![]() ![]() Without a doubt, it’s a classic, and if you aren’t already familiar with it, you need to add it to your musical vocabulary immediately. This chord progression is the very essence of songs like The Troggs’ “Wild Thing,” Green Day’s “Minority,” and many others. ![]() It has a slight bit of suspense because of how the chords are ordered, but for the most part, it’s a safe bet in happier sounding tunes. This is a major progression through and through, which means it has a happy, upbeat sound. That said, this is one of those progressions that will translate well to most popular genres – pop, rock, punk rock, singer-songwriter, folk, and more. In “Don’t Stop Believin’,” Journey rotates in the iii in place of the vi every second line, and that gives the chord progression a little more flavor. So, what’s an example you would have heard? Well, this is, in fact, the chord progression that dominates most of Coldplay’s hit song, “Clocks.” It has kind of wide-eyed helicopter adventure through the mountains kind of vibe (of course, that will depend on how you play it). There aren’t too many popular progressions that meet both conditions, but the V – ii – vi chord progression does.Īnd this is one of those progressions that doesn’t have heavy leanings in the major or minor direction. There are progressions that are missing the I chord. There are chord progressions that start on the V chord. But there are other ways of using it, as “Bohemian Rhapsody” proves. The chord progression sounds like it would work nicely in a 50s Doo-wop, or perhaps a ballad. And like the IV, it naturally wants to lead into the V. The ii or Am is a little less common, so it makes for a nice “color” chord in context. In the key of C major, this would be C major, F major, and then G major.What’s fascinating about this chord progression is that you can basically substitute the ii with the IV (in the key of G, the IV would be C). The 1-4-5 progression, for example, is perhaps the most well-known. This pattern becomes the foundation of most chord progressions in popular Western music, enabling a quick and clear shorthand language for communicating with other musicians. Then we end up with a pattern like this: 1 We then examine the intervals within each chord based on their root to determine whether they are major (1,3,5) or minor (1,b3,5). If we were to build chords using the 1,3,5 pattern, starting on each number of the scale, and only using the notes within the scale, it would look something like this: 1 When songs switch between different keys, it is called modulation. If the chords stick strictly to their key, the melody is diatonic. Progressions in popular music often have chords that combine notes from the same scale – the song’s key. To understand chord progression, we have to understand the way chords work within scales. When we hear the melody of a song, we essentially hear a series or pattern of notes, one after the other in time, in whichever register of pitch is accessible to the instrument. The musical element created by notes is melody. ![]() On the piano, sets of twelve keys represent these twelve notes that repeat themselves across lower and higher pitch registers.įor example, if you go to the fourth key from the bottom of the piano and play it simultaneously with the highest key on the piano, you will see the same note (both C) at different pitches. Western musical instruments have twelve frequencies, each one separate by the same amount of space or distance. The tighter the string, the higher the pitch. When you press down, a small hammer hits a string (keyboards mimic this effect). Each string tightens so that it produces a sound at a particular frequency when the hammer strikes. Each key on the piano operates in the same way. ![]()
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