Progressions with Major, Minor, and Dominant Seventh Chords

In this lesson, we’ll explore progressions using major, minor, and dominant seventh chords. You’ve already learned how to form and invert these chords; now we’ll use them to create functional and expressive progressions.

Seventh Chords in a Major Scale

Each degree of the major scale corresponds to a seventh chord type:

Example in C Major:

Common Seventh Chord Progressions

Here are classic progressions using seventh chords in C Major:

1. I ➔ IV ➔ I ➔ V ➔ I:
   Cmaj7 ➔ Fmaj7 ➔ Cmaj7 ➔ G7 ➔ Cmaj7

2. I ➔ IV ➔ V ➔ IV ➔ I:
   Cmaj7 ➔ Fmaj7 ➔ G7 ➔ Fmaj7 ➔ Cmaj7

3. V ➔ I:
   G7 ➔ Cmaj7

4. ii ➔ V ➔ I:
   Dmin7 ➔ G7 ➔ Cmaj7

5. vi ➔ ii ➔ V ➔ I:
   Amin7 ➔ Dmin7 ➔ G7 ➔ Cmaj7

6. iii ➔ vi ➔ ii ➔ V ➔ I:
   Emin7 ➔ Amin7 ➔ Dmin7 ➔ G7 ➔ Cmaj7

7. vii° ➔ iii ➔ vi ➔ ii ➔ V ➔ I:
   Bø7 ➔ Emin7 ➔ Amin7 ➔ Dmin7 ➔ G7 ➔ Cmaj7

Secondary Dominants in Progressions

A secondary dominant is a dominant chord that resolves to a non-tonic chord. For example:

• A7 ➔ D7 ➔ G7 ➔ Cmaj7
  • Here, A7 (secondary dominant of D) resolves to D7, which then resolves to G7 (dominant of C).

Example Cycle:
Cmaj7 ➔ A7 ➔ D7 ➔ G7 ➔ Cmaj7

• Common in gospel music, this "cycle" starts and ends on the tonic, using secondary dominants (A7 and D7) to drive momentum.

Inversions for Smooth Voice Leading

Use inversions to connect chords smoothly:

• Dmin7/F ➔ G7/B ➔ Cmaj7/E (First inversions).
• Amin7/C ➔ Dmin7/F ➔ G7/B ➔ Cmaj7 (Bassline: C → F → B → C).

Secondary Dominants Across All Keys

Extended Progressions

1. iii ➔ vi ➔ ii ➔ V ➔ I:
   Emin7 ➔ Amin7 ➔ Dmin7 ➔ G7 ➔ Cmaj7

2. Secondary Dominant Variation:
   E7 ➔ A7 ➔ D7 ➔ G7 ➔ Cmaj7

Key Takeaways

• Dominant 7th chords (V7) create tension resolved by the tonic (I).
• Secondary dominants (e.g., A7, D7) target non-tonic chords (e.g., ii, vi).
• Use inversions to smooth transitions between chords.