Royal road progression
![](https://upload.wikimedia.org/wikipedia/commons/thumb/d/d5/IV%CE%947-V7-iii7-vi_chord_progression_in_C.png/350px-IV%CE%947-V7-iii7-vi_chord_progression_in_C.png)
![](https://upload.wikimedia.org/wikipedia/commons/thumb/d/de/Ii-V-I_turnaround_in_C.png/300px-Ii-V-I_turnaround_in_C.png)
The Royal Road progression (
The chord progression
[edit]It involves the seventh chords of IV, V, and iii, along with a vi chord; for example, in the key of C major, this would be: FM7–G7–Em7–Am.[3][2][4]
The chord progression may be resolved with the tonic chord, for example in a IVM7–V7–I or a ii7–V7–I progression.[3] IVM7–V7–iii7–vi–ii7–V7–I creates a full circle of fifths progression in the major mode, with V7 substituting for vii°. In C major, this would be FM7–G7–Em7–Am–Dm7–G7–C.
The basic progression can be found in two versions. The first uses V7 in its third inversion (G7/F), the other uses V7 in its root position (G7).[2] The former appears in lushly orchestrated pop arrangements, while the latter appears mainly in rock and electronic music.[2]
![](https://upload.wikimedia.org/wikipedia/commons/thumb/7/70/Koakuma_Kodo_Shinko.png/325px-Koakuma_Kodo_Shinko.png)
In a minor key, there are two versions of the progression: VIM7–VII7–v7–i and iv7–v7–IIIM7–VI. The first version can be thought as an essential iv–v–v–i with the VI and VII chords substituting for the iv and v respectively, or as a VI–ii°–v–i with the ii° being substituted by the VII chord. For the second version, a cadential suffix may be added, such as iv7–V7–i or iiø7–V7–i. When resolved by iiø7–V7–i, a large progression iv7–v7–IIIM7–VI–iiø7–V7–i is created, where the v7 substitutes for the VII. In A minor, this would be Dm7–Em7–CM7–F–Bm7(♭5)–E7–Am.
![](https://upload.wikimedia.org/wikipedia/commons/thumb/2/20/Odo_Shinko_minor.png/325px-Odo_Shinko_minor.png)
Variations on the Royal Road progression may include IVM7–V7–IM7–vi, ii7–V7–iii7–vi, or IVM7–viiø7–iii7–vi for the major version, and iv7–VII7–v7–i, iiø7–VII7–v7–i, VIM7–iiø7–v7–i, or iv7–VII7–IIIM7–VI for the minor version(s).
When this progression is resolved by a ii7–V7–I cadence, it becomes IVM7–V7–iii7–vi–ii7–V7–I, a sequence of descending fifths with V7 substituting for the vii° chord. The sequence of descending fifths was used regularly in tonal music since the Baroque era.
In Western pop music, the progression can be used without the seventh notes, so that it becomes IV–V–iii–vi. If resolved by an ii–V–I cadence, this becomes IV–V–iii–vi–ii–V–I.
Nomenclature
[edit]The name for the progression, ōdō shinkō (
An alternative term, koakuma chord progression, was originally coined by Japanese music producer Seiji Kameda on the 2014 NHK television show Kameda's Music Academy (
History
[edit]The royal road progression was originally influenced by jazz and rock progressions originating in Western music. The earliest example of the progression in J-Pop occurs in Yumi Arai's "Yasashisa ni Tsutsumareta Nara" (1974), closely followed by Arai's "Sotsugyou Shashin" (1975), released as a hit single by Hi-Fi Set in 1975.[2] The opening of the latter song is very similar to Edward Elgar's "Land of Hope and Glory", which contains a IV−V4/2−I6−vi (F-G7-C/E-Am) progression.[2] Lowering the C in the C/E chord to B would give Em (iii), thus producing a complete Royal Road progression.[2] Even if the lineage of the progression cannot be traced back to Elgar, the basic IV-V-I-vi progression could be considered a predecessor to the Royal Road progression, and this IV-V-I-vi progression was used in the Beatles' "I Want to Hold Your Hand", a hit in Japan in the 1960s.[2]
Arai's use of the progression led to other 1970s and 1980s J-Pop artists, such as Hiroshi Madoka and Akiko Yano, using it.[2] However, the progression reached a new level of popularity after its use in Stock Aitken Waterman's Eurodisco-influenced pop tracks such as Rick Astley's "Never Gonna Give You Up" and Kylie Minogue's "I Should Be So Lucky", the latter of which was a top 10 hit in Japan.[2] In the 1990s, the immense popularity of Eurobeat in Japan furthered this trend,[2] and the chord progression became so prolific in J-pop to the point where it has become a core part of modern Japanese music.[4] As of 2023, 40% of the top twenty best selling singles of all time in Japan contain the chord progression, and between 1989 and 2019, the year's top-selling Japanese song contained the progression 23% of the time.[2] Pop music lacking the progression is often described as sounding "not Japanese". While artists' overuse of the ōdō progression can often be criticised as lacking in creative originality, the corpus of songs that become bestsellers in Japan and perform well on Japanese record charts feature plenty of tracks utilising the progression,[4] thus contributing to the conservative nature of record labels that lean towards familiar progressions over more risky experimentation.
Songs using the progression
[edit]![]() | This article possibly contains original research. (February 2022) |
This is a list of recorded songs containing multiple, repeated uses of the IVM7–V7–iii7–vi and similar progressions.
Asian music
[edit]Western music
[edit]In Western music, the progression is sometimes seen without the seventh notes, or with some substitution for one of the chords in the progression. Examples include:
Song title | Artist | Year | Progression used | Recorded key | Sources |
---|---|---|---|---|---|
"5:15" | The Who | 1973 | IVM7-V7-iii6/5-vi4/2 | N/A | [citation needed] |
"Dilemma" | Nelly, Kelly Rowland | 2002 | ii7-V-iii7-vi | F major | [citation needed] |
"Never Gonna Give You Up" | Rick Astley | 1987 | iv9-VII7-v7-i | B♭ minor | [2] |
"Together Forever" | Rick Astley | 1988 | IVM7-V7-iii7-vi7, IVM7-V7-iii7-vi7-ii6/5-V7-I | D major | [10] |
Não Quero Dinheiro (Só Quero Amar) | Tim Maia | 1971 | IV-V4/2-iii-vi-ii-V-I (chorus only) | A major | [citation needed] |
"4 in the Morning" | Gwen Stefani | 2006 | IV-V-iii-vi (chorus only) | E♭ major | [11] |
"Titanium" | David Guetta, Sia | 2011 | IV-V-iii-vi | E♭ major | [12] |
"Leave the Door Open" | Silk Sonic | 2021 | IV-V-iii-vi | C major | [13] |
"Didn't We Almost Have It All" | Whitney Houston | 1987 | IV-V-iii-vi | B♭ major | [14] |
"Italodancer" | Floorfilla | 2001 | VI-VII-v-i (chorus only) | E minor | [citation needed] |
"It's Gonna Be Me" | NSYNC | 2000 | VI-VII-v-i | C minor | [15] |
"Cruel to Be Kind" | Nick Lowe | 1979 | IV-V-iii-vi | C major | [citation needed] |
“Starlight” | Taylor Swift | 2012, 2021 (Taylor’s Version) |
IV-V-iii-vi,
IV-V-I-vi |
E major | [16] |
"Holiday Road" | Lindsey Buckingham | 1983 | IV-V-iii-vi (chorus only) | F major | [citation needed] |
"Peaches" | Jack Black | 2023 | IV-V-iii-vi (intro/chorus) | A minor | [17] |
"Clumsy" | All Time Low | 2020 | VI-VII-v-i | C# minor | [18] |
"Saturn" | Stevie Wonder | 1976 | IV-V4/2-iii-vi-ii-V7-I | C major | [citation needed] |
"Part of Your World" | Alan Menken, Howard Ashman | 1989 | IV-V4/2-iii-vi (bridge, line 1)
IV-V-III⁷-vi (bridge, line 3) |
F major | [19] |
"Fortnight" | Taylor Swift, Post Malone | 2024 | IV-V-iii-vi | B major | [20] |
"Ghost Town" | Benson Boone | 2021 | IV-V-iii-vi | C major | [21] |
"Little Fury Things" | Dinosaur Jr. | 1987 | IV-Vadd4-iii7-IVadd9 | A major | [22] |
The Princess Kenny theme from South Park also used this chord progression. It contains western music imitating Japanese anime.
In Classical music
[edit]![](https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Rachmaninoff_Royal_Road_Progression.png/350px-Rachmaninoff_Royal_Road_Progression.png)
Sergei Rachmaninoff's 2nd symphony features a IV–V7–iii–vi–ii7–V7–I sequence in the third movement.[citation needed]
See also
[edit]- I–V–vi–IV progression - four chord progression commonly used in Western pop music
- vi–IV–V–I progression - commonly known as the "Komuro progression" (
小室 進行 , komuro shinkō), namesake of Tetsuya Komuro who popularised the progression.[23] - IV–vii°–iii–vi–ii–V–I - circle of fifths progression
References
[edit]- ^
梅村 祥之 ,伊達 彩 斗 (June 10, 2017). "地図 標高 データを用 いたメロディ生成 の試 み".研究 報告 音楽 情報 科学 . 115 (39). Hiroshima Institute of Technology: 1–6. ISSN 2188-8752.コード
[The chord progression of F → G → E m → Am, a progression often used in J-pop, is called "ōdō shinkō" or "koakuma kōdo shinkō"...]進行 としてJ-POP で頻繁 に使用 される「王道 進行 」ないし「小 悪魔 コード進行 」と呼 ばれる F → G → E m → Am のコード進行 … - ^ a b c d e f g h i j k l m Ramage, Maxwell (2023). "The Royal Road Progression in Japanese Popular Music". Music Theory Spectrum. 45 (2): 238–256. doi:10.1093/mts/mtad008.
- ^ a b
大須賀 淳 (2014).作 りながらおぼえる作曲 術 入門 .秀和 システム. p. 135. ISBN 9784798041070. - ^ a b c
高 増 明 (October 31, 2015). "日本 のポピュラー音楽 の機器 と経済 停滞 ".関西大学 社会学部 紀要 . 47 (1).関西大学 社会学部 : 1–20. hdl:10112/9455. ISSN 0287-6817.ヒットする
[The songs that become blockbuster hits also tend to have similar chord progressions and simple melodies... J-pop hits since 1990 often use a similar chord progression in the chorus segment, such progressions are called "J-pop ōdō shinkō". More specifically, the chord progression is Fmaj7 → G7 → Em7 → Am. This kind of chord progression expresses a "lyrical" or "heartrending" mood, and create a tune that Japanese people like... In Japan, these progressions continue to be reproduced to this day. One might even say that the entire Japanese audience has been captivated by such hit songs.]楽曲 も同 じようなコード進行 、単純 なメロディーの曲 が多 くなっている… 1990年 以降 のJ-Pop のヒット曲 は、サビの部分 に同 じようなコード進行 が使 われていることが多 いことを指摘 し、それを「J-Pop王道 進行 」と名付 けた。具体 的 には、Fmaj7 → G7 → Em7 → Am というコード進行 がそれにあたる。このようなコード進行 は、「抒情 的 」あるいは「せつない」雰囲気 を表現 し、日本人 が好 む曲調 を生 み出 すことができる…日本 では、それが現在 に至 るまで再 生産 され続 けている。そのようなヒット曲 によって、日本人 全体 が洗脳 されていると言 ってもいいかもしれない。 - ^ デジタル
大辞泉 . "小 悪魔 (コアクマ)とは?意味 や使 い方 ". コトバンク (in Japanese). Retrieved 2023-10-26. - ^ "
恋 するコード学 〜小 悪魔 編 〜" [On love song chords: Koakuma episode].亀田 音楽 専門 学校 . Season 2. Episode 6 (in Japanese). November 6, 2014. NHK. NHK Educational TV. - ^ "Key and BPM for Melangkah Di Atas Awan". Tunebat. Archived from the original on August 8, 2023. Retrieved August 16, 2023.
- ^ "Negeri Di Awan". Ultimate Guitar. Retrieved January 31, 2024.
- ^ "Vicky Trip - RUNGKAD [Original] (Official Music Video)". YouTube. Retrieved April 17, 2024.
- ^ "Rick Astley "Together Forever" Sheet Music in D major". www.musicnotes.com. 23 August 2012. Retrieved 2022-05-03.
- ^ "Gwen Stefani - 4 in the Morning (Chords)".
- ^ Sia, David Guetta, Giorgio Tuinfort, Nick Van De Wall (Composers and Lyricists) (2011). "It Girl: Jason Derülo Digital Sheet Music" (Musicnotes). Musicnotes.com. Sony/ATV Music Publishing. MN0097893 (Product Number).
{{cite web}}
: CS1 maint: multiple names: authors list (link) - ^ "Silk Sonic "Leave the Door Open" Sheet Music in C Major". Musicnotes. 21 April 2021. Retrieved March 28, 2022.
- ^ ""Whitney Houston "Didn't We Almost Have It All" Sheet Music In B♭ Major"". Musicnotes.
- ^ "It's Gonna By Me by NSYNC". Musicnotes. 3 August 2000. Archived from the original on April 15, 2017. Retrieved April 19, 2017.
- ^ Starlight (Taylor's Version)
- ^ "Peaches by Jack Black". Musicnotes. April 7, 2023. Retrieved November 27, 2023.
- ^ Weatherby, Taylor (April 3, 2020). "Inspirations: All Time Low Turned a Summer Vacation Into Vibrant New Album 'Wake Up, Sunshine'". Billboard. Archived from the original on April 8, 2020. Retrieved September 6, 2023.
- ^ "Part of Your World". Musicnotes. 1989. Retrieved February 8, 2024.
- ^ https://tabs.ultimate-guitar.com/tab/taylor-swift/fortnight-chords-5233239#:~:text=%5BIntro%5D%20G%20%5BVerse%201,what%20about%20your%20quiet%20treason%3F [bare URL]
- ^ https://www.mychordbook.com/chords/benson-boone/ghost-town [bare URL]
- ^ Dinosaur Jr. - Little Fury Things (Tab), retrieved 2024-07-12
- ^
高 増 明 (October 31, 2015). "日本 のポピュラー音楽 の機器 と経済 停滞 ".関西大学 社会学部 紀要 . 47 (1).関西大学 社会学部 : 1–20. hdl:10112/9455. ISSN 0287-6817.
[There are other standardised chord progressions, such as... the Komuro progression (a chord progression favoured by Tetsuya Komuro, an artist, composer and producer who created many hit songs in the 1990s)... Komuro progression: Am → Dm(F)→ G → C]他 にも…小室 進行 (小室 哲哉 は、1990年代 に多 くのヒット曲 を生 み出 したアーティスト・作曲 家 ・プロデューサーで、小室 が好 んで使用 したコード進行 のパターン)といった定型 化 されたコードパターンが使 われることが多 い…小室 進行 :Am → Dm(F)→ G → C