When this happens, your technique allows you to fluently express nearly any musical idea you can conceive. The key here is to develop both chord and melodic skills so completely that you can switch without thinking about it. Along with the left hand, my right hand will typically outline the chords in some way, but it flows in and out of chords and improvised melodies.
To test this, try singing your improvised melody at the same time you play it! Approach 3: Piano Chords + Melodies The key is to know the different scale notes so well that you know what they will sound like before you play them. If you outline the progression in your left hand, your right hand is free to improvise melodically all around the scale.
Just because chords are indicated in the music doesn’t mean you have to stick to chords in your right hand. I stuck with my usual root-and-fifth, or root-fifth-octave approach, regardless of what I was doing with my right hand. It’s important to note that my left-hand approach did not change with any of the options. In this song, I did play most or all of the chord at first, then repeat whatever note my thumb played in rhythmic alternation with the left hand notes. My chords-approach took on a different form in “Great Are You Lord.” This song is in 6/8 meter and more rhythmic. This creates rhythmic opportunities without simply arpeggiating the chord. While playing “Holy Spirit,” I accomplished this by playing less than the full chord (just a note or two) at first, then filling out the chord with the other notes later in the measure. One option for playing in between chords is to play rhythms with chord tones. In the latest video, using the songs “Holy Spirit” and “Great Are You Lord,” I outlined three possible approaches: chords-only, improvised melodies, and chords plus melodies. The question has to do with filling the space, adding rhythm and interest to the performance. An audience member recently emailed me to ask, “How do you know what to play in between piano chords?”
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