Exploring Chord Voicings: A Journey Beyond the Basics

It’s fascinating how the lessons we learn early on can quietly become unquestioned truths—especially when they come from someone we admire. Their method becomes the method, and slowly, our understanding gets encased in routine. It feels secure. Familiar. Even sacred. Until something shakes that foundation.

For me, that “stone” was how I understood chords on the piano. Triads had three positions. Seventh chords had four. End of story. I practiced them. I used them. I taught them. But somewhere along the way, I stumbled into the concept of chord voicings—and everything changed. The possibilities didn’t just expand; they exploded. Suddenly, what had felt like rigid architecture became fluid artistry. My playing became more nuanced, more expressive… more me.

The real shift wasn’t in technique alone—it was in mindset. I had unknowingly placed boundaries around my creativity, and voicings gave me permission to redraw them. It’s a reminder that musical growth isn’t just about gaining new skills—it’s about shedding old limits.

✨ Here’s something worth trying:

🧠 The next time you sit at the piano, take a moment. Pause before playing. Let the silence invite curiosity. Ask yourself: “Is there another way?” That simple question could be your key to transformation. You might discover a new texture, a fresh emotional color, or a voicing that resonates more deeply than anything you’ve played before.

Because what we play is only part of the story.
How we think about playing—how willing we are to challenge our habits—is where real growth lives. That’s the heart of artistic evolution. And that’s something worth celebrating.

So let your time at the piano be more than practice. Let it be discovery. Let it be freedom. Let it be a reflection of your voice, evolving one question at a time.

Beginner Piano Course: Instant Results Day One

A personal invitation to those who’ve always wished music could feel simple, soulful, and theirs. This is not your average beginner piano course.

A Quiet Dream, a Persistent Feeling

Cocktail Piano Confidence Kit If you’ve ever walked past a piano and felt something stir—something between curiosity and longing—then you already know. That feeling of “maybe… if things were simpler… I could play.”

I created the Cocktail Piano Confidence Kit for exactly that. Not for trained musicians or theory buffs. But for those who dream quietly of music that flows from instinct, not instruction.

The Problem With “Learning the Right Way”

Most beginner piano courses start with theory, notation, and rules. They build walls before doors. You’re taught to wait for freedom—to earn it through drills and worksheets.

But consider this: we all learned our native language by speaking it first. We didn’t learn grammar before expression. We simply spoke. And it worked.

Music can be the same way.

The Missing Ingredient: Trust

After years of teaching, experimenting, and reflecting, I realized most people don’t need more information. They need trust—trust in their own ears, fingers, and musical instinct.

And trust isn’t built through busywork. It’s built through action. Through playing. Through experiencing music as a conversation rather than a test.

What the Cocktail Piano Confidence Kit Actually Is

This isn’t a traditional piano course. It’s a handful of short, purpose-driven videos that get you playing immediately—no music reading, no theory tutorials, no fluff.

Learn how to use simple triads to improvise cocktail-style piano
Discover how just one chord can unlock an entire mood
Skip the PDFs—every second respects your time and energy

If all you take from it is one shape, one sound, one flow—you’ll still make music that surprises you.

Why I Created This

I’ve watched too many learners quit because they thought music wasn’t for them. That unless they followed the “real” process, they didn’t belong at the piano.

That narrative? I reject it completely.

I built this kit for the student I once was—the one who wanted to play, not pass exams. The one who wanted to make something beautiful before they understood why it worked. The kit is me reaching back and saying: you don’t have to wait anymore. Music is ready when you are.

A Note About the Free Video

Yes, I’ll send you the first video lesson for free if you want to try it. But this isn’t marketing—it’s generosity. A way to let the course speak for itself. To show you what happens when you let go and just play.

If that one video lights something up in you—I’d love to hear about it.

Who This Is For

You’ve never read music—and maybe don’t want to
You’ve always wanted to play piano, but thought it was too late
You’ve tried learning, got overwhelmed, and quietly gave up
You want to make beautiful sounds without needing permission from a theory book

If that’s you—I made this for you.

What You’ll Learn

How to improvise using simple triads—no theory required
How emotion drives sound more than rules ever could
How to create cocktail-style patterns that sound like you’ve played for years
How to trust your hands—and hear something worth listening to

You’re Already Musical

If you’ve read this far, you’re already musical. That impulse—that wonder—it means something’s alive in you already. You don’t need credentials to validate it. You just need a starting point that feels real.

The Cocktail Piano Confidence Kit is that starting point. Not comprehensive. Not overwhelming. Just honest, joyful, and ready when you are.

Try the First Video, Free

Play one chord. Watch one video. Feel something new.

Let me send it your way:

What Beginners Are Saying

“I never thought I could play without reading music. But this course made it possible. I feel like a musician already.”

– Emily T., Las Vegas, Nevada

Your Musical Voice Begins to Speak

Let music speak through you—note by note, feeling by feeling
Remix and explore familiar progressions as creative raw material
Blend sounds naturally and discover unexpected ideas as you play
Shape expressive solos that reflect your personal style at the keyboard
Transform improvisations into printable creations using the Sound Recipe tool
Shift from playing notes to inventing music that feels beautifully yours

Play Piano with No Experience: The Day Mike Stepped Into Music

🎹 One Afternoon, Everything Changed

If you aspire to play piano with no experience, let Mike’s story serve as inspiration. One quiet afternoon, he walked into my studio with a bold request. After a brief introduction, he explained that he had an upcoming company meeting at a hotel—and he knew there was a piano waiting in the lobby. His dream? To sit down and play something that would turn heads.

He didn’t want to fake it. He wanted the real thing.

And here’s the twist: Mike had no experience playing piano whatsoever.

🎵 Starting with Simple Chords

We booked a lesson. When Mike arrived, we shared a few light words about his goal, and then I had him sit at the piano.

I introduced him to a few basic triads—easy major and minor chords that form the foundation of countless songs. We added a little movement, some arpeggios, and I let him explore what those chords felt like under his fingers.

Then we added the sustain pedal. Suddenly, these chords weren’t just shapes—they were music.

Within that first session, Mike was playing simple progressions and arpeggios that sounded smooth, deliberate, and expressive. His eyes lit up. He smiled like someone hearing a secret language he didn’t know he already spoke.

✨ The Power of Momentum

Over the next few lessons, Mike’s confidence grew. He wasn’t chasing virtuosity—he was building a musical moment. And each step made him more excited about his meeting. He envisioned sitting down in the lobby, letting a few chords ripple across the keys, and giving his colleagues a performance that sounded seasoned and sincere.

But the real win? It wasn’t about impressing anyone. It was about proving something to himself.

When Mike realized he could play piano with no experience, it opened a door that had always seemed locked. He didn’t need to master scales or read sheet music. He needed a framework, a little guidance, and the permission to play without judgment.

✅ What Mike’s Story Teaches Us

Playing the piano is not reserved for the gifted few—it’s accessible, forgiving, and full of possibility.

You don’t need years of lessons to sound musical. A handful of chords, played with intention, can be captivating.
You don’t need to know theory to create emotion. Pedal use and pacing bring life to even the simplest shapes.
You don’t need perfect technique to move an audience. You only need the courage to start.

Whether you want to play in a hotel lobby, at home, or in front of loved ones—you can play piano with no experience and still sound amazing.

🌱 Starting Is Everything

If you’re thinking, “I’ve always wanted to play, but I’m not musical,” let Mike’s story prove otherwise.

Your fingers already contain the rhythm. Your ears already understand feeling. You don’t need perfection—you need permission.

Start with:

Basic chords: major and minor triads are your gateway.
Arpeggios: break the chord into a cascading series of notes.
The sustain pedal: let those notes breathe.

That’s all Mike had. And it worked.

🗝️ Let Go of Judgment, Embrace Joy

Mike wasn’t trying to be the next jazz legend—he just wanted a musical moment he could feel good about. He got that, and more. And so can you.

Playing piano is as much emotional as it is technical. If you can release the self-judgment, open your curiosity, and allow yourself to experiment, the piano will respond. It will teach you as you go.

No experience? No problem. Let your first chord be your starting line.

🎶 Ready to Begin?

You’re closer than you think. Want to experience how good playing piano with no experience can feel?

I’ve crafted free lessons built around this very idea—starting simple, unlocking expression, and helping you create something real.

👉 Tap into the joy of playing with no pressure, no judgment, and no need for prior training. It’s all waiting at the keys.

Easy Way To Make Music At The Piano

No Reading Necessary!

Piano Chords Video & Guidebook I want to put it on the table right away so there is no misunderstanding. It is not my intention to minimize the benefits of reading music. The ability to read music opens you to an entire world of wonderful possibilities.

That said, let’s be real. Based on my over four decades of teaching people, I know for a fact that there are lots of people out there who never even gave themselves permission to enjoy themselves tickling those ivories because they saw “the need to read” as an obstacle to overcome. They let that stop them from having fun getting involved with what could be an absolutely terrific, fulfilling hobby. I also think it’s accurate to say that most of these people are not aware that some of the most outstanding musicians of our time never learned to read music.

When an adult with absolutely no experience enters my studio, getting them to learn how to read music is the least of my concerns for the time being. The main goal is to get that individual to express himself or herself in a musical way as soon as reasonably possible. Most of the time, within about 20 minutes, these people become intrigued by the possibilities in front of them.

Expressing Yourself Is Natural

Remember this: you expressed yourself verbally before you could read or write your language. When you were hungry, you learned quickly how to cry for food. When you were thirsty, your instincts made it easy to get your message across.

Making music can be the same way… and it ought to be.

A most delightful way to enjoy quick results at the piano or keyboard is to explore your harmonic possibilities. Harmony can be simply defined as two or more notes played together that sound good. A chord can be easily defined as harmony that consists of three or more notes played together that sound good.

So, friend, if you want to start enjoying yourself at the piano without knowing how to read a note of music, start having fun learning chords. Chords are where it’s at!

A Quick Way To Have Fun With Chords At The Piano

I put together a very informal, easy-to-understand video and guidebook that makes learning your basic chords so easy, it’s almost funny. It doesn’t require shipping. As with everything in our online store, you can gain instant access to it. It’s called Piano Chords 101 and you can click here to start having fun with playing chords right away. Yes, I mean within minutes, not hours.

You see, there is something about even just playing chords on the piano that is satisfying. I believe that we were put on this planet to live in harmony. So it makes sense that producing harmony is a very natural, rewarding experience.

Sure, once you learn those chords, you’ll soon be in touch with creative things you can do with them. Actually, that video described above will get you started playing chords in a creative way. There is no time like the present to begin making music… let that time be now.

Beginners Blues Piano: Non-Theory Lesson #4

Our Blues Piano Journey Continues

If you have followed this mini-series in sequence, you used Lessons #1 and #2 to become acquainted with three specific chord structures referred to as voicings. You are playing these voicings with your left hand.

In addition, you are playing these blues piano chord voicings in the context of a very specific chord progression. This chord progression consists of 12 measures. Throughout time, this 12-measure chord progression has been commonly referred to as the basic 12-bar blues form.

The terms we have assigned to the various elements of the blues might be called a kind of “theory” in itself. However, we haven’t really talked about any particular aspect of music theory that you need to make an effort to remember. The real value is in the doing rather than remembering. From the beginning, it has been our intention to focus on getting you in the act of playing without getting bombarded with theoretical stuff to remember.

You Are Playing “Pro” Chord Voicings

In Lesson #3, we took a good look and listen to how these chord voicings are used in actual playing situations. These two “musical giants” made terrific music as they engaged in a wonderful dual performance of the blues. A key point here is that much of what each performer was playing with the fingers of his left hand is exactly what we have been focusing on.

These three voicings that you have been familiarizing yourself with are often referred to as “stock” voicings, meaning they are commonly used by the pros time and time again. Like stock, they are always available to be “pulled off the shelf” when needed. In other words, you will use these voicings so many times that you’ll be able to immediately play them without thinking about them!

Repetition Breeds Familiarity

Yes, again, you want to be able to play them without thinking about them. This is a good reason that we have not been in any great hurry to go beyond getting quite used to having fun with playing these three left-hand voicings again and again. In addition, playing them in the context of the 12-bar blues will also become second nature to you.

It will serve you well to embrace the truth that it’s not how much you know but what you do with what you know that leads to wonderful results.

A Tiny Little Adjustment

We are still going to take things slowly at this point. However, we can “get our feet wet” with taking things one step further. I would like you to consider exercising that imagination of yours.

You see, rather than dictate what your next steps are (as in telling you what to play), I would like you to make some fun choices of your own. It’s really very important that you don’t judge your performance at all. Just allow yourself to explore, okay?

We will get to that in a few moments. Below, I have provided a short keyboard animation. The animation demonstrates my playing of this 12-bar blues form utilizing the three blues chord voicings that we have been playing with my left hand. While I am doing this, I am also playing a right-hand improvisation.

For the first few times viewing and listening to this, place your focus again on what is being played with the left hand. Of course, the three lowest keys being played are these voicings. See them and hear them in the context of the 12-bar blues form.

I would like to point out one tiny little difference in this 12-bar blues chord progression that I am playing. As you watch and listen, do you notice that I interrupted the first four measures of the C9 chord by playing the F13 once in measure #2?

Compare this with the 12-bar blues form we played in Lesson #2:

|| C9 | F13 | C9 | C9|

| F13 | F13 | C9 | C9 |

| G13 | F13 | C9 | C9 ||

This isn’t anything intimidating at all since we are not playing anything new. We are just inserting the F13 that we already know in measure two to replace the C9.

What do we accomplish by doing this?

Up to now, as you played through the first four measures of the blues form, perhaps you have already felt as though playing that C9 chord voicing for four measures in a row seemed a little more repetitious than you would have liked.
If so, your feelings have been shared with many blues professionals throughout the decades.

This four-measure phrase really invites this temporary interruption. It really keeps the momentum going. Please take this opportunity to listen once again to Oscar Peterson and Count Basie playing the blues and you will notice that they are indeed playing that F13 in measure #2 also!

You’ll hear this particular version of 12-bar blues form played often as you listen to more and more blues players. Is this always the case? No. It’s a choice and dependent on the choice of the composer or performer.

The Right-Hand Dance

Okay, let’s get back to your having fun with making some choices. I want you to approach this with an accepting attitude. Make it fun… Blues Piano Improvisation

Let’s take a look at what’s going on with that right hand in the video animation above. You’ve noticed that, as the left hand plays those voicings you have familiarized yourself with, the right hand is playing something a little “bluesy.”

Go ahead and take specific notice to just a tiny segment of that… any little part of it. Just choose a few notes that appeal to you… maybe two, three, or four. While at your piano or keyboard, play those few notes with your right hand as you play through the 12-bar blues chord progression. Even as you change the voicings with your left hand, it’s okay to keep playing those few notes with your right.

Take your time with this. Remember, having fun applying yourself to what’s being described is where the value exists for you.

What are you noticing? There is no wrong answer to this. Your perception is correct and just fine. Just play and listen. The idea is to play, listen, and have fun with this. Perhaps you are noticing that when you play the right-hand notes while changing chord voicings with the left hand, you experience something quite interesting. You are putting yourself in touch with some different sound textures. This is a significant part of playing the blues!

Keep playing. Don’t think. Just do.

The video above is actually the beginning excerpt of a special half-hour session that I created. If you would like to experience the entire video, you can gain instant access to it by visiting here. I think you’ll experience something positive as you follow along with it.

Keep on playing through the 12-bar blues form with those left-hand voicings as you allow your right hand to explore a little. Don’t judge. Just play… listen… smile… play… listen… smile… enjoy… soak it up… love it… appreciate every sound that your fingertips produce. You’re doing great!

As you continue, you will be inspired to make some different choices for those right-hand fingers to play. Follow through as we have described. Enjoy the choices you make. Make some more! You are beginning to improvise!

Would you like to really get a grasp on blues piano concepts in a way that is tailored to you? Here’s how

Beginners Blues Piano: Non-Theory Lesson #3

Blues Piano Lesson For Beginners If you have taken yourself through lessons #1 and 2 of this little series, you are playing the 12 Bar Blues progression with your left hand much like a pro player might approach it. By the way, if you ever hear anyone use the term “12 Bar Blues Form,” that person is referring to this progression that you now know how to play. This 12 measure progression is the basic 12 measure blues form played again and again by so many of the greats.

I would like to devote this particular message to encouraging you to appreciate what you have accomplished up to this point. Please practice playing those chord voicings with your left hand as you become more and more confident with doing do.

In the meantime, I feel that it might serve you well to listen to two master pianists playing the blues. I’m referring to the excellence of Oscar Peterson and Count Basie as they both play a fantastic rendition of blues piano that anyone can look up to..

As a matter of fact, this video footage shows, when the camera was at just the right angle, that some of the chord voicings that each of them is playing with his left hand coincide with the exact same chord voicings that you using at this point:

<div><a href="https://youtubeembedcode.com/pl/">youtubeembedcode.com/pl/</a></div> <div><a href="http://add-link-exchange.com">ww://add-link-exchange.com</a></div>                 
You’ll notice that both Oscar and The Count are enjoying themselves tremendously as they exchange looks of mutual appreciation. You’ll benefit by allowing some of that to “rub off” on you… learn to fully appreciate yourself and your musical journey!

Yes, each of these accomplished pianists are putting their right hand fingers to great melodic and improvisationand use, too. You’ll be doing that also. However, let this be a time to enhance your appreciation of blues music. Really put yourself “in synch” with the feel of it. Notice how both Oscar Peterson and Count Basie “soak up” every beat as they live in the moment.

How you feel about yourself and what you play is far more important than how many notes you play. Please remember that. Learn to apply this truth during your early stages of playing. In short, make it a habit of feeling good about yourself.

As you watch this performance over and over again, see if you can pinpoint when the chord voicings that you are playing are exactly what either Oscar or The Count is playing.

We will be having some fun with that right hand, too. Just remember the priority: feel your music and appreciate YOU.

Would you like to really get a grasp on blues piano concepts in a way that is tailored to you? Here’s how

Beginners Blues Piano: Non-Theory Lesson #2

Let’s Do Some Name Calling

Blues Piano Lesson For Beginners You are reading this because use either you “stumbled” on this page OR you have taken yourself through Part 1 of this lesson. Welcome!

Okay, you have that left hand playing those chord voicings shared earlier. In addition, you have become somewhat comfortable with playing them in the sequence suggested:

Position #1
Position #2
Position #1
Position #3
Position #2
Position #1

Instead of referring to these structures as “Positions,” let’s be a little more specific by calling them what they actually are. Again, “why’s” of all this can be cleared up at another time. you are even welcome to email me if you would like an explanation.

Again, we’re not getting hung up with the theory behind this. All you need to do is associate the symbol with the position. In a similar way, if you know a person by their name like “John Smith,” you recognize that individual by what he looks like and you call him by name. You can treat these chord voicings in the same manner.

Position #1 is a chord voicing for a C9 chord voicing :

C9 chord voicing

Position #2 is a chord voicing for an F13 chord voicing:

F13 chord voicing

Position #3 is a chord voicing for a G13 chord voicing:

G13 chord voicing

Take a few moments to play each of these voicings. As you play each one, call “him” by his name: C9 (say “C nine”), F13 (say “F thirteen”), G13 (say “G thirteen”).

You are doing Awwwwwesome!

Welcome To The World Of Chord Progressions

Next, simply play these chord voicings in the order suggested earlier:

C9
F13
C9
G13
F13
C9

Here’s a brief clip of my demonstrating them, referring to them by their corresponding names:

There is a good reason why you have been asked to play these three chord voicings in that certain order. When we progress from one chord to another, we call that a chord progression (makes sense, right?). That’s not a theoretical term you need to be concerned with memorizing because you’re going to hear it so often during your musical journey, it will be a household word with you!

Okay, so when you played those three chord voicings in that order (1 through 6), you played a specific chord progression.

The Way A Pro Sees It

Let’s look at it in a different kind of visual way:

|| C9 | C9 | C9 | C9|

| F13 | F13 | C9 | C9 |

| G13 | F13 | C9 | C9 ||

Let’s slow down and take another look at the above illustration…

Have we changed the order at all? Not at all. However, we are showing each of these chord voicing symbols more than once before we progress to the next chord.

Let’s have you do something. Put this illustration up on your piano or keyboard stand and play each chord every time you see it. Let’s do this a very special way. Since music is divided into beats (like a minute is divided into seconds), let play and hold each chord every time we see it for FOUR counts (as you say “1-2-3-4”).

Let me show you this once in the following video clip. Then it’s your turn:

Notice that we play with a steady count in groups of four (“1-2-3-4 | 1-2-3-4 | etc.)

So, each chord in between those lines (“bar lines”) is played for 4 beats. Each of these groups of 4 beats is called a measure.

How many measures do we have total in our little song above?

Did you say 12?

If so, you are right!

You’re Playing The 12 Bar Blues!

What you are playing is commonly referred to by professional musicians as the 12 Bar Blues! The word “bar” is often used in place of the word “measure.

Having gotten this far, you’ve done better than superb. Reward yourself!

Have fun playing the 12 Bar Blues chord progression so that you are comfortable keeping a steady pulse or beat as you change chords. Play it slowwwwwly and steadily.

We’ll continue this journey in an upcoming post… (I’m honored that you’ve followed me to this point:))

Would you like to really get a grasp on blues piano concepts in a way that is tailored to you? Here’s how

Beginners Blues Piano: Non-Theory Lesson #1

Let’s Do, Not Think

Blues Piano Lesson For Beginners Are you a piano beginner who likes the blues? Listening to blues music is undoubtedly a wonderful thing. Actually playing blues music is even more fun!

If you have little or no experience at those keys, my guess is that your reaction to just the idea of playing the blues is one of doubt. Am I right? Sometimes I’m wrong.

Well, okay, whether you believe you’re capable of it or not, suspend those doubts for just a little while and grab hold of these simple concepts.

There are three basic chords to the blues and they are all 7th chords. If we’re playing a C Blues, then those chords are:

That’s it!

Alright, I admit it. That was theory. So you don’t have to pay attention to it right now.

Again, my intention here isn’t to get you to understand what you will be doing… just to DO IT! There’s plenty of time for you to learn about the “why’s” but the fun of it all is in the playing of it. Remember, you were able to speak before you could spell any of those words. You just know how to produce the sounds and you did it (from “goo-goo-gaa-gaa” to “I’m hungry!”)

Let’s Play Some Chord Voicings

So that’s what we’re doing here. The chords mentioned above don’t sound all that fantastic if played in a very basic so, as a beginner, you’re being introduced to the “pro” way of playing them. These are called “chord voicings” but don’t concern yourself with that now. JUST DO.

Simply look at the three images below and place the pinkie, index finger, and thumb of your left hand on the keys you see highlighted, okay?

Position #1

C9 chord voicing

Position #2

F13 chord voicing

Position #3

G13 chord voicing

All you need to do is get used to playing those three structures with your left hand. Play Position #1, then Position #2, then Position #3.

Once you are comfortable with this, practice these 3 chord structures in this order:

Play Position #1
Play Position #2
Play Position #1 again
Play Position #3
Play Position #2 again
Play Position #1 again

Do this over and over again. Just get used to doing this. That’s all you need to be getting out of this lesson. Copy what you see in those illustrations by playing them on your piano or keyboard. Here’s a quick flick of my playing them. In this video, I mention the names of the keys but that’s not important to you right now if you don’t know them (no theory necessary, remember?):

When you are comfortable playing these structures, you have already accomplished a lot! So, A +++++ to you.

I’m wondering if what you’re hearing is familiar to you. Is it? Would you do me a favor? Please use the information on the contact page to email me your experience with this. I want your input. Are you having a challenge with these positions? Did it come easy for you? Are you feeling comfortable playing them in the order shown above? When you email me, please include “Blues Piano Lesson” in the subject area.

I’m interested in knowing so do connect with me. The next part of this non-theory blues piano lesson will follow.

Have fun!

Would you like to really get a grasp on blues piano concepts in a way that is tailored to you? Here’s how

Piano Fill-osophy

Piano Fills: Their Purpose

Creating Piano Fills It’s fun to decorate melodies and it’s awesome to listen to a skillful artist embellish a melody that really makes it shine. That said, like any concept that is related to “musical flamboyance,” it tends to be overused by the amateur player.

That’s actually a good thing during the developmental stages, as I’m an encourager of overusing a new technique or strategy so that it eventually becomes a natural part of the player’s repertoire. However, these endeavors are hopefully refined as the play matures to reflect his or her understanding that those piano fills are intended to serve as a compliment, not the main course.

Tools Designed To Help

It still will serve the aspiring artist well to keep the purpose in mind during these growing stages. Of course, a person has to start somewhere.

That’s the purpose of the improvisational learning tools available at Piano Amore. At this point, I would like to provide an excerpt of EZ Fills & Improv below. This video session focuses on a simple concept that consists of two basic improvisation strategies.

You will notice that the examples, with the purpose of illustrating the concepts in an amplified way, do in fact “overuse” the techniques. As you utilize these strategies more and more, I have faith that your tastefulness as an artist will lead you to use such piano fills in an economical manner, as per your own unique style.

This simple piano fill concept demonstrated employs the use of chords tones and half steps. This demonstration pretty much makes the strategy clear without needing embellishment here.

Creating Longer Improvisations

I would like to restate a point that is mentioned in the above clip. Although this approach is intended for creating tasteful fills, it’s quite impressive how “stringing” a number of these shorter musical ideas together can really serve you well for inventing more elaborate improvisational lines. This is something you will have a lot of fun with.

You might begin by “sprinkling” your favorite standard songs with embellishments that you create using this approach. This will really provide you with the opportunity to enjoy immediate results for your efforts. As you become more and more confident with this concept, you’ll become inspired to invent those longer improv lines, as they will indeed have their place.

I Would Like To Help

I truly appreciate your taking the time to be here at the site and investigate what is here. I consider that a privilege. Along with that, I invite you to send me any questions or feedback regarding anything you see since your goals serve as my true inspiration.

Piano Improvisation For The Beginner

My 60-Second Eye-Opener

I was sitting in harmony class during my second semester at Berklee in Boston when the teacher was entertaining a conversation on improvisation. This was a time for me – and at least most of the other students in the class – when the concept of improvisation seemed mystifying.

I had been exposed to some jazz lessons back home, so I was exposed to scales, patterns, and other improvisation strategies. However, I was not at any point where it had come together for me. Also, I had familiarized myself with publications covering the topic of improvisation which also placed emphasis on chord arpeggios, scales, and patterns.

I Had My Doubts

So, by this time, I was pretty well convinced that it was going to take in-depth study and application of these technical concepts if I was going to become any kind of player worth talking about. Discipline was not my forte. It seemed like I had been “plopped” into this field of music for which I had some decent ability yet was lost in the dust with this whole improv thing that I felt I needed to get a better handle on.

This conversation between George (the teacher) and a couple of students was brief, maybe a minute long. But it had enough impact on me to change the direction of my walk along this magical road of improvisation.

I had seen George perform at the local Eliot Lounge with another teacher, performing bebop tunes. I’ll just say that his improvisational abilities were impressive enough to blow me away. That resulted in what he said in that brief conversation to carrying even more weight.

Instant Confidence

In his own words, he informed the class that he didn’t learn to improvise by practicing scales (while sweating chord-scale relationships), arpeggios, patterns, and the like. Instead, he had learned by learning the melody of a tune very well and then simply learned to play around it.

Somewhere along my journey, I had previously heard of that. But the way this You Can Learn To Improvise guy explained it so very simply, along with the fact that he was an improvisational monster from my perspective, solidified it for me. Wow! Although I don’t want to sound cliche-ish, I truly felt like this huge weight was taken off my shoulders!

As I look back to that day in class, it just might have been the 60 seconds of my time at Berklee that held the most value for me. As time progressed, this approach to improvisation made more and more sense. In addition, when coaching my private students who aspire to improvise, it has literally been responsible for more confidence and efficiency when it comes to helping them.

Instant And Coherent Improvisations

None of what I am saying here is meant to be construed to mean that I don’t place value on improvisation at a deeper level, learning and applying chord-scale relationships, arpeggios, patterns, and other techniques. However, this simple approach to improvisation leads to INSTANT RESULTS. It really does.

Furthermore – and this is so very significant – by using this simple procedure of playing around the melody, your respect for that melody is maintained at a very high level. I’m not personally able to name any prominent improvisational giants who wouldn’t say that’s a good thing.

As one who has little or no improvisation experience, are you sensing a ray of hope or excitement?

You have reason to.

Along with any future current or future improvisational efforts you make, if you incorporate this approach on a regular basis, your improvisations will have coherency. That is a quality that is lacking on behalf of so many improvisers, even some who have years of experience.

The Melody Is Your Guide

So, how do you go about it? It’s really quite simple. Learn the melody of that tune so well. Then, little by little, play around that melody by approaching certain melody notes by half steps, whole steps, etc. The point here is that you want to learn to embellish the melody rather than eliminating it or overtaking it. With practice, this becomes such a natural experience for you that you’ll even have the confidence with leaving the melody and returning to it in a tasteful fashion. During the entire time, you remain gravitated to the melody, which makes for a coherent solo.

As I mentioned, my excitement for this approach began a long time ago. The two reasons for this:

It’s simple – anyone can do it
It’s tasteful – ultimately, your solos sound more professional

Would you like to explore this improvisational concept a little further? I created a video/guidebook combo that you can gain instant access to. The nice thing about this is that you don’t have a lot to watch or read. Watch the short video a few times, read through the brief guidebook, and let your imagination take you to places you haven’t yet visited!

Below is the first couple of minutes of the video session showing the concept being employed along with a few introductory words from me:

In this session, we’ll be using this short excerpt of Georgia On My Mind:

Easy Piano Improvisation

Just for this post, I thought I would also create a short impromptu video showing an example of how this easy improvisational strategy can be applied to another popular standard:

As you engage in this fun adventure, may I offer you a suggestion that, if followed, will lead you to a much more satisfactory experience? Here it is:

Learn to enjoy the process rather than being anxious for the perfect result.

Please read that again and really absorb its message. Trust me, if you are a beginning improviser, I can relate to your mindset… the passion… the desire to “get good” at this stuff… please remember this: you are getting involved in a creative field. Along with that, where creativity is to thrive, anxiety must not arrive.

Don’t be in a hurry to “be a master.” If you want to be an instant master at something, then master this attitude, go to your instrument with joy and enthusiasm while playing with these concepts, let your imagination run wild, and…

Remember,

Always…

ALWAYS…

PLAY WITH PASSION!

Dave Longo