Chord progressions
The most common chord formulas, written in roman numerals so you can play them in any key.
Essential
Content under musical review. It may contain inaccuracies.
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The most common chord formulas, written in roman numerals so you can play them in any key.
Essential
A progression is a sequence of chords. Most songs are built from a handful of formulas that turn up in every style. Learn them as roman numerals (I, IV, V…) rather than chord names and you'll be able to play them in any key and recognise them by ear.
The I – V – vi – IV progression in G major, chord by chord:
Loop it in the progression builder:
I – V – vi – IV in G majorDegrees are counted from the tonic on the major scale. Upper case = major chord; lower case = minor; ° = diminished.
| Formula | In C | In G | In D |
|---|---|---|---|
| I – IV – V – I | C F G C | G C D G | D G A D |
| I – V – vi – IV | C G Am F | G D Em C | D A Bm G |
| I – vi – IV – V | C Am F G | G Em C D | D Bm G A |
| ii – V – I | Dm7 G7 Cmaj7 | Am7 D7 Gmaj7 | Em7 A7 Dmaj7 |
C major (0)
C major
I C · ii Dm · iii Em · IV F · V G · vi Am · vii° Bdim
Press a key to see its diatonic chords. Neighbouring keys share almost all their notes.
On the circle of fifths, a progression's chords tend to sit close together: I, IV and V are neighbours, and ii – V – I moves anticlockwise, one fifth at a time.
Load a formula into the builder and change the key: the chords transpose, but the numerals stay the same.
I – vi – IV – V ii – V – I Rhythm & accompanimentChord changesChange chords on time, without pauses, inside the pulse.A common progression isn't a poor one: rhythm, voicings and melody are what give it personality.
Andalusian descent in A minorTo move a progression to another key, write out its numerals, find the major scale of the new tonic and build the chords. A capo does the same without thinking: capo on fret 2 and G major shapes sound in A major. Naming chords by degree also helps you follow other musicians when they change key.
Rhythm & accompanimentStrumming patternsKeep your arm moving steadily while following a pattern and changing chords.Piston sums up typical chord behaviour in his table of usual root progressions: I goes to IV or V; ii goes to V; iii goes to vi; IV goes to V (sometimes I or ii); V goes to I (sometimes vi); vi goes to ii or V; vii° goes to iii (sometimes I). Root movement by descending fifth (V → I, ii → V, vi → ii) is the strongest; by descending third (I → vi, vi → IV) it prolongs the harmony; by step (IV → V) it connects different functions.
Kostka and Payne show how the full circle of fifths (I – IV – vii° – iii – vi – ii – V – I) runs through every diatonic degree, and it underlies many harmonic sequences.