Music genres.

Favors: Balanced, functional harmony; diatonic triads/7ths; occasional secondary dominants.

Chord changes: Often ~1 chord per bar. Hold longer when the melody sustains or the phrase feels “held.”

Common progressions: I–V–vi–IV, vi–IV–I–V, ii–V–I, I–vi–IV–V, I–IV–V–I.

Favors: Strong hooks and clear tonic center; repeating 4-chord loops; tasteful color (sus/add9/6) when it supports the melody.

Chord changes: Often 1 chord per bar; sometimes 2 per bar in builds/turnarounds. Changes commonly land on barlines and cadences.

Common progressions: I–V–vi–IV, vi–IV–I–V, I–vi–IV–V, I–IV–vi–V, IV–V–iii–vi, I–IV–V.

Favors: Simple, singable harmony; mostly diatonic; fewer secondary dominants; steady motion that works well with repeating accompaniment patterns.

Chord changes: Often 1 chord per bar, but holding across barlines is common when the lyric/melody is long. Changes like to align with phrase starts and cadence points.

Common progressions: I–V–vi–IV, I–IV–V–I, I–vi–IV–V, I–V–IV–I, vi–IV–I–V, I–IV–I–V.

Favors: Direct diatonic movement with strong subdominant/dominant pull; frequent suspensions and occasional modal interchange.

Chord changes: Often 1 chord per bar, but riffs commonly sit 2 bars (or more) on the same chord. Changes tend to follow riff cycles and section boundaries.

Common progressions: I–♭VII–IV–I, I–IV–V–I, vi–IV–I–V, I–V–IV–I, i–♭VII–♭VI–♭VII, I–IV–♭VII–IV.

Favors: Smooth voice-leading and richer chord qualities; lots of predominant→dominant→tonic motion and chromatic approach chords.

Chord changes: Flexible: can hold 2 bars per chord in laid-back sections, or move 2 chords per bar near cadences. Changes often follow bass motion and vocal “arrival” notes, not just barlines.

Common progressions: ii7–V7–Imaj7, iii7–vi7–ii7–V7, Imaj7–vi7–ii7–V7, vi7–ii7–V7–Imaj7, Imaj7–♭VII7–vi7.

Favors: Loopable, stable harmony; fewer chord changes per section; strong tonal center and predictable releases.

Chord changes: Often 1 chord per bar or 1 chord per 2 bars. Harmony may stay stable for long stretches while the production provides the motion.

Common progressions: vi–IV–I–V, I–V–vi–IV, I–vi–IV–V, IV–I–V–vi, i–VI–III–VII, i–♭VII–♭VI–♭VII.

Favors: Strong cadences and expressive dominant motion; stepwise bass movement; turnarounds that lead naturally into the next phrase.

Chord changes: Often 1 chord per bar, with faster motion (2 per bar) in turnarounds/cadences. Changes strongly track phrase endings and “walk-ups” into the next line.

Common progressions: I–IV–V–I, I–V/vi–vi–IV–V, ii–V–I, vi–ii–V–I, IV–V–iii–vi, I–iii–IV–iv, I–V–IV–I.

Favors: Mood-first progressions, pedal tones, and modal interchange; “lift” chords that shift color without relying on a repeating pop loop.

Chord changes: Often slow: 2–4 bars per chord (or longer). Harmony can sit while orchestration/dynamics create movement.

Common progressions: i–♭VI–♭III–♭VII, i–♭VII–♭VI–♭VII, I–♭VII–IV–I, vi–IV–I–V, I–V/vi–vi–IV, i–iv–VI–V.

Favors: Functional harmony and clear phrase structure; predominant→dominant→tonic cadences; sequences.

Chord changes: Phrase- and cadence-driven. Can be slow in simple textures, or faster during sequences (sometimes multiple changes per bar).

Common progressions: I–IV–V–I, I–ii–V–I, I–vi–ii–V–I, I–IV–ii–V–I, circle-of-fifths chains, i–iv–V–i.