Like all circular sequences that we have seen so far, the following can be played almost endlessly alternating the two chords. Much more progressions can be done by adding the sixth, seventh, fourth, ninth, etc... The list is not complete and it would be impossible to do one, the purpose here is only to give small tools to start composing.
In blue the notes of the left hand (roots), in grey the notes of the right hand (chords).
D(7+) - G7+
Similar to the I-IV progression analyzed in the major mode, here we add one or both major sevenths.
D7+ (the red mark shows D instead of C# if you do not want to play the 7+)
G7+
Dm - Bm7
Similar to the I-VI progression of the minor mode but with the major seventh in the second chord.
D
Bm7 (just like D but with B on the bass)
Bm(7) - F#m7
Similar to the I-V progression of the minor mode, here we add one or both major sevenths.
Bm (the red mark indicates the seventh instead of B)
F#m7
Am - F6
Similar to the I-VI progression of the minor mode, but with the 6th in the second chord.
Am
F6
Am - F9
Similar to the I-VI progression of the minor mode, but with the 9th in the second chord.
Am
F9
C7+ - Dm7
Similar to the I-II progression of the major mode but with the major seventh in the first chord and the seventh in the second chord.
C7+
Dm7
E♭ - Dm(7)
E♭
Dm7 (you can choose if to play the note C or not)
E♭ - D(7)
Same sequence as the one before but with 2 major chords instead of 1 major and 1 minor chord.
E♭
D7 (you can choose if to play the note C or not)
F - C#
This is a typical rock sequence.
F
C#
F - A
This is also a typical rock sequence.
F
A
B♭ - Adim
B♭
Adim
B♭m - Adim
Same as the sequence before but the first chord is a minor chord.
B♭m
Adim
Adim - Gm
The chord progressions with dim. chord have a very classical music sound.
Adim
Gm
By inverting the chords you can create a very interesting ascending or descending progression. To make a chord inversion means that in the ascending progression the lowest note of the chord becomes the highest, while in the descending progression the highest note of the chord becomes the lowest.
You can always make a diminished chord progression, this is one great example that you find in classical music: in the "Moonlight Sonata" by Beethoven the bars 32-35 include 3 dim. chords.
Here you find: D#dim (bar 32), C#m (bar 33), C#dim (bar 34) e F#dim (bar 35). The last two chords could be played as an I-IV dim. circle progression. The genius of Beethoven was to use a pedal
(a sustained tone that goes over one or more bars even if the chord changes) which gives this sequence a fantastic harmonic effect.
To be exact, we should write the chords above in the following way:
D#dim / G#C#m / G#
C#dim / G#
F#dim / G#
The pedal note will bring us to the next post, we will there analyze some slash chord progressions. In this case, when we write the chord we divide the hands with a / (slash). First comes the right hand and after the slash comes to the left hand.
Copyright © Piano Feeling. All material on this site is free, please quote and add a link to the source (this page) if you want to copy somewhere else all or only part of this article. Thanks.
Copyright © Piano Feeling. All material on this site is free, please quote and add a link to the source (this page) if you want to copy somewhere else all or only part of this article. Thanks.
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