Part 1 (0:00 - 0:19): In C Major, I selected a [ I IV V V _ I IV V I ] progression as a basis, but ended the track with a chromatic alteration, using a Dm7b5 (the b5 is borrowed from the parallel minor), to resolve back to C major.

Part 2 (0:19 - 0:33): C Major once more. The progression here is a [ I iii ii ii ] loop for the first half, and then goes other places. I don't actually know how I came up with the second section - some experiments with voice leading, etc.

For some reason, C D# G# sounded really great, so I altered the last ii chord from Dminor to Bm7#5, which really helped transitioning towards that sweet C D# G# chord. 

I think it's some sort of secondary dominant, because it's not in the scale of C major (obviously). This one is then followed by a D F B chord, which I don't know how to name either :P It could be a G Dom 7th, just without the G, since it resolves back to the root really well. And we're back in C major. Woohoo!

Part 3 (0:33 - 1:00): The classic Pachelbel progression (thanks, Wikipedia), with a few alterations.

At the end of the first loop, I swapped out the original A major for a C#Augmented (Same notes, just an F instead of the E). For the next A major, I played C# E A# instead, again making use of chromatic notes in the upper voice.

Part 4 (1:00 - 2:07): Destiny - An original collaboration between GerCR and myself. I've borrowed a few chords to spice up the progression. The track is actually in F# Aeolian, but I've changed the v chord from a C# minor triad to a C# major triad. I found it to flow really smoothly that way :)

It was fun how I was reminded of how Johnny warned us about Generic Fusion Jazz. The section starting at 1:44 utilizes really weird chords. I can't tell where I borrowed them from, but the exotic flavor is definitely there^^

Finally I think I used a dominant 7th trick to end the cadence on a major chord, just that I didn't actually write a dominant 7th instead it was C#min7 → F#major. I'm actually surprised it worked that well :)

WARNING THIS ONE IS LONG. IT WASN'T MY INTENTION, THERE'S A LOT OF CHORD SEQUENCES TO GET THROUGH, AND I WANT TO MAKE SURE THERE'S ENOUGH DETAIL IN EACH SECTION. THANK YOU.

Ok i interpretated this, the best i could. It's hard, because i don't usually go for simple chords, unless it's the theme's intention.

The first 2 minutes, is a standard C Major to C minor thing. It's as simple as it gets, i was really just trying to make it sound cool and interesting, despite it's very simple chord pattern.

The next minute, abruptly cuts for some 12 bar blues, with a piano chord sequence.

The next minute or 2 is the Canon in D chord sequence, however i played it in C Major, and converted most of the chords into 7th's, therefore it becomes a more complex version of Canon in D.

Last few minutes is a custom, looped progression of F# Major 7, D Major 7, C# Minor followed by an inverted F# Minor 7, before the repeat. What's interesting is that D does not appear in the F# Major key. therefore it becomes a sort of borrowed chord. 

All in all, this was definitely a unique exercise, however if you want my honest opinion, one chord sequence is just enough. Still i had fun though.

Thanks Sensei Johnny for the homework!

1)

One progression should be built on the C Major Scaled borrowing from the C Melodic Minor or C Harmonic Minor scale

I decided to use an existing progression: Vaselines - Jesus Doesn't Want Me For A Sunbean

Which is A Major:

E  D      A

So the chords:

V  iv     I

Transpose to C major:

G7 FMaj7  CMaj7  

I got the 3m  from the minor:E♭Maj7#5

But I had to drop the #5 because guitars man

G7 FMaj7  Ebmaj7 CMaj7  

2.)

One progression should be from a common one (https://en.wikipedia.org/wiki/Chord_progression#Common_progressions) pick a common progression, find the root and the mode, borrow from any other you wish

I    vi    IV    V

CMaj Am7    FMaj7  G7

Then I wasn't sure and ended up with this.

c a f# eb

3.)

One progression should be Pachelbel's Canon inspired

Taking the chords from don't look back in anger:

Don't Look Back in Anger

I   V   vi     III    IV  V I

C   G   Am     E7     F   G C -G -F

turn to:

Cm7 Gm7 AbMaj7 EbMaj7 Fm7 G C

       4x554x

4.)

A final progression can be built freely

From Nirvana's Polly

em G D am

to C major

am C G dm

All minor chords are not major and vice versa

Ab7 Cm7 Gm7 FMaj7