Play Along with Chord Progressions

Most of the music we hear uses chord progressions that produce satisfying “full music” — by combining two harmonies we enjoy, simultaneous harmony (in a chord) and sequential harmony (during a melody) — because most musicians think this is the best way to make music that is interesting and enjoyable.  Whether you play a colorized keyboard (that is designed for improvising semi-harmonious melodies during a chord progression) or another instrument, this page will help you make music.

You can “play along” with a chord progression in a jam session or a recording, including a video.

When you're playing along with a video in YouTube, you can...

    increase the video-length (right-click and then click "Loop"),

    change the video-tempo (with speeds from .25 thru 1.00 to 2.00, not changing the pitch) by clicking the “gear” icon,

    change your keyboard-key by using its Transposing Feature (why and how?) that lets you “play in C Major” but “hear in any major key” to match the key of a non-C video).

LINKS go to my Main Page or Big Page or Summary Page or to another part of this page (if italicized) or YouTube (if non-italicized) or another external page.

Five common chord progressions are simple & blues (with only the three main major chords) and (by adding one minor chord) 50's – 1564 – jazz.

You can "play along" with other musicians in-person, or with a recording.

recordings:  Some youtube videos are backing tracks with a Chord Progression;  these provide harmony usually with chords plus basslines) and rhythm, but not melody — so you can “play along” by improvising new melodies.   /   And you can play along with videos that have a single chord (not a progression), or with recordings of songs.

Musicians use a wide variety of chord progressions (CP's).  Probably you should begin by using...

chord progressions

with only Major Chords,

like “simple” or 12-Bar Blues

simple:

When you're beginning to play along with videos (before you add complexities), using a simple chord progression — like red-blue-green-red that is C-F-G-C in Key of C, and generally is I-IV-V-I , aka 1451 — is easier because it has only major chords, with a simple 4-bar structure.   /   You can use a video with CFGC (from Lily or Garret or AppliedTheory) and make it longer with "Loop".   When you begin, just listen and watch the chord that's playing so you can learn the progression.  After awhile, play melodies that match the chords.   /   Other videos with 1451 are...  AppliedTheory – ChuanMusic – simple-keyboard – simple-piano.

You also can play melodies during another simple progression — red-blue-red-green (e.g. C-F-C-G), generally I-IV-I-V, 1415 — using videos from Garret's & SoundYourVoice.    /    Or combine the two CP's to make an 8-chord progression, C-F-C-G-C-F-G-C.  But you can only do this with free playing (or with DIY chord-playing by a friend) because I can't find any videos with this 8-chord combination of the 4-chord CP's, at least now — but [iou] in late-March I'll use DIY (by cutting-and-pasting) to make my own BT's for C-F-C-G-C-F-G-C.

iou – Later I'll add links for other CP's.  Some four-bar CP's with only “the three major chords” are I-IV-V-I  and  I-I-IV-V,  I-IV-I-V,  I-IV-V-IV  &  I-V-IV-V,  IV-I-V-V.  And there are others.    /    Although most of these don't end with a resolution-to-I, you could do this IF you want (but usually you won't) in two 4-bar sections, as in “       -I-IV-V-I” where "       " is any other CP, like “I-IV-I-V-I-IV-V-I”. -- the CP-videos made by David Bennett include... simple CP's:  I-IV-I-V  —  I-V-IV-V  -  I-IV-V-IV  —  IV-I-V .

These two simple CP's are a useful starting point, and while “playing along” you can improvise beautiful melodies.  But they are not a satisfactory ending point, and I suggest moving onward to other CP's – first Blues, and then 50's, 1564, Jazz – that are more popular (they're used in many songs) because they're more musically interesting.

12-Bar Blues:

This is a popular chord progression, used in blues, R&B, rock, jazz,...   The basic form is (CCCCFFCCGFCC).  But usually it's done with variations, mainly a turnaround ending — in Key of C the most common is CG in CCCCFFCCGFCG — that avoids CCCCCC when repeating the 12 bars,* but also a quick-change beginning that is CFCCFFCCGFCG when it ends with the common turnaround.   /   * Musicians can clarify the separation between two 12-bar phrases by using harmony – as in a “...CG” turnaround – and in other ways, because even with CCCCCC the separation (between CC and CCCC) can be distinctly clarified by using melody & rhythm, and in other ways.

me:  Early in my experiences with music improvising I was excited-and-motivated by "recognizing that by using music theory [in 12-Bar Blues] we could coordinate our improvised melodies, cooperating to make interesting music, and it was fun."

us:  More generally, if a group of experienced musicians (playing jazz, rock, pop, country) gathers to jam, when someone says “let's play 12-Bar Blues in C” they instantly will be making music together, with skill.  Why?  Because chords — and common chord progressions, like 12-Bar Blues — are the central core of a shared musical language they all understand.

  Although you can begin with

• the basic 12-bar form, as in AUsher's Rock n Roll,

  I recommend quickly moving on to...

• ending with a Turnaround (by changing ...CC to ...CG to get CCCCFFCCGFCG) because this is more common, due to the musical benefits.  Although in an important way it's simple (using only the three main major chords), compared with CFGC (a simple 4-bar structure) its 12-bar structure is complex.  To learn this structure and “internalize it” so you know it well and can play along fluently, for awhile just listen to a video (from Paul Collins or A Vos Grattes) and watch the chords change (within a 3-row table that shows the 12-bar structure) to combine “seeing the progression” with “hearing the progression” so you'll learn how to know (without the visual information) the chord that is being played in each measure, and you'll intuitively anticipate the chord changes.  You can adjust the tempo so you'll hear the chord-changes at different speeds while you're listening, and (more important) while you're playing;  begin slow and then increase the speed as you become more comfortable with improvising creatively while making your melody match each chord-harmony.   /   other backing tracks:  play along with Freddie Edwards (but there is no table) or (but you cannot see the chord that's now being played) with Cliff Smith (RockinBlues - Blues) — Marc Guitar (Shuffle - ) — TCDG Guitar — Garret's —

• ending with a modified Turnaround (with small variations of the standard ...CG ) in AUsher's (RockinShuffle - ClassicBlues - Rock n Roll - RockinBluesShuffle).

• beginning with a Quick Change (when CCCC... is replaced by CFCC... so the chord quickly changes from C to F) is less common, but it sounds good.  Two videos that show the changing-of-chords are Guitar Lessons Geauga and (with a slight change in the standard turnaround-timing) Now You Shred.  And with a variation of chords in the standard turnaround, A Usher.

  You also can play...

• Minor Blues in A Minor — AUsher — [[ iou – soon I'll link to more Minor Blues  .....  and will find videos in C Minor. ]]

and I'll link to 12-Bar Blues in other keys, so you can practice using the transposing feature of your keyboard.  Why?  This is necessary when a backing track (or song) you like isn't in C, or during a jam session with other musicians because they often will want to play in keys other than C.  Compared with most instruments, it's extremely easy to transpose with an electronic keyboard, so you can just tell them “play in any key you want, just tell me the key and I'll tell my keyboard so it automatically transposes everything, letting me mentally-and-physically ‘play’ in my favorite way, in the Key of C.”

I think it will be easier to quickly improve your improvising skills if you begin with the progressions above (simple and 12-Bar Blues) that have only major chords, before moving on to...

chord progressions

with a Minor Chord:

a 50s Progression (it's I-vi-IV-V, aka 1645, as in C-Am-F-G) requires skillfully improvising melodies using the chord-notes of Am (A Minor) that are the two upper rows of red bars on my colorized keyboard.

How?  Probably you don't yet have much experience doing this.  An effective way to improve your skill is to use a strategy of Whole-Parts-Whole with a single-chord video in A Minor.   /   Also, with all CP's (including this one) you can sing without words to inspire intuitive melody-making skills that you then can transfer to playing keyboard. (or another instrument)

What?  While you're learning a progression so you can intuitively “hear the changes” it's useful to hear-and-see videos that show the chords, with NorthvilleGuitar or Reinhold.  After awhile, when you know the progression so you don't need to see the chords, two I like – with a “sound and feeling” of 50s Music – are by John Alex.  You'll find your own favorites, maybe with others that show the chords, in PierGonella & Musician'sGuide – MyBackingTrack – ChussMusic – TGuitar – and search for others.

6451 is the same progression as 1645, but it's time-shifted:   iou – in March 2025, I'll listen to these backing tracks (that you can choose from now) and then will link to some.

a popular progression that is related to the 50s Progression – because it has the same chords, but in a different sequence – is...

1564 (it's I-V-vi-IV, aka 1564, e.g. C-G-Am-F).  Some videos have graphics that show the chord now playing:  ChussMusic – Guitarphile – GuitarJam.  After you know the chord progression, can hear the changes, RockFactory – Pier Gonella (ballad - pop rock - same?) – TGuitar.

6415 is the same progression but with time-shifting:   iou – In March, I'll listen to these backing tracks and then will link to some.

a common jazz progression (ii-V-I, aka 251, e.g. Dm-G-C-C), from Etienne de Loriol – AlbertScaranoMusica – JonMacLennan – Quist – BackingTracksChannel – plus many more in C and other keys including A Minor.

educational videos:  In skillfully produced videos about CP's, David Bennett explains – using principles of functional harmony – why popular chord progressions (and variations) “work well” for making music that's interesting-and-enjoyable.  His videos include many short samples of songs (usually with scenes from concerts) that use each progression so you can hear-and-see.  He has the popular chord progressions (simple - blues - 50s - 1564 - jazz) plus variations, and CP's that supplement I,IV,V with other major chords (like bVII, bVI).

reminders:  You can change a video's length & tempo, and change your keyboard's key.

To improve your skill when playing along with chord progressions, a useful strategy for learning is using...

single-chord videos  (with no chord progression)

How and Why?

These videos are useful when you're using a strategy of Whole-Parts-Whole, when you first improve your melody-improvising skills during single-chord videos for different chords (in the Parts) and then (in the Whole) you'll have improved skills when you're playing along with these chords in a Chord Progression.  But even though these videos are mainly a way to reach “the destination” of playing more skillfully with a chord progression, “the journey” also can be fun because the simplicity lets you improvise long single-chord melodies while you focus on playing creatively with quality.   /   During a Part or Whole you'll want to improvise melodies that “match the harmony” either totally (by using only chord notes) or partially (by also using non-chord notes).  Usually... [[ to be continued soon. ]]

iou – Tonight, March 25, I'll condense-and-revise the small-font ideas below:

How and Why?

[[ in a continuation of what's above, ..... playing creatively with quality.   /   During a Part or Whole you'll want to improvise melodies that “match the harmony” either totally (by using only chord notes) or partially (by also using non-chord notes).  Usually partial matching is more artistically interesting because non-chord notes...  • give you extra options for making your melodies interesting, and   • lead to some harmonic dissonance, in melodies that are semi-harmonious;   both •'s are useful for producing artistic mystery.

options -- more how-and-why, or begin doing it.

By using single-chord videos you can do 2cp-parts in two ways – by sometimes playing along (with vamps) and sometimes playing freely (with drones) – to get the benefits of both ways to play.  another option:  By slowly playing along with a CP-video (it's a whole-2cp), the slow tempo lets you get some benefits of playing freely {because you can do melodic experimenting more creatively when you have more time, although it won't be the unlimited time of a drone with no tempo};  and you will get all benefits of playing along with a CP-video (to practice inventing melodies for the specific harmonic context of each chord in this CP).

You can do a Part in two ways, by either playing free (without rhythm) or playing along (with external rhythm); in both ways you'll have harmony so you can improve your harmony-matching skills, melodies that

    • When you play with a single-chord drone you're playing freely (with no external rhythm-and-tempo pushing you to play faster) so you'll free to play slower, and this gives you more time to be more creative in exploring new possibilities for inventing new melodies that "fit well" (as in matching-harmony above)

even though you're “playing along” you're getting only harmony-feedback;  there is no rhythmic feedback to so you're “playing free” so you'll feel more free to use extra time and try new ideas, to help you creatively invent a wider variety of new melodies.

When you are playing freely*

free playing and playing along:  It's useful to sometimes “play freely” (without external rhythm or external harmony) and sometimes “play along” (with external rhythm and/or external harmony) because each way-to-play produces distinctive kinds of experiences.  Each is useful in different ways, so learn in both ways by alternating between them.  Why?  When you are playing freely (with no external rhythm “pushing you to go faster”) you'll feel free to play slower, using more time to creatively explore new ways of playing.*  When you are playing along (with external rhythm for rhythmic feedback, and usually with chord changes), this disciplined practice helps you improve rhythmic skills.   /   In a convenient way to practice, three kinds of backing track videos — single-chord videos — drones (for playing freely) and vamps (for playing along) — let you play in three ways, and each offers useful benefits.

For example, a “chord progression with slow rhythm” (so you're playing along slowly with multiple chords) can be very useful to practice adjusting your melodies for differing harmonic contexts.

* During free explorations, escape from the ruts of familiar habits by trying new ways to play, by decreasing your habit-ruts to increase your creativity.

    • For playing along WpW, single-chord vamps are especially useful because the rhythmic feedback will help you improve rhythmic skills;  and generally it's more fun, is a full “playing along” with both rhythm (unlike a drone) harmony (with a chord, even though it isn't changing) and rhythm.

Each kind of experience is valuable in different ways so I encourage you to do both, to sometimes “play free” (without external rhythm, using a drone) and sometimes “play along” (with external rhythm, using a vamp) because each way-to-play produces a distinctive kind of experience.    /    a summary:  a drone is useful for stimulating melodic creativity in your choosing-of-notes;  a vamp is useful for improving your skills with playing-of-rhythm, including practical “real time” faster choosing-of-notes.

Here are some playlists for Vamps or Drones plus Chord Progressions...

using only major chords (C,F,G) — Single-Chord Vamps and Single-Chord Drones along with Simple CP's (1451, 1415) and 12-Bar Blues (Basic & With Turnaround & Quick Change) — that are easier to use (compared with individual tracks) when you want to practice by using the Chord-Vamps (or Chord-Drones) in a Chord Progression.

using major chords (C,F,G) plus a minor chord (Am) — Single-Chord Vamps and Single-Chord Drones along with CP's for 50's and 1645 — that are easier to use when you want to play all of the chord-vamps (or chord-drones) plus the Chord Progression.     {and I'll make a playlist for Jazz}

You can make your own playlists, by revising mine or making your own.  [[ iou – during late-March, I'll link to videos for how to make-revise-save playlists. ]]

And here are individual tracks – these may help you make a playlist that I think you'll prefer – for...

Single-Chord Vamps — with harmony (in a single chord) and with rhythm:  Now I'm making links to only Jack's Guitar Trax – the ones I like best* – for chords of...  red-C major – blue-F major – green-G major  —  red-A minor – blue-D minor – green-E Minor — and also C Minor - [plus F Minor - G Minor]?   But I have found other videos, and later will link to them.    /    * But I also like other videos for each chord, and (iou) will link to them later, maybe before April.  And of course it's more difficult to be “musically interesting” while playing only one chord instead of a chord progression,  but you can be creative in making interesting melodies, and I think you'll enjoy “the journey” of using each Part of the Whole-Parts-Whole.     {also, with 7th Chords for E7-A7-B7 you can “play” in C, but “hear” in E with +4 transposing.}

Single-Chord Drones — with harmony (in a continual chord) but without rhythm:  Here are two videos for each chord, for... red-C Major – blue-F Major – green-G Major — red-A Minor – blue-D Minor – green-E Minor — and by searching you can find other chord-drones, including some for 7th chords.   /  But you probably will using a Playlist, either mine or those you make.

also:  Although you probably will find single-chord vamps or single-chord drones more generally useful for doing the Parts of Whole-Parts-Whole, you also can try...

a single-note vamp {C Blues} and other One-Note Backing Tracks – for every note (C,F,G,A,D,E,...) – with rhythms of Blues & Latin & Hip-Hop,

and single-note drones for C - F - G - etc.    { But instead of being drones without rhythm, some videos are vamps with rhythm. }

also:

chord progressions in popular songs

When you “play along” with a song, at different times you can play the old melody as-is,  and play improvised variations of the old melody,  and ignore the original melody and just play new melodies that “fit well” with the chords.

iou – during March 2025, maybe sooner, this important section will be developed more thoroughly.   [[ an update – today, Feb 15, I assembled a new page with valuable information from Wikipedia about songs that use two chord progressions, 50s and 1564.  Soon, Feb 21, I'll describe that page here, and will update the following sentence that was written before I assembled the new page using Wikipedia-info.   /   Here is the old version of this section, with useful ideas in bold:   I'll help you find online song-recordings that use each chord progression – simple, blues, 50s, popular, jazz – by linking to resources that include wikipedia's lists of popular songs for some common progressions,*  or HookTheory & ChordGenome & others.  I also will link to the best programs (so far it's only MusicStax) for "finding the key of a song" and will explain a scientific method – when you experiment & observe – for finding the key by yourself.  Usually the key won't be C, but with an electronic keyboard you can “play in C” but “hear in the song's key” (usually not C) by using the transposing feature of your keyboard.  And if necessary (if the song isn't tuned to the standard A=440) you can use the keyboard's tuning feature.

* e.g. There are lists songs that use I-vi-IV-V (or I-vi-ii-V or other variations) and I-V-vi-IV and some variations.

MusicStax shows the key for recordings by different groups;  e.g. there are MANY versions of Earth Angel, including the original in Ab (by The Penguins), the version for Back to The Future in F (Marvin Berry & The Starlighters), plus covers in Eb (by The Crew Cuts) and others (including one by Elvis Presley) that give you more options when you're playing along.

[[ resources:  info-databases about CP's of songs:  hook theory – chordgenomeproject – and others ]]

backing tracks with only rhythm

      (without harmony or melody)

You can use a metronome track and (iou) in April-2025 I'll link to some drum tracks.   /   pros & cons of using a metronome –

backing tracks for performing (live or recorded):  [[ iou – I've seen these, and later (maybe December) some will be linked-to, although this isn't a personal interest – I'm more interested in teaching how to make music. ]]

TRANSPOSING – When, Why, How

When?  A keyboard's auto-transposing feature is useful whenever you want to play along in any key that isn't the C Major (or A Minor) that's best for a keyboard with red-blue-green colorizing.  Most makers of backing tracks have videos in C (although if you also want to “sing with it” another key might be better for your vocal range), but most song-recordings are in other keys.  And if you want to jam with musicians, some will play an instrument that cannot auto-transpose, and they will want to play in other keys.  For example, with my trombone the keys of F & Bb are easier, and I can play better;  but for valve trombone (similar to trumpet) I like Eb.  Guitar players usually prefer keys-with-sharps, like G, D, A, and E.  For a vocal instrument each singer has a favorite low-to-high range, and this affects their preferred keys, which can change for different songs.  Other instruments (and musicians who play them) will have their own favorite keys.   In any of these situations with non-C music, auto-transposing lets you “play in C” (with your actions) and “hear in another key” (with the keyboard's sound).

Why?  Transposing is beneficial in two ways, for using time and for music.  It allows “specializing” in one key – this is especially useful when using a colorized keyboard – with valuable time (and life) benefits.  You also get musical benefits by using your music-playing time for creatively doing a wide range of diverse experimenting in one key so you can explore it more widely & deeply.

How?  When you want to transpose — for example, when jamming with other musicians, or playing a video that isn't “in C” — by having your keyboard automatically transpose to another key, doing this is easy.  If a video is “in E” just continue pressing the transpose-button until it's +4 (the difference in semitones from C up to E), and every note you play will sound 4 semitones higher, so when you “play in C” (easy for you) it “sounds like E” (the video's key) and you're playing in-tune with the video.     {a keyboard feature that sometimes would make key-matching easier}

This table shows the transposing-number when you know the key, like when it's in the title of a youtube video.  The color-coding shows rarely-used keys, and keys that are commonly used by wind instruments (trumpet, saxophone,...) and guitar players.

If you don't know the key, you can find it with a program (sometimes) or (always) by using an old-fashioned strategy.  How?  If you're “playing in C” and you notice that you must play B-flat (instead of B) and E-flat (instead of E), you know the key probably has two flats;  it's "2b" in the table below, so its transposing-number is +10 or –2.  Or if you must use F-sharp (instead of F) and also C-sharp and G-sharp, you know the key has "3#" so its transposing-number is +9 or –3.  When using this strategy, it's useful to understand The Circle of Fifths.   /   Or just listen carefully and you may notice a "home note" that is the song's key;  then you can check this by assuming it's the key when you set the transposing, and – if you're correct – you will never (or rarely) have to use any flats or sharps.

  You can Play Free & Play Along by

  using Backing Tracks with different
  combinations of harmony & rhythm:

four simple Chord Progressions:

Earlier I describe the simple CP of I-IV-V-I (aka 1451, e.g. CFGC);  and four simple CP's are in my Big Page.  The CP-Videos of David Bennett include three simple CP's — I-IV-I-V (1415, CFCG),  I-IV-V-IV (1454, CFGF),  I-V-IV-V (1545, CGFG) — but not I-IV-V-I.  All four CPs are similar because all have the same three chords (I,IV,V) in a CP-sequence with four chords;  but these three chords have different four-chord sequences.

Very few videos are available for any of these CPs.  And most of the videos that are available don't have high musical quality.  I'll be finding other videos during July 2024, then will revise this paragraph and add links.   /   Here is a beginning:  I've found several videos for 1451 plus others — 1415 (CFCG) from Garret's & vocals — 1545 (CGFG) from GuitarImprov — and later I'll find others.