IV△7–V7–iii7–vi progression

The IV△7–V7–iii7–vi progression, also known as the Ōdō shinkō (王道進行) 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. 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: F major 7–G7–E minor 7–A minor.[2][3]

IV△7–V7–iii7–vi chord progression in C. Play 
One potential way to resolve the chord progression using the tonic chord. Play 

The chord progression may be resolved with the tonic chord, for example in a IV△7–V7–I progression.[2]

Nomenclature

The informal name for the progression, Ōdō shinkō (王道進行), literally translates to "royal road progression"; the expression ōdō (王道, "royal road") is used in Japanese 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 used to describe a seductive lover who teases with one's feelings;[4] 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.[5]

History

The IV△7–V7–iii7–vi progression was originally influenced by jazz and rock progressions originating in Western music. Music featuring similar chord progressions were introduced to Japan via Eurodisco-influenced pop tracks that became popular during their early boom in Japan. The chord progression has become prolific in J-pop to the point where it has become a core part of modern Japanese music;[3] 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,[3] thus contributing to the conservative nature of record labels that lean towards familiar progressions over more risky experimentation.

Songs using the progression

This is a list of recorded songs containing multiple, repeated uses of the IV△7–V7–iii7–vi progression.

Song titleArtistYear
"Robinson" (ロビンソン) Spitz 1995
"Hitomi o Tojite" (瞳をとじて) Ken Hirai 2004
"Oribia o Kikinagara" (オリビアを聴きながら) Anri 1978
"Itoshi no Ellie" (いとしのエリー) Southern All Stars 1979
"Kanashii iro ya ne" (悲しい色やね) Masaki Ueda 1982
"Season in the Sun" (シーズン・イン・ザ・サン) Tube 1989
"Sekai de Ichiban Atsui Natsu" (世界でいちばん熱い夏) Princess Princess 1987
"White Love" Speed 1997
"Love Machine" (LOVEマシーン) Morning Musume 1999
"Everything" Misia 2000
"Fragile" Every Little Thing 2001
"Sakura" (さくら) Ketsumeishi 2005
"Only My Railgun" fripSide 2009
"Super Driver" Aya Hirano 2009
"Blue Bird" Ayumi Hamasaki 2006
"Haneuma Rider" (ハネウマライダー) Porno Graffitti 2006
"Zurui onna" (ズルい女) Sharam Q 1995
"HANABI" Mr. Children 2008
"Ai no mama ni Wagamama ni Boku wa Kimi dake o Kizutsukenai" (愛のままにわがままに 僕は君だけを傷つけない) B'z 1993
"Camouflage" (カムフラージュ) Mariya Takeuchi 1998
"Love So Sweet" Arashi 2007
"Gelaende ga tokeru hodo koishitai" (ゲレンデがとけるほど恋したい) Kohmi Hirose 1995
"Pieces" L'Arc-en-Ciel 1999
"Kanzen kankaku Dreamer" (完全感覚Dreamer) One Ok Rock 2010
"Zenryoku shōnen" (全力少年) Sukima Switch 2005
"Guarana" (ガラナ) Sukima Switch 2006
"Unmei no Roulette Mawashite" (運命のルーレット廻して) Zard 1998
"Egao no genki" (笑顔のゲンキ) SMAP 1992
"Aishiteru no ni, aisenai" (愛してるのに、愛せない) AAA 2015
"Gravity" Luna Sea 2000
"Lies and Truth" L'Arc-en-Ciel 1996
"HERO" Exile 2004
"Meikyū Love Song" (迷宮ラブソング) Arashi 2011
"Baka Mitai" (馬鹿みたい) Takaya Kuroda 2015
"Sotsugyō Shashin" (卒業写真) Yumi Matsutoya 1975
"Yes-No" Off Course 1980

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.[6]

References

  1. 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. Hiroshima Institute of Technology. 115 (39): 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"...]
  2. 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.
  3. 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. 関西大学社会学部. 47 (1): 1–20. 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.]
  4. 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
  5. "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.
  6. 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. 関西大学社会学部. 47 (1): 1–20. 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]
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