How to Make I V vi IV Sound Way More Exciting on Piano (5 Methods + Bonus)

To make the I V vi IV progression (C, G, Am, F in C major) sound more exciting, keep the four chords but add plagal embellishments, passing bass lines, an epic bVI-bVII cadence, secondary dominants or ii-V-I approaches, or revoice the chords with fifths, sevenths, spread thirds, add2 and sus chords.

Video lesson by Jason Zac · Intermediate · 22 min

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The I V vi IV progression is probably the most used chord sequence in pop music. In C major it is C, G, A minor, F. In this lesson Jason Zac keeps those four chords throughout and shows five ways, plus a bonus, to make them sound fresh. It suits pianists who already know basic triads and want to think more like an arranger or composer.

Method 1: Plagal cadence embellishments

Decorate each chord with its own plagal (Amen) cadence: go to the IV of that chord and back, while keeping the original root pedalled in the bass. This gives a gospel-like sound.

• C, F/C, C
• G, C/G, G
• A minor, D minor/A, A minor (D minor rather than D major keeps you in C major)
• F, Bb/F, F

Listeners may not even notice that a I V vi IV is running underneath.

Method 2: Passing bass notes and line clichés

Connect the chords with stepwise bass notes or passing chords.

• C to G: walk the bass down, for example C, G/B, A minor, then G.
• G to A minor: slip in an E7 (E G# B D), the secondary dominant of the vi chord, before landing on A minor.
• A minor to F: pass through C/G or C/E on the way to F.

Method 3: The epic cadence

Instead of ending with F, play C, G, A minor, then Ab (the flat sixth) and Bb (the flat seventh) rising back to C. This bVI to bVII to I move sounds big and cinematic. It is more than a chord swap: it can inspire the melody too. A similar rising cadence with F and G can also be used to land on the A minor chord. Stretching the chords out so each lasts longer helps you hear these cadences clearly.

Method 4: Secondary dominants

A secondary dominant is the V (or dominant seventh) of the chord you are about to land on. Ask yourself what the five of each target chord is:

• Before G: D7 (D F# A C)
• Before A minor: E7 (E G# B D)
• Before F: C7 (C E G Bb)

So the full version is C, D7, G, E7, A minor, C7, F. Each chord now feels like its own landing point with stronger character. Using one before every chord is the overkill version; once you know them, pick just one or two spots, such as before the A minor or before the F.

Method 5: Two the five, five the one

This jazz-standard move extends the previous idea: precede each target with its V, then precede that V with its ii. Every chord now has two chords before it.

• To G: A minor, D7, G
• To A minor: B minor seventh, E7, A minor (in a minor key the ii is strictly B half-diminished, B D F A)
• To F: G minor seventh, C7, F

Again, try it everywhere first, then keep it only where you like it. The ii-V before the A minor sounds especially colourful. These ideas work on almost any song, from nursery rhymes to Christmas songs.

Bonus: Change the voicing, not the chords

If you may not add any chords at all, keep the bass moving C, G, A, F and change how the right hand voices them:

• Fifths: hold a steady fifth such as C and G over the moving bass.
• Extensions: play Cmaj7 or C6, G7, Am7 and Fmaj7; you can go further to ninths and elevenths for a jazzier sound.
• Spread thirds (tenths): move the middle note of the triad to the top, for example C, G, E.
• Add2 chords: add D to C, A to G, B to A minor and G to F.
• Suspended chords: for example an A minor with both the 2 and the 4 added.

How to practise

1. Play plain C, G, Am, F slowly until it is secure.
2. Add one method at a time, applying it to every chord.
3. Then remove it from some chords and keep it only where it sounds best to you.
4. Combine a method with a new voicing from the bonus section.

Questions about this lesson

What are the chords of I V vi IV in C major?

They are C major, G major, A minor and F major. This four-chord sequence underlies a huge number of pop songs.

What is the epic cadence on piano?

It replaces the final F with Ab and Bb, the flat sixth and flat seventh chords, rising back to C. It sounds cinematic and can also inspire new melodies.

Should I add a secondary dominant before every chord?

Not necessarily. Using one before every chord is the overkill version; practise it that way, then keep it only where it adds the flavour you want.

How can I make the progression sound different without changing chords?

Keep the bass C, G, A, F and change the right-hand voicing: hold open fifths, add sevenths or sixths, spread the triad by moving the third to the top, or add the 2 and suspended notes.

Practise it

• The Dominant SeventhStudy dominant-seventh harmony through musical examples.
• Cadence LibraryCompare piano cadences across keys and listen to how different chord movements create closure, suspense or a turn in a new direction.
• Piano classes at Nathaniel School of MusicLive online or in Bangalore, with a teacher.
• All free music apps40 practice tools for harmony, rhythm, ear training and more.

Related lessons

• 5 Ways to Make a Basic Chord Progression Sound BeautifulYou can make a basic two-chord progression like Bb major to D major sound richer by adding passing chords in between: relative minors, plagal (IV) chords, authentic (V) chords, secondary dominants, and ii-V-I approaches to the next chord, all found easily with the Circle of Fifths.
• 10 Types of Cadences Explained: Theory, Ear Training and PianoA cadence is a short chord progression of two to four chords, such as V–I (authentic), IV–I (plagal), V–vi (deceptive) or i–bVII–bVI–V (Andalusian), used to end, extend or redirect a musical phrase.
• How to Build Chords for Any Melody on Piano (Cadences and Music Theory)To harmonise any melody on piano, start by adding fifths and thirds under each melody note, then choose chords using cadences such as V–I, ii–V, V–vi and IV–I, and add colour with line cliché basses, secondary dominants, ii-V-I movements and chords borrowed from the parallel minor.
• 2 Techniques to Harmonize Any Melody on Piano (Chord Trees and Cadences)You can harmonize almost any melody on piano either by building chord trees on its long, strong-beat notes, or by ignoring the melody and trying common cadences and progressions like V–I, IV–I, ii–V–I and I–V–vi–IV until your ear picks the best fit.