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Entry #ProgressionSectionMode# of ChordsCharacterDescriptionCommercial SpectrumSee AlsoPage #
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1I–IVMajor KeyMajor2Hypnotic, Meditative, WarmThe simplest possible harmonic motion in tonal music. The IV chord lifts away from home, the I returns.ClassicI–V — Same two-chord shuttle but with dominant instead of subdominant ; IV–I — Same two chords reversed — the Plagal (Amen) cadence ; I–IV–V — Adds the dominant V to complete the three primary triads8
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2I–VMajor KeyMajor2Driving, Anthemic, ResolutePure harmonic polarity — tension and release in its simplest form. The V creates expectation, the I fulfills it.ClassicI–IV — Same two-chord shuttle but with subdominant instead of dominant ; V–I — Same two chords reversed — the Perfect Cadence ; I–IV–V — Adds the IV to bridge both harmonic poles8
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3I–viMajor KeyMajor2Wistful, Gentle, LongingMajor meets its relative minor. The simplest way to introduce melancholy into a major context.ClassicV–vi — The deceptive cadence — surprising turn to minor ; I–vi–IV–V — Extends this to the full 1950s doo-wop progression ; I–IV — Another two-chord major shuttle — warm instead of wistful9
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4I–iiMajor KeyMajor2Rising, Expectant, SubtleA step upward from tonic. The ii chord creates gentle forward motion without the strong pull of V.ClassicI–iii — Another stepwise ascent — to mediant instead of supertonic ; ii–V–I — The ii chord’s most famous destination: the jazz cadence ; I–IV — Leaps to subdominant instead of stepping to supertonic9
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5I–iiiMajor KeyMajor2Dreamy, Floating, AmbiguousOne of the most underused and ethereal two-chord movements.ClassicI–ii — Steps to supertonic instead — more grounded ; I–vi — Steps to relative minor — clearer emotional shift ; I–iii–vi–IV — Extends this into a stepwise descent ; I–iii–IV — Adds IV for a stepwise rise effect10
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6IV–VMajor KeyMajor2Building, Anticipatory, UnresolvedPure dominant preparation. The IV lifts, the V demands resolution — but the I never arrives. Creates powerful tension and forward momentum.ClassicIV–V–I — Resolves this fragment — the full cadence ; I–IV–V — Adds the tonic at the start ; ii–V — Jazz substitution — ii replaces IV ; IV–V–vi — Deceptive resolution — goes to vi instead of I10
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7ii–VMajor KeyMajor2Sophisticated, Tense, Forward-movingThe quintessential jazz fragment. Creates strong root motion by descending fifth, generating irresistible momentum toward resolution.Classicii–V–I — The complete jazz cadence — this fragment with its resolution ; IV–V — Classical equivalent — IV replaces ii ; iii–vi–ii–V — Full circle-of-fifths approach to ii–V11
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8vi–IVMajor KeyMajor2Wistful, Descending, EmotionalA gentle descent from the relative minor. The vi starts in shadow, and IV provides a soft landing.Classicvi–IV–I–V — Extends this into the full Sensitive Female progression ; I–vi — Same two chords reversed — starts from brightness ; vi–IV–ii–V — Adds the jazz cadence to this emotional opening11
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9IV–IMajor KeyMajor2Peaceful, Conclusive, SacredThe Plagal or "Amen" cadence. Warmer and gentler than V–I. The IV settles into I like a sigh of contentment.ClassicI–IV — Same two chords reversed — tonic moves to subdominant ; V–I — The stronger cadence — dominant resolution ; IV–iv–I — Adds minor plagal for extra color12
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10V–IMajor KeyMajor2Resolving, Definitive, ClassicalThe most fundamental resolution in Western harmony.ClassicI–V — Same chords reversed — tension instead of resolution ; IV–I — The plagal alternative — softer resolution ; V–vi — Deceptive cadence — V resolves to vi instead ; IV–V–I — Full cadence with pre-dominant preparation12
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11V–viMajor KeyMajor2Surprising, Bittersweet, UnresolvedThe great surprise of tonal harmony. The ear expects V to resolve to I, but instead lands on vi. Creates a sense of beautiful frustration.ClassicV–I — The expected resolution — what the ear anticipates ; IV–V–vi — Full deceptive cadence with preparation ; I–vi — The simpler version of this major-to-minor shift13
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12vi–VMajor KeyMajor2Tense, Yearning, DramaticA stark oscillation between relative minor and dominant. Neither chord is the tonic, creating a restless, yearning quality.ClassicV–vi — Same chords reversed — the deceptive cadence ; vi–IV — Steps to IV instead — gentler ; vi–IV–V — Adds IV between for smoother journey ; vi–ii–V — Adds ii for circle-of-fifths motion13
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13I–V–(repeating–vamp)Major KeyMajor2Driving, Hypnotic, RawThe I–V shuttle stretched into an extended vamp. Relentless rocking between tonic and dominant.ClassicI–V — The basic two-chord form ; I–IV–(repeating–vamp) — Same concept with subdominant — warmer ; I–IV–V — Breaks the vamp by adding IV ; I5–IV5 — Power chord version for heavier genres14
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14I–IV–(repeating–vamp)Major KeyMajor2Churchy, Warm, GroovingThe I–IV shuttle as an extended groove. Warmer and more settled than the I–V vamp. The plagal motion creates a rocking, gospel-inflected feel.ClassicI–IV — The basic two-chord form ; I–V–(repeating–vamp) — Same concept with dominant — more driving ; i–IV — Dorian version — minor tonic, major IV ; I–IV–V — Breaks the vamp by adding the dominant14
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15IV–V–(repeating–vamp)Major KeyMajor2Suspended, Unresolved, BuildingNeither chord is the tonic, so this vamp floats without grounding. Constant forward momentum — always building, never resolving.ClassicIV–V — Same chords as a fragment ; IV–V–I — This vamp with resolution added ; I–V–(repeating–vamp) — Grounded version — tonic replaces IV ; I–IV–V — All three primary chords together15
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16I–IV–VMajor KeyMajor3Bright, Resolute, FoundationalThe bedrock of Western harmony. The IV creates lift, the V creates tension, and the implied return to I provides resolution.ClassicI–IV–V–I — Same chords with explicit return to tonic ; I–V–IV — Same three chords reordered ; V–IV–I — Sweet Home Alabama order ; I–I–I–I–IV–IV–I–I–V–IV–I–V — This progression expanded into the blues form15
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17I–V–IVMajor KeyMajor3Open, Surprising, EnergeticSame three primary chords but with V before IV, reversing the expected energy. Creates a distinctive open, soaring quality.ClassicI–IV–V — Same chords in standard order ; V–IV–I — Starting on V — Sweet Home Alabama ; I–V–IV–V — Extends with a repeat of V ; I–♭VII–IV — ♭VII replaces V for Mixolydian flavor16
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18I–IV–viMajor KeyMajor3Warm, Turning, ReflectiveOpens bright with the plagal shuttle, then dips to the relative minor. A gentle shift from warmth to reflection.ClassicI–vi–IV — Same chords starting on vi — nostalgic turn ; I–IV — First two chords — the plagal shuttle ; I–IV–V — Replaces vi with V — brighter ; I–IV–ii — Steps to ii instead of vi16
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19I–IV–iiMajor KeyMajor3Gentle, Rising, OpenA progression that stays in the subdominant region.ClassicI–IV–V — Replaces ii with V — standard resolution ; I–ii–IV — Same chords reordered ; I–ii — The I–ii motion at the core ; ii–V–I — Where ii naturally wants to go next ; I–IV–V–IV — Stays in subdominant region with V17
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20I–V–viMajor KeyMajor3Triumphant then BittersweetThe first three chords of the Axis of Awesome progression.ClassicI–V–vi–IV — Adds IV to complete the Axis ; V–vi — The deceptive cadence at the heart ; I–vi–V — Stays major instead of turning to vi ; I–V — The opening two chords ; vi–IV–I–V — Same four starting on vi17
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21I–vi–VMajor KeyMajor3Wistful, Tense, YearningDrops from home to the relative minor, then leaps to the dominant — a combination of melancholy and tension that demands resolution.Classicvi–V — The vi–V fragment at the heart ; I–vi — The opening two chords ; I–vi–IV–V — Adds IV between vi and V ; I–vi–ii–V — Adds ii for smoother voice leading18
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22I–IV–V–IVMajor KeyMajor4Rocking, Celebratory, OpenA three-chord loop that rocks back and forth through IV.ClassicI–IV–V — Same chords without the return to IV ; I–IV–V–I — Returns to I instead of IV ; V–IV–I — The backdoor cadence hidden inside ; I–V–IV–V — Reverse pattern — rocks through V ; I–V–IV — Same chords in different rotation18
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23I–V–IV–VMajor KeyMajor4Driving, Restless, AnthemicA three-chord loop that rocks through V. Opens with I–V tension, relaxes to IV, then returns to V for another round of tension.ClassicI–IV–V–IV — Reverse pattern — rocks through IV ; I–V–IV — Same chords without the return to V ; I–IV–V — Standard three-chord order ; I–V–IV–V — Returns to I instead of repeating V19
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24I–vi–IVMajor KeyMajor3Wistful, Warm, SighingBegins on the tonic, dips to the relative minor, then rises to the subdominant.ClassicI–vi–IV–V — Adds V — the full 50s progression ; I–V–vi–IV — Reorders to the Axis ; I–IV–vi — Same chords, different order ; I–vi — The opening two chords19
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25IV–I–VMajor KeyMajor3Grounded, Resolute, ClassicalStarts on the subdominant, passes through tonic, and ends on dominant.ClassicI–IV–V — Standard order starting on I ; V–IV–I — Starts on V — Sweet Home Alabama ; IV–V–I — Starts on IV but with V–I cadence ; IV–I — The plagal cadence at the start ; IV–V — The last two chords20
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26V–I–IVMajor KeyMajor3Resolving, Then Lifting, OpenOpens with resolution (V–I), then lifts to the subdominant. The opening is satisfying, and the IV creates gentle forward motion.ClassicI–IV–V — Standard rotation ; V–IV–I — V first but goes to IV ; V–I — The opening cadence ; I–IV — The second half20
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27I–ii–VMajor KeyMajor3Smooth, Rising, SophisticatedThe major-key approach to the ii–V cadence, starting from the tonic.Classicii–V–I — Complete turnaround — starts on ii ; I–ii — The opening two chords ; ii–V — The closing cadence fragment ; I–vi–ii–V — Adds vi for the full jazz turnaround ; I–IV–V — Classical equivalent — IV replaces ii21
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28I–ii–IVMajor KeyMajor3Rising, Gentle, BuildingA gradual climb through the subdominant region. The bass rises from I to ii to IV, creating a gentle, expectant lift without the tension of V.ClassicI–ii — The opening two chords ; I–IV–ii — Same chords reordered ; I–ii–IV–V — Extends with V for resolution ; I–IV–V — IV–V replaces ii–IV21
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29I–iii–IVMajor KeyMajor3Ethereal, Ascending, HopefulA delicate stepwise rise through the mediant to the subdominant. The iii adds an ethereal quality before the warmth of IV.ClassicI–iii — The opening two chords — dreamy motion ; I–ii–IV — Rises through ii instead — smoother ; I–iii–vi–IV — Extends into a full cycle ; I–iii–IV–V — Adds V for resolution22
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30I–iii–IV–VMajor KeyMajor4Building, Hopeful, RisingA steady ascent through the scale degrees — the bass climbs I–iii–IV–V creating a sense of growing intensity and hope.ClassicI–iii–IV — First three chords ; I–ii–IV–V — Rises through ii instead of iii ; I–IV–V — Drops the iii for the basic three-chord ; I–V–vi–IV — Different four-chord — descending feel22
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31IV–V–IMajor KeyMajor3Resolving, Classical, DefinitiveThe standard cadential formula — subdominant preparation, dominant tension, tonic resolution.ClassicI–IV–V — Same chords starting on I ; IV–V — The pre-cadence fragment ; V–I — The resolution at the end ; ii–V–I — Jazz equivalent — ii replaces IV23
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32IV–V–IVMajor KeyMajor3Floating, Rocking, UnresolvedA tonicless loop that rocks between subdominant and dominant. Never resolves, creating a floating, suspended quality.ClassicIV–V–(repeating–vamp) — Same two chords as a simple vamp ; I–IV–V–IV — Same with tonic added ; IV–V — The oscillating fragment ; I–IV–V — Adds the tonic23
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33IV–V–viMajor KeyMajor3Building then Surprising, BittersweetSets up a perfect cadence (IV–V) but resolves to vi instead of I. The ear is tricked — what should feel triumphant lands somewhere bittersweet.ClassicIV–V–I — The expected resolution ; V–vi — The deceptive move at the heart ; vi–IV–I–V — Starts where this one ends ; vi–IV–V — Same chords starting on vi24
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34V–IV–IMajor KeyMajor3Triumphant, Relaxed, SouthernThe "wrong way" cadence — IV resolves to I instead of V doing so.ClassicI–IV–V — Same chords in standard order ; I–V–IV — Starting on I with V first ; ♭VII–IV–I — Double plagal version ; ♭VII–IV–I — Fully Mixolydian cadence ; IV–V–I — Classical cadential order24
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35vi–V–IVMajor KeyMajor3Descending, Dramatic, DarkA stepwise descent from the relative minor through the dominant to the subdominant. Creates a sense of falling or spiraling downward.Classicvi–IV–V — Same chords — IV and V swapped ; vi–V — The opening two chords ; i–♭VII–♭VI–V — Andalusian — similar descending minor feel ; vi–IV — Drops V for a two-chord descent25
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36vi–IV–VMajor KeyMajor3Building, Emotional, AnthemicStarts in the shadow of the relative minor, gathers energy through IV, and launches to V.ClassicIV–V–vi — Same chords, reversed — deceptive cadence ; vi–IV–I–V — Extends with I after this build ; vi–IV — The opening two chords ; vi–V–IV — Same chords descending instead25
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37I–iii–viMajor KeyMajor3Falling, Gentle, MelancholicA graceful descent by thirds — I to iii to vi. Each chord shares two notes with the next, creating the smoothest possible voice leading downward.ClassicI–iii — The opening two chords ; I–vi — Skips iii — jumps directly ; I–iii–vi–IV — Adds IV to continue ; iii–vi–ii–V — Continues the descent by fifths26
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38vi–ii–VMajor KeyMajor3Sophisticated, Smooth, ResolvingExtends the ii–V jazz cadence by adding vi before it. Creates a longer circle-of-fifths approach: vi moves to ii by fifth, ii to V by fifth.Classicii–V — The ii–V fragment at the end ; I–vi–ii–V — Adds I at the start — full turnaround ; iii–vi–ii–V — Extends with iii at the start ; ii–V–I — The resolution this progression demands26
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39ii–V–IMajor KeyMajor3Sophisticated, Smooth, ResolvingThe most fundamental progression in jazz harmony.ClassicI–vi–ii–V — Prefixes vi for the full turnaround ; iii–vi–ii–V — Extended circle-of-fifths approach ; ii°–V–i — Minor-key equivalent ; I–ii–V — Starts from I — reversed direction ; ii–V — The fragment without resolution27
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40I–IV–I–VMajor KeyMajor4Simple, Open, WesternA simple four-bar phrase using only the three primary chords.ClassicI–IV–V — Same three chords without the middle I ; I–IV–V–I — Puts I at the end instead of middle ; I–IV–V–IV — Returns to IV instead of I ; I–IV — The opening shuttle ; I–V — The closing shuttle27
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41I–V–IV–IMajor KeyMajor4Complete, Driving, SatisfyingOpens with dominant tension, relaxes to subdominant, and completes the cycle home.ClassicI–V–IV — First three chords ; V–IV–I — Same cadence starting on V ; I–IV–V–I — Standard order ; I–IV–V — Without the return to I28
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42I–IV–vi–VMajor KeyMajor4Warm, Building, CompleteA satisfying four-chord loop: warm plagal motion (I–IV), reflective turn (vi), then dominant tension (V) that demands return to I.ClassicI–V–vi–IV — Same chords — Axis rotation ; I–vi–IV–V — Same chords — 50s rotation ; I–IV–vi — First three chords ; I–vi–IV — Different starting order28
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43I–ii–iii–IVMajor KeyMajor4Rising, Hopeful, GradualA smooth stepwise bass ascent through four consecutive scale degrees. Each step builds anticipation and hope.ClassicI–ii–IV — Skips iii — same destination ; I–iii–IV–V — Skips ii, adds V ; I–iii–vi — Descends by thirds instead ; I–ii–IV–V — Replaces iii–IV with IV–V29
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44I–IV–V–IMajor KeyMajor4Bright, Complete, ResolvingThe three primary chords as a complete cycle with explicit resolution. IV lifts, V creates tension, I resolves.ClassicI–IV–V — Without the final I ; I–IV–I–V — Returns to I in the middle ; I–IV–V–IV — Returns to IV instead of I ; IV–V–I — Same cadence without the opening I29
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45I–V–IV–VMajor KeyMajor4Anthemic, Driving, RepetitiveDominant-heavy loop that creates relentless forward energy. Two shots of V with IV as a brief relaxation between them. Arena rock fuel.ClassicI–V–IV–V — Same pattern ; I–V–IV — First three chords ; I–V–IV–I — Resolves instead of repeating V ; I–V–(repeating–vamp) — Simplified to two chords30
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46IV–I–vi–VMajor KeyMajor4Warm, Then Bittersweet, ResolvingStarts with the warm plagal shuttle (IV–I), then descends to vi before the dominant V demands another cycle.ClassicI–V–vi–IV — Axis starting on I ; IV–I–V–vi — V and vi swapped ; vi–IV–I–V — Starting on vi ; I–IV–vi–V — Similar — starts on I30
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47I–IV–I–IV–VMajor KeyMajor5Building, Rocking, GospelAn extended vamp on I–IV that finally breaks out to V.ClassicI–IV–(repeating–vamp) — The underlying shuttle ; I–IV–V — Compressed version ; I–IV–V–I — Without the extra plagal shuttle ; I–I–I–I–IV–IV–I–I–V–IV–I–V — Similar structure: 4 bars of I, 2 of IV, etc. ; I–IV — The basic two-chord shuttle31
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48I–iii–IV–VMajor KeyMajor4Dreamy, Rising, ResolvingStarts with the ethereal I–iii, then gathers energy through IV to V. A progression that begins in dreams and ends with purpose.ClassicI–iii–IV–V — Same progression ; I–iii–IV — First three chords ; I–iii — The opening two chords ; I–IV–V — Drops iii for direct approach31
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49I–iii–vi–ii–VMajor KeyMajor5Smooth, Jazz-flavored, FlowingA complete circle-of-fifths descent: I–iii–vi–ii–V. Each root falls by a fifth (or rises by a fourth).Classiciii–vi–ii–V — Last four chords — the extended jazz approach ; I–vi–ii–V — Skips iii — the standard turnaround ; ii–V–I — The cadence at the end ; I–iii–vi — The descending thirds opening32
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50I–IV–ii–VMajor KeyMajor4Warm, Sophisticated, BuildingCombines classical (IV) and jazz (ii–V) vocabulary. Opens with a warm plagal motion then pivots to the jazz cadence.Classicii–V–I — The jazz cadence at the end ; I–IV — The opening shuttle ; I–vi–ii–V — Replaces IV with vi — the jazz turnaround ; I–IV–V — Replaces ii–V with just V32
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51I–IV–V–viMajor KeyMajor4Bright then Bittersweet, LoopingThree bright chords followed by the surprise of vi. Creates a loop where happiness keeps tipping into melancholy.ClassicI–V–vi–IV — Axis rotation ; I–IV–V–I — Resolves to I instead of vi ; IV–V–vi — Last three chords — deceptive cadence ; I–vi–IV–V — Same chords in 50s order33
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52vi–IV–V–IMajor KeyMajor4Building, Resolving, TriumphantStarts in darkness (vi), builds through IV and V, and arrives triumphantly at I. The emotional arc of overcoming — shadow to light.Classicvi–IV–V — First three chords — minor launch ; I–V–vi–IV — Same four chords in Axis order ; vi–IV–I–V — Same start, different ending ; IV–V–I — Last three chords — full cadence33
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53V–vi–IV–IMajor KeyMajor4Deceptive, Releasing, CircularStarts with the deceptive cadence (V–vi), then relaxes through IV to I.ClassicI–V–vi–IV — Standard Axis order ; V–vi — The deceptive opening ; vi–IV–I–V — Different rotation starting on vi ; V–IV–I — Last three chords ; IV–I–V–vi — Another rotation34
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54I–iii–vi–IVMajor KeyMajor4Falling, Gentle, NostalgicA graceful descent by thirds: I drops to iii, then vi, before the warmth of IV catches the fall. Smooth voice leading throughout.ClassicI–iii–vi — First three chords — descending thirds ; I–V–vi–IV — Axis — replaces iii with V ; I–vi–IV–V — Skips iii, adds V ; I–iii–IV — Goes to IV instead of vi34
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55I–V–IV–viMajor KeyMajor4Bright then Dark, ShiftingOpens with bright confidence (I–V–IV), then the vi at the end casts everything in shadow.ClassicI–V–vi–IV — Same chords in Axis order ; I–V–IV — First three chords ; I–IV–V–vi — Different ordering ; I–vi–IV–V — Same chords in 50s order35
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56I–IV–V–IV–VMajor KeyMajor5Building, Celebratory, DrivingA five-chord phrase that rocks between IV and V after establishing the tonic. Creates an extended building sensation.ClassicI–IV–V–IV — Same without the extra V ; I–IV–V — Simplified three-chord ; I–V–IV–V — Different rotation ; IV–V–(repeating–vamp) — The rocking core35
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57I–vi–V–IVMajor KeyMajor4Descending, Wistful, OpenA steady descent from I through vi and V to IV. Each chord is one step lower, creating a gentle gravity-driven progression.Classicvi–V–IV — Last three chords — minor descent ; I–V–vi–IV — Axis — different rotation ; I–vi–IV–V — Same chords, IV and V swapped ; I–vi–V — First three chords36
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58I–V–vi–VMajor KeyMajor4Tense, Oscillating, EmotionalOscillates around V, touching I on one side and vi on the other. The repeated V creates a sense of restless searching.ClassicI–V–vi–IV — Axis — replaces second V with IV ; I–V–vi — First three chords ; V–vi — The central deceptive motion ; I–V — The opening shuttle36
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59I–vi–IV–IMajor KeyMajor4Warm, Circular, ComfortingA self-contained loop that visits the relative minor and subdominant before returning home.ClassicI–vi–IV — First three chords ; I–V–vi–IV — Axis — adds V, skips return to I ; I–vi–IV–V — Adds V instead of returning to I ; I–vi — The opening shift37
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60I–V–IV–ivMajor KeyMajor4Bright then Dark, Chromatic, EmotionalOpens brightly but the iv (minor four) at the end adds a shadow of chromaticism.FoundationalIV–iv–I — The plagal turn in isolation ; I–V–vi–IV — Axis — stays diatonic ; I–V–IV — Same without the iv ; IV–iv–I–V — Major-to-minor plagal cycle37
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61vi–IV–V–viMajor KeyMajor4Sad, Circular, EmotionalA loop that starts and ends on vi, effectively functioning in the relative minor.Classicvi–IV–V — First three chords — minor launch ; vi–IV–V–I — Resolves to I instead of vi ; vi–IV–I–V — Adds I in the middle ; i–♭VI–♭III–♭VII — Minor-key equivalent38
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62ii–IV–V–IMajor KeyMajor4Gentle, Resolving, ClassicalOpens on the pre-dominant ii, rises through IV and V, then resolves to I.Classicii–V–I — Drops IV — the jazz cadence ; IV–V–I — Drops ii — the classical cadence ; I–IV–ii–V — Same chords, different order ; I–ii–IV–V — Starts on I ; ii–V — The jazz fragment at the end38
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63I–V–IV–I–VMajor KeyMajor5Open, Driving, ExpansiveA five-chord phrase that extends the three-chord rock foundation.ClassicI–V–IV–I — First four chords ; I–IV–V — Simplified to three chords ; I–IV–V–I — Standard four-chord cycle ; I–IV–I–V — Similar with IV first ; I–V–IV — The core three chords39
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64I–V–ii–IVMajor KeyMajor4Smooth, Modern, VersatileBlends pop energy (I–V) with jazz smoothness (ii–IV). The ii chord adds sophistication without the full commitment of a ii–V–I cadence.ClassicI–V–vi–IV — Axis — vi replaces ii ; I–IV–ii–V — Same chords different order ; ii–V–I — The jazz cadence using ii ; I–V — The opening shuttle39
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65I–IV–vi–ii–VMajor KeyMajor5Complete, Sophisticated, FlowingA five-chord journey that touches every important harmonic function: tonic, subdominant, relative minor, supertonic, and dominant.ClassicI–IV–ii–V — Drops vi ; I–vi–ii–V — Drops IV ; I–vi–IV–V — Drops ii ; ii–V–I — The cadence at the end40
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66I–V–vi–IVMajor KeyMajor4Triumphant, Versatile, AnthemicThe most ubiquitous progression in modern pop. Opens with confidence (I–V), dips into bittersweet territory (vi), then lifts with warmth (IV).Classicvi–IV–I–V — Starting on vi — darker opening ; IV–I–V–vi — Starting on IV — Rihanna rotation ; I–vi–IV–V — 1950s doo-wop reorder ; V–vi–IV–I — Reverse Axis40
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67vi–IV–I–VMajor KeyMajor4Emotional, Introspective, AnthemicThe Axis progression starting on the relative minor.ClassicI–V–vi–IV — Starting on I — the standard Axis ; IV–I–V–vi — Starting on IV ; vi–IV–V–I — Goes V–I at the end instead ; vi–IV–V–vi — Loops back to vi instead of V ; vi–IV — The opening two chords41
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68IV–I–V–viMajor KeyMajor4Warm, Confident, ShiftingThe Axis progression starting on IV. Opens with warm confidence before the deceptive turn to vi at the end.ClassicI–V–vi–IV — Standard Axis order ; vi–IV–I–V — Starting on vi ; IV–I–vi–V — Swaps vi and V ; IV–I — The opening plagal motion41
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69I–vi–IV–VMajor KeyMajor4Nostalgic, Sweet, InnocentPure nostalgia in chord form. The vi adds gentle melancholy between the major chords. Defined the sound of 1950s doo-wop and early rock & roll.ClassicI–V–vi–IV — Same four chords as the Axis ; I–vi–ii–V — Replaces IV–V with ii–V — the jazz turnaround ; vi–IV–I–V — Starting from vi ; I–vi–IV–V–I — Extended with return to I42
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70I–vi–ii–VMajor KeyMajor4Sophisticated, Smooth, ClassicThe quintessential jazz turnaround. Descends by fifths: I to vi, vi to ii, ii to V, V back to I.ClassicI–vi–IV–V — IV replaces ii — the pop version ; ii–V–I — The cadence at the end ; iii–vi–ii–V — Extended with iii at the start ; I–iii–vi–ii–V — Through iii — full circle42
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71I–IV–I–viMajor KeyMajor4Gentle, Meandering, ReflectiveA gentle loop that visits IV before returning home, then drops to the relative minor. Creates a meandering, reflective quality.ClassicI–vi–IV — Same chords reordered ; I–vi–IV–I — Similar but ends on I ; I–IV — The opening shuttle ; I–vi — The tonic-to-relative-minor43
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72I–V–vi–iiiMajor KeyMajor4Falling, Gentle, RomanticA smooth descent through thirds from the tonic. Each chord shares two notes with the next, creating silky voice leading. Romantic and flowing.ClassicI–iii–vi — Through iii — descending thirds ; I–V–vi–iii–IV–I–IV–V — Full Pachelbel Canon ; I–V–vi–IV — Axis — goes to IV instead of iii ; I–iii–vi–IV — Descending through iii43
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73I–iii–IV–iiMajor KeyMajor4Soft, Undulating, WarmA gentle cycling through the upper diatonic chords. The bass rises from I to iii, then IV to ii, creating an undulating, wavelike motion.ClassicI–iii–IV — First three chords ; I–ii–iii–IV — Sequential rising version ; I–IV–ii–V — Different path through ii ; I–ii–IV — Through ii first44
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74IV–vi–V–IMajor KeyMajor4Yearning, Then ResolvingStarts in the warm subdominant, dips to vi for emotion, builds through V, and resolves home.Classicvi–IV–V–I — Starts on vi — darker ; I–V–vi–IV — Same four chords in Axis order ; vi–IV–V — Last three chords form the minor launch ; IV–V–I — Standard cadence at the end44
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75vi–V–I–IVMajor KeyMajor4Tense, Then Warm, CircularOpens with the yearning vi–V, resolves to I, then relaxes to IV. A continuous cycle of tension and release.Classicvi–V — The opening tension ; I–V–vi–IV — Same four chords in Axis ; I–vi–V–IV — Starting on I ; V–I — The resolution in the middle45
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76I–IV–vi–IVMajor KeyMajor4Rocking, Gentle, MeditativeRocks between IV and vi with I as the anchor. Creates a gentle pendulum motion — warm (IV), reflective (vi), warm (IV).ClassicI–vi–IV — The first three chords ; I–IV–vi–V — Adds V at the end ; I–IV — The underlying shuttle ; I–vi–IV–I — Returns to I instead of IV45
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77I–V–IV–viMajor KeyMajor4Bright, Then WistfulThree bright chords (I, V, IV) followed by the emotional turn to vi.ClassicI–V–vi–IV — Axis — vi and IV swapped ; I–V–IV–vi — Same progression ; I–V–IV — First three chords ; I–V–IV–I — Returns to I instead of vi ; I–IV–V–vi — IV before V46
79
78IV–V–I–viMajor KeyMajor4Resolving, Then ReflectiveOpens with the standard IV–V–I cadence, then the vi adds an afterthought of melancholy. Resolution followed by reflection.ClassicIV–V–I — First three chords — the full cadence ; IV–V–vi — Deceptive — vi instead of I ; I–V–vi–IV — Same four chords in Axis ; I–IV–V–vi — Starts on I46
80
79I–ii–vi–VMajor KeyMajor4Sophisticated, Flowing, ModernA smooth four-chord loop with jazzy voice leading. The ii adds sophistication, vi adds depth, and V demands the return to I.ClassicI–vi–ii–V — Same chords — vi and ii swapped ; I–vi–IV–V — IV instead of ii ; I–IV–ii–V — Through IV instead of vi ; I–ii — The opening gentle lift47
81
80I–vi–ii–IVMajor KeyMajor4Warm, Settling, GentleDescends from tonic through vi and ii, landing on the warm subdominant. Avoids the tension of V entirely, creating a gentle, settled quality.ClassicI–vi–ii–V — Resolves to V instead of IV ; I–vi–IV — Skips ii — simpler ; I–vi — The opening motion ; I–ii — Through ii next47
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81I–V–vi–IV–VMajor KeyMajor5Anthemic, Building, CompleteThe Axis progression extended with a final V that creates a powerful drive back to I. The extra V turns a loop into a phrase with direction.ClassicI–V–vi–IV — The base Axis ; I–vi–IV–V — Similar — V at the end ; vi–IV–V — The ending fragment ; I–V–IV–V — V-heavy alternative48
83
82ii–V–I–viMajor KeyMajor4Sophisticated, Circular, LoopingThe jazz turnaround starting on the ii chord. Resolves (ii–V–I) then drops to vi to restart the cycle.ClassicI–vi–ii–V — Same chords starting on I ; ii–V–I — The cadence at the start ; I–vi–IV–V — Pop version — IV replaces ii ; I–vi–ii–V–I–vi–ii–V — Full form using this turnaround48
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83I–IV–vi–V–IVMajor KeyMajor5Undulating, Emotional, FullA five-chord phrase that rises to IV, falls to vi, climbs to V, then relaxes back to IV. An undulating emotional wave.ClassicI–IV–vi–V — First four chords ; I–V–vi–IV — Axis rotation ; I–IV–V–IV — Returns to IV — similar rocking ; I–vi–IV — The nostalgic core49
85
84I–vi–iii–IVMajor KeyMajor4Ethereal, Gentle, FloatingDescends through thirds (I–vi–iii) before the warm landing on IV.ClassicI–iii–vi–IV — Same chords — iii before vi ; I–iii–vi — First three chords — descending thirds ; I–vi–IV — Drops iii — simpler nostalgic turn ; I–iii — The ethereal opening ; I–V–vi–iii — Through V instead of vi49
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85I–vi–IV–V–IV–VMajor KeyMajor6Nostalgic, Building, DrivingThe 50s progression extended with an extra IV–V rocking section. The repetition of IV–V creates mounting excitement before cycling back.ClassicI–vi–IV–V — The base 50s progression ; I–V–vi–IV — Axis rotation ; IV–V–(repeating–vamp) — The rocking section ; I–V–vi–IV–V — Axis extended50
87
86I–IV–V–iii–viMajor KeyMajor5Bright then Falling, DramaticOpens brightly with the three primary chords, then descends by thirds through iii to vi.ClassicI–IV–V — First three chords ; I–iii–vi — The descending thirds ; I–V–vi–iii — Different descent order ; I–V–vi–IV — Axis progression50
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87vi–V–IV–VMajor KeyMajor4Dark, Rocking, TenseStarts in minor territory, descends to IV, then rocks back to V. Neither the tonic I nor a clear resolution appears, creating persistent tension.Classicvi–V–IV — First three chords — descent ; vi–V — The opening tension ; IV–V–(repeating–vamp) — The rocking section ; vi–IV–V — Same chords — different order51
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88I–ii–iii–IV–VMajor KeyMajor5Rising, Triumphant, CompleteA majestic climb through five consecutive scale degrees. Each step builds intensity, creating an inevitable sense of ascent and triumph.ClassicI–ii–iii–IV — First four chords ; I–iii–IV–V — Skips ii ; I–ii–IV–V — Skips iii ; I–IV–V — Simplified to the essentials51
90
89I–ii–IV–VMajor KeyMajor4Warm, Building, ResolvingA four-chord phrase that gently builds from tonic through the pre-dominant region (ii and IV) to dominant tension. Smooth and satisfying.ClassicI–ii–IV — First three chords ; I–IV–ii–V — IV and ii swapped ; I–IV–V — Drops ii — simpler ; ii–IV–V–I — Starts on ii52
91
90I–♭VII–IVMajor Key
Major (with borrowing)
3Earthy, Rock, ModalThe double plagal cadence — descends through ♭VII and IV, both subdominant-function chords.FoundationalI–♭VII–IV — Same progression in dedicated entry ; ♭VII–IV–I — Same chords ending on I — resolution ; I–♭VII–IV — From the Mixolydian perspective ; I–IV–V — V instead of ♭VII — standard major52
92
91I–♭VII–VMajor Key
Major (with borrowing)
3Powerful, Descending, RockA chromatic descent from tonic through ♭VII to V.FoundationalI–♭VII–IV — ♭VII goes to IV instead of V ; I–IV–V — Standard major cadence without borrowing ; ♭VII–IV–I — ♭VII in a different context ; I–♭VII — The I–♭VII shuttle53
93
92I–♭III–IVMajor Key
Major (with borrowing)
3Dramatic, Colorful, UnexpectedThe ♭III, borrowed from the parallel minor, creates a dramatic color shift in a major context.FoundationalI–♭VII–IV — ♭VII instead of ♭III ; I–♭VI–♭VII — Other borrowed chords ; ♭VI–♭VII–I — Mario cadence — ♭III territory ; I–IV–V — Standard major without borrowing53
94
93I–♭VI–♭VIIMajor Key
Major (with borrowing)
3Bright, Adventurous, UnexpectedTwo chords borrowed from the parallel minor (♭VI, ♭VII) create an unexpected color palette in a major context.Creative♭VI–♭VII–I — The Mario cadence resolving to I ; I–♭VII–IV — ♭VII in a different context ; I–♭III–IV — Another borrowed-chord progression ; I–♭VII–V — ♭VII to V instead of ♭VI–♭VII54
95
94I–♭VI–IVMajor Key
Major (with borrowing)
3Dramatic, Cinematic, UnexpectedThe ♭VI borrowed from the parallel minor creates a dramatic chromatic bass descent when moving to IV.FoundationalI–♭VI–♭VII — ♭VI to ♭VII instead of IV ; I–♭VII–IV — ♭VII approach to IV ; I–♭III–IV — ♭III approach to IV ; ♭VI–♭VII–I — Mario cadence54
96
95I–V–♭VII–IVMajor Key
Major (with borrowing)
4Driving, Modal, AnthemicReplaces vi with ♭VII in the Axis progression. The ♭VII gives a heavier, more modal rock feel while maintaining the Axis energy.FoundationalI–V–vi–IV — Standard Axis with vi ; I–♭VII–IV — ♭VII–IV fragment ; I–♭VII–V — I–♭VII fragment going to V ; V–IV–I — Part of this progression55
97
96I–♭VII–♭VI–♭VIIMajor Key
Major (with borrowing)
4Dark-tinted, Rocking, HeavyAll borrowed chords surround the major tonic. The ♭VII and ♭VI create a dark aura around the bright I chord. Common in hard rock and metal.AdventurousI–♭VII–IV — ♭VII going to IV instead ; I–♭VI–♭VII — Same borrowed chords, different order ; ♭VI–♭VII–I — Mario cadence ; i–♭VII–♭VI–V — Andalusian — minor tonic version55
98
97I–IV–♭VII–IVMajor Key
Major (with borrowing)
4Earthy, Swaying, ModalRocks between IV and ♭VII around the major tonic. Both IV and ♭VII are subdominant-function chords, creating a warm, earthy, modal feel.FoundationalI–♭VII–IV — The core I–♭VII–IV motion ; I–IV — The underlying plagal shuttle ; ♭VII–IV–I — ♭VII resolving through IV to I ; V–IV–I — V instead of ♭VII56
99
98I–V–IV–♭VIIMajor Key
Major (with borrowing)
4Descending, Powerful, OpenA stepwise descent using borrowed ♭VII at the end. Creates a powerful downward motion that avoids conventional resolution.FoundationalI–V–IV — First three chords ; I–V–♭VII–IV — ♭VII before IV ; I–♭VII–IV — I–♭VII motion ; I–♭VII–V — ♭VII before V56
100
99I–IV–♭VII–IMajor Key
Major (with borrowing)
4Earthy, Complete, RockThe double plagal cadence with resolution — IV to ♭VII to I.FoundationalI–♭VII–IV — Same chords without return to I ; ♭VII–IV–I — Last three chords — double plagal cadence ; IV–I — Simple plagal cadence ; I–IV–V–I — V instead of ♭VII57