Since Bm 7–E 7–A is a ii–V–I progression, as is Em 7–A 7–D and so on. Variations include the addition of minor seventh chords before the dominant seventh chords, creating overlapping temporary ii–V–I relationships through ii–V–I substitution: (major pentatonic on C: C, D, E, G, A) Contrastingly, Averill argues that the progression was used because of the potential it offered for chromatic pitch areas. Though creating or featuring chromaticism, the bass (if the roots of the chords), and often the melody, are pentatonic. The progression is an example of centripetal harmony, harmony which leads to the tonic and an example of the circle progression, a progression along the circle of fourths.

info) The three-chord version (II–V–I) is 'related to the cadential progression IV–V–I.in which the V is tonicized and stabilized by means of II with a raised third.'.

This may be perceived as a, 'harder, bouncier sounding progression,' than the diatonic vi–ii–V 7–I (in C: Am–Dm–G 7–C).

Most commonly found in its four-chord version (including the chord in parentheses). It can be represented in Roman numeral analysis as (V 7/V/V/V) First the dominant chord acquired its own dominant.This then acquired its dominant, which in turn acquired yet another dominant, giving': Growing, 'by a process of gradual accretion.

Also typical of parlour music, its use originated in classical music and later spread to American folk music. The ragtime progression is a chord progression characterized by a chain of secondary dominants following the circle of fifths, named for its popularity in the ragtime genre, despite being much older. 'Such a replacement originates purely in voice-leading, but' the 6ģ chord above IV (in C, FAD) is a first-inversion II chord.

Ragtime progression's origin in voice leading: II itself is the product of a 5–6 replacement over IV in IV–V–I. The III 7-VI 7-II 7-V 7 (or V 7/V/V/V–V 7/V/V–V 7/V–V 7) leads back to C major (I) but is itself indefinite in key. The ragtime progression (E 7-A 7-D 7-G 7-C) often appears in the bridge of jazz standards.

B flat blues chord progression