Thursday Theory To continue with the last theory posting on the pop-punk chord progression, I’ll talk about some of the variants. The I-V-vi-IV (Major 1, Major 5, minor 6, Major 4) chord progression does have a few notable variants changing it from the “pop-punk chord progression” to: The Sensative Female Chord Progression: This variant is vi-IV-I-V. A classic example is Joan Osbourne’s “One of Us”. Doo Wop Chord Progression: Obviously it predates the Pop Punk chord progression, but this chord progression is I-vi-IV-V. Just go raid your parents records if you don’t know doo wop and if you do know doo wop, kudos! Other Variants: There are some other variants. Some involve a different order of the progression, and some are just chordal substitution (which we’ll get too). IV-I-V-vi. A chord progression seen in Lady GaGa’s “Alejandro”, Rihanna’s “Umbrella”. V-vi-IV-I. Spice Girl’s “Wannabe”. The V is also replaced by these different chords: iii(minor 3 chord) [Jessie J’s “Price Tag”], III (Major 3 chord) chorus to “If We Ever Meet Again” [Timbaland ft. Katy Perry], IV (Black Eyed Pea’s “I Got A Feeling”]. And so on. But this chord progression is so very common you can hear it in other songs from the likes of Rob Thomas, Jason Aldean, U2, Taylor Swift, Linkin Park, anywhere! This chord progression is a derivative itself of the famous chord progression of I-vi-ii-V (ii=minor 2 chord), the most common chord progression in music.