I-V-vi-IV (Pop Anthem)
IVviIV
I-V-vi-IV in Anthem version: with rhythmic anticipation on beat 2. The same harmonic scheme as 500 pop songs, but with a groove that makes it more dramatic and emotional.
Someone Like You — Adele (2011)
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I-bVII-IV (Mixolydian Rock)
IbVIIIVI
I-bVII-IV uses the bVII borrowed from the minor mode — a chord that 'shouldn't be there' but gives an attitude classic pop doesn't have. Arena Rock, Brit Pop, Lorde, Guns N'Roses.
Sweet Child O'Mine — Guns N'Roses (1987)
I-iii-IV-V (The Climb)
IiiiIVV
I-iii-IV-V. The iii chord (mediant) adds a bittersweet flavor that I-IV-V doesn't have. The Dock of the Bay, I'm Yours, Puff the Magic Dragon — ballads that climb and reach the heart.
The Dock of the Bay — Otis Redding (1968)
I-IV-V (Classic Rock)
IIVVI
I-IV-V is the 3-chord progression most used in rock history. The three basic chords of any major key. Simple, direct and universally recognizable since the 1950s.
La Bamba — Ritchie Valens (1958)
I-IV-vi-V (J-Pop / Royal Road)
IIVviV
I-IV-vi-V is the 'Royal Road Progression' — the favorite of J-Pop and anime soundtracks. A variation of the 4 magic chords with IV first, giving more energy from the start.
Don't Stop Me Now — Queen (1978)
I-V-IV (Three Chord Pop)
IVIVIV
I-V-IV is the purest rock: just 3 major chords, no minor chord (vi). Direct sound, no complications. Typical of stadium rock and the energetic pop of the 80s-2000s.
Sweet Home Alabama — Lynyrd Skynyrd (1974)
I-V-vi-IV (Axis of Awesome)
IVviIV
I-V-vi-IV is the most used pop progression in history. It delivers hope, momentum and emotion in a single 4-chord cycle.
Let It Be — The Beatles (1970)
I-vi-IV-V (50s Progression)
IviIVV
I-vi-IV-V is the Doo-wop and early Rock & Roll progression. Nostalgic, innocent and very singable. The vi adds that longing touch that defines songs of the 50s and 60s.
Stand By Me — Ben E. King (1961)
vi-IV-I-V (Sensitive Progression)
viIVIV
vi-IV-I-V starts on the relative minor, creating a darker, more emotional tone. Widely used in modern ballads and electronic pop. Same map as I-V-vi-IV, but starting from the shadow.
Hello — Adele (2015)
I-IV-vi-V (Rock Stadium)
IIVviV
I-IV-vi-V is the progression of powerful choruses. Designed to sound big with eighth notes. Much more energy than I-V-vi-IV because IV arrives first, pushing forward.
Best of You — Foo Fighters (2005)
Jazz
I-IV-iii-vi (Smooth Jazz)
Imaj7IVmaj7iii7vi7
Imaj7-IVmaj7-iii7-vi7 is the heart of Smooth Jazz and Soul. A smooth descent through diatonic degrees that creates a natural, relaxing fall. Sophisticated without being complex.
Just the Two of Us — Bill Withers (1981)
I-vi-ii-V (Rhythm Changes)
Imaj7vi7ii7V7
I-vi-ii-V is 'Rhythm Changes' — the cycle of fourths that defines jazz since Bebop. I Got Rhythm, Oleo, Blue Moon. Learn this cycle and improvise over any standard.
I Got Rhythm — George Gershwin (1930)
ii-V-I (Jazz Turnaround)
ii7V7Imaj7
ii-V-I is the atom of jazz. Autumn Leaves, Fly Me to the Moon, Misty… all use this tension-and-resolution cadence. Learn this and you understand jazz.
Autumn Leaves — jazz standard (1945)
iii-vi-ii-V (Extended Turnaround)
iii7vi7ii7V7
iii-vi-ii-V is the extended jazz turnaround: a 4-chord fall by fifths that resolves to the tonic. Longer and more dramatic than the simple I-vi-ii-V. Misty, Alice in Wonderland.
Misty — Erroll Garner (1954)
I-vi-ii-V (Bossa Nova Style)
Imaj7vi7ii7V7
Imaj7-vi7-ii7-V7 with bossa nova rhythm: the beach, jazz and café sound of the 60s. The same harmony as Rhythm Changes, but with the hypnotic sway of Brazilian samba.
The Girl from Ipanema — João Gilberto / Tom Jobim (1962)
Jazz Vocal Groove (Am7 — 32 bars)
vi7vi7ii7ii7V7V7Imaj7Imaj7IVmaj7IVmaj7iii7VI7ii7V7Imaj7III7vi7vi7ii7ii7V7V7Imaj7Imaj7IVmaj7iii7ii7V7Imaj7ii7V7Imaj7
32 bars of modern vocal jazz with offbeat groove. Song-form structure (implicit AABA). The style of Norah Jones, Melody Gardot and 21st-century café jazz.
Don't Know Why — Norah Jones (2002)
Blues
12-Bar Blues (Standard)
I7I7I7I7IV7IV7I7I7V7IV7I7V7
The 12-Bar Blues is the mother structure of modern music. Sweet Home Chicago, Johnny B. Goode, Pride and Joy… all follow the same 12-bar map. Rock, blues, R&B — everything starts here.
Johnny B. Goode — Chuck Berry (1958)
Simplified Blues (8 bars)
I7I7IV7IV7I7V7I7V7
8-bar blues: condensed version of standard blues, very common in folk blues and early rock. Easier to memorize than 12-Bar, equally effective. Typical of Robert Johnson songs and Delta blues.
Key to the Highway — Big Bill Broonzy (1941)
12-Bar Blues (Quick Change)
I7IV7I7I7IV7IV7I7I7V7IV7I7V7
12-Bar Blues Quick Change: goes to IV in bar 2, adding extra movement at the start. More active than standard blues, avoids 'stagnation' on the I. Red House, Sweet Home Chicago (Robert Johnson).
Red House — Jimi Hendrix (1967)
Gospel & Soul
I-IV-I-V (Gospel Turnaround)
IIVIV
I-IV is the 'amen' movement. Amazing Grace, Oh Happy Day, Stand By Me — all share that warmth from the plagal chord. Gospel music has used this emotional trick for 200 years.
Amazing Grace — traditional hymn (18th c.)
Canon Progression (Gospel)
IVviiiiIVIIVV
Pachelbel's Canon Progression (I-V-vi-iii-IV-I-IV-V) from 1680 appears in Basket Case, Go West and dozens of modern songs. The harmony doesn't change — only the rhythm and style do.
Canon in D — Johann Pachelbel (1680)
I-vi-IV-V (Soul Classic)
IviIVV
I-vi-IV-V with soul rhythmic sway: the 50s progression reinvented with the groove of gospel and Motown soul. Warm, communal and universally singable.
My Girl — The Temptations (1964)
Latin
i-iv-V (Latin Rock Minor)
iivV7i
i-iv-V with a Tumbao pattern. A minor progression plus a syncopated rhythm is the Santana sound. The tumbao anticipates the beat — play before the chord and everything changes.
Oye Como Va — Tito Puente / Santana (1970)
i-VII-VI-V (Andalusian Cadence)
ibVIIbVIV7
i-bVII-bVI-V7 is the Andalusian cadence. The most dramatic chromatic descent in Western music. Stairway to Heaven, The Sound of Silence, classical flamenco — all use this tension map.
Stairway to Heaven (intro) — Led Zeppelin (1971)