The 10 Most Used Chord Progressions in Pop and Rock and Roll

The following is a list of ten of the most used chord progressions in music today. Some are classic and have been used hundreds of times sometimes in combination with each other or with slight alteration to make things a bit more interesting. If you learn these progressions and are able to pick them out of a song by ear, you should be able to play (or at least understand) nearly any song!

If you’re a songwriter, knowing these progressions will help you avoid writing the same song multiple times or copying your heroes music. These chord progressions are the musical archetypes.

For those of you that know music theory, I’m providing the roman numerals. For those of you that don’t, I’ll give you the progressions in the key of G in parenthesis.

Number one is the Don’t Stop Believing Progression, I – V – vi – IV (G – D – Em – C). The Axis of Awesome did a great bit about this one in which they play 40 songs in a row that all have the same progression including, No Woman No Cry, Let It Be, I’m Yours, etc… and over the past few years, that list has become a lot longer!

The second is the 50’s Progression, I – vi – IV – V (G – Em – C – D). I call it this because it was hugely popular in the 50’s and 60’s and is still used today. Notably used recently by Justin Bieber for “Baby” (Justin was like baby baby baby oh… what a pity) and Sean Kingston for “Beautiful Girls,” though Kingston really just ripped Ben E. King’s “Stand By Me” off.

The third is the Canon, I – V – vi – iii – IV – I – IV – V (G – D – Em – Bm – C – G – C – D). It was the chord progression used by Pachelbel for his Canon in D (not G as above). The piece, forgotten soon after it was written (around 1694), was rediscovered in the early 20th century and has influenced a number of songwriters. It is, however, simply an extension of the basic I – IV – V – I progression that was used by nearly every composer for hundreds of years up to about 100 years ago.

The fourth is the Blues Progression, I – I – I – I – IV – IV – I – I – V – V – I – I (G – G – G – G – C – C – G – G – D – D – G – G). This is the way Chuck Berry played it in Johnny B Goode though the last 4 chords are often V – VI – I – V (D – C – G – D). There are 12 chords because it follows the standard 12-bar blues progression. In this progression it’s common to switch freely between major and minor. This progression has been used in thousands of songs outside of the blues from Cream’s Sunshine Of Your Love to Tracy Chapman’s Give Me One Reason and beyond.

The fifth is the Smoke on the Water Progression, ii – IV – V (am – C – D). It’s usually used as part of a larger progression and was used in Purple Haze, Iron Man, House of the Rising Sun, Stepping Stone, etc…

The sixth is the Good Love Progression, I – IV – V – IV (G – C – D – C). This was used in Wild Thing, La Bamba, and Good Love, etc.

The Seventh is the Sweet Home Progression… (god, how I hate Sweet Home Alabama!) V – IV – I (D – C – G). Can’t Explain, Sweet Child of Mine.

The Eighth is a rearrangement of the Don’t Stop Believing progression iv – IV – I – V (em – C – G – D). I’m not sure what to call this one. The song that always gets stuck in my head with this one is The Red Hot Chili Pepper’s Snow, though I know Taylor Swift uses it in at least three songs (as well as most of the other progressions above…), Green Day used it in Holiday, and The Cranberries used it in Zombie, just to name a few.

The ninth is the stereotypical Descending Flamenco Progression  vi – V – IV – III (em – D – C – B (not Bm!)). This one has been used in songs from California Dreamin to Stray Cat Strut… I’m sure you can think of a few more! A variation on this is vi – V – VI – V (em – D – C – D) which arguably may be more popular today…

And the tenth that I see is the As My Guitar Gently Weeps Progression. This one straddles two keys and it’s basic representation is ii – I – V/vii – bVII (- VI) (am – G – D/f# – F (- E)). It looks like a variation on the Descending Flamenco Progression and is presented with slight variations by everyone that uses it. The Beatles actually substituted an am7/G  for the G chord and left out the E. Chicago, in 25 or 6 to 4 focused on the root notes in the bass -> A – G – F# – F – E. Led Zepplin, Green Day, and Neil Young all offered their variations as well.

These progressions are not the end of music. They’re used a lot but they’re not your only options! If you look on the ultimate guitar archive you’ll see them everywhere, but most songwriters use them in combination with other progressions or with variation, creating something new using old building blocks. Please don’t think of this list as a set of rules! Just information to enhance your own understanding of the way music works.

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17 responses to “The 10 Most Used Chord Progressions in Pop and Rock and Roll

  1. Hey, Thorne,
    First time at your blog. Excellent presentation. I always knew they were there, but thanks for putting it out there.

  2. Hi Thorne,
    Great post – to be honest I’m impressed that you came up with as many as 10! And thanks for the “like”!

    • It’s funny, there are more, even though they’re really just a reshuffling of the old ideas. i could probably lose 4 of the ones i mentioned but i view them as distinct because they’re just different enough!

  3. thank you so much! this is exactly what I was looking for. would you also happen to have the most common guitar riffs and licks used in rock and how to use them in a song or with a chord progression?

    thanks!

  4. Got more out of this in 10 minutes than I’ve gotten out of a truckload of “lessons-books-etc” in probably 10 years! It’s like the sky parted and angels in unison sang “BINGO!”

  5. What a great article, just loved it. Excelent idea and great examples, it will certainly help many begginers recognizing patterns and playing by ear, and most experienced players can profit a lot too: you provided a summary of simple yet powerfull composition tools.

    I just have a question, why did you avoided minor keys? For example, in the descending flamenco you wrote vi – V – IV – III (em – D – C – B (not Bm!)).
    I maybe wrong, but I see it as in the key of E minor, which will automatically account for that B major. Plus we end up with the dominant as the last chord. We have then:

    i – bvii – bvi – V

    Congratulations again on the article :)

    • That’s a great point. I wanted to keep everything in the same relational group even though some of the progressions are minor. I know seasoned musicians will know about minors, but I wanted to keep it as simple as possible for people just learning!

  6. Pingback: How to Write Songs That Get Stuck in People’s Heads | Thinking in Music

  7. Excellent post.. Noticed it was from 2011.. I am sure it will be just as relevant in 2030.. Keep up the great work!
    Thanks.

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