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Use when comparing very differently-titled roles for compensation banding, leveling, or organizational design — score each role's inherent Know-How (knowledge, skills, experience required), Problem Solving (complexity and freedom of thinking, scored as a percentage of Know-How), and Accountability (freedom to act and magnitude of impact), because job titles and informal seniority perceptions vary inconsistently across departments and don't provide a comparable basis on their own.
Use when many people request your scarce time, mentorship, or expertise and you cannot evaluate their genuine commitment level from a conversation alone — require a specific, costly, objectively verifiable unit of self-directed output (a set number of completed attempts) before engaging, because genuine commitment is what a conversation cannot reliably reveal but a completed, verifiable body of work can.
Use when deciding how to allocate a manager's or leader's limited time across competing activities — before defaulting to whatever is most urgent, estimate each candidate activity's leverage (how many people's output it affects, for how long, and whether it requires your specific position), because a manager's actual output is the output of the organization under their influence, not their own individual task completion.
基于 SOC 职业分类
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| name | design-chord-progression |
| description | Use when composing or analyzing chord progressions for a song, arrangement, or harmonic study |
| source | Piston "Harmony" (1941, rev. 1978); Berklee Online harmony curriculum; Everett "The Foundations of Rock" (2009) harmonic analysis |
| tags | ["music-theory","harmony","chord-progression","composition"] |
| verified | true |
Compose chord progressions that establish tonality, create harmonic movement, and support melodic and emotional expression.
Adopted by: Berklee College of Music (world's largest music school) uses functional harmony and Piston's framework as the core of its harmony curriculum; Everett's rock harmony analysis is the academic standard for popular music theory; all major songwriting curricula (BMI, ASCAP workshops) teach functional chord movement. Impact: Understanding functional harmony enables composers to intentionally create tension/release cycles that drive listener engagement; analysis of Billboard #1 hits shows 90%+ use I–IV–V–I or closely related functional progressions as their backbone. Why best: Chord progressions are the harmonic language that communicates emotional direction — functional harmony creates the expectation and resolution cycle that engages listeners emotionally and cognitively.
Sources: Piston "Harmony" rev. ed. (1978); Berklee Online "Harmony 1–4" curriculum; Everett "The Foundations of Rock: From 'Blue Suede Shoes' to 'Suite: Judy Blue Eyes'" (2009).
Establish the key and mode — choose a tonal center (key) and mode: major (bright, stable), natural minor (dark, melancholic), Dorian (minor with raised 6th — jazz/folk feel), Mixolydian (major with flatted 7th — rock feel), or other modes. Every chord choice is evaluated relative to this tonal center.
Map the diatonic chords — build the seven diatonic triads (or seventh chords) native to the chosen key. For C major: I(C), ii(Dm), iii(Em), IV(F), V(G), vi(Am), vii°(Bdim). These are your primary harmonic vocabulary in the key.
Understand chord function — assign each diatonic chord a function: Tonic (I, iii, vi — stable, home feeling), Subdominant/Pre-dominant (ii, IV — departure, motion building), Dominant (V, vii° — tension, strongest pull to tonic). A complete progression moves: T → PD → D → T.
Choose a progression type — select from: Authentic cadence (V→I, strongest resolution), Plagal cadence (IV→I, softer resolution, "Amen" feel), Deceptive cadence (V→vi, unexpected), Half cadence (ends on V, open/questioning). Full progressions combine these cadential gestures.
Apply common functional patterns — start with proven patterns: I–V–vi–IV (most common pop progression in major); i–VII–VI–VII (minor pop/rock); I–IV–V–I (classic blues/rock); ii–V–I (jazz). These are starting points, not templates.
Add harmonic interest with secondary dominants — a secondary dominant is a V chord applied to any diatonic chord: V/V (D7 in C major, points to G), V/ii (A7 pointing to Dm). Secondary dominants increase harmonic momentum and create brief tonicizations of other chord centers.
Apply voice leading principles — move each voice (soprano, alto, tenor, bass) in the smoothest motion possible: prefer contrary or oblique motion between bass and upper voices; avoid parallel fifths and parallel octaves; resolve tendency tones (leading tone to tonic, 7th of V7 down to 3rd of I).
Design the rhythm and pacing — decide how long each chord lasts (harmonic rhythm). Slower harmonic rhythm (one chord per bar) feels spacious; faster (multiple chords per bar) feels urgent. Syncopated harmonic rhythm (chords on off-beats) creates groove.
Consider modal mixture and borrowed chords — borrow chords from the parallel mode: in C major, use iv (Fm, from C minor), bVII (Bb, from C Mixolydian), or bVI (Ab). Modal mixture adds color and emotional depth without leaving the tonal center.
Test against a melody — play or sing a melody over the progression and evaluate: does the harmonic motion support the melodic climaxes? Are chord tones aligned with melodically important notes? Does the progression create tension and release at the right moments?
