Chord Progressions on Piano: Write Epic Ones with the Circle of Fifths

To write an epic chord progression with the Circle of Fifths, pick a tonal centre such as C, step a few positions away from it on the flat side (for example to Ab), then play major chords moving up in fifths back home: Ab, Eb, Bb, F, C, a chain of plagal (IV–I) movements.

Video lesson by Jason Zac · Intermediate · 10 min

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What this lesson teaches

This lesson by Jason Zac shows how to use the Circle of Fifths as a map for writing unusual, cinematic chord progressions. Instead of picking chords from a major scale, you only think about your tonal centre and how to travel away from it and back. It suits intermediate players on piano, guitar or any harmony instrument who often get stuck wondering which chord comes next.

Step 1: Write the circle, both ways

Draw the circle like a clock. Going one way you get C, G, D, A, E, B, F#, then Db, Ab, Eb, Bb, F and back to C. Also practise it in the other direction: C, F, Bb, Eb, Ab, Db, Gb (at the six o'clock mark), then B, E, A, D, G and C. Writing and remembering it in both directions makes the rest of the lesson easy, so keep your drawing in front of you.

Step 2: Start with the plagal cadence

In the key of C, F going to C sounds strong and settled. This is the plagal cadence, IV going to I. The trick is that you can chain this movement. Each chord is the IV of the next one, so moving up by fifths towards C always sounds convincing.

• F – C: the basic plagal cadence.
• Bb – F – C: a Mixolydian-flavoured sound, the kind heard in the Beatles' With a Little Help from My Friends.
• Ab – Eb – Bb – F – C: the full journey, all major chords, starting far from C and linking back home.

These progressions ignore the usual set of diatonic chords (three major, three minor and one diminished). You simply respect that C is home and approach it from further away.

Step 3: Decide how far to travel

Count positions away from C on the flat side: F is one step, Bb two, Eb three, Ab four, Db five and F# (Gb) six. The further you go, the more adventurous the sound. Jason suggests staying within about four steps, up to Ab. Db still sounds good to him, while F#, the point furthest from C, is the most chaotic and a bit risky.

Step 4: Compose a melody on the chords

Over Ab – Eb – Bb – F – C, build short melodic phrases that repeat a pattern from chord to chord, ending on C as the full stop of the phrase.

• Mostly use chord tones of each chord.
• Add a little colour with passing notes. For example, a Bb can connect back to the chord tone Ab over the Ab chord, and a C can be added over the Bb chord for flavour.
• Slide into the F over the F chord and land on C at the end.

Step 5: Add an ostinato bass

Another option is to keep C constant in the left hand while the right hand plays the chords. This is an ostinato: a pattern over a consistent bass. You get Ab/C, Eb/C, Bb/C and finally C. Only the C chord sounds fully stable, because its name matches the bass. The others create tension that sounds interesting rather than wrong, and it grows as you move further from C.

How to use and practise it

1. Write the circle clockwise and counterclockwise until you know it by heart.
2. Play F–C, then Bb–F–C, then Ab–Eb–Bb–F–C as plain major chords.
3. Improvise a short melody from chord tones with a passing note or two.
4. Try the whole progression over a held C in the bass.
5. Place it in a song, perhaps as a bridge or chorus. You can leave a normal diatonic progression such as C – Am – F – G – C and then return to it, or avoid diatonic chords entirely.

Questions about this lesson

How do I use the Circle of Fifths to write a chord progression?

Choose a tonal centre such as C, move a few steps away from it on the flat side of the circle, then play major chords moving up in fifths back to C. For example, Ab–Eb–Bb–F–C.

Why does Ab–Eb–Bb–F–C sound good in C major?

Each chord acts as the IV of the next one, so the progression is a chain of plagal cadences. Every move feels like a resolution, and the chain ends on C.

How far from the tonic can I go on the circle?

Jason Zac suggests staying within about four steps from C, reaching Ab, though Db can still work. F# is the furthest point from C and sounds the most chaotic.

What is an ostinato bass in this progression?

It means keeping the same bass note, here C, under every chord, giving Ab/C, Eb/C, Bb/C and then C. Only the final C chord sounds fully stable, which adds tension to the journey.

Practise it

• Circle of FifthsExplore the Circle of Fifths through keys, scales, chords and intervals.
• 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

• How to Use the Circle of Fifths for Pro Chord WritingTo write non-diatonic progressions with the circle of fifths, move between neighbouring major chords such as C, F, Bb and Eb, or C, G and D, because each neighbour shares a common note and the change sounds smooth even outside one key.
• 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.
• 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.
• 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.