TYPICAL CHORD PROGRESSIONS

Typical chord progressions in major keys 

The next figure shows a diagram containing typical chord progressions that can be made from diatonic triad chords in a major key. In order to make the diagram simpler, we are limiting ourselves only to the diatonic triad chords. 

The diagram is a composition of harmonic bigrams. A harmonic bigram is the sequence of two harmonies in which the second harmony comes after the first one. In the diagram, harmonic bigrams can be read by following the arrows. Some of the arrows go directly from the first harmony to the second harmony, such as vi – ii. Some harmonies are grouped together using the square brackets, such as vii0 and V. An arrow that goes from such a group to a harmony means that any member of the group can be followed by that harmony. Examples are: V – I and viio – I. An arrow that goes between two groups means that any member of the first group can be followed by any member of the second group. Examples are ii – V and IV – viio. The arrow that goes from I to any means that any diatonic triad chord can appear after the tonic triad.

Figure: The diagram showing typical chord progressions in major keys

On the diagram, we can easily find many important harmonic bigrams that we already know. They can be used as a convenient tool for memorizing the diagram. Let us first find the harmonic bigrams from the complete descending fifth progression made of diatonic triad chords.  I – IV can be found on the diagram as the arrow from I to any. IV – viio can be found as the arrow between the two groups. viio – iii, iii – vi and vi – ii can be found as the direct arrows. ii – V can be found as the arrow between the two groups. V – I can be found as the arrow between the group and I.  

The authentic cadences V – I and viio – I can be found as the arrow from the group to I. 

The plagal cadence IV - I can be found as the direct arrow. The half-cadence I – V can be found as the arrow from I to any. 

The deceptive cadence V – vi can be found as the direct arrow.

The diagram also includes often occurring chord progressions IV – ii and viio – V that will be explained later. 

The important thing is that longer chord progressions can also be found in the diagram. For instance, I – IV – ii – V – I. Thus, the diagram can be used as a simple tool for finding meaningful chord progressions. The diagram does not show diatonic seventh chords but the obvious candidates would be: ii7 instead of ii and V7 instead of V.

Typical chord progressions in minor keys

The next figure shows a diagram containing typical chord progressions that can be made from triad chords in minor keys. In order to make the diagram simpler, we are limiting ourselves only to diatonic triad chords including two chords that result from raising the seventh scale degree. 

The diagram is very similar to the previous one. The diatonic triad chords in minor keys have different chord qualities, such as III instead of iii or iv instead of IV. Most often in minor keys, the seventh scale degree is raised when the chords on the fifth or seventh scale degrees are used. All that can be seen in the figure when it is compared to the previous one.