Free online chord progression player
Rate this tool
Be the first to rate this toolA chord progression is the order in which a song’s chords follow one another, and a handful of them account for most of the music you know. This player collects those progressions by style, plays each one in whatever key you choose, and loops it so you can sing, solo or write a melody over it.
Here’s how to use the player, what the roman numerals on each card mean, and how to get the most out of practicing with a looping progression.
How to use it
Pick a style, then a key. Every card shows a progression as roman numerals and as the actual chords in that key. Press play to hear it on piano or guitar; the chord that is sounding lights up as it goes. Leave Loop on to keep it cycling while you play along, or turn it off to hear a single pass. The tempo slider works while it plays, so you can slow a fast progression down until the changes feel comfortable. Open any progression’s own page to see its chords written out in all twelve keys.
Why it helps
Hearing a progression loop in your own key is how the theory turns into sound. You learn to feel the pull of a V chord back to I, to hear why a minor loop sounds darker than its major twin, and to match a song you know to the numerals it uses. Once a progression is in your ear, changing key is a menu choice rather than something to relearn.
What it shows
- The progression as roman numerals, so its shape is the same in every key.
- The chords it produces in the key you pick, spelled the way that key writes them.
- Songs built on it, so you have a reference you already know.
A chord progression is a sequence of chords played in order, usually repeating, that forms the harmonic backbone of a piece of music. Melodies, riffs and lyrics change from song to song, but the progressions underneath them repeat across decades and genres to a remarkable degree: the same four chords carry hundreds of hit songs, the same twelve bars carry most of the blues, and a single two-chord cadence closes nearly every classical phrase. Below is what a progression is, how roman numerals let you name one independently of key, the progressions worth knowing in each style, and how to practice and write with them using the player above.
What a chord progression is
Every key has a family of chords built on its scale. In C major, stacking the scale’s own notes in thirds gives C, Dm, Em, F, G, Am and Bdim, one chord on each of the seven scale degrees. A progression is a path through that family: which chord you start on, where you go next, and how you come back. Some paths sound settled, some restless and some surprising, and the difference comes from how each chord relates to the tonic, the home chord of the key. A progression that keeps returning to the tonic feels grounded; one that circles around it without landing feels open and unresolved.
The chords in a key are not equally weighted. The tonic, the chord on the first degree, is home. The dominant, on the fifth degree, creates the strongest pull back toward home, because its third is the leading tone, a half step below the tonic note. The subdominant, on the fourth degree, leans gently away from home without demanding a return. Most progressions are built from the tension and release between these three functions, with the remaining chords adding color or standing in for one of them: the vi chord shares two notes with I and often substitutes for it, and the ii chord does the same for IV. The chord finder shows what each of these chords looks like on the keyboard, and the chord analysis tool names the chord on any degree of any key.
Roman numerals: naming a progression in any key
Written as chord names, a progression describes only one key: C–G–Am–F is C major and nothing else. Roman numerals remove that limitation. Each numeral stands for a scale degree, so I is the chord built on the first note of the scale, IV the chord on the fourth, V the chord on the fifth, and so on up to VII. Upper case means a major chord and lower case a minor one, so I–V–vi–IV reads “major on one, major on five, minor on six, major on four.” In C that is C–G–Am–F; in G it is G–D–Em–C; in E it is E–B–C♯m–A. The shape, and therefore the sound, is identical. That is why musicians talk about “a one-four-five” or “a two-five-one” rather than naming chords: the numerals describe the progression in every key at once.
A few extra marks complete the system. A flat before a numeral lowers that degree by a half step, so ♭VII in C is B♭ rather than the B the major scale would give, a chord borrowed from the parallel minor or the Mixolydian mode. A degree sign (°) marks a diminished chord, a plus sign (+) an augmented one, and a small ø a half-diminished seventh. Numbers after a numeral add sevenths: V7 is a dominant seventh, ii7 a minor seventh, Imaj7 a major seventh. The player reads all of these, so the numerals on each card are exactly what it plays.
One convention trips people up: numerals are always read against the major scale of the tonic, even in minor-key progressions. That is why the Andalusian cadence is written i–♭VII–♭VI–V. The flats tell you those chords sit a half step below where the major scale would put them, which is exactly where the natural minor scale has them. If a numeral looks unfamiliar, the key signature finder and the scale finder will show you the scale it is built from.
The progressions worth knowing
The tables list the progressions from the player that you are most likely to meet, with the chords in two common keys and a well-known song to check them against. The player’s own cards, and the page behind each one, cover all twelve keys.
| Progression | Common name | In C major | In G major | Hear it in |
|---|---|---|---|---|
| I–V–vi–IV | Axis progression | C–G–Am–F | G–D–Em–C | “Let It Be” |
| vi–IV–I–V | Axis rotation | Am–F–C–G | Em–C–G–D | “Despacito” |
| I–vi–IV–V | ’50s progression | C–Am–F–G | G–Em–C–D | “Stand by Me” |
| I–IV–V | Three-chord progression | C–F–G | G–C–D | “La Bamba” |
| I–♭VII–IV | Mixolydian rock progression | C–B♭–F | G–F–C | “Sweet Home Alabama” |
| I–vi–ii–V | Songwriter turnaround | C–Am–Dm–G | G–Em–Am–D | “Blue Moon” |
| ii7–V7–Imaj7 | ii–V–I | Dm7–G7–Cmaj7 | Am7–D7–Gmaj7 | “Satin Doll” |
| I–I–I–I–IV–IV–I–I–V–IV–I–V (all sevenths) | 12-bar blues | C7, F7, G7 | G7, C7, D7 | “Johnny B. Goode” |
| I–V–vi–iii–IV–I–IV–V | Pachelbel progression | C–G–Am–Em–F–C–F–G | G–D–Em–Bm–C–G–C–D | Canon in D |
Minor-key progressions are written from the minor tonic, so the natural home for them is a minor key. The same chords appear here in A minor and E minor.
| Progression | Common name | In A minor | In E minor | Hear it in |
|---|---|---|---|---|
| i–♭VI–♭III–♭VII | Epic minor loop | Am–F–C–G | Em–C–G–D | “Zombie” |
| i–♭VII–♭VI–V | Andalusian cadence | Am–G–F–E | Em–D–C–B | “Hit the Road Jack” |
| i–♭VI–♭VII | Minor anthem progression | Am–F–G | Em–C–D | “Rolling in the Deep” |
| iiø7–V7–i7 | Minor ii–V–i | Bm7♭5–E7–Am7 | F♯m7♭5–B7–Em7 | “Autumn Leaves” |
Notice that the epic minor loop in A minor uses exactly the same four chords as the axis rotation in C major: Am–F–C–G. Which name you give it depends on which chord the song treats as home. If the melody keeps resolving to A and the loop feels dark, you are hearing i–♭VI–♭III–♭VII; if it resolves to C and feels bright, you are hearing vi–IV–I–V. The chords are shared between a major key and its relative minor, and only the sense of home tells them apart.
Why the same progressions keep working
The axis progression, I–V–vi–IV, is the most recorded four-chord loop in popular music for a simple reason: it contains the four most important chords of the key, the tonic, the dominant, the subdominant and the relative minor, in an order that never fully resolves. The V chord arrives in the second bar, but instead of returning to I it drops to vi, so the loop keeps its forward motion and can repeat under a whole verse without getting tired. Almost any melody made of the notes of the major scale sits comfortably on it, which is why so many different songs share it without sounding alike.
The ’50s progression works differently. Its V chord comes last, right before the loop returns to I, so every four bars end with a firm arrival home. That is what gives doo-wop ballads their warm, settled feel, and why the same chords in the axis order sound more like a modern pop song. Swapping IV for ii, as in the songwriter turnaround, sends the bass walking down in steps and turns the last two chords into a ii–V, the strongest possible setup for the return to I. Jazz musicians build entire tunes from chains of that ii–V–I, giving every chord its seventh so the voices slide smoothly from one to the next.
Borrowed chords add color without changing the key. The ♭VII chord in I–♭VII–IV is not in the major scale at all; it comes from the Mixolydian mode, and it replaces the pull of the dominant with an open, bluesy swagger that classic rock made its own. In minor keys the reverse happens: the natural minor scale gives a minor v chord, but most progressions raise it to a major V, borrowing the leading tone from the harmonic minor scale so the cadence resolves with the same strength it has in major. The Andalusian cadence gets its Spanish bite from exactly that raised V at the bottom of a descending bass line.
The blues shows how a progression can also be a form. The 12-bar blues is not a loop of chords so much as a fixed twelve-bar shape: four bars on I, two on IV, two back on I, then a two-bar V–IV cadence and a turnaround. Every chord is played as a dominant seventh, a sound that would be restless in a classical piece but is simply the color of the style here. Once you know the shape, you can play with anyone who knows it, in any key, without a chart.
How to practice with a looping progression
- Learn the chords first. Pick the key you will play in and look up any unfamiliar shape in the chord finder or the guitar chord finder before you start the loop. The player’s job is to keep time and play the changes, not to teach fingerings.
- Start slow. Set the tempo well below the song’s speed and play along until every change lands cleanly, then raise it a few beats per minute at a time, exactly as you would with a metronome.
- Sing the bass. Hum the root of each chord as it changes. Hearing the bass line move is the fastest way to recognize a progression by ear in real music.
- Change keys on purpose. Every few loops, move the key up a fourth or a fifth and keep playing. Because the numerals stay the same, this is transposition practice without any writing.
- Improvise over it. Use the scale finder to pick a scale that fits: the major pentatonic works over I–V–vi–IV and the ’50s progression, the blues scale over the 12-bar blues, and the natural minor over the epic minor loop and the Andalusian cadence.
- Train your ear. Once the chord ear trainer has taught you to tell major from minor and dominant sevenths from major sevenths, listen to the radio and try to name the numerals. Most songs will land on one of the progressions above.
Writing your own progression
The quickest way to write a progression is to start from one of these and change one thing. Begin on I so the key is clear, and put V or IV just before the loop repeats so the return home has some pull. Then try a substitution: vi in place of I, ii in place of IV, or a ♭VII in place of V for a rock color. Change the rhythm before you change the chords, since two chords per bar instead of one transforms the feel of the same four chords. Try the identical numerals in minor and hear how the mood shifts. When you have something you like, the virtual piano lets you try voicings and inversions, and the chord analysis tool will confirm the numerals of what you wrote so you can move it to a singer’s key in seconds.
Using it with the other tools
The progression player sits at the practical end of the theory tools. The chord finder and the guitar chord finder show how to play any chord the player names; the scale finder gives you the notes to solo with over it; the key signature finder and the chord analysis tool explain why the chords in a key are what they are; and the virtual piano is the place to try a progression of your own. When you are ready to practice a song at speed, the metronome takes over from the loop.
Browse all progressions
Every progression here has its own page — the chords in all twelve keys, how it moves, and the songs built on it.
Pop & rock
- I–V–vi–IV chord progression (I–V–vi–IV)
- vi–IV–I–V chord progression (vi–IV–I–V)
- I–vi–IV–V chord progression (I–vi–IV–V)
- I–IV–V chord progression (I–IV–V)
- I–IV–V–IV chord progression (I–IV–V–IV)
- I–♭VII–IV chord progression (I–♭VII–IV)
- I–vi–ii–V chord progression (I–vi–ii–V)
- IV–V–iii–vi chord progression (IV–V–iii–vi)
Minor keys
- i–♭VI–♭III–♭VII chord progression (i–♭VI–♭III–♭VII)
- i–♭VII–♭VI–V chord progression (i–♭VII–♭VI–V)
- i–iv–V chord progression (i–iv–V)
- i–♭VI–♭VII chord progression (i–♭VI–♭VII)
- i–♭VII–♭VI–♭VII chord progression (i–♭VII–♭VI–♭VII)
Jazz
- ii7–V7–Imaj7 chord progression (ii7–V7–Imaj7)
- Imaj7–vi7–ii7–V7 chord progression (Imaj7–vi7–ii7–V7)
- iii7–vi7–ii7–V7 chord progression (iii7–vi7–ii7–V7)
- iiø7–V7–i7 chord progression (iiø7–V7–i7)
- vi7–ii7–V7–Imaj7 chord progression (vi7–ii7–V7–Imaj7)
- i7–IV7 chord progression (i7–IV7)
Frequently asked questions
- What is a chord progression?
- A chord progression is a sequence of chords played in order, usually repeating, that forms the harmony of a song. Most progressions are built from the tension and release between the tonic (home), the dominant (the chord that pulls back home) and the subdominant, with the other chords of the key adding color.
- What do the roman numerals in a chord progression mean?
- Each numeral names a scale degree: I is the chord on the first note of the scale, IV on the fourth, V on the fifth. Upper case means major and lower case minor, so I–V–vi–IV is C–G–Am–F in C major and G–D–Em–C in G major. A flat lowers the degree, ° marks a diminished chord and a 7 adds the seventh.
- What is the most common chord progression?
- I–V–vi–IV, often called the axis progression or the four-chord song, is the most recorded loop in pop and rock. In C major it is C–G–Am–F. It works because it contains the four most important chords of the key in an order that never fully resolves, so it can repeat under a whole verse.
- What is a ii–V–I progression?
- The ii–V–I is the basic cadence of jazz: the ii chord prepares the dominant, the V7 strains toward home and the I lands, usually as a major seventh. In C major it is Dm7–G7–Cmaj7. Its minor version, iiø7–V7–i, uses a half-diminished ii and lands on a minor chord.
- How do I transpose a chord progression to another key?
- Write the progression as roman numerals, then read the numerals in the new key. I–IV–V is C–F–G in C, D–G–A in D and E–A–B in E. In the player, simply change the Key menu: every card re-spells its chords for that key, and each progression’s own page lists all twelve keys.
- What is a 12-bar blues progression?
- The 12-bar blues is a fixed twelve-bar form: four bars on I, two on IV, two on I, then V, IV, I and V for one bar each. Every chord is played as a dominant seventh, so in A it uses A7, D7 and E7. It is the shape behind most blues and much early rock and roll.
- Why do minor progressions use flat numerals like ♭VII?
- Numerals are always read against the major scale of the tonic. In a minor key the third, sixth and seventh degrees sit a half step lower than in major, so the chords on them are written with a flat: ♭III, ♭VI and ♭VII. The Andalusian cadence i–♭VII–♭VI–V in A minor is Am–G–F–E.