Chord formula
I-V-vi-IV
Canonical guitar progression
I-V-vi-IV is a major-key progression that moves from home to dominant tension, drops into the relative minor, and opens back through IV. On guitar it sounds direct, bright, and familiar without needing complicated chords. Players use it because it works with open shapes, capo positions, power chords, and high triads.

Use this summary to hear the formula, pick a guitar-friendly key, and open the G version as a four-chord StrumForge loop.
I-V-vi-IV
C-G-Am-F
G-D-Em-C
Pop, rock, worship, country-pop
Beginner to intermediate
Open the G version (G-D-Em-C) directly in StrumForge, then compare the same formula in C (C-G-Am-F).
Use these keys as practical guitar starting points. Minor-key rows show the same sound from a minor center where appropriate.
| Key | I | V | vi | IV |
|---|---|---|---|---|
| C Major | C | G | Am | F |
| G Major | G | D | Em | C |
| D Major | D | A | Bm | G |
| A Major | A | E | F#m | D |
| E Major | E | B | C#m | A |
| F Major | F | C | Dm | Bb |
| A Minor | C | G | Am | F |
| E Minor | G | D | Em | C |
| D Minor | F | C | Dm | Bb |
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 G-D-Em-C or C-G-Am-F 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 70-96 bpm with downstrokes, then move to eighth-note strumming around 96-124 bpm.
It works well as a chorus because the first two chords establish lift and the vi chord adds emotional contrast. Try writing a melody that rises over V and relaxes over vi.
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 clear, anthemic, emotionally flexible, 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 C, G, Am, F. In G, they are G, D, Em, C.
Yes, it can work for beginners when you choose open shapes or simplified voicings. 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.