Chord progressions examples

Description: This progression moves through closely related chords in the key of C major. It begins on the tonic (C), shifts to the mediant minor (Em), then the relative minor (Am), before resolving through the subdominant (F) and dominant (G).
The sequence is often heard in pop and folk music. The alternating major and minor colors give a sense of emotional balance and gentle forward movement. It's typical to start and end with the I chord, and also that the last I chord is preceded by the V chord, which wants to resolve to the I chord.

Description: Starting on the tonic (G), the progression moves to the mediant minor (Bm) and the relative minor (Em), then passes through the subdominant (C) and dominant (D) before resolving back to G.
This progression is the same sequence as C – Em – Am – F – G (notice the Roman numerals), but transposed into the key of G major. Transposing means shifting all chords by the same musical interval, preserving the harmonic pattern while changing the key.

Description: Once again is the "same progression" (I-iii-vi-IV-V-I) transposed, this time into the key of D major.
There is one novelty though, the V chord has become V7 – A7 creates even more tension before resolving back to D, "home chord".
If you want to transpose this progression into other keys, you can use the Roman numerals chord progression converter.

Description: This progression is in a minor key. It begins on the tonic minor (Am), moves to F, before passing through C (III) and G (VII) and finally returns to Am.
Although A natural minor shares all notes with C major (its relative major), the progression fees distinctly minor due to its tonal center on A. The Am - F - C motion provides smooth voice-leading, while the G chord adds a sense of openness and anticipation that naturally leads back to Am.

Description: The symbols |: and :| mark a reprise. This means that you should return to the beginning of the progression after reaching the G chord, repeating the four-bar sequence before finally moving on to the closing Am.
Musically, the repeat letting it cycle again, strengthening the harmonic identity before the music resolves once more to Am at the end.
Repeating the pattern strengthening the tension and makes the final return to Am feel more grounded and satisfying.

Description: This progression uses a passing chord to create smooth movement toward the dominant. It begins on the tonic (C), then briefly moves through D7 (can be analyzed as a secondary dominant chord, V in G major), which functions as a secondary dominant leading to G (V). After the G chord, the harmony softens through Em (iii) and Am (vi) before returning home to C (I).
The passing D7 adds a moment of tension and direction, making the arrival on G feel stronger and more intentional. This is a common technique in pop, jazz and classical harmony to connect chords more smoothly and give the progression extra color.

Description: This progression in F major features a chromatic passing chord between the tonic (F) and the submediant (Gm). The F#dim chord functions as a passing diminished chord, connecting F and Gm by an ascending stepwise motion (F-F#-G). The F#dim can be analyzed as a secondary leading-tone chord (vii° in G minor), momentarily leading toward Gm as a temporary tonicization.
The sequence continues with Bb (IV) and C (V), creating a smooth and harmonically satisfying motion and anticipates a resolving back to F.

Description: This progression features a descending bass line creating a smooth and connected motion. It begins on the tonic (C), then C/B – a slash indicates an alternative bass – introduces a passing bass note (B). The motion continues to the submediant (Am), followed by Am/G, where the bass drops to G. The descent carries on with the subdominant chord F, followed by F/E, where the bass drops to E, before resolving on Dm7 (the supertonic seventh). Progressions with bass lines chords are used to shape the bass line rather than imply new harmonic centers.

Description: This progression features an ascending bass line that moves stepwise from E up to B. Beginning on the tonic (E), the harmony rises diatonically with F#m (ii) and G#m (iii), creating a sense of forward momentum and lift. The motion continues to A (IV) and culminates on B (V), establishing a strong dominant that naturally prepares a return to the tonic. The smooth stepwise ascent in the bass gives the progression a feeling of gradual build-up and brightness.

Description: The most common blues form is a twelve-measured progression, which also can be seen in jazz and other styles. The dominant 7th is by far the most used and often the only involved chord (although minor 7th is common in minor blues). The 12-Bar Blues structure can be separated in three phases with four measures in each. The first hangs around the I chord, sometimes with the "quick change" in bar 2. The second phase is divided in halves between the IV and the I chord. The third phase starts with cadence (V-IV-I) before a turnaround in the last measure.

Description: The jazz-blues version is similar but often involves more chords as well as a ii-V sequence instead of a V7-IV cadence in the first part of the third phase. The turnaround includes a ii-V change as well. Turnarounds are often placed in parentheses, indicating that these are not played in the final chorus (when they are replaced with the I chord). For more jazz progressions, see Standard jazz tunes.