Session 9: Advanced Chord Progressions
Overview
Section titled “Overview”- Phase: 2 — Harmonic Depth
- Duration: 75 minutes
- Prerequisites: Completed Sessions 1-8. 7th chords (Cmaj7, G7, C7, D7, Am7, Dm7, Em7). V7-I resolution. Compound time. Arpeggios for 6 chords.
Learning Objectives
Section titled “Learning Objectives”By the end of this session, you will be able to:
- Play the ii-V-I progression in C major, G major, and F major
- Play the vi-ii-V-I progression (the “pop turnaround”)
- Demonstrate circle of 5ths progressions on the keyboard
- Explain secondary dominants with the example V/V (D7 in key of C)
- Perform a simplified arrangement of “All of Me” by John Legend with both hands
Materials Needed
Section titled “Materials Needed”- Casio CT-X9000IN keyboard (Grand Piano tone; Layer with strings for the song)
- Metronome set to 66 BPM
- Sustain pedal connected
- This lesson plan open beside you
Warm-Up & Review (10 minutes)
Section titled “Warm-Up & Review (10 minutes)”Scale Rotation (4 minutes)
Section titled “Scale Rotation (4 minutes)”Play 4 scales, 2 octaves, HT, at 72-80 BPM:
- C major — your most comfortable scale, push to 80
- E major — 4 sharps, check finger accuracy
- Ab major — 4 flats, check finger accuracy
- A harmonic minor — remember G#
7th Chord Progression Review (4 minutes)
Section titled “7th Chord Progression Review (4 minutes)”Play this progression, both hands (LH root, RH 7th chord voicing), 4 beats per chord: Cmaj7 — Dm7 — Em7 — Fmaj7 — G7 — Am7 — Cmaj7
This walks up the C major scale with 7th chords. Every note of C major can be the root of a 7th chord.
Compound Time Quick Check (2 minutes)
Section titled “Compound Time Quick Check (2 minutes)”Play the first 2 measures of “Tere Bina,” both hands. Is your 12/8 feel lilting or stiff?
Theory / Harmony (10 minutes)
Section titled “Theory / Harmony (10 minutes)”The ii-V-I Progression
Section titled “The ii-V-I Progression”You already know V7-I (G7 → C). Now we add one more chord before the V — the ii chord (the minor chord built on the 2nd degree of the scale).
In C major:
- ii = Dm7 (D-F-A-C)
- V = G7 (G-B-D-F)
- I = Cmaj7 (C-E-G-B)
Play Dm7 → G7 → Cmaj7 on your keyboard:
Listen to this. The ii-V-I is the single most important progression in jazz and popular music. Once you hear it, you will recognise it in hundreds of songs.
Why it works: The ii chord sets up the V chord (Dm7’s notes overlap with G7’s), and the V chord resolves to I. It is a double preparation — like a running start before a jump.
ii-V-I in other keys:
| Key | ii | V | I |
|---|---|---|---|
| C major | Dm7 | G7 | Cmaj7 |
| G major | Am7 | D7 | Gmaj7 |
| F major | Gm7 | C7 | Fmaj7 |
| Bb major | Cm7 | F7 | Bbmaj7 |
Play the ii-V-I in C, G, and F. Each key has its own colour, but the harmonic motion is identical.
The vi-ii-V-I Progression
Section titled “The vi-ii-V-I Progression”Adding the vi chord (Am7 in C major) before the ii extends the progression further:
Am7 → Dm7 → G7 → Cmaj7 (vi-ii-V-I)
This is sometimes called the “pop turnaround” because it cycles through the most common chords and creates a satisfying loop. Many contemporary pop songs use this progression or variations of it.
The Circle of 5ths
Section titled “The Circle of 5ths”The ii-V-I progression moves each chord root down by a 5th (or up by a 4th): D → G → C (each is a 5th below the previous)
This movement — down a 5th — is the strongest harmonic motion in music. The circle of 5ths extends this motion through all 12 keys:
C → F → Bb → Eb → Ab → Db → Gb → B → E → A → D → G → C
Each chord is a 5th below the previous one. If you play dominant 7th chords through this cycle, each one resolves to the next: C7 → F7 → Bb7 → Eb7 → Ab7 → Db7 → Gb7 → B7 → E7 → A7 → D7 → G7 → C
Secondary Dominants — V/V
Section titled “Secondary Dominants — V/V”A secondary dominant is a dominant 7th chord that does not belong to the home key but temporarily “borrows” from another key to create stronger motion.
V/V in C major: The V chord is G. The V of G is D7. So D7 is the “V of V” — it is not in the key of C, but it points strongly toward G.
Play this: C → D7 → G → C
The D7 (D-F#-A-C) introduces an F# that does not belong in C major. But it sounds natural because D7 resolves powerfully to G. This is a secondary dominant — a brief harmonic detour that strengthens the arrival on G.
Technique (15 minutes)
Section titled “Technique (15 minutes)”ii-V-I Drill — Three Keys (6 minutes)
Section titled “ii-V-I Drill — Three Keys (6 minutes)”Practice the ii-V-I with smooth voice leading. The goal is minimal hand movement between chords.
Key of C — Smooth Voice Leading:
Notice: in the RH, only 1-2 notes change between each chord. The F stays for ii to V, the D stays from V to I. This is voice leading — keeping common tones and moving other voices by step.
Play this 4 times at 60 BPM, 4 beats per chord.
Key of G — Smooth Voice Leading:
Play 4 times.
Key of F — Smooth Voice Leading:
Play 4 times.
vi-ii-V-I Drill (4 minutes)
Section titled “vi-ii-V-I Drill (4 minutes)”Key of C:
Play 4 times. This is the backbone of “All of Me.”
Circle of 5ths — Dominant 7th Chain (3 minutes)
Section titled “Circle of 5ths — Dominant 7th Chain (3 minutes)”Play dominant 7th chords around the circle, RH only. Each chord resolves to the next:
Continue as far as you can. Do not worry about completing the full circle today — even getting through 4-5 chords builds the skill.
Secondary Dominant Drill (2 minutes)
Section titled “Secondary Dominant Drill (2 minutes)”Play in C major: C major → D7 → G major → C major
Hear the F# in the D7? That is the “borrowed” note. It does not belong in C major, but it creates a powerful pull toward G.
Repertoire / Genre (25 minutes)
Section titled “Repertoire / Genre (25 minutes)”“All of Me” by John Legend — Simplified Arrangement
Section titled ““All of Me” by John Legend — Simplified Arrangement”“All of Me” (2013) by John Legend is one of the most popular love songs of the 21st century. Its chord progression is a textbook demonstration of contemporary pop harmony — rich, emotional, and built on the kind of advanced progressions you just learned.
Tempo: 66 BPM | Time Signature: 4/4 | Key: Ab major (simplified to F major for this arrangement)
Chord Progression:
| Measure | Chord | Function |
|---|---|---|
| 1-2 | Fmaj7 | I (home) |
| 3-4 | Dm7 | vi (relative minor feel) |
| 5-6 | Bbmaj7 | IV (bright, hopeful) |
| 7-8 | C7 | V (tension, wants to resolve) |
| 9-10 | Fmaj7 | I (resolution) |
| 11-12 | Dm7 | vi |
| 13-14 | Bbmaj7 | IV |
| 15-16 | C7 → F | V-I (final resolution) |
Right Hand — Melody (Verse — “What would I do without your smart mouth”):
Repeat measures 1-8 for the second verse with slight melodic variation.
Chorus (“‘Cause all of me loves all of you”):
Left Hand — Chord Voicings:
Each chord held for 2 measures (8 beats):
Both Hands Together — Practice Strategy:
- LH chord pattern alone — Simple 2-note voicings, changing every 2 measures. Play all 16 measures at 60 BPM.
- RH melody alone, measures 1-8 (verse) — Notice the stepwise motion. Each phrase rises and falls gently.
- RH melody alone, measures 9-16 (chorus) — The chorus is more spacious, with half notes giving room to breathe.
- Both hands, measures 1-4 — Slowly, 4 times.
- Both hands, measures 5-8 — 4 times.
- Both hands, measures 9-16 — 4 times.
- Full arrangement at 66 BPM.
Expression:
- This is a love song. Play it tenderly — mf for the verse, f for the chorus.
- The chorus should feel like it opens up — slightly louder, slightly more sustained.
- Use sustain pedal throughout, changing at each chord change (every 2 measures).
- Let the melody sing above the LH chords — RH slightly louder than LH.
Creative / Ear Training (10 minutes)
Section titled “Creative / Ear Training (10 minutes)”Hearing Chord Progressions
Section titled “Hearing Chord Progressions”Exercise 1: ii-V-I Recognition (4 minutes)
Section titled “Exercise 1: ii-V-I Recognition (4 minutes)”Play the ii-V-I in C major: Dm7 → G7 → Cmaj7
Now play just V-I: G7 → Cmaj7
Can you hear the difference? The ii-V-I has a “wind-up” quality — it builds more anticipation before resolution. The V-I is more abrupt.
Play the ii-V-I in G major and F major. Listen for the same pattern of tension-building.
Exercise 2: Feel the Resolution (3 minutes)
Section titled “Exercise 2: Feel the Resolution (3 minutes)”Play this progression slowly, one chord every 4 beats: Am7 → Dm7 → G7 → Cmaj7 (vi-ii-V-I)
As you play each chord, notice:
- Am7 = beginning, neutral
- Dm7 = motion begins, moving somewhere
- G7 = maximum tension, needs to resolve
- Cmaj7 = arrival, relief, home
Can you feel the “gravity” pulling toward that final Cmaj7? This gravitational pull is what makes tonal music work.
Exercise 3: Spot the V7 (3 minutes)
Section titled “Exercise 3: Spot the V7 (3 minutes)”Play a simple I-IV-V-I progression in C (all triads): C → F → G → C
Now replace G with G7: C → F → G7 → C
Can you hear how the G7 creates a stronger pull toward C than the plain G triad? The Bb in G7 creates a tritone with the B natural — that tritone is the engine of resolution.
Try the same experiment in G major: G → C → D vs G → C → D7. Feel the stronger pull when you add the 7th.
Review & Homework (5 minutes)
Section titled “Review & Homework (5 minutes)”Summary
Section titled “Summary”Today you:
- Learned the ii-V-I progression in C, G, and F — the most important jazz progression
- Played vi-ii-V-I — the “pop turnaround”
- Explored the circle of 5ths — the strongest harmonic motion
- Understood secondary dominants (V/V) as harmonic “turbo boosters”
- Performed “All of Me” by John Legend — applying advanced progressions to a contemporary song
Self-Check Questions
Section titled “Self-Check Questions”- What are the three chords in a ii-V-I in C major? (Name them with quality)
- Why does the circle of 5ths create strong harmonic motion?
- What note does D7 introduce that is NOT in C major? Why does it sound natural?
- What is the chord progression pattern in “All of Me”?
Practice Homework (Before Next Session)
Section titled “Practice Homework (Before Next Session)”- ii-V-I in three keys — 10 minutes daily. C, G, F major. Both hands, smooth voice leading. Target: play each progression 4 times at 72 BPM without hesitation.
- vi-ii-V-I in C — 5 minutes daily. Same format. This is the “All of Me” backbone.
- “All of Me” — 15 minutes daily. Verse (measures 1-8) first, then chorus (measures 9-16), then full piece. Target: both hands at 66 BPM with pedal and expression.
- Circle of 5ths — 5 minutes daily. Play dominant 7th chords around the circle (C7 → F7 → Bb7 → …). See how far you can go.
- Scale and arpeggio maintenance — 10 minutes daily.
- Total: ~45-50 minutes daily
Common Mistakes to Watch For
Section titled “Common Mistakes to Watch For”- Jumping between chords instead of voice leading: When you play Dm7 → G7, do not move your entire hand. Keep the common tones (F stays, C changes to B, A changes to G). The goal is smoothness, not accuracy of root-position shapes.
- Losing the beat during chord changes: If changing chords causes a rhythmic hiccup, slow down. The timing matters more than the chord quality.
- Overplaying “All of Me”: This song should feel effortless. If you are banging the chords, pull back. Imagine John Legend singing — your piano should support, not overpower.
CT-X9000IN Tips
Section titled “CT-X9000IN Tips”Layer Mode — Piano + Strings for Contemporary Feel
Section titled “Layer Mode — Piano + Strings for Contemporary Feel”“All of Me” sounds stunning with layered tones:
- Press the LAYER button on your CT-X9000IN
- Select Grand Piano as your main tone
- Select Strings as the layer tone
- Adjust the layer balance — strings should be about 30-40% volume compared to piano
This piano + strings combination is the sound of modern pop ballads, film scores, and romantic music. It adds warmth and sustain that a solo piano cannot achieve.
Performance tip: With layer mode active, your sustain pedal affects both tones. The strings will sustain beautifully, creating a lush bed of sound under the piano melody.
Save this to Registration 7 — your “Pop Ballad” preset.