Learn To Recognise The Progressions
Let’s take a look at my top 10 most important chord progressions. You simply must learn to recognise these, as they form the building blocks of popular music across all styles.
The first step is to connect each progression with a single tune. For example, V – IV is the verse of Respect.
Next, try to find it in other songs across different styles and tempos. This particular progression (V – IV) is especially easy to recognise, as it’s also the turnaround of a 12-bar blues.
This knowledge will help when working out new songs—and later, it becomes part of your improvisation toolkit, since certain arpeggios and scale patterns align with specific progressions.
In many ways, understanding music begins with understanding chord progressions.
Let’s work our way through this top 10 list. It’s not just one tune per example—be sure to check out each playlist to dig deep and internalise the sound of every progression.
#10 The VI – II
The minor version of the I – IV
As the cousin of the world’s most common chord progression, the I – IV, this minor variant is also hugely popular.
It’s found at the start of a minor blues and appears in countless hits. The movement up a 4th creates such a relaxed feel that it’s perfectly natural to return from II to VI.
If VI is Aeolian, then II is Dorian. If you’re fresh out of college, you might be tempted to emphasise the notes that give these chords their modal flavour.
However, if you’re a student of songs, you’ll likely find that VI‘s pentatonic scale works well throughout, with an added b5 for a bluesy touch.
Classic VI – II examples include Bob Marley’s I Shot The Sheriff (Gm – Cm in the chorus), Could You Be Loved (Bm – Em in the verse), and 10cc’s Dreadlock Holiday (Gm – Cm in the verse).
While this progression is common in reggae, it’s not limited to the genre. Once you get the hang of it, it’s fun to explore and really chill in this style for a while.
Next, let’s look at another progression that starts with the VI chord.
#9 The VI – V – IV – IIIx
The falling minor, with a mediant major at the end!
This is a lovely falling minor progression, with only one of the four chords being minor.
The VI chord feels like home, giving the progression a minor overall feel. The powerful positioning of each chord makes it seem like a minor progression, even though only one chord is actually minor—strange, but effective.
A good example of this progression can be found in Ray Charles’s classic Hit The Road Jack (G#m – F# – E – D#7). Or, if you prefer a flat key: Abm – Gb – Fb – Eb. Who says Fb? That’s some crazy stuff!
Clearly, it’s better to think in Roman Numerals…
In this progression, the chords move quickly, and we can solo using the minor pentatonic, perhaps with a b5, without worrying too much about which chord is being played.
Since the III chord is major (IIIx) and steps outside the key, you might consider temporarily changing that note.
While music theory enthusiasts with little real-world experience might shout “Phrygian Dominant“, Ray would likely show you the door if you played that over the final chord of the progression.
Instead, my top tip is to add the Phrygian Dominant note (the 3rd of the III chord) to the VI chord’s minor pentatonic as a maj7 interval (same note).
Do this, and with the b5, you’ll get my scale—Conspirian!
Try an Ab Conspirian (Ab minor pentatonic b5 + maj7) over this progression and hear it for yourself.
You can find this Conspirian scale in all shapes and keys, as well as in all other chords, arpeggios, and modes in Chordacus.
Exploring Modal Magic: From Bob Dylan to Dire Straits
For a more drawn-out version of this progression, check out One More Cup Of Coffee by Bob Dylan.
In this version, we stay on each chord for so long that you can actually explore each mode. So, that’s Am (Aeolian), G (Mixolydian), F (Lydian), and E (Phrygian Dominant).
If you work out what Bob is singing, you’ll notice he’s hitting a lot of modal notes. So, if you solo, be sure to do the same!
Focus on the b6 over Am, the 4 over G, the maj7 over F, and the b6 again over E.
For a more guitar-friendly example, check out Sultans of Swing by Dire Straits.
Here, we’re in the key of Dm, moving from C to Bb to A.
The Dm chord is clearly our home chord, so start with the D minor pentatonic.
My top tip, aside from learning it note-for-note, is to analyse the intervals Mark Knopfler uses in his licks. Add them all together and see what scale he’s actually using!
As far as I can tell, it’s D Aeolian with a b5 and maj7, or D Aeolian mixed with D Conspirian!
Next, we’ll explore a progression that starts with the I chord.
#8 The I – III
And its determined cousin – the IIIx!
A personal favourite, the I – III progression reminds me of a I chord turning into a maj7. Even though it’s a major chord moving to a minor, it somehow feels uplifting.
The I – III first caught my attention when I heard Bob Dylan’s Lay Lady Lay. Since then, I’ve noticed it appearing in many songs. For example, in Hey There Delilah, where we move from D to F#m, or in Whistle for the Choir. This song switches keys, and I’ve recorded it in two different keys, offering four variations of the progression – E to G#m in the original.
The more intense version appears in Radiohead’s Creep, where the sweet III chord transforms into a IIIx, moving from G to B7 instead of Bm.
Next, we look at another progression that begins with the I chord, but this time it takes a more downward path.
#7 The I – VI
The Minor Fall!
So common and so effective, the minor fall, as Leonard Cohen perfectly describes it in his beautiful song Hallelujah, deserves to be explored in depth.
This progression appears in so many songs that it would almost be easier to list the ones that don’t use it! For example, Stand By Me by Ben E. King, with its I – VI – I – V in A, or Sam Cooke’s Wonderful World in G, both perfectly capture this movement against an early ’60s backdrop.
Marvin Gaye’s What’s Going On repeats the I – VI beautifully in the key of E, incorporating extensions like maj7 and min7, reflecting a more produced early ’70s sound.
In Hallelujah, Leonard Cohen uses this progression to create the “minor fall,” a haunting and memorable moment. This was further intensified by Jeff Buckley’s raw, emotionally charged cover a decade later.
Later in the same decade, The Verve used the I – VI in their smash hit The Drugs Don’t Work. But, for many, it’s Over the Rainbow that uses the I – VI most effectively. Over the opening octave jump, we move from chord I to VI, transforming what initially seems happy into something unexpectedly sad – and that, my friend, is the power of the I – VI.
As we thought everything was going well, we experienced “the minor fall.”
Next, let’s examine a progression that goes nowhere at all!
#6 The static I
Can You Play It All Night Long?
In #6, we encounter a progression that isn’t actually a progression – I do love a good contradiction!
Usually, this involves a dom7 or sometimes even a 9-chord. More often than not, it’s funky – let’s face it, it’s usually James Brown!
In Get Up I Feel Like Being A Sex Machine, the song stays on that first chord for what seems like forever. The movement between Eb9 and Eb13 helps add some variation, which is typical of static progressions. With these, there’s often some subtle change around that static chord to keep things interesting.
When James finally takes us to the bridge after 2:12, we move to chord IV.
Another great example of a static progression is Sam & Dave’s Soul Man. During the verse, we vamp on a G chord, with some colour added as we move to a Gsus4add9. It’s so quick, though, it’s more of a lick than a chord – one of those cases where TAB works better than traditional chord notation.
You’ll want to nail this riff and play it like Steve – to borrow a line from the song.
Finally, let’s not forget Kiss Me. During the verse, we seem trapped in a loop of ||: major – maj7 – dom7 – maj7 :||. This creates so much tension that when the chorus hits, it’s an absolute release!
Perhaps that’s the key with the static chord – it’s a non-progression that builds anticipation, whether it leads us to the bridge like James does, or to the chorus in a song about being kissed.
#5 The I – bVIIx – IV
Everybody Loves AC/DC, and AC/DC Loves the I – bVIIx – IV Progression!
It would be easier to list the songs where AC/DC doesn’t use this powerful progression.
Let’s focus on one, though, to keep things moving, and bring in a few more artists and bands that have made this progression their own. While AC/DC might have popularised it, they’re far from the only ones.
Take Back In Black as an example – arguably one of the best rock tracks ever recorded. It perfectly showcases the I – bVIIx – IV progression, going from E – D – A, followed by that irresistible minor blues lick. If that doesn’t make you want to pick up the guitar, I don’t know what will!
Released as the album following the loss of their lead singer, Bon Scott, Back In Black marked the arrival of Brian Johnson, with the band and producer Mutt Lange delivering a record that truly knocked it out of the park. A title track with one of the coolest chord progressions – it’s a must-listen. Just turn it up!
For a slightly gentler take on the I – bVIIx – IV progression, check out Take Me To The River by Al Green. This soul classic introduces a horn section that builds tension as the riff shifts from minor to major for the I chord.
Surprisingly, all of this can be worked into a one-guitar arrangement, though it might take 8 step-by-step lessons to fully grasp how to do it!
A pop-friendly version of this progression appears in Robbie Williams’ Angels. Here, it plays behind the lyrics “I’m loving angels instead,” which, although the message is a bit confusing, is completely backed up by the progression’s uplifting feel.
Finally, we can’t talk about the I – bVIIx – IV progression without mentioning The Beatles and their massive hit Get Back. This progression is used in the intro, and it’s just another example of the power this movement has.
Next, let’s get moving and go dancing!
#4 The II – V
Put On Your Dancing Shoes!
You might think I’ve left out a chord here – surely the II – V – I should be the real entry, and perhaps even at the top of this list?
Well, maybe. But I prefer the slightly less resolved version, where we never reach chord I.
Just loop that II – V and you’ve got yourself a groove. Time to grab your dancing shoes and get down to Good Times by Chic (Em7 Em7sus4 – Asus4 A6).
By skipping the resolution to I, the loop keeps us hanging – and dancing – all night long.
Another great example is I Wish by Stevie Wonder. The verse, with its iconic funky bass line, moves between Ebm7 and Ab. When I recorded it for one acoustic guitar, I moved it up a semitone to Em – A for playability.
Even though the bass line is full of chromatic embellishments, the underlying progression remains a clear II – V loop.
But this progression isn’t just for the dance floor. Slow it down and it can create a haunting, eerie atmosphere – as heard in Mad World, which also uses Em – A in the intro and chorus.
Once you’ve internalised the sound of the II – V, you’ll start spotting it everywhere. Whether slow and sombre or fast and funky, this one’s a keeper.
#3 The I – V – VI – IV
The Safe Bet for Modern Hits!
It’s strange, but this progression seems to have an uncanny connection to so many chart-topping hits, it’s almost mind-blowing.
You might think the I – VI – IV – V progression would be more common, and early on, it was. There are a few ’60s hits that use the I – V – VI – IV.
However, as we fast forward a few decades, it’s almost as if this progression has taken over. Sometimes I find myself pondering why it’s so effective.
Perhaps it’s the surprise of jumping straight to the V, followed by the leap to the VI, rather than the expected downward motion (the minor fall). Or maybe it’s the unexpected shift from VI to IV, which feels like quite a big jump!
Or is it the IV – I resolution at the end, which seems to compel us to repeat the whole cycle?
I think I’ve found the answer: it’s the constant unexpected movement that propels the progression forward. This keeps us engaged and curious.
In contrast to the more predictable I – VI – IV – V progression, the modern I – V – VI – IV feels fresh and surprising.
So, which massive hits use this unexpected movement?
Rewind (Paolo Nutini), I Try (Macy Gray), Cryin’ (Aerosmith), I’m Yours (Jason Mraz), With Or Without You (U2), No Woman No Cry (Bob Marley), So Lonely (The Police).
I could go on and on, but you get the idea: the I – V – VI – IV is a surefire bet if you’re aiming for a hit!
#2 The V – IV
Or is it the IV – V?
Either way, the idea of two major chords a tone apart can only occur in one part of the diatonic scale: between chords IV and V.
This movement appears in numerous songs. For example, Twist & Shout and La Bamba both feature it. These songs also include the I chord, making it a I – IV – V progression, another incredibly common movement—but I’m getting sidetracked…
Let’s focus on a few examples that use the V – IV more in isolation.
Respect is a great example, where the V – IV is looped throughout the iconic verse.
In I Heard It Through The Grapevine, there’s a V – IV movement after the I chord, which is unusual because the I chord is minor.
My favourite V – IV variation appears in On Broadway. First recorded by The Drifters in 1963 and then by George Benson in 1978.
In this song, the progression has a bluesy feel, but instead of starting with the I chord, it moves from the chord to a major chord a tone down, just like a V – IV.
Later, as we move up to chord IV, the same movement is applied again.
In the key of A, it looks like this:
||: A G : || x8
||: D C : || x3
Finally, we move from the IV to the V, D – E.
What we end up with is a blues-like progression, with a V – IV/IV – V at every step of the way—genius!
#1 The I – IV
The I – IV progression claims the top spot on our list of top 10 chord progressions, mainly due to its popularity.
To start, all major blues songs feature the movement from I – IV, which is probably why this progression has stayed so popular over the years.
But it’s not just found in blues music—the I – IV is present in most songs.
I decided to take a look at the songs currently taught in my step-by-step courses to see how many of them actually feature this movement. Here are the results:
- Beginner Acoustic: 4/9
- Intermediate Acoustic: 9/16
- Intermediate Electric: 9/13
- Advanced Acoustic: 7/10
That’s 29 out of 48 songs—more than half of all the songs use this movement!
Perhaps even more famously than in the blues, we hear the IV chord whenever James Brown asks us to “take it to the bridge”!
I mentioned Get Up (I Feel Like Being A Sex Machine) earlier when discussing the progression that isn’t a progression (#6). When he finally moves us away from that static I chord, we, of course, go to chord IV.
Let’s take a look at a few more examples.
Respect, another song previously mentioned for its V – IV movement, also uses the I – IV during the intro and chorus.
Another song worth mentioning is Son of a Preacher Man, which also uses the I – IV in the verse and chorus (E – A). As we hit the middle 8, we get it again as we change key, first moving from D back to A, then settling in with the new key, A – D, in the final chorus.
Chord progression summary
If you want to dive deeper into chord progressions, I offer a mini-course in the SEPR where I cover all these theories from start to finish. There’s also plenty of information available in my eBook, Spytunes Method.
Learning about chord progressions is a three-step process:
- First, you must understand the theory behind them.
- Next, you need to play each example within a real song.
- Finally, you can begin comparing the similarities between songs you already know how to play.
By following these steps, you’ll eventually be able to listen to a song for the first time and identify the progression, without even holding a guitar.
Top 10 Chord Progressions | Related Pages
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