How to write a minor chord progression

vi-IV-I-V (Am-F-C-G in A minor) is the most-used progression in modern pop and electronic music for a reason: it sits in minor (sad/serious feel) but resolves outward, creating motion.

Updated 2026-05-02

Short answer

vi-IV-I-V (Am-F-C-G in A minor) is the most-used progression in modern pop and electronic music for a reason: it sits in minor (sad/serious feel) but resolves outward, creating motion. Each chord is two bars; the loop is 8 bars total.

Key: A minor
Chords: Am, F, C, G
Roman numerals: vi-IV-I-V
Each chord: 2 bars, looped
Tempo: 120 BPM (works at 90–140)

Try this in Cue

Why this progression works

vi-IV-I-V starts on the relative minor (Am), then moves through three major chords (F, C, G). The minor opening gives emotional weight; the major chords lift outward. The progression has motion, every chord pulls toward the next, without any tense or unresolved-sounding moments. That's why it's everywhere from pop to film score to deep house.

The notes inside each chord

Am = A, C, E (root, minor third, fifth). F = F, A, C (root, major third, fifth, but contains A, the root of our key, so it feels home). C = C, E, G (relative major). G = G, B, D (the dominant, wants to resolve back to Am). When you map them out, you see how every chord shares notes with its neighbours, which creates smooth voice-leading.

Inversions add melody

Playing every chord in root position (A-C-E for Am, F-A-C for F) feels static. Try inversions: Am as A-C-E, F as A-C-F (the A stays in the bass), C as G-C-E, G as G-B-D. This keeps the lower voice walking smoothly through the progression instead of jumping around.

Tempo and length

120 BPM with 2-bar chords gives a 16-second loop. Slower tempos (80–100 BPM) feel more emotional. Faster (130–140 BPM) feels driving. The progression works at any tempo, it's the chords that carry the meaning, not the speed.

Frequently asked

What's the difference between vi-IV-I-V and i-VI-III-VII?

vi-IV-I-V is in major key, starting on the relative minor (gives the minor feel while staying in major). i-VI-III-VII is true natural minor, entirely in minor key. Both sound similar but i-VI-III-VII is darker, used more in metal and serious electronic.

Can I use this progression in any key?

Yes, transpose all four chords. In C minor: Cm-Ab-Eb-Bb. In F minor: Fm-Db-Ab-Eb. Pick a key based on your vocal range or sound design preferences.

How do I make this progression feel less generic?

Try one chord substitution, replace G with G7 (adds tension), or replace F with Fmaj7 (adds dreamy quality). Or invert the chords. Or change the rhythm (one bar per chord instead of two). Small changes shift the feel without breaking what makes the progression work.

Apply this in Cue

Open the app with this question pre-loaded. Free to use, no signup.

Try this in Cue