Free copies of this work and its two companion volumes are available for download in PDF out more than 20 common chord progressions found in folk and popular Dan Haerle (Jazz Piano: University of North Texas), Joe Pinson ( Music
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Chord Progression Handbook
For Guitar, Piano, and Other
Accompaniment Instruments
Bill Matney & Brenna Niemuth
Chord Progression Handbook
For Guitar, Piano, and Other
Accompaniment Instruments
Bill Matney & Brenna Niemuth
University of Kansas Libraries
Lawrence, KS 6604
Copyright 2019 Bill Matney
Except where noted, this work is licensed under a Creative Commons Attribution- NonCommercial 4.0 International License. 3rd party content belongs to the original sources as indicated and is not governed by the CC license. Their terms of use may vary.You are free to:
Share copy and redistribute the material in any medium or format Adapt remix, transform, and build upon the material The licensor cannot revoke these freedoms as long as you follow the license terms. The following terms apply: Attribution You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. NonCommercial You may not use the material for commercial purposes. No additional restrictions You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits.Notices:
You do not have to comply with the license for elements of the material in the public domain or where your use is permitted by an applicable exception or limitation. No warranties are given. The license may not give you all of the permissions necessary for your intended use. For example, other rights such as publicity, privacy, or moral rights may limit how you use the material. Free copies of this work and its two companion volumes are available for download in PDF format: Guitar Chord Handbook (http://hdl.handle.net/1808/29433) Chord Progression Handbook (https://hdl.handle.net/1808/29434) Strumming, Fingerpicking, and Hybrid Accompaniment Patterns for Guitar (https://hdl.handle.net/1808/29435) This was funded in part by an Open Educational Resources Grant by KU Libraries and with the support of the David Shulenburger Office of Scholarly Communication & Copyright.Published by the University of Kansas Libraries
Lawrence, KS 66045
Preface
This work is one part of a three-part Open Educational Resource (OER) that teaches students how to play the guitar as an accompaniment instrument, facilitating technical, theoretical, and ear skill development that can translate into a range of song styles. Materials may be used either as primary or supplemental guides for: (a) non-primary guitar classes, (b) musicianship classes for music therapy and music education students, and (c) other musicianship classes. This resource includes three handbooks and a set of supplementary videos. The Guitar Chord Handbook (http://hdl.handle.net/1808/29433) provides visuals for common open chords, as well as some barre and color chords. The Chord Progression Handbook (https://hdl.handle.net/1808/29434) maps out more than 20 common chord progressions found in folk and popular music, providing song examples. The third handbook, Strummingf Fingerpickingf and Hybrid AccompanimentPatterns for Guitar
https://hdl.handle.net/1808/29435)facilitates detailed development of strumming, muting, plucking, and combined skills with more than150 exercises. Videos provide visual reinforcement for each
strumming/fingerpicking exercise. Videos for Strumming Patterns: Each strumming pattern has been video recorded as a resource for you. These videos can be located at:About Open Educational Resources
UNESCO (The United Nations Educational, Scientific, and Cultural Organization) defines Open Educational Resources (OER) as "teaching, learning and research materials in any medium digital or otherwise that reside in the public domain or have been released under an open license that permits no-cost access, use, adaptation and redistribution by others with no or limited restrictions." OER may be legally retained, reused, revised, remixed, and redistributed (Wiley). These resources are a powerful mechanism for increasing access to and equity in educational content, as well as supporting innovation in pedagogy and increasing academic freedom. The University of Kansas Libraries actively promotes and supports the creation and use of OER. For more information see https://openaccess.ku.edu/oer. "#$%&!'%$(%)**+$,!-.,&/$$0!!Introduction
This handbook provides twenty chord progressions commonly found in folk and popular musicf both using standard cadences and some modal progressions as well3 Because songs can use chord progressions in many rhythmic arrangements a nd in many keysf this book provides you with roman numerals in sequence wit hout specific rhythmic notationf as if it is a Òloop3Ó The book then provides one or more examples of how this progression may be notated rhythmicallyf and then o ne or more examples of how this progression looks in a particular key3 Lastlyf each page includes song examples that use the progression3 These songs are fa r from the only examplesf so feel free to write in more for your own useC In this handbookf chord progressions begin as simply as possible isingle chordg and move in a developmental fashion towards more complex progressions3 As you learn new chordsf you can work on these progressions in multiple key s3 The progressions found here are far from comprehensivef but they provide com mon toolsf as well as practical and valuable building blocks3 You can also approach these chord progressions using simple chordsf and then move to more complex chord types3 You can begin with triads imajor and minor chordsgf and later replace these triads with dominant seventh chords an d minor seventh chords for added color and tension3 Some progressions will expli citly use seventh chordsf while others will not3 Howeverf you can be creative and substitute these chordsf even including major seventh chords or other ty pes of extensions as you learn them3 While using this handbookf I also encourage you to engage your ears3 Listen for how each chord progression sounds so that you can work towards hearing a song and knowing the progression being used3 This type of ear training will open you up to quick rercreation of songsf as well as easier transpositionf compositionf and improvisation3 I would like to recognize and offer gratitude to the following mentors a nd colleagues who have either played a role in my own development along these linesf or who have engaged in discussions and collaborations on chord progression repertoire: Russel Scanlon iJazz Guitarf Austin Community C ollegegf Dan Haerle iJazz Piano: University of North Texasgf Joe Pinson iMusicTherapy:
Texas WomanÕs Universitygf and Josh Massicot iPianof Nazareth Colle geg3 "#$%&!'%$(%)**+$,!-.,&/$$0!!Playing Chord Progressions:
Your ability to both hear and play chord progressions promotes your capa city to re r createf composef accompanyf improvisef arrangef and teach music3 This handbook lays out a progressive set of some of the common progressions within Western folk and popular music traditions3 The following bullets provid e some suggestions as you work through these progressions3 !Begin slow: Practicing slow helps your brain take in the information3 ItÕs better to begin slow and comfortable with good execution. !Make mistakes: You are going to whether you want to or not3 Just try to reduce their occurrence on the same task over time. Ask for support if y ou run into a challenge; every one has those moments. !Use a metronome: Work on playing Òin time3Ó If we can play in timef we are better able to play with (and play with theg time in our music3 !Speeds: Your time will become stronger on all speeds if you are playing progressions in a range of tempos. Find your comfort range and then push it, both on the slow and fast ends. !Frequency of PracticeVPlay: Playing for short periods of time multiple times a day can help with rete ntion. !If you can sing itf you can play it: Sing along with the root of chords in a progression, whether you have the instrument or not. Thirty seconds walking from one classroom to the next can be an opportunity to engage with a chord progression by si nging it. !Listen to music: Listen for the chord progressions being used in all styles of musicEar training
has a purpose, and that purpose is not specific to classical music music theory classes. There are also chord progression loop apps you can use, as well as software that will work similarly (ranging from Band in a Box to Garageband or Fruity Loops). You will find examples of songs for each chord progression in this book. Listen to those songs. !Play with other people3 Create jams3 Play things that are easy for you and be purposefully expressive with them. Play things that are too hard for you and struggle with them. Play to enjoy playing and play with others to enjoy community. "#$%&!'%$(%)**+$,!-.,&/$$0! /+,(0)!123$1$2.2+$,!34.567)8
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9): =$,(!34.567)* o&'(!)*+,-!.+'/!01!.2+'(1!34,5( o67(82,"8!9#('5(!01!6--"(!%,4'2 o&*:!01!B+!34!C('/+ oDG,(,(!H48I5(=J!G+7K!.+'/ oDL+M!L+M!L+M!B+5,!N+42J!G+7K!.+'/ "#$%&!'%$(%)**+$,!-.,&/$$0! Q "#$%&!'%$(%)**+$,!-4.! /+,(0)!1+,$%!"#$%&1$2.2+$,!34.567)8
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"#$%&!'%$(%)**+$,!-.,&/$$0!!4ChordProgression2B:Tonic-DominantinMinorKey1$2.2+$,!34.567)8!!!9):!34.567)*8!!!9):!+!!@!<5!GmDA5!AmE!!=$,(!34.567)8! BlackHorseinaCherryTree(verses)byKTTungsten
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"#$%&!'%$(%)**+$,!-.,&/$$0!!6ChordProgression4:MajortoRelativeMinor1$2.2+$,!34.567)8!!!!9):!34.567)*8!!!9):!;!C+!
"#$%&!'%$(%)**+$,!-.,&/$$0!!7ChordProgression5:I,IV,andVchords!1$2.2+$,!34.567)8!!!!9):!34.567)*8!!!9):!;!;@!@!
"#$%&!'%$(%)**+$,!-.,&/$$0!!8ChordProgression6:I,IV,andVchords:PlagalCadence1$2.2+$,!34.567)8!!9):!34.567)*8!!!9):!;!@!;@!
"#$%&!'%$(%)**+$,!-.,&/$$0!!9ChordProgression7:I,IV,andVchords:PlagalCadence21$2.2+$,!34.567)8!!!!9):!34.567)*8!!!9):!;!;@!@!;@!
"#$%&!'%$(%)**+$,!-.,&/$$0!!12StandardBluesProgression:Continued!9):!34.567)*8!KeyExampleof12barbluesinKeyofD:!B!E;F!!!!
"#$%&!'%$(%)**+$,!-.,&/$$0!!13ChordProgression10:Modal:TonictoMinorThreeChordThisprogressionisoccasionallyusedbyitselfina,orcanbeusedasthebeginningtoalongerprogression.1$2.2+$,!34.567)8!!!!9):!34.567)*8!!!9):!;!+++!
"#$%&!'%$(%)**+$,!-.,&/$$0!!15ChordProgression11B:Modal:MajorTonictoFlatVIIChordWhileyouwon'tseethisprogressionbyitselfinasong,itlaysthegroundworkforsimpleprogressionsinsongs:!1$2.2+$,!34.567)8!!!!9):!34.567)*8!!!9):!;!/@;;!B!DCA!AG!=$,(!34.567)!G!H*)&!+,8!!o Ramblin'ManbytheAllmanBrothers!!!
"#$%&!'%$(%)**+$,!-.,&/$$0!!16ChordProgression12:"DooWop"and"IceCream"ChangesPopularmusics,fromthe1920'sthroughtoday,haveusedvariationsthatincludethemajorchord,itsrelativeminor,thedominantchord,andeitherthesubdominantortheiichordasasubstitution.Thisprogressionhasbeenreferredtoas"DooWop"and"IceCreamChanges"interchangeably,butitalsousedincontemporarymusic.1$2.2+$,!34.567)8!!!9):!34.567)*8!!!9):!;!C+!;@!@!
"#$%&!'%$(%)**+$,!-.,&/$$0!!17ChordProgression12B:Variation1$2.2+$,!34.567)!9):!34.567)*8!!9):!;!!@!C+!;@!
"#$%&!'%$(%)**+$,!-.,&/$$0!!18ChordProgression12C:AnotherVariation1$2.2+$,!34.567)!9):!34.567)*8!!9):!;!;@!C+!@!
"#$%&!'%$(%)**+$,!-.,&/$$0!!19ChordProgression13:"RhythmChanges"1$2.2+$,!34.567)8!!9):!34.567)*8!!9):!;!C+!++!@!
"#$%&!'%$(%)**+$,!-.,&/$$0!!20ChordProgression13B:!!1$2.2+$,!34.567)8!!!!9):!34.567)*8!!!9):!++!@!;!C+!
"#$%&!'%$(%)**+$,!-.,&/$$0!!21ChordProgression13C:VariationwithSecondaryDominantChords1$2.2+$,!34.567)8!!!9):!34.567)*8!!9):!;!@;EDF!;;EDF!@EDF!
"#$%&!'%$(%)**+$,!-.,&/$$0!!22ChordProgression13DAnotherVariationusingtheMajorVIChord1$2.2+$,!34.567)8!!!!9):!34.567)*!!!9):!;!@;EDF!++EDF!@EDF!
"#$%&!'%$(%)**+$,!-.,&/$$0!!24ChordProgression14:!1$2.2+$,!34.567)8!!!!9):!34.567)*8!!9):!++EDF!@EDF!;!;@!
"#$%&!'%$(%)**+$,!-.,&/$$0!!25ChordProgression14B:1$2.2+$,!34.567)8!!!!9):!34.567)*8!!9):!;!@!++!;@!
"#$%&!'%$(%)**+$,!-.,&/$$0!!26ChordProgression15:ModalProgressionusingiiandIVChords!!1$2.2+$,!34.567)8!!!9):!34.567)*8!!!9):!;!++!;@!@!
"#$%&!'%$(%)**+$,!-.,&/$$0!!27ChordProgression15B:Variation:ModalProgressionusingiiandIVChords1$2.2+$,!34.567)8!!!!9):!34.567)*8!!!9):!++!;@!;!;!
"#$%&!'%$(%)**+$,!-.,&/$$0!!28ChordProgression16:ModalProgressionwiththebVIIChord1$2.2+$,!34.567)8!!!!9):!34.567)*8!!!9):!;!/@;;!;@!;!A!AGDAB!DCGD!=$,(!34.567)*8o BornThisWaybyLadyGagao WhoAreYou(chorus)bytheWhoo RoyalsbyLorde@.%+.2+$,*8!!o GloriabyThem(I-IV-bVII)o WhatILikeAboutYoubytheRomantics(I-IV-bVII-IV)
"#$%&!'%$(%)**+$,!-.,&/$$0!!29ChordProgression17:AnotherModalProgressionwiththebVIIChord1$2.2+$,!34.567)8!!9):!34.567)*8!!9):!;!@!/@;;!;@!A!AEGD3!EBDA=$,(!34.567)*8!o NaturalWomanbyArethaFranklin(verses)o MakeYouFeelMyLovebyAdele(partoflargerphrase)
"#$%&!'%$(%)**+$,!-.,&/$$0!!30ChordProgression18:ModalProgressionwiththebVIIandIIIChord1$2.2+$,!34.567)8!!!!9):!34.567)*8!!9):!+!;;;!/@;;!+!A5!AmCGAm35!EmGDEm!!=$,(!34.567)*8!o RightRoundbyKeshao JolenebyDollyPartono Hey,Hey,HeyGoodbyebySteam
"#$%&!'%$(%)**+$,!-.,&/$$0!!31ChordProgression18B:VariationonModalProgressionwithbVIIandIIIChords1$2.2+$,!34.567)8!!!!9):!34.567)*8!!!9):!+!;;;!/@;;!;@!A5!AmCGD35!EmGDA!!=$,(!34.567)8!o RuntoYou(chorus)byBryanAdams
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