A chord progression is a short loop of chords that a song repeats. There are thousands of songs and only a handful of progressions, which is why learning four chords can unlock hundreds of tunes. Every progression here is written two ways: as roman numerals, so it works in any key, and as real chords in C major, so you can play it straight away.
Roman numerals name the chords that belong to a key. In C major the scale is C D E F G A B, so I is C, ii is D minor, iii is E minor, IV is F, V is G, vi is A minor and vii° is B diminished. Capital letters are major chords, lowercase are minor, and the small circle means diminished.
The pattern of major and minor chords is identical in every key. Learn a progression as I–V–vi–IV and you can play it in C, in G, in A♭ — you only have to shift the starting note.
These eight cover the overwhelming majority of pop, rock, folk and classical music. The right-hand column gives the chords in C major so you can try each one immediately.
| Numerals | In C major | Where you have heard it |
|---|---|---|
| I–V–vi–IV | C – G – Am – F | The "four chord song" behind countless pop hits. |
| vi–IV–I–V | Am – F – C – G | The same loop started from the minor chord. |
| I–vi–IV–V | C – Am – F – G | The 1950s doo-wop progression. |
| ii–V–I | Dm – G – C | The jazz cadence that ends almost every standard. |
| I–IV–V | C – F – G | Blues, folk and most nursery rhymes. |
| vi–ii–V–I | Am – Dm – G – C | A longer turnaround used in jazz and soul. |
| I–V–IV | C – G – F | Rock and roll, from Chuck Berry onwards. |
| i–VI–III–VII | Am – F – C – G | The minor-key version of the four-chord loop. |
A progression sets up tension and releases it. The V chord (G in C major) feels unfinished — it wants to fall back to the I chord (C). Every loop you play is a series of small departures and returns, which is why four repeating chords can carry a whole song.
The Canon in D is the clearest example on this site: one eight-note bass pattern repeats for the entire piece while the melody changes above it. Play the bass alone and you already hear the harmony.
Play each chord as a block and hold it for a full bar before moving on. Do not add rhythm until the changes are clean — a rushed change is more noticeable than a plain one.
Then watch how little your hand travels. In C–Am–F–G only one note moves between the first two chords. Learning those near-still shapes is what makes accompaniment feel effortless.
Finally, loop it while singing any song you know. If the melody fits over the loop, the progression is right, and you have just taught yourself to accompany.
I–V–vi–IV, which in C major is C–G–Am–F. It is the progression behind a very large share of pop songs, and it is the same loop as vi–IV–I–V started from a different place.
They are the first, fourth and fifth chords of a key. In C major that is C, F and G — the three chords that between them cover most folk, blues and country songs.
Because it is the strongest resolution in tonal music: a minor chord pulls to the fifth, which pulls home to the tonic. Almost every jazz standard is built from chains of ii–V–I.
The four-chord pop loop usually becomes playable in a single sitting. Fluency — changing without looking — takes a few weeks of short daily practice.