One good way to start is to memorize the “Circle of Fifths,” which shows all the major diatonic major keys and their related minor keys. [1] X Research source
Start with a basic scale and arpeggio exercise book, such as Charles-Louis Hanon’s The Virtuoso Pianist. You can also find lots of scale and arpeggio exercises for free online.
Once you master the triads, you can experiment with building more complicated chords. For example, add the seventh note above the root chord to create a seventh chord. In the key of C, a basic seventh chord would consist of the notes C, E, G, and B. You can also create other interesting sounds by inverting the chords, or playing the notes of the chord in different orders. For instance, you can invert the A minor chord A-C-E by playing C-A-E instead.
The chords in diatonic progressions are numbered using Roman numerals according to the position of each root note on the scale. For instance, if you’re playing in C major, the I chord is the C tonic triad (C-E-G). Minor chords are numbered with lower-case roman numerals (i, ii, iii, etc. ). One common chord progression you might encounter is I-IV-V-I.
For instance, you might see “C” or “D7” written over the melody line. The lead sheet shows you what basic chords to use and where the chord changes happen, but the notes of the chords aren’t written out for you. Experiment with playing different inversions, breaking up the chords into individual notes, or even changing the chords completely!
As you’re getting comfortable with the chord chart, try playing the chords along with the musical track or singing the lyrics while you play. This will help you figure out the feel of the piece and the best timing for the chord changes.
For instance, if the first measure starts with a C chord, you could accompany the melodic notes in the right hand with a run of quarter notes in the left hand, such as C-E-G-C. Walking bass lines work especially well with jazz and blues melodies.
For example, if there’s an F♯ in the melody and you’re in the key of D, you could add a D or A under the F♯ in the right-hand melody line.
For example, you might try going up at the end of a measure where the melody originally dips down, or incorporating a run of notes from a scale.
For example, you might start with a key that has no or relatively few sharps or flats (black notes), such as C, A minor, G, or E minor.
For instance, an I-V-vi-IV progression has an “optimistic” sound, while vi-IV-I-V sounds more somber or “pessimistic. ” These are both variations on the same popular progression, but they have 2 distinct moods. Experiment with building on the basic chord progression you choose. For example, if you’re using vi-IV-I-V, you might go from vi to IV and back to vi again before moving on to I. You can also repeat a chord a few times before transitioning to the next one.
Try building the melody using notes from one of the chords in your progression. For example, if you’re playing in A minor, you might start with a simple lick that goes “E-E-C-A”.
For example, E-E-C-A consists of the fifth, third, and root notes of the A minor chord. To play this lick over the C chord, change it to G-G-E-C.
Try to repeat your main phrase occasionally to keep the melody cohesive. For example, you might repeat it at least once every time you do a chord change.
As you keep practicing, you’ll eventually get a better idea of what works and what doesn’t.
