Royal road progression
The Royal Road progression (王道進行, ōdō shinkō), also known as the IVM7–V7–iii7–vi progression or koakuma chord progression (小悪魔コード進行, koakuma kōdo shinkō),[1] is a common chord progression within contemporary Japanese pop music.[2]
The chord progression
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]
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.
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).
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.
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.
Nomenclature
The name for the progression, ōdō shinkō (王道進行), literally translates to "royal road progression". In Japanese, the expression ōdō (王道, "royal road") is used to describe an easy or painless method to do something.
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 (亀田音楽専門学校, Kameda ongaku senmon gakkō). The phrase koakuma (小悪魔, lit. "little devil") is a pejorative phrase used to describe a seductive lover who teases with one's feelings;[5] as the chord progression involves two major chords in succession followed immediately by two minor chords, Kameda describes the moment where the progression moves from the major dominant chord to the minor mediant chord as akin to the moment of heartbreak induced by a playful lover, hence the name.[6]
History
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 progress, 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
 | 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 progression.
Asian music
Western music
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 | [8] |
| 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 | [9] |
| "Titanium" | David Guetta, Sia | 2011 | IV-V-iii-vi | E♭ major | [10] |
| "Leave the Door Open" | Silk Sonic | 2021 | IV-V-iii-vi | C major | [11] |
| "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 | [12] |
| "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 | [13] |
| "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) | D♭ major | [citation needed] |
| "Clumsy" | All Time Low | 2020 | VI-VII-v-i | D♭ minor | [14] |
| "Saturn" | Stevie Wonder | 1976 | VI-V/VI-iii-vi-ii-V7-I | C major | [citation needed] |
| "What a Beautiful Name" | Hillsong Worship | 2016 | IV-V-vi-iii (bridge only) | D major | [citation needed] |
In Classical music
Sergei Rachmaninoff's 2nd symphony features a IV–V7–iii–vi–ii7–V7–I sequence in the third movement.[citation needed]
See also
- 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.[15]
- IV–vii°–iii–vi–ii–V–I - circle of fifths progression
References
- ^ 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…
[The chord progression of F → G → E m → Am, a progression often used in J-pop, is called "ōdō shinkō" or "koakuma kōdo shinkō"...] - ^ 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.
- ^ 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。
[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.] - ^ 実用日本語表現辞典 and デジタル大辞泉 dictionary definitions for 小悪魔 on weblio辞書
- ^ "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.
- ^ "Rick Astley "Together Forever" Sheet Music in D major". www.musicnotes.com. 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.
- ^ "It's Gonna By Me by NSYNC". Musicnotes. Archived from the original on April 15, 2017. Retrieved April 19, 2017.
- ^ Starlight (Taylor's Version)
- ^ 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.
- ^ 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.
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
[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]