Pop staples, modal vamps, jazz turnarounds, neo-soul, Coltrane changes. Filter by key, tier, difficulty, and category to find the exact harmonic vocabulary you want to drill.
| Progression | Name | Key | Tier | Difficulty | Category | Example songs |
|---|---|---|---|---|---|---|
| I – I – I – I – IV – IV – I – I – V – IV – I – I | 12-bar blues | Major | T2 | D1 Beginner | Blues | Johnny B. Goode; Hound Dog |
| I – vi – IV – V | 50s / Doo-wop | Major | T1 | D1 Beginner | Pop staples | Stand By Me; Earth Angel |
| I – ii – IV – V | Ascending pop | Major | T3 | D1 Beginner | Pop staples | 70s–80s pop |
| I – IV – V – vi | Ascending resolution | Major | T3 | D1 Beginner | Pop staples | 80s pop |
| I – ii – iii – IV | Ascending scale | Major | T4 | D1 Beginner | Pop staples | Film scores; build-up sections |
| I – V – vi – IV | Axis progression | Major | T1 | D1 Beginner | Pop staples | Let It Be; Don't Stop Believin' |
| IV – I – V – vi | Axis rotation | Major | T2 | D1 Beginner | Pop staples | Umbrella; Viva La Vida |
| IV – V – vi – I | Deceptive resolution | Major | T3 | D1 Beginner | Pop staples | Avoiding predictable I landing |
| V – vi – IV – I | Deceptive start | Major | T4 | D1 Beginner | Pop staples | Bridge sections |
| I – vi – V – IV | Descending major | Major | T4 | D1 Beginner | Pop staples | 1950s–60s pop |
| I – iii – vi – IV | Descending mediant | Major | T3 | D1 Beginner | Pop staples | Eternal Flame; pop ballads |
| I – vi – iii – IV | Descending thirds | Major | T4 | D1 Beginner | Pop staples | Blackbird; Tears In Heaven |
| I – IV – vi – ii | Extended plagal | Major | T4 | D1 Beginner | Pop staples | Singer-songwriter |
| I – vi – IV – V – I | Full 50s phrase | Major | T4 | D1 Beginner | Pop staples | Complete doo-wop phrase |
| I – IV – V – I | Full authentic cadence | Major | T3 | D1 Beginner | Pop staples | Folk; country; hymns |
| I – IV – V – IV | Good Love / circular | Major | T2 | D1 Beginner | Classic rock | La Grange; blues-rock vamps |
| I – iii – V – IV | Mediant-to-dominant | Major | T3 | D1 Beginner | Pop staples | Varied pop/rock |
| i – iv – i – V | Minor blues | Minor | T3 | D1 Beginner | Blues | Minor-key blues |
| i – ♭III – iv | Minor puff | Minor | T3 | D1 Beginner | Minor diatonic | Telephone (Lady Gaga) |
| i – iv – V | Minor with dominant | Minor | T2 | D1 Beginner | Minor diatonic | Miserlou; My Way; Summertime |
| I – vi – IV – ii | Modified doo-wop | Major | T3 | D1 Beginner | Pop staples | 1960s pop |
| I – IV – vi – V | More Than A Feeling | Major | T1 | D1 Beginner | Pop staples | More Than A Feeling; Mr. Brightside |
| I – V – vi – iii – IV | Pachelbel / Canon | Major | T2 | D1 Beginner | Pop staples | Can't Help Falling In Love; Enchanted |
| I – ii – IV – I | Passing supertonic loop | Major | T4 | D1 Beginner | Pop staples | Folk and country |
| IV – V – I | Plagal + dominant | Major | T2 | D1 Beginner | Pop staples | Hymns; folk; bridge sections |
| I – IV – I – V | Quick-change blues | Major | T3 | D1 Beginner | Blues | Blues-rock songs |
| I – V – IV | Rock reverse | Major | T1 | D1 Beginner | Classic rock | Sweet Home Alabama; Hey Joe |
| vi – IV – I – V | Sensitive / minor feel | Major | T1 | D1 Beginner | Pop staples | One Of Us; Africa (Toto) |
| I – iii – IV – V | Stepwise mediant | Major | T2 | D1 Beginner | Pop staples | Knockin' On Heaven's Door |
| I – V – ii – IV | Substituted Axis | Major | T3 | D1 Beginner | Pop staples | Just Like Heaven; All Star |
| I – IV – V | Three-chord trick | Major | T1 | D1 Beginner | Pop staples | La Bamba; Wild Thing |
| i – ♭VII – ♭VI – ♭VII | Aeolian shuttle | Minor | T3 | D2 Easy | Minor diatonic | In The Air Tonight; Watchtower (verse) |
| i – v – iv – ♭VII | All-minor variant | Minor | T4 | D2 Easy | Minor diatonic | Heavier minor rock |
| I – V – IV – V | Alternating dominant | Major | T4 | D2 Easy | Classic rock | Classic rock swapping |
| i – V – iv – V | Alternating minor | Minor | T4 | D2 Easy | Minor diatonic | Flamenco-influenced rock |
| Isus2 – V – visus2 – IV | Ambient suspended | Major | T3 | D2 Easy | Suspended & add | Coldplay; U2 style |
| i – ♭VII – ♭VI – V | Andalusian cadence | Minor | T1 | D2 Easy | Minor diatonic | Stairway (intro); Good Vibrations |
| I – IV – ♭VII – IV | Arch / Mixolydian | Major | T2 | D2 Easy | Modal / Mixolydian | American Idiot; Let's Go Crazy |
| I – V – vi – IV – V | Axis + resolution | Major | T4 | D2 Easy | Pop staples | Longer Axis variants |
| I – V – vi – ii | Axis with supertonic | Major | T4 | D2 Easy | Pop staples | Indie/pop variants |
| I7 – IV7 – V7 | Blues with dominant 7ths | Major | T2 | D2 Easy | Blues | Chuck Berry; rock and roll piano |
| i – IV7 | Borrowed IV7 in minor | Minor | T3 | D2 Easy | Chromatic & borrowed | Minor-key soul; Dorian color |
| I – iv7 – I | Borrowed minor subdominant | Major | T3 | D2 Easy | Chromatic & borrowed | Hey Jude; In My Life (Beatles) |
| I – vi – ♭VII – IV | Borrowed submediant | Major | T3 | D2 Easy | Chromatic & borrowed | Creep (verse); What's Up |
| I – IV – V – vi – IV | Extended pop | Major | T5 | D2 Easy | Pop staples | Modern pop extensions |
| i – ♭VI – ♭III – iv | Full minor diatonic | Minor | T4 | D2 Easy | Minor diatonic | Darker minor ballads |
| I – V – IV – IV | Hanging subdominant | Major | T4 | D2 Easy | Classic rock | Rock with suspended feel |
| i – ♭III – ♭VII – ♭VI | Minor aeolian | Minor | T3 | D2 Easy | Minor diatonic | Sweet Dreams (Eurythmics); 7 Nation Army |
| i – v – ♭VI – ♭VII | Minor ascent | Minor | T2 | D2 Easy | Minor diatonic | Somebody That I Used To Know (verse) |
| i – ♭VII – iv – V | Minor climax | Minor | T5 | D2 Easy | Minor diatonic | Minor key anthems |
| i – ♭VII – ♭III – ♭VI | Minor descending | Minor | T4 | D2 Easy | Minor diatonic | Epic minor songs |
| i – ♭III – iv – V | Minor leading dominant | Minor | T5 | D2 Easy | Minor diatonic | Minor key drama |
| i – ♭VII – iv – i | Minor plagal | Minor | T3 | D2 Easy | Minor diatonic | Smooth Criminal; Immigrant Song |
| i – ♭VI – ♭III – ♭VII | Minor pop | Minor | T1 | D2 Easy | Minor diatonic | Numb; Poker Face; Rolling In The Deep |
| i – ♭VI – iv – V | Minor subdominant | Minor | T3 | D2 Easy | Minor diatonic | Minor ballads; Genie In A Bottle |
| i – iv – ♭VI – V | Minor with ♭VI | Minor | T4 | D2 Easy | Minor diatonic | Minor key pop with uplift |
| i – ♭III – ♭VII – iv | Minor with ♭VII | Minor | T4 | D2 Easy | Minor diatonic | Gothic rock; dark pop |
| I – ♭VII – I | Mixolydian drone | Major | T2 | D2 Easy | Modal / Mixolydian | Bo Diddley beat; rock vamps |
| I – ♭VII – IV – I | Mixolydian rock vamp | Major | T2 | D2 Easy | Modal / Mixolydian | Hey Jude; American Woman |
| i – iv – ♭VII – ♭III | Natural minor | Minor | T2 | D2 Easy | Minor diatonic | House Of The Rising Sun; Eleanor Rigby |
| I – V – ♭VII – IV | Pentatonic rock | Major | T3 | D2 Easy | Chromatic & borrowed | Lay Lady Lay; Natural Woman |
| i – ♭VI – ♭VII – i | Short minor loop | Minor | T2 | D2 Easy | Minor diatonic | All Along The Watchtower; Behind Blue Eyes |
| Isus4 – I – IVsus4 – IV | Sus4 resolution | Major | T3 | D2 Easy | Suspended & add | The Who; rock intros |
| I – Isus2 – I – IV | Suspended second texture | Major | T3 | D2 Easy | Suspended & add | Wonderwall; ambient pop |
| ii – IV – V | Three-chord minor feel | Major | T3 | D2 Easy | ii–V–I variants | Purple Haze context; Iron Man context |
| Imaj7 – Vmaj7 – vi7 – IVmaj7 | 7th-chord Axis | Major | T3 | D3 Intermediate | 7th-chord pop/rock | Sophisticated pop; smooth R&B |
| Imaj7 – vi7 – IVmaj7 – V7 | 7th-chord I–vi–IV–V | Major | T2 | D3 Intermediate | 7th-chord pop/rock | 50s feel with seventh warmth |
| i7 – ♭VII7 – ♭VImaj7 – ♭VII7 | Aeolian modal shuttle | Modal | T3 | D3 Intermediate | Modal vamps | Stairway extended; modal rock |
| i – ♭VII – ♭VI – iv | All-minor aeolian | Minor | T5 | D3 Intermediate | Minor diatonic | Darker aeolian rock |
| Iadd9 – Vadd9 – viadd9 – IVadd9 | Axis with add9 | Major | T3 | D3 Intermediate | Suspended & add | John Mayer; Ed Sheeran style |
| ii7 – V7 – Imaj7 | Basic jazz ii–V–I | Major | T2 | D3 Intermediate | ii–V–I variants | Autumn Leaves; Cry Me A River |
| I – IV – V – ♭VII | Blues exit | Major | T4 | D3 Intermediate | Blues | Hard rock outros |
| I – iii – IV – iv | Chromatic mediant | Major | T3 | D3 Intermediate | Chromatic & borrowed | Something (Beatles); Let Her Go |
| V7sus4 – V7 – Imaj7 | Classic sus4 resolve | Major | T3 | D3 Intermediate | Suspended & add | Riders On The Storm; soul |
| Imaj7 – iii7 – vi7 – IV7 | Descending 7th diatonic | Major | T3 | D3 Intermediate | 7th-chord pop/rock | Sophisticated pop ballads |
| I – IV – ♭VII – ♭VI | Descending blues-rock | Major | T4 | D3 Intermediate | Chromatic & borrowed | Hard rock |
| i7 – II7 | Dorian modal vamp | Modal | T3 | D3 Intermediate | Modal vamps | So What (Miles Davis) |
| i7 – IV9 – i7 | Dorian vamp with IV extension | Modal | T3 | D3 Intermediate | Modal vamps | Mercy Mercy Mercy; soul-jazz |
| i7 – IV7 | Dorian with major IV7 | Modal | T3 | D3 Intermediate | Modal vamps | Oye Como Va; Evil Ways (Santana) |
| I – IV – ii – V | Extended tonic | Major | T2 | D3 Intermediate | Turnarounds & cycles | Jazz-pop pieces |
| Imaj7 – iii7 – IVmaj7 – V7sus4 | Gospel feel | Major | T3 | D3 Intermediate | R&B / Neo-soul | Kirk Franklin; gospel ballads |
| IV – ♭VII – I – I | Inverted approach | Major | T5 | D3 Intermediate | Modal / Mixolydian | Unusual openings |
| I7 – IV7 – I7 – IV7 – IV7 – I7 – VI7 – II7 – V7 – I7 – V7 | Jazz 12-bar blues | Major | T2 | D3 Intermediate | Blues | Now's The Time; Billie's Bounce |
| ii – V – I | Jazz ii–V–I (triads) | Major | T2 | D3 Intermediate | ii–V–I variants | Jazz standards (triad form) |
| Imaj7 – vi7 – ii7 – V7 | Jazz turnaround | Major | T2 | D3 Intermediate | Turnarounds & cycles | So Many Stars; jazz ballads |
| I – vi – ii – V | Jazz-pop turnaround | Major | T2 | D3 Intermediate | Turnarounds & cycles | Heart And Soul; jazz standards |
| I – II – IV – I | Lydian cadence | Major | T2 | D3 Intermediate | Modal / Mixolydian | Eight Days A Week; Harvest (Neil Young) |
| Imaj7 – IImaj7 | Lydian whole-step vamp | Modal | T3 | D3 Intermediate | Modal vamps | Impressions; modal jazz |
| I – ♭IIImaj7 – IV – V | Major with flat mediant | Major | T4 | D3 Intermediate | Chromatic & borrowed | Riders On The Storm key areas |
| I – V – ♭VI – IV | Major with ♭VI | Major | T5 | D3 Intermediate | Chromatic & borrowed | Borrowed ♭VI in major |
| i – iv – ♭VI – ♭III | Minor circular | Minor | T4 | D3 Intermediate | Minor diatonic | Pop and rock minor loops |
| iiø7 – V7 – i | Minor ii–V–i (half-dim) | Minor | T3 | D3 Intermediate | ii–V–I variants | Autumn Leaves (minor); minor standards |
| i – ♭VI – ♭VII – ♭III | Minor modal ascending | Minor | T4 | D3 Intermediate | Minor diatonic | Epic minor rock |
| i – ♭VI – ♭VII – ♭VI | Minor oscillation | Minor | T5 | D3 Intermediate | Minor diatonic | Moody minor rock |
| i7 – ♭VImaj7 – ♭IIImaj7 – ♭VII7 | Minor pop with 7ths | Minor | T3 | D3 Intermediate | 7th-chord pop/rock | The Weeknd; Khalid; indie R&B |
| vi7 – IV7 – Imaj7 – V7 | Minor start with 7ths | Major | T3 | D3 Intermediate | 7th-chord pop/rock | Adele; Taylor Swift ballad style |
| I – IV – iv7 – I | Minor subdominant color | Major | T3 | D3 Intermediate | Chromatic & borrowed | Let It Be (bridge); Something |
| i7 – iv7 – ♭VII7 – ♭IIImaj7 | Minor with 7ths | Minor | T3 | D3 Intermediate | 7th-chord pop/rock | Radiohead; Elliott Smith |
| i – v – ♭VII – ♭VI | Minor with ♭VII | Minor | T5 | D3 Intermediate | Minor diatonic | Epic ballads |
| I – IV – ♭VII – I | Mixolydian arch | Major | T5 | D3 Intermediate | Modal / Mixolydian | Rock anthems |
| I7 – ♭VII7 – I7 | Mixolydian oscillation | Modal | T3 | D3 Intermediate | Modal vamps | Norwegian Wood; Hey Joe variants |
| Imaj7 – ♭VII7 – IVmaj7 – I | Mixolydian with 7ths | Major | T3 | D3 Intermediate | 7th-chord pop/rock | Beatles; classic rock with jazz color |
| I – ii – V – I | Passing supertonic | Major | T3 | D3 Intermediate | Turnarounds & cycles | Jazz-pop interludes |
| I – IV/V – V – I | Pedal-bass subdominant | Major | T3 | D3 Intermediate | Suspended & add | Gospel; barbershop |
| i – ♭IImaj7 – i | Phrygian half-step color | Minor | T4 | D3 Intermediate | Chromatic & borrowed | Flamenco rock; drama |
| Imaj7 – VI7 – II7 – V7 | Rhythm changes A section | Major | T2 | D3 Intermediate | Turnarounds & cycles | I Got Rhythm; bebop heads |
| I7sus4 – ♭VII – IV – I | Rock sus vamp | Major | T4 | D3 Intermediate | Suspended & add | Black Sabbath style; heavy rock |
| I – II7 – V7 – I | Secondary dominant II | Major | T3 | D3 Intermediate | Chromatic & borrowed | Doo-wop; barbershop |
| I – VI7 – ii7 – V7 | Secondary dominant chain | Major | T3 | D3 Intermediate | Chromatic & borrowed | Fly Me To The Moon; Sinatra |
| I – III7 – vi | Secondary dominant to vi | Major | T3 | D3 Intermediate | Chromatic & borrowed | The Long And Winding Road |
| I7sus4 – I7 – IVmaj9 | Soul dominant resolve | Major | T3 | D3 Intermediate | R&B / Neo-soul | Earth Wind & Fire; Stevie Wonder |
| I – IV/vi – V – I | Subdominant inversion | Major | T5 | D3 Intermediate | Pop staples | IV first inversion |
| I – vi – ♭VII – I | Submediant to ♭VII | Major | T5 | D3 Intermediate | Chromatic & borrowed | Alternative pop |
| ii7 – V7sus4 – V7 – Imaj7 | Suspended dominant resolution | Major | T3 | D3 Intermediate | ii–V–I variants | Gospel; neo-soul; jazz ballads |
| Imaj7 – I7 – IVmaj7 – iv7 | Tonic to blues shift | Major | T3 | D3 Intermediate | 7th-chord pop/rock | Georgia On My Mind; blues ballads |
| vi7 – ii7 – V7 – Imaj7 | ii–V–I with vi lead-in | Major | T3 | D3 Intermediate | Turnarounds & cycles | Turnarounds in jazz standards |
| I9 – ♭VII9 – IV9 – V9 | 9th-chord pentatonic rock | Major | T4 | D4 Upper-inter. | 7th-chord pop/rock | Stevie Ray Vaughan; blues-rock |
| ♭VII – IV – I | Backdoor turnaround | Major | T4 | D4 Upper-inter. | Modal / Mixolydian | Jazz-rock endings |
| I – IV – ♭III – IV | Blues chromatic | Major | T4 | D4 Upper-inter. | Blues | Bluesy rock riffs |
| I – IV – ii – ♭VII | Blues substitution | Major | T4 | D4 Upper-inter. | Blues | Jazz-blues hybrids |
| I – ♭VI – ♭VII – I | Borrowed chord loop | Major | T2 | D4 Upper-inter. | Chromatic & borrowed | Creep (bridge); Take On Me |
| I – ♭VI – IV – V | Borrowed ♭VI | Major | T3 | D4 Upper-inter. | Chromatic & borrowed | A Forest (The Cure); Zelda theme |
| Imaj7 – Imaj7/III – IVmaj7 – IVm/♭VI | Chromatic bass with iv | Major | T4 | D4 Upper-inter. | Suspended & add | Beatles-influenced; descending bass |
| iii7 – ♭IIImaj7 – ii7 – ♭IImaj7 | Chromatic descending 7ths | Major | T4 | D4 Upper-inter. | 7th-chord pop/rock | Film scoring; lush pop outros |
| I – iii – ii – V | Chromatic descent | Major | T4 | D4 Upper-inter. | Turnarounds & cycles | Sophisticated pop |
| I – ♭VImaj7 – ♭IImaj7 – V7 | Chromatic mediant chain | Major | T4 | D4 Upper-inter. | Chromatic & borrowed | Film scores; dark pop |
| Imaj7 – ♭VImaj7 – ♭IIImaj7 – ♭VII7 | Descending borrowed loop | Major | T4 | D4 Upper-inter. | Chromatic & borrowed | Alt-rock; post-grunge |
| Imaj7 – IVmaj7 – viiø7 – iii7 | Diatonic 7th chord run | Major | T4 | D4 Upper-inter. | 7th-chord pop/rock | Jazz-influenced singer-songwriter |
| ♭II7 – Imaj7 | Direct Neapolitan resolve | Major | T4 | D4 Upper-inter. | Chromatic & borrowed | Jazz; film scoring; surprise cadence |
| I – V – vi – IV – ii – V | Extended Axis | Major | T3 | D4 Upper-inter. | Turnarounds & cycles | Extended pop progressions |
| I9 – IV9 – I9 – V9 – IV9 – I9 | Extended funk blues | Major | T3 | D4 Upper-inter. | R&B / Neo-soul | Superstition (Stevie Wonder) |
| ii9 – V13 – Imaj9 | Extended ii–V–I | Major | T3 | D4 Upper-inter. | ii–V–I variants | Blue Bossa; neo-soul ballads |
| ii7 – IV7 – ♭VII7 – I | Extended rock cadence | Major | T4 | D4 Upper-inter. | 7th-chord pop/rock | Classic rock with jazz voice leading |
| I – iii/iii – IV – V | First inversion mediant | Major | T5 | D4 Upper-inter. | Pop staples | Smooth bass lines |
| I – ♭VI7 – ♭II7 – V7 – I | Full chromatic approach | Major | T4 | D4 Upper-inter. | Chromatic & borrowed | Jazz-pop; film noir |
| IVadd9 – I – Vsus4 – vi | Inverted add9 loop | Major | T4 | D4 Upper-inter. | Suspended & add | Post-Britpop; indie rock |
| Imaj7 – II9 – Imaj7 | Lydian II oscillation | Modal | T4 | D4 Upper-inter. | Modal vamps | Misty; atmospheric jazz |
| I – II – V – I | Lydian secondary dominant | Major | T5 | D4 Upper-inter. | Turnarounds & cycles | Lifted, brighter pop |
| I – ♭IIImaj7 – ♭VImaj7 – I | Major 3rd descending | Major | T4 | D4 Upper-inter. | Chromatic & borrowed | Jimi Hendrix style; heavy rock |
| I – ♭VII – ♭VI – ♭VII | Major Aeolian shuttle | Major | T5 | D4 Upper-inter. | Modal / Mixolydian | Wall of sound rock |
| I – ♭VII – ♭VI – V | Major Andalusian | Major | T4 | D4 Upper-inter. | Chromatic & borrowed | Borrowed Andalusian in major |
| I – ♭III – IV – I | Major with ♭III | Major | T4 | D4 Upper-inter. | Chromatic & borrowed | Blues-flavored rock |
| imaj9 – ♭VImaj9 – ♭IIImaj9 – ♭VII9 | Minor neo-soul loop | Minor | T3 | D4 Upper-inter. | R&B / Neo-soul | The Weeknd; SZA |
| i7sus4 – ♭VImaj9 – ♭IIIadd9 – ♭VII9 | Minor suspended loop | Minor | T4 | D4 Upper-inter. | Suspended & add | Moody atmospheric R&B |
| I – ♭VII – IV – V | Mixolydian cadence | Major | T4 | D4 Upper-inter. | Modal / Mixolydian | Rock and alternative |
| i – iv7 – ♭IImaj7 – V7 | Neapolitan minor cadence | Minor | T4 | D4 Upper-inter. | Chromatic & borrowed | Classical influence; dramatic |
| Imaj7 – ♭IImaj7 – Imaj7 | Neapolitan oscillation | Major | T4 | D4 Upper-inter. | Chromatic & borrowed | Modern jazz; chromatic pop |
| I – ♭VI – V – I | Neapolitan-style | Major | T4 | D4 Upper-inter. | Chromatic & borrowed | Dark pop; film scores |
| i7 – ♭IImaj7 – i7 | Phrygian color chord | Modal | T4 | D4 Upper-inter. | Modal vamps | Phrygian jazz; flamenco jazz |
| i7 – ♭IImaj7 | Phrygian half-step | Modal | T4 | D4 Upper-inter. | Modal vamps | Flamenco jazz; A Love Supreme |
| I – IV – ♭VI – ♭VII | Pop-punk mix | Major | T3 | D4 Upper-inter. | Chromatic & borrowed | Pop-punk songs |
| I – VI – II – V | Secondary dominant chain | Major | T3 | D4 Upper-inter. | Turnarounds & cycles | Jazz-influenced pop |
| I – V7/V – V7 – I | Secondary dominant of V | Major | T4 | D4 Upper-inter. | Chromatic & borrowed | Classical-influenced pop |
| Imaj7 – ♭VII9 – ♭VImaj9 – V13 | Soul ballad descent | Major | T3 | D4 Upper-inter. | R&B / Neo-soul | Luther Vandross; Whitney Houston style |
| I7 – ♭VI7 – ♭II7 – V7 | Soul changes | Major | T4 | D4 Upper-inter. | R&B / Neo-soul | R&B; soul; Motown chromatic |
| ii7 – iii7 – IVmaj7 – V7 | Stepwise ascending 7ths | Major | T4 | D4 Upper-inter. | 7th-chord pop/rock | Film scores; orchestral pop |
| ii7sus4 – V7 – Imaj7 | Suspended supertonic | Major | T4 | D4 Upper-inter. | Suspended & add | Jazz-influenced pop |
| I – ♭VImaj7 – ♭IImaj7 – I | Symmetric chromatic mediant | Major | T4 | D4 Upper-inter. | Chromatic & borrowed | Neo-Romantic pop; film scores |
| I/iii – IV – V – I | Tonic first inversion | Major | T5 | D4 Upper-inter. | Pop staples | Descending bass lines |
| I – ♯IVø7 – V7 | Tritone passing dim7 | Major | T4 | D4 Upper-inter. | Chromatic & borrowed | Classical-jazz; passing color |
| ii7 – ♭II7 – Imaj7 | Tritone substitution | Major | T3 | D4 Upper-inter. | ii–V–I variants | All The Things You Are; bebop |
| Imaj7 – Imaj7/VII – IVmaj7 – V7 | Walking bass maj7 | Major | T4 | D4 Upper-inter. | R&B / Neo-soul | Bossa nova; jazz ballads |
| ii7 – V7alt – Imaj7 | Altered dominant ii–V–I | Major | T4 | D5 Advanced | ii–V–I variants | Bebop; post-bop standards |
| Imaj7 – Imaj7/III – IVmaj9 – V13 | Ascending bass maj7 | Major | T4 | D5 Advanced | 7th-chord pop/rock | Smooth jazz; bossa pop |
| Imaj13 – vi7 – ii9 – V13 | Big band turnaround | Major | T4 | D5 Advanced | R&B / Neo-soul | Sinatra arrangements; big band |
| I – ♭III – ♭VI – ♭VII | Borrowed chromatic | Major | T5 | D5 Advanced | Chromatic & borrowed | Post-grunge; heavy alternative |
| vi7 – ♭VI7 – V7 – Imaj7 | Chromatic approach to V | Major | T4 | D5 Advanced | Turnarounds & cycles | Jazz ballads; lush endings |
| I – V/vii – vi – IV | Chromatic bass descent | Major | T5 | D5 Advanced | Chromatic & borrowed | Smooth voice leading |
| iii7 – VI7 – ii7 – V7 – Imaj7 | Circle of 5ths approach | Major | T3 | D5 Advanced | Turnarounds & cycles | Rhythm changes; jazz standards |
| Imaj7 – ♭VII7 – ♭IIImaj7 – ♭VImaj7 | Descending major 3rds | Major | T4 | D5 Advanced | Coltrane / advanced | Giant Steps context |
| I – ♭VII – ♭VI – ♭VII – I | Flanking aeolian | Major | T5 | D5 Advanced | Modal / Mixolydian | Atmospheric rock |
| Imaj7 – vi9 – ii9 – V7alt – Imaj9 | Jazz-pop extended turnaround | Major | T4 | D5 Advanced | 7th-chord pop/rock | John Legend; Jamie Cullum |
| Imaj9 – V9sus4 – vi9 – IVmaj9 | Lush Axis with extensions | Major | T3 | D5 Advanced | R&B / Neo-soul | Modern pop-jazz; John Mayer |
| ii9 – V7♯11 – Imaj9 | Lydian dominant resolution | Major | T4 | D5 Advanced | ii–V–I variants | Jazz fusion; Herbie Hancock |
| imaj9 – ♭VII9 – ♭VImaj9 – V13 | Minor ballad with extensions | Minor | T3 | D5 Advanced | 7th-chord pop/rock | Coldplay later albums; indie-soul |
| i9 – IV9 – ♭VII9 – ♭III9 | Minor funk vamp | Minor | T3 | D5 Advanced | R&B / Neo-soul | P-Funk; Give It Away context |
| iiø7 – V7♭9 – i | Minor ii–V–i, altered dominant | Minor | T4 | D5 Advanced | ii–V–I variants | Dramatic minor jazz cadences |
| i9 – ♭VImaj9 – ♭III9 – ♭VII9 | Minor loop full extensions | Minor | T3 | D5 Advanced | 7th-chord pop/rock | Electronic R&B; lo-fi hip hop |
| imaj9 – iv9 – ♭VII9 – ♭IIImaj7 | Minor soul loop | Minor | T4 | D5 Advanced | R&B / Neo-soul | Smokey Robinson; quiet storm |
| i7 – ♭VImaj9 – ♭IIImaj9 – V13 | Minor to dominant arc | Minor | T4 | D5 Advanced | R&B / Neo-soul | Jhené Aiko; Anderson .Paak |
| I – ♭VI – ♭III – IV | Mixed borrowed | Major | T5 | D5 Advanced | Chromatic & borrowed | Alternative rock |
| Imaj9 – iii7 – vi9 – ii9 – V13 | Neo-soul 5-chord run | Major | T3 | D5 Advanced | R&B / Neo-soul | D'Angelo; Erykah Badu; Frank Ocean |
| I – ♭VI – ii – V | Neo-soul hybrid | Major | T5 | D5 Advanced | Chromatic & borrowed | R&B; neo-soul |
| ii9 – ♭IImaj7 – Imaj9 | Smooth tritone resolution | Major | T4 | D5 Advanced | R&B / Neo-soul | Smooth jazz; neo-soul |
| I – II/IV – V – I | Subdominant pedal bass | Major | T5 | D5 Advanced | Turnarounds & cycles | Gospel-influenced pop |
| iii7 – VI7 – ii7 – ♭II7 – Imaj7 | Tritone sub in circle | Major | T4 | D5 Advanced | Turnarounds & cycles | Bebop turnarounds |
| Imaj7 – III7 – ♭VImaj7 – ♭II7 – Imaj7 | Coltrane substitution | Major | T4 | D6 Expert | Coltrane / advanced | Giant Steps; Countdown (Coltrane) |
| ii11 – V13 – Imaj9 | Extended full resolution | Major | T4 | D6 Expert | Suspended & add | Sophisticated pop; bossa |
| Imaj13 – IVmaj13 – viiø7 – III7 – vi13 – ii13 – V13 – Imaj13 | Full diatonic 7th chord cycle | Major | T5 | D6 Expert | 7th-chord pop/rock | Jazz pedagogy; diatonic sweep |
| V13sus4 – V13 – Imaj9 | Full dominant sus-resolve | Major | T5 | D6 Expert | Suspended & add | Jazz ballad endings |
| I – IV7 – ♭VII7 – ♭IIImaj7 – ♭VImaj7 – iim7♭5 – V7alt – I | Full jazz cadenza | Major | T5 | D6 Expert | Coltrane / advanced | Jazz recaps; sophisticated bridges |
| i – iim7♭5 – V7♭9 – i | Full minor cadence | Minor | T4 | D6 Expert | Chromatic & borrowed | Classical minor; flamenco jazz |
| ii7 – V7♭9♯5 – Imaj7 – (alt) | Fully altered (alt voicing) | Major | T5 | D6 Expert | ii–V–I variants | Post-bop; experimental jazz |
| ii7 – V7♭9♯5 – Imaj7 | Fully altered dominant | Major | T5 | D6 Expert | ii–V–I variants | Bill Evans style; post-bop |
| I7 – IV9 – ♭VII9 – iii7 – vi7 – ii7 – V13 – I | Long jazz-blues cadence | Major | T5 | D6 Expert | 7th-chord pop/rock | Full jazz recapitulation |
| Imaj7(♯11) – Imaj7 | Lydian resolve to tonic | Modal | T5 | D6 Expert | Modal vamps | Herbie Hancock; Lydian modal |
| Imaj9(♯11) – ♭VIImaj9 – Imaj9 | Lydian–Mixolydian color | Modal | T5 | D6 Expert | Suspended & add | Film scores; jazz-fusion |
| I9 – ♭III9 – ♭VI9 – ♭II9 – I9 | Neo-soul symmetric | Major | T5 | D6 Expert | R&B / Neo-soul | Robert Glasper; jazz-hip-hop |
| i9 – ♭IImaj7(♯11) – Imaj9 | Phrygian to Lydian | Minor | T5 | D6 Expert | Suspended & add | Advanced neo-soul; jazz |
| Imaj9 – ♭IIImaj9 – ♭VImaj9 – ♭IImaj9 | Symmetric major 3rds cycle | Major | T5 | D6 Expert | Coltrane / advanced | Coltrane changes; prog jazz |