Progressions
Vi–IV–I–V Chord Progression in A
F#m · D · A · E
The same four chords as the pop loop, started on the relative minor — the sad version.
Vi–IV–I–V Chord Progression in A
F#m · D · A · E
- Key
- A
- Roman numerals
- vi–IV–I–V
- Notes
- 7
Songs that use it
Despacito
Luis Fonsi
Cheap Thrills
Sia
Counting Stars
OneRepublic
Zombie
The Cranberries
Understanding A vi–IV–I–V
Why it works
In A the progression is F#m · D · A · E. Beginning on the vi establishes the relative minor as home, so the ear reads the major chords that follow as departures rather than as the centre.
Nothing about the harmony has changed from I–V–vi–IV. What changed is which chord arrives first, and therefore which one the ear treats as the tonic. It is the clearest demonstration in common practice that key is a matter of emphasis, not of notes.
How to use it
Ending on V leaves the loop open, pulling hard back to the vi at the top. That makes it more propulsive than I–V–vi–IV and better suited to a driving chorus.
It is sometimes called the sensitive female chord progression, and it carries an enormous amount of modern pop, EDM and Latin crossover.
Learn this properly
Chapter 16: Form and StructureCommon questions
- What chords are in the vi–IV–I–V progression in A?
- In A the progression is F#m · D · A · E. Move it to any key with the chord transposer.
- Why does this progression sound sad?
- It starts and rests on the relative minor, so the ear hears the minor chord as home and the major chords as passing brightness.
- Is this the same as I–V–vi–IV?
- The same four chords, rotated. Which chord comes first decides which one sounds like the tonic.