Write Chord Progression

---
name: write-chord-progression
description: Use when composing or evaluating a chord progression for a song, section, or harmonic exercise
source: Berklee College of Music Harmony Curriculum, Mark Levine "The Jazz Theory Book", Alan Belkin "Tonal Harmony"
tags: [music, composition, harmony, chord-progression, diatonic, secondary-dominants, voice-leading]
verified: true
---

# Write Chord Progression

Construct a chord progression that serves the emotional and structural needs of a musical passage using diatonic and chromatic harmony.

## Why This Is Best Practice

**Adopted by:** Berklee's harmony curriculum, used in commercial songwriting across pop, jazz, R&B, and film scoring
**Impact:** Analysis of Billboard Hot 100 by hooktheory.com shows that I-V-vi-IV and its variants appear in over 70% of charting songs; understanding why they work enables both replication and intentional deviation

**Why best:** Effective progressions balance tension and resolution. Knowing function (tonic, subdominant, dominant) allows composers to control emotional trajectory. Secondary dominants and borrowed chords add color without losing tonal center. Random chord selection produces progressions that feel arbitrary; function-based design produces progressions that feel inevitable.

## Steps

1. **Establish the key and mode** — Choose major, natural minor, or modal (Dorian, Lydian, etc.); this determines the available diatonic chords and their functions.
2. **Identify the harmonic function needed** — Tonic (I, vi, iii) = stability; Subdominant (IV, ii) = motion; Dominant (V, vii°) = tension. Decide the emotional arc of the progression.
3. **Build the diatonic foundation** — Start with a 4-chord loop using primary functions; confirm it supports the melody and feels resolved at the endpoint.
4. **Add secondary dominants** — To tonicize any diatonic chord, precede it with its V7 (e.g., A7 → Dm in C major = V7/ii). Use sparingly; one per section is typical in pop.
5. **Consider borrowed chords** — Pull chords from the parallel minor (e.g., bVII, iv in a major key) for color. Common in rock: C major borrowing F minor or Bb.
6. **Check voice leading** — Ensure smooth voice movement between chords (see apply-voice-leading skill). Common tones should be held; leading tones should resolve up.
7. **Evaluate rhythmic placement** — Chord changes on beat 1 feel stable; changes on beat 3 or off-beat create syncopation and tension. Match rhythm to song energy.
8. **Validate against melody** — Every melody note should be a chord tone, tension, or passing tone. Avoid sustained melody notes that clash as minor 9ths against the chord.

## Rules

- Always know the harmonic function of each chord — chord choice without function awareness is guesswork.
- Dominant chords (V, V7) must resolve; unresolved dominants create ambiguity that must be intentional.
- Avoid static progressions (I → I) in sections that need forward motion; reserve static harmony for intros and outros.
- Modal progressions intentionally avoid V→I resolution; don't force resolution in modal contexts.

## Examples

Pop verse in C major: C – Am – F – G (I – vi – IV – V). Adds color: C – Am – F – G7sus4 – G7 (suspends dominant for anticipation). Borrows: C – Am – Fm – C (iv borrowed from C minor adds emotional weight before return to tonic).

## Common Mistakes

- Choosing chords by "sound" alone without functional context — produces progressions that work once but don't develop logically.
- Overusing secondary dominants — chains of secondary dominants obscure tonal center and exhaust listeners.
- Ignoring the melody — a progression that sounds great solo may clash badly with the tune.
- Never leaving I-IV-V — limits emotional range; learn borrowed chords and modal interchange to expand the palette.

## When NOT to Use

- When composing in an atonal or 12-tone system where functional harmony and tonal center are intentionally absent.
- When scoring ambient or drone-based music where static harmonic fields, not chord movement, provide the intended emotional effect.
- When the production style relies entirely on sampled loops where the harmonic content is fixed and cannot be redesigned from the chord level.