Common Major Chord Progressions

Now that you've learned about Major Diatonics, let's see how we can put it to good use. Here we'll go over the function of each diatonic chord in the Major Scale, and take a quick look at some of the most common chord progressions. Let's go!

Understanding Our Major Diatonic Chords

First off, let's look at each chord individually and talk about their possible functions. I'll also pack some new terminology into this section that you may encounter. Pay special attention to the roman numeral usage, and notice that whether the chord's numeral is upper or lower case infers whether the chord is Major or Minor.

The Tonic (I), (1-3-5): 

This is our "home chord". Every time you come back to this chord, it's going to feel like a resolution, and provide a sense of stability.

The Supertonic (ii), (2-4-6):

This chord may feel "transitional", like it's pulling elsewhere for a stronger statement. A powerful choice for a follow-up is the Dominant (V) chord.

The Mediant (iii), (3-5-7):

This chord shares two notes with the Tonic (I), and all three of its notes belong to the Tonic in 7th form (since that would be a 1-3-5-7). This means some may use it as a sort of "Pseudo-Tonic" chord.

However, it also shares two of it's notes with the Dominant (V), and can be considered somewhat ambiguous for that reason.

I would suggest that for most purposes, you return to the Tonic when you want a resolution.

The Subdominant (IV), (4-6-1):

This chord is generally considered to be less tense than the Dominant (V), while still providing a sense of departure from the Tonic (I). Most often you'll hear the Dominant after this chord, before returning to the Tonic - but not always!

Sometimes this chord resolved to the Tonic on it's own.

The Dominant (V), (5-7-2):

Probably the most important diatonic chord to be aware of. The Dominant provides a strong sense of tension and seems to demand a return to the Tonic. Make it a 7th chord and the pull becomes even stronger.

It's not a rule that you have to return to the Tonic, though. It's simply a powerful option. Be sure to experiment with other choices - we'll be able to try some for ourselves later in this lesson, as well.

The Submediant (vi), (6-1-3):

This chord can often apply an emotional touch to a chord progression. Remember - this chord is the Relative Minor to our Tonic.

It has an interesting tendency to resolve to a Supertonic (ii), almost like the Dominant resolving to a Tonic.

The Leading Tone (vii°), (7-2-4):

If you're curious about that roman numeral notation, it's because the "°" symbol is what tells us the chord is diminished. A (vii) would mean the chord is simply a minor chord.

This one you won't hear a ton of in popular music. It's the most dissonant chord of the bunch.

The great thing about dissonance, though, is that it provides a strong response in the listener. We can follow up by bringing them safely back home to the Tonic, for a powerful "tension-and-release" dynamic.

"Leading Tone" refers to the 7th scale degree - which sits just one half-step (one fret) below the Tonic.

Remember - while these are great guidelines and have served countless musicians well - they aren't rules. Music has no rules. When you're creating a chord progression for yourself, feel free to experiment! If something sounds cool to your ears, it is cool. 

Now, let's look at a handful of the most common chord progressions out there. Seriously, these are EVERYWHERE.

Common Major Chord Progressions

I'll provide examples in C so you can quickly try these for yourself. Remember, these progressions are meant to be repeated.

The I-IV-V (C-F-G): 

You've played plenty of these by now, previously described as "1-4-5-1s". We're just using the proper roman numeral notation now.

This is the quintessential chord progression used in rock, pop, blues, and so many other genres. It's entirely Major Chords.

The I-V-vi-IV (C-G-Am-F): 

The more versatile and emotional variant. Every sad song on the radio uses this. Interestingly, our V resolves to the Relative Minor of our Tonic, and then our IV chord brings us back home.

The ii-V-I (Dm-G-C):

Just being aware of this progression will help to make sense of jazz. A huge amount of jazz is centered around this progression. Play the chords as 7ths (Dm7 - G7 - Cmaj7) for the full effect.

BONUS - Canon in D (I-V-vi-iii-IV-I-IV-V):

I didn't provide an example in C for you this time! Show you've mastered Major Diatonic Chords by working this one out for yourself.

Then, play through it and notice how the chords interact with each other. It's an extremely strong progression despite seeming to move all over the place at first glance.

Now you should have some idea of how these chords get along with each other, and how they're most commonly used in popular music.

If it all seems a little simplistic - remember that it's often the melody, and the way it interacts with the chords, that elevates a piece of music from "good" to "great".

If you're still eager for more, next up we tackle the other side - Minor Diatonics. I'll see you there!