1625 & 436251 progressions

Is it possible to provide a cheat sheet for this progression in all 12 keys? We have it in Eb and Bb but it would be great to get the other 10.

Hi Wendy :wave:

Great idea! Leave it with me and I will transpose the chords to all 12 keys and create a cheat sheet.

Apologies for the late reply, I did see you email and it was on my to-do-list to reply.

We have just recorded a new course on “New Orleans Blues, Funk, & RnB” which has kept me busy this last week. I’ll be announcing more details shortly.

I will aim to create the above cheat sheet by next week :+1:



Thank you. These progressions are freeing me up. I’ll look for the cheat sheet and work with Eb and Bb in the meantime.

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Somewhere in one of the progression lessons you said you’d done a lesson that addresses progressions for songs that don’t start on a major 7 chord. Where is that?

Check out this lesson where Tuomo demonstrates intros that can be used for tunes that start on the ii-7 chord:

Here’s Some Additional Theory:

When a tune starts on the Imaj7 chord, we can play the following 1625 progression:

  • Imaj7 / VI7 / ii-7 / V7 --> leading back to Imaj7 to start the tune.

For example, in the key of Eb Major this could be:

  • Ebmaj7 / C7 / F-7 / Bb7 --> leading to Ebmaj7 to start the tune.

If the tune starts on the ii-7 chord, a variation is:

  • Imaj7 / IV7 / iii-7 / VI7 --> leading to ii-7 to start the tune.

For example, in the key of Eb Major this could be:

  • Ebmaj7 / Ab7 / G-7 / C7 --> leading to F-7 to start the tune.

Hope that helps Wendy. If you’d like me to create a lesson on this let me know :+1:

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Hi Wendy :wave:

I have transposed the 143625 progression into all 12 keys.

Here is the PDF:

143625 Progression - All 12 Keys.pdf (100.4 KB)

Remember that it’s important to visualise each chord in relation to the parent scale.

Also, these are just some of the colours/tensions that you can add to the chords in this progression. It would be a nice exercise to experiment with different extensions and alterations.

In the example you quoted at the top, the VI chord is a dominant 9 chord, but in these examples I have used a minor 9 chord which I like in this setting. It can be nice to arpeggiate the notes downwards like I do in the lesson:


Hi Hayden

This is great and really appreciate you pulling this together fo us.

Question; what about minor keys?
Does the same process apply.

For example for ‘Autumn Leaves’ as the first chord is Cm ?

Or could you base it on a major key to work around?


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Thank you SO much. This is just what I needed. Gotta go practice.

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Thanks Paul, glad it’s useful.

Yes many of the same principles apply.

The aim is to end our introduction on a V7 chord which takes us smoothly and convincingly into the first chord of the tune. We can often precede that V7 chord with its related ii chord.

When creating introductions in minor keys we can incorporate the chord colours and flavours that are associated with minor harmony such as -7b5/-11b5 for the ii chord, and also altered sounds over the dominant chords.

I will create a dedicated tutorial for minor key introductions.

As the tune starts with C-7, it would be logical to end our introduction with a G7 chord.

We could take the last 4 bars of the tune and play a G7 in the final bar. Basing an introduction on the final section or the bridge is a common device and it allows us to quote sections of the melody, the harmony, or both.

Another option could be to take the chords of a 2516 progression ending on G7 to start the tune.

For example: C-7 / F7 / Bbmaj7 / G7 --> into the tune.

We can play those chords rubato or-in tempo depending on the style and vibe of our arrangement and we can circle around that progression until you are ready to start the tune.

Hope that helps,


I’ve played around with the new cheat sheet. What fun! It’s taking me places I didn’t think I could go. This may be a silly question, but here goes: Why do you alternate between the 1-5 and the 1-7 in the left hand?

Not a silly question at all Wendy.

The 5th interval is unique in the sense that it can be played way down in the lower registers of the piano without sounding ‘muddy’.

Depending on how low your left hand is, sometimes root and b7th can sound a little muffled and distorted, in which case I often move the b7th into my right hand.

I would say there is no exact science to it, it’s more based on taste, but at the same time do be aware of that lowest interval and the sound it is creating.

Hope that helps!

Further to the discussion on 1625 and 3625 progressions,

Here is a new lesson by Jovino where he uses a 3625 progression to create both major and minor introductions with a Brazilian flavour:

For a more jazz focused study of introductions, Tuomo created a great 5-minute masterclass on solo piano intros, check that out here:

Lots of food for thought in those 2 lessons.



Any ETA for that dedicated tutorial for minor key introductions? With a cheat sheet maybe???

Hey Wendy :wave:

Yes leave it with me. I will aim to get a minor key lesson recorded this week.

And yes we can certainly create a cheat sheet to accompany the lesson.

More to follow shortly.


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Hi @wendy - I have just published the lesson on minor introduction:

Apologies for the delay, things have been hectic with preparing and launching Jon’s course.

@kristeta - we use “My Funny Valentine” as the example tune to apply minor introductions. Thanks for sharing your performance of this tune and I hope you find the tips in this lesson helpful to enhance your arrangement :sunglasses:


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Fantastic Hayden!!! Look forward to working through this lesson in future😉

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Thank you so much Hayden. Looking forward to working through this lesson. I certainly have plenty of time to do so.

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That’s SuPeR! Thanks very much Hayden :blush: looking forward to learning something new from these lessons!

Thanks Kristeta - really glad to hear you enjoyed the lesson.

It’s a great tune to play around with!

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