Let’s dive in.

The Beauty of R&B Piano: Rich Harmonies & Colorful Extensions

One of the reasons R&B piano sounds so lush is because of the harmonic possibilities available on the piano. While guitars, basses, and strings are beautiful, the piano allows you to layer rich chord extensions and create complex voicings.

At the heart of R&B harmony are:

• Major 7th chords
• Dominant 7th chords
• Chord extensions: 9ths, 11ths, and 13ths

These extensions add beautiful color and allow you to express a full range of emotion while still supporting the melody.

For example, try taking a simple major 7th chord and layering on a 9th or 13th. Suddenly, your chords start to sound full, sophisticated, and unmistakably R&B.

If you’re brand new to extended chords, check out our beginner’s guide to piano chords to get started.

Essential R&B Chord Progressions

Many R&B songs are built on common progressions. Eric demonstrates one of his favorites: the 4-3-2-1 walkdown.

For example, in the key of C major:

• Fmaj7 (IV)
• Em7 (iii)
• Dm7 (ii)
• Cmaj7 (I)

You can play these as simple major 7ths or experiment with voicings that add 9ths and other extensions for extra flavor.

Another cornerstone progression is the famous 2-5-1 progression (ii-V-I):

• Dm7 (ii)
• G7 (V)
• Cmaj7 (I)

Eric demonstrates different ways to voice these chords, including adding flat 9s, augmented 5ths, or altered tones on the dominant chord to create tension and resolution. This is where R&B harmony truly shines.

Want to master 2-5-1 progressions? Check out our 2-5-1 chord progression tutorial.

Playing In The Pocket: Timing & Groove

In R&B, how you play the chords is just as important as what you play.

Eric demonstrates three key approaches to groove:

1. On The Beat — playing precisely in time.
2. Behind The Beat — playing slightly late, giving a laid-back, “lazy” feel.
3. Ahead Of The Beat — playing slightly early, adding urgency and drive.

Mastering this subtle timing control is one of the secrets to sounding authentic in R&B. Eric encourages practicing these variations to build control and feel. Start simple, focus on your sense of time, and gradually add complexity as you get comfortable.

Practice Tips From Eric Wortham

• Experiment with voicings: Don’t be afraid to try different extensions and inversions.
• Focus on feel: R&B is all about groove and emotion.
• Practice timing: Use a metronome or backing track to explore playing ahead, on, and behind the beat.
• Listen to the greats: Study classic R&B recordings to internalize the sound.

As Eric says: “This musical language is very personal to us all. Take what I give you and keep seeking out other professionals and resources to develop your own voice.”

Take Your R&B Playing Further

If you want to dive even deeper into R&B piano, check out Eric Wortham’s full R&B Essentials course inside Pianote.

In the course, Eric breaks down:

• Essential R&B chords and scales
• Chord extensions and voicings
• Signature 2-5-1 progressions
• Playing “in the pocket”
• How to create your own rich, soulful sound

Whether you’re a complete beginner or an aspiring producer, this course will give you the tools to finally sound like the R&B pianists you admire.

Start your 7-day free trial and explore Eric Wortham’s full R&B Essentials course inside Pianote.

The post R&B Piano 101: Chords, Groove & Timing with Eric Wortham appeared first on Free Piano Lessons Online | The Note | Pianote.

That’s exactly what pianist and internet sensation Frank Tedesco does every day—he listens to strangers’ favorite songs and plays them back on the spot. Sounds like magic, right?

In this blog, we’ll break down Frank’s exact method for learning songs by ear on piano, using “All of Me” by John Legend as an example. Whether you’re a beginner or experienced player, this method will sharpen your ear, deepen your theory knowledge, and help you play your favorite songs faster than ever.

Step 1: Find the Key Using Intervals

The first step to learning any song by ear is finding the key signature.

Frank uses a “reference note” technique—he’ll hit a note like C before listening to the song, then compare what he hears in the song to that reference. In “All of Me,” he identifies the song’s key as F minor, based on hearing a perfect fifth interval.

Pro tip: Get comfortable with interval training. Each interval has a signature sound you can recognize with a bit of practice.

Here are some interval tricks Frank uses:

• Minor 2nd: Jaws theme
• Major 2nd: Happy Birthday
• Minor 3rd: Greensleeves
• Perfect 4th: Here Comes the Bride
• Tritone: The Simpsons theme
• Perfect 5th: Twinkle Twinkle Little Star
• Octave: Somewhere Over the Rainbow

Search tip: Try looking up “piano interval ear training exercises” to boost your recognition skills.

Step 2: Understand the Chord Progression

Once the key is established, Frank figures out the diatonic chords—the chords built from the key’s scale.

“All of Me” is in F minor, so he uses the relative major scale (A♭ major) to identify chords like:

• F minor (vi chord)
• D♭ major (IV chord)
• A♭ major (I chord)
• E♭ major (V chord)

These are all part of the A♭ major diatonic chord family, and they form the foundation of the song’s harmony.

Roman numeral analysis helps you identify common chord patterns that repeat across genres and keys. For example:

• I, IV, and V are major
• ii, iii, and vi are minor
• vii° is diminished (and less common in pop music)

Step 3: Use Bass Notes to Confirm Chords

After identifying the likely chords, Frank listens closely to the bass notes in the recording.

He focuses on the lowest note he hears and uses his interval skills to identify how the bass line moves. In “All of Me,” the bass moves from:

• F (root)
• Down to D♭ (a minor third)
• Up to A♭ (a perfect fifth)
• Down to E♭ (a perfect fourth)

Once you identify the bass notes and know your diatonic chords, matching them together becomes a logical puzzle!

Step 4: Find the Melody Using Intervals

With the chords in place, Frank turns his attention to the melody.

He doesn’t just hum and guess—he uses music theory to connect the melody back to the root note (F in this case). By recognizing intervals from the tonic, he maps out how the melody moves.

For example, in “All of Me,” the melody often starts on A♭ (a minor third above F), then descends down the scale. Knowing this, Frank can recreate the melody quickly with confidence.

Bonus Tip: Transpose Small Sections

Feeling overwhelmed?

Start small.

Pick just a short phrase of a song (like the first few bars of “All of Me”) and figure out:

• The key
• The chord progression
• The melody

Then try transposing it to another key. This strengthens your understanding of music theory and helps you internalize chord shapes and intervals.

Final Thoughts from Frank

“Learning by ear is super hard—but it gets easier with practice. Start with small sections, use theory to your advantage, and let your ears lead the way.”

There’s no shortcut to learning songs by ear, but with tools like interval training, Roman numeral analysis, and focused listening, you’ll be able to sit at the piano and play your favorite songs faster than you ever thought possible.

So go ahead. Pick a song, trust your ears, and get started.

Want More Lessons Like This?

Join Pianote and get access to video tutorials, guided practice tools, downloadable PDFs, and coaching from world-class musicians—so you can go from listening to playing in no time.

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The post How To Learn Songs By Ear on Piano appeared first on Free Piano Lessons Online | The Note | Pianote.

Whether you’re a beginner dipping your toes into jazz or a seasoned player looking to unlock more vocabulary, these techniques will help you get closer to the legendary Oscar Peterson piano style.

1. The Five-Note Lick That Sounds Like a Full Band

Oscar often used simple five-note patterns and turned them into dazzling runs across the keyboard.

Start with the F major pentatonic scale: F – G – A – C – D
Then, transpose this shape up a fifth to C, giving you notes that imply a C minor feel—like a blend of major and minor tonalities.

This creates a sound close to the F Mixolydian mode (a major scale with a flat 7), which Oscar used frequently.

Practice tip:

• Play the shape in “blocked” chords first to get comfortable.
• Then, run the lick across the piano in both directions.
• Add accents and dynamics to mimic Oscar’s powerful phrasing.

Bonus: Practice this lick over jazz standards like “Sweet Georgia Brown,” which moves through the circle of fifths—perfect for transposing licks in all keys.

2. Stride Piano: Oscar’s Left-Hand Secret Weapon

Before bebop, Oscar was rooted in stride piano, and it remained a strong element of his style—especially during solos.

The core concept: Alternate between bass notes and chords.

• Play the root and fifth in the left hand.
• Then, hit the full chord or tenths (F to A, or add E♭ for an F7 sound).

If your hands aren’t big enough to stretch tenths, break them up:

• Hit the bass note,
• Then the upper interval.

This stride technique was often showcased when the rhythm section dropped out, giving Oscar space to fill in the harmony and rhythm on his own.

Try it out: Walk up using F7 – Gm7 – G#° – F7 with a chromatic left-hand bass line for that rich, classic Oscar vibe.

3. The Hemiola Run: Rhythm That Plays With Time

One of Oscar’s signature rhythmic tools was using a hemiola-style lick—a rhythmic figure that crosses bar lines and creates tension.

Start with an F minor pentatonic scale (F – A♭ – B♭ – C – E♭). This is almost the same as the blues scale, minus one note.

Here’s what to do:

• Play the five-note shape in swung eighth notes,
• Repeat it cyclically without aligning it to the downbeat,
• Let the top note (F) land back on beat one after a few cycles.

This creates a hypnotic, off-kilter rhythm that eventually “resolves” back into sync.

The result? An ear-catching rhythmic pattern that sounds advanced, but is rooted in a simple pentatonic shape.

Practice Tips for Mastering Oscar Peterson’s Piano Style

• Use a metronome to stay grounded when practicing rhythmic licks.
• Take it slow—Oscar may have played fast, but he practiced even slower.
• Transpose ideas through the circle of fifths to build muscle memory.
• Mix and match these ideas with your own musical voice.

Remember: The goal isn’t to copy Oscar exactly—but to draw inspiration from his sound and let it evolve into your own.

Final Thoughts: Don’t Chase Perfection—Chase the Joy

As Jacob says in the video:

“There’s no one like Oscar. But you don’t have to be him—you just need to let his playing inspire you.”

Learning jazz piano is a journey. So give yourself permission to make mistakes, explore freely, and celebrate every step forward.

Let the music guide you—and maybe, just maybe, a little bit of Oscar’s magic will rub off on your own sound.

The post How to Play Like Oscar Peterson: 3 Signature Jazz Piano Techniques appeared first on Free Piano Lessons Online | The Note | Pianote.

Today, we’re diving into essential cinematic piano techniques—chord voicings, motion, arpeggios, and more. Let’s explore how to bring your piano playing to life with the magic of cinematic music!

1. Chord Voicing: The Key to Depth and Emotion

One of the simplest ways to elevate your playing is by adjusting chord voicings.

How it works:

• Instead of playing a basic C major chord (C-E-G) in a tight cluster, try spreading the notes out.
• For example, move the third (E) to a higher octave while keeping the C and G lower.
• This instantly makes the chord feel bigger, more open, and cinematic.

Try applying this to a basic chord progression:

• C Major → D Minor → E Minor → F Major → G Major → A Minor → B Diminished → C Major
• Experiment by moving notes within the chord to different octaves for a fuller sound.

2. Using Octaves to Create Power and Intensity

Want to make your chords even more dramatic? Play octaves!

How to do it:

• Instead of playing a full chord, play just the root and fifth (C and G for C major) in your left hand.
• Then, double the root in octaves in your right hand.
• Suddenly, your chords will sound powerful and orchestral—perfect for cinematic music!

Example:

• C Major: Play octave C’s in the left hand and octave E’s in the right hand.
• D Minor: Play D and A in the left hand and octave F’s in the right hand.

This technique works great for building tension before resolving to a softer moment.

3. Adding Motion: The Secret to Cinematic Drama

Cinematic music is all about motion—even simple chords can sound emotional if played dynamically.

Techniques for Motion:

1. Inner Voice Movement: While keeping the outer notes of a chord steady, move the inner notes up or down.
2. Broken Chords: Instead of playing a chord all at once, arpeggiate it—play the notes one at a time.
3. Dynamic Variations: Play softly, then build intensity by increasing volume and speed.

Example: Play C-E-G as an arpeggio, then move to D-F-A, adding small inner note movements.

4. The Power of Arpeggios

One of the most iconic cinematic techniques is arpeggiation—breaking a chord into a flowing, rolling pattern.

How to Master Arpeggios:

• Start with your left hand: Play C-G-C-E-G-E-C (up and down the chord).
• Slowly increase speed while keeping it even and controlled.
• Try both hands together for a lush, immersive sound.
• Experiment with different chord progressions for various moods.

This technique is essential for film scores, ballads, and dramatic pop songs.

5. Using Non-Diatonic Chords for a Cinematic Sound

Want to add mystery and unpredictability to your music? Use non-diatonic chords—chords outside the key.

Example Progression:

• C Major → G Minor → B♭ Major → F Major
• Suddenly, your music has unexpected depth and intrigue—a technique used by Hans Zimmer and other film composers.

Try adding a minor IV chord or borrowing chords from parallel modes to make your music feel more expansive.

Bringing It All Together

Now that you know these techniques, it’s time to practice! Start with a simple chord progression and experiment with:

• Chord Voicings for depth
• Octaves for intensity
• Inner Voice Motion for emotion
• Arpeggios for flow
• Non-Diatonic Chords for unexpected drama

If you want step-by-step guidance, real cinematic piano workouts, and lessons from world-class pianists like Jesus Molina and Jordan Rudess, try Pianote’s free 7-day trial. Click the link below to start your cinematic piano journey today!

What’s your favorite cinematic chord progression? Let us know in the comments!

The post Cinematic Piano 101 appeared first on Free Piano Lessons Online | The Note | Pianote.

1. Lick #1: The Rolling Blues

For our first lick, we’ll start with a classic blues sound using the notes E and G, A and C. The trick here is to approach the E with a fast “roll” using D, D#, and E. Practicing this roll first will help build confidence and smoothness. Place your fingers on E and G, then drop your pinky onto A and C to create that bluesy flair.

2. Lick #2: Grace Note Slide

This descending lick uses A and C and then E and G but adds a grace note slide to make it stand out. Grace notes are quick, leading tones that make your playing sound polished and intentional. With this lick, you’ll slide down between notes to add a professional-sounding “flourish.”

3. Lick #3: Descending Pentatonic with a Blues Note

This lick uses the major pentatonic scale but introduces a blues note for extra flavor. Start with C, A, G, and E, then cross over to Eb to add tension. By repeating this descending pattern, you create a steady groove that sounds complex but feels natural once you’re in the flow.

4. Lick #4: Minor Pentatonic with Blues Note

Switching to the minor pentatonic scale, we’ll add a bluesy twist by descending with a blues note. Use C, Bb, G, F#, F, and Eb to create a moody vibe. Practice alternating between your fingers to keep the notes fluid and give the lick a smooth, expressive quality.

5. Lick #5: Fast Triplet Run

This one’s a bit trickier, but it’s also a lot of fun! Start with a fast triplet run using C, Eb, and F and repeat this pattern six times. Then, descend down the minor pentatonic scale for a dramatic finish. You can play this with different fingerings (like 2-3-5 or 2-1-4) to find what feels most comfortable.

Putting It All Together

Once you have the licks down, try practicing them with backing tracks or improvising them into your own music. The more you use these licks, the more natural they’ll feel—and before you know it, they’ll be part of your signature sound.

Master these five licks, and you’ll not only improve your improvisation skills but also add a bluesy depth to your playing that’s sure to turn heads. Let us know which lick is your favorite in the comments, and have fun exploring the pentatonic scale!

Want to dive even deeper? Join us at Pianote, where you can loop and slow down sections of any lesson, perfect for mastering licks like these. Start a 7-day FREE trial for step-by-step practice and get access to lessons from some of the best piano teachers around.

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In this lesson, we’ll cover the four main types of passing chords and show you how to incorporate them into your playing to add color, emotion, and a touch of jazz. Let’s dive in!

1. The Leading Tone Passing Chord

A leading tone is a note that creates a sense of anticipation, making your ear yearn for the next chord. Imagine you’re moving from a C chord to an F chord. You can use a leading tone, like an E in your left hand, to create that feeling of “almost there!” before finally resolving to F.

Here’s how to do it:

• Start with your C chord.
• Use the E as a passing tone, creating a smooth transition into the F chord. The effect is subtle but powerful—it makes your progressions flow effortlessly.

2. Diminished Passing Chords

Diminished chords add a touch of tension, making the resolution even more satisfying. Let’s say you’re moving from G to A minor. Adding a G# diminished chord in between creates a lovely “crunch” that resolves beautifully.

To try this:

• Play a G chord, then move your thumb up by one semitone to hit G# diminished.
• Finally, resolve to A minor. You’ll feel the tension ease in such a satisfying way!

3. Secondary Dominants

One of the most powerful tools in jazz and pop music, secondary dominants take you momentarily outside the key, adding depth to your sound. Imagine you’re going from C to A minor. The “fifth” of A minor is E, so you’d play an E7 as a passing chord to make your way to A minor.

Give it a try:

• From your C chord, play E7 to add a bit of suspense.
• Then land on A minor for a smooth, sophisticated feel. Secondary dominants are a classic way to enrich simple progressions.

4. The 2-5-1 Progression

The 2-5-1 progression is a classic way to make transitions feel smooth and add a touch of jazz to your playing. This progression uses the second and fifth chords of your target chord to create a natural lead-in.

Let’s say you’re moving to F. In the key of F, the 2-5-1 would be G minor (2), C7 (5), and then F (1). Here’s how it works:

• Play Gm7, then C7 right before your F chord.
• This creates a beautiful, satisfying transition that feels seamless.

The 2-5-1 progression works well in jazz, pop, and other genres, adding depth to simple progressions. Try adding it when you want a smooth, expressive lead-in to any target chord!

5. The Tritone Substitution

Want to sound like a jazz pro? The tritone substitution might be your new best friend. If you’re moving to a C chord, play a dominant chord one semitone above your target note (in this case, C#7) before resolving. This chord creates an intriguing pull toward your target note, adding an unexpected layer to your music.

Here’s the breakdown:

• Identify your target chord.
• Go one semitone up and play a dominant chord (e.g., if you’re aiming for C, play C#7).
• Resolve to the target chord and hear how beautifully it leads in.

Try It Out!

Each of these passing chords has a distinct feel and brings its own color to your music. Practice using them in your favorite chord progressions and experiment with different genres. With passing chords, you’ll find it easy to elevate your sound and add personality to every piece.

Want to dive even deeper? Join us at Pianote, where you can loop and slow down sections of any lesson, perfect for mastering tricks like passing chords. Start a 7-day FREE trial for step-by-step practice and get access to lessons from some of the best piano teachers around.

Happy playing, and don’t forget to let us know which passing chord is your favorite!

The post How to Use Passing Chords To Sound Better appeared first on Free Piano Lessons Online | The Note | Pianote.

The 2-5-1 chord progression is an essential musical concept. It’s most common in jazz, but it can be found in pop, classical, and other styles of music too. Learning this musical building block will help you understand harmony and add creative flair to your playing, no matter the genre you choose.

What is the 2-5-1 chord progression?

The 2-5-1 chord progression (sometimes called the ii-V-I) is an ordered set of three chords built on the second, fifth, and first notes of the key.

Let’s take a step back and break that down. Here’s a C major scale. We’ll assign a number to each note of the scale:

Next, let’s build a chord on each note of the scale. To keep things simple, we’ll use triads for now. All we’ll do is stack thirds on top of each note. The chords we’ll end up with are called diatonic chords. Diatonic chords are chords that occur naturally on the C major scale.

Notice that some chords are major and some are minor or diminished. We can indicate minor (and diminished) chords with lowercase Roman numerals.

Now, let’s take the ii, V, and I chords. If we put them together, we get a 2-5-1 chord progression:

How to Make the 2-5-1 “Jazzy”

The 2-5-1 already sounds very nice, but we can add more depth to it by adding a seventh to each chord. This creates major and minor seven chords. Here’s an example in C major:

2-5-1 Song Examples

One way to get familiar with the 2-5-1 is to recognize it by ear. Here are some songs that use this handy progression.

How to Use the 2-5-1 Chord Progression

2-5-1s can be used to reharmonize songs. By throwing 2-5s into chord progressions, we can make a song sound “jazzier,” instantly elevating it from a basic performance to a sophisticated one. Here’s an example:

Reharmonizing “Happy Birthday”

In our Piano Bench episode, Kevin Castro demonstrates using 2-5-1s in major keys with an example from “Happy Birthday.”

The beginning of “Happy Birthday” is rather simple. All we do is bop between the I and V chords. In C major, that’s the C and G major chords.

Now focus on that last C chord. We’ll treat it as our “target chord” and use the ii and V of C major to approach it.

In other words, we’ll chuck in a 2-5-1:

Try this out on your piano. The ii-V adds a layer of richness to an otherwise simple progression, doesn’t it? This is a common reharmonization method that jazz pianists use, and it’s a cool trick to pull off in parties  

2-5-1s in Minor Keys

The 2-5-1 chord progression works similarly to minor keys. But let’s review the diatonic chords in a minor scale first. Here is the C minor scale with diatonic chords:

If we take the ii, the V, and the i from this set, we create this:

Notice that we raise the B-flat to a B on the V chord. That’s because raising the seventh note of a minor scale (B-flat in our case) creates a more resolved sound.

How to Practice 2-5-1 Chord Progressions

Ideally, you want the ability to spontaneously throw 2-5-1s into whatever music you’re playing. For example, if there is an Fmaj7 coming up, you can chuck a Gm7 (ii7) and a C7 (V7) in front of it.

Getting to this level requires practice. Kevin practiced 2-5-1s for three months until he got to this point. What he did was practice 2-5-1s in every key by moving down step by step. Here’s what that looks like:

Then, you’d start the cycle again on C#m7.

Cheat Sheet

Try not to rely on written notation when you practice 2-5-1s. It’s best to “calculate” the 2-5-1s yourself so you understand the concept.

However, having a cheat sheet can help in the beginning stages—if you want to double-check that you’re playing the right chord, for example. So, here are ALL the 2-5-1s in major and minor keys! Just try not to depend on this, okay?

Minor Keys

The post The 2-5-1 Chord Progression: Beginner’s Guide appeared first on Free Piano Lessons Online | The Note | Pianote.

In this lesson, we’ll lead you step-by-step through the process of learning a song by ear. We’ll show you the secret (hint: there isn’t one!) and that it’s much easier than you think.

The TL;DR? If you can hum it, you can play it!

“Sign of the Times” by Harry Styles

Our example song in this lesson is “Sign of the Times” by Harry Styles. You can listen to the song here:

This is a great song for beginners because it has very clear and distinct piano chords.

Step 1: Find the key

The first step in figuring out a song by ear is to find the key.

To do this, we’re going to use our ears to find the tonic. The tonic is the home note of a song. Usually, it’s the note the song ends on, and it makes the song feel resolved.

There are several ways we can do this. One way is to try different scales on top of the song we’re figuring out. Play through different scales until you find one that sounds good over the song. This is a trial-and-error process, so take your time!

Eventually, you’ll discover that F major fits over “Sign of the Times.” That means the song is in F major, and F is our tonic!

Step 2: Assemble your diatonic chords

Step 2 is the real secret to how experienced musicians figure out songs so fast. And it’s more to do with theory than really good ears.

We know “Sign of the Times” is in F major, so let’s take a look at the F major scale: F-G-A-Bb-C-D-E. Each of these notes has a chord associated with it called a diatonic chord, and you can find these chords by building triads on top of each note.

We’ll give each of these chords a number, like this:

Some chords are minor, and we indicate these with lowercase Roman numerals. We haven’t done anything special to these chords—all we’re doing is building triads using F major’s key signature (which is a single B flat).

So, these are your F major diatonic chords. Diatonic chords are chords that are found naturally in a scale, and they are a song’s building blocks!

Most pop songs are centered around the I, V, vi, and IV diatonic chords. The most popular progression in the world is I-V-vi-IV, and you can find this progression in songs like “Let It Be” (The Beatles) and “Someone You Loved” (Lewis Capaldi).

Step 3: Listen to the bass root movement

Here’s the final step: listen to the bass root movement. This means listening to the lowest note you can hear: the bass. Oftentimes in pop music, this note will tell you what chord is being played.

So, listen to “Sign of the Times” and see if you can pinpoint that lowest note in the first chord. Then, try playing F, C, D, or Bb (the I, V, vi, and IV) and see if one of these notes matches.

You’ll find that F matches the first chord. That means our first chord is F major! (That’s because according to our F major diatonic chords, a triad built on F in F major is an F major chord.)

Continue this process with the rest of the chords. If it sounds like the bass is moving down, try a lower note and chord. If it moves up, try a note or chord that’s higher in pitch.

Eventually, you’ll discover that “Sign of the Times” follows this progression: F-Dm-C-C.

Figuring Out the Melody

Now that you have your chords, there’s one more piece to the puzzle: the melody.

Figuring out the melody is mostly trial and error, but you can still use your theory knowledge to get a head start. Since we know that we’re in F major, think of the notes in the F major scale as the ingredients with which to build your melody.

Hum the melody and try to use your F major notes to play it on the piano. Being able to hum the melody is important; if you can hum it, you can play it! 

If you can hum it, you can play it!

Kevin Castro

More Tips

Playing by ear is a skill you can develop. But it takes practice. Here are more tips to get you going:

1. Start with an easy song. Some songs are easier to play by ear than others. Pop songs tend to have simple chord progressions and melodies with minimal movement. Avoid jazz and classical pieces as a beginner—they can be quite dense!
2. Know your song. If you can’t quite hum the melody yet, it means you don’t know the song well enough. Listen to the song a few more times until you can hum it. Playing by ear requires internalizing the music in your body.
3. Use technology. If you stream a song on YouTube, for example, you can slow a song down by 0.75x, 0.5x, or even 0.25x of the speed. Other software can even isolate instrumental parts!
4. Sing along. You don’t have to be an amazing singer, but being able to reproduce music with your body improves your ears. If you’ve ever wondered why jazz musicians scat along to their solos, this is why!

Overall, be patient. This is a skill that takes time! But it’s worth the effort. Sooner than later, you’ll be impressing your friends with your impeccable ear.

The post Playing the Piano By Ear in 3 Easy Steps appeared first on Free Piano Lessons Online | The Note | Pianote.

Piano Rhythm Exercises With Scales

The go-to way to practice rhythm is by using scales. Start with a simple, one-octave scale that you know well and don’t have to hunt the notes for, such as C major. Then, turn on your metronome and play the scale with a variety of note values.

Quarter Note Scale

Play your scale in quarter notes. Make sure to line your playing up with the metronome exactly.

Eighth Note Scale

Now play your scale in eighth notes. This means it’ll be twice as fast as the quarter note version.

Scale in Triplets

Now we’ll fit three notes (a triplet) into one quarter-note beat! This one is much faster, so you may want to practice one hand at a time first.

Sixteenth Note Scale

Our fastest scale exercise, this one will be twice as fast as the eighth note exercise. That means you’ll fit in four notes in the space of one quarter-note beat.

When it comes to playing the faster subdivisions, emphasizing the downbeat can help keep things organized.

Try challenging yourself by playing all these rhythms in one go. Then, try playing other scales and at a faster tempo!

Piano Rhythm Exercises: Patterns

Practicing scales is helpful, but it’s even more helpful (and likely more fun!) to practice rhythm patterns that you’ll encounter in songs. Here are popular rhythm patterns that every pianist should know.

The Pop Pattern

As seen in: “All of Me” by John Legend

This is a very common pop song pattern that you can apply to any chord progression. The tricky part here is playing on the “and” of the second beat. Start slow and count out loud—it helps!

Offbeat Pattern

As seen in: “The Scientist” by Coldplay

This is another pattern you can use to practice those offbeats! Our right hand will be playing straight quarter notes, but our left hand will play between.

Polyrhythm Pattern

Our final and most challenging pattern involves polyrhythms: that means your hands will be playing different meters in each hand!

In this polyrhythm, you’ll play three times with your right hand in the space of twice in your left. You can count 1-2-3 and sync that with your right hand or count 1-2 and sync that with your left—whichever feels more intuitive to you. It may also help to draw lines on the sheet music so you can see where the notes line up.

Sped up, this rhythm sounds really good in 12/8 with a drum track.

We hope you have fun practicing these rhythms! If you need more help, Pianote has a handy practice-along feature to help you master rhythm fast. Check it out with a free trial.

The post Piano Rhythm Exercises to Improve Your Sense of Rhythm appeared first on Free Piano Lessons Online | The Note | Pianote.

In this post, we’ll break down the theory behind the hit song that went viral — from social media to public street pianos.

This is the genius behind Yiruma’s “River Flows In You.”

The Melody

Let’s talk about the melody first. The melody tells the story.

Listen to those first two notes: do they sound familiar? Check it out…

The melody kind of sounds like Beethoven’s “Für Elise,” doesn’t it? Now, I’m not saying that Yiruma copied Beethoven…but I’m not not saying that either! As Picasso said, “Good artists borrow, great artists steal.” There’s obviously something very compelling and memorable about “Für Elise,” so it’s not surprising that both it and “River Flows In You” are so popular!

Good artists borrow, great artists steal.

Pablo Picasso

Pay attention to that minor 2nd interval…it creates a sense of tension and longing, adding emotional depth to the piece. In the intro, you can hear how the melody holds back a bit, building anticipation. And right after the first theme is introduced, there’s this deliberate empty space where the D lingers, held out with a fermata.

This is a great example of the importance of space. Good music isn’t just about finding the right notes; the space between the notes can be just as important. Less is always more in Yiruma’s songs.

The music is not in the notes, but in the silence between.

Wolfgang Amadeus Mozart

Notice how the melody is played very freely at the start. This is on purpose! It’s almost like we’re holding back (imagine the first timid feelings of falling in love). Then, as the piece progresses, our melody gains confidence and intensity. We start to hear arpeggios, short scales, and more intense rhythms, mirroring the growing passion of a new romance.

But no matter how intense it gets, we always come back to the original theme, grounding the entire piece. Because if we break down the melody even further, we’ll notice that despite the many sixteenth-note runs, we are still essentially targetting the same notes: A-A-A-G#. These are the same notes targeted in the opening theme.

Decorating a simple theme with ever-fanciful fills makes this song simple and memorable, yet sophisticated and beautiful at the same time.

The Chord Progression

This song is built on a vi-IV-I-V chord progression. (In our A major key, that’s F#m-D-A-E). You can find this progression in a lot of popular songs, such as “Despacito” (Luis Fonsi), “Apologize” (One Republic), “Hello,” and “Im Yours” just to name a few. You can also find it in the minimalistic piano music of Ludovico Einaudi, proving the progression’s versatility and appeal across genres.

F#m – D – A – E
vi – IV – I – V

There’s a big debate over whether “River Flows In You” is classical music or pop music. Well, I would argue it has the appeal of pop music colored by the influences of classical music.

Let’s see how this chord progression works its magic through its main appearance: as arpeggios.

Yiruma’s Arpeggios

Yiruma incorporates both simple and more advanced arpeggios. For the F#m chord, Yiruma goes root-fifth-root with an F#-C#-F# arpeggio. This is a power chord with a nice open sound. Then, during more intense moments, the F# arpeggio starts lower in the bass, adding intensity and richness to the sound.

Yiruma adds an interesting twist to the D chord by using a D-A-E arpeggio (as opposed to the expected D-A-D arpeggio if we’re following F#m’s pattern). This expands the chord a tad, giving it a more spacious feel and adding a layer of complexity.

For the A chord, Yiruma targets the third note of the chord by playing an A-E-C# arpeggio. The E chord also targets the third with its E-B-G# form. Which is exactly what Beethoven uses in his second left-hand arpeggio in “Fur Elise”!

Why “River Flows In You” Is So Popular

Whether you love “River Flows In You” or think it’s been overhyped, there’s no denying the viral success and global admiration for the song among piano players.

So, how did this all happen? The song was originally released in Yiruma’s 2001 album First Love. Then, it gained attention when it was unofficially adopted by Twilight fans as “Bella’s Lullaby” before the film franchise composed its own version.

Then, “River Flows In You” received another bump in fame when piano players (re)discovered the instrument during the Covid-19 lockdowns, using their time inside to learn this beautiful yet accessible piece. Finally, “River Flows In You” is a popular song to play on public street pianos, further spreading the love.

What makes Yiruma’s hit so magical is that it’s simple enough for late-beginner piano players to learn, yet beautiful and impressive at the same time. It doesn’t sound like a beginner piece. Yiruma found the perfect mix between complexity and simplicity to turn a four-chord song into a masterpiece.

The post Why River Flows In You Is So Popular: Theory Breakdown appeared first on Free Piano Lessons Online | The Note | Pianote.

Now, jazz piano isn’t easy! But it sounds so good and is so rewarding. We want you to get excited about playing jazz piano, so this lesson is suitable for anyone, even folks new to piano.

How to Play Jazz Piano: Lesson Resources

You can download the exercises we’ll use in this lesson right here:

Pianote Members can also download the lead sheet to “Satin Doll.” If you’re not a Member yet, no problem! Here’s a seven-day trial just for you:

Swing Rhythm

Rhythm is an essential part of jazz. While classical and pop music tend to follow a “straight” rhythm, jazz rhythm is swung. This means you linger a little on a beat.

So, if a straight rhythm goes like this:

1 + 2 + 3 + 4 +

A swing rhythm goes more like this:

1… + 2… + 3… + 4… +

You can think of this as playing long-short, long-short, etc.

The easiest way to understand swing is to feel it. Listen to some jazz and move with the beat!

For the theory nerds, what we’re essentially doing is playing two eighth notes like the first and last note of a triplet. You can also think of it as a quarter note followed by an eighth note in the space of a triplet.

Try playing the C major scale in a swing rhythm. Here’s a C major scale in repeated eighth notes with fingering.

The 2-5-1 Chord Progression

Another pillar of jazz piano? The 2-5-1 chord progression.

This is a chord progression built on the second, fifth, and first notes of the scale. So, if we’re in C major, we build chords on D, G, and C and apply C major’s key signature to them. When we do this with seventh chords, we get:

Dm7 – G7 – Cmaj7

The easiest way to transition between these chords is by using inversions. Try this:

Need a little more time? The 2-5-1 chord progression is a core jazz concept and is worth extra practice. If you’re new to chords and chord progressions, check out these lessons:

• The 2-5-1 Chord Progression: Beginner’s Guide
• Ultimate Guide to 7th Chords
• Chord Inversions, Explained

Comping Rhythm

A comping rhythm is a rhythm you play with your chords to accompany a song. Here’s a classic jazz comping rhythm you can use with your 2-5-1 progression. Notice we play the first chord of the measure on the “and” or off-beat.

This is just one example of a comping rhythm. There’s an infinite variety of comping rhythms you can play on the piano. Try making up your own, or listen to your favorite tunes for some inspiration. You can also get inspiration from your rhythm section if you’re playing with a group.

Lead Sheets

If you’re used to playing sheet music arrangements for solo piano, lead sheets may look a little different! But they’re quite simple to read.

A lead sheet shows the melody of a song and chord symbols where chords change.

The most straightforward way to play a lead sheet is by playing the melody with your right hand and the chords with your left. It’s usually a good idea to master this basic way of playing before you add fancy stuff like improvisation and reharmonization.

Reading Chord Symbols in Lead Sheets

Reading lead sheets requires some knowledge of chord symbols. We have an in-depth cheat sheet/guide, but here’s a quick rundown of what common chord symbols mean:

Learn more about different types of 7th chords here.

How to Get Lead Sheets: Most lead sheets are copyrighted and will cost a few dollars, but you can download them online through sites like Sheet Music Direct, Musicnotes, or Musescore. You can also buy a Real Book, which is a compiled “bible” of the most popular jazz standards.

Applying These Techniques to “Satin Doll”

In this lesson, you’ve learned some neat jazz skills. Specifically, you’ve learned how to:

• Swing
• Play the 2-5-1 chord progression
• Use a comping rhythm with your chords
• Read a lead sheet

Now let’s put these skills towards learning our first jazz standard: “Satin Doll” by Duke Ellington.

Step 1: Learn the melody

First, get to know your right-hand melody. There’s some tricky counting in this song because there’s a lot of syncopation, so if you get stuck, try breaking the rhythm into smaller units. You’ll notice that we land on some notes on the off-beat (the “and”). In jazz, we call this a push.

Step 2: Learn the chords

Before we put our hands together, get your left-hand chords solid too. Practice transitioning between the chords and if you’re using inversions, practice those.

Step 2B: Get to know your 2-5-1s!

You’ll notice that there are a few 2-5s in this song. They are:

• Dm7-G7
• Em7-A7
• Am7-D7
• Abm7-Db7

Practice transitioning between these chords. You’ll find 2-5-1s everywhere in jazz (“Autumn Leaves,” “Summertime,” “Fly Me to the Moon” etc.), so being able to play these shapes in your sleep will go a long way!

Step 3: Put your hands together

Next, put your right and left hands together. This requires some skill in hand independence, so if you’re a beginner, it will take some time. But you’ll get it, we promise! It just takes practice.

Step 4: Practice…and get to know the song

At this point, you’ve got the basics and it’s time to have fun.

Remember that comping rhythm we learned for the 2-5-1 progression? Try using that with “Satin Doll.”

And when you’re ready, try improvising over the form.

The wonderful thing about jazz is that you can take a simple melody and make it your own. The lead sheet to “Satin Doll” may look simple, but there is so much you can do with it. To get inspired, look up expert jazz pianists playing their own take on the song. For example, watch how Oscar Peterson uses rhythmic variety, dynamics, scales, glissandos, tremolos, and more in his rendition.

Happy practicing!

The post How to Play Jazz Piano for Beginners: Learn These Skills First appeared first on Free Piano Lessons Online | The Note | Pianote.

“Wish You the Best” – Sheet Music and Chords

We’re proud to offer fully notated sheet music for “Wish You the Best” to our Pianote+ Members! We have both a version for pianists who want to sing and play at the same time, and a version for those who just want to play solo piano.

Due to licensing rules, we can only offer sheet music to Members. But if you’re not a Member yet, you can still access the sheet music by signing up for a free trial. Just click the button below.

You can then use our Practice-Along feature, slow down tricky bits, and loop areas for extra practice.

Otherwise, you can play along with our free tutorial video. In this song:

1. The main chords are E♭, B♭, A♭, and Cm. These are your I, V, IV, and vi chords.
2. You’ll also encounter wild card chords that add tasty tension to the song. These are A♭m and Bdim.

“Wish You the Best” – Intro

We’re in E-flat major, which means we have three flats: B♭, E♭, and A♭. The intro is fairly simple: it’s all about rocking between the E♭ and B♭.

On our left hand, we’ll play E♭ in the bass. This is the tonic (first) note of E-flat major. In other words, home base!

Verse

The verse is similar to the intro, but it’s got a little more stuff thrown in.

We’re still doing the E♭ – B♭ rock, but sometimes we throw a D in there.

On our left hand, we play a I-V-vi-V-IV progression. That’s E♭ – B♭ – Cm – B♭sus4 – A♭sus2. You can play these as chords or just the root note.

The second time we play the verse, we add even more notes: F and G. The piano part starts to match what Lewis is singing more closely.

Chorus

In the pre-chorus, we start with the vi chord in the form of Cm7 and end on an A♭sus2 chord. This suspended chord has such an interesting, dreamy sound because it omits the third, which makes it sound neither major nor minor.

During the chorus, accompany your right hand with left-hand octaves. This will make the song sound a lot bigger and grander. If you can’t stretch into octaves, play fifths instead.

The right hand is based on the same rocking motif, but we build on it by adding more melody. A good way to learn all these changes (and to develop your ear training!) is to just listen to the song very closely and hear where the notes go up or down. You can also play the music video on YouTube and set the speed to 0.75x, 0.5x, or even 0.25x.

Then…we end on a truly beautiful chord: Abm/Cb.

This is a minor iv chord in first inversion, and it does so much to the mood of the song. Which shows how small tweaks to basic chords can make a big impact.

Bridge

The bridge takes everything you’ve learned and pulls the intensity up a few notches. We even get a Bdim chord which adds a lot of extra tension!

If you can, try to play octaves in this section! It’ll make a big difference. Playing forte (loud) will also help establish this part of the song as the climax. 

For more contrast, play the verses and the last part of the bridge very softly, and the chorus slightly louder. Then, when the first part of the bridge arrives, give it your all!

About the Song “Wish You the Best”

If you’ve watched the music video for this song, you’ll know what we mean when we say it’ll pull your heartstrings. The music video is based on the true story of Greyfriars Bobby, a 19th century terrier who stood guard over his master’s grave for 14 years. You can watch Lisa and I (we’re both dog owners!) react to the video and analyze our first impressions of the song.

If you enjoyed this tutorial, make sure to check out some of our song tutorial favorites:

• “Someone You Loved” – Lewis Capaldi
• “Someone Like You” – Adele
• 3 Easy Coldplay Intros

The post How to Play “Wish You the Best” by Lewis Capaldi appeared first on Free Piano Lessons Online | The Note | Pianote.

1. Clocks
2. The Scientist
3. Everglow

Clocks

The opening to “Clocks” is one of the most recognizable Coldplay riffs of all time. It’s maybe the riff!

While it can sound complicated, the intro is just three chords in various inversions. If you’re new to inversions, check out our lesson on the topic here.

Your right and left hands will play the same notes, just with different fingering. Here’s a tip: lift the pedal when you switch between the chords. This will help prevent the riff from sounding too muddy.

The Scientist

The opening chords to “The Scientist” have such a unique and tasty flavor! You play them and listeners of Coldplay will instantly know which song you’re about to launch into.

On your left hand, you’ll play the root notes of each chord as a driving bass. Your right hand, meanwhile, will play the chords in different inversions. Listen to that Fsus2 chord…doesn’t it sound so nice?

The rhythm is pretty straightforward in this one, and to make it more interesting, try playing the downbeats in your left hand slightly louder than the offbeats.

> What Are Sus Chords?

Everglow

“Everglow” is probably my favorite out of all of these. It’s such a pretty song! The timing is a little tricky, and there’s more melody in this one, but we’ll break it down slowly in the video.

If you’re using sheet music and you find counting the rhythms challenging, try writing in the beats. Break everything down into its smallest components (like “1 e and a 2 e and a…”). For more support, check out our lesson on how to count complicated rhythms on the piano.

For those who prefer a more intuitive approach, just listen to the song a lot and think of the words of the song as you play.

I added a little riff that’s not part of the original studio recording but, I believe, connects the parts of the song very well.

We hope you enjoyed this tutorial! If you liked this lesson, you may like these ones too:

• How to Play ANY Pop Song on Piano
• 5 Easy Songs to Sing and Play on Piano
• 3 Easy Beatles Piano Songs: Chords & Tutorials

The post 3 Easy Coldplay Intros: Play Like Chris Martin! appeared first on Free Piano Lessons Online | The Note | Pianote.

What is the blues?

The blues is a musical style developed by Black American descendants of enslaved people. Elements of the blues include the 12-bar song structure, the blues scale, swing rhythm, improvisation, and “blue” notes.

While blues music isn’t exactly mainstream today, it is an ancestor to many of today’s most popular music genres including jazz, RnB, rock, country, and soul. We wouldn’t have the radio music we enjoy today without the blues!

A Brief History of the Blues

The blues as a musical style has its roots in the 1860s, around the time slavery was outlawed in the United States (the 13th Amendment was passed in December, 1865). While many people associate the blues with slavery, it is actually more reflective of the freed descendants of slaves and their experience. Themes in early blues music ranged from farming woes to stories about folk heroes standing up to discrimination.

Today, major piano players associated with the blues include Fats Domino, Ray Charles, and Jerry Lee Lewis.

Why learn how to play blues piano?

The blues is a great genre to learn even if you don’t plan on becoming a blues player! Even classical players can learn a lot from practicing the blues. Here are a few reasons why this is such a great genre for beginners of all styles:

• Relatively easy to sound good. With a consistent and simple chord progression, you don’t need to know complicated chords to sound great playing the blues.
• Consistent and standard. The 12-bar blues structure and chord progression is a standard, which means once you learn it, you can join spontaneous jam sessions. A great example of this is the scene from Back to the Future when Marty McFly calls a song. His backing band plays “Johnny B. Goode” even though they’ve never heard of it!
• Hand independence. The blues is an excellent exercise in hand independence, one of the trickiest and most important skills for new piano players. Check out our lesson on how to use blues rhythm to practice your hand independence.
• Fun! While we associate “the blues” with sadness, a lot of blues music is actually cheerful and fun.

All right, listen, this is a blues riff in B. Watch me for the changes and try to keep up, okay?

Marty McFly from Back to the Future

Elements of Blues Music

So what makes the blues, the blues? Well, there are several characteristics that most blues songs have in common.

12-Bar Blues Structure

One of the most important elements of blues music is the 12-bar blues structure. The basic form of this structure is quite consistent, though different artists may throw their own variations into it.

Here’s the general chord progression expressed in the number system:

In G major, these would be the chords:

Sometimes, the last chord will be a V chord and serve as a turnaround to repeat the form from the beginning.

> Check out: Play 12-Bar Blues Like Ray Charles

How to Play Blues Rhythm

An essential component of blues music is rhythm. In blues, we swing our rhythm, which means we linger just a tad longer on beats. So, instead of counting “1 and 2 and 3 and 4 and,” you can think of it as counting “1…and 2….and 3…and 4…and.”

You can also pair your blues progression with a rock shuffle. Keeping a swinging rock shuffle going in your left hand while your right plays riffs and runs can be challenging. Which is what makes the blues such an excellent practice tool that’s also fun to play.

How to Play Blues Scales

To add some melody to your 12-bar blues, you can experiment with notes from the major and minor blues scales.

The major blues scale has the following major scale degrees: 1, 2, ♭3,♮3, 5, 6. The flat notes are sometimes called the “blue notes.” Here’s the major blues scale in G:

But when people talk about the blues scale, most of the time they mean the minor blues scale. You can think of the minor blues scale as being built on the following minor scale degrees: 1, 3, 4, ♭5, 5, 7. That’s just the same thing as the minor pentatonic scale with an added ♭5. You can also think of the minor blues as being built on the following major scale degrees: 1, ♭3, 4, ♭5, 5, ♭7. Here is the minor blues in G:

You can play either the G major or minor blues scales on top of the G major progression we introduced above. They both work! Experiment with different combinations of major and minor scale notes to come up with blues riffs of your own.

> Master the Blues Scale on Piano

Basic Blues Techniques

A few simple licks can make your playing even bluesier. Watch this 10-minute lesson or keep reading for some examples in G major.

Important: Don’t slide all the time. I know it sounds cool, but it can be overdone. Keep it sparse—that’ll ensure the slide retains its coolness!

• The B♭ in the Riff 1 pattern is the flat third of G major
• The E♭ in the Riff 1 pattern is the flat third of C major
• The D♭ in the Riff 2 pattern is the flat fifth of G major

Triplet Pattern

Finally, we can use that same rapid triplet pattern in Riff 2 to play bluesy fourths. Here’s what it looks like with an extra slide.

Now that you have your blues ingredients, it’s time to put your own spin on things. Play as many variations as you can think of! Here are some ideas to get you started:

• Play in different octaves
• Make up some rhythms
• Try syncopation
• Mix and match different rhythms—a whole note chord once in a while sounds good too!

Blues Piano Songs to Learn Next

Now that you have the blues basics down, try learning a few classics.

Tutti Frutti – Little Richard (1955)

More blues piano lessons:

• 3 Blues Piano Riffs That Anyone Can Play
• Blues Chords Made Easy
• The Best Blues Bass Line for Piano

The post How to Play Blues Piano: Beginner’s Guide appeared first on Free Piano Lessons Online | The Note | Pianote.

In this lesson:

1. Rhythm Changes
2. Descending Minor 9ths
3. 2-5-1 Cycle
4. Free Download

To get the most out of this lesson, you should already be familiar with 7th chords, inversions, diatonic chords, and the number system. If this lesson feels too advanced for you, check out these related foundational lessons first:

• How to Play ALL Piano Chords: Major, Minor, 7ths, Extensions
• Piano Chord Inversions, Explained
• All About Piano Chord Progressions
• The 2-5-1 Progression: Beginner’s Guide

Rhythm Changes

Our first progression is named after George Gershwin’s “I Got Rhythm.” You can also find it in popular jazz standards like “Rhythm-A-Ning” (Thelonious Monk), “Anthropology” (Charlie Parker/Dizzy Gillespie), and “Cotton Tail” (Duke Ellington). 

Now, the original Rhythm Changes is 32 measures long because it has several repeated parts. Over the years, many variations of this progression have appeared. But at its core, Rhythm Changes consists of the following A section and B section progressions:

Section A:
I⁷ – vi⁷ – ii⁷ – V⁷
In C major: Cmaj7 – Am7 – Dm7 – G7

Section B:
iii⁷ – V⁷/ii – ii⁷ – V⁷
In C major: Em7 – A7 – Dm7 – G7

In standard notation, the progression looks like this:

Section B is basically the Circle of Fifths progression. If you look carefully, it’s a pattern of descending fifths.

You may notice that we use A7 instead of Am7 (C major’s diatonic vi chord) in Section B. This is called a secondary dominant (V⁷/ii). The A7 is the dominant 7th chord of the next chord (Dm7) and has a stronger pull towards that chord. 

If you want to get a feel of how this sounds, check out our friend and Pianote Coach Sangah Noona jamming to “I Got Rhythm”:

Ready for to take things to the next level? Try playing this progression in a syncopated comping pattern with a chromatic walking bass line. Here’s one example of what you can do:

Descending Minor 9ths

Next up we have a beautiful minor chord progression. This progression sounds gorgeous because of two things: 1) a chromatically descending bassline; and 2) minor 9th voicings.

When we talk about 9ths, 11ths, and 13ths, these are called chord extensions. You can think of them as extending the chord more than an octave. The 9th interval sounds so nice because, by being further from the root, it adds just the right amount of tension without being too dissonant. 

You can hear this progression at a transitional point in the B section of the jazz standard “Autumn Leaves.” Hear Sangah Noona play it here.

2-5-1 Cycle

Finally, we have the building block of jazz: the 2-5-1 progression. You’ll find this little progression everywhere, and not just in jazz. Maroon 5’s “Sunday Morning” is also a cycle of repeating 2-5-1s!

It’s important to know your 2-5-1s in every key so that you can throw them into improvisation at will. In the lesson video, I’ll go over a voicing pattern that’s easy to transition through. Basically, on our right hand, we play a root position ii⁷ chord, a second inversion V⁷ chord, and a root position I⁷ chord.

For a more in-depth discussion on the 2-5-1, how to practice it, and how to use it in your jazz improvisations, check out our lesson and Bench episode here. We’ve also included a cycle of descending 2-5-1s you can practice in the free resource below. This practice lists 2-5-1s in six keys. To find the 2-5-1s in the remaining six keys, start the cycle a semitone higher (Ebm7-Ab7-Dbmaj7).

Free Download

For an easy reference to these chord progressions in C major, download our sheet music resource for free:

Pianote Members can also use the Practice-Along feature in the Members Area to loop these progressions. That’s the best way to learn how to play jazz—loop a progression and solo over it! If you’re not a Member yet, here’s a free trial, just for you!

The post Top 3 Jazz Progressions for Piano appeared first on Free Piano Lessons Online | The Note | Pianote.

In this tutorial, I’ll teach you how to play the original and a slightly simplified version of the song.

The Beginner Version – Theme & Chords

We’re in E major, which means we have four sharps to work with: F#, C#, G#, and D#. There are also some accidentals to keep in mind.

The main theme of the song is essentially four eighth-note patterns in the right hand. They create a glittery, shimmery effect reminiscent of the song’s music video.

Our easier take on the song uses just triads in the left hand as accompaniment. If you like chords, you can think of the song as moving through an Amaj – G#m – Gaug – F#m – Emaj7 progression.

The Original Version – Hands Together

The original version requires us to play eighth-note patterns in both hands, and each hand will play its own pattern!

Our left hand will basically outline the chords (Amaj – G#m – Gaug – F#m – Emaj7). You can think of the pattern as bottom-middle-top-middle-top-middle.

Practice your right and left hand patterns independently first. Putting them together is the tricky part and might take more practice! It looks easy, but having each hand play its own unique pattern is a brain workout.

Which is why this song is the perfect hand independence exercise! Plus it sounds super pretty

Playing Tips

Here’s some practice tips to help you along:

• The hand positions in this song are quite close together, so watch your posture and try to stay relaxed.
• Always practice slowly at first!
• Practice those transition points—that is, transitioning from chord to chord and pattern to pattern. Isolate these areas instead of practicing from top to bottom all the time.

And remember, have fun!

The post “Golden Hour” (JVKE) Piano Tutorial appeared first on Free Piano Lessons Online | The Note | Pianote.

1. “Married Life” Piano Sheet Music
2. Up Main Theme and Accompaniment
3. Middle Section
4. Ending

“Married Life” Piano Sheet Music Download

Looking for the sheet music for the Up theme? Pianote Members can download the full piano sheet music in our Members Area, complete with chord symbols and fingering. If you’re not a Member yet, don’t worry! Here’s a free trial just for you.

Up Main Theme and Accompaniment

Quick reminder: we’re in the key of F Major, which means that by default, all Bs are played with flats. Do pay attention to accidentals, however, as this piece has quite a few.

Left Hand Comping

It may be helpful to learn the left-hand part first because it will anchor us to the beat. The left hand accompaniment pattern is a standard waltz rhythm, 1-2-3 1-2-3. Practice these chords and comping rhythm a few times to get the hang of it.

Right Hand Melody

The right hand melody (main theme) starts on a few pick-up notes, which means we don’t begin on the on-beat. If it helps, break down the counting into eighth notes (1 + 2 + 3 + ) and write this down on the sheet music. You can even draw lines on the sheet music to match up the left and right hand parts.

BEHIND THE AWARD-WINNING MELODY: The much acclaimed theme from Up was written by composer Michael Giacchino. Giacchino, who won an Academy Award for his work on the film, shares that the secret behind the music’s success was its repetitive yet varied use of the main theme. The theme starts off upbeat and optimistic, but as the trials and tribulations of marriage inevitably happen, more complex harmony, different orchestration, and other changes in the theme’s mood portray this complexity.

Middle Section

Quite a lot happens in the middle section of the song. So take things slow if you need to.

High Notes

You’ll notice an “8va” symbol with some dotted lines. This means to play the right hand notes under the lines an octave higher.

There’s a little run at measure 41 that looks complicated because there are so many accidentals. But this is just a chromatic scale. Think of it as hitting all the white and black keys between the beginning and end notes.

The first scene that I did in the movie was ‘Married Life’ and it was a very complicated theme. You need to follow this very emotional story. The thing about it is, as we were recording it everyone’s crying each time we did it! You look at a scene like that and you see that this is something that we’re all gonna go through in our lives. It really gets you thinking beyond just the fact that you’re watching a Pixar movie. That emotion naturally went into the scoring of it, for me, anyway.

Michael Giacchino (Empire)

Ending

As the song progresses, things slow down. The 1-2-3 waltz rhythm turns into 1-2, then dotted half notes, and then tied dotted half notes. This part of the song is all about expression. If you’ve seen Up, this is the part of the montage when everyone cries! So pay attention to dynamics, play your pianissimos as softly as possible, and be delicate with those high notes.

We hope you enjoyed this tutorial on “Married Life”! If you’d like more lessons like this, be sure to check out our Song Tutorials section for free tutorials and resources. Members can also access a wide variety of downloadable sheet music in our Members Area song library, and play along with our Practice-Along feature.

The post How to Play “Married Life” (Theme from “Up”) on Piano 🎈 appeared first on Free Piano Lessons Online | The Note | Pianote.

“Christmas Time Is Here” was written by jazz pianist and composer Vince Guaraldi and producer Lee Mendelson. The version we’ll teach here was arranged especially for Pianote by Kevin Castro. You can find the sheet music in our Christmas Songbook. And if you’re a Pianote+ Member, you can download the sheet music in the Members Area. Not a Member yet? Check out the community (and download some sheet music!) with a free trial, just for you

Guide to “Christmas Time Is Here” Piano Chord Types

If you’re a beginner at reading chord charts, the chords in “Christmas Time Is Here” may seem intimidating. But don’t worry, we’ll break them down here!

The “7” chords are dominant 7th chords. This means the distance between the root note and top note is a minor 7th interval. So, Fmaj7 would have the notes F-A-C-E because F-E is a major 7th interval. On the other hand, F7 would have the notes F-A-C-E♭ because F-E♭ is a minor 7th interval.

Why “Christmas Time Is Here” Is So Iconic

Jazz isn’t as popular as it used to be, but many sources praising the legacy of “Christmas Time Is Here” point to how the song is perhaps the one jazz tune most people know. Part of the reason why the song remains so popular is because so many people (of multiple generations) grew up watching the Peanuts Christmas TV special. There’s a nostalgic atmosphere in the jazz tensions of the song that, together with the children’s choir, gives the song an unpolished yet wholesome atmosphere.

“Christmas Time Is Here” may also be popular because it’s a little somber. The song isn’t as rambunctiously joyful as, say, “Joy to the World” or “We Wish You a Merry Christmas.” And despite Christmas being commercialized as a happy holiday, many people relate with the reality that the holidays can be complicated. Charlie Brown struggles to find the true meaning of Christmas in the movie, and not everyone has a simple Christmas. Nevertheless, many audiences find comfort and contentment in Guaraldi’s simple melody and (not so simple) chords.

The post “Christmas Time Is Here” (Charlie Brown Christmas) Piano Tutorial appeared first on Free Piano Lessons Online | The Note | Pianote.

We have the full sheet music available in the Members Area of Pianote. If you’re not a Member yet, here’s a seven-day free trial just for you!

1. Intro and Verse
2. Instrumental and Bridge
3. Chorus and Ending

Skyfall Intro and Verse

This song is so epic because it’s instantly recognizable from the intro.

We’ll open with a majestic Cmadd9 chord, then hop into the main theme on the piano. The right hand chords are quite simple, but the left hand dotted rhythm can be tricky to sync up with. Writing out the counting and breaking it down into eighth notes and sixteenth notes can help. So might drawing lines to align the notes.

The verse is very similar to the intro. We’ll play a similar pattern under the vocals, but the right hand chords change a bit. A few extra notes are added, and these notes evoke that iconic James Bond sound. Pretty clever songwriting!

Once you practice this section, try playing it with the backing track. Your chords will sound incredible against the orchestra.

Instrumental and Bridge

The instrumental section has some large and majestic chords. You can roll into the chords if they’re too tricky for small hands. There’s also a nice little wink to the iconic James Bond theme. 

More big chords will greet you in the Bridge. Some of these slash chords may sound tense and crunchy because we’re playing notes in the bass that fall outside the chords. But don’t worry—the dissonance will resolve!

Chords Review!

If you need a refresher, here are what chord symbols mean in a nutshell:

• “Add” Chords (ie. Cmadd9): Add the ninth note from the root to the existing chord stack
• “Sus” Chords (ie. Gsus4):Replace the middle note of the G major triad with the fourth note from the root
• Slash chords (ie. Cm/D): Play a Cm chord with your right hand and play D in the bass with your left
• Dominant 9th chords (ie. F9): Add the ninth note from the root to the existing dominant 7th chord stack

MORE ABOUT CHORD SYMBOLS

Chorus and Ending

The chorus may look a tad complex, but don’t worry—all it is is breaking up the chords. The added eighth notes may even make synchronizing the left and right hands easier. 

On the last Cmadd9 chord, we recommend adding your own creative flourish by improvising over it! If you’re new to improvising, just take the notes in Cmadd9 and play them in whichever order or octave you’d like. Have fun with it. There are no right or wrong answers!

Again, we recommend playing along with the Adele track to get your playing up to speed. Pianote Members can also use the Practice-Along feature in the Members Area. Have fun playing this James Bond theme on piano!

The post “Skyfall” (Adele) – James Bond Theme Piano Tutorial appeared first on Free Piano Lessons Online | The Note | Pianote.

Recognizing chords by ear is similar to recognizing intervals by ear: build an association between a chord and a song, then practice listening to and hearing that sound. Better yet, practice the chords in all twelve keys.

If you’re new to chords, make sure to check out our lesson on diatonic chords before you get started on this lesson. We’ll divide this lesson up into two main categories: diatonic chords and non-diatonic chords.

1. Diatonic Chords
2. Non-Diatonic Chords

How to Identify Diatonic Chords By Ear on the Piano

Diatonic chords are chords that appear naturally in a scale. So, if we take the C Major scale, then stack triads on top of each note, we’ll end up with the following diatonic chords:

I – V

Bonus: Learn how to play “Someone Like You” here!

I – vi

The vii^o

How to Identify Non-Diatonic Chords By Ear on the Piano

Diatonic chords sound pleasing to the ear, but break the rules and wander outside of the established key and things can sound very interesting. Here are some chords outside the scale that you can add to your vocabulary.

The I – II

The I – v

Bonus: Learn how to play “Clocks” here!

Bonus: Learn how to play “Hey Jude” here!

Remember, practice makes perfect! Listen to music intentionally, practice your chords and progressions, and listen to yourself too. The more you practice and listen, the easier it will be to identify chords by ear.

The post How to Identify Chords by Ear on the Piano appeared first on Free Piano Lessons Online | The Note | Pianote.