IV V iii vi Chord Progression
The IV–V–iii–vi progression is a useful pop, anime and cinematic sequence. In C major, it becomes F, G, Em and Am. It is designed for quick transposition, clear chord practice and immediate use with…
Beginner guitar chord progressions with Roman numerals, automatic transposition, audio playback and matching Jamuzo grooves.
Try it in a jamThe IV–V–iii–vi progression is a useful pop, anime and cinematic sequence. In C major, it becomes F, G, Em and Am. It is designed for quick transposition, clear chord practice and immediate use with…
The IVmaj7–V7–iii7–vi7 progression connects richer seventh and sixth chords through clear voice-leading. In C, it becomes Fmaj7, G7, Em7 and Am7. Start with compact voicings and listen for common notes between each change.
The minor 12-bar blues keeps the familiar blues form but replaces the main harmony with minor seventh chords. It is ideal for expressive phrasing and slower, moodier jams.
The i7–iv7–i7–VI7–i7–V7–i7–V7 form is a practical blues roadmap. In A, the chord sequence is Am7, Dm7, Am7, F7, Am7, E7, Am7 and E7. Hear the dominant movement, keep the pulse steady and use the…
The i5–VII5–VI5–VII5 pattern turns a small set of movable shapes into a complete rock section. In E, play E5, D5, C5 and D5. The power and suspended voicings keep the harmony direct and easy…
The I–V–vi–iii–IV–I–IV–V progression is a useful classical pop and cinematic sequence. In C major, it becomes C, G, Am, Em, F, C, F and G. It is designed for quick transposition, clear chord practice…
The I7–IV7–I7–I7–IV7–IV7–I7–I7–V7–IV7–I7–V7 form is a practical blues roadmap. In A, the chord sequence is A7, D7, A7, A7, D7, D7, A7, A7, E7, D7, A7 and E7. Hear the dominant movement, keep the pulse…
The Isus2–I–Iadd9–I sequence uses open colour tones and smooth movement for soul, R&B and atmospheric guitar. In D, the chords are Dsus2, D, Dadd9 and D. Let each voicing ring and connect the changes…
The Isus2–IVsus2–Vsus4–I pattern turns a small set of movable shapes into a complete rock section. In D, play Dsus2, Gsus2, Asus4 and D. The power and suspended voicings keep the harmony direct and easy…
The vi IV I V progression uses the same major-key chord family as I V vi IV but starts on the relative minor chord. That simple change gives it a more reflective and emotional…
The vi–V–IV–V progression is a useful pop rock and ballads sequence. In C major, it becomes Am, G, F and G. It is designed for quick transposition, clear chord practice and immediate use with…
The vi7–ii7–V7–Imaj7 progression connects richer seventh and sixth chords through clear voice-leading. In C, it becomes Am7, Dm7, G7 and Cmaj7. Start with compact voicings and listen for common notes between each change.