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I get a lot of questions about ambient chord progressions. Actually, Idon't get any questions about ambient chord progressions. What I get issearch engine traffic from people who were looking for that on the Net, andend up reading my old article about fractal chord progressions, which may or may not be much help to them.

Part of the issue, and maybe part of the reason people are searching forthis, is that there is not really such a thing as an "ambient" chordprogression. Chord progressions are not what makes music ambient! Ambientmusic is intended to go on in the background while the listener is focusedon something else. It's music that doesn't draw attention to itself. Theway to achieve that often has a lot more to do with other things, likerhythm, melody, orchestration, voice leading, and other details that aren'treally part of what's usually called a "chord progression". You can writeambient music with any chord progression, and no chord progression willautomatically make your music ambient. It may not even make sense forambient music to have a chord "progression" in the usual sense, based onfunctional harmony and concepts like resolution, at all. We usually wantambient music to sort of circle around without sounding like it's makingprogress.

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Nonetheless, there are some things we can do with the sequence of chordsthat might help make the music ambient, so here's a grab bag ofideas. I'm including audio examples made with a software synth and the PrecisionsoundD-85 sample library. I've tried to make the examples as simple and asconsistent as possible: just an identical two-bar riff played repeatedlyover the progression in question to make up twelve bars. This is far frombeing great ambient music, but that's not the point. The idea is to be ableto compare the different progressions while controlling out as many othervariables as possible.

There is more complexity possible. In particular, the assumption oftwelve notes equally spaced in the octave is not absolute. it's valid formany instruments and very much music but there are also musical theoriesbased on not having that assumption. The direction of the drawing the circle is of course arbitrary and in an earlier version of this posting I drew it the other way around, but I have updated the graphics to flip it around (preferred resolution going counterclockwise) in order to agree with some other sources.

If music is in a "key," it will normally be associated with a diatonicscale that consists of seven consecutive notes on the circle. For instance,the C major scale, which is the same as the A natural minor scale, consistsof the notes A through G without sharps or flats.

For music that is in a specific key (not all music is!), most if not allthe notes will be from the corresponding scale, and most if not all of thechords will be made up of notes from the scale. For any of these scales youget three basic major triad chords and three minor triads as well as onediminished triad: overall, one triad starting on each note of the scale. And the pattern is the same for any key. You just shift around to theappropriate place on the circle. In the key of C major or A minor, thebasic chords you get at F, C, G (major - chord symbols usually use just thenote name to indicate a basic major chord); Dm, Am, Em (minor chordsdesignated by "m"); and B, the diminished chord. C major and A minor arein some sense the same key; the difference between the two will be inwhether the music focuses on the C or the Am chord as the more commondestination of its movement.

There is a natural tendency for chords to be pulled counterclockwise around thecircle, one step at a time, and chord progressions often tend to make their"progress" with that kind of move. After you play a D chord, it feels verynatural for the next chord to be G. This is not the only thingthat drives chord progressions, and in some cases other forces will tend todraw the ear more strongly in some other direction. But the drive from thefifth to the root to the fourth, that is counterclockwise around my diagram, ispretty significant. It becomes stronger in the case of major chords, andwhen moving away from a seventh chord or moving onto the chord that namesthe key. If you're in the key of C major and you play a G7 chord, then thelistener will really want to hear the C chord next; and when that Cmajor chord hits, it feels like the music has come to rest with the"tension" being "resolved."

Ambient music is often music that kind of goes nowhere, and maybe theeasiest way to do that is with a chord progression that literally goesnowhere. Just pick your favourite chord and stick to it. You can make itslightly less boring by having several different voicings of the same chord- but remember that to be "ambient," music should maybe be a little bitboring anyway. Some of my favourite chords are B major,A minor, andE major add nine.Here are samples of each of those.

With these or any of the samples in this article, click on the title togo to the corresponding audio server page, where there are links for thedownloadable MP3 and FLAC versions and PDF sheet music. I've also posted a ZIP file containing the MIDI files that were used to render these samples; note the files are not General MIDI and won't sound the same on a General MIDI synthesizer. They were written for the TiMidity++ software synth using the Precisionsound D-85 sample library and the configuration file included in the package.

Normally if trying to invent an "ambient chord progression" we'd avoidmoving to the fourth, because that sounds like a resolution, and especiallyavoid playing a seventh chord and then moving to the fourth of that. But itmight be a fun idea to hang a lampshade on that seventh-chord-to-fourthresolution: instead of avoiding it, do it every time, steppingaround the circle in the counterclockwise direction, with all the chords beingdominant sevenths. The idea is that with this kind of resolution at suchfrequent intervals, the listener will become habituated to it and it willstop grabbing attention.

Any of these cyclic progressions that go around the entire octave willtend to be atonal: they don't stay in one key. To some extent that may bedesirable for ambient music, but a different approach might be to try tofind some kind of progression that will be tonal and stay in a key, butstill have the endless resolution-avoiding feeling. The old reliablevi-IV-I-V progression is good for that. I've used it a lot in projects likemy earlier thing on fractalprogressions.

The vi-IV-I-V progression consists of a minor chord on the sixth note ofthe (major-key diatonic) scale, then major chords on the fourth, first orroot, and fifth, in that order, before returning to the beginning. It isoften called an "heroic" progression for the feelings it's associated within classical music and film scores. Marc Hirsh dubbed it the "sensitivefemale chord progression" for its popularity with the Lilith Fair types -very many singer-songwriter hits of the 1990s were written with this chordprogression. For example, Joan Osborne "What if God was one of us?"; MelissaEtheridge "Angels would fall"; and Sarah McLachlin "Building a mystery," whichhas the interesting variation of an added ninth on the IV chord. That was oneof the songs that first got me into added ninths.

Here's a more experimental attempt at building a progression that will betonal and stay in a key, but still sound somehow "ambient." The idea is toapproach the key chord in two directions but never quite hit it, alwaysjumping to the other side instead.

One neat thing about this kind of "progression" is that it doesn't evenreally need to be a change in the chords. On a modular synthesizer, it's easyto hook up a slow LFO and a precision adder, such as the North CoastSynthesis FixedSine Bank and DualVC Octave Switch, to smoothly shift the pitches of the music up and downby about a semitone automatically while the sequencer just stays on a singlechord.

That's twelve examples of what might be called "ambient chordprogressions" and I hope they're of some help. As I mentioned at the start,though, I think what really makes ambient music is not chord progressions atall, but other things like voice leading. The inimitable "8-bit MusicTheory" has done a couple of good videos on ambient techniques in video gamemusic and I recommend watching them: "4 Tips for WritingAmbient Chord Progressions" (featuring the music of Donkey KongCountry), and "Nonfunctional Harmony inChrono Trigger." The videos go into a fair bit more advanced stuff, and don't focuson chord progressions so much.

Hania Rani is a Polish composer and pianist who has been making waves in the music industry with her beautiful and haunting ambient piano music. With a style that is both intricate and minimalist, she creates music that transports listeners to another world.

Born in Gdansk, Poland in 1990, Hania Rani began playing the piano at the age of seven. She went on to study at the Academy of Music in Gdansk, and later at the Fryderyk Chopin University of Music in Warsaw. Her classical training is evident in her music, which features intricate melodies and delicate harmonies.

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One of Hania Rani's most well-known works is her debut album, "Esja," which was released in 2019. The album features a collection of solo piano pieces that showcase Rani's unique style and talent. From the hauntingly beautiful "Eden" to the uplifting and optimistic "Sun," "Esja" takes listeners on a journey through a range of emotions and moods.

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