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Chords and their progressions shape how we experience music; they define a song’s feel, create a sense of genre, and can stir up a sense of nostalgia. Chords are guitarists’ bread and butter. Whether it’s the gritty pull of a classic blues turnaround, the familiarity of a pop I–V–vi–IV, or the haunting tension of an unresolved progression, the way chords move under your fingers has a direct emotional impact on the listener.

 

For songwriters and guitarists alike, understanding how different chord combinations evoke emotion is one of the most powerful tools in crafting memorable music. The right progression can instantly shift a song’s mood from melancholic to uplifting, comforting, or restless. Every chord change can influence how the listener feels without them even realising it.

 

 

The simplest progressions are often the most effective. Sometimes, just a handful of well-placed chords paired with a strong melody are enough to create something timeless. Songs that stand on their own with just a vocal and guitar, stripped down to the essentials, are proof of great songwriting. Classics like "Goodbye Yellow Brick Road" by Elton John and "Let It Be" by Paul McCartney show how the right chord progression can elevate a melody and give the lyrics emotional weight.

 

 

Loopcloud Now Offers 150,000+ MIDI Files

 

We’ve recently updated Loopcloud to offer a huge number of MIDI files, including chords and progressions too. Using the Loopcloud app or sounds.loopcloud.com, you can search for files using the MIDI or MIDI Files tag.

 

There are tags for type to further refine your choice of MIDI (keys, drums and so on). You can filter by intended tempo, key, and lock to your currently selected key before dragging files into your project.

 

 

The Hit Maker – I–V–vi–IV

 

 

Have you ever heard a new song on the radio and felt like you already knew it? Chances are, it’s using the I–V–vi–IV chord progression, one of the most recognisable in modern music. Paul McCartney cemented its legacy with "Let It Be", and since then, it’s been the backbone of countless hits, from "Under the Bridge" by Red Hot Chili Peppers and "No Woman, No Cry" by Bob Marley to "With or Without You" by U2.

 

The magic comes from how this progression highlights strong tonal centres and resolutions within a key centre. Starting with a major chord on the root, the chord sequence begins on a strong tonal centre. From there, it shifts to a major chord from the fifth, reinforcing that harmonic foundation. The third chord, the root’s relative minor, introduces an emotional shift, before resolving to a diatonic major on the fourth, naturally guiding you back to the root.

 

This smooth, circular movement creates a built-in sense of resolution and comfort, it’s almost like a cheat code for writing a hit. Just hit record and lay down this progression, and you’re halfway there. The Axis of Awesome made this painfully obvious in their viral "Four Chords" medley, running through 46 songs in six minutes – all built on this same progression. It’s become a kind of inside joke among musicians, a reminder that sometimes, the simplest patterns are the hardest to resist.

 

 

Ballad O’Clock – vi–IV–I–V

 

//img: https://www.youtube.com/watch?v=f_kJIo-o_jk

 

The I–V–vi–IV progression has a twin sibling, one that carries a slightly more emotional weight. By starting on the vi chord instead of the I, we get the vi–IV–I–V progression. This small shift makes a big difference, immediately setting a more introspective, melancholic tone while still maintaining the familiar, anchor-like harmonic movement of its more upbeat relative.

 

This progression is a go-to for emotional depth in pop ballads and rock anthems. It’s the kind of progression that can bring crowds to tears with heartfelt tracks like "All of Me" by John Legend and "If I Were a Boy" by Beyoncé, but it also drives more energetic cuts like "Holiday" by Green Day and "Cheap Thrills" by Sia. Whether you’re strumming through a tender verse or building up to a massive chorus, this progression delivers that perfect emotional pull.

 

Despite its emotional leanings, the vi–IV–I–V progression still carries a sense of resolution and familiarity, making it just as effective at crafting memorable hits. Whether used for soaring choruses or intimate verses, this progression proves that subtle harmonic shifts can have a huge impact on a song’s mood and emotional depth.

 

 

12-Bar Blues – I–IV–V

 

 

Have you ever wondered why the blues feels so emotionally charged? It’s in the dominant chords. Blues progressions are built on the major chords of a diatonic tonal centre, but with an alteration. Each chord gets a b7 extension, which adds a layer of tension that never fully resolves. The result? Every chord change feels expressive and soulful, with a constant sense of push and pull that keeps you hooked.

 

This tension is amplified because every chord change acts like a mini cadence, leading naturally into the next chord. That’s why the blues progression has such a hypnotic, rolling feel. It’s always moving forward but never completely at rest.

 

Legendary tracks like "Johnny B. Goode" by Chuck Berry, and "Pride and Joy" by Stevie Ray Vaughan are perfect examples of how this progression defines the genre. Jazz musicians began playing their take on the blues early. Since the 1920s, they’ve been experimenting with this structure, adding extra cadences and diminished harmonies to give it more complexity and colour.

 

At its core, most blues songs stick to the classic 12-bar structure: start with the I chord, shift to the IV, drop to the V, and then loop back. The signature turnaround, a quick V–IV–I with one last hit on the V, creates a satisfying tension that begs to start the cycle again. It’s short, simple, and emotionally potent – a perfect foundation for guitar improvisation and expressive solos.

 

 

The '50s Progression – I–vi–IV–V

 

 

1950s teen culture exploded with the rise of Hollywood glamour, wild parties, and a fresh new sound: rock 'n' roll. Alongside the blues, a new chord progression started popping up all over pop music – the bright and uplifting '50s progression'. It is catchy and feel-good, soundtracking the 50s teen generation.

 

You can hear it in classics like "Stand by Me" by Ben E. King and "Donna" by Ritchie Valens – songs that defined the era. But the progression didn’t stop there. It travelled through the decades, showing up in the '80s with hits like "Every Breath You Take" by The Police and "Don't Dream It's Over" by Crowded House.

 

Even now, 75 years later, it’s still a go-to trick for giving a song that nostalgic, playful feel. Songs like "Rude" by Magic!, "Blank Space" by Taylor Swift, and "We Are Young" by Fun. all borrow from the '50s progression, proving that a simple, familiar chord sequence is all you need to recall the cheeky, danceable energy that sparked in the 50s and is proof that some things never go out of style.

 

 

Adding “Parallel” Zhuzh – I–♭III–IV–♭IV

 

 

Our first step away from more conventional progressions brings us to the chord sequence heard in "Something" by The Beatles, "No Surprises" by Radiohead, and "Bridge Over Troubled Water" by Simon & Garfunkel – all staples in many guitar players' repertoires.

 

This progression starts to break from strict diatonic changes by borrowing chords from the key's parallel minor scale. It alternates between major and minor chords, beginning with the I chord from the major scale, moving to the flat III from the minor, then the flat IV from the major, and finally returning to the IV chord, but this time borrowed from the parallel minor.

 

Borrowing from the parallel minor can be a guitarist's secret weapon, introducing an unexpected but harmonically connected twist. The flat III and flat IV chords create a subtle but distinct emotional shift, melancholic, detached, and almost dreamlike, while still maintaining a sense of familiarity. 

 

Borrowing from the parallel minor key allows songwriters to keep listeners engaged by adding a refreshing emotional layer to an otherwise straightforward major progression – just enough to catch the ear without sounding forced.

 

 

Anyway, Here’s Wonderwall – i–♭III–♭VII–IV

 

 

You know "Wonderwall" by Oasis, probably one of the most recognisable guitar progressions ever. Yeah, it’s been meme’d to death, but honestly, it’s kind of unfair to pin all the blame on that one song. There’s another track that uses the exact same progression but somehow avoids the same level of flack: "Boulevard of Broken Dreams" by Green Day.

 

"Boulevard of Broken Dreams" may not have quite hit the same iconic status as "Wonderwall", but it’s not exactly flying under the radar. With around 940 million streams on Spotify, compared to "Wonderwall"’s massive 2 billion, it’s still a heavyweight – even surpassing "Wonderwall" in music video views on YouTube. Try singing the lyrics to "Boulevard of Broken Dreams" over the "Wonderwall" progression while strumming – it lines up perfectly.

 

And it’s not just Green Day. "Teenage Dirtbag" by Wheatus rides a very similar progression and somehow avoids acknowledgement. Even before all of these, the '70s hit "The Joker" by Steve Miller Band plays the same changes, with a smoother, more laid-back vibe. Seems like this progression has been sneaking into hits for decades, "Wonderwall" just happened to take all the heat for it.

 

 

Mixolydian Rock – I–♭VII–IV

 

 

If you’ve spent any time learning guitar, you’ve probably run into that classic D–C–G progression. It’s one of those go-to moves that shows up everywhere from the strumming of "Sympathy for the Devil" by The Rolling Stones and "Knockin' on Heaven's Door" by Bob Dylan to the more tactful fingerpicking in "Sweet Home Alabama" by Lynyrd Skynyrd.

 

Songs like "Hey Jude" by The Beatles and "In a Little While" by U2 have that unmistakable “Mixolydian” sound – where the usual major 7 is swapped out for a flat 7. This little tweak lets you throw in a major chord a whole tone below the root, which, in the key of D, would be the open C chord. The result? The Mixolydian flavour gives the major progression a slightly more laid-back and bluesy feel.

 

That flat VII chord provides a cadence that pulls towards the IV chord without breaking the major key feel. It’s why this progression feels equally at home in a rock anthem or a soulful ballad. Once this is under your fingers, you’ve unlocked the sound of countless classic tunes. 

 

 

Sneaky Diminished Move – I–♭IIdim–II

 

 

On paper, a I–ii chord change might seem pretty bland. Well, artists like Elton John and Oasis have a clever trick to spice it up – they throw a diminished chord in between. Instead of going straight from the tonic to the ii, they slip in a diminished chord, adding a delicious bit of tension that makes the eventual upward resolution feel even more satisfying.

 

You can hear it in the verse of "Bennie and the Jets" by Elton John and the pre-chorus of "Don't Look Back in Anger" by Oasis. That diminished chord creates this moment of unease, like the progression is hanging in mid-air before it resolves in a way that feels both surprising and natural.

 

Diminished chords are powerful because they’re unstable and beg to be resolved. Sliding one into a standard progression is a subtle way to add more complex harmony to simple chord progressions and prevent things from sounding too predictable. Try it out in your next progression – you might be surprised at how such a simple change can add so much colour.

 

 

Beatles Favourite - I–Imaj7–I7

 

 

You know that trippy, descending pull heard in “Lucy In The Sky With Diamonds”, the previously mentioned "Something" and "Strawberry Fields Forever".  By focusing on the movement of individual notes rather than shifting the whole chord shape. Dropping just one note by a semitone while letting the others drone creates this hypnotic, harmonically rich sound that feels like the progression is slowly unravelling. That’s the magic of voice leading, something The Beatles were masters of when writing their more unpredictable progression. You can hear it in Bob Dylan’s "Simple Twist of Fate", and Al Green leans into it in "Let’s Stay Together".

 

Letting notes drone through a progression while subtly shifting others creates a feeling of constant, often leading to surprisingly rich harmonic territory. It’s a great trick for adding complexity to your writing without overthinking it – just follow your ear and let that downward semitone pull guide you. It makes the progression feel like it's descending step-by-step, setting up a bigger payoff when you finally hit a more dramatic chord shift later on.

 

 

Major Parallel Movement

 

 

If you’re looking to break away from predictable pop progressions, bluesy resolutions, and ballad-like minor movements, taking a page from 90s songwriters like Thom Yorke and Jeff Buckley might be the key. One of their go-to tricks was using parallel major 7th chords: essentially sliding the same major 7 shape around the fretboard while maintaining the lush, open feel of the major 7th sound.

 

It’s kind of like how the blues holds tension by staying rooted in dominant chords, but with major 7ths, you get a smoother, uplifting chord change. The chord structure stays steady even as it ventures into new, unrelated fretboard territories, creating that dreamy, floating effect.

 

You can hear this in Radiohead’s “Everything in Its Right Place”, where both the verse and chorus revolve around combinations of Imaj7, VIImaj7, and IImaj7, all keeping that shimmering major 7th quality. Similarly, Hiatus Kaiyote’s “Nakamarra” leans on the same idea, vamping between Imaj7 and IImaj7 to create groovy, jazzy two chord progression.

 

Parallel major 7th movement is a powerful way to add harmonic complexity without losing the smooth, open feel of a major progression. It provides an instant ear prick that can add an element of surprise to your chord progressions.