A chord progression is a sequence of chords. Good progressions create tension and release, and the roles that chords play in that process are called functions.
The three functions
| Function | Role | Main chords (major key) |
|---|---|---|
| Tonic | Home, rest, stability | I (and vi, iii as substitutes) |
| Subdominant | Movement away from home | IV, ii |
| Dominant | Tension that wants to resolve | V, vii° |
A typical journey runs tonic, then subdominant, then dominant, then back to tonic. Progressions are variations on that loop.
Why V to I resolves
The V chord contains the 7th degree of the scale, called the leading tone, which sits a half step below the tonic. In C major, G major contains B, and B wants to move up to C. When V is a dominant seventh (G7) it also contains F, which leans down toward E. Moving to I releases both tendencies, and the ear hears an arrival.
Common progressions in C major
| Progression | Chords in C |
|---|---|
| I – V – vi – IV | C – G – Am – F |
| ii – V – I | Dm – G – C |
| I – vi – IV – V | C – Am – F – G |
- I – V – vi – IV is extremely common in pop. It alternates stable and unsettled sounds and loops without feeling finished.
- ii – V – I is the standard cadence in jazz. The ii is a subdominant, the V is dominant, and the I resolves. It is often played with sevenths: Dm7, G7, Cmaj7.
- I – vi – IV – V is often called the 50s progression. It reaches the dominant at the end of each loop, which pushes strongly back to the start.
Minor key example
In A natural minor, a popular loop is i – VI – III – VII: Am – F – C – G. It uses only the notes of the key and has a steady, rising-and-falling feel. Because these are the same chords as C major, you can also hear the loop as vi – IV – I – V in C.
The 12-bar blues
The blues is a fixed 12-bar form built on three chords, usually all dominant sevenths. In C:
| Bars | 1–4 | 5–6 | 7–8 | 9 | 10 | 11–12 |
|---|---|---|---|---|---|---|
| Chord | C7 | F7 | C7 | G7 | F7 | C7 (G7 in the last bar to turn around) |
In numerals this is I7, IV7, I7, V7, IV7, I7. Many variations exist, such as a quick change to IV in bar 2, but this layout is the common reference.
Borrowed chords
A borrowed chord comes from the parallel key, meaning the same root but the other mode. In C major, the minor iv chord (Fm) is borrowed from C minor. Placing Fm in place of F adds a brief shade of sadness, then returning to C feels warm by contrast. The ♭VII chord (B♭ in C) is another frequent borrowed color.
Practical tips
- Change the chord on strong beats to make movement clear.
- Repeat a progression long enough to be recognized, then vary it.
- Keep the root note of the bass moving with the chord changes.
Generate ideas
The Idea Generator can suggest progressions in a chosen key, which is a quick way to try these patterns with different roots.