#1
Can you tell me about some chords progressions that are commonly used in music, like the 1-4-5 blues progression or 2-5-1 jazz. Also what chords would fit well in them.
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#2
It depends what kind of music you're playing, but generally a lot of popular music will revolve around the I, IV and V chords; and jazz will involve the circle of fifths, with as many modulations and passing chords as the style allows. Even within jazz, there are radically different styles, like Frank Sinatra-type standards, or up-tempo be-bop.

It's generally easier to describe the feel of a genre than objectively analyse which chord progressions it uses.
#3
When you say circle of fifths, isin't when you play a chord, and next the fifth of the chord, like C, D, A, E, ec.?
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#4
Uh ... C - G - D - A - E - B - F# etc actually.

But yeah, you could insert any part of the total IV - vii - iii - vi - ii - V - I into a jazz progression.
#5
opps.. I actully ment the way you said it...:P
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#6
Just some fun common ones... i can go into genre and things after i get some food and more time. hope that helps a bit.

I-IV
I-V
I-IV-V
I-IV-V-IV
I-V-vi-IV
I-ii-IV-V
I-ii-IV
I-vi-ii-V
I-vi-IV-V
I-vi-ii-V7-ii
IV-I-IV-V
ii-V-I

EDIT: what is a cadence?
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Last edited by 812many at Apr 26, 2008,
#7
here's a nice list from another forum...http://forums.allaboutjazz.com/

Harmonic Clichés

Learn these in all keys:

Note: For convenience of reading, all examples are in C.
All Major and minor chords can take the form of a triad, 6, 69, 7, or MA7.


Cliché Cadences

ii7, V7, I
Dm7, G7, C

ii7-5, V7-9, i
Dm7-5, G7-9, Cm

ii7, V7, i
Dm7, G7, Cm

ii7-5, V7-9, I
Dm7-5, G7-9, C

ii7, bII7 (subV7), I
Dm7, Db7, C

ii7, bII7, i
Dm7, Db7, C

ii7-5, bII7, I
Dm7-5, Db7, C

ii7-5, bII7, i
Dm7-5, Db7, Cm

bvi7, bII7, I
Abm7, Db7, C

bvi7, bII7, i
Abm7, Db7, Cm

bvi7-5, bII7, I
Abm7-5, Db7, C

bvi7-5, bII7, i
Abm7-5, Db7, Cm

bvi7, V7, I
Abm7, G7, C

bvi7, V7, i
Abm7, G7, Cm

bvi7-5, V7, I
Abm7-5, G7, C

bvi7-5, V7, i
Abm7-5, G7, Cm

IV, V, I
F, G, C

IV, V, i
F, G, Cm

iv, V, i
Fm, G, Cm

iv, V, I
Fm, G, C

ii7/iii, V7/iii, I
F#m7, B7, C

ii7/iii, V7/iii, i
F#m7, B7, Cm

ii7-5/iii, V7/iii, I
F#m7-5, B7, C

ii7-5/iii, V7/iii, i
F#m7-5, B7, Cm


Cliché Progressions

I, vi7, ii7, V7, I, IV
C, Am7, Dm7, G7, F

I, VI7 (V7/ii7), II7 (V7/V7), V7, I, IV
C, A7, D7, G7, C, F

I, #i°7, ii7, V7
C, C#o7, Dm7, G7

I, biii°7, ii7, V7
C, Ebo7, Dm7, G7

iv, iv7/bIII, ii7-5, V7-9
Fm, Fm/Eb, Dm7b5, G7b9

IV, iv7, iii7, biiio7, ii7, V7, I
F, Fm7, Em7, Ebo7, Dm7, G7, C

I, bIII, bVI, bII
C, Eb, Ab, Db

I, IV, bVII, III, VI, ii7, V7
C, F, Bb, E, A, Dm7, G7

bv7-5, iv7, iii7, biiio7, ii7, V7, I
Gbm7-5, Fm7, Em7, Ebo7, Dm7, G7

i, bII
Cm, Db

I, bII
C, Db

I, #io7, ii7, #iio7, I/3, III7, IV, #ivo7
C, C#o7, D-7, D#o7, C/E, E7, FM7, F#o7

I, ii7-5/iii7, V7/iii7, (iii7-5) ii7-5/ii7, V7/ii7, ii7-5, V7, I
C, F#m7b5, B7, Em7b5, A7, Dm7b5, G7, CM7

I, ii7-5/iii7, V7/iii7, (iv11) ii11/biii7, V7/biii7, ii11/ii11, V7/ii11, ii11/bII, V7/bII, ii11, V7, I
C, F#m7b5, B7, Fm11, Bb7, Em11, A7, Ebm11, Ab7, Dm11, G7, C

Cycle 5:
C7, F7, Bb7, Eb7, etc

Dm7, G7, C; Gm7, C7, F; Cm7, F7, BbMA7, etc.
Dm7-5

Down in MA2nds:
Dm7, G7, C; Cm7, F7, BbMA7; Bbm7, Eb7, Ab, etc.

Dm7-5, G7-9, Cm; Cm7-5, F7-9, Bbm; Bbm7-5, Eb7-9, Abm; etc.

Down in SubV7s (1/2 steps):
C7, B7, Bb7, A7, etc.

C/F#mi7-5 over C bass/FMA7 over G or F Bass/Eb/Ami7-5 over Eb bass/Dmi7/Gmi7/Ami7-5/D7-9-5/D7/Dmi7 over G bass/G7


Line Clichés (CESH, Contrapuntal Elaboration of Static Harmony)

i, iMA7, i7, i6, bVI
Cm, CmMA7, Cm7, Cm6, AbMA7

i, bVI/3rd, i6, bVI/3rd
Cm, Ab/C, Cm6, Ab/C

In the Bass Voice:
(VI7 over b2 bass) V7/II, (II7 over 1 bass) V7/V7, (V7 over leading-tone bass) V7, (I7 over b7 bass) V7/IV, etc.
A7/C#, D7/C, G7/B, C7/Bb, etc.
#8
Quote by Stash Jam
Note: For convenience of reading, all examples are in C.
So no one jumps on him, this means that major progressions will use C as the I chord, and minor progressions will use Cm as the i chord.