Basic Piano and Theory for Composition

Chapter 1: The Keyboard

Piano is an excellent instrument to compose with because of its versatility. Its wide range of notes from
high to low along with its ability to play harmony and melody simultaneously makes it an extremely useful
tool.

The first step to using the piano is to understand the keyboard.

The Black Keys can be used as a guide to find your way around the keyboard. For example, to find C, play
the key to the LEFT of the group of 2 black keys.

Once you can identify all the keys, the complete keyboard looks like this.
So where do we put our hands on the keyboard? Let’s start with the Right Hand.

And the Left Hand…

1. Practice playing C-D-E-F-G up and down with both hands.

2. Play C-E-G up and down with both hands.
3. Play C-E-G all together with both hands. In the Right Hand, you should use
your Thumb on C, Middle Finger on E and Pinky on G. In the Left Hand, use
your Pinky on C, Middle Finger on E and Thumb on G.

Chapter 2: C, F and G Chords

A chord is 3 or more notes played at the same time. We will stick with 3 note chords
called Triads.

Put your Right Hand in C position on the keyboard. In the Right Hand (RH), your thumb
should be on C and your pinky should be on G.
Play the First, Third and Fifth notes. These are C, E and G.
Now play these three notes together. That makes a C chord.

C Chord = CEG

Lock your fingers in the C Chord position. Pick up your RH and move it to the right to
put your thumb on F.
Play the First, Third and Fifth notes. These are now F, A and C.
Now play these notes together. That makes an F chord.

F Chord = FAC

Move your RH one note to the right. Remember to keep your fingers locked in the same
position they were in. Your RH thumb should now be on G.

Play the First, Third and Fifth notes. These are now G, B and D.
Now play these notes together. That makes a G chord.

G Chord = GBD

LH RH

Are you getting the pattern? Play any of these triads and lock your fingers in that
position. Move your thumb to any note and play 1-3-5 and you’ll have a triad!

Chapter 3:Building Major and minor Triads

To move forward, we must understand Whole Steps and Half Steps.

Whole Steps and Half Steps are important because they can determine if a triad is Major
or minor. “Major” and “minor” are the two types of Triads we will be using. They are
the most common. Let’s see what makes a triad Major or minor.
Triads are built in 3rds. 3rds are groups of Half Steps. There are two kinds of 3rds, Major
and minor.

Major 3rd = 4 Half Steps

For example, if we start on C and count 4 half steps up, we end up on E. So, the distance
from C to E is a Major 3rd.

minor 3rd = 3 Half Steps

For example, if we start on A and count 3 half steps up, we end up on C. So, the distance
from A to C is a minor 3rd.

How do these effect triads? The combination of thirds to build a triad determines if the
triad is Major or minor.

Put your RH in C Position and play a C Chord (C-E-G).

What is the distance from C to E? Major 3rd.

What is the distance from E to G? minor 3rd.

The formula to build a Major Triad is a Major 3rd with a minor 3rd on top of it.

G C D
rd
> minor 3 > minor 3rd >minor 3rd
E A B
Major 3rd < Major 3rd < Major 3rd <
C F G

C Major Triad F Major Triad G Major Triad

The formula for a minor triad is the Major Triad formula upside-down!

The formula to build a minor triad is a minor 3rd with a Major 3rd on top of it.

E A B
rd rd
> Major 3 > Major 3 > Major 3rd
C F G
minor 3rd < minor 3rd < minor 3rd <
A D E

A minor Triad D minor Triad E minor Triad

 Chapter 4: Scales and Diatonic Triads

A scale is a pattern of notes that goes in Alphabetical order. The most common scale is
known as the Major Scale. Major Scales can begin on any note. We will use the C Major
Scale.

The C Major Scale has 7 different notes that go in alphabetical order, beginning on C.

C-D-E-F-G-A- B After B, the scale starts over again on C.

The C Major Scale

(RH Finger Numbers)

C D E F G A B C

Triads can be built on each note of the scale and are represented by Roman Numerals.
Notice that Major triads are CAPITALIZED and minor triads are lower case.

C Dm Em F G Am Bdim C
I ii iii IV V vi vii* I

In Major Scales, the

I, IV and V chords are Major.

ii, iii, and vi chords are Minor.

vii* chord is diminished.

 Chapter 6: Chord Progressions

Now that we can build Major and minor Triads and we know how to play chords built on
each note of the scale, we can string together several chords in row. Progressing from
one chord to another is called a Chord Progression.

One of the most common chord progressions is

I – IV – V – I

In the key of C, that would indicate

C- F- G- C

Other common chord progressions include:

vi – V- IV – V – vi

I - ii – V – I

I – vi – IV – V - I

I – vi – ii – V – I

Can you identify which chords these progressions indicate in the key of C?

An effective chord progression will usually begin and end on the same chord. There are
times when that doesn’t happen, but to start, try to make your chord progression “play by
the rules.”

Not all songs are in the key of C. Below is a chart showing the diatonic triads for each
key.

Major Key Compendium

Key I ii iii IV V vi vii
C C Dm Em F G Am Bdim
G G Am Bm C D Em F#dim
D D Em F#m G A Bm C#dim
A A Bm C#m D E F#m G#dim
E E F#m G#m A B C#m D#dim
B B C#m D#m E F# G#m A#dim
F# F# G#m A#m B C# D#m Fdim
F F Gm Am Bb C Dm Edim
Bb Bb Cm Dm Eb F Gm Adim
Eb Eb Fm Gm Ab Bb Cm Ddim
Ab Ab Bbm Cm Db Eb Fm Gdim
Db Db Ebm Fm Gb Ab Bbm Cdim
Common Chord Progressions

I-IV-V in all keys

C: C-F-G
G: G-C-D I-IV-V progressions are all over music!!!
D: D-G-A Some songs that use this progression are:
A: A-D-E Twist and Shout, La Bamba, Louie, Louie and
E: E-A-B Wild Thing.
B: B-E-F#
F#: F#-B-C#
F: F-Bb-C
Bb: Bb-Eb-F
Eb: Eb-Ab-Bb
Ab: Ab-Db-Eb
Db: Db-Gb-Ab

I-vi-IV-V in all keys

C: C-Am-F-G
G: G-Em-C-D I-vi-IV-V progressions are everywhere!
D: D-Bm-G-A Notice that the Roman Numeral for vi is
A: A-F#m-D-A lower case. This indicates a minor chord.
E: E-C#m-A-B Stand by Me, Last Kiss, and Blue Moon
B: B-G#m-E-F# are popular examples of this progression.
F#: F#-D#m-B-C#
F: F-Dm-Bb-C
Bb: Bb-Gm-Eb-F
Eb: Eb-Cm-Ab-Bb
Ab: Ab-Fm-Db-Eb
Db: Db-Bbm-Gb-Ab

vi-V-IV in all keys

C: Am-G-F
G: Em-D-C vi-V-IV progressions are popular in rock and
D: Bm-A-G roll. For example, Stairway to Heaven and
A: F#m-E-D All Along the Watchtower use this
E: C#m-B-A progression.
B: G#m-F#-E
F#: D#m-C#-B
F: Dm-C-Bb
Bb: Gm-F-Eb
Eb: Cm-Bb-Ab
Ab: Fm-Eb-Db
Db: Bbm-Ab-Gb
I-V-vi-IV in all keys

C: C-G-Am-F
G: G-D-Em-C The Beatles’ Let it Be and Bob Marley’s
D: D-A-Bm-G No Woman No Cry are examples of this.
A: A-E-F#m-D
E: E-B-C#m-A
B: B-F#-G#m-E
F#: F#-C#-D#m-B
F: F-C-Dm-Bb
Bb: Bb-F-Gm-Eb
Eb: Eb-Bb-Cm-Ab
Ab: Ab-Eb-Fm-Db
Db: Db-Ab-Bbm-Gb

I-V-IV in all keys

C: C-G-F The Who’s Baba O’Rielly and If I had a

G: G-D-C Million Dollars by the Barenaked Ladies
D:D-A-G use this progression.
A: A-E-D
E: E-B-A
B: B-F#-E
F#: F#-C#-B
F: F-C-Bb
Bb: Bb-F-Eb
Eb: Eb-Bb-Ab
Ab: Ab-Eb-Db
Db: Db-Ab-Gb

vi-IV-I-V in all keys

C: Am-F-C-G This is a relatively modern progression.

G: Em-C-G-D Joan Osborn’s One of Us as well as the Red
D: Bm-G-D-A Hot Chili Peppers use this progression.
A: F#m-D-A-E
E: C#m-A-E-B
B: G#m-E-B-F#
F#: D#m-B-F#-C#
F: Dm-Bb-F-C
Bb: Gm-Eb-Bb-F
Eb: Cm-Ab-Eb-Bb
Ab: Fm-Db-Ab-Eb
Db: Bbm-Gb-Db-Ab

ii-V-I in all keys

C: Dm-G-C
G: Am-D-G
D: Em-A-D One of the most important progressions.
A: Bm-E-A Especially common in jazz, also found in
E: F#m-B-E Maroon 5’s Sunday Morning.
B: C#m-F#-B
F#: G#m-C#-F#
F: Gm-C-F
Bb: Cm-F-Bb
Eb: Fm-Bb-Eb
Ab: Bbm-Eb-Ab
Db: Ebm-Ab-Db
 Chapter 7: Composition Tips

There is no right or wrong in composing. The piece is a success as long as the composer has exactly
what he or she intended. However, there are a few guidelines that help achieve that goal as well as
make it enjoyable to most listeners.

Tip 1: Keep the beat

Music makes sense to listeners when it is organized in time. We call that “following a pulse.”
Instruments can play on the beat, off the beat or some combination of the two. Notes and chord
changes will sound random if they do not coincide rhythmically with the beat.

Tip 2: Stay in 1 key

Music will sound like it “works” if the notes all come from the same key or scale. For example, if you
are using a chord progression from the key of C, you should use just the notes from the C Major scale
in your melody and bass line. Use the major key compendium to help you with identifying which notes
will work in which key.

Tip 3: Bass

Bass lines are very important! They give the piece a foundation. If you’re not sure how to write a bass
line, start by playing the roots of the chords in your chord progression. For example, if your chord
progression is C-F-G-C, your bass line can play the note C under the C chord, F under the F chord and
G under the G chord. Later you may want to expand the bass to play other notes from the triad. For
example, if the chord is C, the bass could play C, E or G. If the chord is F, the bass can play F, A or C.

Tip 4: The 5 Essential Elements

To make a song sound full and interesting, 4 main parts need to be present.

1. Melody: A song should have a melody or theme to make it identifiable and unique. An effective
melody is predictable and should be able to be sung.

2. Harmony: Your chord progression takes care of this. Make sure that the melody (which is most
important) works well with the harmony. That is accomplished by identifying important notes in the
melody and making sure that the harmony includes those notes. For example, if the melody emphasizes
the note F, use an F chord in the chord progression. A C chord may not work since that chord does not
include the note F.

3. Bass: Having a bass line is crucial to the overall sound of the piece. Make sure that the bass line
coincides with the chord progression.

4. Rhythm: Drums or some other instrument should be used to keep the beat and, more importantly, give
the piece a “feel”. Instruments chosen for this purpose should be chosen carefully. Make sure that the
sound compliments the rest of the piece. For example, if the piece is soft, loud harsh drums may not be the
best choice. Instead, use a shaker sound or soft congas.

5. Form: Form is the overall structure of the piece. It determines how many sections there are and in what
order they occur. Form can help organize a piece to make more sense and be less random.

Keep in mind that these elements do not have to all be present all the time. It is often desirable to have
them come in and out. When they are present and used correctly, the outcome is much more complete and
successful than without them.
Tip 5: Be consistent to convey a mood

If you are going for an upbeat dance piece, use instruments that will convey that. Make it high energy by
using busy drums and percussion. Use horns and loud powerful instruments for your theme. If the piece is
quiet and subdued, use instruments with soft tones. Use percussion that is less busy. Think about the mood
you intend to convey before choosing instruments and rhythms.

Tip 6: Change

Change keeps a piece interesting. What can change? Dynamics can go from soft to loud and back to soft.
Instruments can come in and out. This should be done only at changing sections. For example, the drums
only play during the chorus, but not the verses. Or maybe you use two different drum loops, one for the
verses and one for the chorus. Use change effectively and your piece will be a hit!

Tip 7: Golden Mean

This is a trick that composers have known about for a long time. In many pieces of music, something
happens about 2/3 of the way in. Usually, it’s a key change or a new instrument comes in. Some event
should occur that lifts the piece to give it one final push to the end. This 2/3 spot in the piece is called the
Golden Mean.

Use these tips to help create a complete and interesting piece!!!! Practice using these tools and you can
create great music!!