Random Chord Progression Generator: Key, Pattern and Pacing

One press picks a key, a progression in Roman numerals, a chord type and how long each chord lasts.

Random Chord Progression Generator: Key, Pattern and Pacing: 20 progressions

Key of G: I–I–I–I–IV–IV–I–I–V–IV–I–V (12-bar blues, major), as power chords, one bar per chord.

  • KeyG
  • ProgressionI–I–I–I–IV–IV–I–I–V–IV–I–V (12-bar blues, major)
  • Chord typepower chords
  • Pacingone bar per chord

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    Progression of the day

     

    1. Key of B♭: i–i–i–i–iv–iv–i–i–VI–V–i–i (minor blues), as power chords, one bar per chord, last chord pushed an eighth early.
    2. Key of C: I–IV–ii–V (major), as sus chords on the way home, one bar per chord.
    3. Key of A: i–iv–VII–III–VI–ii°–V–i (minor), as triads, with a seventh on the last chord, two chords per bar.
    4. Key of D: VI–VII–i (minor), as triads over a tonic pedal, one bar per chord in 3/4.
    5. Key of F♯: vi–IV–I–V (major), as sus chords on the way home, half a bar per chord, a full bar on the last.
    6. Key of D♭ (C♯ for minor): i–VII (minor), as triads, with a seventh on every V, one bar per chord, last chord pushed an eighth early.
    7. Key of E♭: ii–V–I (major), as triads, with a seventh on the last chord, one bar per chord in 12/8.
    8. Key of B: I–V–vi–iii–IV–I–IV–V (major), as add9 chords, one bar per chord in 12/8.
    9. Key of E♭: I–vi–ii–V (major), as add9 chords, one bar per chord, two on the last.
    10. Key of E: I–III–IV–iv (major, with a major III), as sus chords on the way home, one bar per chord in 3/4.
    11. Key of G: i–VII–i–V–III–VII–i–V–i (minor), as triads, with a seventh on every V, four bars per chord.
    12. Key of A: i–V–i–VII–III–VII–i–V (minor), as triads, with a seventh on every V, one bar per chord, last chord pushed an eighth early.
    13. Key of D: IV–V–iii–vi (major), as power chords, half a bar per chord, a full bar on the last.
    14. Key of C: i–VI–III–VII (minor), as triads, with a seventh on every V, half a bar per chord, a full bar on the last.
    15. Key of A: vi–ii–V–I (major), as power chords, one bar per chord.
    16. Key of B: ♭VI–♭VII–I (major), as triads over a tonic pedal, one bar per chord.
    17. Key of B♭: i–V–i–VII–III–VII–i–V (minor), as triads, with a seventh on the last chord, four bars per chord.
    18. Key of A♭ (G♯ for minor): I–V–IV–IV–I–V–I–V (8-bar blues, major), as triads, with a seventh on the last chord, two chords per bar.
    19. Key of B♭: I–V–vi–IV (major), as triads, with a seventh on the last chord, one bar per chord in 3/4.
    20. Key of D: i–iv–VII–III–VI–ii°–V–i (minor), as add9 chords, one bar per chord in 12/8.

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    Random Chord Progression Generator: Key, Pattern and Pacing: how it works

    This random chord progression generator picks four things at once: one of 12 keys, one of 56 progressions written in Roman numerals, a chord type and a pacing. The patterns run from the four-chord pop loop and the 12-bar blues to jazz turnarounds, borrowed chords and Renaissance dance grounds. Lock the key you can play in and re-roll the pattern until something sounds like a song.

    Read the result from left to right

    A result reads like "Key of G: I–V–vi–IV (major), as seventh chords, two bars per chord." The tag after the numerals says which key to use: (major) means G major, (minor) means G minor. Press New progression or the space bar for another. The padlock on a row keeps that pick while the rest change, so you can hold one key and hear many patterns in it, or move one pattern through all 12 keys.

    Turn the numerals into chords

    A Roman numeral names a chord by the scale step it is built on. Capitals are major chords, small letters are minor, and a small circle means diminished. The key list below the tool gives the seven chords of every major and minor key in order. In G major they are G, Am, Bm, C, D, Em and F♯dim, so I–V–vi–IV is G, D, Em, C. Every pattern in the list also shows its chords in C major or A minor.

    Borrowed chords and blues chords

    A flat sign in front of a numeral lowers the root by a half step. In a major key ♭VII is the major chord a whole step below the key note: F in the key of G, B♭ in the key of C. The ♭III and ♭VI come from the minor key with the same key note. In the blues forms, seventh chords means dominant sevenths on all three chords, such as G7, C7 and D7.

    Tips

    • Set the timer to ten minutes and write one verse over the progression before you judge it. Most loops sound plain until a melody sits on top.
    • If the key is awkward on guitar, use a capo. Chord shapes from the key of G with a capo on fret 1 sound in A♭.
    • Play the pattern backwards. I–V–vi–IV turned round is IV–vi–V–I, which ends on the home chord and feels like a different song.
    • In a minor pattern, try both fifth chords: minor v for a darker, modal sound, major V for a stronger pull back to i.
    • Practise ii–V–I in a new key every day. Lock the pattern, re-roll only the key, and say the three chord names before you play them.

    Questions and answers

    How do I work out the actual chords?

    Look up your key in the list of key notes below the tool. Each entry lists seven chords for the major key and seven for the minor key, in scale order. Count along to the numeral you need: in C major, vi is the sixth chord, A minor. For seventh chords, add the seventh that belongs to the key, which gives Cmaj7, Dm7, Em7, Fmaj7, G7, Am7 and Bm7♭5 in C major.

    How are the minor-key numerals counted?

    From the natural minor scale. In A minor the chords are Am, Bdim, C, Dm, Em, F and G, so III is C, VI is F and VII is G. Some books count minor keys against the major scale and write the same chords as ♭III, ♭VI and ♭VII. The sound is identical. A capital V in a minor pattern means a major chord, E in A minor, borrowed from the harmonic minor scale.

    Why do two keys say "for minor" after a second name?

    D♭ and A♭ work well as major keys, with five and four flats. As minor keys they would need eight and seven flats, so musicians rename them: D♭ minor is written as C♯ minor, with four sharps, and A♭ minor as G♯ minor, with five. The pitches are the same. When a minor pattern comes up with one of those keys, use the sharp name.

    How many progressions can it make?

    There are 56 patterns and 12 keys, which gives 672 pairings of pattern and key. Add the 8 chord types and 10 pacings and one press picks from 53,760 results. The patterns are sorted into seven groups below the tool: pop loops, three-chord patterns, jazz turnarounds, borrowed chords, blues forms, minor loops, and minor cadences with old dance grounds such as the folia and the romanesca.

    What does the pacing pick change?

    It sets how long each chord lasts. One bar per chord is the usual pace, two chords per bar suits turnarounds such as I–vi–ii–V, and four bars per chord makes a slow, open backdrop. The blues forms already have one numeral per bar, so there, treat the pacing as a feel: 12/8 gives the classic slow blues.

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    Key: all 12 key notes

    Natural key notes 7

    • A A major: A Bm C♯m D E F♯m G♯dim. A minor: Am Bdim C Dm Em F G.
    • B B major: B C♯m D♯m E F♯ G♯m A♯dim. B minor: Bm C♯dim D Em F♯m G A.
    • C C major: C Dm Em F G Am Bdim. C minor: Cm Ddim E♭ Fm Gm A♭ B♭.
    • D D major: D Em F♯m G A Bm C♯dim. D minor: Dm Edim F Gm Am B♭ C.
    • E E major: E F♯m G♯m A B C♯m D♯dim. E minor: Em F♯dim G Am Bm C D.
    • F F major: F Gm Am B♭ C Dm Edim. F minor: Fm Gdim A♭ B♭m Cm D♭ E♭.
    • G G major: G Am Bm C D Em F♯dim. G minor: Gm Adim B♭ Cm Dm E♭ F.

    Sharp and flat key notes 5

    • A♭ (G♯ for minor) A♭ major: A♭ B♭m Cm D♭ E♭ Fm Gdim. G♯ minor: G♯m A♯dim B C♯m D♯m E F♯.
    • B♭ B♭ major: B♭ Cm Dm E♭ F Gm Adim. B♭ minor: B♭m Cdim D♭ E♭m Fm G♭ A♭.
    • D♭ (C♯ for minor) D♭ major: D♭ E♭m Fm G♭ A♭ B♭m Cdim. C♯ minor: C♯m D♯dim E F♯m G♯m A B.
    • E♭ E♭ major: E♭ Fm Gm A♭ B♭ Cm Ddim. E♭ minor: E♭m Fdim G♭ A♭m B♭m C♭ D♭.
    • F♯ F♯ major: F♯ G♯m A♯m B C♯ D♯m E♯dim. F♯ minor: F♯m G♯dim A Bm C♯m D E.

    How this list was compiled: All 12 key notes, each with the seven triads of its major key (I ii iii IV V vi vii°) and of its natural minor key (i ii° III iv v VI VII). Every chord is computed from the scale by letter name, so each key uses each letter once, as Open Music Theory sets out (https://viva.pressbooks.pub/openmusictheory/). Two key notes change name in minor because the flat spelling would need seven or more flats: D♭ major pairs with C♯ minor and A♭ major with G♯ minor. In x.roots a borrowed root that would need C♭, F♭ or a double flat is written as the plain note a chord chart uses (B, E, A). Licence: own work

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    Progression: all 56 progressions

    Major key: pop loops 10

    • IV–I–V–vi (major) The pop loop started on IV, so it never quite settles. In C: F, C, G, Am.
    • IV–V–iii–vi (major) The royal road progression of Japanese pop. In C: F, G, Em, Am.
    • I–iii–IV–V (major) A climbing loop. The iii softens the step from I up to IV. In C: C, Em, F, G.
    • I–IV–vi–V (major) A reshuffle of the pop loop that climbs from IV through vi to V. In C: C, F, Am, G.
    • I–IV–V–vi (major) A deceptive cadence: V sets up home and lands on vi instead. In C: C, F, G, Am.
    • I–vi–IV–V (major) The 50s or doo-wop progression. In C: C, Am, F, G.
    • I–V–vi–iii–IV–I–IV–V (major) The eight chords of Pachelbel's Canon. In C: C, G, Am, Em, F, C, F, G.
    • I–V–vi–IV (major) The best-known four-chord pop loop. In C: C, G, Am, F.
    • vi–IV–I–V (major) The pop loop started on its minor chord, so it sounds sadder. In C: Am, F, C, G.
    • vi–V–IV–V (major) Starts on the minor vi, steps down to IV and back up through V. In C: Am, G, F, G.

    Major key: I, IV and V only 6

    • I–IV (major) A two-chord plagal vamp, the sound of "amen". In C: C, F.
    • I–IV–I–V (major) A two-bar question and a two-bar answer, common in folk songs and hymns. In C: C, F, C, G.
    • I–IV–I–V–I–IV–I–V–I (major) The passamezzo moderno, a Renaissance dance ground. In C: C, F, C, G, C, F, C, G, C.
    • I–IV–V (major) The three-chord trick of folk, country, punk and early rock and roll. In C: C, F, G.
    • I–IV–V–IV (major) Three chords rocking up and back, a garage band staple. In C: C, F, G, F.
    • V–IV–I (major) The turnaround that closes a blues chorus. In C: G, F, C.

    Major key: turnarounds and circle moves 7

    • iii–vi–ii–V (major) A turnaround with iii in place of I, so every root falls a fifth. In C: Em, Am, Dm, G.
    • III–VI–II–V (major, all four chords major) The ragtime progression: four major chords, each the dominant of the next. In C: E, A, D, G.
    • ii–V–I (major) The main cadence of jazz. Each root drops a fifth. In C: Dm, G, C.
    • ii–♭VII–I (major) The backdoor progression: ♭VII stands in for V. In C: Dm, B♭, C.
    • I–IV–ii–V (major) A common bridge in jazz standards. In C: C, F, Dm, G.
    • I–vi–ii–V (major) The jazz turnaround that opens rhythm changes. In C: C, Am, Dm, G.
    • vi–ii–V–I (major) The circle progression: roots fall by fifths until they reach home. In C: Am, Dm, G, C.

    Major key: borrowed chords and modal vamps 11

    • I–II (major) A two-chord Lydian vamp. The major II carries the raised fourth of the scale. In C: C, D.
    • I–iii–IV–iv (major) Climbs to IV, then lets it turn minor. In C: C, Em, F, Fm.
    • I–III–IV–iv (major, with a major III) A major III where the key expects minor, then IV turns minor. In C: C, E, F, Fm.
    • I–II–IV–I (major) The major II brightens the loop before IV brings it home. In C: C, D, F, C.
    • I–IV–iv–I (major) The minor plagal cadence: IV turns minor on the way home. In C: C, F, Fm, C.
    • I–IV–♭VII–IV (major) A Mixolydian loop that leans on IV from both sides. In C: C, F, B♭, F.
    • I–V–♭VII–IV (major) A classic rock loop. An inner voice slides down by half steps. In C: C, G, B♭, F.
    • I–♭III–IV (major) Blues-rock riff chords. The ♭III root comes from the minor pentatonic scale. In C: C, E♭, F.
    • I–♭VII (major) A two-chord Mixolydian vamp. In C: C, B♭.
    • I–♭VII–IV (major) A Mixolydian rock move. The ♭VII is borrowed from the parallel minor key. In C: C, B♭, F.
    • ♭VI–♭VII–I (major) Two borrowed chords step up to home, like the end of a fanfare. In C: A♭, B♭, C.

    Major key: blues forms 3

    • I–I–I–I–IV–IV–I–I–V–IV–I–V (12-bar blues, major) The twelve-bar blues. In C: C x4, F x2, C x2, G, F, C, G.
    • I–I–I–I–I–I–I–I–IV–IV–I–I–V–IV–I–I (16-bar blues, major) The sixteen-bar blues: the first four bars are played twice. In C: C x8, F x2, C x2, G, F, C x2.
    • I–V–IV–IV–I–V–I–V (8-bar blues, major) The eight-bar blues. In C: C, G, F x2, C, G, C, G.

    Minor key: loops and vamps 9

    • i–III–VII–VI (minor) A minor loop that jumps up to III and then walks down. In A minor: Am, C, G, F.
    • i–iv–v (minor) Three chords of the natural minor scale, all of them minor. In A minor: Am, Dm, Em.
    • i–iv–V (minor, with a major V) The harmonic minor version: a major V pulls harder toward i. In A minor: Am, Dm, E.
    • i–VII (minor) A two-chord Aeolian vamp. In A minor: Am, G.
    • i–VII–VI–VII (minor) Steps down two chords and back up, a hard rock staple. In A minor: Am, G, F, G.
    • i–VI–III–VII (minor) The same four chords as vi–IV–I–V, counted from the minor key note. In A minor: Am, F, C, G.
    • i–VI–iv–V (minor) The doo-wop shape rebuilt in a minor key. In A minor: Am, F, Dm, E.
    • i–VI–VII (minor) The Aeolian climb: VI and VII lift back up to i. In A minor: Am, F, G.
    • VI–VII–i (minor) The Aeolian cadence. It reaches the home chord last. In A minor: F, G, Am.

    Minor key: cadences, modes and old dance grounds 10

    • III–VII–i–V–III–VII–i–V–i (minor) The romanesca, a Renaissance ground that starts on III. In A minor: C, G, Am, E, C, G, Am, E, Am.
    • ii°–V–i (minor) The minor two-five-one of jazz. The ii is a diminished chord. In A minor: Bdim, E, Am.
    • i–IV (minor) A two-chord Dorian vamp. The major IV carries the raised sixth of the scale. In A minor: Am, D.
    • i–iv–VII–III (minor) Falling fifths that drift toward the relative major. In A minor: Am, Dm, G, C.
    • i–iv–VII–III–VI–ii°–V–i (minor) The whole circle of fifths in a minor key, all seven roots. In A minor: Am, Dm, G, C, F, Bdim, E, Am.
    • i–i–i–i–iv–iv–i–i–VI–V–i–i (minor blues) The twelve-bar minor blues. In A minor: Am x4, Dm x2, Am x2, F, E, Am x2.
    • i–VII–i–V–III–VII–i–V–i (minor) The passamezzo antico, a Renaissance dance ground. In A minor: Am, G, Am, E, C, G, Am, E, Am.
    • i–VII–VI–V (minor) The Andalusian cadence of flamenco, four chords stepping down. In A minor: Am, G, F, E.
    • i–V–i–VII–III–VII–i–V (minor) The first phrase of La Folia, a ground bass from the 1600s. In A minor: Am, E, Am, G, C, G, Am, E.
    • i–♭II (minor) A two-chord Phrygian vamp. The ♭II sits a half step above home. In A minor: Am, B♭.

    How this list was compiled: Compiled by Random Generator HQ from standard harmony. The named progressions (50s progression, I–V–vi–IV, ii–V–I, circle progression, ragtime progression, backdoor progression, Pachelbel's Canon, passamezzo antico and moderno, romanesca, folia, Andalusian cadence, eight-, twelve- and sixteen-bar blues, I–IV–♭VII–IV, I–V–♭VII–IV, ♭VI–♭VII–I and others) were checked against https://en.wikipedia.org/wiki/List_of_chord_progressions on 2026-09-18; chord functions follow Open Music Theory (https://viva.pressbooks.pub/openmusictheory/). Minor-key numerals count from the natural minor scale, so the Andalusian cadence is written i–VII–VI–V. The example chords are computed from the numerals, not typed. For each chord, x.steps gives the scale degree ("b7" is a lowered seventh), the triad quality and the seventh chord that fits. Licence: own work

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    Chord type: all 8 chord types

    Three-note chords 3

    • plain triads Three-note chords: root, third and fifth. C, F, G and Am.
    • power chords Root and fifth only, with no third. Made for distorted guitar: C5, F5, G5.
    • sus chords on the way home Play the last chord as a sus4, then let the fourth fall to the third.

    Chords with added notes 5

    • add9 chords A triad plus the note a whole step above the root. Cadd9 is C, E, G and D.
    • seventh chords Add the seventh the key gives each chord: Cmaj7, Dm7, G7 in C major.
    • triads over a tonic pedal The bass holds the key note while the chords change above it, giving slash chords such as F/C.
    • triads, with a seventh on every V Only the V chord gets a seventh, G7 in the key of C. The pull toward home gets stronger.
    • triads, with a seventh on the last chord Keep it plain until the final chord, then add its seventh to push back to the top.

    How this list was compiled: Standard chord construction: a triad stacks two thirds on a root and a seventh chord stacks three. Written by Random Generator HQ on 2026-09-18. The seventh chord that fits each numeral is stored with every pattern and was computed from the scale, not typed. Licence: own work

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    Pacing: all 10 pacings

    F 1

    • four bars per chord Very slow changes. Good for ambient music, slow ballads and long solos.

    H 1

    • half a bar per chord, a full bar on the last Quick changes that pause on the final chord.

    O 6

    • one bar per chord The default pace of most songs. A four-chord loop fills four bars.
    • one bar per chord in 12/8 Four big beats per bar, each split in three. The feel of a slow blues.
    • one bar per chord in 3/4 Waltz time, three beats to each chord.
    • one bar per chord in 6/8 Two big beats per bar, each split in three. Think of a slow ballad or a sea shanty.
    • one bar per chord, last chord pushed an eighth early The last chord arrives on the "and" of beat 4, a common pop and rock anticipation.
    • one bar per chord, two on the last The final chord lasts twice as long, which makes the loop breathe before it repeats.

    T 2

    • two bars per chord A slower harmonic rhythm that leaves room for a melody to move.
    • two chords per bar Two beats each in 4/4. Turnarounds and fast jazz tunes move at this pace.

    How this list was compiled: Harmonic rhythm, meaning how long each chord lasts, is a standard term of music theory. Options written by Random Generator HQ on 2026-09-18. Licence: own work