Studio 02 Harmonic library
Classic harmonic paths in your key — Roman numerals, genre fingerprints, and why each pattern earns its place in a set list or writing session.
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10 patterns available for this scale. Expand any card for full chord notation.
I–IV–V–I
I – IV – V – I
Example: In C Major (Ionian): C – F – G – C
The purest diatonic cadence: tonic stability, subdominant color, dominant tension, and return home. Countless beginner songs are built from these three functions.
Full notation
Open diatonic chords for sheet music and tab
C – E – G
F – A – C
G – B – D
C – E – G
I–V–vi–IV
I – V – vi – IV
Example: In C Major (Ionian): C – G – A min – F
Shows how V lifts energy, vi adds relative-minor color without leaving the key, and IV supplies plagal warmth. The first progression many writers learn to transpose.
Full notation
Open diatonic chords for sheet music and tab
C – E – G
G – B – D
A – C – E
F – A – C
I–vi–IV–V
I – vi – IV – V
Example: In C Major (Ionian): C – A min – F – G
I to vi shifts the ear toward the relative minor; IV–V is classic subdominant-to-dominant setup. In a minor key the same degrees read as i–vi–iv–V — the minor doo-wop loop.
Full notation
Open diatonic chords for sheet music and tab
C – E – G
A – C – E
F – A – C
G – B – D
ii–V–I
ii – V – I
Example: In C Major (Ionian): D min – G – C
Predominant (ii) prepares dominant (V), which resolves to tonic (I). In major keys this is ii–V–I; in minor keys the same degrees become ii–V–i (often with iiø and V7). Gateway to extensions and modulation.
I–vi–ii–V
I – vi – ii – V
Example: In C Major (Ionian): C – A min – D min – G
Each root moves down a fifth: vi and ii both carry predominant function before V asks for I. Essential for comping, walking bass lines, and understanding jazz form.
Full notation
Open diatonic chords for sheet music and tab
C – E – G
A – C – E
D – F – A
G – B – D
I–IV–I–V
I – IV – I – V
Example: In C Major (Ionian): C – F – C – G
I–IV–I emphasizes the amen cadence feel before V opens the next phrase. Less final than I–IV–V–I — good for verses and call-and-response.
Full notation
Open diatonic chords for sheet music and tab
C – E – G
F – A – C
C – E – G
G – B – D
vi–IV–I–V
vi – IV – I – V
Example: In C Major (Ionian): A min – F – C – G
Starting on vi briefly centers Aeolian color before I arrives. IV–I is plagal; V keeps the loop unresolved — a gentle modal shift without leaving the key.
Full notation
Open diatonic chords for sheet music and tab
A – C – E
F – A – C
C – E – G
G – B – D
I–V–I–IV
I – V – I – IV
Example: In C Major (Ionian): C – G – C – F
V–I confirms tonic early; IV adds open, lyrical color. Shows that progressions do not have to end on V to feel complete.
Full notation
Open diatonic chords for sheet music and tab
C – E – G
G – B – D
C – E – G
F – A – C
I–IV–vi–V
I – IV – vi – V
Example: In C Major (Ionian): C – F – A min – G
Still fully diatonic, but IV before vi changes the emotional arc — useful when comparing how chord order affects mood without changing the pitch set.
Full notation
Open diatonic chords for sheet music and tab
C – E – G
F – A – C
A – C – E
G – B – D
i–VII–VI–V
I – vii° – vi – V
Example: In C Major (Ionian): C – B dim – A min – G
Descending stepwise bass motion with bVII and bVI color in major-key thinking — an introduction to modal interchange and non-functional harmony. Strongest in natural minor keys.
Full notation
Open diatonic chords for sheet music and tab
C – E – G
B – D – F
A – C – E
G – B – D
I – IV – V (12-bar form)
Triads in C Major (Ionian): C – F – G (blues performance typically uses dominant 7ths)
A form, not a single four-chord loop: twelve bars built from I, IV, and V. Teaches how tonic, subdominant, and dominant share a section, and why blues solos target chord tones on each change.