Build Gesture Synth Chord Progressions

Prepare the Degree and Chord-Quality Controls

In C, degree I is C, IV is F, V is G and VI is A. Show one, four or five left-hand fingers for I, IV or V. Use the index-and-little-finger VI shape for the sixth degree. Confirm the scale guide and displayed chord before moving to the next position.

Lock the major or minor world and a basic triad quality in Settings while learning the sequence. Keep the right hand at a steady, moderate height so volume stays consistent. Once the roots are reliable, re-enable richer right-hand qualities and use inversion or seventh colours deliberately.

Review every hand-to-music mapping → · Understand degrees and chord qualities →

Practise Three Four-Chord Patterns

Start with I–V–vi–IV. In C, use C–G–Am–F and give each chord the same number of beats. Next try I–IV–V–I, a direct movement from home to contrast, tension and return. Finally play vi–IV–I–V for a progression that begins away from the tonic before returning to C and moving toward G.

Do not rush the transition from V to VI: five visible fingers and the special VI shape require different hand organization. Practise that pair separately, watching the degree indicator, then reconnect it to the full pattern. A clean slow change is more useful than a fast misrecognized event.

• I–V–vi–IV: C–G–Am–F in the starting key.
• I–IV–V–I: C–F–G–C for a clear return home.
• vi–IV–I–V: Am–F–C–G with a minor opening.
• Hold each degree for one bar before trying two chords per bar.

Record the Progression into a Quantized Loop

Choose 4/4, four bars and a slow BPM, then select Record. After the one-measure count-in, hold one progression chord per bar. The sequencer quantizes recognized events into the active track and repeats the grid when the loop reaches the end.

If a change lands early or late, use the labelled grid cells to remove the unwanted step and draw the intended degree. Add a second track only after the first progression loops cleanly. Mute and solo help compare layers without deleting their events.

Set BPM and the metronome → · Use the four-track keyboard shortcuts →

Transpose the Pattern and Add Voicing Changes

After I–V–vi–IV works in C, change the key to G. The same degree pattern becomes G–D–Em–C while the left-hand sequence remains I–V–VI–IV. This movable relationship is the main advantage of practising scale degrees instead of memorizing only fixed note names.

Keep the degree track simple and use another pass for expression. Try a first inversion on one chord, a seventh colour before the return or a lower octave for contrast. Listen for whether the change supports the progression; more complex voicings are options, not automatic improvements.

Study the dedicated Gmaj7 example → · Export the completed loop →