I–III–IV–iv: The Creep Progression
G–B–C–Cm is famous because it breaks diatonic expectations in a very singable way. In G major, the B major chord (III) and the borrowed Cm (iv) both introduce notes outside the key, so the progression feels like it’s constantly tilting between confidence and insecurity. The move to C is a clear lift, but the immediate shift from C to Cm is the gut punch: the same root, suddenly darker color, which makes a chorus feel emotionally exposed without changing the melody much. That’s why it works so well for big, belted lines—you can keep the top note steady while the harmony changes meaning underneath it. You’ll hear this trick in alternative rock and modern pop whenever a writer wants bittersweet tension. Try adding a dominant (D) after Cm to pull harder back to G, or hold the Cm longer for extra drama.
- Key
- G major
- Tempo
- 92 BPM
- Groove
- rock
Play it on guitar
Start slow, keep your right hand steady, and aim for clean changes on the downbeats. Once it’s comfortable, add a groove and increase tempo.
Capo suggestion: try capo 0 and play in G shapes for open chords.
Chords: G – B – C – Cm
Roman numerals & theory
Roman numerals describe the chord’s function relative to the key. This helps you transpose the “shape” to any key without memorizing new chord names.
In G major: I–III–IV–iv
Variations (keep the progression, change the feel)
- • Add 7ths for color (try maj7 on I, m7 on vi, and V7 before resolving).
- • Use a sus4 resolve on the V chord (e.g. Gsus4 → G) to create tension and release.
- • Change the rhythm instead of the chords: try anticipations (hit the next chord on the “and” of 4).
- • Arpeggiate the top notes to create a hook while the harmony stays the same.
- • Borrow a darker chord for contrast (in a major key, try iv for one bar before returning).
Related
FAQ
Select a chord below to start building your progression