PROGRESSION · Imaj7–iiim7–vim7–iim7
The Neo-Soul Loop
Four diatonic sevenths that share so many notes the loop barely seems to move. That stillness is the sound. Also called the R&B seventh loop.
In Eb major
Ebmaj7 – Gm7 – Cm7 – Fm7 — lush, unhurried, floating, around 84 BPM.
Why it works
Adjacent diatonic seventh chords share three of their four notes, so a whole loop can be played with the top voices almost stationary while only the bass moves. The result is closer to a slowly shifting colour than a chord progression. Because every chord carries a seventh, no plain triad ever appears to break the texture — the moment one does, the spell drops.
Where you'll hear it
R&B, neo-soul and lo-fi. It rewards extensions: add ninths freely, since the loop has no dominant chord whose tension they would blunt.
Imaj7–iiim7–vim7–iim7 in every key
The same progression transposed. The roman numerals never change — that is the whole point of writing progressions this way.
| Key | Imaj7 | iiim7 | vim7 | iim7 |
|---|---|---|---|---|
| C | Cmaj7 | Em7 | Am7 | Dm7 |
| Db | Dbmaj7 | Fm7 | Bbm7 | Ebm7 |
| D | Dmaj7 | F#m7 | Bm7 | Em7 |
| Eb | Ebmaj7 | Gm7 | Cm7 | Fm7 |
| E | Emaj7 | G#m7 | C#m7 | F#m7 |
| F | Fmaj7 | Am7 | Dm7 | Gm7 |
| F# | F#maj7 | A#m7 | D#m7 | G#m7 |
| G | Gmaj7 | Bm7 | Em7 | Am7 |
| Ab | Abmaj7 | Cm7 | Fm7 | Bbm7 |
| A | Amaj7 | C#m7 | F#m7 | Bm7 |
| Bb | Bbmaj7 | Dm7 | Gm7 | Cm7 |
| B | Bmaj7 | D#m7 | G#m7 | C#m7 |
Related progressions
Drill the chords behind Imaj7–iiim7–vim7–iim7
Build every chord in this progression from its symbol, against the clock.
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