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400 Piano
Chord
Progressions
ebook by Pianochord.org

© Pianochord.org 2022
Except for personal use, no part of this publication may be reproduced in any form or by any
means without permission from the publisher.
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Contents
PART 1 Progressions sorted by keys

PART 2 Progressions - assorted themes

PART 3 Blues and jazz

PART 4 Playing concepts

Audio
40 audio examples and other playing examples are available from

https://www.pianochord.org/400pcp-audio.html

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About this ebook

The purpose with this ebook is to serve you a variety of chords that enrich your piano playing and provide you with a
better understanding of chords and chord progressions.

Thank you for purchasing this ebook!

Using the progressions

The presented progressions span from basic to complex and can be executed with main variations of chords, with
inversions, or with different voicings. Inversions are written out in some cases, but can always be used when it serves a
purpose.

The chord progressions can be seen as whole units as well as building blocks. As an example, the following progression
C - G - Am - F - C - G could return to home (C - G - Am - F - C - G - C), or could continue in numerous ways (- G7, - F -
Am - G, - Am - Em - Am and so on).

Chords have different functions in progressions. One is tension. Dominant seventh chords, for example, have much
tension and therefore unstable and not suitable being the last chord in a progression (or a song). They are often
followed by the I chord, which they resolve in. No further discussion of music theory will take place here, this is plainly
said to avoid some possible confusing when you play through the progressions in this collection. You may see a
progression that ends on a dominant seventh but, once again, the chord progressions can be seen as building blocks
and a progression such as Em - G - D - Am - B7 can continue by resolving to Em directly or continue with delayed
resolving. The choice is yours.

Left or right hand? Left and right hand?

The choice is actually yours, when there is a choice. There are many ways to play chords (some tips are given below).
With triads, a simple approach is to play with only one hand, often will the register there the left hand is positioned
sound better, although that is subjective (and possible depending on the piano, keyboard, synth). Five-note chords can
be played with one hand, but stacking many notes to close will not sound great. You should experiment, by doing this
you will be more flexible and faster develop technique and ideas to more advanced performance.

About being creative with chord progressions

As you become as better musician, you will be able to make a chord progression more musically interesting. Some
simple tips for you along the way:

One of the progressions in this collection is C - C6 - F - F6. Instead for simply playing the chords in a straightforward
fashion, you can play C - C6 as the notes c - e - g - a followed by the whole C chord, when F - F6 as the notes f - a - c - d
followed by the whole F chord. By doing this you blend C and C6 as well as F and F6.

You must not threat the chords rigorously. For example, in progressions involving alternate bass notes, with sequences
such as C - C/B - Am, you can skip the c note (and possible e and g as well) in C/B. C/B can be played as a four-note
chord but its main function in this case is to lead on to the Am chord.

Omitting notes in chords are definitely allowed. The E - Eaug - C#m/E - E7 progression in this collection may sound
better if E7 is played with an omitted 5th. Meaning the notes E, G#, D for which the chord name E7(no5) can be used,
but is not in this ebook because omitting the fifth in seventh chords are done so regularly.

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Another progression is C - Cmaj7 - F. Once again, you can deviate from a straightforward approach and instead split
the chords in two parts. For the C chord, you first play the C note when followed by the rest of the chords (e and g
notes). Do the same for Cmaj7 and F and you will get something that remains of the song “Imagine”.

In the last section chord accompanying concepts in standard notation can be found.

Voicings
No chord diagrams are included in this ebook. The reason is simple: this ebook is about chord progressions - how to
apply chords - and chord diagrams take up considerable room. All chords that are included in the progressions can be
found as chord diagrams on Pianochord.org.

But to make it easier, uncommon chords are written out note by note in letters, and chords consisting of five notes are
written out in forms of voicings (refers to the concept of arranging notes in chords).

Voicings (especially so-called open voicings) often involve two hands. Inversions that group tones close together tends
to create dissonances. The tones C and Db will create a dissonance if they are played directly next to each other and it
is better to split them on two octaves. Some rootless chord voicings are included as well. These may look strange, but
are sometimes utilized.

The voicings are intended to be grouped in the order the notes are written out. If the notes written out are G, F, B, E it
means that G should be the first note from the left and F will follow on the next octave together with B and, on the next
octave, E.

In chords with numerous notes, some notes are often skipped. You will see five-, six- and seven-note chords as four-
note voicings. The re-grouping follows a number of rules, read more about voicings on Pianochord.org.

The main thing is that this can help you play the chords and threat them in the same way that professional pianists
often approach extended chords.

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Part 1
Progressions sorted by keys
Piano progression in various keys.

• Progressions in major keys

• Progressions in minor keys
• Progressions with key changes

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Progressions in major keys

When a song predominately uses notes from one scale, it is said to be in the key of that scale. In Western music, the
adjectives major and minor may describe an interval, chord, scale, or key. Notice that chords with notes outside a
specific key is sometimes used as well, which may contribute to variations from the most familiar sounds.

Basic progressions in C
C - Em - Am - F - G [audio track 1]
C - Dm - G
C - G - Am - F
C - F - Am - G
C - Am - G - Em

Progressions in C
C - Cmaj7 - F
C - C7 - Fmaj7 - F6 - G [audio track 2]
Cmaj9 voicing: C E B D
Cmaj9 - Am7 - Dm7 - G7
C - C6 - F - F6
C/E - Fsus2 - F - Am/E
G - C/G - F - G
Cmaj7 - G6 - Am7
Dm7b5: D F Ab C
C - G/B - Am - C/G - F - C/E - Dm7 - Dm7b5 - C
C - Am - Em - F - Fm - C/E
C - Em - A7 - Dm - Fm - C
C - E7 - F - Am - D7 - G7 - C
C - E - F - Am - Dm7 - G7 - C
C - Am - D7 - G7 - C
C - C#dim - Dm7 - G7 - C
C - Eb - F - Ab - C
C/G - G# - G
C - C6 - C7 - F
C - C/B - Am - Am/G - F - F/E - Dm7
C - Caug - Am/C

Basic progressions in D
D-A-G-D
D - Bm - G - A

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D - F#m - Em - A - D
D - G - Em - A
D - Em - A
D - F#m - A - G [audio track 3]

Progressions in D
D - Bm - G - A7 - D
D/F# - Gsus2 - Dsus2 - A
Dmaj7 - Gmaj7 - Bm7 - A7
Dmaj9: D F# C# E, Bm9: B D A C#, Amaj9: A C# G# B
Dmaj9 - Bm9 - Amaj9
D - D/C# - Bm
D - D7 - Em7 - A7
D - D7 - G/D - Gm/D - D - A7/C# - D
Em9: E G B D F#
D - D6 - Em9 - A6 - Dmaj7
A9: A E G B C#
Dmaj7 - A9 - G6
G - D6 - Em6 - A7
D - Dmaj7 - D7 - G
D - Dmaj7 - G - Gmaj7
Dsus2 - D - Gsus4 - G
D - G - A - Am - B7 - Em7 - A7 - D
D - Daug - Bm/D - G/D [audio track 4]
A13: C# G B F#
D - F# - B7 - Em7 - A13 - D

Basic progressions in E
E-A-B
E - C#m - A - B [audio track 5]
E - G#m - C#m - A
E - G#m - A - B
E - F#m - B
E-B-A

Progressions in E
Emaj7 - B6 - B7 - F#m7 - Amaj7 [audio track 6]
E/G# - Asus2 - B/F#
A/E - Bsus4/E - B/D# - E
E - E/D# - C#m7
C#m - Esus2 - E

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E - Eaug - C#m/E - E7
Emaj9 - A6 - G#m7 - Emaj7 Emaj9: E G# D# F#

Basic progressions in F
F - Bb - C - Bb
F - Dm - Bb - C
F - Dm - Gm - Bb [audio track 7]
F - Am - Bb - C
F - Gm - C

Progressions in F
F - Am/E - Gm/D - C6/E
Fmaj7 - Am7/G - Bb
Fmaj7 - Gm7 - Am7 [audio track 8]

F - A7 - Bb
F - F/E - Dm7
F - F/E - F/D - Bb - Bb/A - C/G - Bb - F
F - Dm - Gm7 - C7sus4 - C7 C7sus4: C F G Bb

Gm7 - Bbm6/G - C7/G - Fmaj7

F - F#dim - Dm/A - Bb - C
F - Ab - Bb
F - C/E - A7/E - Dm
Dm11 - Fmaj9 - C7 Dm11: D F A C G, Fmaj9: F A E G

F - F7 - Bb/F - Bbm/F - F - D7 - Gm/D - C7

Basic progressions in G
G - D - Em - C
G - Bm - C
G-C-G-D
G - D - Am - G - D - C [audio track 9]
G - Em - D

Progressions in G
G - Csus2 - D
Gmaj7 - Am7 - D7 - Gmaj7
Em7 - Gsus2 - Cadd9
G - G/F# - Em - C/E - D
Gmaj7 - Am13 - Em9 - Cmaj9 [audio track 10]

G6 - D7 - Am7

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Em - C - Am7 - Am7b5 - G - G6 Am7b5: A C Eb G

G - G7/F - C/E - D7 - B7
G - F#m7 - Bm7 - Em
G - B7 - Em - G7 - C - D7 - G [audio track 11]

Em - Am - F#dim - C/E - G

Basic progressions in A
A-D-E-A
A - D - E - D - A [audio track 12]
A - C#m - D - A
A - Bm - E
A-E-D-E

Progressions in A
A - Amaj7/G# - F#m7 - Bm7 - E7
Amaj9 - Em7 - F#m11 Amaj9: A E G# B C#, F#m11: E A B F#

Amaj7 - F#m7 - Bm7 - E7 [audio track 13]

A - Amaj7/G# - A7/G - A6/F#

A - E - F#m - D - Dsus2 - A
A - F#m - D7 - Esus2
A - D/A - C#m
Bm/F# - E/G# - Asus2
Bm - D - Asus4 - A

Basic progressions in B
B - F# - G#m - E
B - C#m - F#
B - D#m - E - F#
B - E - G#m [audio track 14]

Progressions in B
B - G#m - F#m - E/G# [audio track 15]

B - Bmaj7 - E7sus4 - E7
B - Bmaj7 - B7 - B6 [audio track 16]

B - B7/A - G#m
B/D# - F#7sus4/C# - B

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Progressions in minor keys

In music theory, the term minor scale refers to three scale patterns - the natural minor scale, the harmonic minor
scale, and the melodic minor scale (the harmonic minor differs from the natural minor with a raised seventh; the
melodic minor differs from the natural minor with raised sixth and seventh). Consequently, chords can be derived
from all of these.

Basic progressions in A minor

Am - F - C - G
Am - G - C - F [audio track 17]

Am - F - G - C
Am - C - Em
Am - Em - Dm

Progressions in A minor
Am - Am7/G - F - C - Em - G [audio track 18]

Am - Fmaj7 - G - Em7
Am - G7 - Fmaj7
Am - Am7/G - Fmaj7 - F6 - Em7
Am - D - F - C
Am - D7 - G
Am7 - Bm7 - C
Am11 - Cmaj13 - D9 - Fmaj7 [audio track 19]

Am - E - G
Am9 - E7 - G13 Am9: A C G B, G13: B F A E

Basic progressions in B minor

Bm - A - G
Bm - F#m - G - A [audio track 20]
Bm - Em - A - G
Bm - G - D
Bm - D - Em

Progressions in B minor
Bm7 - Dmaj7 - Asus4
Bm9 - Amaj7 - Dmaj9 [audio track 21]

Bm - F#m7 - Gsus2 - D
Bm7 - E9 - Amaj13 E9: E G# D F#, Amaj13: C# G# B F#

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Basic progressions in C minor

Cm - Ab - Bb - Cm
Cm - Bb - Fm [audio track 22]

Cm - Eb - Bb
Cm - Gm - Fm
Cm - Fm - Eb

Progressions in C minor
Cm7 - Fm7 - Bb7 - Ebmaj7 [audio track 23]
Cm9 - Abmaj9 - Ebmaj7 Cm9: C Eb Bb D, Abmaj9: Ab C G Bb

Cm7 - F7 - D7 - Gm

Basic progressions in D minor

Dm - C - Bb
Dm - F - Gm - Bb [audio track 24]
Dm - C - F
Dm - Bb - F
Dm - Gm - Am

Progressions in D minor
Dm7 - Am7 - Dm7 - Cmaj7 [audio track 25]
Dm9: D F C E, Gm9: G Bb F A
Dm9 - C6 - Gm9
Dm - A7 - Bb - F
Dm7 - G7 - C - F
Dm - G7 - Bm7b5 - A7 [audio track 26]

Dm - Gm - C7 - F - A7 - Dm
C - C#dim - Dm
Dm - Gm - F - Eb - Am7b5 - D7/A
G9: G B F A
Dm7 - G9 - C6

Basic progressions in E minor

Em - G - D - C
Em - C - D - G [audio track 27]
Em - Am - D
Em - Bm - C - D - G
Em - D - G - C

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Progressions in E minor
Em7 - C - D7 - G
Em - Am7/E - D7/C - G [audio track 28]

Em - Cmaj7 - Bm7
Em - Em/D - Cmaj7
Em - G - D - Am - B7
Em - A - D - G
Em - Em/D - C - Bsus4 - B
Em9: E G B D F#
Em9 - C6 - D7 - Gmaj7
Cmaj7 - C6 - Bm7 - Em
Em11: E G B D A
Am - Em11 - B7 - Am7

Basic progressions in F minor

Fm - Cm - Bbm
Fm - Eb - Db [audio track 29]

Fm - Bbm - Db - Eb
Fm - Db - Bbm
Fm - Ab - Bbm

Progressions F minor
Fm7 - Cm7 - Bbm7 [audio track 30]

Fm - C - Am - G6
Fm - Ab - Absus2 - Eb

Basic progressions in G minor

Gm - Bb - F
Gm - Cm - F
Gm - Eb - Bb - F [audio track 31]

Gm - F - Eb
Gm - Dm - Cm

Progressions in G minor
Gm - Dm7 - Eb7 - Bb6
Gm7 - F7 - Eb
Gm - Dm/F - Eb - Dm - Fsus2
Gm/D - Dm7 - Eb7 - D7 [audio track 32]

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Gm - Cm7 - F7
Gm/D - Gm7/D - C7 - F7 - Bbmaj7
Em7b5: E G Bb D
Gm - Em7b5 - A7 - Dm

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Key changes
A key change is also called modulation. The chords that initialize modal changes are written in italics.

From major to minor using the same root

F#m - A - Am - F - C
Dm - C - Cm - Ab - Eb
Em - D - Dm - Bb - F
G#m - E - Em - C - G
G - G7 - C - Cm - F - Bb [audio track 33]

From I chord to ii chord

E - A - F#m - G - D
D - G - Em - F - C
C - F - Dm - Eb - Bb
Bbmaj7 - Eb6 - Cm7 - Fm7

Modal interchange
This concept of key change is characterized by a temporary change in which a chord is replaced with its equivalent in a
parallel key. The chords that make up the modal interchange are written in italics.

C - Em - G - F - Fm - C
D - Bm - F#m - G - Gm - D
Amaj7 - E7 - Bm7 - Dmaj7 - Dm7 - Amaj7
Dm7b5: D F Ab C
Cmaj7 - Dm7b5 - Fmaj7 - Am7
Gm7b5: G Bb Db F
Fmaj7 - Dm7 - C7 - Gm7b5 - F6
Em7b5: E G Bb D
Dmaj7 - G6 - F#m7 - Em7b5 - A7 - Dmaj7

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Part 2
Progressions - assorted themes

Chord progressions with focus on various ideas and themes.

• Bass lines
• Passing chords
• Substitutions
• Cycle of fifths
• Cadences

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Progressions involving bass lines

A bass line is the term used in many styles of music for the low-pitched instrumental part or line played by a rhythm
section instrument such as the electric bass, double bass, cello, tuba or keyboard. In unaccompanied solo performance,
bass lines may simply be played in the lower register of any instrument such as piano while melody and/or further
accompaniment is provided in the middle or upper register. Chord progressions with bass lines could in more simple
terms intend sequences in which the bass notes are ascending (leading upwards) or descending (moving downwards),
including possible shorter gaps.

Progressions with ascending or descending bass

C - Bb - Am - Gm - F
C - Em7 - F - G
D-E-G-A
D - Em - F#m
Dm - C - Bb
Dm - C7 - Bb6 - Am7
E - C#m - B
E - G#m - A
E - F#m - G#m - A - B
Em - D - C - B7
F - Dm7 - Bb - Gm
G - Em - D - C
G - Bm - C - D
A - C#m - D
Am - G - F
Bm - Am7 - G

Progressions including chords with alternate bass note

C/E - F - G
C - G/B - F/A - C/G
C - C/Bb - Am - Gm
C - C/B - F/A
C - Dm - Am/E - F
Cm - Cm/Bb - Ab
Dm - Dm/C - Dm/Bb - Am
D - D/C# - Bm7
D - D/C# - Bm - D/A - G5
D - F#m/C# - G/B - D/A
D - F#/C# - Bm
D - A/C# - G/B - D/A

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E - G#/D# - A/C#
E/G# - Asus2 - B
E - E/D# - C#m
E - E/D# - E/C# - A6
E - B6/D# - D - A/C#
Em - Em/D - C6 - Bm7
Em - D/F# - G
Em7 - Bm7/F# - G6 - Am6
F/A - Bb - C
F - C/E - Dm
F - C/E - Bb/D - F/C
F - A7/E - Dm - Bb
G - B7/F# - Em
G - G7/F - Cmaj7/E
G - D/F# - C/E
G - G/F# - Em
A - A/G# - D/F# - E
Bm - A/C# - D
A - E/G# - D/F# - A/E
Am - Am/G - Fmaj7
Am7/E - G7/D - Cmaj7
Am - C/G - D/F# - F

Progressions including dim chords

Dm - C#dim - C C#dim: C# E G

D - D#dim - Em D#dim: D# F# A

Em/G - F#dim - Em F#dim: F# A C

B - Cdim - C#m Cdim: C Eb Gb

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Passing chords
Passing chords are non-diatonic chords (not matching the key of the chord progression) that is placed between two
chords to increase the chord density, especially common in jazz compositions. A passing chord is a chord you often run
through relatively fast, its duration is often a half or a quarter of a bar. If we, for instance, have G7 and Cmaj7 as part
of a chord progression, the typical approach is to use a passing chord with a bass note one semi-step above the bass
note in the second chord (Cmaj7). An idea for such a chord is Db7.

Dominant passing chords

Passing chords are often dominant chords, including extended chord types. The passing chords are written in italics.

Dm7 - G7 - Db7 - Cmaj7

Cm11: C E G Bb F
Dm7 - Db7 - Cm11
Dm9: D F C E, Db13: Db B F Bb
Dm9 - Db13 - Cm7
Ebm7 - D7 - Dbmaj7
Gbmaj7 - B7 - Bb7
Gm7 - Gb7 - Fm7
Db9: Db F B Eb
Gmaj7 - Db9 - Cmaj7
A7 - Eb7 - Dm
Am7 - D7 - Db7 - Cmaj7
Ab7(#11): Ab C Eb Gb D
Am7(b5) - Ab7(#11) - Gm7
D7 - Ab7(#11) - Gmaj7
Bb - C - C#dim - Dm
Cm7 - Bbm7 - A7
C/G - G#dim - F - C/E

Diminished passing chords

Diminished seventh chords used to accomplish chromatic sequences is a recognized feature.

Cm7 - Bdim7 - Bbmaj7 Bdim7: B D F Ab

Cmaj7 - Ebdim7 - Dm7 Ebdim7: Eb Gb A C

Dm9 - C#dim7 - Cm6 C#dim7: C# E G A#

D7 - F#dim7 - Gm7 F#dim7: F# A C D#

Dm7 - Dm7b5 - G7 - Cmaj7 - C/E - Ebdim - Dm Dm7b5: D F Ab C

Augmented passing chords

Augmented chords can also be used to accomplish chromatic sequences.

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C - Caug - Am/C Caug: C E G#

F - Faug - Dm/F Faug: F A C#

G - Gaug - Em/G - G7 Gaug: G B D#

Bm7/D - Daug7 - Dmaj7 Daug7: D F# A# C

Other categories of passing chords

The not so common m(maj7), spelled minor major seventh, can be used as a passing chord, usually to a m7 chord.

Am - Am(maj7) - Am7 Am(maj7): A C E G#

Cm - Cm(maj7) - Cm7 Cm(maj7): C Eb G B

Em - Em(maj7) - Em7 Em(maj7): E G B D#

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Substitutions
In a chord context, a substitution, refers to a chord that replace another. There are mainly two situations for chord
substitutions: a seventh or an extended chord replaces a triad (e.g., Cmaj7 replaces C), an altered chord replaces a
chord with a similar function (e.g., C7#9 replaces C7). Some substitutions practices are covered in the jazz section and
won’t be repeated here.

Secondary dominant substitution

The root note remains the same, but the chord quality changes. The chords that execute the substitution are written in
italics.

C - C7 - Fmaj7 - Dm7 - G7 - C
A - A7 - D6 - E7
G - G7 - C - G - Em
C - A7 - D - G
F - D7 - Bb - C9

Diminished seventh substitution

A diminished seventh chord can be used instead as a V chord for returning to the tonic (I chord).

G#dim7: G# B D F
Am - Em - Am7 - G#dim7 - Am
Bdim7: B D F Ab
Am - Dm - F - Bdim7 - C
D#dim7: D# F# A C
Em - Am - Em - D#dim7 - Em
F#dim7: F# A C D#
Em - Bm - C - F#dim7 - G

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Cycles of fifths
In music theory, the circle of fifths is the relationship among the 12 notes of the chromatic scale and the associated
major and minor keys. More specifically, it is a geometrical representation of relationships among the 12 pitch classes
of the chromatic scale in pitch class space. Moving counterclockwise the direction of the circle of fifths gives the circle
of fourths, although this is not a very common term to use.

Cycles of fifths with dominant chords

A common method is to use cycles of fifths with dominant chords.

C - E7 - A7 - D7 - G7 - C
D - F#7 - B7 - E7 - A7 - D
E - G#7 - C#7 - F#7 - B7 - E
F - A7 - D7 - G7 - C7 - F
G - B7 - E7 - A7 - D7 - G
A - C#7 - F#7 - B7 - E7 - A

Cycles of fifths including minor chords

A7 - Dm7 - G7 - C
C - Bm7 - E7 - Am7
D - C#7 - F#7 - B7 - Em7 - G7

Descending progressions
B7 - E7 - A7 - D7 - G7 - C7
C7 - F7 - Bb7 - Eb7 - Ab7 - Db7
D9 - G9 - C9 - F9 - A#9 - D#9 - D9

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Cadences
A cadence is a chord progression that closes a musical phrase or a whole song (imperfect cadences does on the other
hand anticipate a continuation, such as a new verse).

Perfect cadence
IV - V - ii. The V chord can also be played as V7. This progression gives the strongest accent to an outro.

F-G-C
F# - G# - C#
G-A-D
G# - A# - D#
A-B-E
Bb - C - F
B - C# - G#
C-D-G
C# - D# - G#
D-E-A
D# - F - A#
E - F# - B
F - G7 - C
C - D7 - G
A - B7 - E
Bb - C7 - F

Imperfect cadence
I / ii / IV - V. The V chord can be followed by a Vsus4.

F-G
G-A
Em - D
F#m - E
E-B
F# - C#
F - G - Gsus4
G - A - Asus4
Em - D - Dsus4

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F#m - E - Esus4
E - B - Bsus4
F# - C# - C#sus4

Plagal cadence
IV - I. Without the V.

F-C
G-D
A-E
Bb - F
C-G
D-A
E-B

Interrupted cadence
V - VI / ii. The expected return to the home chord is interrupted.

E-D
G-F
E - Bm
G - Dm
F# - C# - C#sus4

Aeolian cadence
bIV - bVII - I.

Ab - Bb - C
Bb - C - D
C-D-E
D - E - F#
E - F# - G#
F# - G# - A#

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25

Part 3
Blues and jazz

Chord progressions in blues and jazz styles.

• 12-bar structure
• Common jazz chord progressions and turnarounds

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Blues progressions
Blues is a music genre and musical form which was originated in the Deep South of the United States around the 1870s
by African-Americans from roots in African musical traditions, African-American work songs, and spirituals. Blues
incorporated spirituals, work songs, field hollers, shouts, chants, and rhymed simple narrative ballads. The blues form,
ubiquitous in jazz, rhythm and blues and rock and roll, is characterized by the call-and-response pattern, the blues
scale and specific chord progressions, of which the twelve-bar blues is the most common.

12-bar blues progressions in C

C F7 C G7
F7 F7 C C
G7 F7 C C

C7 F7 C7 C7
F7 F7 C7 C7
G7 F7 C C

C7 F7 C7 C7
F7 F7 C7 C7
G7 Ab F7 Bb B C

C7 F7 C7 C7
F7 F#dim C7 C7
Dm7 G7 C F#dim G7

C C C7 C7
F F F#dim C
A7 D7 G7 C F7 C G7

C7 F7 C7 Gm7 C7
F7 F#dim C7 B7 Bb7 A7
Dm7 G7 C7 A7 Dm7 G7

12-bar blues progressions in D

D G7 D A7
G7 G7 D D
A7 G7 D D

D7 G7 D7 D7
G7 G7 D7 D7
A7 G7 D D

D7 G7 D7 D7
G7 G7 D7 D7

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A7 Bb G7 C C# D

D7 G7 D7 D7
G7 G#dim D7 D7
Em7 A7 D G#dim A7

D D D7 D7
G G G#dim D
B7 E7 A7 D G7 D A7

D7 G7 D7 Am7 D7
G7 G#dim D7 C#7 C7 B7
Em7 A7 D7 B7 Em7 A7

12-bar blues progressions in A minor

Am Dm Am Am
Dm Dm Am Am
E7 Dm Am Am

Am7 Dm7 Am7 Am7

Dm7 Dm7 Am7 Am7
E7 Dm7 Am7 Am7

12-bar blues progressions in B minor

Bm Em Bm Bm
Em Em Bm Bm
F#7 Em Bm Bm

Bm7 Em7 Bm7 Bm7

Em7 Em7 Bm7 Bm7
F#7 Em7 Bm7 Bm7

12-bar blues progressions in F# minor

F#m Bm F#m F#m
Bm Bm F#m F#m
C#7 Bm F#m F#m

F#m7 Bm7 F#m7 F#m7

Bm7 Bm7 F#m7 F#m7
C#m7 Bm7 F#m7 C#m7

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Jazz progressions
Jazz originated in the late 19th and early 20th centuries, and developed from roots in blues and ragtime. Since the
1920s Jazz Age, jazz has become recognized as a major form of musical expression. It then emerged in the form of
independent traditional and popular musical styles, all linked by the common bonds of African-American and
European-American musical parentage with a performance orientation. Jazz is characterized by swing and blue notes,
call and response vocals, polyrhythms and improvisation.

Roman numeral analysis is a type of musical analysis in which chords are represented by Roman numerals. Uppercase
Roman numerals (such as I, IV, V) are used to represent major chords, while lowercase Roman numerals (such as ii,
iii, vi) are used to represent minor chords.

ii - V - I
The ii - V - I is perhaps the most mentioned chord progressions in jazz.

Dm7 - G7 - Cmaj7
Em7 - A7 - Dmaj7 [audio track 34]

Gm7 - C7 - Fmaj7
Abm7 - Db7 - Gbmaj7
Bbm7 - Eb7 - Abmaj7

ii - V - I with substitutions
Substitutions meaning swapping among interchangeable chords. G13 is, for example, an interchangeable chord for G7.

G13: G F B E
Dm7 - G13 - Cmaj7
Dmaj9: D F# C# E
Em7 - A7 - Dmaj9
Gm9 - C7#5 - Fmaj9 [audio track 35]
Am11: A C E G D
Am11 - D7 - Gmaj7
E9: E B D G
Bbm7 - Eb7#9 - Abmaj7
Bm9: B D F# A C#, E9: E B D F# G#
Bm9 - E9 - Amaj7
F9: F A Eb G, Bbmaj13: D A C G
Cm7 - F9 - Bbmaj13

ii - V - I with tritone substitutions

The V chord is substituted for another V chord, which root is a tritone interval away.

Dm7 - Db7 - Cmaj7

Em7 - Eb9 - Dmaj9
Fmaj13: F E A D
Gm9 - Gb9 - Fmaj13
Am11: A C E G D
Am11 - Ab7 - Gmaj7

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ii - V - I with added chords

The ii - V - I structure can include more than three chords.

Dm7 - G7 - Cmaj7 - C6 [audio track 36]

Em7 - A7 - Dmaj7 - D6
Gm7 - C7 - Fmaj7 - F6
Am7 - D7 - Gmaj7 - G6
Bbm7 - Eb7 - Abmaj7 - Ab6

ii - V - I in minor keys
The ii - V - I structure can transpose into minor with some new chord types.

Am7b5 - Dm7 - Gm7 [audio track 37]

Bm7b5 - Em7 - Am7
Dm7b5 - G7 - CmM7
Gm7b5 - C7 - FmM7

I - vi - ii - V
The I - vi - ii - V is another common chord progression in jazz.

Cmaj7 - Am7 - Dm7 - G7

[audio track 38]
Ebmaj7 - Cm7 - Fm7 - Bb7
Fmaj7 - Dm7 - Gm7 - C7

I - vi - ii - V with substitutions
[audio track 39]
Cmaj7 - Am7 - Dm7 - G13
Fm9: F Ab C Eb G, Bb11: D Ab Bb Eb
Ebmaj7 - Cm7 - Fm9 - Bb11
Dmaj9: D F# C# E, Bm11: B D E A
Dmaj9 - Bm11 - Em7 - A7

I - V - ii - V
A modern way to play the I - vi - ii - V is with a dominant instead of a minor second chord.

Cmaj7 - A7 - Dm7 - G7
Dbmaj7 - Bb7 - Ebm7 - Ab7
Ebmaj7 - C7 - Fm7 - Bb7
Fmaj7 - D7 - Gm7 - C7
Bbmaj7 - G7 - Cm7 - F7

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I - V - ii - V with substitutions
G13: G F B E
Cmaj7 - A7 - Dm7 - G13
Dbmaj9: Db F C Eb, Bb11: D Ab Bb Eb
Dbmaj9 - Bb11 - Ebm7 - Ab7
Fm9: F Ab C Eb G
Ebmaj7 - C7 - Fm9 - Bb11
F13: F Eb A D
Bbmaj7 - G9 - Cm7 - F13

vi - ii - V - I
The vi - ii - V - I is yet another common jazz minor progression.

Dm7 - Gm7 - C7 - Fmaj7

Cm7 - Fm7 - Bb7 - Ebmaj7
[audio track 40]
Am7 - Dm7 - G7 - Cmaj7

vi - ii - V - I with continuation
Alternatives for expanding the vi - ii - V - I structure into longer progressions back to “home” (vi).

Dm7 - Gm7 - C7 - Fmaj7 - Bbmaj7 - Em7b5 - A7 - Dm7

Cm7 - Fm7 - Bb7 - Ebmaj7 - Abmaj7 - Dm7b5 - G7 - Cm7

3 - 6 - 2 - 5 turnaround
In jazz, a turnaround is a passage at the end of a section which leads to the next section. (A 3 - 6 - 2 - 5 turnaround
starting with an A minor chord are related to the F major key.)

Am7 - D7 - Gm7 - C7
Bm7 - E7 - Am7 - D7

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Part 4
Playing concepts

Some simple chord accompanying concepts in standard notation.

For audio, go to https://www.pianochord.org/400pcp-audio.html.

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Concept 1

{
Example 1
Cm Fm/C Eb/Bb Bb//D

bbb 4 Œ Œ œœ œœ Œ œœ œœ Œ
& 4 œ œ
œ œ œ œ œ œ œ œ œ œœ œ œœ
? bb 4 w w w w
b4

{
Example 2
C F/C G/B Am

& Œ œœœœœœ Œ œœ œœ Œ œ œ
Œ
œ œœœœ
œ œ œ œ œ œ œ
? w w w w

{
Example 3

Dm C/E F Bb/F

&b Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ
?b w w w w

{
Example 4

Fmaj7/C Dm7/A Gm7/G C7

b Œ œ œœ Œ œ œœ Œ œœ œœ Œ œœ œœ
& œ œ œ œ œ œ œ œ œ œ
?b w w
w w

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Concept 2

{
Example 1
Am/C G/B F/A C/E
4
&4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
?4 w
4 w w w

{
Example 2

œ œ
Em/B D/A C/G G7/F
# œ œ œ œ œ
& œ œ œ œ œ œ œ œ œ
?# w
w w w

{
Example 3
Cm Bb/D Fm/Ab Cmadd2/G
b œ œ œ œ
&b b œ œ œ œ œ œ œ œ œ
œ
œ
œ

? bb w w
b w w

{
Example 4

Gm F Ebmaj7 Bb/D

bb œ œ
& œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
? bb
w w w w

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Concept 3

{
Example 1

### 6 ‰
A/E C#m/E D E

& 8 œ œœ œ ‰
‰ œ œ ‰ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ
? ### 6 ˙ Œ ˙ Œ ˙ Œ ˙ Œ
8

{
Example 2

### ‰
A6/F# Dmaj7/F# Dsus2/E A/C#

œ œ ‰ œ œ ‰ ‰
& œ œ œ œ œ œ œœœœœ œœœœœ
? ### ˙ Œ ˙ Œ ˙ Œ ˙ Œ

{
Example 3

Em7 Cadd9(no5) Bsus4/E Gmaj7/F#

#
& ‰ œœœœœ ‰ œœœœœ ‰ œœœœœ ‰ œœœœœ
?# ˙ Œ ˙ Œ ˙ Œ ˙ Œ

{
Example 4

#### ‰
B/D# G#m/D# E Esus4

& œ œ ‰ œ œ ‰ œ œ ‰ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ
? #### ˙ Œ ˙ Œ ˙ Œ ˙ Œ

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Concept 4

{
Example 1

# 6 œj ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰ j
G C/G Bm/F# D/F#

& 8œ œ œ œ ‰ œj ‰ œj ‰ œœ
j‰
œ œ œ œ œ œ œ œ
? # 6 ‰ œJ ‰ œJ ‰ œJ ‰ œJ ‰ œJ ‰ œJ ‰ œ ‰ œ ‰ œJ ‰ œJ ‰ œJ ‰ œJ
8 J J

{
Example 2

# œj ‰ œj ‰ œj ‰ œ ‰ œ ‰ œ ‰
Em Am/E D/F# G

& œ œ œ œ œ œ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰
J J J J J J J J J
?# ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œJ ‰ œJ ‰ œJ ‰ œJ ‰ œJ ‰ œJ
J J J J J J

{
Example 3

j j j j j j
Dm C7 Bb6 Am7
j j j j j j
& œœ ‰ œœ ‰
b œœ ‰ œœ ‰ œœ ‰ œœ ‰ œ‰ œ‰œ‰
œ œ œ œ‰ œ‰ œ‰
œ œ œ
?b ‰ œ ‰ œ ‰ œ ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj
J J J

{
Example 4

#### œj ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰
E B/D# D A/C#

& œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ
? #### ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ nœ ‰ œ ‰ œ ‰ œj ‰ œj ‰ œj
J J J J J J J J J

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Concept 5

{
Example 1

™ œr ™ r
œ œœ œ˙ œ ‰œ™™ œ
r
œ œ ˙ œ‰œ™™™ œ
r Œœ
œœœ ™™™ œœ œœœ ™™
C Csus4 C G7sus4 G

& 4 œœœ ™™
4 ‰ œœ ‰ œ œ œœ
œ ˙ œœ ™™
˙˙
™ œœ ™ œœ ˙˙ œ ™ œ ˙
? 4 Ϫ
4 ‰ Ó œ™ ‰ Ó œ™ ‰ Ó œ™ œ
J
˙

{
Example 2

# ‰™ r ‰ ™ œr œ ‰ ™ œr ™
G Gsus4 G D7sus4 D
r Œœ
& œ ™œ œœ ™™ œ œ œœ ™™ œœ œ˙ œ œœ ™™
œ œ ˙ œœ ™œ
‰
œœ™™ œœ ˙˙ œ™™
œœ œ œœ ˙˙
œœ œ™ œ™ œ ˙ œ™ œ ˙
Ϫ Ϫ Ϫ
?# ‰ Ó ‰ Ó ‰ Ó œ™ œ ˙
J

{
Example 3

## ‰ ™ œr ™ œr œ ‰œ™™œr
œ œ ˙ œ‰œ™™œr œ œœ Œ˙˙ œ
& œœœ™™™ œœœ ™™™ œœ œœœ™™™ œœœ œ˙˙ œ
D Dsus4 D A7sus4 A

œœ™™ œœ ˙˙ œ™™
œœ ‰
œœ œ ˙
? ## œ ™ ‰ Ó œ™ ‰ Ó œ ™ ‰ Ó œ™ œ ˙
J

{
Example 4

### ‰ ™ r ™ ™ ‰œ™™ œr
A Asus4 A E7sus4 E
r r Œœ
œœœ ™™œ œœ œœœ ™™™ œ œ œœœ ™™œ
‰ œ œœ œ˙ œ œ ™œ
‰ œœ œœ ™™ œ œœ
œ ˙ œœ ™™
& ˙˙
™ ™
œœ œœ ˙˙˙ œ ˙
Ϫ
? ### ‰ Ó ‰ Ó ‰ Ó œ ˙
Ϫ Ϫ Ϫ J

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