How to Improvise Chord Plus the Melody in a Song
If you missed last week’s blog (February 14), you really should take a look at it so that what comes next will make sense. Two thinking processes were introduced as an approach to improvising an accompaniment using only the chord plus the melody – and this week we’ll look at doing so with a song fragment.
Why Use a Thinking Process?
Unless you have a photographic memory (I certainly do not), you will find it much quicker and easier to remember just a few steps rather than memorizing an entire chord chart of 144 or more individual chords. The few steps to constructing chords apply to ALL scales/key signatures. You don’t even have to know the scales – just the steps. You do, however, need to follow the key signature in your playing or you won’t have the required sharps or flats in your melody – and it will sound awful! Interestingly, the steps DO automatically include the key signature sharps or flats for constructing your chords – without you having to remember them! That’s gold!
Steps vs. Thinking Process
To make things more clear – if you don’t have the book, Teach Yourself to Improvise with Chords – the few “Steps to construct any chord” are NOT the same thing as the “Thinking Process” to creating an accompaniment. All the posts beginning December 27, 2021 have shown stages of the Thinking Process to creating an accompaniment. They have NOT addressed the Steps to constructing any chord.
“OK, Leslie, when are you going to introduce Steps to construct chords?” I believe the best thing to do is continue with the Thinking Process to creating an accompaniment, then go into the Steps. The main reasons I started with the Thinking Process is that (1.) I thought my readers would already know the basic C, F, G, G7 chords; and (2.) readers would become more inspired by seeing the almost-finished product of an improvised accompaniment built on chords and melody – rather than sight-reading every single note. That’s the goal concept to keep in mind – your reward after slogging through my posts.
However, for readers who do not have any real concept of chords at all, I will introduce that in the near future – the few steps to constructing all chords.
Quick Review
Continuing from last week’s post, review the two Thinking Processes. Remember that the Thinking Process you choose to play the chord plus the melody in a song will depend on which one is easier and quicker for you to “think through.” You may start off for a while using one method, but later decide the other is your preference. And actually, you will find yourself switching between them throughout the song depending on where the melody note is in relation to the chord. There is no right or wrong – just use what works best for you to visualize the chord under a particular melody note.
The 2 Thinking Processes (for the right hand):
1. Chord Under Melody
With this process, the melody note is already written in the song so that all the notes of the chord can be played under the melody without any changes. Picture a C chord (major triad C-E-G) with its G as the melody. No extra thinking required – you already have the melody as the top note of the chord.
2. Melody Within Chord
The melody note is “inside” the chord as one of its notes. Picture a C chord (C-E-G) with its E as the melody. The thinking process step is to move the G under the C, so that you play G-C-E.
What if the melody note is not one of the notes of the chord? Part of this thinking process is to then add the melody as the highest note of the chord. Picture a C chord with F as the melody. So after you reposition the G under the C, you add F above the E: (G-C-E-F). Having E and F so close together will “interfere” with hearing the clear, separate melody note F – so delete the E. Now you play G-C-F as the final chord.
That’s a lot of words to describe a rather quick action for the player – once comfortable with the thinking process steps (see February 14th article).
Today’s New Stuff: Try the Process with a Song
Since there’s a lot to describe with an entire song, this demo is for the first two measures of Ode to Joy by Beethoven. It’s page 39 from the new book, Teach Yourself to Improvise with Chords, on Amazon.
This is only half of your improvised accompaniment – just “chord plus the melody” for the right hand. Next week both hands will come together.
If this seems difficult, remember – you do not have to read any of these notes – just take them from the chord!
What Would the First Lesson for a Young Student Look Like?
What Would the First Lesson for a 6 to Teen Look Like (video)?
View sample pages of all the books for students
ages 6 to teen:
View sample pages of all the books for students
4 to 5 years old:
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teens and adults:
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Leslie Young is the author/composer of the Revolutionary Piano Method. She co-founded a K-12th grade charter school in Texas and has been a piano teacher for about 40 years. She has had experience teaching a variety of students tackling piano for the first time or as returning students.
Leslie believes that “learning to play the piano is more about diligence and perseverance” – but would add that just as critical to success is the method that is used, the encouragement of critical thinking, and the instructional principles that promote immediate success.
She states: “In teaching piano to students of varying ages, what also varies is a commitment of time and the amount of dedication. Children of certain ages may do very well with a parent as teacher; others may need someone who is not family to instruct them. Some older children and adults prefer to make progress on their own, and this method is designed to act as a meticulous guide through new material. Some adults and teens insist on professional teachers, which also encourages continuity. Because these books are self-explanatory, a new or experienced professional teacher will have no trouble using the Revolutionary Piano Method with students. It is an easy way to learn piano.”
