Chord Progression Writing
A verse and a chorus can share a key but still feel completely different — often it's one borrowed chord doing all the work.
Start from tonic and dominant
Almost every progression can trace back to the relationship between the tonic (I) and dominant (V) chords — the pull away from "home" and back again. Once that backbone is in place, filling in chords like ii, IV, and vi around it gives you a full diatonic palette to write predictable, singable verses from.
Verses: predictable diatonic motion
A verse's job is to carry the story, so its harmony usually stays simple and diatonic — built entirely from the current key's own scale, like I–vi–IV–V. Predictability here is a feature: it keeps the listener's attention on the lyric rather than the chords.
Choruses: a lift from a borrowed chord
The chorus is where a song usually wants to feel bigger. A common trick is introducing one borrowed chord — taken from the parallel major or minor key rather than the current key's own scale — such as a ♭VI borrowed from the parallel minor. That single unexpected chord creates a lift precisely because it breaks the diatonic pattern the verse established.
Common questions
How do you start writing a chord progression?
Start from a strong tonic-dominant relationship — I and V — since that pull is the foundation most progressions build around.
Should verse and chorus chords be different?
Not necessarily, but it often helps. Verses favor predictable diatonic motion; choruses add a borrowed or secondary chord to lift the energy.
What is a borrowed chord?
A chord taken from the parallel major or minor key rather than the current key's own scale, like a ♭VI borrowed from the parallel minor.
How do you keep a repeated progression from feeling monotonous?
Repeat it per section, but vary the length or voicing between repeats, so it doesn't feel like a static loop.
Write your own progressions
Melody Monkey's Songwriting Studio lets you sketch, loop, and hear chords in any key instantly.
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