Fifths Progressions Theory Things   William Wieland
The Big Kahoona  V (7)
 		 Right Arrow I  ( V (7)
 		 Right Arrow i )
Jazz  ii 7
 		 Right Arrow V 7
 		 Right Arrow I 7
 		  ( ii ø 7
 		 Right Arrow V 7
 		 Right Arrow i 7
 		 )
Predominant – Dominant – Tonic Progressions
“Bohemian Rhapsody”  vi Right Arrow ii Right Arrow V Right Arrow I  Smooth Voice Leading
The subdominant triad usually substitutes for or leads to the supertonic.
  e.g.   IV Dash V Right Arrow I
  or IV Dash ii Right Arrow V Right Arrow I
“Heart and Soul”  vi Dash IV Dash V Right Arrow I     Smooth Voice Leading
Vivaldi  I Right Arrow IV Right Arrow vii ° 6
 		 Right Arrow iii Right Arrow vi Right Arrow ii Right Arrow V Right Arrow I
The leading tone triad is usually in first inversion and
it most often substitutes for or leads to the dominant.
  e.g.   ii   Right Arrow   V Right Arrow   I
becomes  ii Dash vii ° 6
 		 Dash I
  or ii Dash vii ° 6
 		 Dash V   Right Arrow   I
MINOR   Harmony in minor functions like major, but uses the chords found in minor.
  e.g.   IV Right Arrow V Right Arrow   I    (See Roman numerals.)
becomes  iv Right Arrow V Right Arrow i