You can get a lot of mileage out of five piano chords. Change their order, give them a different rhythm, and the same notes can support a bright dance-pop hook, a more reflective house track, or a build that keeps reaching for the drop.
This guide breaks down all seven progressions in Niko Kotoulas’s EDM piano lesson. You’ll get the chord names, the notes to play, short piano examples, and ways to turn each idea into something of your own.
Start with the sound: listen to an example, choose one progression, and try it on a plain piano patch. You don’t need to learn all seven before making music.
These are the simplified teaching versions demonstrated in Niko’s video, brought into the same family of notes for comparison. They aren’t full transcriptions of the original recordings, and they may use a different key, voicing, or rhythm. The seven examples are a useful writing toolkit, not a measured ranking of every progression used in EDM.
Watch Niko’s complete lesson
Watch the full video to see how the chord shapes connect and how Niko varies the phrasing. The guide follows all seven demonstrations; its voicing suggestions, comparison exercises, and DAW practice plan are editorial additions.
The seven progressions at a glance
Here are the changes before we unpack them. A plain letter means a major chord; m means minor. The Roman numerals below use D major as a shared reference, so you can compare the patterns and move them to another key. That doesn’t mean D will feel like the home note in every loop.
| Example | Chords | In D major |
|---|---|---|
| 01 · Don’t You Worry Child | A → Bm → D → G → D → G | V–vi–I–IV–I–IV |
| 02 · Levels | Bm → D → A → G | vi–I–V–IV |
| 03 · The Middle | G → D → A | IV–I–V |
| 04 · Apollo | Bm → G → D → A | vi–IV–I–V |
| 05 · Places | G → Bm → A → Em | IV–vi–V–ii |
| 06 · One — the build | Em → G → Bm → A | ii–IV–vi–V |
| 07 · The Chainsmokers example | G → A → Bm → A | IV–V–vi–V |
The arrows show order, not how many beats to hold each chord. Chord duration is one of the easiest things to change when you start writing.
Learn the five chords first
Every progression here uses some combination of D, Em, G, A, and Bm. You can play them on a keyboard or draw their notes into a MIDI clip. If chord progressions are new to you, our introduction to chord progressions explains how a sequence of chords supports a song.
| Chord | Notes | Number in D major |
|---|---|---|
| D major | D – F♯ – A | I |
| E minor | E – G – B | ii |
| G major | G – B – D | IV |
| A major | A – C♯ – E | V |
| B minor | B – D – F♯ | vi |
The two sharps matter. Use F♯ in D and Bm, and C♯ in A. Replacing C♯ with C turns A major into A minor and changes the harmony. The notes of D major are D, E, F♯, G, A, B, and C♯. B natural minor uses the same notes, with B as its tonal centre.
For a first pass, play each three-note chord with your right hand and its root with your left. On a piano roll, keep the triad in the middle register and put the bass note an octave or two below it. You can add octaves and rearrange the notes later. Niko’s screenshots include doubled notes and performance voicings; use the table when you want the simplest version.
Read from left to right. Stack the three labeled notes in each column to play that chord; the bright green note is its root. These are simple root-position practice voicings, using middle C = C4 (MIDI note 60). Your DAW may label that octave differently. Equal column widths show the order of the changes, not the timing or full voicings of Niko’s performance. On a phone, swipe across a chart or open it full size.
01. Don’t You Worry Child: give the phrase a longer arc
Niko’s Swedish House Mafia example · Watch the breakdown from 0:34
This example has six chord events, even though it only uses four different chords. That final D–G return is worth noticing: a progression doesn’t have to be a four-chord loop that resets as soon as it reaches the last chord.
Moving from A to Bm gives the opening an upward step in the bass. D and G then open out the phrase. Play the sequence slowly enough to hear the change from the minor Bm to the following major chords, rather than trying to copy the speed of the first demonstration.
A–Bm–D–G–D–G. Listen for the longer phrase and the returning D–G.
7.8 seconds · Piano excerpt from Niko’s lesson
Make it playable
Start with A–C♯–E, then B–D–F♯. Move to D–F♯–A, then G–B–D, and repeat that D–G pair. Learn the order with even chord lengths first. Once you can move without stopping, return to the recording and listen to how the performance groups the changes into a phrase.
Use it in a track
Try a longer breakdown instead of a short repeating loop. Keep the first pass sparse, then add a higher piano note on the returning D and G. You can make the phrase grow without introducing another chord. For a fresh melody, begin with a two- or three-note idea and change where it lands as the harmony moves underneath it.
02. Levels: let the last chord pull you back around
Niko’s Avicii example · Watch from 1:58
This progression moves through three major chords after its B-minor opening. Its final G shares two notes with Bm: B and D. That gives you a useful connection when the loop comes back to the start. The bass changes from G to B, while parts of the chord can stay in place.
Bm–D–A–G. Compare the final G with the return to B minor.
7.8 seconds · Piano excerpt from Niko’s lesson
Keep the movement small
Rather than jumping to a completely new hand position for every chord, try these upper voicings, reading each group from low to high: B–D–F♯ → A–D–F♯ → A–C♯–E → B–D–G. Put the roots B, D, A, and G underneath them. The top notes now move within a smaller area.
In a DAW, duplicate the loop and make a second version with short, offbeat chord hits. Use the same harmony and sound in both versions. Comparing them makes it easier to hear how rhythm changes the energy before you start layering more instruments.
03. The Middle: make three chords fill the space
Niko’s Zedd example · Watch from 2:42
This is a useful place to start if the four-chord patterns feel like too much to learn at once. It uses only major triads, with D between G and A. Niko also demonstrates a different melodic treatment around this part of the lesson: listen for how much the tune and phrasing contribute to the identity of the example.
G–D–A. Listen for the phrasing over only three chords.
9.7 seconds · Piano excerpt from Niko’s lesson
Three chords don’t mean three bars
Try a four-bar exercise: G for one bar, D for one bar, and A for two bars. That is a writing exercise, not a timing transcription of the song. In the second bar of A, change the melody or leave a little space so the longer hold feels intentional.
For a brighter sound, play the triads above the bass instead of bunching all the notes together near the bottom of the keyboard. For a softer version, shorten the chord attack, reduce velocity, and let the melody do more of the work. Major chords give you material to work with; the performance still decides much of the mood.
04. Apollo: compare a different order of the same four chords
Niko’s Hardwell example · Watch from 3:29
These are the same four chords as the “Levels” example, arranged differently. “Levels” goes Bm–D–A–G; this one goes Bm–G–D–A. Keep your piano sound and tempo identical and alternate between the two. You’ll hear the shape of the loop change even though its ingredients stay the same.
Bm–G–D–A. Compare its chord order with Levels.
8.7 seconds · Piano excerpt from Niko’s lesson
The Bm–G move lets B and D remain in place while F♯ rises to G. At the other end of the loop, A leads back to Bm when you repeat. You can make that return obvious with the bass, or keep the upper notes restrained and let a lead melody supply the lift.
Separate the progression from the original key
Niko briefly contrasts his easy-to-compare version with a version in the song’s original key. That’s an important production habit: learn the relationship between the chords, then choose a key that suits your vocal, instrument range, and bass sound. A familiar pattern doesn’t stop working when you transpose it.
Try sustained piano chords for the breakdown and shorter repeated chord hits for the build. Leave the progression alone for the first experiment. If the second version becomes more energetic, you’ve learned something useful about arrangement without adding any harmonic complexity.
05. Places: use E minor to change the ending
Niko’s Martin Solveig example · Watch from 4:34
“Places” brings E minor into the set. After G, Bm, and A, the Em ending gives the loop a different destination from the previous examples. It also connects neatly back to G because both chords contain G and B.
G–Bm–A–Em. Listen to the E-minor ending.
15.4 seconds · Piano excerpt from Niko’s lesson
Niko points out the mix of two major and two minor chords in this pattern. Treat that as a useful experiment rather than a formula for emotion. Tempo, register, melody, sound, and rhythm can make the same chord sequence feel intimate, restless, or forceful.
Hear what the final chord changes
Play G–Bm–A–Em, then replace only the final Em with D. Keep everything else the same, including the rhythm. Which ending gives your melody more room? Which makes you want to repeat the loop? That small comparison teaches more than adding extra chords at random.
For a more spacious house idea, keep the bass on the roots and use lightly broken upper chords. Let one note arrive slightly after the others. If you’re browsing for more harmonic starting points, the MusicCreator chord-pack collection gives you other patterns to study and reshape.
06. One: build tension without changing the chord set
Niko’s Swedish House Mafia build example · Watch from 5:44
This part of the lesson focuses on the build before the drop in “One,” rather than reducing the entire track to a single loop. Starting on Em changes the entry point, even though you’ve already learned every chord in the sequence.
Em–G–Bm–A. Listen to the repeated rhythmic treatment.
17.4 seconds · Piano excerpt from Niko’s lesson
Compare it directly with “Places.” G–Bm–A–Em becomes Em–G–Bm–A when you start the cycle on its last chord. On paper, that is a rotation of the same sequence. In a track, where you place the downbeat, the melody, and the bass accent can make the new beginning feel quite different.
Write two passes of the build
In the first pass, hold the chords and keep the highest notes quiet. In the second, repeat the same changes but shorten the note lengths and make the rhythm busier. Add a higher octave only where the phrase needs more lift. Compare the two at a similar listening level so extra volume doesn’t make the decision for you.
If the build starts to feel crowded, remove a layer before adding another. A rising melody and a clearer bass movement may do more than stacking several piano parts over the same chord.
07. The Chainsmokers: hear how one loop supports different hooks
Niko’s final example · Watch the introduction from 6:57
The bass rises G–A–B, then steps back to A. There are four chord events but only three different chords. That repeated A gives the loop a clear returning gesture without requiring a new chord at the end.
G–A–Bm–A. Listen for the rising bass and return to A.
8.3 seconds · Piano excerpt from Niko’s lesson
Niko uses “Closer,” “Something Just Like This,” and “Paris” to demonstrate related piano treatments in the final section. Listen to the upper line and the rhythm, not just the chord names. The demonstration is a reminder that a chord progression is only part of a song’s identity.
Compare the upper line and rhythm with the main Chainsmokers example.
10.7 seconds · Piano excerpt from Niko’s lessonAnother melodic treatment from the video’s final demonstration.
10.2 seconds · Piano excerpt from Niko’s lessonWrite your own top line
Loop G–A–Bm–A and improvise with just D, E, and F♯. On each chord change, listen for the note that feels most settled. Then add one other note from D major where the phrase needs direction. Keep your own rhythm and melodic shape instead of tracing the recognisable tune in the demonstration.
As another exercise, hold the final A for an extra bar before returning to G. Notice whether that pause creates useful anticipation or simply makes the phrase drag. The answer depends on what your melody and drums are doing.
Turn a piano progression into your own track
The following exercises extend the video’s chord demonstrations. Work through them with one progression before trying the next. You’ll make clearer decisions if you change one musical feature at a time.
1. Move the upper notes instead of jumping the whole chord
A chord voicing is the way you arrange its notes. Moving B–D–F♯ to D–F♯–B changes the spacing and lowest note, while keeping the B-minor chord tones. When a non-root chord tone is the lowest note of the whole chord, that is an inversion. If a separate bass still plays B underneath, you’ve changed the upper voicing while keeping B in the bass.
For Bm–G, hold B and D and move F♯ up to G. For G–Em, hold G and B and move D up to E. These small moves make a piano part easier to play and can help a pad feel more connected. Try the interactive examples in Ableton’s lesson on inversions if you want to hear the effect directly.
2. Give the bass and chords different jobs
Start with one low root note per change and a midrange triad. If the sound is muddy, move the triad up an octave rather than immediately reaching for an EQ. Leave room for the bass to define the bottom of the harmony. Once that works, try an octave bass or a short bass rhythm that answers the chords.
3. Change the rhythm before adding more notes
Make three versions: long held chords, short offbeat hits, and a broken chord that plays one note after another. Use the same sound and chord order. A progression that feels flat as block chords may become interesting when its rhythm leaves space for the drums.
Avoid making every note equally loud. Try a slightly stronger top note, a quieter middle note, and enough space between attacks that the piano doesn’t blur into a continuous wash. Start with deliberate changes; add small timing variations only if they improve the groove.
4. Add colour after the basic loop works
Try Dadd9 by adding E to D–F♯–A, or Bm7 by adding A to B–D–F♯. Listen against the melody before keeping either change. An added note can create a useful colour, but a dense chord isn’t automatically a better chord. If the hook is busy, a plain triad may give it more room.
5. Transpose the whole idea together
To move the “Apollo” pattern from a D-major reference to C major, keep vi–IV–I–V and use Am–F–C–G. On a MIDI piano roll, moving every note down two semitones makes that same change. Include the bass and any melody notes you intend to transpose, then check the instrument’s range.
MIDI gives you editable notes, not a recorded piano sound. You can try a new instrument while keeping the harmony, or edit the harmony while keeping the sound. Our guide to using MIDI packs walks through that workflow. Recorded piano samples are a different starting point: their performance and tone are already in the audio.
A 20-minute exercise to get past the loop
- Minutes 0–4: choose by ear. Play the seven short examples, pick one, and enter the basic chords into your DAW. Use a piano you already know.
- Minutes 4–8: smooth one transition. Keep a shared note between two chords or move a note by one step. Add a root-note bass beneath the loop.
- Minutes 8–12: write a small melody. Begin with three notes and a recognisable rhythm. Leave a gap in the phrase instead of filling every beat.
- Minutes 12–16: create a contrast. Duplicate the phrase. Change the chord rhythm, register, or density in the second version. Keep one version simpler.
- Minutes 16–20: make an arrangement decision. Put the two versions in sequence and choose where a drum entrance, bass change, or moment of silence belongs. Save a rough bounce so you have a piece of music to react to next time.
The aim is to hear what each choice does. Once you have a phrase with a clear beginning and a different second pass, you’re already making an arrangement rather than collecting chord loops.
Common questions
Which progression should I learn first?
Start with G–D–A if you want fewer chord shapes to remember. Start with Bm–G–D–A if you want to practise the contrast between a minor chord and three major chords. Choose the one you want to hear again; that makes practising it easier.
Are these examples in D major or B minor?
They use the shared notes of D major and B natural minor. This guide labels their chord numbers against D major for consistent comparison. The tonal centre you actually hear depends on emphasis, melody, bass, and where phrases come to rest. A loop starting on Bm doesn’t settle that question by itself.
Why doesn’t my piano sound like the video?
Check the notes first, especially C♯ and F♯. Then compare the register, octave doubling, note lengths, velocity, and pedalling or sustain. Niko plays performance voicings, while the starter table gives plain root-position triads. Both can describe the same chord.
Do I need paid MIDI packs to practise these?
No. Every basic chord is written out above, and you can draw the notes into a piano roll. A MIDI pack can give you additional material to explore and edit; it isn’t a prerequisite for the lesson.
Source: The TOP 7 EDM Piano Chord Progressions For Beginners And Experts, Niko Kotoulas, 11 May 2019. Screenshots and piano excerpts are taken from this lesson. Chord charts describe its teaching versions; added exercises are identified above.
