Learn useful chord progressions
A chord progression is a sequence of chords. Three, four, five chords or so following after each other are forming a progression. It is easy in theory, but the delicate aspect is to find great, and perhaps original, combinations.
On this page you will find lots of chord progressions presented. It starts with fundamental and easy progressions that include few chords and continues with progressions including more chords (there aren't any diagrams here, but the notes can be clicked on if you need to look them up).
See also Chord progressions in famous songs.
Progressions with 3 chords
Progressions with 4 chords (including minor chords)
Progressions including 7th chords
Here are some examples with longer sequences:
G – D – C – G – C – D – G
D – A – Bm – F#m – G – A – D
G – Bm – Em – C – G – D – Am – C – G
Notice that all progressions starts and ends with the same chord. This is not a must, but in most cases it will sound better if the sequence uses a tonal center. Another "trick" utilized in the three examples above is to use the V chord (see degrees) before the last, because it resolves perfectly into the I chord.
Chord progressions as outro
When ending a song, the standard way is to return to the root of the key. There are some common progressions for this, among some fall into the category that is called cadence.
F – G – C
C – D – G
Ab – Bb – C
Progressions including chords with altered bass note
Chord progressions for blues
A common progression you can use to get a blues feeling is this:
E7 – A7 – E7 – B7 – A7 – E7
Hopefully you get some bluesy sound; otherwise, try to strum four times at each chord and give extra accent to the first and third beat. As you can see, we are using so-called dominant chords here. Try the same chord sequence without a seventh note, and you will lose the blues sound.
A bonus chord progression comes here with some minor blues:
Em – A7 – Em – B7 – A7 – Em
Almost like the one before but still a completely different thing.
Progression for jazz
Let’s get a little more sophisticated with these next sequences.
Dm7 – G7 – Cmaj7
To really get the jazzy sound from your guitar you are advice to learn jazz chords. Let’s take another sequence, based on the same intervals:
Bm7 – E7 – Amaj7
Progressions for rock style
To get a rock sound you only need three barre chords:
Eb – Bb – Ab
Notice here you need to use barre chords to bring the “fat” rock sound to it. Begin with Eb using an A shape and use an E shape for Bb and Ab.
Progression for ballads
Progressions for flamenco
A typical chord sequence in Spanish and flamenco music:
Am – G – F – E
Miscellaneous chord progressions
F – Fm – G – C – E
Bm – Em – A – D – G – C
D – Dmaj7 – G – Gmaj7
D – D/B – A – F#m – Em7 – A7 – D
F – C – A – Dm – Bb – C – F
In the process of organizing chord progressions a great way is to familiarize yourself with the term degrees. Instead of writing like G – D – C or D – A – G we can write I V IV and by that cover both examples. You may be puzzled with this, but the degrees are telling us the relationship of the chord according to the key (see the key and chord chart).
The notes that belong to the key of G are G, A, B, C, D, E and F. Therefore, G is number one (I), D number five (V), and C number four (IV).
Let us now look at the key of D, the notes here are D, E, F#, G, A, B and C#. Therefore, D is number one (I), A number five (V), and G number four (IV).
With this knowledge, you can use the chord progression I – V – IV in all keys and from now on you will understand what is referred to when you see progressions written in Roman numerals. Note that minor chords are written by small letters like in the chord progression vi – I – V – IV.
Read also about chord progressions in various keys and the article about chords that sound good together.
Some theory behind chord progressions
There is no formula that all chord progressions can be based on or deciphered from. Still, there are some knowledge that will help you if you try to construct your own progressions.
A rule of the thumb is that it will generally sound good if the chord includes one or more notes from the previous chord in a sequence. For example:
C – Em – Am
has the note construction: (c, e, g) – (e, g, b) - (a, c, e)
There are many connections, which can be notice in the smoothness in the sound of the progression.
This is, however, not constantly the case. Am and G works well together as a pair in sequences, but doesn’t share any notes: (a, c, e) and (g, b, d). Here it is another connection: notice that the notes in the G chord are all one step below the notes in the Am chord in the key of both A minor and G major.