Most Commonly Used Chord progressions
In music composition, the terms “A section” and “B section” often refer to different musical phrases or sections within a piece of music, especially in the context of songwriting and popular music forms like the verse-chorus structure. While the specific chord progressions and forms can vary widely depending on the genre and style of music, I can provide you with some common chord forms for both the A and B sections of a song.
Common Chord Forms for the A Section (Verse):
I – IV – V – I: This is one of the most basic and widely used chord progressions. In the key of C major, for example, it would be C – F – G – C.
vi – IV – I – V: This progression is also quite common, especially in pop music. In the key of C major, it would be Am – F – C – G.
I – V – vi – IV: Known as the “Pachelbel Canon” progression, this is another well-known sequence. In C major, it’s C – G – Am – F.
Common Chord Forms for the B Section (Chorus or Bridge):
IV – V – vi – IV: This progression is often used to create a sense of contrast with the verse. In the key of C major, it’s F – G – Am – F.
ii – V – I: This is a classic jazz progression and can add a more complex harmonic feel to the chorus or bridge. In C major, it’s Dm7 – G7 – Cmaj7.
iii – vi – ii – V: This progression adds a touch of sophistication to the composition. In C major, it’s Em – Am – Dm7 – G7.
IV – iv – I – V: Incorporating a minor iv chord (in this case, Fm in C major) can create a melancholic or dramatic mood in the B section.
Remember that these are just examples, and chord progressions can vary widely based on the style and emotional intent of the music. Additionally, other factors such as melody, rhythm, and lyrics play a significant role in shaping the A and B sections of a song.
THE B SECTION (EXAMPLES)
For the “I – IV – V – I” A section:
You can create a contrasting B section with different chords. One option is to use a minor key or introduce chords that provide contrast:
B Section:
vi – ii – V – I (e.g., in C major, Am – Dm – G – C)
iii – vi – IV – V (e.g., in C major, Em – Am – F – G)
ii – vi – iii – V (e.g., in C major, Dm – Am – Em – G)
For the “vi – IV – I – V” A section:
Create a B section that offers a harmonic change by using different chords or modulating to a related key:
B Section:
IV – V – vi – iii (e.g., in C major, F – G – Am – Em)
ii – V – I in a different key (e.g., in G major, Am7 – D7 – Gmaj7)
iii – IV – ii – V (e.g., in C major, Em – F – Dm – G)
For the “I – V – vi – IV” A section:
For contrast, consider a B section with different chords or modulate to a related key:
B Section:
IV – V – I (e.g., in C major, F – G – C)
ii – V – I in a different key (e.g., in G major, Am7 – D7 – Gmaj7)
iii – vi – ii – V (e.g., in C major, Em – Am – Dm – G)
These B section progressions offer variation and contrast to the corresponding A sections. Remember that transitions between sections should flow smoothly, and melody, lyrics, and rhythm should complement the harmony for a cohesive song structure.