Easy Piano Lessons

Ah… the arpeggio. A miracle of cascading notes that produces a beautiful sound on the piano. To most it’s a mystery how it’s created. But to those who understand chords, it’s just a matter of practicing until the pattern is mastered.

Now, the arpeggio can be used either in the right or left hand (or both together) but it’s usually the left-hand that takes up this amazing technique. Let’s look at how one might use an extended arpeggio pattern to create an improvisation.

The first thing you need to know about most left-hand arpeggios is that they usually start below the middle of the keyboard. Most pianists begin their run below middle Cand there’s a good reason for this – bass notes!

Those thunderous resonant bass sounds that reverberate in the body are hit and the piano comes alive!

Now, you have to be careful here because if you hit too many bass notes together the effect can end up sounding “muddy.” That is, you won’t be able to differentiate the notes and you’ll end up having sonic sludge. But, if you spread out the first few notes this won’t happen. That’s why the open position chord is perfect to begin your left-hand arpeggio. For example, let’s say you want to play a C Major 9 arpeggio.

Of course, you’ll begin with the C note (which is also the root note.) Now, we could play the third (e) but if we do, chances are we’ll end up with that “muddy” effect. No, A better way is to play the fifth followed by either the octave or the seventh tone.

What I like to do is play a pattern that looks like this: 1-5-8-9-3 – which means I’m playing these notes: c-g-c-d-e. This pattern produces a beautiful “new age” sound and is used frequently in New Age piano playing.

For example, look at the lesson “Coming Home.” Here we play an extended arpeggio in the left hand and use over 2 octaves of the keyboard. It’s quite an exercise and is a good one to get your left hand moving!

Edward Weiss is a pianist/composer and webmaster of Quiescence Music’s online piano lessons. He has been helping students learn how to play piano in the New Age style for over 14 years and works with students in private, in groups, and now over the internet. Visit www.quiescencemusic.com now and get a FREE piano lesson!

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How to comp chords – comping chords on the piano

I got this question from a student:

“I am struggling to comp rhythmically & unpredictably while improvising or playing from a lead sheet. I can comp chords in my left hand to a pattern (i.e., 4 to the floor or on the 1 & 3, etc) but I struggle to mix up the comping especially when improvising. I have used some of your comping patterns from the Blues Lessons as a start and then try to mix & match different patterns, but I find it very difficult to comp without being locked to a fixed pattern or combination of patterns. Any suggestions for helping to overcome this problem?” – Adam K.

This is definitely one of the more complicated aspects of playing the piano. It is relatively “easy” to play a chord in the left hand, hold it down, and improvise with the right hand. However, as soon as you try adding any type of rhythm to that left hand chord, the time seems to fall apart. So, let’s go through some ideas that will help loosen up your left hand.

First, keep control of where you are in the measure. For this example, let’s say that we are in 4/4 time…four beats per measure. It is extremely important that while comping, you do not add or remove beats from the measure. This is where a metronome or play-along track is helpful. I’ve heard students rush the time or drag because they were overly focused on comping. The lesson…the time comes first!

Second, keep your chords simple to start. Try starting with only the root and seventh of the chord, a R7 chord. Or, just the root and third, a R3 chord. So, for C7, this would be C–Bb or C–E. Simple chords allow you to focus on what is important…the time.

Now is a good point to pause and discuss “concept breakdown”. You do not have to go far to find difficult-to-understand concepts in jazz piano. Comping is a perfect example. It seems easy, but it is not. Worst yet, it is the “seems easy” concepts that make it frustrating to learn and often cause students to throw their arms up in disgust. But, there is a solution!

Concept Breakdown is just that, a breakdown of difficult concepts in to easy to handle and easier to understand parts. To break down the concept of comping, I would consider its parts:

- Chord voicing – the notes of the chord and how they are arranged

- Number of chords per measure

- Tempo of the song

- Interaction with the right hand / soloist

- Rhythmic spontaneity

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