jp-chord-progressions

name

jp-chord-progressions

description

Quick-reference library of standard Japanese chord progressions - Ōdō shinkō (royal road, 4536), Canon progression, Komuro progression, Maru-sa progression, cyclic/reverse-cyclic patterns, clichés, descending bass lines, minor two-five and 100+ more patterns, with mood tags and usage scenes. Use when the user needs a ready-made chord progression, wants to know which progression fits a given mood, or wants to identify or vary classic Japanese progressions.

Standard Japanese Chord Progression Quick-Reference Library

110+ standard progressions compiled (deduplicated and merged) from three Japanese composition textbooks:

• 《もっと！思いどおりに作曲ができる本》 (Ken Kawamura, Rittor Music), Chapter 5 progression patterns No.1–81
• 《できる ゼロからはじめる作曲 超入門》, Appendix 1 practical progressions ①–⑯ (plus glossary entries)
• 《クリエイター＆エンジニア直伝！プロの曲作りテクニック》, KOUGA's "simple chord progressions" feature, 25 patterns

How to use

• Every entry uses the uniform format: Degrees | Key=C letter example | Mood/Scene | Notes.
• Degrees are universal "jersey numbers" portable to any key (DAW transposition / guitar capo / the 12-key diatonic chord table all work).
• Notation conventions: △7 = major seventh chord; m7(♭5) = half-diminished seventh; X/Y and X(onY) are synonymous = slash chord (Y is the bass note); · = chord changes every 2 beats within one bar; ｜ = bar grouping in 8-bar patterns; % = repeat the previous bar.
• Minor-key progressions are demonstrated in Key=Am (degrees treat Am as Im).
• This file contains category navigation + the ~40 most-used progressions; the complete list (118 entries, including all clichés/pedal patterns, borrowed-chord types, 20 minor-key entries, all eight 8-bar patterns, and source numbers) is in progressions-full.md in the same directory.

Decision flow for choosing a progression

1. Decide the section first: the A section (verse) favors stability and space (I–IV–I, C–Dm–Em–F, pedal types); the B section (pre-chorus) should build anticipation (Em–F–G–Am, ascending-root types, dominant function at the end); the chorus (サビ, sabi) uses high-impact standards (4536, F–G–C–Am, Canon, Komuro).
2. Then decide bright vs. dark: straight-ahead bright → §2; bright with setsunasa (切なさ, bittersweet ache) → Ōdō 4536 / §3; thorough melancholy → §5 minor types; urbane and sophisticated → §4 / Maru-sa.
3. Loop or resolve: for a section that loops, choose progressions ending on dominant function (V/IV/V types); to close a section, choose ones landing back on tonic function (I/VIm).
4. Need individuality: lay down a standard progression first, then locally rework it with the §8 variation techniques (secondary-dominant substitution, slash chords, borrowing, two-five expansion) — most "never-heard-before" progressions are clever applications of the standards.

Quick navigation (find a category by need)

Desired effect	Where to look
J-Pop chorus impact, catchiness, "that exact sound"	§1 Famous named progressions, §2 Ōdō J-Pop types
Setsunasa (heart-wrenching/bittersweet), brightness tinged with sorrow, R&B/city pop	§3 Sentimental types
Oshare (おしゃれ, stylish/urbane), jazz, bossa, two-five	§4 Jazz/urban types
Melancholy, enka/kayōkyoku, driving minor, Spanish flavor	§5 Minor types
Inner-voice/bass-line design, intro/interlude coloring	§6 Cliché/line types
More dramatic large-scale sections, jazz-standard skeletons	§7 8-bar large-scale progressions
Rock non-diatonic, two-chord vamps, parallel sus2 motion, etc.	progressions-full.md §4

Mood reverse-lookup table

Mood tag (original "Feeling Tags")	First-choice progressions
Akarui (明るい, bright) / powerful	I–IV–V–I / F–G–C–Am / Pop-punk progression (ポップパンク進行)
Setsunai (切ない) / emoi (エモい) — heart-wrenching	Ōdō shinkō 4536 / C–E7–F–Fm / IVm types (C–Fm–C)
Hokkori (ほっこり, warm and cozy)	C–Dm–Em–F / C–Am–F–G / C–Gm7·C7–F
Oshare (おしゃれ, stylish/urban)	Maru-sa progression / ura-code (tritone-sub) progression / two-five-one / F/G dominant substitute
Melancholy / enka / kayōkyoku	Am–G–F–E / Am–Dm–E7–Am / minor two-five
Sōdai (壮大, grand, epic ballad)	C–Bm7(♭5)·E7–Am types / 8-bar Canon / descending-bass cliché
Sudden twists / complexity (急展開・複雑)	Em–F–Am–G / F–Dm–G–Em·E7 / C–B7–Em7–E♭
Danceable (ダンサブル)	F△7–E7–Am–C7 + four-on-the-floor / C7(9,13)–F7(9,13) riff

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§1 Famous named progressions (Japanese industry nicknames — must-know)

1. Ōdō shinkō (王道進行, "royal road" progression, ヨンゴーサンロク "yon-go-san-roku" = 4536)

• IV△7–V7–IIIm7–VIm7 | F△7–G7–Em7–Am7 | Bright-to-dark contrast, setsunasa, all-purpose chorus | The most-used progression in J-Pop
• The name is simply the degrees 4-5-3-6. Chords 4 and 5 are major, 3 and 6 are minor — the drop from bright to dark is exactly where the "setsunasa" comes from; alongside the Canon progression it is one of the two Kings of Japanese pop standards.
• Variants:
  • IV△7–V7–III7–VIm7 (F△7–G7–E7–Am7): III becomes a dominant seventh — stronger tearfulness and a stronger pull toward VIm.
  • IV△7–V(onIV)–IIIm7–VI7 (F△7–G/F–Em7–A7): the slash chord in bar 2 is the "kyun" (キュン, heart-skip) point.
• For the 8-bar extension see §7 (first half 4536 + second half dominant motion).

2. Canon progression (カノン進行)

• I–V–VIm–IIIm–IV–I–IIm–V | C–G–Am–Em–F–C–Dm–G | The royal road among royal roads, nostalgic and moving | Derived from Pachelbel's Canon
• The inverted form C–G/B–Am–Em/G–F–C/E–Dm–G makes the bass descend stepwise along the scale (C-B-A-G-F-E-D-G) = a bass-line cliché (ベースラインクリシェ).
• Famous songs: ZARD「負けないで」, あいみょん「マリーゴールド」, スピッツ「チェリー」, and 「ハレ晴レユカイ」 from The Melancholy of Haruhi Suzumiya.
• The 4-chord simplified form C–G–Am–Em (I–V–VIm–IIIm) is equally standard; ending Em→G loops more easily (the dominant at the end flows smoothly back to the tonic).
• For the chromaticized version (bass C–B–B♭–A–A♭–F#–G) see §6.

3. Komuro progression (小室進行, 6451)

• VIm–IV–V–I | Am–F–G–C | Minor-colored opening → stable major resolution | The sound of the 1990s J-Pop golden age
• Named after producer Tetsuya Komuro (小室哲哉), who used it extensively; it is "engraved into Japanese listeners' auditory memory" and remains common today.
• Can be seen as the pop-punk variant 6415 with the last two chords swapped; a close relative: Am–G–F–C (6541, stepwise descending bass, more lyrical).

4. Maru-sa progression (丸サ進行) / Just The Two Of Us progression (4361)

• IV–III7–VIm–I | F–E7–Am–C | Oshare, urban, emo | Synonymous with city pop / neo-soul
• Named after Ringo Sheena's 「丸の内サディスティック」 (Marunouchi Sadistic) and Grover Washington Jr.'s "Just The Two Of Us" (1980, from the album Winelight).
• E7 is the secondary dominant pointing to Am — the "emo point" (エモ・ポイント); works both as a one-shot accent and as a whole-song loop, and "almost any melody over it comes out stylish."
• The seventh-chord reinforced version F△7–E7–Am–C7 (IV△7–III7–VIm–I7) over a four-on-the-floor kick suits techno/dance.

5. Pop-punk progression (ポップパンク進行, 1564)

• I–V–VIm–IV | C–G–Am–F | Bright, powerful, universal worldwide | The Beatles "Let It Be", Frozen "Let It Go"
• Rotating the same four chords to a different starting point yields the common variants 4156 (F–C–G–Am) and 6415 (Am–F–C–G); whether the first/last chord is major or minor determines the overall bright/dark character.

6. 1-6-2-5 (イチロクニーゴー, "ichi-roku-nī-gō") / cyclic progression (循環コード, 1625)

• I–VIm–IIm–V | C–Am–Dm–G | Retro loop, section cadence | The classic cyclic progression long nicknamed "1-6-2-5"
• The seventh-chord version C–Am7–Dm7–G7 is also standard; it sounds a bit retro today, and deliberately leaning into that is a valid move.
• The second half 2→5 is the two-five (ツーファイブ): IIm is the substitute for IV, and the bass makes a strong leap up a fourth — more forceful than 4→5.
• Typical usage: loop C–Am–F–G three times, then swap in this progression once on the fourth pass to build a "trigger" into the next section.

7. Reverse cycle (逆循環, gyaku-junkan, "gyaku-jun" ギャクジュン, 2516)

• IIm–V–I–VIm | Dm–G–C–Am | Mature loop starting from the subdominant | The standard "rotated entry point" of the cyclic progression
• Key insight: it is not the chords in literal reverse order, but a two-group structure — "the motion-function group (2→5) first, the tonic-function group (1→6) last."
• Seventh-chord version Dm7–G7–C△7–Am7: it does not start on the tonic; the two-five circles back to the tonic from the opposite direction.

8. Dorikamu progression (ドリカム進行, "Dreams Come True progression")

• I△7–VIIm7–IIIm7–IIIm7(onII) | C△7–Bm7–Em7–Em7/D | Heart-wrenching but can also sound cool | The Dreams Come True progression
• Its character changes drastically with tempo and melody; the variant C△7–B7–Em7–G7 (VIIm7→VII7) is more tearful, with the final dominant seventh strengthening the return-to-tonic motion.

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§2 Ōdō J-Pop types (bright, catchy, major-key loops)

Degrees	Key=C	Mood/Scene	Notes
I–IV–V–I	C–F–G–C	Straight-ahead, simple, lyric-friendly	The "King of Kings" progression. Famous songs: 竹内まりや「元気を出して」, 湘南乃風「純恋歌」
IV–V–I–VIm	F–G–C–Am	Ace chorus opener, grand	Starting from IV easily creates strong flow toward the tonic; the "ace card" for pop choruses, also universal in dance music
IV–V–VIm–I	F–G–Am–C	Bright with a streak of setsunasa	Swept through 1990s Japanese pop; combine with the previous entry to fine-tune the amount of setsunasa
I–VIm–IV–V	C–Am–F–G	Cute, bouncy	Loop-heavy, easy fingering; example: A section of 山崎育三郎「こどもこころ」
I–IV–VIm–V	C–F–Am–G	Scene-change accent	The surprise of Am after C–F; most effective used just once at the end of a ballad bridge
I–IIIm–IIm–V	C–Em–Dm–G	Sweet-and-sour (bright yet wistful)	Simple rock feel à la スピッツ or JUDY AND MARY; good for intros
I–IIm–IIIm–IV	C–Dm–Em–F	Warm, ascending anticipation	Roots climb stepwise; loop seams are easy to manage — rotate through intro/interlude/solo
IIIm–IV–V–VIm	Em–F–G–Am	Mounting anticipation, very cool	Bass climbs stepwise; variants 4563 and 6345 ("anticipation-amplifying" progressions); swapping the first chord for C/E makes it lighter
VIm–V–IV–I	Am–G–F–C	Lyrical, flowing descent	Stepwise descending, melodic bass; frequent in recent pop, with a calm and beautiful ending
I–IIm7–IV–V7	C–Dm7–F–G7	Emotion inevitably rises	Roots ascend 1→2→4→5; extremely widely used, from verse-into-chorus to ballads and up-tempo songs

§3 Sentimental types (setsunasa, emo, R&B)

Degrees	Key=C	Mood/Scene	Notes
I–III7–IV–IVm	C–E7–F–Fm	Brightness and setsunasa coexisting	Contains two minor-borrowed notes; universal from Japanese folk to British pop
I–IVm–I	C–Fm–C	Guaranteed to yield beautiful melodies	Representative use of the subdominant minor (サブドミナントマイナー, IVm); the bass often stays on I during the IVm
I–IIIm–IV–IVm	C–Em–F–Fm	Unexpected setsunasa	Smooth semitone-like slide toward the subdominant, then the subdominant minor suddenly appears — very satisfying
IV△7–IIIm7–IIm7–I△7	F△7–Em7–Dm7–C△7	Pop/R&B standard	Famous through "Lovin' You"; inserting #IVm7(♭5) before looping back is very hip
I–V·III7–VIm–II7	C–G·E7–Am–D7	Complex feelings for a ballad	Bar 2 changes every 2 beats; Official髭男dism "Pretender" also uses this shape
I–VIIm7(♭5)·III7–VIm–v7·I	C–Bm7(♭5)·E7–Am–Gm7·C	Grand, information-dense	The sense of contrast creates grandeur; played fast it becomes the driving "gori-gori" push of 「ミックスナッツ」
I–v7·I7–IV–IIm·V	C–Gm7·C7–F–Dm·G	Warm emo	Gm7–C7 = a two-five aimed at IV; surprise plus a "mune-kyun" (heart-flutter) feeling
IIIm–VIm–II7–V	Em–Am–D7–G	A trigger into the next section	D7 is a secondary dominant; e.g. the propulsive phrase in the B section of Ringo Sheena's 「幸福論」

§4 Jazz/urban types (oshare)

Degrees	Key=C	Mood/Scene	Notes
IIm7–V7–I△7	Dm7–G7–C△7	The absolute jazz standard	Two-five-one (ツーファイブワン, 2-5-1); variant D7–G7; easy to build emotional stacking
I–#Idim–IIm7–V7	C–C#dim–Dm7–G7	Nostalgic "good old days"	Passing diminished chord (パッシングディミニッシュ); jazz swing / old-school styles. Variant: append Gaug7 at the end (the rising semitone line re→re#→mi brightens it — bossa/musical-theater flavor)
I△7–VI7–IIm7–♭II7	C△7–A7–Dm7–D♭7	Suave, seasoned (shibui 渋い)	Ura-code (裏コード, tritone substitution ♭II7) replacing G7 — the essence of jazz
I△7–II7–IV–IV(onV)	C△7–D7–F–F/G	Floating feeling	The secondary dominant II7's target V7 never arrives; F/G often replaces G7 (effectively = G7sus4(9), subtler and more refined than G7 — a city pop favorite)
IVm–♭VII(7)–I	Fm–B♭(7)–C	Coming home through the back door	Backdoor cadence (バックドアケーデンス): borrowed IVm and ♭VII7 resolving to the tonic
I△7⇄IV△7	C△7–%–F△7–%	Bossa/relaxed	An infinite two-chord loop, especially good over a bossa nova groove; reversed order is calmer and moodier

§5 Minor types (Key=Am — melancholy, drive)

Degrees	Key=Am	Mood/Scene	Notes
Im–♭VI–♭VII–Im	Am–F–G–Am	The all-purpose minor loop	Takes any melody; add9 versions are lighter — works from pop to rock
Im–IVm–V7–Im	Am–Dm–E7–Am	Heart-wrenching, moving	Replacing Vm with the harmonic/melodic-minor V7 is the most fundamental minor-key reinforcement; swap in G#dim for a hymn/classical feel
Im–♭VII–♭VI–V	Am–G–F–E	Enka / kayōkyoku / Spanish	The source of countless famous songs — the standard of standards for the Spanish (スパニッシュ) sound; the ending is guaranteed setsunasa
Im–♭VI△7–IIm7(♭5)–V7	Am–F△7–Bm7(♭5)–E7	Melancholy + driving momentum	Minor two-five (マイナー・ツーファイブ, IIm7(♭5)→V7): a chanson/jazz standard, deeply loved in Japan
Im7–IVm7–♭VII7–♭III△7	Am7–Dm7–G7–C△7	Melancholy opening → sudden clearing	Once used in the intro of a major Japanese hit; from the 2nd chord on = a two-five-one in the relative major
Im–Im△7(onVII)–Im7(on♭VII)–IV7	Am–Am△7/G#–Am7/G–D7	Heart-wrenching yet smooth	The standard minor cliché: chromatic descending root A→G#→G; used everywhere from up-tempo to ballads
Im–♭III–IV–♭VI	Am–C–D–F	Masculine + melancholy	Loops indefinitely; also works in 3/4 — western/gothic/decadent flavors

§6 Cliché/line types (inner-voice and bass design)

Degrees	Key=C	Mood/Scene	Notes
I–Iaug–I6–I7	C–Caug–C6–C7	Mysterious exhilaration	The fifth walks alone G→G#→A→B♭, drifting between major and minor colors; the all-diatonic version C–C6–C△7–C6 is bright and calm
I–I7(on♭VII)–IV(onVI)–IVm(on♭VI)	C–C7/B♭–F/A–Fm/A♭	Dramatic	Descending bass C→B♭→A→A♭; widely used from grand ballads to up-tempo songs
I–V/VII–♭VII–IV/VI–IVm/♭VI–II/#IV–IV/V	C–G/B–B♭–F/A–Fm/A♭–D/F#–F/G	Chromaticized Canon	The bass descends chromatically to the dominant; a single line collecting parallel-minor borrowing + secondary dominant + the F/G dominant substitute
I–#Im(♭5)–IIm–#IIm(♭5)–IIIm–IV–II/#IV–V	C–C#m(♭5)–Dm–D#m(♭5)–Em–F–D/F#–G	Chromatic ascent	A volley of passing diminished chords; understand C#m(♭5) as A7 with the root omitted (Dm family)
I–V(onI)–IV(onI)–V	C–G/C–F/C–G	Color shifts in place, anticipation	The representative pedal-point (root held) slash-chord pattern; swap the 4th chord for Fm/G to create "anticipation of a dramatic development" — great for intros

§7 8-bar large-scale progressions

Degrees	Key=C/Am	Mood/Scene	Notes
I–V/VII–VIm–V｜IV–I/III–IIm7–V7	C–G/B–Am–G｜F–C/E–Dm7–G7	The King of Japanese pop standards	The standard 8-bar form of the Canon progression; stepwise bass descent C-B-A-G-F-E-D-G; many upper-chord variants
IIm7–V7–I△7–IV△7｜VIIm7(♭5)–III7–VIm7–VI7	Dm7–G7–C△7–F△7｜Bm7(♭5)–E7–Am7–A7	Extremely propulsive	The circle-of-fourths progression (4度進行), from jazz standards; strong root motion throughout — excerpting a portion also works
Im–Im7/♭VII–VIm7(♭5)–♭VI△7｜IVm7(9)–♭III/V–♭VI△7–V/VII	Am–Am7/G–F#m7(♭5)–F△7｜Dm7(9)–C/E–F△7–E/G#	Shadowed gloom (翳り, kageri) and setsunasa	A large-scale minor progression the Japanese have long favored; kayōkyoku and deep blues — change the rhythm and it rocks

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§8 Variation techniques for standard progressions (turn one progression into ten)

The following techniques can be applied to any progression in this library; they are the "standard → original" pathway all three textbooks emphasize repeatedly:

1. Rotate the entry point: start the same chord set from a different chord (1564→4156→6415; 1625→2516 reverse cycle). Whether the first/last chord is major or minor determines the overall bright/dark character.
2. Seventh-ization / add9-ization: adding 7ths to all triads (Am–Dm–Em→Am7–Dm7–Em7) instantly adds a modern pop feel; add9-ization (Am–F–G→Amadd9–Fadd9–Gadd9) is lighter and softer.
3. III→III7 (secondary-dominant-ization): swapping IIIm for III7 is the fastest "naki" (泣き, tearfulness) switch (4536→45{III7}6; same in the Canon progression). A secondary dominant (A7/B7/C7/D7/E7) can be placed before any diatonic chord.
4. Slash-chord-ization (bass-line design): use inversions to make the bass move stepwise (Canon progression C–G/B–Am–Em/G…), or chromaticize it (C–G/B–B♭–F/A–Fm/A♭–D/F#–F/G); the dominant chord can be replaced with F/G (=G7sus4(9)) for a subtler, more refined sound.
5. sus4 insertion: insert Vsus4 before the V at a section's end (F→Gsus4→G) to emphasize the "chapter closed" cadence; adding it only on the final repeat also works.
6. Two-five-ization: split out IIm7 before a V (E7→Bm7(♭5)–E7; G7→Dm7–G7) for a more refined sound; the IV-directed Gm7–C7 brings a warm surprise.
7. Beat-count adjustment and splicing: a 4-bar pattern can be compressed to 2 beats per chord (the C–G·E7–Am–D7 type); pick 4-bar patterns that match your taste and splice them into 8 bars — melodies emerge naturally.
8. Parallel-key borrowing: IV→IVm, or adding ♭VI/♭VII/♭III, instantly yields setsunasa or rock grit; for aggressive examples see the full list §4.

§9 Famous-song → progression index (as recorded in the notes)

Famous song	Progression used
ZARD「負けないで」 / あいみょん「マリーゴールド」 / スピッツ「チェリー」 / 「ハレ晴レユカイ」	Canon progression (カノン進行)
The Beatles "Let It Be" / Frozen "Let It Go"	Pop-punk progression (ポップパンク進行, 1564)
竹内まりや「元気を出して」 / 湘南乃風「純恋歌」	I–IV–V–I
椎名林檎「丸の内サディスティック」 / Grover Washington Jr. "Just The Two Of Us"	Maru-sa progression (丸サ進行, F–E7–Am–C)
Minnie Riperton "Lovin' You"	F△7–Em7–Dm7–C△7
Official髭男dism「Pretender」	C–G·E7–Am–D7
Official髭男dism「ミックスナッツ」	C–Bm7(♭5)·E7–Am–Gm7·C (played fast)
椎名林檎「幸福論」(B section)	Em–Am–D7–G
荒井由実「やさしさに包まれたなら」(B section)	F–Dm–G–Em·E7
山崎育三郎「こどもこころ」(A section)	C–Am–F–G
蒼井翔太「ココに」(chorus opening)	Canon progression (カノン進行)

§10 Transposition table (major-key diatonic triads)

The degrees are always I–IIm–IIIm–IV–V–VIm–VIIm(♭5); plug the degrees of any progression in this library into the desired key.

Key	I	IIm	IIIm	IV	V	VIm	VIIm(♭5)
C	C	Dm	Em	F	G	Am	Bm(♭5)
D♭	D♭	E♭m	Fm	G♭	A♭	B♭m	Cm(♭5)
D	D	Em	F#m	G	A	Bm	C#m(♭5)
E♭	E♭	Fm	Gm	A♭	B♭	Cm	Dm(♭5)
E	E	F#m	G#m	A	B	C#m	D#m(♭5)
F	F	Gm	Am	B♭	C	Dm	Em(♭5)
F#	F#	G#m	A#m	B	C#	D#m	E#m(♭5)
G	G	Am	Bm	C	D	Em	F#m(♭5)
A♭	A♭	B♭m	Cm	D♭	E♭	Fm	Gm(♭5)
A	A	Bm	C#m	D	E	F#m	G#m(♭5)
B♭	B♭	Cm	Dm	E♭	F	Gm	Am(♭5)
B	B	C#m	D#m	E	F#	G#m	A#m(♭5)

Minor keys (based on natural minor): Im–IIm(♭5)–♭III–IVm–Vm (V major is common in practice)–♭VI–♭VII; e.g. Key=Am: Am–Bm(♭5)–C–Dm–Em/E–F–G.

Practical tips (shared wisdom across all three books)

1. Substitute-chord swapping: chords of the same function are interchangeable (T: C/Em/Am; SD: F/Dm; D: G/Bm(♭5)). G→Bm(♭5) adds poignancy, Em→G increases loopability, C→Am darkens the ending, C→Em increases complexity — changing just one chord changes the color of the story; the melody may clash, so let your ears make the final call.
2. Looping vs. resolving: to loop, put dominant function (D) at the end of the progression so it flows back to the opening tonic; to resolve, end on T. The functional flow = the "ki-shō-ten-ketsu" (intro-development-turn-conclusion) of stability (T) ⇄ instability (SD/D).
3. Secondary dominants are the first weapon for naturally introducing non-diatonic notes: A7→Dm, B7→Em, C7→F, D7→G (double dominant), E7→Am — usually used in 7th form.
4. The bass determines chord function: with the same upper chord, changing the bass note changes the whole progression (upper C triad + bass A = Am7); working backward from a bass line to the chords is also an effective composition method.
5. Top note = melody: the ear perceives the highest note as melody; redesigning the top-note line of the same progression via voicing (inversion) — "changing the voicing is itself composing."
6. The trick to introducing non-diatonic chords: find a chord sharing common tones with its neighbors (e.g. F#m7(♭5) shares C and A with F); common-tone linkage can also serve as a trigger for gradual modulation.
7. One-shot accent vs. loop: most "exotic" progressions (secondary dominants, two-fives, surprise chords) work best used exactly once at a section's end or at the moment you most want heard; looping them start-to-finish dilutes the impact.
8. Transposition: memorize all progressions by degrees; major-key diatonic chords are always I·IIm·IIIm·IV·V·VIm·VIIm(♭5) (e.g. Key=E: E–F#m–G#m–A–B–C#m–D#m(♭5)) — cross-reference the table to use any progression in any key.

Full complete list (118 entries, including all pedal/cliché types, 20 minor-key entries, borrowed/rock types, two-chord vamps, all eight 8-bar patterns, and source numbers): progressions-full.md