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Guitar guide

Roman numeral chord progressions for guitarists

Roman numerals describe where a chord comes from inside a key. That makes a progression portable: I–V–vi–IV has the same pattern of harmonic functions whether it is played as C–G–Am–F, G–D–Em–C, or in another major key.

Uppercase numerals usually indicate major chords, lowercase numerals indicate minor chords, and a small degree symbol marks diminished harmony. The numeral names scale degree and function; the chord symbol tells your hands what to play in the current key.

Browse chord progressions
Barre None progression browser showing chord functions in a selected guitar key
Progression pages pair each Roman numeral with the actual chord in the selected key.

What matters most

  • Number the tonic as I in major and i in minor.
  • Build each diatonic chord from its scale degree rather than moving one shape mechanically.
  • Transpose by keeping the numerals and replacing the chord names for the new key.
  • Treat borrowed chords as deliberate color outside the key, not as mistakes in the numbering.

Understand the musical decision

Map the seven chords in a major key

A major scale produces the quality pattern major, minor, minor, major, major, minor, diminished. In C major that is C, Dm, Em, F, G, Am, and Bdim: I, ii, iii, IV, V, vi, and vii°. The same quality pattern begins on a different set of notes in every major key.

The tonic I feels like home. IV often moves away from home, V creates dominant pull back toward I, and vi provides a relative-minor destination. These are tendencies rather than mandatory rules, but they explain why familiar progressions retain their identity after transposition.

Transpose the function, then solve the guitar part

Write the progression as numerals before changing key. C–G–Am–F becomes I–V–vi–IV in C major. In G major, the same numerals select G–D–Em–C. Every chord moved consistently because the scale-degree relationships were preserved.

Once the sounding chords are correct, choose voicings or a capo. A capo changes which shapes are comfortable; it does not change the functional analysis of the sounding progression.

Recognize borrowed chords

A chord outside the seven diatonic chords can still have a clear job. In C major, F minor is a borrowed iv from C minor. The motion F–Fm–C is IV–iv–I: one note falls from A to A-flat before resolving to G. Roman numerals make that color visible and prevent the borrowed chord from being “corrected” back into the key.

  • Confirm the key before assigning numerals; the same chord has different functions in different keys.
  • Keep chord inversions separate from function: C/E is still I in C major, with E in the bass.
  • Use numerals to compare songs, compose variations, and communicate with musicians who prefer another key.

Example: move I–V–vi–IV from C to G

Start with C–G–Am–F in C major.

  1. Label C as I, G as V, Am as vi, and F as IV.
  2. Write the G-major scale: G, A, B, C, D, E, F♯.
  3. Take degrees 1, 5, 6, and 4 with their diatonic qualities.
  4. Play G–D–Em–C and compare the sense of motion with the original.

Result: The pitch level changed, but the progression’s functional shape did not. You can now choose whichever key fits the singer and whichever voicings fit the guitar without rewriting the composition by guesswork.

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