tap a chord for its shape
Pop Chord Progressions
15 progressions · pop, disco and sing-along hooks
Pop chord progressions are built to be remembered in one listen: short cycles, a clear hook, and a path that still feels like coming home. I–V–vi–IV and vi–IV–I–V are famous for a reason, but sevenths and small borrowed colors can keep a chorus from sounding like a template. This page has 15 pop progressions to hear on piano or guitar, with colors and fretboards. Use them for radio-style hooks, then hop to a neighboring card when the second chorus needs a slightly fresher dress.
✨ Quality marks
- glow
- poised
- mellow
- hanging
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tap a chord for its shape
tap a chord for its shape
tap a chord for its shape
tap a chord for its shape
tap a chord for its shape
tap a chord for its shape
tap a chord for its shape
tap a chord for its shape
tap a chord for its shape
tap a chord for its shape
tap a chord for its shape
tap a chord for its shape
tap a chord for its shape
tap a chord for its shape
Common questions about pop chord progressions
What are the most common pop chord progressions?
I–V–vi–IV and vi–IV–I–V are the household names, along with plain I–IV–V. You will meet them (and close cousins with sevenths) on this page. The roman numerals stay the same in every key.
Which pop progression should a beginner learn first?
“Jazzy Classic” (Am7–Dm7–G7–Cmaj7) is a smooth vi7–ii7–V7–Imaj7 that still behaves like a pop cadence, or start with a triad wheel on the happy page such as I–V–vi–IV. Hear one here, then change keys until it sits under your voice.
How do I make a pop progression sound less generic?
Keep the short cycle, but change one quality — a maj7 on I, a m7 on vi — or start the loop on a different degree. The quality badges on the cards show those small changes at a glance.
Can I use these for both verse and chorus?
Yes. Many songs use the same four chords and change the melody or rhythm. Others borrow a second pattern from this list for the chorus only. Listen to two neighboring cards and assign one to each section.
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