Chord formula
i-bVII-bVI-V
Canonical guitar progression
The Andalusian cadence descends i-bVII-bVI-V in a minor key. On guitar it sounds dramatic because the bass walks downward while the V chord pulls sharply back to i. Players use it for flamenco-flavored writing, classical minor movement, metal riffs, and tense acoustic progressions.

Use this summary to hear the formula, pick a guitar-friendly key, and open the G version as a four-chord StrumForge loop.
i-bVII-bVI-V
Am-G-F-E
Em-D-C-B
Flamenco, classical, metal, cinematic, folk
Intermediate
Open the G version (Em-D-C-B) directly in StrumForge, then compare the same formula in C (Am-G-F-E).
Use these keys as practical guitar starting points. Minor-key rows show the same sound from a minor center where appropriate.
| Key | i | bVII | bVI | V |
|---|---|---|---|---|
| C Major | Cm | Bb | Ab | G |
| G Major | Gm | F | Eb | D |
| D Major | Dm | C | Bb | A |
| A Major | Am | G | F | E |
| E Major | Em | D | C | B |
| F Major | Fm | Eb | Db | C |
| A Minor | Am | G | F | E |
| E Minor | Em | D | C | B |
| D Minor | Dm | C | Bb | A |
Open chords usually sound wider and are best for acoustic strumming. Barre chords make the formula movable when the singer needs another key. Capo versions keep familiar C, G, D, A, or E shapes while changing pitch. Beginners should simplify the hardest chord first, often with a partial F, a three-string triad, or a power chord version.
Try Em-D-C-B or Am-G-F-E first if the chords sit well under your fingers.
Use E-shape and A-shape barre chords when you need the same formula in keys that are not open-chord friendly.
Move the capo until the open-shape version supports the vocal range, then keep the same relative chord movement.
Play the top three or four strings of difficult chords and keep the strum hand in time before adding full grips.
Start at 60-92 bpm and make the bVI to V change clean; in A minor that usually means F to E.
Use it for intros, bridges, or verses that need obvious minor gravity. A melody can mirror the descending bass, then lean into the leading tone over V.
For a verse, use a smaller voicing, fewer strums, or a lower register so the melody has room. For a chorus, widen the voicing, move up the neck, or increase the rhythmic density. The mood is dramatic, descending, tense, but rhythm and register can push it brighter or darker.
A strong melody usually targets chord tones at chord changes. Hum one phrase over the first two chords, answer it over the second half, then change only the ending note if the loop feels too predictable.
Use the generator to hear the loop, change key, compare voicings, and practice with diagrams.
Short answers for players using this page as a practice or writing reference.
In C, the core chords are Am, G, F, E. In G, they are Em, D, C, B.
It is better after basic open chords because some versions use barre or seventh-chord grips. Slow the hardest transition before adding rhythm.
Start in G, C, D, A, or E if you want open guitar shapes. Move the key or add a capo when the vocal range matters more than the original shapes.
Many songs use the same harmonic type without copying the same voicings or rhythm. Treat the progression as a shared chord-function pattern, then make the rhythm, melody, and arrangement your own.
Change one variable at a time: use triads higher on the neck, add sus or seventh colors, change the strum pattern, add a passing bass note, or move the capo to keep open strings ringing.