The music theory behind this
technique is deceptively simple: Use triads
in inversions — three-note voicings
with the melody doubled an octave
below. Always keep in mind that any good
melody has a beginning and an end, a
sense of resolution or arrival, and a feeling
of harmonic purpose.
Ex. 1. Here’s a simple rising phrase in the key of F which starts and ends on the third of
the I chord. Play the notes in 1a slowly and powerfully, and lightly pedal each note. Hold
a long F in the left hand for reference. It happens that the chord tones of F major all fall
on the beat, as marked with accents in 1b. Play an inversion of the F major triad on each
of the four beats, aiming for subtlety. When you’re comfortable, slow the tempo down
and focus on your quickly-changing sustain pedal: Play with lots of arm weight and
power, lift the dampers just after you play a note, then release them just before you play
the next note. Listen to how the sound opens up as the pedal is depressed, and how each
note speaks without smearing into the next.
Ex. 2. Listen back to Example 1 — can you hear what harmonic movement the melody might suggest? Two choices
for the chords between the strong-beat Fs come to mind. The first F, Gm, F, shown in 2a, sounds more smooth
and jazzy. In 2b, F, Bb, F has a more church-like feel. Practice the right hand alone using just the stripped-down,
three-voice chords, then add the lower octave with the left hand for reference when you’re comfortable.
Ex. 3. Spread it out over both hands in 3a; the octaves in the right hand are filled in fully. Track the left hand (in octaves if possible) in smooth and stepwise motion from
low F up to C, then resolve back to the F. As before, pedal each chord, play strong and semi-legato, and bring out the top note. In 3b, do you hear how the Bb chords feel
like they’re pushing toward the next beat? The “churchy” choice is so different from the “jazzy” one in 3a. Here the left hand can take a more harmonic role. The overall
effect is a series of mini plagal cadences (IV-I, IV-I, etc.). Wrap it up tightly with a strong cadence at the end, as in 3c, set up by the G/B (V of II) moving the up to Bb/C,
then to C, then to F.
Ex. 4. Use the ideas in the last three examples to build on this melody line. Don’t worry about the left hand as you first improvise on this. Start with octaves, then strong beat
chords, then some in-between chords. Mix it up, using both variations discussed above. Next time we’ll talk about chromatic passing chords and contrary motion. Praise!
