One Trick, Endless Piano Progressions: Reharmonise I–IV–V Across Many Scales

By playing each chord of a I–IV–V progression as either major or minor, you get 2 × 2 × 2 = 8 different progressions, and each one points to its own scale, such as major, natural minor, harmonic minor, Dorian or Mixolydian.

Video lesson by Jason Zac · Beginner · 11 min

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What this lesson teaches

In this lesson Jason Zac takes one of the most common chord shapes in music, the I–IV–V progression, and shows how to turn it into many different moods using only major and minor triads. It suits any pianist who already knows basic major and minor chords and wants fresh ideas for songwriting or improvising.

The starting point: I–IV–V in G major

The lesson uses G as the key centre. From the root you go up a perfect fourth for the IV and up a perfect fifth for the V, which gives the roots G, C and D. In the G major scale all three chords are major:

• G major (G B D)
• C major (C E G)
• D major (D F# A)

This is the sound behind a huge amount of folk, pop and some rock music, including songs like The Lion Sleeps Tonight.

The trick: major or minor on every root

Keep the roots G, C and D fixed, but on each one choose either a major or a minor chord. Minor chords sound sadder or more melancholic; major chords sound brighter and happier. Because each of the three slots has two choices, there are 2 × 2 × 2 = eight combinations. Each combination also implies a different scale, so you gain new melodic options as well as new progressions.

The eight I–IV–V combinations

1. Major, major, major – G, C, D. The plain major scale; uplifting and familiar.
2. Minor, minor, minor – Gm (G Bb D), Cm (C Eb G), Dm (D F A). This is the natural minor (Aeolian) sound: sombre, laid-back, like a long, hard journey.
3. Minor, minor, major – Gm, Cm, D. The major V gives a very strong pull back to Gm. These chords suit the harmonic minor scale, and you can also use D7 (D F# A C) in place of D.
4. Major, minor, major – G, Cm, D. Like harmonic minor but with a major third on the I chord: the harmonic major sound, which Jason describes as beautiful.
5. Major, major, minor – G, C, Dm. A very Mixolydian sound.
6. Minor, major, major – Gm, C, D. This forms a melodic minor colour.
7. Minor, major, minor – Gm, C, Dm. A Dorian sound with a brave, epic vibe. Even Gm to C alone gives plenty of ideas. Jason likens it to writing for many people at once, rather than a love song addressed to one person.
8. Major, minor, minor – G, Cm, Dm. This can be called a Mixolydian b6 scale.

You can check each scale by collecting the chord notes. For example, Gm, C and Dm together give G A Bb C D E F, which is G Dorian.

Smooth voice leading with inversions

Jason uses chord inversions while moving between these chords. Inversions keep your hand close to one position, make the changes easier to play and make them sound smoother. If inversions are new to you, it is worth working on them before this exercise.

How to practise

• Play the basic G, C, D progression first and get comfortable with it.
• Go through the eight combinations one at a time, always returning to the I chord, and listen to how each changes the mood.
• Use inversions so the hand moves as little as possible.
• Once a combination appeals to you, improvise a melody using the scale it implies.
• Mix and match freely. You can add other chords later, but start with just I, IV and V.

If you can play three chords, this method gives you at least eight progressions and eight scales to explore.

Questions about this lesson

How many variations of a I–IV–V progression can I make with major and minor chords?

Eight. Each of the three chords can be major or minor, so there are 2 × 2 × 2 = 8 combinations, and each one suggests its own scale.

Which I–IV–V combination gives a harmonic minor sound?

Minor I, minor IV and major V, such as Gm, Cm and D in G. You can also use D7 as the V for an even stronger pull back to Gm.

What does a minor I, major IV, minor V progression sound like?

In G it is Gm, C and Dm, which outlines the Dorian scale. It has a brave, epic feel suited to music addressed to many people rather than one.

Why use inversions for these progressions?

Inversions keep the chords close together on the keyboard, so changes are easier to play and sound smoother.

Practise it

• CantusChoose a root and scale, hear piano voicings, and move the same shape through different intervals.
• Chord RandomizerGenerate a chord progression, choose how simple or colourful the harmony should be, and practise it at your own tempo.
• 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

• 15 of the Most Popular Chord Progressions on Piano (Major, Minor and Modal)Popular piano chord progressions in the key of F include I–vi–IV–V (F Dm Bb C), I–V–vi–IV and its rotations, ii–V–I, the minor i–bVII–v–bVI, the Andalusian i–bVII–bVI–V, the Dorian i–bIII–bVII–IV, the Mixolydian bVII–IV–I, the 12-bar blues, the Canon progression and the line cliché.
• 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 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.
• How to Compose Original Chord Progressions on Piano (Songwriting Theory)To compose original chord progressions, start with the diatonic triads of a major scale, then widen your vocabulary step by step with add chords and sevenths, slash chords, chords borrowed from parallel scales, and secondary dominants that point towards the next chord.