From grimoire
Composes chord progressions using functional harmony, diatonic chords, and cadence types. Useful when building harmonic frameworks for songs or harmonic analysis.
How this skill is triggered — by the user, by Claude, or both
Slash command
/grimoire:design-chord-progressionThe summary Claude sees in its skill listing — used to decide when to auto-load this skill
Compose chord progressions that establish tonality, create harmonic movement, and support melodic and emotional expression.
Compose chord progressions that establish tonality, create harmonic movement, and support melodic and emotional expression.
Adopted by: Berklee College of Music (world's largest music school) uses functional harmony and Piston's framework as the core of its harmony curriculum; Everett's rock harmony analysis is the academic standard for popular music theory; all major songwriting curricula (BMI, ASCAP workshops) teach functional chord movement. Impact: Understanding functional harmony enables composers to intentionally create tension/release cycles that drive listener engagement; analysis of Billboard #1 hits shows 90%+ use I–IV–V–I or closely related functional progressions as their backbone. Why best: Chord progressions are the harmonic language that communicates emotional direction — functional harmony creates the expectation and resolution cycle that engages listeners emotionally and cognitively.
Sources: Piston "Harmony" rev. ed. (1978); Berklee Online "Harmony 1–4" curriculum; Everett "The Foundations of Rock: From 'Blue Suede Shoes' to 'Suite: Judy Blue Eyes'" (2009).
Establish the key and mode — choose a tonal center (key) and mode: major (bright, stable), natural minor (dark, melancholic), Dorian (minor with raised 6th — jazz/folk feel), Mixolydian (major with flatted 7th — rock feel), or other modes. Every chord choice is evaluated relative to this tonal center.
Map the diatonic chords — build the seven diatonic triads (or seventh chords) native to the chosen key. For C major: I(C), ii(Dm), iii(Em), IV(F), V(G), vi(Am), vii°(Bdim). These are your primary harmonic vocabulary in the key.
Understand chord function — assign each diatonic chord a function: Tonic (I, iii, vi — stable, home feeling), Subdominant/Pre-dominant (ii, IV — departure, motion building), Dominant (V, vii° — tension, strongest pull to tonic). A complete progression moves: T → PD → D → T.
Choose a progression type — select from: Authentic cadence (V→I, strongest resolution), Plagal cadence (IV→I, softer resolution, "Amen" feel), Deceptive cadence (V→vi, unexpected), Half cadence (ends on V, open/questioning). Full progressions combine these cadential gestures.
Apply common functional patterns — start with proven patterns: I–V–vi–IV (most common pop progression in major); i–VII–VI–VII (minor pop/rock); I–IV–V–I (classic blues/rock); ii–V–I (jazz). These are starting points, not templates.
Add harmonic interest with secondary dominants — a secondary dominant is a V chord applied to any diatonic chord: V/V (D7 in C major, points to G), V/ii (A7 pointing to Dm). Secondary dominants increase harmonic momentum and create brief tonicizations of other chord centers.
Apply voice leading principles — move each voice (soprano, alto, tenor, bass) in the smoothest motion possible: prefer contrary or oblique motion between bass and upper voices; avoid parallel fifths and parallel octaves; resolve tendency tones (leading tone to tonic, 7th of V7 down to 3rd of I).
Design the rhythm and pacing — decide how long each chord lasts (harmonic rhythm). Slower harmonic rhythm (one chord per bar) feels spacious; faster (multiple chords per bar) feels urgent. Syncopated harmonic rhythm (chords on off-beats) creates groove.
Consider modal mixture and borrowed chords — borrow chords from the parallel mode: in C major, use iv (Fm, from C minor), bVII (Bb, from C Mixolydian), or bVI (Ab). Modal mixture adds color and emotional depth without leaving the tonal center.
Test against a melody — play or sing a melody over the progression and evaluate: does the harmonic motion support the melodic climaxes? Are chord tones aligned with melodically important notes? Does the progression create tension and release at the right moments?
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