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A chord progression (also chord sequence and harmonic progression or sequence), as its name implies, is a series of chords played in order. This article describes musical chords in traditional Western styles Chord progressions are central to most modern European-influenced music and the principal study of harmony. Music is an Art form in which the medium is Sound organized in Time. In Western music, harmony is the use of different pitches simultaneously and chords actual or implied in Music. Compare to a simultaneity succession. In Music and Music theory a simultaneity succession is a series of different groups of pitches or Pitch classes, each of which is played at the A chord change is a movement from one chord to another and may be thought of as either the most basic chord progression or as a portion of longer chord progressions which involve more than two chords (see shift of level). A level (van der Merwe 1989 also "tonality level" Kubik's "tonal step" and John Blacking 's " Root progression " is a temporary

Generally, successive chords in a chord progression share some notes, which provides harmonic and linear (voice leading) continuity to a passage. In Music, voice leading is the relationship between the successive pitches of simultaneous moving parts or voices. In the common-practice period, chord progressions are usually associated with a scale and the notes of each chord are usually taken from that scale (or its modally-mixed universe). The common practice period, in the history of European Art music (broadly called Classical music) spanning the Baroque, Classical, and In Music, a scale is a group of musical notes collected in ascending and descending order that provides material for or is used to conveniently represent part or all In Music, the term note has two primary meanings 1 a sign used in Musical notation to represent the relative duration and pitch of a Sound;

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Common progressions

The most common chord progressions, in the common practice period and in popular music, are based on the first, fourth, and fifth scale degrees (tonic, subdominant and dominant); see three chord song, eight bar blues, and twelve bar blues. Popular music is Music belonging to any of a number of musical styles that are accessible to the general public and are disseminated by one or more In Music theory, a scale degree is the name of a particular note of a scale in relation to the tonic (the note of the scale that is considered The tonic is the first note of a musical scale in the tonal method of Musical composition. In Music, the subdominant is the technical name for the fourth tonal degree of the Diatonic scale. In Music, the dominant is the Fifth degree of the scale. For example in the C Major scale (white keys on a piano starting with C the A three-chord song is a Song whose Music is built around three chords that are played in a certain sequence. An eight bar blues is a typical Blues chord progression taking eight 4/4 bars to the verse The chord based on the second scale degree is used in the most common chord progression in Jazz, II-V-I. In Music theory, a scale degree is the name of a particular note of a scale in relation to the tonic (the note of the scale that is considered Jazz is an American Musical art form which originated in the beginning of the 20th century in African American communities in the Southern United States

As stated by Tom Sutcliffe on harmony. org. uk:

… during the 1960's some pop groups started to experiment with modal chord progressions as an alternative way of harmonising blues melodies. . . . This created a new system of harmony that has influenced subsequent popular music.

The use of modal harmonies to harmonise the blues came about because of the similarity of the blues scale to modal scales . . . by experimentation with the possible uses of major chords on the guitar. This phenomenon thus probably derives from the characteristics of the guitar and the way it is used in popular music. This is also linked to the rise in the use of power chords. In Music, a power chord (also fifth chord) is a note plus the note a fifth above usually played on Electric guitar.

Sutcliffe’s thesis is that major chord combinations such as: I , bIII , IV, V and bVII cannot be explained in pure modal terms as, in this combination, these don’t exist in the usual modes. They have to be explained as a new harmonic system combining elements from the blues and elements from modality.

The circle of fifths progression is generally regarded as the most common progression of the common practice period, involving a series of descending perfect fifths that often occur as ascending perfect fourths. In Music theory, the circle of fifths (or '''circle of fourths''') shows the relationships among the twelve tones of the Chromatic scale, their corresponding The common practice period, in the history of European Art music (broadly called Classical music) spanning the Baroque, Classical, and The circle of fifths makes up many of the most commonly used progressions, such as II6, V, I in major.

Common progressions used in contemporary popular music

Rewrite rules

Steedman (1984) has proposed a set of recursive "rewrite rules" which generate all well-formed transformations of jazz, basic I-IV-I-V-I twelve bar blues chord sequences, and, slightly modified, non-twelve-bar blues I-IV-V sequences ("rhythm changes"). In Theoretical linguistics, generative grammar refers to a particular approach to the study of Syntax. In Music, a transformation consists of any operation or process that a Composer, performer or analyst may apply to a musical variable (usually a set or In Jazz and Jazz harmony, rhythm changes is a modified form of the Chord progression of George Gershwin 's song " I Got Rhythm "

The original progression may be notated as follows (typical 12-bar blues):

1  2  3  4   5   6  7  8   9  10 11 12
 I/ I/ I/ I// IV/IV/ I/ I// V/ IV/ I/ I

Where the numbers on the top line indicate each bar, one slash indicating a bar line and two indicating a phrase marking, and the Roman numerals indicating the chord function. Important transformations include

1 2  3 4   5  6   7    8    9  10 11 12
I/IV/I/I7//IV/VII7/III7/VI7//II7/V7/I/I//

. . . 7    8    9. . . 
. . . III7/bIII7/II7. . .

Sequences by fourth, rather than fifth, include Jimi Hendrix's version of "Hey Joe" and Deep Purple's "Hush":

1        2        3 4  5          6       7 8   9         10      11 12
♭VI, ♭III/♭VII, IV/I/I//♭VI, ♭III/♭VII, IV/I/I//♭VI, ♭III/♭VII, IV/I/I//

These often result in Aeolian harmony and lack perfect cadences (V-I). Aeolian harmony is Harmony or Chord progression created from chords of the Aeolian mode. In Western Musical theory, a harmonic cadence (Latin cadentia, "a falling" is a formula of two chords that conclude Middleton (1990, p. 198) suggests that both modal and fourth-oriented structures, rather than being "distortions or surface transformations of Schenker's favoured V-I kernel, are more likely branches of a deeper principle, that of tonic/not-tonic differentiation. "

For the ♭ notation, see Borrowed chord. A borrowed chord is a chord borrowed from the Parallel key. If the root of the borrowed chord is not in the original key then they are named by the

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