A Simple Guide to Chord Progressions for Songwriters

A chord progression is the cycle of chords that plays throughout a particular section of a song. Typically, songs written in 4/4 or 3/4 (the most common time signatures) will have one chord per measure, although two chords per measure is also quite common. It’s possible to have three or four chords per measure (or even more), but this technique is more commonly found when a song transitions to a new section.

Roman numeral notation is integral to music theory, and thus to analyzing chord progressions. Songs written in a major key are based on the major scale—the fundamental building block of Western harmony. The major scale has a series of “triads” (three note chords containing a root, a third, and a fifth) that are built upon the notes within the scale. They are notated with Roman numerals as follows:

• I—a major triad starting on the first degree of the scale
• ii—a minor triad starting on the second degree of the scale
• iii—a minor triad starting on the third degree of the scale
• IV—a major triad starting on the fourth degree of the scale
• V—a major triad starting on the fifth degree of the scale
• vi—a minor triad starting on the sixth degree of the scale
• viiº—a diminished triad starting on the seventh degree of the scale

For example, an A major scale has the following chords: A major (the I), B minor (the ii), C♯ minor (the iii), D major (the IV), E major (the V), F♯ minor (the vi), and G♯ diminished (the viiº). Notice how there are both major chords and minor chords built off of this major scale. A song in the key of A with the progression A–D–D–A–E is the equivalent of I–IV–IV–I–V in Roman numeral notation.

If you’re working in the natural minor scale (the second building block of Western harmony), take note that these are the chords associated with that scale:

• i—a minor triad starting on the first degree of the scale
• iiº—a diminished triad starting on the second degree of the scale
• bIII—a major triad starting on the third degree of the scale (which is sometimes called the flat third degree)
• IV—a major triad starting on the fourth degree of the scale
• V—a major triad starting on the fifth degree of the scale
• bVI—a major triad starting on the sixth degree of the scale (which is sometimes called the flat sixth degree)
• bVII—a major triad starting on the seventh degree of the scale (which is sometimes called the flat seventh degree)

To create a pop tune, write a progression that’s relatively simple, diatonic (staying within the chosen key), and that allows for lots of melodic options. Some common pop chord progressions include:

• I–IV–I–V: This is an old fashioned classic and great for evoking music of the ’50s and ‘60s. Chord orders might include E–A–E–B or C–F–C–G. Songs that use this progression include “Johnny B. Goode” by Chuck Berry, “MMMBob” by Hanson, and “Brown Eyed Girl” by Van Morrison.
• I–V–vi–IV: This is a common progression in contemporary pop that often include D–A–Bm–G or A♭–E♭–Fm–D♭. Pop songs that feature this progression include “Umbrella” by Rhianna, “When I Come Around” by Green Day, and “Wrecking Ball” by Miley Cyrus.

Jazz music greatly emphasizes harmony, and you can enhance harmony with exotic chord progressions. Consider the following:

1. 1. Rhythm changes: This classic jazz chord progression (iii7–vi7–ii7–V7) gets its name from George Gershwin’s “I’ve Got Rhythm.” This progression uses seventh chords, where the seventh scale degree is added to a major or minor triad. Jazz is full of four-note, five-note, and six-note chords, and simple triads are very rare in this style of music. Examples of progressions include Dm7–Gm7–Cm7–F7 (in the key of B♭) or Bm7–Em7–Am7–D7 (in the key of G). Songs that use this progression include “Cotton Tail” by Duke Ellington, “Seven Come Eleven” by Charlie Christian and Benny Goodman, and “Rhythm-a-Ning” by Thelonious Monk.
2. 2. Non-diatonic progressions: In Jazz music, the song key is not always clear, and compositions frequently use non-diatonic chords. For example, John Coltrane’s “Giant Steps” has an opening chord progression of Bmaj7–D7–Gmaj7–B♭7–E♭maj7, but the song is in the key of E♭ major. The first three chords are not part of the E♭ major scale.

Hard rock and heavy metal make regular use of the minor pentatonic scale, which works well over minor chord progressions. Consider the following common hard rock progressions:

i–bVII–bVI: This descending pattern is a great backdrop to both wailing lead vocals and extended guitar solos. Examples include Am–G–F or Em–D–C, and songs that feature this popular chord progression include “Stairway to Heaven” by Led Zeppelin, “All Along the Watchtower” by the Jimi Hendrix Experience, and “The Trooper” by Iron Maiden.
i–bVI–iv–i: When writing in a minor key, try subbing in a minor fourth chord (such as A minor in the key of E minor). It adds harmonic variety and makes your progression that much more sinister. “Crazy Train” by Ozzy Osbourne is an example of this chord progression. This progression might include F♯m–D–Bm–F♯m or Dm–B♭–Gm–Dm.

Singer-songwriters can start the songwriting process with a chord progression then layer a vocal melody on top of it. Consider the following tips for crafting a vocal melody that works with your own chord progression:

• Implement chord voicing. Most pop melodies emphasize chord voicing or chord tones. In a major triad and minor triad, the chord tones are the first, third, and fifth scale degrees. For example, in the chord F♯ major, the chord tones are F♯, A♯, and C♯. In the chord D minor, the chord tones are D, F, and A.
• Create tension. Great melodies feature notes known as “tensions,” which are extensions of the basic seventh chord. On a major chord, the most commonly used tensions are nine and thirteen. Over a C major chord, this would correspond to the notes D and A. On a minor chord, the most commonly used tensions are nine, eleven, and flat seven. Over a G minor chord, this corresponds with the notes A, C, and F.
• Mix rhythmic values. You should include variation in the duration of notes. Most great melodies contain a mixture of half notes, quarter notes, eighth notes, and sixteenth notes. They can also feature other durations, like dotted eighth notes and tuplets.
• Use a stepwise motion with a few leaps. Many of the most memorable melodies feature routine motion in whole steps and half steps, and selectively feature leaps, where the melody jumps by a third, a fourth, a fifth, a sixth, a seventh, or even an octave. You can add any type of leap to your song, but too many leaps will make the melody hard to follow.
• Find a focal point. Most melody lines feature a focal point, which is a high note or a low note that is hit only one time in the phrase, but that other notes approach from either side. Setting a high focal point fits nicely with the concept of stepwise motion.

Become a better musician with the MasterClass Annual Membership. Gain access to exclusive video lessons taught by the world’s best, including Alicia Keys, St. Vincent, Sheila E., Timbaland, Itzhak Perlman, Herbie Hancock, Tom Morello, and more.