ii–V–I
The two-five-one · 2-5-1
- Dm
- G
- C
- C
Smooth and settled. Each root falls a fifth to the next, so the ear hears V coming and I arriving. With sevenths on every chord it is the sound of jazz.
Used in jazz, lo-fi, R&B, neo-soul and gospel.
R&B takes simple loops and thickens every chord with sevenths and ninths. These are the progressions the editor’s R&B, neo-soul, trap-soul and pluggnb styles start on, heard here as R&B with sevenths.
The two-five-one · 2-5-1
Smooth and settled. Each root falls a fifth to the next, so the ear hears V coming and I arriving. With sevenths on every chord it is the sound of jazz.
Used in jazz, lo-fi, R&B, neo-soul and gospel.
The R&B turn · 4-1-2-1
Warm and rocking. It starts away from home on IV, comes back, steps up to the minor ii and back again: soft, never dramatic.
Used in pluggnb, R&B and gospel.
Minor pop
Moody, but it moves: down to iv, up to VI, then a major V borrowed from the harmonic minor that pulls hard back home.
Used in sad pop, house, R&B and K-pop.
One chord a bar; a chord held for two bars is written once.
| Key | Chords |
|---|---|
| C majorA minor |
|
| D♭ majorB♭ minor |
|
| D majorB minor |
|
| E♭ majorC minor |
|
| E majorC♯ minor |
|
| F majorD minor |
|
| F♯ majorD♯ minor |
|
| G majorE minor |
|
| A♭ majorF minor |
|
| A majorF♯ minor |
|
| B♭ majorG minor |
|
| B majorG♯ minor |
|
Or pick a mood and a key in the chord progression generator.
Seventh and ninth chords on short loops: ii–V–I (Dm9, G13, Cmaj9), IV–I–ii–I, or a minor i–iv–VI–V. The loop stays simple; the chords are rich.
Yes. The Roman numerals say which notes of the key each chord is built on, so the same progression works in all 12 keys. The table above has every one, with the chords named.
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