Progressions
I–IV–V–I Chord Progression in C
C · F · G · C
The three-chord progression — the primary triads of a key, and the foundation of folk, blues and rock.
I–IV–V–I Chord Progression in C
C · F · G · C
- Key
- C
- Roman numerals
- I–IV–V–I
- Notes
- 7
Songs that use it
Twist and Shout
The Beatles
La Bamba
Ritchie Valens
Johnny B. Goode
Chuck Berry
Understanding C I–IV–V–I
Why it works
In C the progression is C · F · G · C. These three chords contain every note of the major scale between them, so any diatonic melody can be harmonised with them alone.
I, IV and V are the primary triads: tonic, subdominant and dominant, the three harmonic functions. Everything else in the key is a substitute for one of them.
How to use it
It is the skeleton of the twelve-bar blues, of most traditional folk, and of early rock and roll. Its plainness is the point — it leaves all the interest to melody, rhythm and delivery.
The V–I at the end is an authentic cadence, the strongest way to confirm a key. Replace it with IV–I and you get the plagal or "amen" cadence, which sounds settled rather than decisive.
Learn this properly
Chapter 11: Diatonic HarmonyCommon questions
- What chords are in the I–IV–V–I progression in C?
- In C the progression is C · F · G · C. Move it to any key with the chord transposer.
- Why are I, IV and V called the primary chords?
- They carry the three harmonic functions — tonic, subdominant and dominant — and together they contain every note of the major scale.
- What is an authentic cadence?
- A V–I movement, the strongest way to confirm a key. The IV–I alternative is the plagal or "amen" cadence.