You don’t need to know music theory to write songs.

Most songwriting happens without much of it. Often, it’s about exploring sounds on your instrument. Sometimes, a chord change feels just right—not because of any rule, but because of how it resonates. Play an A-minor chord on ten guitars; each one will feel different. On one, the chord might shine in a way that inspires you to stay on it or move to the next chord.

„When you only play 3 chords, you have to be a little more clever with the 3 chords, it's easier in a way, because you have these limitations. It's like a little kid learning how to color inside the lines, you know where your boundaries are. I love to see somebody make an incredible song out of one chord, you have this restriction. In this restriction it becomes the access point to possibilities.“ - Alex Knost

One day, the simplest chords can feel amazing; the next, they might sound dull and uninspired.

This is where theory can step in to help. It’s important to recognize when something feels stiff or uninspiring and ask yourself: What options do I have? What can I lean on when inspiration isn’t flowing? You could wait for motivation to strike again, but that’s not always practical—especially if you’re in a songwriting session. When people have taken the time and effort to come together to create, you need ways to keep the process moving.

„I'm blown away by chord progressions that make me feel something, I've never felt before. To me chords are coordinates, they sent you to a place“ - Pharell Williams

I wanted to create a chord sheet that includes: major chords, minor chords, secondary dominants, and borrowed chords from parallel and relative modes to have an overview of some possibilities for when I get stuck writing music.

So, if you're a songwriter, composer, or musician, it might be interesting to understand the different Roman numerals for chord progressions and where they come from.

Where are all these chords coming from?

In the following section, I want to explain the main functions of major and minor chords, secondary dominants, and borrowed chords.

These functions are essential for creating the tension and release that make chord changes feel alive. If your chords are too stable, the music can feel boring. On the other hand, if there’s too much tension, the music might feel overwhelming or exhausting. Music thrives on finding the right balance between tension and release.

To use the sheet effectively, it's important to understand that balance. Recognizing how tension and release work within chord progressions will help you make more informed choices when writing music.

The 3 Chord Functions in Major (Ionion)

Tonic Function (Stability and Resolution)

• Chords: I, vi, iii
• Explanation:
  • The I chord is the tonic, or "home" chord. It provides a sense of rest, resolution, and stability.
  • The vi chord is the relative minor of the tonic and also functions as a resolution chord, though with a slightly darker feel.
  • The iii chord, though minor, can serve as a tonic substitute, often used in passing or to modulate to other keys.
• Function: Tonic chords are where the music "feels at home." They resolve tension and provide a sense of completion.
  

Subdominant Function (Preparation)

• Chords: IV, ii
• Explanation:
  • The IV chord (subdominant) creates a gentle tension that prepares the ear for movement towards the dominant.
  • The ii chord is a minor chord that often precedes the dominant, enhancing the tension leading back to the tonic.
• Function: Subdominant chords provide movement away from the tonic, creating a feeling of transition and preparation for further tension.
  

Dominant Function (Tension)

• Chords: V, vii°
• Explanation:
  • The V chord (dominant) is the primary chord of tension in the key. It wants to resolve back to the tonic, especially when it's a V7 (dominant 7th) chord, which has a strong pull due to the tritone interval.
  • The vii° chord (diminished) is another tension chord, often used as a leading-tone chord that strongly resolves to the tonic.
• Function: Dominant chords create the most tension, driving the music forward and demanding resolution back to the tonic.

The 3 Chord Functions in Minor Keys (Aeolian)

Minor keys follow similar functional categories, but the chords and their emotional effects differ due to the minor scale's structure.

Tonic Function (Stability and Resolution)

• Chords: i, VI, III
• Explanation:
  • The i chord is the tonic in a minor key, providing a darker, more melancholic sense of resolution compared to the major tonic.
  • The VI chord is a major chord that also acts as a resolution chord, but with a different color than the tonic.
  • The III chord is the relative major of the tonic and can serve as an alternative tonic, often used to pivot to major keys.
• Function: Just like in major keys, tonic chords in minor keys provide a sense of home and resolution, though they carry a more somber or reflective quality.

Subdominant Function (Preparation)

• Chords: iv, ii°
• Explanation:
  • The iv chord (minor subdominant) leads away from the tonic and sets up the movement towards the dominant.
  • The ii° chord (diminished) has a more pronounced tension compared to the minor ii chord in major keys and is often used to prepare the dominant.
• Function: Subdominant chords in minor keys still provide a sense of movement, but with an increased tension due to the minor quality.

Dominant Function (Tension)

• Chords: V, vii°
• Explanation:
  • The V chord in minor keys is often major (borrowed from the harmonic minor scale) to increase the pull back to the tonic. The natural minor V (minor) chord doesn’t create as much tension.
  • The vii° chord is diminished and serves as a leading-tone chord that strongly resolves to the tonic.

Function: Dominant chords in minor keys, especially the major V chord, create a strong tension that demands resolution, adding drama and intensity to the music.

Secondary Dominants

What Are Secondary Dominants?

• Definition: A secondary dominant is a dominant (V) chord that temporarily tonicizes a chord other than the tonic (I) in a key. Essentially, it's a V chord of a chord within the key, not just the tonic.
• Notation: Secondary dominants are notated as V/x, where "x" represents the chord being tonicized (the chord that follows the secondary dominant). For example, V/ii means "the dominant of the ii chord."

Building Secondary Dominants in C Major

• C Major Diatonic Chords:
  • I (C major)
  • ii (D minor)
  • iii (E minor)
  • IV (F major)
  • V (G major)
  • vi (A minor)
  • vii° (B diminished)
  For each diatonic chord, you can create a secondary dominant:
  • V/ii (Dominant of ii): A7 → Dm
  • V/iii (Dominant of iii): B7 → Em
  • V/IV (Dominant of IV): C7 → F
  • V/V (Dominant of V): D7 → G
  • V/vi (Dominant of vi): E7 → Am

Modal Interchange (Borrowed Chords)

Function of Modal Interchange

• Color and Emotion: Borrowed chords introduce new colors and emotional nuances, ranging from the melancholy of minor chords to the brightness of major chords from parallel modes.
• Surprise and Contrast: They create contrast and surprise within a progression, catching the listener’s ear by stepping outside the usual diatonic framework.

Borrowing Chords from Parallel Modes based on C-Tonic

• C Dorian → i, ii, bIII, IV, v, vi, bVII
• C Phrygian → i, bII, bIII, iv, v, bVI, bVII
• C Lydian → I, II, #iv°, V, vi, vii
• C Mixolydian → I, II, #iv°, V, vi, vii
• C Aeolian → i, ii°, bIII, iv, v, bVI, bVII
• C Locrian → i°, bII, bIII, iv, bV, bVI, bVII

Borrowing Chords from Relative Modes

When you borrow chords from these modes, you're essentially taking chords that are diatonic (naturally occurring) in those modes and integrating them into your C Major key, which can add different colors and emotions to your music. Below is a guide on how to use these chords.

• D Dorian → i, ii, bIII, IV, v, vi, bVII
• E Phrygian → i, bII, bIII, iv, v, bVI, bVII
• F Lydian → I, II, iii, #iv°, V, vi, vii
• G Mixolydian -> I, ii, iii°, IV, v, vi, bVII
• A Aeolian → i, ii°, bIII, iv, v, bVI, bVII
• B Locrian → i°, bII, bIII, iv, bV, bVI, bVII
  
  

All these chords and substitutions are found on the sheet.