Common progressions you must know

The big six

If you only learn six progressions in your life, learn these. They cover an enormous fraction of popular music.

1. I — V — vi — IV (the “pop-punk” progression)

Used in: “Don’t Stop Believin’”, “Let It Be”, “With or Without You”, “No Woman No Cry”, thousands more.

In C: C - G - Am - F. In G: G - D - Em - C.

2. vi — IV — I — V (same chords, different rotation)

The “Axis” progression. Same four chords, starting on vi.

In C: Am - F - C - G. In G: Em - C - G - D.

Used in: “Africa” (Toto), “Save Tonight” (Eagle Eye Cherry).

3. I — IV — V (the three-chord blues/folk)

Used in: nearly every 12-bar blues, “Wild Thing”, “La Bamba”, folk songs uncountable.

In C: C - F - G. The 12-bar blues elaborates this into:

I (4 bars) - IV (2 bars) - I (2 bars) - V - IV - I - V (turnaround)

4. ii — V — I (the jazz heartbeat)

The defining cadence of jazz harmony. Used as a “module” — a complete mini-progression.

In C: Dm7 - G7 - Cmaj7. In F: Gm7 - C7 - Fmaj7.

Once you can play a ii-V-I in all 12 keys, you can play half of all jazz standards.

5. I — vi — IV — V (the doo-wop)

Used in: “Stand By Me”, “Earth Angel”, “Why Do Fools Fall In Love”, “Crocodile Rock”.

In C: C - Am - F - G.

6. 12-bar blues — full structure

The most-played progression in the world. In A (a common key):

Bar	1	2	3	4	5	6	7	8	9	10	11	12
Chord	A7	A7	A7	A7	D7	D7	A7	A7	E7	D7	A7	E7

The “quick change” variant puts D7 in bar 2 to add more motion early.

Two-chord vamps

Even simpler — just two chords played in a loop. Hugely effective:

• I — ♭VII (Mixolydian): “Sympathy for the Devil”, “Cinnamon Girl”
• i — IV (Dorian): “So What” (Miles), “Eleanor Rigby”
• i — ♭II (Phrygian): “Wherever I May Roam” intro
• I — IV (major): “Margaritaville”, many country songs

The “secret weapon” — borrowing chords

You can replace a chord with one from the parallel minor for instant emotional power. In C major:

• Replace IV (F) with iv (Fm) → “Creep” by Radiohead.
• Replace V (G) with ♭VII (B♭) → “Sympathy for the Devil”.
• Add ♭VI (A♭) → the “lift” in countless ballads.

These are called modal interchange or borrowed chords. Use sparingly — one borrowed chord in a four-bar progression has enormous impact.

Try this

Pick any of the six progressions above. Play it in C, then in G, then in D, then in A, then in E. The shapes change but the pattern doesn’t.

Then vary the rhythm: same chords, different strumming. You’ll be amazed how much the feel of a progression depends on rhythm — not just the chords.