The course › Unit 11: Accompanying a song

Changing chords without jumping

Lesson 65 of 72 · Keep the common notes, slide to the nearest one

In this lesson, you will:

• Find the inversion closest to the next chord on your own
• Link I – IV – V – I and I – V – vi – IV in C, G, D and F
• Accompany a song with both hands, your right hand almost still

1. Learn: The golden rule: move as little as possible

Since lesson 46, you’ve known how to link C – F – G without jumping, thanks to inversions. To accompany any chart, you now need the method for finding the right inversion yourself. Two rules are enough:

• 1. Keep the common notes. A note that belongs to both chords stays under the same finger.
• 2. Move the others to the nearest note: a half step or a whole step, rarely more.

From C to Am, C and E stay, and G moves up to A. From Am to F, E moves up to F…

Why this way: Instead of memorizing every inversion, you learn one rule. A memorized position only works for one song; a rule you understand works in every chart and every key. That’s the logic of voice leading, taught to classical and jazz pianists alike.

2. Practice: The nearest inversion

The starting chord is on the staff. Play the chord asked for, keeping the common notes and moving the others to the nearest note.

3. Guided play: I – IV – V – I, the same shape everywhere

C, G, D, then F: four keys, two measures each. The fingering never changes: 1-3-5, 1-3-5, 1-2-5, 1-3-5. Watch for the black keys: F♯ in G, F♯ and C♯ in D, B♭ in F.

4. Learn: I – V – vi – IV, everywhere

The same rules work for the hit-song progression. Start from chord I in root position, and let each note slide to the nearest one:

• In C: C (C – E – G) → G (B – D – G) → Am (C – E – A) → F (C – F – A)
• In G: G (G – B – D) → D (F♯ – A – D) → Em (G – B – E) → C (G – C – E)
• In D: D (D – F♯ – A) → A (C♯ – E – A) → Bm (D – F♯ – B) → G (D – G – B)
• In F: F (F – A – C) → C (E – G – C) → Dm (F – A – D) → B♭ (F – B♭ – D)

And once again, one fingering for all four keys: 1-3-5, 1-2-5, 1-2-5, 1-3-5.

I – V – vi – IV in D major (two sharps in the key signature). D stays under the thumb in three chords out of four.

Tip: These inversions aren’t written in the chart: you choose them. The chart says “G,” your right hand plays B – D – G, your left hand plays G: the chord is still a G. You only write G/B when it’s the bass that plays the B.

5. Guided play: I – V – vi – IV in G, then in F

One whole note per chord, right hand alone. The fingering: 1-3-5, 1-2-5, 1-2-5, 1-3-5, in both keys. Listen to how the chords melt into each other.

6. Quiz: Common notes

• C and Am share…
• You’re holding C (C – E – G around middle C). The nearest F is…
• G and D have one note in common. Which one?
• In a good chord change, the notes that move go…
• Left hand: G. Right hand: B – D – G. What’s the name of the chord?
• Listen: do the chords jump, or stay close?

7. Piece: Ballad in D

A ballad in D major, with its two sharps: I – V – vi – IV, your right hand almost still. D – A – Bm – G, twice, in half notes in the right hand: your hand barely moves. Left hand: the root, in the G – D position (little finger on G, thumb on D).

To practice

• The hit-song progression: C – G – A minor – F, without moving your hand
• Pachelbel’s Canon: Eight chords that inspired generations of hits
• Someone Like You: Adele: broken chords in A major
• Imagine: John Lennon: C – Cmaj7 – F and E7

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