Chord Progressions Library

The pop "axis" progression

Bright and uplifting, with a bittersweet lift on the minor chord. Probably the most-used progression in modern pop.

Heard in: Let It Be — The Beatles · Don't Stop Believin' — Journey

Axis progression (starting on V)

The same four chords as I–V–vi–IV, started on V so the loop feels like it is always reaching for home.

The "sad pop" progression

The pop axis started on the minor chord: moody and emotional, then hopeful on the last two chords.

Heard in: Zombie — The Cranberries · Despacito — Luis Fonsi

Axis progression (starting on IV)

Opens on IV, so it sounds like it is already in motion — a favourite for choruses.

50s / doo-wop progression

Sweet, nostalgic and very singable. The classic 1950s ballad loop.

Heard in: Stand by Me — Ben E. King · Every Breath You Take — The Police

I–vi–ii–V turnaround

The 50s progression with ii instead of IV — smoother, jazzier, and the backbone of countless standards.

Heard in: Blue Moon — Rodgers & Hart

Three-chord trick (I–IV–V)

The first progression most guitarists learn. Strong, simple and complete.

Heard in: La Bamba — Ritchie Valens · Twist and Shout — The Isley Brothers

I–IV–V–IV rock loop

Garage-rock energy: the V chord never resolves, it just swings back to IV.

Heard in: Wild Thing — The Troggs

Folk / country I–IV–I–V

A friendly back-and-forth that sounds like campfire folk and early country.

Heard in: Brown Eyed Girl — Van Morrison

I–V–IV–I classic rock

Rolling and upbeat — the "backwards" blues move from V down to IV.

Heard in: Bad Moon Rising — Creedence Clearwater Revival

I–V–ii / I–V–IV

Two short phrases that alternate between a minor and a major ending — calm and anthemic.

Heard in: Knockin' on Heaven's Door — Bob Dylan

Two-chord I–IV vamp

Just two chords, but it can carry a whole song. Great for practising strumming.

Two-chord I–V

The most basic tension-and-release. Many children's songs and polkas live here.

Two-chord I–vi

Gentle alternation between happy and wistful.

I–iii–IV–V climb

A step-by-step climb that builds excitement into the V chord.

I–ii–IV–V

Like the 50s progression but with a softer second chord.

Stepwise I–ii–iii–IV

Every chord moves up one scale step — a smooth, rising feel.

I–IV–vi–V

A hopeful pop loop that dips into the minor chord before pushing back to V.

I–vi–iii–IV

Soft and dreamy — the iii chord adds a gentle shadow.

Komuro progression (vi–IV–V–I)

Dramatic and driving: starts dark and climbs to a bright resolution. A 1990s J-pop staple.

vi–V–IV–V

A minor-key rock loop that rocks between three neighbouring chords.

Circle progression (vi–ii–V–I)

Every chord falls a fifth to the next — the strongest pull in Western harmony.

I–vi–I–vi–IV–V ballad

A slow, rocking ballad pattern that builds on the IV–V.

Heard in: Hallelujah — Leonard Cohen

Pachelbel's Canon progression

Eight chords that walk down the bass line in steps. Used in thousands of songs since 1700.

Heard in: Canon in D — Johann Pachelbel

Royal Road (J-pop "ōdō" progression)

The signature sound of anime and J-pop: yearning, emotional and endlessly climbing.

"Just the Two of Us" progression

Smooth, late-night R&B. The III7 and v7–I7 give it a sophisticated city-pop colour (in Japan: the Marunouchi progression).

Heard in: Just the Two of Us — Grover Washington Jr. & Bill Withers

Jazz ii–V–I

The most important cadence in jazz. Learn it in every key and you can play most standards.

ii–V–I–VI turnaround

The VI7 (a major chord where you expect minor) spins the loop back to ii.

Jazz circle iii–vi–ii–V–I

A longer chain of falling fifths, common in standards and bossa nova.

"Fly Me to the Moon" cycle

A full diatonic circle of fifths through all seven chords of the key.

Heard in: Fly Me to the Moon — Bart Howard

Bossa nova I–II7–ii–♭II7

Floating and sophisticated. The ♭II7 is a "tritone substitute" sliding by half step back home.

Heard in: The Girl from Ipanema — Antônio Carlos Jobim

Tritone-substitute ii–♭II–I

A ii–V–I where the V is swapped for the chord a tritone away: the bass slides down chromatically.

Backdoor ii–V (iv7–♭VII7–I)

Resolving home from the "back door": warm and a little bluesy.

Ragtime circle (III7–VI7–II7–V7–I)

Dominant 7th chords chained around the circle of fifths: vaudeville, ragtime and fingerstyle blues.

Major line cliché

One chord, with a single note climbing a half step at a time — instant movement on a static chord.

Neo-soul ii9–V9–Imaj9

Lush extended chords — warm, soulful and relaxed.

Lo-fi loop (IVmaj7–iii7–ii7–Imaj7)

Gentle, descending 7th chords — the relaxed sound of lo-fi study beats.

Mixolydian rock (I–♭VII–IV–I)

The ♭VII gives classic rock its swagger. Also the "Hey Jude" coda move.

Heard in: Sweet Child O' Mine — Guns N' Roses · Sweet Home Alabama — Lynyrd Skynyrd

Double plagal cadence (♭VII–IV–I)

Two "amen" moves in a row: big, anthemic and very 1960s–70s.

Mixolydian vamp (I–♭VII)

A laid-back two-chord groove found in jam bands, Celtic music and classic rock.

Aeolian cadence (♭VI–♭VII–I)

Heroic and triumphant — the "level complete" sound from video games and arena rock.

I–III–IV–iv (major/minor shift)

Two borrowed chords: the III is surprising, and the IV turning minor feels heartbreaking.

Heard in: Creep — Radiohead

Minor plagal (I–IV–iv–I)

The IV chord turns minor for a moment — a tender, cinematic touch.

Chromatic mediants (I–♭VI–I–♭III)

Big, dramatic jumps between major chords — the sound of epic film scores.

Lydian vamp (I–II)

Dreamy and floating, with a "wonder" quality — the raised 4th of the Lydian mode.

12-bar blues

The foundation of blues, rock and roll and early rock. Twelve bars, three chords.

Heard in: Johnny B. Goode — Chuck Berry · Hound Dog — Big Mama Thornton / Elvis Presley

12-bar blues with quick change

Same as the standard 12-bar, but it visits IV in bar 2 for extra movement.

8-bar blues

A shorter blues form with a quicker cycle.

Heard in: Key to the Highway — Big Bill Broonzy

Jazz blues

The 12-bar blues dressed up with a diminished passing chord and a ii–V turnaround.

Power-chord I–IV–♭III–♭VI

Four power chords mixing major and minor-key roots: raw 90s alternative rock.

Heard in: Smells Like Teen Spirit — Nirvana

Punk I–V–vi–IV (power chords)

The pop axis played fast with power chords.

Reggae I–IV skank

Play it with off-beat chops for an instant reggae groove.

Gospel I–IV–I–V–vi–IV–I

Warm and churchy — a call-and-response feel built around IV and I.

Perfect cadence (V–I)

The strongest "full stop" in music: IV and V resolving home.

Deceptive cadence (V–vi)

You expect V to go home to I, but it lands on vi instead — a musical plot twist.

Half cadence (ends on V)

Ends on V, like a comma — the phrase is waiting for an answer.

Plagal "amen" cadence

The sound of "A-men" at the end of a hymn.

Suspended pop (Isus4–I–IV–V)

A sus4 that resolves before the progression starts — chimey and open.

Acoustic add9 loop

The pop axis with sparkly add9 colours, great with open strings.

Country two-step (I–I–V–V–I–I–IV–V)

Bouncy and simple — play it with alternating bass notes.

Folk ballad (I–iii–vi–IV)

Wistful and reflective — iii and vi lend a gentle melancholy.

I–V–vi–iii–IV

The first five chords of the Canon: a descending bass that feels inevitable.

Montgomery-Ward bridge (I7–IV–II7–V)

A classic jazz/pop bridge using secondary dominants.

Rhythm changes A section

The fast-moving changes behind hundreds of bebop tunes.

Heard in: I Got Rhythm — George Gershwin

Secondary dominant (I–II7–IV–I)

The II7 borrows a "V of V" for a bright lift before IV.

I–III7–vi–IV

The III7 points strongly to vi — a sudden dramatic swerve.

I–♭VII–IV–V

Mixolydian colour plus a final V push — British Invasion rock.

Epic I–♭VI–♭VII–I

Triumphant and widescreen.

I–I+–vi–IV (augmented passing)

An augmented chord slides the 5th up a half step on its way to vi.

Diminished passing chord (I–#i°7–ii–V)

A diminished chord fills the gap between I and ii — old-time, swinging and smooth.

I6–vi7 swing vamp

A 6th chord gives the tonic a vintage swing-era sound.

I–iv6 (wistful minor IV)

A minor 6 chord borrowed from the minor key — nostalgic and bittersweet.

Andalusian cadence

Four chords stepping down to a dramatic major V. Flamenco, surf rock and 60s pop all use it.

Heard in: Hit the Road Jack — Ray Charles · Runaway — Del Shannon

Minor-key axis (i–♭VI–♭III–♭VII)

The pop axis heard from the minor chord: powerful and emotional. Huge in rock and EDM.

i–♭VII–♭VI–♭VII

A hypnotic minor rock loop that rocks back and forth without resolving.

Heard in: All Along the Watchtower — Bob Dylan / Jimi Hendrix

Minor three-chord (i–iv–v)

The natural-minor version of the three-chord trick: dark and folky.

Minor with major V (i–iv–V–i)

The major V (from harmonic minor) gives a strong pull back to i.

i–♭VI–♭VII

Climbing to the tonic — heroic and determined. Metal and film scores love it.

Two-chord minor vamp (i–♭VII)

Simple and moody — perfect for jamming and soloing in the Aeolian/Dorian sound.

Minor i–iv

A slow, brooding two-chord minor groove.

Dorian vamp (i–IV)

The major IV in a minor key is the Dorian signature — funky, Latin and soulful.

Heard in: Oye Como Va — Tito Puente / Santana · Evil Ways — Santana

i–♭III–♭VII–IV

Dark verse chords that end on a bright major IV.

Heard in: Boulevard of Broken Dreams — Green Day

"House of the Rising Sun" progression

A traditional minor folk progression that is usually fingerpicked in 6/8.

Heard in: The House of the Rising Sun — traditional / The Animals

"Hotel California" progression

Eight chords that wind through the minor key with two major V chords — moody and Spanish-tinged.

Heard in: Hotel California — Eagles

Minor circle of fifths

Every chord in the minor key, falling in fifths. Also called the "Autumn Leaves" cycle.

Heard in: I Will Survive — Gloria Gaynor

Minor ii–V–i chain ("Autumn Leaves")

A major ii–V–I followed by a minor ii–V–i: the essential jazz standard progression.

Heard in: Autumn Leaves — Joseph Kosma

Minor ii–V–i

The minor-key version of the ii–V–I, with a half-diminished ii.

Minor blues

Twelve bars of slow-burning minor blues.

Heard in: The Thrill Is Gone — B.B. King

Minor line cliché

One minor chord with an inner line falling a half step at a time — a spy-movie and ballad favourite.

Phrygian vamp (i–♭II)

The half-step ♭II gives an exotic, menacing Spanish or metal sound.

La Folia

A Renaissance chord sequence that composers have written variations on for 400 years.

Romanesca

A Renaissance ground bass with a falling-fourth pattern.

Picardy third (i–iv–V–I)

A minor progression that ends on a surprise major chord — like the sun coming out.

Epic minor (i–♭VI–♭III–♭VII)

Same chords as the minor axis — big and cinematic when played slowly.

i–♭III–♭VII–♭VI

Brooding minor pop with a soaring ♭III.

i–♭VI–♭VII–v

A minor loop that ends on a minor v for a softer turnaround.

i–v–♭VI–♭VII

Melancholy and steady.

i–♭VII–♭VI–♭VII–i stepping bass

A step-down-and-back bass line — instantly familiar rock.

Harmonic-minor i–iv–V7

Tango, klezmer and gypsy-jazz flavour thanks to the V7.

Neapolitan (i–♭II–V–i)

The ♭II major chord (the "Neapolitan") makes the V–i resolution extra dramatic.

i–♭VI–V

The half-step ♭VI–V fall is heavy and dramatic.

Minor 7th soul loop (i7–iv7–♭VII7–♭IIImaj7)

Mellow minor 7ths moving in fourths — smooth and late-night.

i–IV–i–♭VII (Dorian rock)

Dorian colour with a laid-back classic-rock feel.

Ambient sus loop (i–♭VIsus2–♭III–♭VIIsus4)

Open suspended voicings for an airy, ambient sound.

Descending lament (i–♭VII–♭VI–V)

The baroque "lament bass": a sorrowful step-wise fall to the dominant.

Metal power chords (i–♭VI–♭VII)

Three power chords — chug them with palm muting.

i–♭III–♭VI–V7

Moody verse chords that resolve with a strong V7.

Minor ballad (i–iv–♭VII–♭III)

Falling fifths into the relative major — hopeful by the end.

i–iv–♭VI–V

Tense and cinematic, with a major V at the end.

i–ii°–V–i (classical minor)

A textbook minor-key cadence with the diminished ii chord.

Extended Canon turnaround

The Canon walk-down with a ii–V at the end that pushes harder back to the top.

I–iii–IV–iv

A gentle climb that ends on the minor iv — wistful and cinematic.

I–vi–IV–ii–V

The doo-wop loop with an extra ii for a smoother lead into V.

IV–V–I cadence loop

Three chords that land firmly on home every time.

I–V–IV–V

Bright rock back-and-forth that never quite settles.

vi–iii–IV–I

Starts in shadow and steps up to a bright, open finish.

Descending vi–V–IV–iii

A stepwise fall down the scale — moody and inevitable.

I–ii–iii–ii rocking line

Gentle stepwise motion that sways back and forth.

I–V–ii–IV

Like the pop axis, but the ii makes it softer and more open.

I–vi–ii–IV

Two minor chords in the middle give it a tender, reflective feel.

I–IV–ii–V

A Motown-style loop with a strong pull back to I.

I–V–vi–V

Simple and singable: the V chord frames a quick dip into vi.

ii–V–iii–vi chain

Two linked ii–V-style moves that keep the harmony floating.

ii–V–I–IV

A ii–V–I that drifts on to the IV — the opening of many standards.

Imaj7–vi7–ii7–V7

The I–vi–ii–V turnaround with jazz sevenths.

iii–VI7–ii–V7 turnaround

Secondary dominants make every chord pull hard to the next.

Tadd Dameron turnaround

A bebop turnaround that slides through distant chords back to I.

Bird blues (Parker changes)

Charlie Parker's reharmonised blues: a cascade of ii–V moves.

Imaj7–IVmaj7–iv6–Imaj7

Lush major sevenths with a bittersweet minor iv6 before home.

Rhythm changes bridge

Dominant chords marching around the circle of fifths, two bars each.

Imaj7–vi7–IVmaj7–V7

The 50s progression made silky with seventh chords.

Gospel sus resolution

The suspended V holds the tension a moment longer before releasing.

I–♭VII–IV–I

Swaggering Mixolydian rock built from three major chords.

Heard in: Gloria — Them · Sympathy for the Devil — The Rolling Stones

I–♭VI–IV–I

A dramatic borrowed ♭VI that brightens back through IV.

I–♭III–IV–I

Bluesy borrowed ♭III — heavy riff-rock territory.

I–♭III–♭VII–IV

Big major chords moving by fourths: classic stadium rock.

I–V–♭VII–IV

Bright and anthemic, with a Mixolydian ♭VII swerve.

Celtic I–IV–I–♭VII

A lilting folk loop with a Celtic flavour.

I–II7–IV–I

A surprising major II7 lifts the second chord.

Heard in: Eight Days a Week — The Beatles

Country turnaround (I–I7–IV–II7–V7–I)

Old-time country and Western swing: secondary dominants leading home.

I–I7–IV–iv

I7 points to IV, then IV turns minor — classic 60s songwriting.

Descending line cliché (I–Imaj7–I7–I6)

One chord with a note falling a half step at a time.

I–IV–V7–I

The textbook cadence with a dominant seventh for extra pull.

I–ii7–V7–I

A ii–V–I with a softer, poppier start on I.

Major circle of fifths

Every chord of the key, each a fifth below the last — baroque and inevitable.

Bossa ii9–V9–Imaj9–VI7

Soft extended chords with a VI7 to cycle back round.

Imaj7–I6 vamp

A shimmering one-chord vamp — just the top note moving.

I–Isus2–I–Isus4 shimmer

One chord, decorated with sus2 and sus4 — great with open strings.

Isus4–I–IVsus2–IV

Suspended chords resolving gently — airy singer-songwriter sound.

Power-chord I–♭VII–IV

Three power chords, Mixolydian swagger.

Power-chord I–♭III–IV

The heavy riff-rock power-chord shape.

Power-chord I–♭VI–♭VII

Heroic rising power chords.

Funky 9th-chord blues

A 12-bar blues with crisp 9th chords for a funk groove.

Funk vamp (I9–IV9)

Two 9th chords and a tight rhythm — instant funk.

Gospel walk-up

Climbing up the scale one chord at a time to a big V.

Royal Road full cadence

The anime "ōdō" progression extended with a ii–V–I landing.

Anime chorus climb (IV–V–iii–vi–IV–V–I)

Builds tension twice before the big resolution — a chorus favourite.

J-pop ii–V–I–vi

Smooth jazz-pop movement common in city pop and anime songs.

City pop loop

Glossy 1980s Japanese city-pop harmony: sevenths everywhere.

Scale climb I–iii–IV–V–vi

An uplifting ascent that lands on the emotional vi.

I–vi–IV–I

A soft, hymn-like loop that keeps coming home.

I–IV–vi–IV

Floating between IV and vi without the tension of V.

I–ii–IV–I

Calm and unhurried, avoiding the V chord entirely.

ii–IV–V–I

Starts off-centre on ii and climbs to a satisfying I.

Falling IV–iii–ii–I

A smooth stepwise descent home.

I–III7–IV–V

The III7 adds a jolt of surprise in an otherwise bright loop.

I–vii°–I passing

A diminished chord neighbouring the tonic — classical part-writing.

Lydian I–II–IV–I

Dreamy Lydian colour from the major II chord.

I–♭VII–♭VI–♭VII

Major-key rock with a minor-key descent borrowed underneath.

i–iv–i–V

The basic minor-key back-and-forth with a strong major V.

i–iv–♭VII–i

Dark and driving, with a lift on the ♭VII.

i–♭VII–IV–i (Dorian)

Dorian colour from the major IV — soulful and bluesy.

i–♭III–♭VI–♭VII

Minor-key pop that grows brighter with each chord.

i–♭VI–♭VII–♭III

An epic climb from minor to the relative major.

i–iv–♭VI–♭VII

Moody and anthemic — a staple of emotional rock choruses.

i–v–iv–i

Natural-minor folk harmony: no leading tone, all melancholy.

Phrygian i–♭II–♭VII–i

Dark Spanish/metal flavour from the half-step ♭II.

Phrygian climb i–♭II–♭III–♭II

A flamenco-style figure climbing and falling around the tonic.

Flamenco cadence (iv–♭III–♭II–I)

The Andalusian descent heard from the major chord at the bottom — the heart of flamenco.

i–v–♭VI–iv

Slow and sorrowful, all in the natural minor.

i–♭III–iv–♭VI

Brooding verse chords with a lift on ♭III.

i–♭VI–iv–V7

Tense, dramatic minor harmony with a classical V7.

Minor ii–V to the relative major

A minor ii–V–i followed by a ii–V–I in the relative major.

Minor line cliché into iv

A falling inner line that lands on the iv chord.

Minor blues turnaround

Three minor sevenths — a moody blues loop.

Tango i–♭VI7–V7

Passionate tango and gypsy-jazz harmony.

Modal i7–ii7 vamp

Dorian modal jazz: two minor sevenths a step apart.

Aeolian i–♭VI vamp

Two chords, endlessly cinematic.

Minor i–v vamp

Dark, simple and hypnotic.

Harmonic-minor i–V7 vamp

The two-chord engine of tango, klezmer and gypsy jazz.

i–iv–v–♭VI

Climbs through the minor key and ends on an open ♭VI.

i–♭VII–♭VI–♭III

Stepping down, then leaping to the bright ♭III.

i–♭III–♭VII–i

A sturdy minor rock loop with major-chord colour.

Dorian i–ii–♭III–ii

Celtic Dorian modal movement around the tonic.

Minor ♭VI–♭VII–i resolution

The power-metal "victory" cadence in a minor key.

i–♭VI–♭III–V

Dark and gothic with a sudden bright V.

i–♭VII–♭VIsus2–V

Andalusian descent softened with a suspended ♭VI.

Minor plagal loop

A slow minor rocking motion — great for soloing practice.