Chord Progression
A chord progression (or harmonic progression) is a series of musical chords, or chord changes that "aims for a definite goal" of establishing (or contradicting) a tonality founded on a key, root or tonic chord and that is based upon a succession of root relationships. Chords and chord theory are generally known as harmony.
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Some articles on chord progression:
... also be used in the form vi-IV-I-V, which was dubbed the sensitive female chord progression by Boston Globe Columnist Marc Hirsh ... Hirsh first noticed the chord progression in the song "One of Us" by Joan Osborne ... He claims he then began to notice the chord progression in many other songs ...
... The pop-punk chord progression is the chord progression I-V-vi-IV ... A 2009 recording by the comedy group The Axis of Awesome, their "Four Chord Song", in D major (thus using the chords D major, A major, B minor, and G major), is a ...
... first a bass line and then two inner lines to complete the chords in four part harmony suitable for a choir or string section, terminating with cadences, avoiding some chord inversions and favoring ... While (as noted above) classical music has its cliche progressions, they are seldom named and discussed perhaps only Schoenberg among the authors of popular text-books of ...
... The chorus is based on the very common chord progression I–V–vi–IV (B, F♯, G♯m, E in the key of B major)—this chord progression is used e.g ... On the verses, the chord progression is the less common vi–V–IV–IV (G♯m, F♯/A♯, E, E) ...
... A rigorous analysis should note that many chord progressions are likely to date back from an epoch prior to early Baroque (usually associated with birth of ... "neglect" the history and evolution of the chord progression in question ... harmonic analyses in tonal style use only two scales (major and minor) when explaining origins of chord moves ...
Famous quotes containing the words progression and/or chord:
“Measured by any standard known to science—by horse-power, calories, volts, mass in any shape,—the tension and vibration and volume and so-called progression of society were full a thousand times greater in 1900 than in 1800;Mthe force had doubled ten times over, and the speed, when measured by electrical standards as in telegraphy, approached infinity, and had annihilated both space and time. No law of material movement applied to it.”
—Henry Brooks Adams (1838–1918)
“Give me the keys. I feel for the common chord again,
Sliding by semi-tones till I sink to a minor,—yes,
And I blunt it into a ninth, and I stand on alien ground,
Surveying a while the heights I rolled from into the deep;
Which, hark, I have dared and done, for my resting-place is found,
The C Major of this life: so, now I will try to sleep.”
—Robert Browning (1812–1889)