Chords explained
The seven chords Gesture Synth uses, written in Roman numerals so they work in any key. Each entry covers the intervals, the feel, and where it usually sits in a song.
I (1st degree, the tonic)
Built on the 1st, 3rd, and 5th of the scale. The home chord — the song comes back to it. Bright, stable, confident. The vast majority of pop songs start or end on I.
ii (2nd degree, minor)
Built on the 2nd, 4th, and 6th of the scale. A minor chord one step above the tonic. Sounds wistful, jazzy, slightly off-balance. Classic moves: ii-V-I (jazz), ii-V (turnaround in pop).
IV (4th degree, subdominant)
Built on the 4th, 6th, and 8th (which is the 1st an octave up). A major chord that anchors the song — feels like a question waiting for an answer. Almost always paired with V before resolving to I.
V (5th degree, dominant)
Built on the 5th, 7th, and 9th (2nd up an octave). A major chord that creates tension — it wants to pull back to I. The classic 'turnaround' chord at the end of a phrase.
vi (6th degree, relative minor)
Built on the 6th, 8th, and 10th (3rd up an octave). A minor chord with the same root as I's relative minor. Melancholic, reflective. The 'I-vi' opener (e.g., 'Don't Stop Believin'') is built on this move.
VI (borrowed 6th, flat-7 in major)
Built on the b6, 1st, and b3. A borrowed chord from the parallel minor — sounds darker and modal. Great in bridges and pre-choruses for a color shift without fully changing key.
VII (borrowed 7th, flat-7)
Built on the b7, 2nd, and 4th. Another borrowed chord, common in mixolydian-flavored pop. Sounds bright but slightly unresolved — perfect for the moment just before the chorus resolves.
Four progressions that cover 80% of pop music
I–V–vi–IV
The 'axis of awesome' — used in countless hits because the V-I pull and the vi-IV color shift give both resolution and surprise. Try in C: C–G–Am–F.
I–vi–IV–V
The classic '50s progression' — starts soft (vi) then walks through IV and V back to I. Try in C: C–Am–F–G.
ii–V–I
The jazz turnaround. Minor ii to dominant V to tonic I — every jazz standard uses it. In C: Dm–G–C.
vi–IV–I–V
The 'sad pop' progression — opens on vi to set a melancholic mood, then walks back through IV and I to V. Try in C: Am–F–C–G.
Why these chords work together
These seven chords aren't random — they cover the strongest harmonic moves in Western music. I is home. IV is the question. V is the answer. ii and vi are colors that soften or darken the phrase. VI and VII are borrowed from the parallel minor and add modal flavor. Together, they let you write almost any pop song without going outside the scale.