Whether you’re sketching a pop anthem, an EDM banger, or a hip-hop track, certain chord progressions pop up again and again in hits. These familiar patterns or I’d like to think of them as chord shapes, form the backbone of countless songs.
Below are 10 classic progressions with chord examples (in C or A minor) :
I’ll keep it casual – like friendly songwriting tips from one producer to another!
1. I–V–vi–IV (the “1–5–6–4” pop progression)
- Chords (C major): C – G – Am – F
- Why it works: This four‑chord progression is ever-present in pop music. In any key it’s easy to play and sing over, and produces an ear‑catching, optimistic vibe.
- Songs Examples : Journey’s “Don’t Stop Believin’” (rock) and Black Eyed Peas’ “Where Is the Love” (pop/hip-hop) both use I–V–vi–IV
Journey – Don’t Stop Believin : Journey – Don’t Stop Believin’ (Official Audio)
The Black Eyed Peas – Where is the Love :
The Black Eyed Peas – Where Is The Love? (Official Music Video)
2. vi–IV–I–V (the “sensitive female” progression)
- Chords (C major): Am – F – C – G.
- Why it works: This is just a rotation of I–V–vi–IV, starting on the vi chord. It’s got a plaintive, emotional feel – so much so that it was nicknamed the “sensitive female” progression due to its appeal among female singer-songwriters who often use it for emotional songs. It’s among the most favored chord progressions in pop music.
Example : In C major it’s Am–F–C–G.
- Song Examples :
Beyoncé – If I Were A Boy :
Beyoncé – If I Were A Boy It also appears in hits like Beyoncé’s “If I Were a Boy.”
- Demo/tutorial: Check Pianote’s “14 Sad Chord Progressions,” which covers vi–IV–I–V and lists songs like “Faded” and “Hello”.
https://www.pianote.com/blog/sad-chord-progressions/
This is a great progression for moody pop/EDM.
3. I–vi–IV–V (the classic ‘50s progression)
- Chords (C major): C – Am – F – G.
- Why it works: Often called the “50s progression,” this sequence (I–vi–IV–V) was the backbone of early rock songs. It has a nostalgic, romantic feel.
- Songs: Ben E. King’s “Stand by Me” (soul/pop) relies on a variation of the I–vi–IV–V pattern.
Ben E. King – Stand By Me : Ben E. King – Stand By Me (Audio)
Pink Floyd – The Thin Ice : https://www.youtube.com/watch?v=Ciai1aZ_odg
- Demo/tutorial: For a breakdown, see Steve Nixon’s piano lesson on I–vi–IV–V. It’s a fun one to jam on any key.
4. vi–IV–V–I (an EDM‑friendly loop)
- Chords (C major): Am – F – G – C.
- Why it works: This is another rotation of the I–V–vi–IV family, often heard in dance and progressive tracks. Playing vi→IV→V→I in a loop creates a hypnotic build‑and‑release feel.
- Songs:
John Powell – Test Drive Score from How to Train your Dragon :
5. I–IV–V (the three‑chord rock progression)
- Chords (C major): C – F – G
- Why it works: Simple and driving, the I–IV–V trio of chords forms the basis of blues, rock ’n’ roll, country, and more. All you need are the tonic (I), subdominant (IV) and dominant (V) to get a full, satisfying sound.
- Songs: Bruno Mars – When I was Your Man : Bruno Mars – When I Was Your Man (Official Music Video)
- Demo/tutorial: EarMaster’s theory guide lists C–F–G as a “common chord progression”. This is the “train track” of chord patterns – plug it in anywhere and it works.
Learn More : https://www.earmaster.com/wiki/music-theory/what-are-chord-progressions-and-cadences-in-music.html
6. I–V–IV (classic rock twist)
- Chords (C major): C – G – F.
- Why it works: A slight reshuffle of I–IV–V, this sequence (I–V–IV) was hugely popular in ’60s pop and rock. It has a punchy, forward momentum.
- Songs: The Beatles’ “Nowhere Man” is a famous example of I–V–IV
Nowhere Man (Remastered 2009)
- Demo/tutorial: The Rock Dojo blog explains how to take an I–IV–V set (e.g. A–D–E) and rearrange it to I–V–IV (A–E–D). Try playing those chords in different orders; you’ll hear how just swapping the last two chords changes the feel.
Learn More : https://rockdojo.org/your-first-five-guitar-chord-progressions-for-kids-i-v-iv-chord-progression-in-a/
7. ii–V–I (the jazz/RnB turnaround)
- Chords (C major): Dm – G – C.
- Why it works: This is the quintessential jazz cadential progression. In any key, moving from the supertonic (ii) to dominant (V) to tonic (I) creates a strong sense of resolution. It’s used in jazz standards and smooth R&B to propel chord changes.
- Songs: Jazz standards like Frank Sinatra’s “Fly Me to the Moon” and Norah Jones’s “Don’t Know Why” lean on ii–V–I turns.
Frank Sinatra – Fly me to the Moon : https://www.youtube.com/watch?v=ZEcqHA7dbwM
Norah Jones – Don’t Know Why : https://www.youtube.com/watch?v=tO4dxvguQDk
- Demo/tutorial: PianowithJonny has a great tutorial on the ii–V–I progression and notes how it underpins most jazz tunes. He shows the various voicings which are perfect for practicing jazzy reharmonizations.
Learn More : https://pianowithjonny.com/piano-lessons/2-5-1-chord-progression-5-levels-from-beginner-to-pro/
8. i–VII–VI (the minor “step-down” progression)
- Chords (A minor): Am – G – F.
- Why it works: In a minor key, moving from i down to VII to VI (e.g. Am→G→F) gives a quirky, descending feel. It’s very common in modern pop and ballads with a darker mood.
- Songs: Hotel Room Sevice by Pitbull is a popular example of the i-VII-VI progression.
- Demo/tutorial: You can hear i–VII–VI in action by playing Am–G–F in any key. It’s essentially the “minor axis” of chords.
9. i–III–IV–V (a hip-hop/modern minor loop)
- Chords (A minor): Am – C – Dm – E.
- Why it works: Starting on a minor tonic (i), then jumping to the relative major (III) before IV and V gives a soulful, slightly ominous groove. This four‑chord pattern is popular in modern hip-hop, R&B and pop.
- Songs: Nas’s classic “N.Y. State of Mind” (hip-hop) is built on the i–III–IV–V progression. Many rap and R&B tracks loop i–III–IV–V for a head-nodding backdrop.
10. i–III–vi–V (the trap‑style progression)
- Chords (A minor): Am – C – F – G.
- Why it works: This is a minor key variant often heard in trap and hip-hop beats. It starts on the minor tonic (i), goes up to III, drops to VI, then to V. The switch from minor to major chords creates a moody yet anthemic loop.
- Songs: Political by Dirt Poor Robins is a textbook i–III–vi–V progression.
A similar pattern appears in Post Malone’s “Better Now” and other modern rap-pop tracks.
Political – Dirt Poor Robins : Dirt Poor Robins – Political (Official Audio and Lyrics)
- Demo/tutorial: This progression is also a staple of trap music with tracks like Future’s “Mask Off”. Producers often loop these four chords with 808s and synths for that signature trap sound.
Each of these progressions is a songwriting tip in itself. Knowing them lets you pull up a chord chart in any key and start jamming instantly. For example, if you’re in C major, the I–V–vi–IV loop is just C–G–Am–F; if in A minor, try Am–G–F (i–VII–VI) for a dramatic feel.
Use these as your “go‑to” progressions and customize them with different rhythms, inversions or melodies.
You’ll quickly recognize them in your favorite songs – and in the studio, you’ll be writing with the same harmonic building blocks as the pros.
Sources & Tutorials: Music theory sites like StudyBass and EarMaster give overviews of these progressions, and blogs like Pianote and Monosounds have in-depth lessons on these topics.
Feel free to follow the reference links for examples and play‑along demos!