Any chord progression can be used for any genre unless it sounds bad for you.

 

Can't decide if I read this in the voice of Bruno or Borat.

 

Here's one article on the Math behind music, one of many from one University, and there are many other University dissertations and journal entries worldwide for anyone who wants to go on this side-topic.
Google this and it should take you to a full pdf on the thread tangent subject:
"The Math Behind the Music: Deconstructing the nature of harmonics, sound, and the music we make"

Also look up Pythagoras who is listed as the first to discover the harmonic series. Again, one of many information articles out there which explains how the cycle of fifths came into being what it is known as today. Still, it is history not about choosing a chord based on genre.
https://www.superphysics.org/research/pythagoras/life/chapter-26/

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The topic however, is Chord progressions by music genre and the above is off-topic. It is associated as are many areas of music theory, history and interrelated techniques for sure, but on a tangent only and this isn't a history thread - EXCEPT the category of "GENRE"

 

Last edited: Mar 31, 2025

What you're saying is dead right. The only problem is that they separate music from physics in colleges and universities. There are a few physics of sound courses in their curriculum, but no one takes them seriously and starts making music without considering the physical principles.

 

Videos on Chord progression by Genre as per thread title - You can all use a search engine, and if you cannot, one has to ask how you even managed to find this thread and forum.

 

The problem with these posts and their respective responses is that there's always some pedantic person claiming to know more about this or that, for this or that reason, and it's terribly unpleasant to read. It seems like everything turns into a contest over who knows more... or who has the bigger ego. Quite difficult to talk this way...

 

I am NOT biting that.

 

This thread feels posed to foster controversy.

 

There is a difference between talking to someone and talking at them. Some never learn and assume that nobody could possibly have learned as much or knows as much as they do.

 

Last edited: Mar 31, 2025

One of the best compositions has ever been written:

 

Last edited: Apr 2, 2025

Hello,
go to https://chordify.net choose or upload songs of the style you like and it shows the chord progressions.
Sudio One DAW also can show chord propgressions of songs.
Best rergards
Thomas

 

Foster is back (with at least 3 accounts)

this is a Foster Festival

 

HE IS HERE
HE IS EVERYWHERE

 

This is a good site, but there's something missing. This site is good for analysis, but it doesn't help you with how to make a song. Analyzing a few songs and trying to use their structures exactly as they are in your song doesn't make you a professional songwriter. A highly skilled songwriter must define the entire structure and essence of a song in just 10 seconds in his/her mind.

 

Feelyoursound software house produces some “genre” tools (House Engine, Trance Engine etc) that could be interesting for you, I never tried them. You can find them all on sister site.

 

Music, despite its simple name, is a very, very complex process. Those who seek chord progressions relevant to today's musical genres are seeking to simplify music. They want to find simple formulas to deal with the complexity of music that will always work for them. Great composers have never pursued blind chord progressions. If they had, they would never have been able to write great music and their work would have resembled what we do today. Music is a living, breathing being, and its motion should not be limited by chord progressions. A mistake that unfortunately almost everyone makes.

 

They are not the only primary choices by all composers.

• In quartal oriented music with pedals the pedal is not necessarily the I or the III or the V. There is a tune called 'Freedom Jazz Dance' as a very simple one of many... The root is Bb(7) but the melody goes nowhere near I,V,I except as an afterthought. Modern improvisers regularly also go nowhere near it.
• If you had a G pedal and the chords were B major, Db major and Eb major, depending on the voice leading, the intended harmonic root for the melody might not necessarily be a G, by choice, and if you wish to go into semantics, the composer might even choose to use upper extensions of the triads to indicate something else. A good composer would laugh at anyone using the roots of those triads perpetually or I,V,I.
• In a dominant chord in jazz the V is irrelevant because it does not spell out the harmony, the I,III,VII does because not only does a beginner know that the V points back to the I which makes it unnecessary doubling, it leaves the composer free to raise or flatten the fifth should they choose to and any other potential alteration or tri-tonally substitute a different chord or set of chords that have nothing to do with I,V,I other than resolution and not always to the V, it could be a half-step away or a cycle of fourths..
• They may also choose to compose symmetrically which changes that as well. Not everyone composes diatonically.
• In altered chords seeing you tried to be a smart alec - in a chord like a Db13#9 there are two tri-tones and if a composer played a I,III,V or I,V,I or an improviser did the same, they'd be laughed at and thrown out or asked to leave the stage.
• There is a John Coltrane tune from the album Giant Steps called "Spiral" - try listening to it. The I, V, I or the I,III,V would make a person look silly if that is all they played or wrote without variation.
• Ragas do not always follow the principles you mentioned so when you said all music maybe not.
• The Maqam also does not follow this principle.
• Microtonal music also does not follow this principle
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• 
  
• Nobody is bitter or angry but you have definitely shown your age and your anger, and your superiority complex.
• Some people on here , the long term members i.e., can write orchestral scores with just a pencil because they hear the entire work in their head.
• Some people on here who have not commented have incredible knowledge spanning across multiple fields of music. They may have enjoyed a discourse with you but now, I doubt it.
• NONE of us know everything and you have come across like you do.
• Do you really think you are the only person who gained relative pitch by just playing an instrument??? come on...
• Using ambiguous comments like " true in all music"" is a recipe for failure. There are always exceptions to nearly every rule in every field.
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• As such for your unnecessary comment, I am justifiably reporting this narcissistic, surreptitious, nasty boy comment.
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• When you started on here you had barely made any posts and now you are an expert on this forum? Sweep the floor with your hubris elsewhere if you want to play GOD please.
• I cannot and will not speak for everyone, but for the greater part, most of us get on pretty well. Why not try that instead.

 

Last edited: Apr 1, 2025

Not remotely, I was taught by great counterpoint teachers, one of them world recognised.
Try talking to people not at them.

Back to topic

@omiac agreed.