Contents
1. From Six to Thirty
Now with the functional theory of TDS, you have a good overview for the patterns of chord progressions.
The possible patterns of connecting TDS count up to six and understanding the differences between each one gives you hints of how to develop a chord progression.
But even within the motions of S–D, IV→V and IIm→V surely have differences in terms of the impressions on hearing. And in popular music it is quite important to understand those differences and to make use of them.
The number of the patterns of connecting two prime chords is, calculating 6*5, 30 in total.
The volume is 5 times larger. But as the prime chords are the very basis of songwriting, understanding the characteristics of these progressions is much more important than knowing advanced chords.
In Traditional Theory
Though You may have not seen contents encompassing all 30 patterns, in comprehensive classical or jazz theory textbooks, it is common to individually explain each progression pattern. Some jazz theory books even provide explanations for all 30 patterns, albeit in a simplified manner.
However, in such classical/jazz theory, the treatment of chord progressions that they deem “forbidden” or “discouraged” tends to be quite rough.
- IVVImIVIIm
Regarding these new chord progressions, they are often left untouched or explained with terms such as ‘weak’ or ‘irregular’. They are virtually ignored1.
However, in reality, many songs use chord progressions like these, and it is actually the ones that were once considered “forbidden” that play a key role in 21st century music.
the traditional theorists side often says things like “theory is meant to be broken, you learn them to break them”…BUT, wouldn’t it be far more beneficial and smart to incorporate them directly within the framework of theory, rather than keep them out of theory and encourage learners to dismiss what they’ve learned? Especially in this time when there are thousands or tens of thousands of examples in actual music industry.
Therefore, liberal music theory strives towards a more practical theoretical framework—reorganize all chord progressions from an unbiased perspective.
30 Classmates
It may sound daunting to explain all 30 patterns, but of course, I’m not saying that you have to memorize all of them by the time you finish reading this series of articles. Let’s say today is the first day of school. Thirty classmates will introduce themselves to you for the first time. From now on, you will take your time to remember each person’s face and name.
So you’ll be fine with just remembering the ones you like first. The chord progressions that touch your heart are the ones that matters to you.
2. Nexus System
Nexus System is a unique contents that LMT propoes, which provides comprehensive explanations of connection patterns between two chords.
This is an attempt to build a knowledge-base that can effectively address contemporary popular music chord progressions, by categorizing patterns, introducing perspectives from classical/jazz theory, and providing information on how formerly-prohibited ones are now being utilized.
Actually this is not so much a totally new concept, but rather a “compilation” that summarizes the history and trends from the past to the present. With this approach, it becomes possible to theoretically grasp not only classical/jazz patterns, but also patterns in new genres like rock or dance music, in a comprehensive manner.
What is “Nexus”?
The term Nexus is also a somewhat unique expression. While it is almost synonymous with “progression” in the sense of focusing on the sequence of chords, the word “nexus” carries a nuance of focusing on the relative changes between two chords, whereas “progression” put emphasis on the sonority and function of each chord.
That said, you can see them as having similar meanings.
3. Control Factors
Nexus System analyzes what happens at the moment when chords progress. What changes occur when one chord connects to another? There are two main elements for analysis.
The changes in chord quality (major/minor) and root. While you already understand the importance of chord quality, it is the first time that we seriously talk about the motions of root.It has a significant impact on musical impression whether the progression moves to a neighboring chord or jumps to a chord far away.
Moreover, you can easily overlook this point of view since root changes is not inherent to the chord itself, but exists only at the moment when two chords connect.
However, it is precisely in this easily overlooked aspect that a big clue to understanding chord progressions lies.
In nexus system, these two factors are called Control Factors.
- Control Factor
- the main two elements that determine the effects brought about by chord connections, namely, The change in root and change in chord quality.
- In Chapter I, “quality” is discussed as a binary choice between major and minor, and “root” is discussed with simplified intervals. However, after obtaining additional knowledge later on, the Nexus System will also be upgraded (in Chapters III and VIII).
Nexus System aims to compile various information related to chord connections based on these two elements. Let’s observe some examples to get better understandings.
| Nexus | Quality | Root |
|---|---|---|
| IV→V | (major→major) | ascend by 2nd |
| IIm→V | minor→major | descend by 5th (ascend by 4th) |
I’ve listed two chord progressions known for their similarity. In terms of functional theory, both progressions are S–D, but on looking at the control factors, they are quite different.
The progression IV→V maintains the same chord quality and has the smallest root movement of just 2nd, resulting in a relatively flat and gentle impression on the chord connection. On the other hand, the progression IIm→V involves a change from minor to major quality, and the root movement is a leap by 5th, which is quite large, resulting in a dynamic and impactful impression as if the music has expanded significantly.
Based on this, it becomes apparent that IV→V would be suitable for creating a softer and more settled mood, while IIm→V would be better for creating a more energetic and powerful atmosphere.
- 4-5-1 progression
- 2-5-1 progression
Here is an actual sample. The difference is so subtle that you may feel it hard to discern, but that’s why support from theory is important. By analyzing the changes in chords based on the “control factors” as well as the functional theory of TDS, you can put into words more detailed characteristics of chord progressions.
Next time, we will take our discussion to a deeper level and reveal the nature of chord progressions based on classification by root changes.
