Chord progression
I–vi–IV–V chord progression
The sound of 1950s vocal groups: home, a gentle minor step, away and back. Warm, nostalgic and a natural fit for harmony singing.
I–vi–IV–V in all 12 keys
Every row is the same progression moved to another key. Tap a chord for its shapes, or play a row to hear it.
Why I–vi–IV–V works
From I the music drops to vi, which shares two notes with it, so the change is soft. vi to IV again shares two notes, and IV to V climbs a step to the point of greatest tension before the loop resolves to I. The root movement down in thirds and then up in steps is what gives it its swaying feel.
A popular variation swaps IV for ii (I–vi–ii–V), which turns it into a turnaround used everywhere in jazz and show tunes. Both versions loop smoothly because V always leads back to I.
How to practise it
Play two beats per chord in a slow 12/8 or a gentle swing. Try singing the root, then the third of each chord over the loop; this progression is perfect for practising harmony.
Use the metronome: start around 70–80 BPM with two or four beats per chord, and change chords exactly on the first beat. When the changes are clean, raise the tempo in small steps and try the same pattern in two or three other keys from the table.
Choosing a key
The numerals stay the same in every key, which is the point of learning I–vi–IV–V as a pattern rather than as a list of chords. Play it in C until it is comfortable, then pick a row from the table that suits your voice. Guitarists can use a capo to keep the easy open shapes while the music sounds higher.
Variations
I–vi–ii–V is the jazz cousin. Make every chord a seventh chord (Imaj7–vi7–ii7–V7) for a lounge sound, or add a secondary dominant (VI7 instead of vi) for extra pull.