![]() ![]() You will use your hand as a ruler to find the intervals, rather than reading both notes. If you can’t yet find intervals up to an octave by feel at the keyboard, now is the time to learn. Then you can find the other note based on the interval away from the anchor note. ![]() You only have to “read” or “name” one pitch, what I call the “anchor” note, which can be either the bottom or top note depending on which is more musically important. Then, if you’ve got two-note chords, you have it made. Head over to Teoria and drill yourself until it’s second nature. If you can’t yet look at a pair of notes and name the size and quality of the interval (e.g., major third), you have some work to do. Instead, think of every note’s relation to another member of the chord, that is, its interval. The absolute wrong way to read a chord is to read off each note one by one. Here are three tips for tackling them, fast. I wonder if that’s how pianists feel when, after playing single lines, they face an explosion of chords - three, four, five or more notes all at once.Ĭhords can be overwhelming, especially when dense and complex harmonies are involved. These courses offer efficient, straight-line development to get you where you want to be as a musician.There’s an “uh-oh” moment in the Matrix movies when Agent Smith, a deadly fixture of the computer-generated world, multiplies himself into an entire army of Agent Smiths. If you could use some instruction and help in developing your piano chords and/or melodies, Fluent Piano can help! Each course – FP Chords and FP Melodic – will help develop these exact skills. When this happens, your technique allows you to fluently express nearly any musical idea you can conceive. The key here is to develop both chord and melodic skills so completely that you can switch without thinking about it. ![]() Along with the left hand, my right hand will typically outline the chords in some way, but it flows in and out of chords and improvised melodies. To test this, try singing your improvised melody at the same time you play it! Approach 3: Piano Chords + Melodies The key is to know the different scale notes so well that you know what they will sound like before you play them. If you outline the progression in your left hand, your right hand is free to improvise melodically all around the scale. Just because chords are indicated in the music doesn’t mean you have to stick to chords in your right hand. I stuck with my usual root-and-fifth, or root-fifth-octave approach, regardless of what I was doing with my right hand. It’s important to note that my left-hand approach did not change with any of the options. In this song, I did play most or all of the chord at first, then repeat whatever note my thumb played in rhythmic alternation with the left hand notes. My chords-approach took on a different form in “Great Are You Lord.” This song is in 6/8 meter and more rhythmic. This creates rhythmic opportunities without simply arpeggiating the chord. While playing “Holy Spirit,” I accomplished this by playing less than the full chord (just a note or two) at first, then filling out the chord with the other notes later in the measure. One option for playing in between chords is to play rhythms with chord tones. In the latest video, using the songs “Holy Spirit” and “Great Are You Lord,” I outlined three possible approaches: chords-only, improvised melodies, and chords plus melodies. The question has to do with filling the space, adding rhythm and interest to the performance. An audience member recently emailed me to ask, “How do you know what to play in between piano chords?” ![]()
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