Chord progressions expressed as scale degrees (roman numerals). Key-aware patterns showing harmonic function.
1964 was the Beatles' biggest year for new chord-degree movements since they began recording: 141 debuts that hadn't appeared on a Beatles record before – including IV–♭VII, ♭VI–V, and i–♭VI.
| # | Pattern | Songs | Appears in |
|---|---|---|---|
| 1 | V–IPerfect cadence | 148 | |
| 2 | IV–IPlagal cadence | 136 | |
| 3 | I–IV | 127 | |
| 4 | I–V | 103 | |
| 5 | IV–V | 82 | |
| 6 | V–IV | 65 | |
| 7 | IV–I–V | 64 | |
| 8 | ii–V | 63 | |
| 9 | I–vi | 62 | |
| 10 | I–IV–I–V | 52 | |
| 11 | IV–V–I | 52 | |
| 12 | I–I | 45 | |
| 13 | vi–IV | 43 | |
| 14 | II–V | 43 | |
| 15 | ii–V–IJazz cadence | 42 | |
| 16 | V–I–IV | 40 | |
| 17 | V–IV–IRock/mixolydian cadence | 40 | |
| 18 | V–I–vi | 38 | |
| 19 | I–ii | 36 | |
| 20 | ♭VII–IBackdoor cadence | 35 | |
| 21 | vi–ii | 35 | |
| 22 | I–IV–V | 34 | |
| 23 | I–V–IV | 34 | |
| 24 | I–♭VII | 32 | |
| 25 | V–viDeceptive cadence | 32 | |
| 26 | iv–I | 31 | |
| 27 | IV–I–V–I | 29 | |
| 28 | I–I–IV | 27 | |
| 29 | vi–IV–V | 26 | |
| 30 | I–iii | 25 | |
| 31 | I–vi–IV | 24 | |
| 32 | vi–II | 24 | |
| 33 | vi–I | 24 | |
| 34 | I–II | 24 | |
| 35 | V–I–IV–I | 23 | |
| 36 | I–IV–I–V–IV | 21 | |
| 37 | II–V–I | 21 | |
| 38 | IV–iv | 21 | |
| 39 | IV–♭VII | 21 | |
| 40 | IV–iv–IMinor plagal | 20 | |
| 41 | vi–ii–V | 20 | |
| 42 | V–V | 20 | |
| 43 | ♭VII–IV | 20 | |
| 44 | I–vi–IV–V50s / doo-wop | 19 | |
| 45 | ♭VI–V | 19 | |
| 46 | iii–vi | 19 | |
| 47 | V–i | 18 | |
| 48 | vi–IV–V–I50s variant | 17 | |
| 49 | I–vi–ii | 17 | |
| 50 | I–II–V | 17 |
| # | Value | Songs | % of total |
|---|---|---|---|
| 1 | V–I The strongest harmonic resolution, dominant moving to tonic. The most fundamental cadence in Western music (e.g. E → A, A7 → D). | 148 | 3.1% |
| 2 | IV–I The 'Amen' cadence, resolving from the subdominant to the tonic. Softer and more hymn-like than a perfect cadence (e.g. B♭ → F, C → G). | 136 | 2.8% |
| 3 | I–IV 2-chord degree progression (e.g. A7 → D; D → G) | 127 | 2.6% |
| 4 | I–V 2-chord degree progression (e.g. A → E; D → A) | 103 | 2.1% |
| 5 | IV–V 2-chord degree progression (e.g. F/A → G; D → E) | 82 | 1.7% |
| 6 | V–IV 2-chord degree progression (e.g. G → F; A7 → G) | 65 | 1.3% |
| 7 | IV–I–V 3-chord degree progression (e.g. F6 → C → G; B♭ → F → C7) | 64 | 1.3% |
| 8 | ii–V 2-chord degree progression (e.g. Dm7 → G7; Em7 → A7) | 63 | 1.3% |
| 9 | I–vi 2-chord degree progression (e.g. D → Bm; A7 → F♯m7) | 62 | 1.3% |
| 10 | IV–V–I 3-chord degree progression (e.g. E♭/B♭ → F7 → B♭; A → B7 → E6) | 52 | 1.1% |
| 11 | I–IV–I–V 4-chord degree progression (e.g. F → B♭ → F → C7; C/G → F → C → G) | 52 | 1.1% |
| 12 | I–I 2-chord degree progression (e.g. A → A7; F → F7) | 45 | 0.9% |
| 13 | vi–IV 2-chord degree progression (e.g. C♯m → A; F♯m → D) | 43 | 0.9% |
| 14 | II–V 2-chord degree progression (e.g. C → F; D7 → G7) | 43 | 0.9% |
| 15 | ii–V–I The most common jazz progression, building tension through the supertonic and dominant before resolving to the tonic (e.g. Em7 → A7 → D, Gm6 → C7 → F). | 42 | 0.9% |
| 16 | V–I–IV 3-chord degree progression (e.g. A7 → D → G; C7 → F → B♭) | 40 | 0.8% |
| 17 | V–IV–I Reversed plagal motion through the dominant, common in rock and blues. The IV creates a mixolydian pull to the tonic (e.g. D → C → G, A7 → G → D). | 40 | 0.8% |
| 18 | V–I–vi 3-chord degree progression (e.g. A7 → D → Bm; D → G → Em) | 38 | 0.8% |
| 19 | I–ii 2-chord degree progression (e.g. D → Em; E6 → F♯m7) | 36 | 0.7% |
| 20 | ♭VII–I Resolving to the major tonic from the flat seventh, bypassing the usual dominant. Common in jazz and Beatles songs (e.g. G → A, D → E). | 35 | 0.7% |
| 21 | vi–ii 2-chord degree progression (e.g. C♯m → F♯m; Dm/A → Gm) | 35 | 0.7% |
| 22 | I–IV–V 3-chord degree progression (e.g. G → C → D; A → D → E7) | 34 | 0.7% |
| 23 | I–V–IV 3-chord degree progression (e.g. D → A7 → G; C → G → F) | 34 | 0.7% |
| 24 | I–♭VII 2-chord degree progression (e.g. E → D; A → G) | 32 | 0.7% |
| 25 | V–vi The dominant resolves to the relative minor instead of the expected tonic, creating surprise and extending the phrase (e.g. G → Am, E → F♯m). | 32 | 0.7% |
| 26 | iv–I 2-chord degree progression (e.g. Dm → A; Gm → D) | 31 | 0.6% |
| 27 | IV–I–V–I 4-chord degree progression (e.g. G → D → A → D; D7 → A7 → E7 → A7) | 29 | 0.6% |
| 28 | I–I–IV 3-chord degree progression (e.g. F → F7 → B♭; Cmaj7 → C7 → F) | 27 | 0.6% |
| 29 | vi–IV–V 3-chord degree progression (e.g. C♯m → A → B7; Dm → B♭ → C7) | 26 | 0.5% |
| 30 | I–iii 2-chord degree progression (e.g. A → C♯m/G♯; B♭ → Dm/A) | 25 | 0.5% |
| 31 | vi–II 2-chord degree progression (e.g. F♯m → B7; Dm7 → G7) | 24 | 0.5% |
| 32 | vi–I 2-chord degree progression (e.g. F♯m → A; F♯m → A) | 24 | 0.5% |
| 33 | I–vi–IV 3-chord degree progression (e.g. G → Em → C; C → Am → F) | 24 | 0.5% |
| 34 | I–II 2-chord degree progression (e.g. B♭ → C; F → G7) | 24 | 0.5% |
| 35 | V–I–IV–I 4-chord degree progression (e.g. C7 → F → B♭ → F; D → G → C → G) | 23 | 0.5% |
| 36 | IV–iv 2-chord degree progression (e.g. D → Dm; C → Cm) | 21 | 0.4% |
| 37 | IV–♭VII 2-chord degree progression (e.g. D → G; C → F) | 21 | 0.4% |
| 38 | II–V–I 3-chord degree progression (e.g. C → F → B♭; A7 → D7sus4 → G) | 21 | 0.4% |
| 39 | I–IV–I–V–IV 5-chord degree progression (e.g. D7 → G7 → D7 → A7 → G7; E7 → A7 → E7 → B7 → A7) | 21 | 0.4% |
| 40 | IV–iv–I Major subdominant darkening to minor before resolving, creating a bittersweet color shift (e.g. D → Dm → A, C → Cm → G/B). | 20 | 0.4% |
| 41 | V–V 2-chord degree progression (e.g. B → B7; E → E7) | 20 | 0.4% |
| 42 | vi–ii–V 3-chord degree progression (e.g. Dm → Gm → C; Am7 → Dm → G7) | 20 | 0.4% |
| 43 | ♭VII–IV 2-chord degree progression (e.g. B♭ → F/A; G → D) | 20 | 0.4% |
| 44 | I–vi–IV–V The classic 1950s cycle through major brightness, relative minor warmth, and subdominant-dominant tension (e.g. G → Em → C → D, C → Am → F → G). | 19 | 0.4% |
| 45 | ♭VI–V 2-chord degree progression (e.g. D♭maj7 → C; E♭ → D) | 19 | 0.4% |
| 46 | iii–vi 2-chord degree progression (e.g. G♯m → C♯m; Dm/A → Gm) | 19 | 0.4% |
| 47 | V–i 2-chord degree progression (e.g. E → Am; A7 → Dm) | 18 | 0.4% |
| 48 | I–vi–ii 3-chord degree progression (e.g. F → Dm → Gm; F → Dm → Gm7) | 17 | 0.4% |
| 49 | I–II–V 3-chord degree progression (e.g. B♭ → C → F; C/E → D7 → G7) | 17 | 0.4% |
| 50 | vi–IV–V–I Rotation of the 50s progression starting from the relative minor, creating a minor-to-major resolution arc (e.g. Dm → B♭ → C7 → F, Em → C → D → G). | 17 | 0.4% |
| 51 | vi–iii 2-chord degree progression (e.g. C♯m → G♯m; Bm → F♯m) | 16 | 0.3% |
| 52 | III–vi 2-chord degree progression (e.g. A7 → Dm; E7 → Am) | 16 | 0.3% |
| 53 | iii–IV 2-chord degree progression (e.g. Em → F; Bm → C) | 16 | 0.3% |
| 54 | I–VI 2-chord degree progression (e.g. D → B7; A → F♯7) | 16 | 0.3% |
| 55 | I–ii–V 3-chord degree progression (e.g. E6 → F♯m7 → B13; F6 → Gm → C) | 16 | 0.3% |
| 56 | IV–I–I 3-chord degree progression (e.g. D7 → A → A7; A♭ → E♭ → E♭7/D) | 15 | 0.3% |
| 57 | IV–V–I–vi 4-chord degree progression (e.g. A♭ → B♭ → E♭ → Cm; B♭ → C7 → F → Dm) | 15 | 0.3% |
| 58 | i–♭VI 2-chord degree progression (e.g. Em → C) | 15 | 0.3% |
| 59 | I–IV–I 3-chord degree progression (e.g. C/G → F → C; F → B♭ → F) | 15 | 0.3% |
| 60 | ii–I 2-chord degree progression (e.g. F♯m → E6; Dm7 → C) | 15 | 0.3% |
| 61 | I–♭III 2-chord degree progression (e.g. A7 → C; A → C) | 15 | 0.3% |
| 62 | II–IV 2-chord degree progression (e.g. D9/F♯ → F; Asus2 → Cmaj7) | 15 | 0.3% |
| 63 | I–IV–iv 3-chord degree progression (e.g. C7 → F → Fm6; F7 → B♭ → B♭m6) | 15 | 0.3% |
| 64 | I–V–vi 3-chord degree progression (e.g. A → E → F♯m; C → G → Am) | 15 | 0.3% |
| 65 | vi–V 2-chord degree progression (e.g. Bm → A; C♯m → B) | 14 | 0.3% |
| 66 | IV–II 2-chord degree progression (e.g. D → B; C → Asus2) | 14 | 0.3% |
| 67 | ♭VII–♭III 2-chord degree progression (e.g. G → C; G7 → C) | 14 | 0.3% |
| 68 | V–II 2-chord degree progression (e.g. A → E7; G7 → D7) | 13 | 0.3% |
| 69 | ♭VII–IV–I 3-chord degree progression (e.g. E♭6 → B♭ → F; B♭ → F → C) | 13 | 0.3% |
| 70 | I–♭VII–IV Two plagal motions chained together, descending by fourths. Common in rock and folk (e.g. C → B♭ → F, F → E♭6 → B♭). | 13 | 0.3% |
| 71 | V–ii 2-chord degree progression (e.g. B♭ → Fm; B7 → F♯m7) | 13 | 0.3% |
| 72 | VI–ii 2-chord degree progression (e.g. C7 → Fm; B7 → Em) | 13 | 0.3% |
| 73 | ♭III–V 2-chord degree progression (e.g. E♭ → G7/D; E♭7 → G7) | 12 | 0.2% |
| 74 | ♭III–IV 2-chord degree progression (e.g. C → D; B♭6 → C) | 12 | 0.2% |
| 75 | V–I–vi–IV 4-chord degree progression (e.g. B♭ → E♭ → Cm → A♭; B7 → E → C♯m → A) | 12 | 0.2% |
| 76 | ♭VII–V 2-chord degree progression (e.g. G → E7; D → B7) | 12 | 0.2% |
| 77 | I–IV–♭VII 3-chord degree progression (e.g. F → B♭7♯9 → E♭6; A/E → D → G) | 12 | 0.2% |
| 78 | V–I–I 3-chord degree progression (e.g. C/E → F → F7; C7 → Fsus4 → F) | 12 | 0.2% |
| 79 | I–vi–ii–V Circle-of-fifths descent from tonic, a smooth jazz-pop turnaround named for its sweet, easy-listening quality (e.g. C → Am → Dm7 → G7). | 11 | 0.2% |
| 80 | I–III 2-chord degree progression (e.g. C → E7; D → F♯/A♯) | 11 | 0.2% |
| 81 | IV–vi 2-chord degree progression (e.g. B♭ → Dm/A; C → Em/F♯) | 11 | 0.2% |
| 82 | IV–I–IV–I–V 5-chord degree progression (e.g. D → A → D → A → E; A7 → E7 → A7 → E7 → B7) | 11 | 0.2% |
| 83 | V–I–iii 3-chord degree progression (e.g. G7 → C → Em; B♭7 → E♭ → Gm/D) | 11 | 0.2% |
| 84 | vi–IV–I 3-chord degree progression (e.g. Gm → E♭/B♭ → B♭; Em → C → G6) | 11 | 0.2% |
| 85 | V–I–ii 3-chord degree progression (e.g. B13 → E6 → F♯m7; D7 → G → Am7) | 11 | 0.2% |
| 86 | I–iii–vi 3-chord degree progression (e.g. A → C♯m/G♯ → F♯m; B♭ → Dm/A → Gm) | 11 | 0.2% |
| 87 | IV–♭VI 2-chord degree progression (e.g. D/F♯ → F) | 11 | 0.2% |
| 88 | i–iv 2-chord degree progression (e.g. Am → Dm6; Am7 → Dm7) | 11 | 0.2% |
| 89 | IV–V–vi 3-chord degree progression (e.g. A♭ → B♭ → Cm; B♭ → C7 → Dm) | 11 | 0.2% |
| 90 | VI–II 2-chord degree progression (e.g. F♯ → B; A7 → D7) | 11 | 0.2% |
| 91 | ii–V–I–vi The A-section turnaround from Gershwin's 'I Got Rhythm', foundational to jazz standards (e.g. Dm7 → G7 → C → Am). | 11 | 0.2% |
| 92 | IV–I–♭VII 3-chord degree progression (e.g. A → E → D; F → C → B♭) | 11 | 0.2% |
| 93 | V–V–I 3-chord degree progression (e.g. E → E7 → A; A → A7 → D) | 10 | 0.2% |
| 94 | I–IV–iv–I 4-chord degree progression (e.g. C7 → F → Fm6 → C; F7 → B♭ → B♭m6 → F/A) | 10 | 0.2% |
| 95 | IV–ii 2-chord degree progression (e.g. A♭ → Fm; A → F♯m) | 10 | 0.2% |
| 96 | IV–I–IV–V 4-chord degree progression (e.g. B♭ → F → B♭ → C; D → A → D → E) | 10 | 0.2% |
| 97 | II–I 2-chord degree progression (e.g. B → A; B7 → A) | 10 | 0.2% |
| 98 | i–V 2-chord degree progression (e.g. Dm7 → A) | 10 | 0.2% |
| 99 | iii–V 2-chord degree progression (e.g. Em → G7; Bm → D7) | 10 | 0.2% |
| 100 | vi–ii–V–I Full circle-of-fifths descent arriving at the tonic, common in jazz and classical harmony (e.g. Am → Dm7 → G7 → C). | 10 | 0.2% |
| 101 | ♭III–I 2-chord degree progression (e.g. C → A7; E♭7 → C7) | 10 | 0.2% |
| 102 | i–IV 2-chord degree progression (e.g. Em → A; Am → D/F♯) | 10 | 0.2% |
| 103 | I–V–I–IV 4-chord degree progression (e.g. D → A → D → G; E → B7 → E → A) | 10 | 0.2% |
| 104 | ii–iii 2-chord degree progression (e.g. Am → Bm; Em/G → F♯m) | 10 | 0.2% |
| 105 | V–I–vi–ii 4-chord degree progression (e.g. C7 → F → Dm → Gm7; E7 → A → F♯m → Bm7) | 10 | 0.2% |
| 106 | IV–I–vi 3-chord degree progression (e.g. A → E → C♯m; F → C → Am) | 10 | 0.2% |
| 107 | IV–I–ii 3-chord degree progression (e.g. Amaj7/B → E → F♯m; G → D → Em) | 10 | 0.2% |
| 108 | ♭VI–V–I 3-chord degree progression (e.g. D♭maj7 → C7 → F; C7 → B7 → E) | 10 | 0.2% |
| 109 | VI–ii–V 3-chord degree progression (e.g. C7 → Fm → B♭sus4; B7 → Em → A9) | 10 | 0.2% |
| 110 | iii–ii 2-chord degree progression (e.g. Em → Dm; F♯m → Em7) | 10 | 0.2% |
| 111 | ii–IV 2-chord degree progression (e.g. Dm7/F → F; B♭m → D♭) | 10 | 0.2% |
| 112 | V–I–♭VII 3-chord degree progression (e.g. B → E → D; B7 → E → D/E) | 10 | 0.2% |
| 113 | vi–II–V 3-chord degree progression (e.g. C♯m → F♯ → B; C♯m → F♯9 → B9) | 10 | 0.2% |
| 114 | I–IV–I–IV–V 5-chord degree progression (e.g. F → B♭ → F → B♭ → C; A → D → A → D → E) | 9 | 0.2% |
| 115 | I–IV–I–V–IV–I–V 7-chord degree progression (e.g. G7 → C7 → G7 → D7♯9 → C7 → G7 → D7; G7 → C7 → G → D7 → C7 → G → D7) | 9 | 0.2% |
| 116 | I–vi–iii 3-chord degree progression (e.g. C → Am → Em; C → Am → Em) | 9 | 0.2% |
| 117 | I–♭VI 2-chord degree progression (e.g. E6 → C; E → C) | 9 | 0.2% |
| 118 | V–I–VI 3-chord degree progression (e.g. A → D → B7; E7 → A → F♯7) | 9 | 0.2% |
| 119 | IV–♭III 2-chord degree progression (e.g. F → E♭; C → B♭6) | 9 | 0.2% |
| 120 | V–IV–V–I 4-chord degree progression (e.g. A → G → A → D; D → C → D → G) | 9 | 0.2% |
| 121 | V–I–II 3-chord degree progression (e.g. F → B♭ → C; G7 → C → D) | 9 | 0.2% |
| 122 | ii–♭VII 2-chord degree progression (e.g. Bm → G; F♯m → D) | 9 | 0.2% |
| 123 | ♭VI–i 2-chord degree progression (e.g. F → Am) | 9 | 0.2% |
| 124 | ♭VI–♭VII 2-chord degree progression (e.g. B♭ → C; F7 → G7) | 8 | 0.2% |
| 125 | ♭VI–I 2-chord degree progression (e.g. D♭7 → F; F → A7) | 8 | 0.2% |
| 126 | IV–I–II 3-chord degree progression (e.g. F7 → C → D7; E → B → C♯) | 8 | 0.2% |
| 127 | I–VI–ii 3-chord degree progression (e.g. D → B7 → Em; F → D7 → Gm7) | 8 | 0.2% |
| 128 | I–IV–I–IV–I–V 6-chord degree progression (e.g. A → D → A → D → A → E; E7 → A7 → E7 → A7 → E7 → B7) | 8 | 0.2% |
| 129 | IV–ii–V 3-chord degree progression (e.g. A♭ → Fm → B♭; A → F♯m → B7) | 8 | 0.2% |
| 130 | vi–I–IV 3-chord degree progression (e.g. F♯m → A7 → D; Am → C/G → F) | 8 | 0.2% |
| 131 | IV–V–I–IV–I 5-chord degree progression (e.g. C → D → G → C → G; C → D → G → C9 → G) | 8 | 0.2% |
| 132 | VI–II–V 3-chord degree progression (e.g. F♯7 → B7 → E7; C♯7 → F♯7 → B7) | 8 | 0.2% |
| 133 | V–vi–IV 3-chord degree progression (e.g. G → Am → Fmaj7; F7 → Gm → E♭/B♭) | 8 | 0.2% |
| 134 | iii–IV–I 3-chord degree progression (e.g. Em → F → C; Em → Fmaj7 → C6) | 8 | 0.2% |
| 135 | IV–II–V 3-chord degree progression (e.g. D → B → E; D → B7 → E) | 8 | 0.2% |
| 136 | iv–♭VII 2-chord degree progression (e.g. Dm7 → G7; B♭m7 → E♭) | 8 | 0.2% |
| 137 | I–I–IV–I–V 5-chord degree progression (e.g. A → A7 → D → A → E7; G → G7 → C7 → G → D7) | 8 | 0.2% |
| 138 | ♭III–♭VII 2-chord degree progression (e.g. C → G/B; G → D) | 7 | 0.1% |
| 139 | V–IV–I–IV 4-chord degree progression (e.g. E7 → D7 → A → D; D → C → G → C) | 7 | 0.1% |
| 140 | I–I–IV–iv 4-chord degree progression (e.g. C → C7 → F → Fm6; F → F7 → B♭ → B♭m6) | 7 | 0.1% |
| 141 | II–IV–I 3-chord degree progression (e.g. G7 → B♭ → F; A7 → C → G6) | 7 | 0.1% |
| 142 | i–i 2-chord degree progression (e.g. Em → Em7; Am7 → Am6) | 7 | 0.1% |
| 143 | iii–I 2-chord degree progression (e.g. Bm → G) | 7 | 0.1% |
| 144 | ♭III–♭VI 2-chord degree progression (e.g. C → Fmaj7; A♭7 → D♭) | 7 | 0.1% |
| 145 | IV–♭VII–I 3-chord degree progression (e.g. D → G → A; D → Gadd9 → A) | 7 | 0.1% |
| 146 | I–VII 2-chord degree progression (e.g. A → G♯7; E♭ → D7) | 7 | 0.1% |
| 147 | vi–III 2-chord degree progression (e.g. Dm → A7; Am → E7) | 7 | 0.1% |
| 148 | I–iv 2-chord degree progression (e.g. F → B♭m7; C7 → Fm) | 7 | 0.1% |
| 149 | vi–II–IV 3-chord degree progression (e.g. Dm7 → G7 → B♭; Am7/G → D9/F♯ → F) | 7 | 0.1% |
| 150 | ♭VI–♭III 2-chord degree progression (e.g. F → C; C → G) | 7 | 0.1% |
| 151 | I–III–vi 3-chord degree progression (e.g. C → E7 → Am; D → F♯/A♯ → Bm) | 7 | 0.1% |
| 152 | IV–iii 2-chord degree progression (e.g. F → Em; B♭ → Am) | 7 | 0.1% |
| 153 | iv–♭VII–♭III 3-chord degree progression (e.g. Dm7 → G7 → C) | 7 | 0.1% |
| 154 | III–vi–ii 3-chord degree progression (e.g. A7 → Dm → Gm; E7 → Am → Dm9) | 7 | 0.1% |
| 155 | iii–IV–V 3-chord degree progression (e.g. F♯m → G → A; Bm → C → D) | 7 | 0.1% |
| 156 | I–IV–II 3-chord degree progression (e.g. A → D → B; A → D → B7) | 7 | 0.1% |
| 157 | I–VI–ii–V 4-chord degree progression (e.g. D → B7 → Em → A9; F → D7 → Gm7 → C7) | 7 | 0.1% |
| 158 | ♭VII–I–IV 3-chord degree progression (e.g. B♭ → C → F; F → G → C) | 7 | 0.1% |
| 159 | IV–I–IV–I–IV–V 6-chord degree progression (e.g. B♭ → F → B♭ → F → B♭ → C; D → A → D → A → D → E) | 7 | 0.1% |
| 160 | V–♭VI 2-chord degree progression (e.g. A → B♭; B7 → C7) | 6 | 0.1% |
| 161 | IV–♭VII–♭III 3-chord degree progression (e.g. D → G → C) | 6 | 0.1% |
| 162 | iv–V 2-chord degree progression (e.g. Fm → G7; Dm → E7) | 6 | 0.1% |
| 163 | I–IV–I–IV–I–IV–V 7-chord degree progression (e.g. A → D → A → D → A → D → E; A → D6 → A → D6 → A → D6 → E7) | 6 | 0.1% |
| 164 | I–IV–I–♭VII 4-chord degree progression (e.g. C/E → F → C/E → B♭; G7 → C → G → F) | 6 | 0.1% |
| 165 | iv–i 2-chord degree progression (e.g. Em7 → Bm7; Dm → Am) | 6 | 0.1% |
| 166 | I–iii–IV 3-chord degree progression (e.g. D → F♯m → G; G → Bm → C) | 6 | 0.1% |
| 167 | I–vi–II 3-chord degree progression (e.g. A → F♯m → B7; F → Dm7 → G7) | 6 | 0.1% |
| 168 | IV–IV 2-chord degree progression (e.g. D → D7; E → E7) | 6 | 0.1% |
| 169 | IV–I–IV–V–I 5-chord degree progression (e.g. B♭ → F → B♭ → C → F; F → C → F → G → C) | 6 | 0.1% |
| 170 | V–I–vi–iii 4-chord degree progression (e.g. A7 → D → Bm → F♯m; D → G → Em → Bm) | 6 | 0.1% |
| 171 | ii–IV–I 3-chord degree progression (e.g. Dm7/F → F → C/E; F♯m7 → Amaj7/B → E) | 6 | 0.1% |
| 172 | III–IV 2-chord degree progression (e.g. G♯ → A; C7 → D♭) | 6 | 0.1% |
| 173 | V–♭VII 2-chord degree progression (e.g. D → F; E → G) | 6 | 0.1% |
| 174 | ii–vi 2-chord degree progression (e.g. Dm → Am7; F♯m7 → C♯m) | 6 | 0.1% |
| 175 | ii–V–I–I 4-chord degree progression (e.g. Fm → B♭ → E♭ → E♭7/D; Gm7 → C7 → F → F7) | 6 | 0.1% |
| 176 | II–V–IV 3-chord degree progression (e.g. B7 → E7 → D; B7 → E7 → D7) | 6 | 0.1% |
| 177 | i–♭III 2-chord degree progression (e.g. Fm → A♭; Am → C) | 6 | 0.1% |
| 178 | VI–IV 2-chord degree progression (e.g. G7 → E♭; A → F) | 6 | 0.1% |
| 179 | ♭VII–♭III–I 3-chord degree progression (e.g. D → G → E; G7 → C7 → A7) | 6 | 0.1% |
| 180 | ♭VII–V–I 3-chord degree progression (e.g. G → E7 → A; D → B7 → E) | 6 | 0.1% |
| 181 | iii–ii–V 3-chord degree progression (e.g. Gm/D → Fm/C → B♭7; G♯m7 → F♯m7 → B7) | 6 | 0.1% |
| 182 | V–I–I–IV 4-chord degree progression (e.g. B♭ → E♭ → E♭7/D → A♭; C7 → F → F7 → B♭) | 6 | 0.1% |
| 183 | III–VI 2-chord degree progression (e.g. E7 → A7; E → A) | 6 | 0.1% |
| 184 | I–V–V 3-chord degree progression (e.g. F → C → C7; E → Bsus4 → B7) | 6 | 0.1% |
| 185 | I–VI–II–V 4-chord degree progression (e.g. A → F♯7 → B7 → E7; E7 → C♯7 → F♯7 → B7) | 6 | 0.1% |
| 186 | I–ii–iii 3-chord degree progression (e.g. G → Am7 → Bm7; C → Dm → Em) | 6 | 0.1% |
| 187 | ♭III–IV–I 3-chord degree progression (e.g. A♭ → B♭ → F; C → D → A) | 6 | 0.1% |
| 188 | V–I–VI–ii 4-chord degree progression (e.g. A → D → B7 → Em; C7 → F → D7 → Gm7) | 6 | 0.1% |
| 189 | I–♭III–IV 3-chord degree progression (e.g. F → A♭ → B♭; D → F → G) | 6 | 0.1% |
| 190 | V–I–IV–I–IV 5-chord degree progression (e.g. A → D → G → D → G; D → G → C → G → C) | 6 | 0.1% |
| 191 | I–♭VII–I–IV 4-chord degree progression (e.g. C/E → B♭ → C → F; A7 → G → A → D) | 5 | 0.1% |
| 192 | IV–III 2-chord degree progression (e.g. F → E; C → B7) | 5 | 0.1% |
| 193 | ♭VII–i 2-chord degree progression (e.g. G → Am; C7 → Dm) | 5 | 0.1% |
| 194 | II–IV–V 3-chord degree progression (e.g. D → F → G; E → G → A7) | 5 | 0.1% |
| 195 | IV–iv–I–VI 4-chord degree progression (e.g. B♭ → B♭m6 → F/A → D7; F → Fm → C → A7) | 5 | 0.1% |
| 196 | ♭III–V–i 3-chord degree progression (e.g. E♭ → G7 → Cm; G → B → Em) | 5 | 0.1% |
| 197 | ♭VII–I–vi 3-chord degree progression (e.g. B♭ → C → Am; F → G → Em7) | 5 | 0.1% |
| 198 | V–vi–III 3-chord degree progression (e.g. G → Am → E7; D → Em → B) | 5 | 0.1% |
| 199 | I–I–I 3-chord degree progression (e.g. C → Cmaj7 → C7; C → Cmaj7 → C7) | 5 | 0.1% |
| 200 | ♭VII–IV–I–V 4-chord degree progression (e.g. F → C → G → D; D → A → E → B) | 5 | 0.1% |
| Showing the 200 most-used of 723 values. The rest are reachable from the songs that use them. | |||
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