Chord Progressions

Voice leading creates smooth transitions between chords by moving each voice as little as possible.

Voice Leading Rules

• Keep common tones in the same voice.
• Move the remaining voices by the shortest possible distance.

Common Progressions

Perfect Cadence

Any diatonic chord can be preceded by its V7.

V7 → Target Chord

ii-V Progression

A dominant chord is commonly preceded by its ii7.

ii7 → V7 → I

This is one of the most common progressions in jazz.

IV as a Predominant

The IV chord often precedes the dominant in classical harmony.

IV → V7 → I

Because ii7 and IV share the same subdominant function, they are interchangeable.

ii7 ⇄ IV

Functional Substitutions

Any diatonic chord may be replaced by another chord from the same tonal family to improve voice leading or strengthen root movement by fourths.

Examples:

I ⇄ vi
(Cmaj7 ⇄ Am7)

 

I ⇄ iii
(Cmaj7 ⇄ Em7)

 

Secondary Dominants

Any diatonic chord may be preceded by its own dominant seventh chord.

This dominant is called a Secondary Dominant.

Example:

A7 → Dm
(V7/ii)

 

The primary dominant G7 also has its own dominant:

D7 → G7 → Cmaj7

D7 is written V7/V because it resolves to the dominant.

 

Relative ii-V Progressions

A secondary dominant is frequently preceded by its related ii7, creating a complete ii-V progression.

Example:

Am7 → D7 → G7 → Cmaj7

The Am7 is called the relative ii7 because it is the ii chord associated with the secondary dominant D7.