - I
Dm/F - C - F/A - C
Examples: “All-American Girl” (Carrie Underwood), “Tiny Dancer” (Elton John)
7:13
1 - 5 - 6 - 3 - 4 - 1 - 4 - 5
I - V - vi - iii - IV - I - IV - V
C - G - Am - Em - F - C - F - G
Examples: “Pachelbel’s Canon” (influenced countless pop songs)
2. Top 10 Chord Progressions in Minor Keys
(Transposed so “1” = C minor.)
7:55
1 - 6 - 3 - 7
i - VI - III - VII
Cm - Ab - Eb - Bb
Examples: “Holiday” (Green Day), “Otherside” (Red Hot Chili Peppers), “One of Us” (Joan Osborne)
9:23
1 - 5 - 6 - 7
i - v - VI - VII
Cm - Gm - Ab - Bb
Examples: “Jenny Was a Friend of Mine” (The Killers), “Reptilia” (The Strokes), “High Hopes” (Pink Floyd)
9:56
1 - 3 - 7 - 4
i - III - VII - IV
Cm - Eb - Bb - Fm
Examples: “Just Dance” (Lady Gaga), “SOS” (ABBA), “Personal Jesus” (Depeche Mode)
10:36
1 - 4 (major) 5 - 1
i - IV - V - i
Cm - F - G - Cm
Examples: “If I Needed Someone” (The Beatles), “Bang Bang (My Baby Shot Me Down)” (Nancy Sinatra), “Rasputin” (Boney M)
11:25
1 - 7 - 6 (major) - 5
i - VII - VI - V
Cm - Bb - Ab - G
Examples: “Smooth Criminal” (Michael Jackson), “Good Vibrations” (The Beach Boys), “Sultans of Swing” (Dire Straits)
12:03
1 - 4 - 7 - 3 - 6 - 4 (major) - 5
i - IV - VII - III - VI - IV - V
Cm - Fm - Bb - Eb - Ab - F - G
Examples: “It’s a Sin” (Pet Shop Boys), “50 Ways to Say Goodbye” (Train), “Type-C Music” (Tetris)
13:15
4 - 1 - 7 (major) - 4 (major) - 5
iv - i - VII - IV - V
Fm - Cm - Bb - F - G
Examples: “While My Guitar Gently Weeps” (The Beatles), “A Saucerful of Secrets” (Pink Floyd)
14:08
2 - 7 flat 5 - 5 - 1
ii° (or iiø7) - V - i
Dm° - G - Cm
Examples: “You Never Give Me Your Money” (The Beatles), “Love You Like a Love Song” (Selena Gomez)
15:00
1 - 4 flat 2 - 3
i - IV - ♭II - III
Cm - Fm - Db - Eb
Examples: “Frozen” (Madonna)
15:35
4 - 7 dominant 7 - 5 - 7 - 1 - 7 (all 7ths)
iv7 - VII7 - v7 - i7
Fm7 - Bb7 - Gm7 - Cm7
Examples: “September” (Earth, Wind & Fire), “Touch” (Daft Punk)
3. 10 Simple Modal Chord Progressions
(Transposed so that “1” matches C Dorian / C Mixolydian / C Lydian / C Phrygian as needed.)
17:47
1 - 7 - 3 - 4 (C Dorian)
i - VII - III - IV
Cm - Bb - Eb - F
Examples: “Song 2” (Blur), “Happiness” (Taylor Swift)
18:20
1 - 5 - 4 - 1 (C Dorian)
i - v - IV - i
Cm - Gm - F - Cm
Examples: “Knights of Cydonia” (Muse), “Crystalised” (The XX)
18:51
1 - 2 - 3 - 2 (C Dorian)
i - ii - III - ii
Cm - Dm - Eb - Dm
Examples: “Smooth Criminal” (Michael Jackson), “Headlines” (Drake)
19:49
1 - 7 - 4 - 1 (C Mixolydian)
I - VII - IV - I
C - Bb - F - C
Examples: “Orinoco Flow” (Enya), “Rasputin” (Boney M)
20:25
1 - 5 - 4 - 1 (C Mixolydian)
I - v - IV - I
C - Gm - F - C
Examples: “Speed of Sound” (Coldplay), “You’ve Got the Love” (Florence + The Machine)
21:06
1 - 7 - 2 - 1 (C Mixolydian)
I - VII - ii - I
C - Bb - Dm - C
Examples: “Take It or Leave It” (The Strokes), “Take Your Mama” (Scissor Sisters)
22:07
1 - 2 - 1 - 2 (C Lydian)
I - II - I - II
C - D - C - D
Examples: “Man on the Moon” (R.E.M.) [verses], “Head Over Heels” (Tears for Fears) [intro]
22:41
1 - 5 - 2 (C Lydian)
I - V - II
C - G - D
Examples: “Free Will” (Rush), “Bats in the Attic” (King Creosote & Jon Hopkins)
23:27
1 - 2 - 1 - 7 (C Phrygian)
i - II - i - VII
Cm - Db - Cm - Bb
Examples: “Blood and Thunder” (Mastodon)
24:10
1 - 2 (C Phrygian)
i - II
Cm - Db
Examples: “London Calling” (The Clash), “We’re in This Together” (Nine Inch Nails)
4. Top 22 Chord Progressions That Use Sus4
24:42
1 - 1sus4 - 1 - 1sus4
I → I⁴ → I → I⁴
C → Csus4 → C → Csus4
Examples: “We Can Work It Out” (The Beatles), “Indiana Jones Theme” (John Williams)
25:13
2 1 and 1 5sus4 6
(Effectively 1 - 5sus4 - 6 in major)
I - V⁴ - vi
C - Gsus4 - Am
Examples: “We Are Never Ever Getting Back Together” (Taylor Swift), “True Colors” (Cyndi Lauper)
25:33 / 25:46 (merged from transcript clues)
in minor: 6 1 3 … 5sus4 → 5
(vi - I - III - V⁴ → V) in a minor-ish context or borrowing.
Examples: “Wrecking Ball” (Miley Cyrus)
26:16 / 26:35
1 3 (major 7th) 6 … 5sus4 → 5
(The transcript lumps “Crazy” by Gnarls Barkley as an example with a 5sus4 → 5.)
26:42
1 6 7sus4
(Mention: “This Kiss” by Carly Rae Jepsen, illustrating a major chord turned into sus4)
27:12
1 - 1sus4 - 5 - 4 (Dorian mention)
i → i⁴ → v → IV (if truly C Dorian)
Examples: “Sun” (Caribou)
27:39
1 - 5sus4 - 4 (Dorian)
i - v⁴ - IV
Cm - Gsus4 - F
Examples: “Criminal” (Britney Spears), “Girl of the Year” (Allie X)
28:07
1 - 3 - 4sus4 - 4 (Dorian)
i - III - IV⁴ - IV
Cm - Eb - Fsus4 - F
Examples: “Crazy” (Seal)
28:30
1 - 2 - 4 - 4sus4 - 4 (Dorian)
i - ii - IV - IV⁴ - IV
Cm - Dm - F - Fsus4 - F
Examples: “Karma Police” (Radiohead)
28:59
1 - (major 5) - 1 - 4sus4 - 4 (Dorian)
i - V - i - IV⁴ - IV
Cm - G - Cm - Fsus4 - F
Examples: “Real Love” (The Beatles)
29:32
1(…7th) 3(…7th) → 4sus4 …
Examples: “Ordinary World” (Duran Duran) (combining 7ths + sus4)
30:06
7sus4 - 7 - 4sus4 - 4 - 1 (Dorian)
VII⁴ → VII - IV⁴ → IV - i
Bb(sus4) → Bb - F(sus4) → F - Cm
Examples: “Freestyler” (Bomfunk MC’s)
30:59
3 - 4 - 1 - 3 - 5sus4 → 1
(Brings in 5sus4)
Examples: “What You Waiting For?” (Gwen Stefani)
31:15
1 - 1sus4 - 2 - 4 - 7sus4 … (Mixolydian mention)
I → I⁴ → ii → IV → VII⁴
C → Csus4 → Dm → F → Bbsus4
Examples: “Lost and Found” (Ellie Goulding)
31:57
1sus4 - 1 - 5 - 7 - 5
I⁴ - I - V - ♭VII - V or I⁴ - I - v - … (transcript is a bit unclear)
Examples: “The Heat Is On” (Glenn Frey)
32:17
1sus4 - 5 - 7(11) …
I⁴ → V(7)(11) …
Examples: “Learn to Fly” (Foo Fighters)
32:51
4sus4 - 4 - 1 - (major) 5
IV⁴ → IV → I → V
Fsus4 → F → C → G
Examples: “Lightning Bolt” (Jake Bugg)
33:07
1 (first inversion) 7sus4 - 4
I⁶ → VII⁴ → IV (Mixolydian style)
C/E → Bbsus4 → F
Examples: “It’s My Life” (Talk Talk)
33:28
1 - 1sus2 - 4sus4 - 1
I - I(sus2) - IV⁴ - I
C - Csus2 - Fsus4 - C
Examples: “Teardrop” (Massive Attack)
33:59
1 - 1sus2 - 4sus4 - 1
(Another variation, same concept)
Examples: “House of Cards” (Radiohead)
34:28
1 - 5sus4 - 7(9) - 4+ - 2
Voice-leading example
Examples: “Photograph” (Nickelback)
5. Top 18 Chord Progressions That Use Maj7
35:01
1 - 1maj7 - 4 - 5
I → I(Maj7) → IV → V
C → Cmaj7 → F → G
Examples: “Believe” (Cher)
35:18
1 - 4maj7 - 5 - 6
I - IV(Maj7) - V - vi
C - Fmaj7 - G - Am
Examples: “Haven’t Met You Yet” (Michael Bublé)
36:00
4maj7 - 1maj7 - 4maj7 - 1maj7
IV(Maj7) - I(Maj7) - IV(Maj7) - I(Maj7)
Fmaj7 - Cmaj7 - Fmaj7 - Cmaj7
Examples: “Time” (Pink Floyd), “Gymnopedie No.1” (Erik Satie), “Here’s Where the Story Ends” (The Sundays)
36:29
1maj7 - 3 - 4 - 3 - 2-7 - 1maj7
I(Maj7) - iii - IV - iii - ii⁷ - I(Maj7)
Cmaj7 - Em - F - Em - Dm7 - Cmaj7
Examples: “What a Wonderful World” (Louis Armstrong)
36:53
1 (second inversion) - 3 - 4maj7 - 3
I⁶/₄ - iii - IV(Maj7) - iii
C/G - Em - Fmaj7 - Em
Examples: “Float On” (Modest Mouse)
37:07
4maj7 - 3-7 - 2-7 - 1maj7
IV(Maj7) - iii⁷ - ii⁷ - I(Maj7)
Fmaj7 - Em7 - Dm7 - Cmaj7
Examples: “Labyrinth Zone” (Sonic the Hedgehog), “Let’s Stay Together” (Al Green) [if final chord changed to V]
37:48
2-7 - 5-7 - 1 - 4maj7 - 3-7
ii⁷ - V⁷ - I - IV(Maj7) - iii⁷
Dm7 - G7 - C - Fmaj7 - Em7
Examples: “Take On Me” (A-ha)
38:11
1maj7 - 6-7 - 2-7 - 5-7sus4 - 5-7
I(Maj7) - vi⁷ - ii⁷ - V⁷sus4 → V⁷
Cmaj7 - Am7 - Dm7 - G7sus4 → G7
Examples: “What’s Going On” (Marvin Gaye)
38:49
4maj7 - flat 7maj7 - 1maj7
IV(Maj7) - ♭VII(Maj7) - I(Maj7)
Fmaj7 - Bbmaj7 - Cmaj7
Examples: “My Cherie Amour” (Stevie Wonder)
39:36
1(add9) - flat 7maj7 - 4(add9) [ - 4 ]
C(add9) - Bbmaj7 - F(add9) [- F]
Examples: “The Way It Is” (Bruce Hornsby)
40:15
(Minor context) Possibly i - i(min7) - i(min9) - 6(Maj7) etc.
(Transcript reference only.)
41:09
1 - 1(min7) - 1(min9) - 6maj7
Cm - Cm7 - Cm9 - Abmaj7
Examples: “Careless Whisper” (George Michael)
41:26
1(min7) - 1(min9) - 6maj7 …
Cm7 - Cm9 - Abmaj7 …
Examples: “Ain’t No Mountain High Enough” (Marvin Gaye & Tammi Terrell)
42:08
1(Dorian) - 7(maj7) - 3(maj7) - 2(min7) - 4
Cm - Bbmaj7 - Ebmaj7 - Dm7 - F
Examples: “Bullet Proof…I Wish I Was” (Radiohead)
42:27
1 - 2 - 3 - 4 / 7(maj7) (Dorian)
(Hits chord 7(maj7) on a repeated cycle)
Examples: “Run to You” (Bryan Adams)
42:53
4maj7 - 7maj7 - 6min7 (Mixolydian)
Fmaj7 - Bbmaj7 - Am7
Examples: “Ready for the Weekend” (Calvin Harris)
43:06
1 - 2maj7 - 6maj7 - 7sus2 (Phrygian mention)
Examples: “One Kiss” (Calvin Harris & Dua Lipa)
43:42
1 - 2maj7 - 6maj7 - 7(…)
(Continuing from transcript’s mention of frian usage with Maj7)
Examples: Variation in that style
6. Top 21 Chord Progressions That Use Minor 9th
(Transposed so if it’s “ii(m9)” in a major key, that’s Dm9 in C major; if it’s “i(m9)” in a minor key, that’s Cm9.)
44:23
2 minor 9th - 1 - 2 minor 9th - 1
ii(m9) → I → ii(m9) → I
Dm9 → C → Dm9 → C
Examples: “Fake Plastic Trees” (Radiohead)
44:48
1 - 4maj7 - 2(m9) - 5
I - IV(Maj7) - ii(m9) - V
C - Fmaj7 - Dm9 - G
Examples: “Bad Day” (Daniel Powter)
45:10
2-7 - 5-7 - 2(m9) - 3-7 - 6-7
ii⁷ - V⁷ - ii(m9) - iii⁷ - vi⁷
Dm7 - G7 - Dm9 - Em7 - Am7
Examples: “I Have Nothing” (Whitney Houston)
45:24
2(m9) - 6(add9) - 4(add9) - 5(add9)
Dm9 - Am(add9) - F(add9) - G(add9)
Examples: “Dancing with Our Hands Tied” (Taylor Swift)
45:46
2(m9) - 5(11) - 2(m9) - 5(add11)
Dm9 - G(11) - Dm9 - G(add11)
Examples: “Together Again” (Janet Jackson)
46:16
1maj7 - 5(add9) - 2(m9) - 4(sus2)
Cmaj7 - G(add9) - Dm9 - Fsus2
Examples: “With You” (Jessica Simpson)
47:04 / 47:18
4 - 4-7 - 1-7 - 1(m9) (in minor)
Fm - Fm7 - Cm7 - Cm9
Examples: “Dream” (Streets of Rage 2 OST)
47:35
1 - 5(add11) - 1 - 1(m9) (minor)
Cm - G(add11) - Cm - Cm9
Examples: “Things We Said Today” (The Beatles)
48:08
1(min7) - 1(min9) - 6(maj7) - 3
Cm7 - Cm9 - Abmaj7 - Eb
Examples: “Turning Tables” (Adele)
48:41
4(m9) - 1(m9) - 4(m7) - 1(m9)
Fm9 - Cm9 - Fm7 - Cm9
Examples: “It’s Your Move” (Diana Ross)
48:59
1 - 1(m9) - 3 - 4(sus2) - 6
Cm - Cm9 - Eb - Fsus2 - Ab
Examples: “Creep” (Stone Temple Pilots)
49:32
1(m9) first inversion 7 3(4)7 sus4
( i(m9)/E♭ ) → …
Examples: “2 Become 1” (Spice Girls)
49:55
1 - 4 - 4(m9) - 7(m7) - 5 (major)
Cm - Fm - Fm9 - Bbm7? (or Bb7?) - G (borrowing from parallel major)
Examples: “Relax (Take It Easy)” (Mika)
50:29
4(m9) - 5-7 - 1
Fm9 - G7 - Cm
Examples: “Because We Want To” (Billie Piper)
50:47
6(maj7) - 4(m9) - 1(min7) - 5(min7)
Abmaj7 - Fm9 - Cm7 - Gm7
Examples: “Decode” (Paramore)
51:12
4(m9) - 7(add9) - 5(min7) - 1(min7)
Fm9 - Bb(add9) - Gm7 - Cm7
Examples: “Never Gonna Give You Up” (Rick Astley) [Chorus uses a similar move]
51:32
4(m9) - 7 … 1(m11)
Fm9 - Bb - Cm11
Examples: “Turn Your Love Around” (George Benson)
52:05
1 sus4 - 1 - 4(m9) - 5(11) - 5-7
Cm(sus4) - Cm - Fm9 - G(11) - G7
Examples: “I Heard a Rumour” (Bananarama)
52:25
1⁶ - 4(add9) - 4(m9) - 5-7(sus4) - 5-7
Cm/Eb - F(add9) - Fm9 - G7(sus4) - G7
Examples: “Ken’s Theme” (Street Fighter II)
53:05
1(m9) - 7(maj9) - 1(m9) - 7(maj9)
Cm9 - Bbmaj9 - Cm9 - Bbmaj9
Examples: “Face to Face” (Daft Punk)
53:35
1(m9) repeated / 7(maj9) repeated
Cm9 ↔ Bbmaj9 (loop)
Examples: “A Horse with No Name” (America)
I think I said ooo out loud when I saw the thumbnail! I’m a sucker for chord progression resource. That’s today all sorted.
Top work man
Thanks, I hope you enjoy the progressions!
Great, thank you.
Amazing content. The contextual explanations/handy fun facts about the relationships help too. thanks.
You're welcome!
What a brilliant resource, loads of ideas here. Thank you!
You're welcome!
Fantastic content!
This is the most nutritionally dense music theory channel on the platform. Fantastic work.
Incredibly well covered Matt !! I'll try some of these that i haven't used before. Big thumbs up!!
Thanks, enjoy the progressions!
Never seen so holistic and amazing video on chords..thank you ❤
You're welcome!
Fantastic presentation
Fantastic lesson. Thanks!
You're welcome!
Hey, great lesson my friend! It must have been an exhaustive undertaking to prepare. WOW! Great job. I've been playing professionally and teaching guitar for 30+ years and man I sure wish RUclips and your lesson had been available when I first started many years ago. Even now, I'm forever a student and always open; and just loved reviewing and learning the chord progressions in your lesson, that either I missed along the way or haven't reviewed in a minute and needed too. Lol
This was so much fun! More PLEASE! If only I'd known back then, just how IMPORTANT the study of chords, progressions and the study of harmony overall, would prove to be down the road in my development as a musician, I think I would have started with chord studies first. It's the chords that pretty much, in my humble opinion, dictate, the direction of your solo and not the other way around. This lesson is a great reminder of that. Sorry about the book. Lol Peace. 🙂↔️❤
Thanks for the kind words! Yes harmony is critical to understanding music. I started with the guitar and as the first thing I learnt was chords I always seemed to gravitate towards them. Maybe because I'm not a very good lead player!
Wow, thanks Master!!!
You are welcome!
Thank you for this info.
You're welcome!
I love this channel!
Thanks!
Please do a special on the top 1 million scale combinations.
Pure Platinum. Thanks.
You're welcome!
Fantastic chord progression list. It would be nice if there was a version more geared towards natural guitar voicings, but still very helpful, thanks!
You're welcome! I'm hoping to have more guitar focused videos in the future.
The best I - V - vi I've ever heard is from "Eres Tu" by Mocedades composed by Juan Carlos Calderon for the Eurovision contest in 1973
All these cord progressions can be modified with different rhythm i just added one to a song I wrote with two progressions I wrote sounds good
4:33 … Woah! “i[I]” signifies a first inversion [I] chord? What system is that?! I’ve seen the Ib system, and there’s ye olde I^6 (you know what I mean!) figured bass system, of course … but I’ve never seen that one, before!! How do you symbolise 2nd, 3rd etc inversions, in this system … ?! With a preceding ii, iii, iv etc. … ?!
Yes a series of lowercase i before the chord. But it quickly breaks down when used with Roman numerals for chords so I wouldn't recommend it!
@@WriteASong. I wasn’t going to ☺️ … I have never even come across it, before … so that system is i, ii, iii, iiii etc … not even i, ii, iii, iv etc … ?
Yes just lowercase i. I guess to signify inversion? I forget where I read about it now.
The most popular chord progression in pop music, by far, is the 12-bar blues. In jazz, Rhythm changes is ubiquitous.
Not that much since the 50's and 60's.
@@JiveDadson yeah, very popular but when bean counting record execs showed up the 1 5 6 4 progression reigned supreme and not much has changed since. I love the fact that someone on RUclips make a satirical 13 hour mashup medley of songs using that progression.
@bradatherton9369 Really? Link me, link me.
12 bar blues is great fun and was relevant 50 years ago
I'm a little confused by the conflation of a first inversion chord with a 6 chord, or to put it another way, why assume that putting the third in the bass necessarily means adding the 6th? Then again, while I see "6" in the chord spelling, I'm not hearing it in the samples.
What am I missing?
Hookpad puts a 6 after the roman numeral to represent 1st inversions. Sometimes you might see 63. This is the classical way to do things. The 6 in this case is because with the third in the bass there is a sixth interval between the third and the root above it. There is no added 6th note in this case. I admit this is confusing!
On peut regretter de ne pas entendre les progressions en live.
How can i use this information?
Did you make a PDF with all of these in them?
I haven't, someone commented with them all.
debes escribir, incluso con números romanos, los acordes menores indicados con (m)
Caso de la Escala Mayor Natural:
I
IIm
IIIm
IV
V
VIm
VII°
por supuesto, estos podrán variar según la escala que uses, mira el caso en Menor Natural:
Im
II°
III
IVm
Vm
VI
VII
*** es extremadamente importante notar la diferencia entre:
I - IV
I - IVm
Im - IV
Im - IVm
y en algunos casos recomiendo el uso de una "x" para las triadas aumentas (o triadas mayores con 5ta aumentada) como en la siguiente progresión armónica:
I - Ix - I6 - I7
*** un problema general ocurre cuando intentas representar grados de una Escala con 8 sonidos, ejemplo la Escala Bebop ajustada para Escala Mayor Natural:
C, D, E, F, G, G#, A, B, C.
las triadas posibles simples:
I (C+E+G)
Ix (C+E+G#)
IIm (D+F+A)
II° (D+F+Ab)
III (E+G#+B)
IIIm (E+G+B)
IIIx (E+G#+B#)
IV (F+A+C)
IVm (F+Ab+C)
IV° (F+Ab+B)
V (G+B+D)
VIb° (G#+B+D)
VIm (A+C+E)
VII° (B+D+F)
ojalá traigan estas ideas más claridad !!!
No.1 sounds like memories by maroon 5
|||||||||||||| Do you have PDF of these chord progressions?
I don't, sorry!
Chord progressions. Ot took me years of really learni g them, etc...to actually discover how LAZY it is to do that. Holdsworth is my to go guy. Never ever he repeated progressions, nor even voicings on two songs.
You don't happen to have them to share as midi? Would save some time.
I don''t, sorry.
Is “Tempted” by Squeeze somewhere in here?
I'm afraid it isn't. What progression does it use?
Are u sure "Careless Whisper" by George Michael starts with a Major7 chord? I knew it starts with a minor7
A-dorian: #10 there is no II chord in that progression.. you said there is.. hmm?
@@arpeggioblues5924 what is the second note of the A Dorian scale?
@@arpeggioblues5924 that confused me also
Hmm? Phrygian? I believe the b2 of Phrygian is the key note that distinguishes MINOR from Phyrygian.. the chord progression i II i vii.. Should be i - bII - i - vii (you wrote under the chords: am Bb (bII) am gm I am quite sure that's how it goes.. in phrygian the II is a bII (IV of F major) a-Phrygian comes from the F major scale, the IV chord is Bb, not B as you have in your roman numeral figured bass.. ;) just saying.. I caught it.. but might wanna fix this? (and "polarity chord" i know you mean switch between Major and minor triad base of the chord.. but I've always thought of these as Modal-Exchanges (borrowing from same diatonic note, but borrowing from another of the 6 modes.. (if borrowed from harmonic minor, or melodic minor diatonic chord types, can work as well, much more exotic but works).. thanks man.. love this videos.. very inspiring.. :)
Thanks for the heads up! This is just a compilation video so I didn't check it as closely as a new video.
Do you mean at 23:27? Bb is the b2 relative to A Phrygian. Hookpad does not show accidentals within a mode or key. Stop being so pedantic...
@@DJBiermann Correct semantic is not pedantic. It's how knowledge is taught.
How about. Inversion
:55 I HATE this chord progression,I instantly change the song.
Where is the IV - I -vi -V progression? And why is it very overshadowed?
I use the 1723649040972071866666666660390777777771-7897777777777 chord progression its pretty good
Hey.. have you seen these two books: by [Aaron Krerowicz] :
"Vol 1 Structural Analsys of Beatles Music" and
"Vol 2: Harmonic Analysis of Beatles Music"
you have put quite few examples of theirs in your treatise on these chord progressions.. have a look if you can.. they are wonderful.. covers their entire catalog of music.. phemomenal job..
I haven't, I will try and get hold of them to have a look over Christmas. Thanks for sharing!
Also worth checking out: "Songwriting Secrets of the Beatles" ... you can find it as a PDF online.
In short - Take ANY chord progression it doesnt matter
Why use piano? Looks like this video is for guitar.
most boring progressions in the world
Chords have ruined music
@@BabaBest2000 so what should be used to write songs?
@@kennethbeavers6903 not sure, but I think he means standard progressions.