Based on four to five harmony progression sequences, for long sequences, two or three chord sequences connected in the middle can be intercepted to form a small sequence memory, which is also applicable.

If it is a column chord connection, pay attention to the way the chords are connected: ***The same tone is maintained, and other notes move to the nearest note

For major keys:

Functional group:

Main functional group T: I (135)? III (357)? VI (613)

Subordinate functional group S: IV (461)? II ( 246)? VI (613)

Belongs to functional group D: V (572)? VII (724) III (357), VII is basically not used

The rules of substitution between chords

Sequence 1: 1645

Change 1: 1345

Level three replaces level six because they belong to the same functional group (main functional group)

Change 2: 1625

2 replaces 4 because they belong to the same functional group (subordinate functional group)

Change 3: 1325

Multiple substitutions, 3 for 6, 2 for 4

Sequence 2: 2516

Simply add 16 of 1625 to the back of 25 to form

Generally used at the beginning of music, and the melody starts with an incomplete downbeat

Sequence 3: 4321

Generally used at the beginning of music, and usually in the form of seventh chords

Change 1: 43 (25) 1

Change 2: 4343

Sequence 4: 6451

Shift 1645 again, 1 runs to the end Face

Generally used at the beginning of music, and the melody starts with an incomplete downbeat

Sequence 5: 13654325

Level 3 is a fourth-sixth chord, and the bass is 7 , a continuous descending scale from 1 to 2, a feeling of sadness

Sequence 6: 42351

Sequence 7: 1563414 (or 2) 5

Level 3 It is a 46th chord, the bass is 7, a continuous scale descending from 1 to 2, a sad feeling

For minor keys, try to refer to the harmony sequence of the major key for minor harmonies:

Commonly used cadences in minor keys:

4366 - a more classical cadence VI V I I

4566 - a more Japanese cadence VI VII I I

Main chord: 613 Dominant chord: 357 3#57

The subordinate chord 246 is used less

Level III chord: 135 is used more