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2. I–V–vi–IV progression - Wikipedia

   en.wikipedia.org/wiki/I–V–vi–IV_progression

   The progression is also used entirely with minor chords[i-v-vii-iv (g#, d#, f#, c#)] in the middle section of Chopin's etude op. 10 no. 12. However, using the same chord type (major or minor) on all four chords causes it to feel more like a sequence of descending fourths than a bona fide chord progression.

3. C-sharp minor - Wikipedia

   en.wikipedia.org/wiki/C-sharp_minor

   Its enharmonic equivalent, D-flat minor, having eight flats including the B, has a similar problem. Therefore, C-sharp minor is often used as the parallel minor for D-flat major. (The same enharmonic situation occurs with the keys of A-flat major and G-sharp minor, and in some cases, with the keys of G-flat major and F-sharp minor.)

4. Chord substitution - Wikipedia

   en.wikipedia.org/wiki/Chord_substitution

   Tonic substitution is the use of chords that sound similar to the tonic chord (or I chord) in place of the tonic. In major keys, the chords iii and vi are often substituted for the I chord, to add interest. In the key of C major, the I major 7 chord is "C, E, G, B," the iii chord ("III–7"[11]) is E minor 7 ("E, G, B, D") and the vi minor 7 ...

5. C♯ (musical note) - Wikipedia

   en.wikipedia.org/wiki/C%E2%99%AF_(musical_note)

   C♯ (musical note) C♯ ( C-sharp) is a musical note lying a chromatic semitone above C and a diatonic semitone below D; it is the second semitone of the solfège. C-sharp is thus enharmonic to D ♭. It is the second semitone in the French solfège and is known there as do dièse. In some European notations, it is known as Cis.

6. Neapolitan chord - Wikipedia

   en.wikipedia.org/wiki/Neapolitan_chord

   Appearance. In Classical music theory, a Neapolitan chord (or simply a " Neapolitan ") is a major chord built on the lowered ( flattened) second ( supertonic) scale degree. In Schenkerian analysis, it is known as a Phrygian II, [ 1 ] since in minor scales the chord is built on the notes of the corresponding Phrygian mode .

7. Royal road progression - Wikipedia

   en.wikipedia.org/wiki/Royal_road_progression

   IV M7 –V 7 –iii 7 –vi chord progression in C. Play ⓘ One potential way to resolve the chord progression using the tonic chord: ii–V 7 –I. Play ⓘ. The Royal Road progression (王道進行, ōdō shinkō), also known as the IV M7 –V 7 –iii 7 –vi progression or koakuma chord progression (小悪魔コード進行, koakuma kōdo shinkō), [1] is a common chord progression within ...