Global Music Theory

Tag: chords

  • I IV V Progression – A Musical Cliché Explained

    I came into this article thinking I basically had all the knowledge ready to go. But I discovered something new about the I IV V chord progression that helped me understand why it’s such a powerful progression in tonal music.

    In tonal music the I IV V chord progression is a sequence of chords based on the 1st, 4th, and 5th scales degrees. For example, in the key of C major the progression would be (I) C-major, (IV) F-major, and (V) G-major.

    In this article I’ll go over the basics of the I IV V progression but I’ll also reveal an interesting insight into why this progression is so dominant in tonal music.

    I IV V – Prerequisites

    In order to follow the discussion it’s necessary to understand the following concepts:

    • Key Signature
    • Scale Degrees
    • Triad
    • Major and Minor Chords
    • Inversions
    • Roman Numerals

    What is a musical key signature?

    The key signature is what indicates how many sharps or flats are used in the piece of music. Key signatures can change throughout the piece. Also, music typically includes accidentals (notes outside the key signature). For this article I’ll be using C major for most of my examples. C major has no sharps and no flats.

    What is a scale degree?

    A scale degree is a numeric identifier for each pitch in a scale. In a diatonic scale, like C major, there’re seven scale degrees – one for each pitch.

    What is a triad?

    A triad is a combination of three pitches played at the same time. Chords are built from triads. Here are some examples of triads.

    What are major and minor chords?

    Major and minor chords are triads with a specific set of intervals. A major chord consists of a major 3rd (4 half-steps) from the bottom note and a minor 3rd (3 half-steps) up from that note. A minor chord consists of a minor 3rd (3 half-steps) up from the bottom note and a major 3rd (4 half-steps) up from that note.

    Major and minor chords are triads because they have three pitches. The three pitches have names: the root, the 3rd, and the 5th.

    What are inversions?

    Inversions are how we label chords so we know which note is in the bass (the lowest note of the chord). In a triad there are 3 positions and 2 inversions. Inversions are determined by identifying the intervals up from the bass note when the notes are brought within an octave range. There is root position where the notes are stacked up in thirds. There’s 1st inversion where you get the intervals of a 6th and a 3rd. Lastly, there’s 2nd inversion where you get the intervals of a 6th and a 4th.

    What are Roman numerals?

    Roman numerals are a method of music analysis that highlights the harmonic function of chords typically within a tonal system. Each scale degree gets a corresponding Roman numeral. Each Roman number gets another name that is used to identify it. I have written more about Roman numeral analysis in this article: Music theory and math

    This is where we get the I IV V notation from!

    Three reasons why the I IV V progression is so dominant in tonal music

    I’m sure there’re many reasons this progression has maintained such a hold on tonal music but the three I’ll cover are: bass movement, home away more away home, and strong establishment of the key.

    I IV V bass movement

    In the key of C major, when in root position, the I IV V I bass movement is C –> F –> G –> C. The intervals are C to F = P4th/P5th, F to G = M2nd, G to C = P4th/P5th. With this we get two strong bass movements of a P4th/P5th. These are strong motions because the interval of a Perfect 5th is infused in the tonal system stemming from the overtone series.

    The second measure achieves nice upward stepwise motion leading back to the tonic (I).

    Home away more away home

    In tonal music, the “story” of the music is typically one of home – away – home. Or tonic – dominant – tonic. In tonal music there is a sense of return there’s a feeling of “progression.” Not all music moves in this manner – it’s not a given. In the I IV V progression we get an extra step added in between the I V progression. The IV is like a bridge between the tonic (I) and the dominant (V). One way that the IV acts like a bridge is by having a common tone with the tonic: CEG (I) and FAC (IV). Another common tone bridge can exist if you add a 7th to the V chord: GBDF (V7). Now you have a connection of common tones going from the I to the IV to the V7 and back to I. Then from the IV to V the IV chord can move by step-wise motion or a leap of a P4th/P5th.

    Also, all three chords are major. That means you don’t get a “jarring” shift from major to minor. The common tones along with stepwise or P4th/P5th bass movement all contribute to this progression’s power. There are other chords that can yield similar results but you will have to make some sort of compromise. The I IV V progression stays close enough to tonic while exploring far enough away to give some variety. It’s comfortable.

    Strong establishment of key

    This one is the characteristic of the progression that I had never thought of. I was reading Structural Functions of Harmony by Arnold Schoenberg and he points out that this progression rules out other closely related keys that the piece of music could be in. When we first begin to hear a piece of music our ears are searching for patterns. If you are acclimated to tonal music, then you are unknowingly listening for very specific relationships. Let’s just take the four chord progression below. The first chord you hear is a C major chord. You don’t know what key the music is in at this point because you have only heard three pitches. The next chord, FAC (IV), gives you two more new pitches. And more importantly it gives you F natural. This F natural is important because it rules out the possibility of the music proceeding in the closely related key of G major. G major’s key signature has one sharp – an F sharp. The next chord is GBD which completes the tonal picture by providing two critical pitches. The addition of pitches B and D complete the C major scale if we combine all the notes from the I and IV.

    ChordPitches
    C majorC E G
    F majorF A C
    G majorG B D

    With these three chords we have introduced all seven pitches of the key (C D E F G A B). The second way the V chord establishes the key is with the B natural. The B natural rules out the option of the piece continuing in F major. F major is closely related to C major. F major just has a B-flat in the key signature. Because we hear a B natural we know it’s not in F major.

    By going through these three chords we get the sound of the tonic, get all the pitches of the key, and rule out the possibility of the music being in either of the closely related keys! This progression plants the listener firmly in the desired key. Other progressions can complete this task. For example: I ii V I or I ii vii I. But these progressions have changes in chord quality from major to minor, which is not quite as smooth as the I IV V.

  • 9 Bach Chord Progressions To Use In Your Music

    J.S. Bach is one of the greatest composers of all time, so it stands to reason that you are on solid ground using his music for inspiration. Specifically, in this article, I want to show you how his chord progressions can help you write new and interesting music.

    Many musicians get writers block, and it can be useful to have some prompts that will take you out of your comfort zone. Here are 9 prompts from Bach’s chorale music. To jump to each progression, click the links below.

    Chord Progressions

    1. BWV 26
    2. BWV 262
    3. BWV 104
    4. BWV 121
    5. BWV 274
    6. BWV 43
    7. BWV 330
    8. BWV 245
    9. BWV 307

    I want this to be user friendly, so I’m not going to be doing a detailed analysis of each progression but rather simply giving the key and the chords. I’m including how to play each chord on guitar and piano. I’m also including a recording of playing these chords on piano so you can hear and get a sense of what they sound like.

    The way I use this is to play around with these chords and improvise within the major and minor chord progressions. If I find a chord progression I like, I will record it so I can improvise over it.

    When using these chord progressions, it’s useful to keep in mind that Bach wrote primarily using counterpoint (to learn more about counterpoint check out this article: What is Cantus Firmus?). This means his chord progressions sometimes veer off into interesting places – which is probably what you want anyway! He followed voice leading rather than “chord progressions” to write his music, meaning he took a “horizontal first” approach rather than vertical. Most pop and rock music are put together by finding a melody and a chord progression to support that melody. Counterpoint is a way to construct music in melodic layers. Either way is not better than the other, but both should be understood and part of your music writing tool set.

    I’ve written a short book that explores how music is organized and the roles it can play across the globe. The book is called Formative Forces in Sound. If you are interested it is available on Amazon here for $0.99 www.amazon.com/formativeforcesinsound

    Bach chord progressions

    1 – Bach chord progression from BWV 26

    Here are the chords as played on a guitar needed for this piece:

    Bach BWV 26 Guitar Chords

    Here is the chord progression laid out in phrases.

    1. am – E/G# – am
    2. am – G – C
    3. C – am – D/F# – am – dm7 – E7 – A
    4. A – A/C# – dm – B♭ – gm – A – G – D
    5. G – G/B – C – am – dm/F – G – C
    6. F – dm/A – E – am – B7 – E7 – A

    I love this because it sets up the listener and kind of tricks them. The first phrase is a clear i-V-i progression in a minor which sets up the listener to for a piece in a minor. The next phrase changes and has a V-I cadence in C major (the relative major key to a minor). Just in these first two phrases, the listener is engaged, unsure where this music may go – is it a minor or C major?

    Then the third phrase ends solidly in A major (the parallel major to a minor).

    The fourth phrase flirts with dm and ends in D major (a closely related key to A major).

    The fifth phrase ends back in C major (the relative major key).

    Finally, the last phrase brings us back to A major, but we never return to a minor.

    2 – Bach chord progressions from BWV 262

    This piece is in the key of D major. Here are the progressions laid out phrase by phrase.

    1. D – bm – D/F# – G – A – A7 – D
    2. D – D – em – D/F# – em7 – A7 – D
    3. A – A – D – f#m7 – bm7 – E7 – A
    4. em – em – A7 – bm – bm – f#m – F#7 – B
    5. D – D – G – A – bm7 – E7 – A
    6. G – D – em – D/F# – em7 – A7 – D

    I really like the way this one flows. If you look at just the last chords of each phrase you get:

    1. D
    2. D
    3. A
    4. B
    5. A
    6. D

    I think of it as phrases 1 and 2 are the A section. Phrases 3, 4, and 5 are the B section and phrase 6 brings it back to the home key of D major. Phrase 4 might be the most fun because it takes us to the V/V in the key of A major. From a “B section” point of view, phrase 4 ends on a half cadence. From a global point of view phrases 3 and 5 also ending on half cadences, which I think helps with the overall flow of the music – it keeps some element of anticipation.

    3 – Bach chord progressions from BWV 104

    This piece is in A major. Here are the chord progressions laid out phrase by phrase.

    1. A – A – D/F# – E – bm – A/C# – E – A
    2. A – F# – bm – bm – E7/G# – A/C# – E7 – A
    3. A – E – a#dim – bm – F#7 – em – F#7 – bm
    4. E/G# – A – D/F# – E – D/F# – A – E#dim7 – f#m
    5. f#m – bm/D – A/C# – bm – E7/D – A/C# – E – A

    I really like the use of the diminished chords in this one. Phrases 3 and 4 are interesting because they don’t go to the relative minor right away. For more info on diminished chords check out this article: What are Diminished Chords?

    4 – Bach chord progressions from BWV 121

    This piece is in the key of e minor. Here are the chord progressions laid out phrase by phrase.

    1. em – F# – bm/D – bm – F#7/A# – bm – F#7 – bm
    2. B/D# – em – bm/F# – G – d#dim/F# – em – am – B – em
    3. em – em/B – am/C – am – em – D/F# – G
    4. G – em – d#dim/F# – E7/G# – F#7 – B – F#7 – B
    5. em – D – G – G/B – D – em – B7 – C
    6. G – B7/D# – em – C – F#7/A# – B7 – E

    Remember these are supposed to be used as creative musical prompts, so listen to some of the chord combinations and if something works grab it. If there are chords in it that don’t appeal to you, feel free to throw them out!

    5 – Bach chord progressions from BWV 274

    This piece is in the key of g minor. Remember that the letter after the “/” is the note that is in the bass. This means the chord is in an inversion. If you are just beginning or just want to hear the chords, you can ignore this and just play the chord. For example, just play the gm chord with the normal G in the bass instead of the gm with the B♭ in the bass. It will sound pretty much the same.

    Chords

    1. gm/B♭ – gm – gm/B♭ – dm – gm/B♭ – f#dim/A – gm – f#dim7/C – D7 – gm
    2. gm – gm/B♭ – B♭/D – B♭7/F – gm7/F – edim – F
    3. F – F/A – A/C – cm/E♭ – D/F# – gm – am – D7 – gm
    4. D – gm – gm/B♭ – dm – gm/B♭ – f#dim/A – gm – am/C – D7 – G

    6 – Bach chord progressions from BWV 43

    This piece is in G major. In this one I labeled a few suspension (suspended) chords. I have an entire article on suspension chords but briefly here is what the notation means.

    Asus4 – “A” = the root of the chord. “sus4” = play the pitch that is the interval of a perfect 4th above the root. In this case a perfect fourth above A is D. So, the notes in this chord are A-D-E instead of A-C#-E. Typically in a sus4 chord, the suspended note in the suspension chord will resolve down to the 3rd in the normal major or minor chord.

    Asus4 to A

    BWV 43 chords

    1. G – em – D – em7 – am7 – G/B – G – Asus4 – A – D
    2. G – C – G – D – em – D – G
    3. D – D – G#dim/B – am – am/C – E – am
    4. E – E – E – am – am/C – am – B – B – em
    5. D – G – G – C – G – D
    6. G/B – C – D – C/E – G – Dsus4 – G

    7 – Bach chord progressions from BWV 330

    Key chords to highlight: E7sus4

    E7sus4 Staff Notation
    E7sus4 on Guitar

    BWV 330 Chords

    1. am – am/C – E – D/F# – E/G# – am – Esus4 – am – am E/G# – am – dm – E – am – dm/F – E
    2. am – G – em7 – F – dm7 – C/E – G – C
    3. G – em7 – E7/C – am/C – dm7/A – E7/G# – am – bdim/D – E7sus4 – A

    8 – Bach chord progressions from BWV 245

    Key chord to highlight: Asus2

    Asus2

    BWV 245 Chords

    1. E – E – A – E m7 – C#7 – D#7/F# – E – B
    2. B – F#/A# – D#/F# – E/G# – B – c#m/E – F# – B
    3. E – c#m – g#m – Asus2 – g#m/B – A/C# – E – B
    4. g#dim/B – am/C – C#7 – D – d#dim7 – E – B – E

    9 – Bach chord progressions from BWV 307

    As a reminder about the “7” notation using chord symbols like this:

    “7” = a minor 7th interval above the root.

    7th chord notation

    BWV 307 Chords

    1. B♭ – B♭ – B♭ – F7 – gm – cm – Fsus4 – B♭
    2. B♭ – B♭ – E♭/G – F7/A – B♭ – cm7/E♭ – F7 – B♭
    3. B♭ – B♭ – F7 – gm – F#/A – gm – B♭/D – F
    4. D7/F# – gm – D – gm – B♭ – gm – cm/E♭ – D
    5. gm – gm – E♭ – B♭/D – B♭ – cm7/E♭ – F7 – B♭
  • How to use a diminished chord

    How to use a diminished chord

    You know your major and minor chords and have heard of this diminished chord but are unsure how to use it in your music. I break down what a diminished triad is and provide a few examples on how it can function in music.

    Typically, a diminished chord is used to create tension and a sense of destabilization in the music. Diminished chords are dissonant and “want” to be resolved to a consonance. In a major key they are the seven chord (vii-dim) and in minor keys they are the two chord (ii-dim).

    Continue on to learn more about how this chord is built and how it functions in tonal music. In order for this article to not get too long, I’ll not be going over fully diminished, half diminished, or diminished intervals in this article.

    I’ve written a short book for composers that explores how music is organized and the roles it can play across the globe. The book is called Formative Forces in Sound. If you are interested, it’s available on Amazon here for $0.99 www.amazon.com/formativeforcesinsound

    How a diminished triad is built

    The diminished triad is comprised of two minor thirds stack on top of each other (if you do not know what a minor third is, then check out my interval article) or a minor third and a diminished fifth. For example a B, D, F. It is called diminished because of that diminished fifth. In a major or minor chord the fifth would be a perfect fifth, but in the diminished chord it has been lowered by 1 half-step.

    Diminished triad notation

    There are a few different notations for diminished triads to be aware of.

    TypeNotationExample
    Roman Numeralsroman numeral followed by a superscript “o”. Any roman numeral followed by the superscript “o” is diminished not just seven or two chords.viio
    Chord SymbolThis notation is typically found in jazz or lead sheet style notation.VII dim
    Bdim
    IntegerThis notation is typically used in Set Theory. A system of looking at music as numbers rather than dots on a staff.036

    Function of diminished triads

    The vii diminished chord in a major key

    A vii-dim triad typically functions as a dominant. This means it is wanting to resolve to the tonic. Broadly speaking, tonal music has two poles pushing and pulling the music along: the tonic (the “I” chord of the home key) and the dominant (chords that provide tension and feel like they want to return to the stability of the tonic).

    The chart below shows whether the chords function as tonic, dominant, or predominant in a major key.

    ChordPredominant FunctionTonic FunctionDominant Function
    Tonic (I)X
    Super Tonic (ii)X
    Mediant (III)X
    Subdominant (IV)X
    Dominant (V)X
    Submediant (vi)X
    Leading Tone (viio)X

    What determines the function of chords

    Without getting to deep at this point, it is context and how the composer treats the chords that determines function. In general triads that contain the leading tone (the seventh note in the major scale) will typically function as a dominant (but not the iii chord as you see in the example below). This is because our ears are trained to hear that leading tone as “wanting” to resolve to the tonic note.

    The example below shows three progressions. The first two have a tonic-dominant-tonic relationship. The last one does not. The iii chord does not function as a dominant primarily because it shares two pitches with the tonic triad and does not create enough tension to have a dominant sound.

    Function of a diminished chord in a minor key

    In a minor key the seventh chord is can take a few different qualities because there are three types of minor scales that could be used.

    Minor Scale TypeQuality of Seventh Chord
    Natural MinorMajor
    Harmonic MinorDiminished
    Melodic MinorDiminished or Major

    If the seventh chord has the diminished quality it will function as a dominant. It functions as a dominant because it has the leading tone in the chord. If the seventh chord has a major quality, it will then function as a predominant. Or better yet, the VII chord will function as a V chord in the relative major to get some modulation going!

    Diminished chords and substitutions

    If you followed the above discussion, then it is simple enough to follow the logic of which chords can swap in and out for each other. In tonal music it’s all about function when it comes to chord substitutions. Understanding what each chord is bringing to the music and where each chord is “leading” is essential. I believe it’s essential because it’s one of the way in which a composer can control two important aspects of tonal music: 1) variation (in particular through manipulation of harmony) and 2) expectations.

    Dominant substitutions

    The diminished seven chord can easily stand in for the five chord. Using the viio chord adds even more dissonance for a couple of reasons: 1) the diminished chord itself is more dissonant because it contains a diminished 5th rather than a perfect 5th and 2) the vii-dim shares no tones in common with the tonic (the V chord shares 1 pitch in common with the tonic making the V-I progression smoother than the viio -I)

    Diminished chords as a path to other chords

    i-vii-i: Example from Bach Chorale

    In the example above, the diminished seven chord is clearly a passing chord but shows how the pitches of the vii-dim chord still fulfils the function of the dominant. In the example the chord preceding the red box is a tonic (in 1st inversion) that moves to the vii-dim and then the chord after the red box is another tonic (in root position). This creates the expected movement of tonic-dominant-tonic.

    This step-wise motion from the tonic to the vii to the tonic is one of the main uses of the diminished seven chord.

    The diminished chords play a critical role in moving from one chord to another. Many time diminished chords are employed so that voice leading can be smooth. Look at the example below and notice the step-wise motion and maintenance of a common tone when moving between these chords.

    Typical Diminished Chord Voicing and Inversions

    Voicing refers to how the notes of the chord are presented – where on the staff is each note. Below are some typical voicings.

    The next consideration is which pitch will be the lowest (in the bass)? Determining which order (inversion) to place the notes will give the chord a different sound – even though you are using the same notes! Here are the three possible permutations of the three pitches that make up the B diminished triad.

    When you combine the voicing with the inversion you get the following options for how to present this chord.

    Typically, diminished chords are in the 2nd inversion. The main reason for this is that it softens the dissonance. You can test this on your own by playing an a C and B (one half step apart) and listen for the dissonance. Then move the B an octave higher and play C and the B again and now listen for the dissonance. You should be able to hear that it has been considerably reduced just by spacing the notes apart. If you want very intense dissonance, then bring the notes closer together. If you want a softer dissonance, spread the pitches apart.

    The key to using any chord – diminished included

    A final piece of advice when getting into chords and their functions and substitutions and the like: it’s all about voice leading. These “rules” about chords and where the “want” to go or how they function all stems from voice leading. Voice leading is the linear progression of each melodic line. Voice leading “rules” came from counterpoint. If you understand voice leading then you will understand chord progressions. Voice leading is the horizontal understanding and harmony (chords) are the vertical. Both have their place and use and when used in conjunction, you can write some great music! I like to use chord progressions as sign posts and then use voice leading to connect the sign posts.