Piano Basics: Using Simple Chords (Two-Note and Three-Note Shapes)

What “Harmony” Means at the Keyboard

When you play two or more notes at the same time, you create harmony. In this chapter you will use harmony in the simplest, most playable way: easy hand “shapes” that you can grab without stretching. You will start with intervals (two-note combinations) and then add three-note chords (triads). The goal is not to memorize lots of theory; it is to build reliable shapes you can place, press evenly, and move smoothly.

Two Core Ideas

• Shape: which keys your fingers touch (a pattern you can repeat).
• Balance: making the notes sound together, not one note “late” or much louder than the others.

Intervals: Two-Note Shapes You Can Grab Immediately

An interval is two notes played together. Intervals are excellent for beginners because they teach hand stability and even sound without needing a full chord.

Start with 3rds and 5ths (Comfortable and Common)

In a comfortable right-hand position, use these two-note shapes:

• 3rd: skip one white key in between (example: C and E). On white keys it looks like “one key, skip one, next key.”
• 5th: a wider but still comfortable span (example: C and G). On white keys it looks like “one key, skip three, next key.”

Suggested fingering (right hand):

• 3rds: 1–3 (thumb–middle) or 2–4 depending on where you are.
• 5ths: 1–5 (thumb–pinky) when comfortable; if it feels too wide, use 1–4 temporarily.

Suggested fingering (left hand):

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• 3rds: 5–3 or 4–2.
• 5ths: 5–1 (pinky–thumb) when comfortable; or 5–2 as an easier option.

How to Form an Interval Shape (Step-by-Step)

1. Place first, then play: put both fingertips on the two keys before pressing either one.
2. Check the “bridge”: your knuckles should feel gently lifted, not collapsed.
3. Press as one: imagine the two fingers are connected; push down together.
4. Listen for togetherness: if you hear “da…da” instead of “DA,” reset and try again.

Three-Note Chords: Simple Triads in One Hand Position

A triad is a three-note chord built by stacking two 3rds. You will keep the chord set small and immediately playable by using only major and minor triads in a comfortable position.

Your First Two Triads: C Major and A Minor

These two chords use only white keys and sit naturally under the fingers.

Notice: both chords use the same “every-other-white-key” look. What changes is where the shape starts.

How to Form a Triad Shape (Step-by-Step)

1. Find the bottom note (C for C major, A for A minor).
2. Skip a white key, play the next: C to E (skip D), or A to C (skip B).
3. Skip a white key again, play the next: E to G (skip F), or C to E (skip D).
4. Place all three fingers first, then press together.
5. Hold and listen: aim for a single blended sound, not three separate attacks.

Playing Chords Evenly: Control Before Speed

Exercise 1: Hold-and-Release Control (No Counting Yet)

This builds clean, confident chord attacks and releases.

1. Choose C major in the right hand.
2. Place fingers on C–E–G without pressing.
3. Press and hold for a slow count of 2 in your head.
4. Release by letting the keys rise under your fingers (do not lift the hand away).
5. Repeat 5 times, then do the same with A minor.

Quality checks:

• All notes start together.
• All notes end together (no “hanging” note).
• Hand stays calm; fingers do the work.

Exercise 2: Two-Note Version (Intervals) for Extra Precision

If triads feel messy, temporarily reduce to intervals.

1. Play the interval C–G (a 5th) as a single, together sound.
2. Hold briefly, release cleanly.
3. Repeat 8 times, then switch to A–E.

Chord Pulses with Counting (Steady Rhythm, Same Shape)

Now you will repeat a chord like a gentle “pulse” while counting. Keep the wrist quiet and let the fingers rebound naturally.

Exercise 3: Quarter-Note Pulses (Count 1–2–3–4)

1. Set a slow tempo where you can stay relaxed.
2. Right hand: play C major as four quarter-note pulses while counting out loud: 1 2 3 4.
3. Rest for one count (silent), then repeat.
4. Do 4 rounds, then switch to A minor for 4 rounds.

Make each pulse the same volume and length. If one note keeps popping out louder, reduce pressure and aim for equal fingertip contact.

Exercise 4: Two-Chord Switching (Smooth Movement)

This is your first “progression”: moving between two shapes without losing the beat.

1. Count 1 2 3 4 steadily.
2. Play C major on counts 1–2 (two pulses).
3. Switch to A minor on counts 3–4 (two pulses).
4. Repeat the 4-count pattern 8 times.

Switching tips:

• Keep fingers close to the keys; avoid lifting high.
• Move as a unit: think of the hand carrying the shape to the new starting note.
• Prepare early: during the last pulse of the old chord, feel where the hand is going next.

Left Hand Support: Intervals or Simple Chords Under a Melody

To keep coordination manageable, the left hand will provide a steady support while the right hand plays a simple melody. You have two options for the left hand: a two-note interval (easier) or a full triad (richer).

Option A (Easier): Left-Hand 5ths as a “Foundation”

Use these left-hand intervals:

• For C harmony: C–G
• For A minor harmony: A–E

Step-by-step practice:

1. Left hand plays C–G as a whole note (hold for 4 counts).
2. Right hand plays a short 4-beat melody using any comfortable notes you already know (one note per beat).
3. Next measure: left hand switches to A–E and holds for 4 counts while the right hand plays another 4-beat melody.

Goal: the left hand stays steady and calm while the right hand moves freely.

Option B (Richer): Left-Hand Triads Held While Right Hand Plays

If left-hand 5ths feel secure, try full triads:

• Left hand holds C–E–G for 4 counts.
• Then holds A–C–E for 4 counts.

Keep the left hand quiet and sustained; avoid re-striking the chord unless you intend a pulse.

Structured Mini-Routine (10 Minutes)

Troubleshooting: Fix the Most Common Chord Problems

Problem: Notes don’t sound together

• Fix: place all fingers first, then press. Practice silent placement: touch the keys without playing, then press together.

Problem: One note is much louder

• Fix: lighten the loud finger. Imagine “sharing” the weight across all fingertips.

Problem: Switching chords feels jumpy

• Fix: slow down and reduce motion. Keep fingertips close to the key surfaces and move the hand as a single shape.

Problem: Hand feels stretched or tense

• Fix: use intervals (two notes) first, or use 1–4 instead of 1–5 temporarily for 5ths. Choose a position where the hand feels naturally open, not forced.