Chord progression
vi–IV–I–V chord progression
The same four chords as I–V–vi–IV, started on the minor chord. It sounds darker and more emotional, and it can feel like a minor key.
vi–IV–I–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 vi–IV–I–V works
Starting on vi makes the relative minor the centre of gravity, so the loop sits between major and minor. IV and I lift the mood, V creates tension, and the return to vi denies the expected resolution, which keeps the music moving and gives it its yearning quality.
Because it is the same set of chords as the pop progression, every shape you know from I–V–vi–IV works here. In C it is Am–F–C–G, all open chords on guitar.
How to practise it
Play it slowly with arpeggios, one note at a time, to hear how the bass moves. Then switch between this loop and I–V–vi–IV every four bars: it is a good exercise in hearing where home is.
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
On guitar, the friendliest keys for vi–IV–I–V are C, G, D, A and E, where most chords are open shapes; use a capo to move them up for a singer. On piano every key is possible, but C, F and G keep you mostly on the white keys. The table shows the same pattern in all twelve keys, so pick the row that suits your voice or instrument, or the one with the fewest barre chords.
Variations
Replace I with Iadd9 or V with Vsus4 for a softer, more open sound. In a minor key it becomes i–VI–III–VII, the same chords seen from the minor side.