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Hello, everyone! Rodrigo here!
If you're new to the blog, this is the final post in a 16-part series where I've covered everything a musician needs to know—from basic intervals to arpeggios, scales, and major and minor keys. You can easily catch up on previous posts by clicking their titles below.
Before diving into today's topic, I highly recommend checking out my articles on major keys, minor keys, harmonic minor keys, and melodic minor keys. They provide the essential foundation needed to fully grasp the concepts we'll explore on creating chord progressions. Whether you're an improviser or songwriter, I'm confident you'll find valuable insights here that you can start applying right away.
To my regular readers, thank you so much for your continued support! As always, I'll be posting new articles every month, and I'll be updating the store soon with some exciting new items. If you haven't already, bookmark the blog and feel free to drop a comment below with any topics you'd like me to cover in the future.
Thank you all!
Rodrigo
List of posts:
Simples Intervals -> Compound Intervals -> Triads -> Drop-2 Chords -> Drop-3 Chords -> Shell Chords & Extensions -> Triads & Extensions -> Chord Melody -> Guitar Arpeggios -> Guitar Scales -> Major Keys -> Minor Keys -> Harmonic Minor Keys -> Melodic Minor Keys -> Greek Modes -> Chord Progressions
CHORD FUNCTION (TONIC, DOMINANT, SUBDOMINANT)
If you've read any of my previous articles, you'll know by now that the most valuable lesson I learned about music is that it's all about tension and resolution. Today, we're going to explore how this concept applies to choosing chords for songwriting or simply understanding the compositional process behind your favorite artists' work.
In music, there are moments of instability (tension), stability (resolution), and moments in between, which I'll refer to as 'transitional.' Each chord in a song serves a specific function, and together they create the movement that drives the piece. These functions fall into three categories: Tonic (stability /resolution), Dominant (instability/tension), and Subdominant (transitional).
Tonic Function:
Chords with a tonic function play a key role in resolving tension within a section or the entire song. This makes them ideal choices for final chords in a song or chorus. However, they can also be used as the opening chord to establish the song’s key before introducing movement (I'll provide chord progression examples later). The chords that fulfill the tonic function are the first (I), third (III), and sixth (VI) degrees of the key, with the first degree being the strongest when it comes to resolution.
For example, in the key of C major, the chords that serve a tonic function are:
Triads: C, Em, and Am
7th Chords: Cmaj7, Em7, and Am7
Dominant Function:
Chords with a dominant function are responsible for creating the tension that resolves into the tonic chords. For this reason, dominant chords typically appear right before a chord with tonic function. The chords that serve a dominant function are the fifth (V) and seventh (VII) degrees of a key.
For example, in the key of C major, the dominant function chords are:
Triads: G and Bdim
7th Chords: G7 and Bm7(b5)
Subdominant Function:
Chords with a subdominant function serve as transitional chords, bridging the gap between tension and resolution. They often appear before dominant chords but can be used throughout a song in various ways. The chords with subdominant function are the second (II) and fourth (IV) degrees of a key.
For example, in the key of C major, the subdominant function chords are:
Triads: Dm and F
7th Chords: Dm7 and Fmaj7
Consider the following example in the key of C major, a simple four-chord progression that repeats throughout the song:
Cmaj7 → Am7 → Dm7 → G7
Student: Why does this progression work?
Rodrigo: It works because the Cmaj7 is the first degree of the key, serving as the tonic, which establishes the key and creates a sense of stability. The G7 at the end functions as the dominant chord, creating tension that resolves back to the Cmaj7 when the progression repeats. The Dm7, right before the G7, serves as a subdominant, transitioning smoothly before the tension arrives. The Am7 also has a tonic function, but since it's not as strong as the Cmaj7, it creates a smooth flow toward the subdominant chord (Dm7). In fact, it's common to see the III (Em7) and VI (Am7) degrees mixed with subdominant chords to create subtle movement.
Student: Oh, I think I understand now!
Rodrigo: Great! Here’s another example of a very common chord progression:
Cmaj7 → Dm7 → Em7 → Fmaj7 → G7
Rodrigo: I’m sure you can analyze this one yourself! Just remember, since this progression repeats, the G7 is always resolving back to Cmaj7.
Student: Got it, I get it!
Rodrigo: Awesome! One last thing that’s very important to remember: chords can be replaced by other chords with the same function. This is key when it comes to reharmonization, so keep it in mind!
WHY DO THEY HAVE THESE FUNCTIONS? (FOR NERDS ONLY)
This section isn’t essential for composing, arranging, or reharmonizing songs, but it’s helpful in understanding why things work the way they do. I’ll be blending traditional explanations with my personal take on these concepts.
Student: Why do chords have different functions?
Rodrigo: In my article on Major Keys, I explained how every note in a scale has a gravitational pull toward the tonic, which is the strongest note. This tonic note defines the key of a song, scale, or arpeggio. For example, when you play the C major scale, the notes are arranged to create tension, all of which naturally want to resolve back to C. If you have your instrument, try playing the C major scale (C D E F G A B) and stop on B. Your ears will naturally want to hear C next, right? The same happens if you play the scale backward and stop on D. This desire for resolution reflects how harmony works in music.
Now, let’s dive into the dominant function. As I mentioned, the notes B and D create the strongest pull toward C. In the key of C major, the only chords that contain both B and D are the fifth (V) degree (G or G7) and the seventh (VII) degree (Bdim or Bm7(b5)). This is why these two chords are dominant—they create tension that begs to resolve back to the tonic (C).
Student: Wait! I’ve always heard that dominant function is defined by the tritone resolution.
Rodrigo: That’s a common explanation but let me clarify why it’s not the full story.
Here’s how most people explain it: in the key of C major, the G7 chord (root: G, major third: B, perfect fifth: D, minor seventh: F) contains a tritone (an interval of an augmented fourth) between its third (B) and its seventh (F). Historically, the tritone was called the “devil’s interval” due to the tension it creates. When you move from G7 (dominant) to Cmaj7 (tonic), the F (minor seventh of G7) resolves to E (major third of Cmaj7) and the B (major third of G7) resolves to C (root of Cmaj7).
Student: Yeah, that’s what I’ve always heard!
Rodrigo: And it’s not wrong! If you play those intervals (B and F) and resolve them to C and E, you’ll feel that strong resolution. But here’s a question: what about triads? The tritone only exists if you’re playing G7. If you just play a G major triad resolving to C major, it still feels like a dominant resolution, doesn’t it?
Student: Hmm, I never thought about that. So why does the tritone explanation work, then? It sounds right.
Rodrigo: It works because, as I mentioned earlier, the G7 chord contains both B and D—notes that naturally want to resolve to C. Any extra note added to the chord that doesn’t belong to C major increases the tension and makes the resolution stronger. So, you can add F, Ab, A, or even Eb—each of these adds more tension that resolves back to C.
Student: Wow, that’s a lot to take in. I need time to process this!
Rodrigo: Trust me, it took me a long time to grasp this too. But remember, this is more of a “nerdy” deep dive—you don’t need to understand all of this to compose effective chord progressions!
Student: Ok! That explains the dominant function, but...
Rodrigo: Hold on, there's something else you need to know. Every major chord with a minor seventh (like G7) is commonly referred to as a "dominant chord." But this isn’t entirely accurate. Other chords, such as half-diminished and diminished 7th chords, can also have a dominant function. Plus, not all major chords with a minor seventh serve a dominant role—it depends on whether the chord resolves to a tonic chord. If it doesn’t, it could function as a subdominant or even as a tonic in some cases. Don’t worry about that for now—we’ll cover it later. The reason these chords are popularly called "dominant" is that, most of the time, when we encounter a dominant chord, it happens to be a major chord with a minor seventh, like G7.
Student: Got it!
Rodrigo: You were saying...?
Student: I was just going to ask about the tonic function...
Rodrigo: Right! Well, the tonic function is much easier to explain.
Each scale has its own root, the first (I) degree, which serves as the tonal center where all other notes naturally want to resolve. The chord built on this degree is the most stable, providing a strong sense of resolution. For example, in the key of C major, the chord with the greatest stability (tonic function) is the I chord (C or Cmaj7).
Student: Why do the third (III) and sixth (VI) degrees also have tonic function?
Rodrigo: If you look closely, these three chords are quite similar. In C major, the VI chord is Am7, which consists of A (root), C (minor 3rd), E (5th), and G (minor 7th). Notice how C, E, and G also form the C major triad. This similarity is so strong that you could think of Am7 as C/A—a C major triad over an A bass note.
The same applies to the III degree. The Cmaj7 chord (I degree) is built from C (root), E (3rd), G (5th), and B (7th). The last three notes—E, G, and B—form the triad of E minor, meaning you could label Cmaj7 as Em/C as well.
This happens because chords are built in stacked thirds. The III chord is a third above the I chord, and the VI chord is a third below the I chord. This close relationship between these chords is why they all share a tonic-like quality.
Student: Let me guess, the remaining chords (the second and fourth degrees) have a subdominant function because they're neither tonic nor dominant?
Rodrigo: Exactly, that's a good way to put it. Since they don’t create tension or resolution, subdominant chords are often used to transition between tonic and dominant chords, filling the spaces in between.
Student: Got it!
Rodrigo: Just to make sure it’s crystal clear—though I’ve been using C major as the example, these concepts apply to every key, whether major or minor. The relationships between tonic, dominant, and subdominant remain the same across all keys.
PRIMARY DOMINANT vs. SECONDARY DOMINANT
In music theory, the primary dominant refers to the dominant chord (built on the 5th degree) of the key you are in. It's the chord with the strongest tendency to resolve back to the tonic (the I chord), creating a sense of tension followed by resolution. This dominant chord is often a major triad or a dominant seventh chord (V7), which strongly pulls towards the tonic.
For example, in the key of C major, the primary dominant is G (the V chord), and if you use a seventh, it becomes G7 (G, B, D, F), which strongly resolves to the tonic chord C.
The term "primary dominant" is used to distinguish the dominant of the key itself from secondary dominants, which are dominants of chords other than the tonic within the same key.
So far, we’ve only discussed diatonic chords, which are the seven chords built from the notes of a major or minor scale. For example, in the key of C major, the diatonic chords are: Cmaj7, Dm7, Em7, Fmaj7, G7, Am7, and Bm7(b5) (or as triads: C, Dm, Em, F, G, Am, Bdim). The primary dominant is always a diatonic chord and corresponds to the fifth degree (V) of any key—in this case, G7 in C major.
The second key concept to remember is that any chord can be preceded by its own dominant chord, which creates a sense of preparation. This dominant must be a perfect fifth above (or a perfect fourth below) the chord it resolves to.
Using C major as an example, all six of the other chords in the key can have their own dominant, known as a secondary dominant. For instance:
Dm7 can be prepared by A7,
Em7 by B7,
Fmaj7 by C7,
G7 by D7,
Am7 by E7,
Bm7(b5) by F#7.
I’ve used 7th chords in these examples, but the same principle applies to triads.
These six non-diatonic chords (which don't belong to the key) are called secondary dominants. To summarize: primary dominants are those that resolve to the tonic (I), while secondary dominants resolve to other degrees of the scale.
Here are two examples of this concept applied to the chord progressions we discussed at the beginning of this article:
Cmaj7 → E7 → Am7 → A7 → Dm7 → D7 → G7
Cmaj7 → A7 → Dm7 → B7 → Em7 → C7 → Fmaj7 → G7
SUBSTITUTE DOMINANTS
In music theory, a substitute dominant (also known as a subV or tritone substitution) is a chord that replaces the dominant (V) in a progression, typically through the use of a chord a tritone away from the dominant chord. This substitution creates a smooth, chromatic resolution to the tonic while introducing a distinct and colorful harmonic flavor.
Here's how it works:
TRITONE RELATIONSHIP
A substitute dominant is located a tritone (three whole steps) away from the original dominant chord. For example, in the key of C major:
The primary dominant is G7 (G, B, D, F), the V chord.
The substitute dominant for G7 would be Db7 (Db, F, Ab, Cb).
The reason this substitution works is because G7 and Db7 share a tritone (B and F in G7 are enharmonically equivalent to Cb and F in Db7). Since this tritone is a key part of the dominant's tension, the substitute dominant retains that tension while changing the root of the chord.
RESOLUTION
The substitute dominant still resolves to the tonic (I), but it creates a chromatic bass line. For example:
Instead of G7 resolving to Cmaj7 (G → C), Db7 resolves to Cmaj7 (Db → C), creating a chromatic descent (Db → C) that gives the progression a jazzier, more colorful sound.
Using C major as an example again, all seven of the other chords in the key can have their own substitute dominant. For instance:
Cmaj7 can be prepared by Db7,
Dm7 by Eb7,
Em7 by F7,
Fmaj7 by Gb7,
G7 by Ab7,
Am7 by Bb7,
Bm7(b5) by C7.
TO SUM IT ALL UP
Just like primary and secondary dominants, any chord can be prepared by its substitute dominant (SubV), which is always located one semitone above the chord it resolves to.
Below are the same two examples I used earlier to illustrate primary and secondary dominants, but this time applying substitute dominants:
Cmaj7 → Bb7 → Am7 → Eb7 → Dm7 → Ab7 → Db7
Cmaj7 → Eb7 → Dm7 → F7 → Em7 → Gb7 → Fmaj7 → Db7
SEQUENTIAL DOMINANTS
Sequential dominants, also known as dominant chains or dominant sequences, refer to a series of dominant seventh chords that resolve by descending perfect fifths (or ascending perfect fourths). Each dominant chord functions as a secondary dominant, temporarily tonicizing the next chord in the sequence, creating a strong sense of forward motion and tension throughout the progression.
Rodrigo: Remember when I told you that any chord can be prepared by its dominant? Well, that rule applies to dominant chords themselves, too!
Student: No way! So, I could create an infinite chain of dominant chords?
Rodrigo: Exactly! Any of the diatonic seventh chords can be treated as a "target chord," and you can create a cycle of dominants to lead into it. For example, you can prepare Cmaj7 with the following progression: E7 → A7 → D7 → G7 → Cmaj7. And this works for any chord, not just the tonic!
Student: Wow, that’s mind-blowing!
HOW SEQUENTIAL DOMINANTS WORK
In a sequence of dominants, every dominant seventh chord resolves to another dominant seventh chord, eventually leading to the tonic. This is often described as a "cycle of fifths" because the root of each chord moves by a perfect fifth.
For example, starting in the key of C major, a sequence of dominants might look like this:
D7 → G7 → Cmaj7
Here, D7 is the secondary dominant of G7, and G7 is the primary dominant of Cmaj7. Each chord sets up a resolution that follows the descending perfect fifth relationship (D → G, G → C).
*Basically, the sequential dominant is the secondary dominant's dominant and so on.
EXTENDING THE SEQUENCE
Sequential dominants can be extended beyond just two or three chords to create longer chains. For instance, starting in C major:
E7 → A7 → D7 → G7 → Cmaj7
In this case, each dominant chord is the dominant of the chord that follows it, creating a continuous chain of tension and resolution. The E7 chord is the dominant of A7, which is the dominant of D7, and so on, until finally resolving to Cmaj7.
SEQUENTIAL SUBSTITUTE DOMINANTS
The concepts discussed earlier also apply to substitute chords, allowing us to create extended chains of substitute dominant chords that resolve chromatically in semitone intervals.
E7 → Eb7 → D7 → Db7 → Cmaj7
TWO FIVE ONE (2 - 5 -1)
Based on everything we've discussed, the most common harmonic progression in music is the subdominant-dominant-tonic sequence. This is because subdominant chords create a transitional movement, dominant chords build tension, and the tonic chord resolves that tension. In the key of C major, a typical example is the IV-V-I progression, where the fourth degree moves to the fifth and resolves on the first (Fmaj7 - G7 - Cmaj7). Another common variation is using the second degree as the subdominant chord (Dm7 - G7 - Cmaj7), which forms the most popular progression in Western music: the two five one.
We can use the ii-V-I (2-5-1) chord progression to prepare any chord, much like we do with dominant resolutions. In this progression, "I" represents the target chord (the chord we aim to resolve to), "V" is either a primary or secondary dominant, and "ii" is a minor chord located a perfect fifth above or a perfect fourth below the dominant, which we'll call "related IIm7 chord".
Using the key of C major as an example, we can prepare all seven chords within the key with ii-V-I progressions:
Cmaj7 can be prepared by Dm7 - G7
Dm7 by Em7 - A7
Em7 by F#m7 - B7
Fmaj7 by Gm7 - C7
G7 by Am7 - D7
Am7 by Bm7 - E7
Bm7(b5) by C#m7 - F#7
PREPARING MINOR CHORDS
When our target chord is a minor chord, it's very common to see a m7(b5) being used as the related IIm7 (e.g. Em7(b5) A7 Dm7). The truth is that we can use both of them, and the reason is because the IIm7 V7 comes from the melodic minor scale (respectively the second and fifth degree of the scale) and the IIm7(b5) V7 comes from the harmonic minor scale (second and fifth degree). Then, here goes the same chord resolution I showed you previously, but using the m7(b5) to illustrate how you can use the both of them.
Cmaj7 can be prepared by Dm7 - G7
Dm7 by Em7(b5) - A7
Em7 by F#m7(b5) - B7
Fmaj7 by Gm7 - C7
G7 by Am7 - D7
Am7 by Bm7(b5) - E7
Bm7(b5) by C#m7(b5) - F#7
TWO SubV ONE (2 - SubV -1)
We can also use the substitute dominant to create chromatic two five ones. In the key of C major, the standard ii-V-I is:
Dm7 - G7 - Cmaj7
If we replace the G7 with its tritone substitute (D♭7), the progression becomes:
Dm7 - D♭7 - Cmaj7
All seven original chords can be prepared using a ii-V progression with a tritone substitution for the dominant (V), as follows:
Cmaj7 can be prepared by Dm7 - Db7
Dm7 by Em7(b5) - Eb7
Em7 by F#m7(b5) - F7
Fmaj7 by Gm7 - Gb7
G7 by Am7 - Ab7
Am7 by Bm7(b5) - Bb7
Bm7(b5) by C#m7(b5) - C7
CYCLES OF TWO FIVE ONES
We can also extend harmonic progressions by combining sequential dominants to create longer chains of ii-V-I resolutions, like this:
F#m7 → B7 → Em7 → A7 → Dm7 → G7 → Cmaj7
Additionally, we can also incorporate substitute dominants for a more colorful harmonic progression:
F#m7 → B7 → Bbm7 → Eb7 → Dm7 → Db7 → Cmaj7
Student: Whoa, that’s a lot!
Rodrigo: It may seem like a lot, but you don’t need to use it all the time. The key is to understand the concept and know it’s available when you need it. In fact, these progressions aren’t as uncommon as they seem. In jazz, bossa nova, and choro, they’re often used, especially towards the end of songs, to build tension and create longer, more satisfying resolutions.
DIMINISHED SEVENTH CHORDS
A diminished seventh chord is a four-note chord made up of a root (R), a minor third (♭3), a diminished fifth (♭5), and a diminished seventh (♭♭7). Its structure consists of three consecutive minor thirds, forming a symmetrical and tense sound. This tension gives the chord a strong tendency to resolve to more stable harmonies, often functioning as a substitute for dominant chords in progressions.
Student: What do you mean by symmetrical chord?
Rodrigo: Like I mentioned, the diminished seventh chord is built by stacking minor thirds. For example, Cdim7 consists of C (R), E♭ (♭3), G♭ (♭5), and B♭♭ (♭♭7). E♭ is a minor third above C, G♭ is a minor third above E♭, B♭♭ is a minor third above G♭, and C is a minor third above B♭♭. This symmetrical structure means that Cdim7, E♭dim7, G♭dim7, and B♭♭dim7 are all identical in sound—they're enharmonic equivalents of the same chord.
Student: Hmm, I see. But why do you insist on calling it "B double-flat" (B♭♭) instead of just "A"? It seems easier to understand.
Rodrigo: I get that it might feel easier to call it "A," but technically, that's incorrect. In the context of a C diminished seventh chord, B♭♭ is the proper notation for the diminished seventh. An A would be a major sixth in the key of C major. It’s similar to saying that an augmented fourth (#4) and a diminished fifth (♭5) are the same because they sound alike. In a m7(♭5) chord, you wouldn’t call the ♭5 a #4 because that would be wrong. Here, we’re learning the correct theory!
Student: Okay...
ORIGIN OF THE DIMINISHED SEVENTH CHORD
Let’s revisit the most common dominant resolution we've mentioned several times: G7 (the primary dominant, or fifth degree, in the key of C major) resolving to Cmaj7 (the tonic, or first degree):
G7 → Cmaj7
As you may know from my previous articles, dominant chords allow for various extensions, and one of the most common is the ♭9 (flat ninth). So, we can modify the dominant chord as follows:
G7(♭9) → Cmaj7
Due to the close proximity of the ♭9 (A♭) to the root of the chord (G), it’s common to substitute the root with the flat ninth when playing a G7(♭9). Instead of playing the four basic notes of the G7 chord—G (root), B (3rd), D (5th), and F (♭7)—we replace the G with A♭. This gives us the notes of an A♭dim7 chord. As mentioned earlier, the notes of any diminished seventh chord are symmetrical, meaning that any of its inversions are enharmonically equivalent.
Thus, A♭dim7, Bdim7, Ddim7, and Fdim7 are essentially the same chord, and any of these can substitute for the G7 chord.
Here's the key takeaway:
The target chord (Cmaj7) can be prepared by a diminished seventh chord in various ways:
Bdim7 → Cmaj7 (a half step below the target)
Ddim7 → Cmaj7 (a whole step above the target)
Fdim7 → Cmaj7 (a perfect fourth above the target)
A♭dim7 → Cmaj7 (a major third below the target)
Student: Are you telling me that any of these diminished chords can be combined with the cycle of dominants, ii-V-I progressions, and so on?
Rodrigo: Absolutely! But for now, I’ll focus on how diminished chords can be applied to ii-V-I progressions. I’ll leave the rest for you to explore.
Cmaj7 can be prepared by Dm7 - Bdim7
Or by Dm7 - Ddim7
Or by Dm7 - Fdim7
Or by Dm7 - Abdim7
One more thing to mention: diminished seventh chords are frequently used as passing chords. For example, take this progression:
Cmaj7 → C#dim7 → Dm7 → G7 → Cmaj7
Here, the C#dim7 chord connects the Cmaj7 and Dm7 chords through chromatic movement. This is a common technique, as diminished chords often function as smooth transitions between diatonic chords. In this case, C#dim7 acts as a substitute for A7, which could traditionally be used to prepare Dm7.
SUSPENDED, ALTERED, AND SIXTH CHORDS
SUSPENDED
As I explained in my article on Greek Modes, any chord can be transformed into a suspended ("sus") chord by replacing its third (whether major or minor) with its fourth (perfect or augmented). This allows any previously mentioned chord progression to be adapted into a "sus" progression.
Dominant Resolution:
G7sus4 → Cmaj7
Two-Five-One:
D7sus4 → G7sus4 → Cmaj7
Sequential Dominants:
E7sus4 → A7sus4 → D7sus4 → G7sus4 → Cmaj7
Sequential Substitute Dominants:
E7sus4 → Eb7sus4 → D7sus4 → Db7sus4 → Cmaj7
However, it’s important to note (as I’ll discuss in the next section) that the most common use of "sus" chord progressions involves playing the fifth degree as a suspended chord, then moving to the dominant chord, and finally resolving to the tonic:
G7sus4 → G7 → Cmaj7
This works because it follows the subdominant-dominant-tonic progression. The G7sus4 functions similarly to a "Dm7/G" chord, emphasizing the subdominant feel while preparing for resolution.
ALTERED
As I explained in my article on Greek Modes, the altered chord can be understood as either a dominant 7(#5) or a dominant 7(b5). Since it functions as a dominant chord, the altered chord can replace any dominant chord in the progressions I’ve outlined earlier.
Dominant Resolution:
G7(#5) → Cmaj7
G7(b5) → Cmaj7
Two-Five-One:
Dm7 → G7(#5) → Cmaj7
Dm7 → G7(b5) → Cmaj7
Sequential Dominants:
E7(#5) → A7(#5) → D7(#5) → G7(#5) → Cmaj7
E7(b5) → A7(b5) → D7(b5) → G7(b5) → Cmaj7
Sequential Substitute Dominants:
E7(#5) → Eb7(#5) → D7(#5) → Db7(#5) → Cmaj7
E7(b5) → Eb7(b5) → D7(b5) → Db7(b5) → Cmaj7
Student: So, can any chord be approached with an altered chord?
Rodrigo: Exactly!
SIXTH
As I mentioned in my article on Greek Modes, any 7th chord can be transformed into a "sixth chord" by replacing its 7th with its 6th. This technique is often used in chord progressions, such as:
Dm7 → G7 → C6
Dm7(b5) → G7 → Cm6
While the sixth chord can be used at any point, it’s most commonly employed to conclude a song. This is because, in a 7th chord like Cmaj7, the major seventh creates a slight tension due to its proximity to the root note. To create a more resolved, stable sound at the end of a piece, the 7th is replaced with the 6th, turning Cmaj7 (C, E, G, B) into C6 (C, E, G, A). This substitution is typically reserved for final cadences.
In a minor key, the final chord is often a minor chord with a major sixth. This chord, derived from the melodic minor scale, is frequently used to conclude a minor-key song.
MOST IMPORTANT CHORD PROGRESSIONS
The following chord progressions demonstrate the application of all the concepts we've just covered, now applied to the key of C major, with various combinations and variations of those same ideas. A skilled improviser, composer, or songwriter should master these progressions and be able to apply them across all twelve keys. While this may seem overwhelming at first, these patterns repeat frequently, and the more you practice, the easier it becomes. Ultimately, the most important thing is to understand why these patterns work and how you can use them to create even more chord progressions.
"FIVE ONE":
G7 → Cmaj7
G7 → C6
G7 → Cm7
G7 → Cm6
G7 → Cm(maj7)
"FIVE ONE" WITH DOMINANT SUBSTITUTE:
Db7 → Cmaj7
Db7 → C6
Db7 → Cm7
Db7 → Cm6
Db7 → Cm(maj7)
"TWO FIVE ONE":
Dm7 → G7 → Cmaj7
Dm7 → G7 → C6
Dm7(b5) → G7 → Cm7
Dm7(b5) → G7 → Cm6
Dm7(b5) → G7 → Cm(maj7)
Dm7 → G7 → Cm(maj7)
"TWO FIVE ONE" WITH DOMINANT SUBSTITUTE:
Dm7 → Db7 → Cmaj7
Dm7 → Db7 → C6
Dm7(b5) → Db7 → Cm7
Dm7(b5) → Db7 → Cm6
Dm7(b5) → Db7 → Cm(maj7)
Dm7 → Db7 → Cm(maj7)
"TWO FIVE ONE" WITH ALTERED CHORDS:
Dm7 → G7(#5) → Cmaj7
Dm7 → G7(b5) → Cmaj7
Dm7 → G7(#5) → C6
Dm7 → G7(b5) → C6
Dm7(b5) → G7(#5) → Cm7
Dm7(b5) → G7(b5) → Cm7
Dm7(b5) → G7(#5) → Cm6
Dm7(b5) → G7(b5) → Cm6
Dm7(b5) → G7(#5) → Cm(maj7)
Dm7(b5) → G7(b5) → Cm(maj7)
Dm7 → G7(#5) → Cm(maj7)
Dm7 → G7(b5) → Cm(maj7)
SUSPENDED CHORDS:
G7sus4 → G7 → Cmaj7
G7sus4 → G7 → C6
G7sus4 → G7 → Cm7
G7sus4 → G7 → Cm6
G7sus4 → G7 → Cm(maj7)
G7sus4 → G7 → Cm(maj7)
PRIMARY & SECONDARY DOMINANTS:
D7 → G7 → Cmaj7
D7 → G7 → C6
D7 → G7 → Cm7
D7 → G7 → Cm6
D7 → G7 → Cm(maj7)
SECONDARY & SUBSTITUTE DOMINANTS:
D7 → Db7 → Cmaj7
D7 → Db7 → C6
D7 → Db7 → Cm7
D7 → Db7 → Cm6
D7 → Db7 → Cm(maj7)
DIMINISHED SEVENTH CHORDS:
Abdim7 → Cmaj7*
Bdim7 → Cmaj7*
Ddim7 → Cmaj7*
Fdim7 → Cmaj7*
Cmaj7 → C#dim7 → Dm7 → G7 → Cmaj7
Cmaj7 → Fmaj7→ F#dim7 → G7 → Cmaj7
Cmaj7 → G#dim7 → Am7 → Dm7 → G7 → Cmaj7
Cmaj7 → Dm7 → D#dim7 → Em7 → Am7 → Dm7 → G7 → Cmaj7
Cmaj7 → C#dim7 → Dm7 → D#dim7 → Em7 → Am7 → Dm7 → G7 → Cmaj7
*The first four chord progressions are identical because they consist of equivalent diminished chords.
SEQUENTIAL DOMINANTS:
A7 → D7 → G7 → Cmaj7
A7 → D7 → G7 → C6
A7 → D7 → G7 → Cm7
A7 → D7 → G7 → Cm6
A7 → D7 → G7 → Cm(maj7)
E7 → A7 → D7 → G7 → Cmaj7
E7 → A7 → D7 → G7 → C6
E7 → A7 → D7 → G7 → Cm7
E7 → A7 → D7 → G7 → Cm6
E7 → A7 → D7 → G7 → Cm(maj7)
B7 → E7 → A7 → D7 → G7 → Cmaj7
B7 → A7 → D7 → G7 → C6
B7 → A7 → D7 → G7 → Cm7
B7 → A7 → D7 → G7 → Cm6
B7 → A7 → D7 → G7 → Cm(maj7)
SEQUENTIAL SUBSTITUE DOMINANTS:
Eb7 → D7 → Db7 → Cmaj7
Eb7 → D7 → Db7 → C6
Eb7 → D7 → Db7 → Cm7
Eb7 → D7 → Db7 → Cm6
Eb7 → D7 → Db7 → Cm(maj7)
E7 → Eb7 → D7 → Db7 → Cmaj7
E7 → Eb7 → D7 → Db7 → C6
E7 → Eb7 → D7 → Db7 → Cm7
E7 → Eb7 → D7 → Db7 → Cm6
E7 → Eb7 → D7 → Db7 → Cm(maj7)
F7 → E7 → Eb7 → D7 → Db7 → Cmaj7
F7 → E7 → Eb7 → D7 → Db7 → C6
F7 → E7 → Eb7 → D7 → Db7 → Cm7
F7 → E7 → Eb7 → D7 → Db7 → Cm6
F7 → E7 → Eb7 → D7 → Db7 → Cm(maj7)
COMBINING ALL TYPES OF DOMINANTS:
A7 → Ab7 → G7 → Cmaj7
A7 → Ab7 → G7 → C6
A7 → Ab7 → G7 → Cm7
A7 → Ab7 → G7 → Cm6
A7 → Ab7 → G7 → Cm(maj7)
Eb7 → D7 → G7 → Cmaj7
Eb7 → D7 → G7 → C6
Eb7 → D7 → G7 → Cm7
Eb7 → D7 → G7 → Cm6
Eb7 → D7 → G7 → Cm(maj7)
F7 → E7 → A7 → Ab7 → Db7 → Cmaj7
F7 → E7 → A7 → Ab7 → Db7 → C6
F7 → E7 → A7 → Ab7 → Db7 → Cm7
F7 → E7 → A7 → Ab7 → Db7 → Cm6
F7 → E7 → A7 → Ab7 → Db7 → Cm(maj7)
C7 → B7 → E7 → Eb7 → Ab7 → G7 → Cmaj7
C7 → B7 → E7 → Eb7 → Ab7 → G7 → C6
C7 → B7 → E7 → Eb7 → Ab7 → G7 → Cm7
C7 → B7 → E7 → Eb7 → Ab7 → G7 → Cm6
C7 → B7 → E7 → Eb7 → Ab7 → G7 → Cm(maj7)
CYCLES OF TWO FIVE ONES:
Em7 → A7 → Dm7 → G7 → Cmaj7
F#m7 → B7 → Em7 → A7 → Dm7 → G7 → Cmaj7
Bbm7 → Eb7 → Abm7 → Db7 → Cmaj7
Cm7 → F7 → Bbm7 → Eb7 → Abm7 → Db7 → Cmaj7
"SIX TWO FIVE ONE":
Am7 → Dm7 → G7 → Cmaj7
"THREE SIX TWO FIVE ONE":
Em7 → Am7 → Dm7 → G7 → Cmaj7
CHART OF CHORD PROGRESSIONS |
HELP ME CREATE THE BEST GUITAR METHOD IN THE WORLD!
As a thank you for reading this far, I’m excited to offer you a 50% discount on my latest book, Book of Chords. This book shows you how to take the chord concepts from this website (Triads, Drop-2 chords, Drop-3 chords, Shell Chords & Extensions, Triads & Extensions, Arranging Songs) and use them to create new voicings, arrange songs, build fresh lines for your solos, and expand your rhythmic vocabulary. Simply use the promo code GUITAR50 at checkout to grab your copy and enjoy it over the next few months or years!
All I ask in return is a little feedback. Let me know what you think—whether anything was tricky to understand, if there’s something I should add, or if you’ve got any other thoughts. I update my books all the time, and you’ll get every new version with everyone’s suggestions. Hopefully, one day this site will be a full platform for guitar theory courses with your help!
Shoot me your questions or thoughts at info@guitartheorylessons.com, and I’ll get back to you in a few days.
Digital Download
PDF Sheet Music + TAB (228 pages)
This book uses the Triads & Extensions topic to demonstrate all the exercises, but the concepts can be applied just as effectively to Triads, Drop-2, Drop-3, Shell Chords, Extensions, and even song arrangements.
What's Included?
Instructions
Appendix of Triads & Extensions
Harmonizing (Creating interesting voicings to comp and arrange)
Arpeggios Drills (Economic picking exercises + Creating new arpeggios using different voicings)
Chromatic Approaches (Bebop style technique)
Rhythmic Vocabulary
All types of triads with extensions in all 12 keys!
Triads included:
major triads
minor triads
major triads w/ dominant function
diminished triads
suspended 4th triads
augmented triads
Lydian triads
augmented triads w/ dominant function
Lydian triads w/ dominant function
Extensions included:
Or if you're looking for something simpler, you can find the Appendix of Triads & Extensions, Intervals, Drop-2, Drop-3 chords, Shell Chords & Extensions, and Scales & Modes, in the STORE section.
All of these theory concepts are available for free on my blog to anyone interested in learning more about music. However, producing this content is time-consuming, so if you found this article helpful, please leave a comment and hit the like button at the bottom of this page! Thank you for everything!
All my best,
Rodrigo Moreira