The, also known as the IVM7–V7–iii7–vi progression or,[1] is a common chord progression within contemporary Japanese pop music.[2]
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: FM7–G7–Em7–Am.[3] [4]
The chord progression may be resolved with the tonic chord, for example in a IVM7–V7–I or a ii7–V7–I progression.[3] IVM7–V7–iii7–vi–ii7–V7–I creates a full circle of fifths progression in the major mode, with V7 substituting for vii°. In C major, this would be FM7–G7–Em7–Am–Dm7–G7–C.
The basic progression can be found in two versions. The first uses V7 in its third inversion (G7/F), the other uses V7 in its root position (G7). The former appears in lushly orchestrated pop arrangements, while the latter appears mainly in rock and electronic music.
In a minor key, there are two versions of the progression: VIM7–VII7–v7–i and iv7–v7–IIIM7–VI. The first version can be thought as an essential iv–v–v–i with the VI and VII chords substituting for the iv and v respectively, or as a VI–ii°–v–i with the ii° being substituted by the VII chord. For the second version, a cadential suffix may be added, such as iv7–V7–i or iiø7–V7–i. When resolved by iiø7–V7–i, a large progression iv7–v7–IIIM7–VI–iiø7–V7–i is created, where the v7 substitutes for the VII. In A minor, this would be Dm7–Em7–CM7–F–Bm7(♭5)–E7–Am.
Variations on the Royal Road progression may include IVM7–V7–IM7–vi, ii7–V7–iii7–vi, or IVM7–viiø7–iii7–vi for the major version, and iv7–VII7–v7–i, iiø7–VII7–v7–i, VIM7–iiø7–v7–i, or iv7–VII7–IIIM7–VI for the minor version(s).
When this progression is resolved by a ii7–V7–I cadence, it becomes IVM7–V7–iii7–vi–ii7–V7–I, a sequence of descending fifths with V7 substituting for the vii° chord. The sequence of descending fifths was used regularly in tonal music since the Baroque era.
In Western pop music, the progression can be used without the seventh notes, so that it becomes IV–V–iii–vi. If resolved by an ii–V–I cadence, this becomes IV–V–iii–vi–ii–V–I.
The name for the progression,, literally translates to "royal road progression". In Japanese, the expression is used 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 . The phrase is a phrase used to describe a seductive person who teases with one's feelings;[5] 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.[6]
The royal road progression was originally influenced by jazz and rock progressions originating in Western music. The earliest example of the progression in J-Pop occurs in Yumi Arai's "Yasashisa ni Tsutsumareta Nara" (1974), closely followed by Arai's "Sotsugyou Shashin" (1975), released as a hit single by Hi-Fi Set in 1975. The opening of the latter song is very similar to Edward Elgar's "Land of Hope and Glory", which contains a IV−V4/2−I6−vi (F-G7-C/E-Am) progression. Lowering the C in the C/E chord to B would give Em (iii), thus producing a complete Royal Road progression. Even if the lineage of the progression cannot be traced back to Elgar, the basic IV-V-I-vi progression could be considered a predecessor to the Royal Road progression, and this IV-V-I-vi progression was used in the Beatles' "I Want to Hold Your Hand", a hit in Japan in the 1960s.
Arai's use of the progression led to other 1970s and 1980s J-Pop artists, such as Hiroshi Madoka and Akiko Yano, using it. However, the progression reached a new level of popularity after its use in Stock Aitken Waterman's Eurodisco-influenced pop tracks such as Rick Astley's "Never Gonna Give You Up" and Kylie Minogue's "I Should Be So Lucky", the latter of which was a top 10 hit in Japan. In the 1990s, the immense popularity of Eurobeat in Japan furthered this trend, and the chord progression became so prolific in J-pop to the point where it has become a core part of modern Japanese music. As of 2023, 40% of the top twenty best selling singles of all time in Japan contain the chord progression, and between 1989 and 2019, the year's top-selling Japanese song contained the progression 23% of the time. 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, thus contributing to the conservative nature of record labels that lean towards familiar progressions over more risky experimentation.
This is a list of recorded songs containing multiple, repeated uses of the IVM7–V7–iii7–vi and similar progressions.
| Song title | Artist | data-sort-type="number" | Year | Source |
|---|---|---|---|---|
| "After School" | Weeekly | 2021 | ||
| B'z | 1993 | |||
| AAA | 2015 | |||
| "Aku Bukan Jodohnya" | Tri Suaka | 2021 | ||
| "Aku Sayang Aku" | Chintya Gabriella | 2020 | ||
| "Aku Tak Berdosa" | Chossy Pratama | 1999 | ||
| "Anak Sekolah" | Chrisye, Oddie Agam | 1987 | ||
| Yoasobi | 2020 | |||
| hololive IDOL PROJECT | 2021 | |||
| Takaya Kuroda | 2015 | |||
| "Berharap Tak Berpisah" | Reza Artamevia | 2003 | ||
| "Bintang Di Hati" | Anto Hoed, Melly Goeslaw | 2018 | ||
| "Bintang Keabadian" | Pongki Barata | 2001 | ||
| "Blue Bird" | Ayumi Hamasaki | 2006 | ||
| "Blue Bird" (ブルーバード) | Ikimonogakari | 2008 | ||
| "Brave Heart" | Ayumi Miyazaki | 1999 | ||
| "Bunda" | Anto Hoed, Melly Goeslaw | 1997 | ||
| Mariya Takeuchi | 1998 | |||
| "Cari Pacar Lagi" | ST 12 | 2008 | ||
| "Capture the Moment" | hololive IDOL PROJECT | 2024 | ||
| ano | 2022 | |||
| "Cintaku Padamu" | Ita Purnamasari | 1992 | ||
| "Cinta Terbaik" | Cassandra | 2017 | ||
| ClariS | 2011 | |||
| "Dari Mata" | Jaz | 2016 | ||
| "Dekat Di Hati" | RAN | 2013 | ||
| "Doakan Aku Tegar" | Mutia Ayu | 2023 | ||
| "Don't say "lazy"" | Yōko Hikasa, Aki Toyosaki, Satomi Satō, Minako Kotobuki | 2009 | ||
| Hachi | 2013 | |||
| "Dream☆Story" | Tokino Sora | 2019 | ||
| SMAP | 1992 | |||
| "End of a Life" | Mori Calliope | 2021 | ||
| "Everything" | Misia | 2000 | ||
| "Fragile" | Every Little Thing | 2001 | ||
| "Full Senyum Sayang" | Evan Loss | 2022 | ||
| "future gazer" | fripSide | 2010 | ||
| "Galih & Ratna" | Guruh Sukarnoputra | 1980 | ||
| Kohmi Hirose | 1995 | |||
| "Glory to Hong Kong" | Thomas dgx yhl | 2019 | ||
| "GO! GO! MANIAC" | Yōko Hikasa, Aki Toyosaki, Satomi Satō, Minako Kotobuki | 2010 | ||
| "God knows..." | Aya Hirano | 2006 | ||
| "Gravity" | Luna Sea | 2000 | ||
| Sukima Switch | 2006 | |||
| Uverworld | 2008 | |||
| "HANABI" | Mr. Children | 2008 | ||
| Porno Graffitti | 2006 | |||
| "Harusnya Aku" | Armada | 2014 | ||
| "HERO" | Exile | 2004 | ||
| Ken Hirai | 2004 | |||
| L'Arc-en-Ciel | 2004 | |||
| Ikimonogakari | 2009 | |||
| Ignite | Eir Aoi | 2014 | ||
| "Indah Cintaku" | Nicky Tirta, Vanessa Angel | 2010 | ||
| "Ingat-Ingat Kamu" | Maisaka | 2016 | ||
| Southern All Stars | 1979 | |||
| "Jadikan Aku Pacarmu (J.A.P)" | Sheila on 7 | 1999 | ||
| "Jarak" | Beaconcream, Frederett | 2024 | ||
| Masaki Ueda | 1982 | |||
| Little by Little | 2003 | |||
| One Ok Rock | 2010 | |||
| "Kasmaran" | Phantom | 2010 | ||
| "Keagungan Tuhan" | Ida Laila | 1964 | ||
| "Kesepian" | Dygta | 2007 | ||
| Ikimonogakari | 2008 | |||
| Mosawo | 2022 | |||
| "Kupu-Kupu" | Tiara Andini | 2024 | ||
| "Lies and Truth" | L'Arc-en-Ciel | 1996 | ||
| Morning Musume | 1999 | |||
| "Love Scenario" | iKON | 2018 | ||
| "Love So Sweet" | Arashi | 2007 | ||
| samfree | 2009 | |||
| "Mantra Hujan" | Kobo Kanaeru | 2022 | ||
| Aqours | 2016 | |||
| Arashi | 2011 | |||
| "Melangkah Di Atas Awan" | Dwiki Dharmawan, Eddy D. Iskandar | 1997 | [7] | |
| "Melukis Senja" | Budi Syahbudin | 2020 | ||
| "Me Gustas Tu" (오늘부터 우리는) | GFriend | 2015 | ||
| "Menemukanmu" | Seventeen | 2010 | ||
| "Mengejar Mimpi" | Yovie & Nuno | 2010 | ||
| "Menghapus Jejakmu" | Noah | 2007 | ||
| "Merindu Lagi (Pada Kekasih Orang)" | Yovie & Nuno | 2010 | ||
| Hoshimachi Suisei | 2023 | |||
| Tsuruta Kamo | 2007 | |||
| Daisuke | 2007 | |||
| μ's | 2011 | |||
| "Negeri Di Awan" | Andre Manika, Katon Bagaskara | 1994 | [8] | |
| Kessoku Band | 2022 | |||
| Nico Touches the Walls | 2013 | |||
| "Nostalgia SMA" | Paramitha Rusady | 1988 | ||
| "Only My Railgun" | fripSide | 2009 | ||
| "Orange" | Rie Kugimiya, Yui Horie, Eri Kitamura | 2009 | ||
| 7! | 2011 | |||
| Anri | 1978 | |||
| "Perlahan" | Guyon Waton | 2020 | ||
| "Pieces" | L'Arc-en-Ciel | 1999 | ||
| "Rapsodi" | JKT48 | 2020 | ||
| Spitz | 1995 | |||
| "Rungkad" | Vicky Tri Prasetyo, Happy Asmara | 2022 | [9] | |
| Ketsumeishi | 2005 | |||
| "Satukanlah" | Alda | 2007 | ||
| "Sayang" | Via Vallen | 2016 | ||
| "Sebatas Mimpi" | Nano | 2009 | ||
| Tube | 1989 | |||
| Kessoku Band | 2022 | |||
| Princess Princess | 1987 | |||
| "Sekitar Kita" | Dwiki Dharmawan, Pra Budi Dharma, Trie Utami | 1992 | ||
| "Selimut Tetangga" | Repvblik | 2014 | ||
| "Semoga" | KLa Project | 1990 | ||
| "Shiny Smily Story" | hololive IDOL PROJECT | 2019 | ||
| Back Number | 2011 | |||
| LiSA | 2014 | |||
| "silky heart" | Yui Horie | 2009 | ||
| Shiranui Flare | 2023 | |||
| "Snow Halation" | μ's | 2010 | ||
| Yumi Matsutoya | 1975 | |||
| "START:DASH!!" | μ's | 2013 | ||
| "Sumpah Ku Mencintaimu" | Seventeen | 2013 | ||
| "Super Driver" | Aya Hirano | 2009 | ||
| "Sweet Dream" | Jang Na-ra | 2002 | ||
| Yoasobi | 2020 | |||
| "Tak Punya Nyali" | d'Masiv | 2016 | ||
| "Takut" | Vierra | 2011 | ||
| "Tiba-Tiba" | Quinn Salman | 2022 | ||
| "Tiba-Tiba Cinta Datang" | Maudy Ayunda | 2011 | ||
| Daoko, Kenshi Yonezu | 2017 | |||
| "uni-birth" | Minato Aqua | 2022 | ||
| Zard | 1998 | |||
| "Utauyo!!MIRACLE" | Yōko Hikasa, Aki Toyosaki, Satomi Satō, Minako Kotobuki | 2010 | ||
| "Wa" (와) | Lee Jung Hyun | 1999 | ||
| "White Love" | Speed | 1997 | ||
| "Wonderful Rush" | μ's | 2012 | ||
| "Yes-No" | Off Course | 1980 | ||
| Yoasobi | 2019 | |||
| Tokino Sora | 2022 | |||
| Sharam Q | 1995 | |||
| Sukima Switch | 2005 |
In Western music, the progression is sometimes seen without the seventh notes, or with some substitution for one of the chords in the progression. Examples include:
| Sources | ||||||
| "" | The Who | 1973 | IVM7-V7-iii6/5-vi4/2 | N/A | ||
| "Dilemma" | Nelly, Kelly Rowland | 2002 | ii7-V-iii7-vi | F major | ||
| "Never Gonna Give You Up" | Rick Astley | 1987 | iv9-VII7-v7-i | B♭ minor | ||
| "Together Forever" | Rick Astley | 1988 | IVM7-V7-iii7-vi7, IVM7-V7-iii7-vi7-ii6/5-V7-I | D major | [10] | |
| Não Quero Dinheiro (Só Quero Amar) | Tim Maia | 1971 | IV-V4/2-iii-vi-ii-V-I (chorus only) | A major | ||
| "4 in the Morning" | Gwen Stefani | 2006 | IV-V-iii-vi (chorus only) | E♭ major | [11] | |
| "Titanium" | David Guetta, Sia | 2011 | IV-V-iii-vi | E♭ major | [12] | |
| "Leave the Door Open" | Silk Sonic | 2021 | IV-V-iii-vi | C major | [13] | |
| "Didn't We Almost Have It All" | Whitney Houston | 1987 | IV-V-iii-vi | B♭ major | [14] | |
| "Italodancer" | Floorfilla | 2001 | VI-VII-v-i (chorus only) | E minor | ||
| "It's Gonna Be Me" | NSYNC | 2000 | VI-VII-v-i | C minor | [15] | |
| "Cruel to Be Kind" | Nick Lowe | 1979 | IV-V-iii-vi | C major | ||
| “Starlight” | Taylor Swift | 2012, 2021 (Taylor’s Version) | IV-V-iii-vi,IV-V-I-vi | E major | [16] | |
| "Holiday Road" | Lindsey Buckingham | 1983 | IV-V-iii-vi (chorus only) | F major | ||
| "Peaches" | Jack Black | 2023 | IV-V-iii-vi (intro/chorus) | A minor | [17] | |
| "Clumsy" | All Time Low | 2020 | VI-VII-v-i | C# minor | [18] | |
| "Saturn" | Stevie Wonder | 1976 | IV-V4/2-iii-vi-ii-V7-I | C major | ||
| "Part of Your World" | Alan Menken, Howard Ashman | 1989 | IV-V4/2-iii-vi (bridge, line 1)IV-V-III⁷-vi (bridge, line 3) | F major | [19] | |
| "Fortnight" | Taylor Swift, Post Malone | 2024 | IV-V-iii-vi | B major | [20] | |
| "Ghost Town" | Benson Boone | 2021 | IV-V-iii-vi | C major | [21] | |
| "Little Fury Things" | Dinosaur Jr. | 1987 | IV-Vadd4-iii7-IVadd9 | A major |
Sergei Rachmaninoff's 2nd symphony features a IV–V7–iii–vi–ii7–V7–I sequence in the third movement.