Random Chord Progression Generator

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

Random Chord Progression Generator: 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.

In G major, as power chords: G5 – G5 – G5 – G5 – C5 – C5 – G5 – G5 – D5 – C5 – G5 – D5

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  • Chord typepower chords
  • Pacingone bar per chord
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    Progression of the day

     

    1. 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.In G major, as power chords: G5 – G5 – G5 – G5 – C5 – C5 – G5 – G5 – D5 – C5 – G5 – D5
    2. Key of B flat: 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.In B flat minor, as power chords: Bb5 – Bb5 – Bb5 – Bb5 – Eb5 – Eb5 – Bb5 – Bb5 – Gb5 – F5 – Bb5 – Bb5
    3. Key of C: I–IV–ii–V (major), as sus chords on the way home, one bar per chord.In C major, with a sus4 on the last chord: C – F – Dm – Gsus4 then G
    4. 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.In A minor, with a seventh on the last chord: Am – Dm – G – C – F – Bdim – E – Am7
    5. Key of D: VI–VII–i (minor), as triads over a tonic pedal, one bar per chord in 3/4.In D minor, over D in the bass: Bb/D – C/D – Dm
    6. Key of F sharp: vi–IV–I–V (major), as sus chords on the way home, half a bar per chord, a full bar on the last.In F sharp major, with a sus4 on the last chord: D#m – B – F# – C#sus4 then C#
    7. Key of D flat (C sharp for minor): i–VII (minor), as triads, with a seventh on every V, one bar per chord, last chord pushed an eighth early.In C sharp minor, with a seventh on V: C#m – B
    8. Key of E flat: ii–V–I (major), as triads, with a seventh on the last chord, one bar per chord in 12/8.In E flat major, with a seventh on the last chord: Fm – Bb – Ebmaj7
    9. Key of B: I–V–vi–iii–IV–I–IV–V (major), as add9 chords, one bar per chord in 12/8.In B major, as add9 chords: Badd9 – F#add9 – G#m(add9) – D#m(add9) – Eadd9 – Badd9 – Eadd9 – F#add9
    10. Key of E flat: I–vi–ii–V (major), as add9 chords, one bar per chord, two on the last.In E flat major, as add9 chords: Ebadd9 – Cm(add9) – Fm(add9) – Bbadd9
    11. 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.In E major, with a sus4 on the last chord: E – G# – A – Asus4 then Am
    12. 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.In G minor, with a seventh on V: Gm – F – Gm – D7 – Bb – F – Gm – D7 – Gm
    13. 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.In A minor, with a seventh on V: Am – E7 – Am – G – C – G – Am – E7
    14. Key of D: IV–V–iii–vi (major), as power chords, half a bar per chord, a full bar on the last.In D major, as power chords: G5 – A5 – F#5 – B5
    15. 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.In C minor, with a seventh on V: Cm – Ab – Eb – Bb
    16. Key of A: vi–ii–V–I (major), as power chords, one bar per chord.In A major, as power chords: F#5 – B5 – E5 – A5
    17. Key of B: bVI–bVII–I (major), as triads over a tonic pedal, one bar per chord.In B major, over B in the bass: G/B – A/B – B
    18. Key of B flat: i–V–i–VII–III–VII–i–V (minor), as triads, with a seventh on the last chord, four bars per chord.In B flat minor, with a seventh on the last chord: Bbm – F – Bbm – Ab – Db – Ab – Bbm – F7
    19. Key of A flat (G sharp 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.In A flat major, with a seventh on the last chord: Ab – Eb – Db – Db – Ab – Eb – Ab – Eb7
    20. Key of B flat: I–V–vi–IV (major), as triads, with a seventh on the last chord, one bar per chord in 3/4.In B flat major, with a seventh on the last chord: Bb – F – Gm – Ebmaj7

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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 Eb Fm Gm Ab Bb.
    Show all 12 key notes (9 more)

    Natural key notes, continued

    • D D major: D Em F#m G A Bm C#dim. D minor: Dm Edim F Gm Am Bb 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 Bb C Dm Edim. F minor: Fm Gdim Ab Bbm Cm Db Eb.
    • G G major: G Am Bm C D Em F#dim. G minor: Gm Adim Bb Cm Dm Eb F.

    Sharp and flat key notes 5

    • A flat (G sharp for minor) A flat major: Ab Bbm Cm Db Eb Fm Gdim. G sharp minor: G#m A#dim B C#m D#m E F#.
    • B flat B flat major: Bb Cm Dm Eb F Gm Adim. B flat minor: Bbm Cdim Db Ebm Fm Gb Ab.
    • D flat (C sharp for minor) D flat major: Db Ebm Fm Gb Ab Bbm Cdim. C sharp minor: C#m D#dim E F#m G#m A B.
    • E flat E flat major: Eb Fm Gm Ab Bb Cm Ddim. E flat minor: Ebm Fdim Gb Abm Bbm Cb Db.
    • F sharp F sharp major: F# G#m A#m B C# D#m E#dim. F sharp 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

    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.
    Show all 56 progressions (53 more)

    Major key: pop loops, continued

    • 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–bVII–I (major) The backdoor progression: bVII stands in for V. In C: Dm, Bb, C.
    • ii–V–I (major) The main cadence of jazz. Each root drops a fifth. In C: Dm, G, 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

    • bVI–bVII–I (major) Two borrowed chords step up to home, like the end of a fanfare. In C: Ab, Bb, C.
    • I–bIII–IV (major) Blues-rock riff chords. The bIII root comes from the minor pentatonic scale. In C: C, Eb, F.
    • I–bVII (major) A two-chord Mixolydian vamp. In C: C, Bb.
    • I–bVII–IV (major) A Mixolydian rock move. The bVII is borrowed from the parallel minor key. In C: C, Bb, F.
    • 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–bVII–IV (major) A Mixolydian loop that leans on IV from both sides. In C: C, F, Bb, F.
    • I–IV–iv–I (major) The minor plagal cadence: IV turns minor on the way home. In C: C, F, Fm, C.
    • I–V–bVII–IV (major) A classic rock loop. An inner voice slides down by half steps. In C: C, G, Bb, F.

    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–bII (minor) A two-chord Phrygian vamp. The bII sits a half step above home. In A minor: Am, Bb.
    • 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.

    How this list was compiled: Compiled 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. 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

    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.
    Show all 8 chord types (5 more)

    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 for this page on 2026-09-18. The seventh chord that fits each numeral is stored with every pattern and was computed from the scale. Licence: own work

    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.
    Show all 10 pacings (7 more)

    O, continued

    • 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 in 12/8 Four big beats per bar, each split in three. The feel of a slow blues.
    • 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 for this page on 2026-09-18. Licence: own work

    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 full guide

    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 for another. Keep the key and hear many patterns in it, or keep one pattern and move it 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 b before a numeral means flat: the root drops a half step. In a major key bVII is the major chord a whole step below the key note: F in the key of G, B flat in C. The bIII and bVI 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.

    • 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 flat.
    • 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 Bm7b5 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 bIII, bVI and bVII. 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 flat and A flat work well as major keys, with five and four flats. As minor keys they would need eight and seven, so musicians rename them: D flat minor is written C sharp minor, with four sharps, and A flat minor G sharp minor, with five. The pitches are the same. For a minor pattern in 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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