120 BPM
Browse chord progressions
Play and compare 65 popular, bright, sad, emotional and intense chord progressions. Open the featured guides to generate melody ideas.
Popular
C | G | Am | FI - V - vi - IVThe bright, forward-moving loop behind countless pop songs. Dm7 | G7 | Cmaj7 | Cmaj7ii7 - V7 - Imaj7The core resolution of jazz and city pop. 104 BPMC | G | Am | Em | F | C | F | GI - V - vi - iii - IV - I - IV - VA slow eight-bar descent that supports almost any countermelody. 96 BPMAm | Dm | G | Cvi - ii - V - IRoot motion in fourths — the smoothest chain of resolutions. 108 BPMAm | G | C | Fvi - V - I - IVThe falling bass in bars one and two gives it momentum. 118 BPM- C | Em | F | GI - iii - IV - VI-iii-IV-V118 BPM
- C | F | Am | GI - IV - vi - VI-IV-vi-V116 BPM
- F | G | C | AmIV - V - I - viIV-V-I-vi122 BPM
- Dm | G | C | Amii - V - I - viii-V-I-vi (turnaround)108 BPM
- Am | F | G | Ami - VI - VII - ii-VI-VII-i130 BPM
- C | Am | Dm | GI - vi - ii - VI-vi-ii-V112 BPM
- Dm7 | G7 | Cmaj7 | A7ii7 - V7 - Imaj7 - V7/iiii-V-I turnaround132 BPM
Bright
C | Am | F | GI - vi - IV - VA plain, memorable loop that has been in use since the 1950s. 116 BPMC | F | G | CI - IV - V - IThe most basic progression, and it resolves completely. 112 BPMCmaj7 | Dm7 | Em7 | Fmaj7Imaj7 - ii7 - iii7 - IVmaj7Seventh chords stepping upward — a floating city-pop feel. 92 BPMF | C | G | AmIV - I - V - viStarts on IV and stops on vi — easy to place in a verse. 122 BPMD | A | Bm | GI - V - vi - IVThe same axis progression in the key that rings best on guitar. 130 BPM- G | D | Em | CI - V - vi - IVI-V-vi-IV in G128 BPM
- D | G | A | DI - IV - V - IThree chords in D126 BPM
- A | E | F#m | DI - V - vi - IVI-V-vi-IV in A132 BPM
- G | C | D | GI - IV - V - IThree chords in G120 BPM
- F | Am | Bb | CI - iii - IV - VI-iii-IV-V in F118 BPM
- C | G | F | GI - V - IV - VI-V-IV-V124 BPM
- Cmaj7 | A7 | Dm7 | G7Imaj7 - V7/ii - ii7 - V7I-VI-ii-V turnaround128 BPM
- Cmaj7 | C7 | Fmaj7 | G7Imaj7 - I7 - IVmaj7 - V7Through I7 into IV98 BPM
Sad
Am | Em | F | Cvi - iii - IV - ITwo minor chords in a row — a calm choice for a verse. 88 BPMAm | F | G | Emvi - IV - V - iiiIt circles without landing anywhere — good for introspection. 94 BPMCm | Ab | Eb | Bbi - VI - III - VIIAm-F-C-G recast in C minor, with a lower centre of gravity. 110 BPM- Dm | Am | Bb | Fi - v - VI - IIIi-v-VI-III84 BPM
- Bm | G | D | Avi - IV - I - Vvi-IV-I-V in D96 BPM
- Am | F | Em | Dmi - VI - v - ivDescending i-VI-v-iv80 BPM
- Cm | Gm | Ab | Ebi - v - VI - IIIi-v-VI-III in C minor88 BPM
- F#m | D | A | Evi - IV - I - Vvi-IV-I-V in A100 BPM
- Em | C | Am | B7i - VI - iv - V7i-VI-iv-V786 BPM
- Am7 | Dm7i7 - iv7i7-iv7 two-bar loop88 BPM
- Cm7 | Fm7i7 - iv7i7-iv7 low loop84 BPM
- Bm7b5 | E7 | Amii7b5 - V7 - iMinor ii-V-i112 BPM
Emotional
Am | F | C | Gvi - IV - I - VThe same four chords started from the minor side. 128 BPMF | G | Em | AmIV - V - iii - viA staple of Japanese pop and anime songs. 132 BPMAm | F | G | Cvi - IV - V - IStarts dark and lands bright — good for a run into a chorus. 124 BPMF | G | Am | AmIV - V - vi - viThe sound of 1990s Japanese dance pop. 138 BPMAm | C | D | Fi - III - IV - VIThe D major in bar three gives it a distinctive lift. 130 BPMC | E7 | Am | FI - V7/vi - vi - IVThe E7 in bar two pulls hard into Am. 100 BPMDm | Bb | F | Cvi - IV - I - VAm-F-C-G moved to F — useful when you need a lower vocal range. 126 BPM- F | Fm | C | CIV - iv - ISubdominant minor (IV-iv-I)92 BPM
- C | A7 | Dm | G7I - V7/ii - ii - V7Secondary dominant turnaround104 BPM
- Em | Am | D | Gvi - ii - V - Ivi-ii-V-I in G110 BPM
- F | Em | Dm | CIV - iii - ii - IDescending IV-iii-ii-I96 BPM
- Dm7 | Em7 | Fmaj7 | G7ii7 - iii7 - IVmaj7 - V7Ascending sevenths100 BPM
- Dm7 | G7ii7 - V7ii7-V7 two-chord vamp96 BPM
- Fmaj7 | Em7 | Dm7 | Cmaj7IVmaj7 - iii7 - ii7 - Imaj7Descending 7th loop82 BPM
- Fmaj7 | G7 | Em7 | Am7IVmaj7 - V7 - iii7 - vi7Royal road with sevenths92 BPM
- Em7 | A7 | Dm7 | G7iii7 - V7/ii - ii7 - V7iii-VI-ii-V turnaround94 BPM
Intense
Am | G | F | Ei - VII - VI - VA tense progression whose root falls step by step. 140 BPME5 | G5 | A5 | A5i - III - IVWith no third in the chords, the melody decides major or minor. 156 BPMC | Bb | F | CI - bVII - IV - IA rock staple built on the non-diatonic bVII. 144 BPMAm | Dm | E7 | Ami - iv - V7 - iA clearly resolving minor progression using the harmonic minor. 100 BPM- Dm | C | Bb | Ai - VII - VI - VDescending line in D minor138 BPM
- Am | F | C | Ei - VI - III - Vi-VI-III-V144 BPM
- A5 | G5 | D5 | A5i - VII - IV - iPower chords i-VII-IV150 BPM
- Em | D | C | B7i - VII - VI - V7Descending line in E minor140 BPM
- C | G | Bb | FI - V - bVII - IVMixolydian I-V-bVII-IV148 BPM
- Gm | F | Eb | Di - VII - VI - VDescending line in G minor134 BPM
- C7 | F7I7 - IV7I7-IV7 funk vamp104 BPM
- Am7 | D7i7 - IV7i7-IV7 Dorian vamp100 BPM