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Common chord progressions

If you don't know the songs, how will these help you? Not really sure about the 'oldies' one - not heard that term her in the UK?

I-VI-IV-V comes to mind too. If you don't know the song, then most chord changes have pointers from what the singer or lead instrument is playing, that will guide you through to the next chord. I've never thought about chord sequences in these formal ways really - things like 12 and 16 bar blues have such common content that often you don't even know you went from 12 to 16 - it just works, and I don't really know how we know - we just do?
 
I am familiar with the "oldies" progression I iv IV V, and the blues progression I IV V.
Apart from these, are there standard chord progressions in rock or country music? I'm looking for a way to more easily play songs I don't know.
Understand what you want, sorry, there is no one set way of doing this. But, you are correct each style of music does pretty well have a favorite chord progression. Little theory... Hang on.
The chords are put in specific spots to harmonize the melody. If the active melody line has a chord under it that has some of the melody notes in it's make up you will get harmonization. The sharing of notes between the melody line and the chord line is why the chord was put there by the songwriter. So, it kinda depends on what melody is being played as to what chord fits here at this specific spot in the song.​

Take heart we can get close. If the song is called to be in the key of C. The key of C is a major key and the major chords in the key of C are the C, F and G chords. They will be your structure chords, the Dm, Em and Am are your minor chords and they are your flavor or color chords. The Bm7b5 chord is the diminished and let's not go there right now.

Most simple songs will utilize the three structure chords, in our case this will be the C, F & G. You can assume that the C will be used the most, the next most used chord will be the F and the G chord being the dominant chord in the key will probably happen one or two times per verse, normally at a lyric climax word -- so you miss it in the first verse try and get it in the second verse.

If the song starts with the C when the tune goes up scale you can assume that the F chord will catch the upper melody notes. For example:

C Scale = C, D, E, F, G, A, B, C.
The C chord is made of the C, E & G notes so it kinda takes care of the first of the scale.
And the F chord is made of the F, A & C notes so it pretty well takes care of the rest of the scale. Your three structure chords will have every note in the scale in their makeup; thus you can harmonize any song that stays in key with just those three chords. I-IV-V-I has been use in a zillion songs.

After the F chord if the tune goes back down scale the ole C is probably going to work again.

To answer your question, here are some likely chord progressions.
I-IV-V7-I
I-IV-vi-ii-V7-I
ii-V7-I
A lot of simple songs will use the same chord progression for every verse. If you know the progression for a verse you probably can use that same progression in the other verses. Probably....

Chords do two things; 1) harmonize the melody and 2) move the song along in the verse. The following will talk about chord movement.

The I chord can go anywhere anytime it wants to. However, when you go to the tonic I chord you lose any built up tension and resolve to rest. Are you ready to resolve to rest?

The ii chord is a sub-dominant chord and wants to move to a dominant chord.

The iii chord is the median chord and it normally starts a move somewhere.

The IV chord is a sub-dominant chord like the ii and it too wants to move to a dominant chord. As the ii and the IV want the same thing they can and do sub for each other.

The V chord is the dominant chord and it wants to move to the tonic I chord. Add the b7 note and make it a V7 chord and it wants to resolve to the tonic I chord RIGHT NOW.

The vi chord wants to move to a sub-dominant chord. The iii chord normally drags the vi chord with it and these two chords make a good turn-a-round progression, i.e. iii-vi-ii-V7-I.

The vii chord is the diminished chord and it is also a dominant chord and wants to move to the I tonic chord, however, is in no hurry to do so -- so it also can start a movement, i.e. vii-iii-vi-ii-V7-I. Want to resolve quickly use the V7, want to resolve, but, are not in a hurry use the vii. The iii or the vii can be used as move somewhere chords.

In a major key the major chords are your structure chords and the minor chords add flavor and or color. You are on the right track, most types of songs will have their tried and true chord progressions. Blues is I7-IV7-V7, Country is I-IV-V7-I, Jazz is ii-V7-I. Let the Internet pull up some chord charts on your type of music and see for yourself what are the most likely progressions used.

Work from chord charts right at first, and if you find yourself jamming with no sheet music, assume some stuff. If you start getting fish eyes from the guys, back to your chord charts.

Have fun.
 
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The 10 most used chord progressions in popular rock and roll

Don't Stop Believing Progression I – V – vi – IV (G – D – Em – C).
50's Progression, I – vi – IV – V (G – Em – C – D)
Canon, I – V – vi – iii – IV – I – IV – V (G – D – Em – Bm – C – G – C – D).
Blues I – I – I – I – IV – IV – I – I – V – V – I – I (G – G – G – G – C – C – G – G – D – D – G – G).
Smoke on the Water Progression, ii – IV – V (am – C – D).
Good Love Progression, I – IV – V – IV (G – C – D – C).
Sweet Home Progression V – IV – I (D – C – G).
Descending Flamenco Progression (stray cat strut) vi – V – IV – III (em – D – C – B )
As My Guitar Gently Weeps Progression. ii – I – V/vii – bVII (- VI) (am – G – D/f# – F (- E)).
 
Mambo listed the Canon progression. Want a shot of confidence plus a fun chord progression to play to?




I...V...vi....iii
D, A7, Bm, F#m

IV...I...IV.....V7
G,.. D, G,... A7:

Start with just playing the roots. Then around 1:00 root on 1st beat and 3rd beat.
Then around 2:00 get some chord tones into the bass line. Some; see what you can do.
Major chord R-3-5-8
Minor chord R-b3-5-b7
Dominant seven R-3-5-b7​

Love to call this one up and work on it. Yes work on it, I still do not have it like I would like to play it, but, it keeps me busy.
 
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If you don't know the songs, how will these help you? Not really sure about the 'oldies' one - not heard that term her in the UK?

I-VI-IV-V comes to mind too. If you don't know the song, then most chord changes have pointers from what the singer or lead instrument is playing, that will guide you through to the next chord. I've never thought about chord sequences in these formal ways really - things like 12 and 16 bar blues have such common content that often you don't even know you went from 12 to 16 - it just works, and I don't really know how we know - we just do?

Pretty sure he means the I-vi-IV-V that you bring up. Popular Tin Pan Alley and early pop-rock construction, hence the "oldies" label. Of course it turns up in almost every style and is still a perennial favorite in pop-punk circles.
 
It's really the same progression, and same notes, just the key would change. A question of semantics really...


I would say it's more a question of intent: what key did the song writer intend.

In fact, I might actually play it a little differently, depending I whether I believed it to be I-bVII-IV, or V-IV-I. Likewise, I will hear it differently depending on how it is played. There are subtle and not so subtle things in music that provide clues to keys, endings, beginnings of bridges, etc. It's part of what makes jamming possible with others you never even met before.

Anyway, I hear it as I-bVII-IV, but it is possible to hear it as V-IV-I; it's almost like that Necker Cube that changes perspective if you stare at it.

-
 
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