Amazing Grace Piano Tutorial: Spread Voicing Chords and Melody (Solo Arrangement)

To play Amazing Grace as a solo piano arrangement, play each chord low in the left hand as a three-note spread voicing (root, fifth and the third an octave higher, a tenth above the root) in F major and 3/4 time, so the right hand is free to play and embellish the melody.

Video lesson by Jason Zac · Intermediate · 15 min

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What this lesson teaches

In this lesson Jason Zac of Nathaniel School of Music shows how to accompany yourself on Amazing Grace using a spread voicing in the left hand. The song is played in F major with a three-beats-per-bar waltz feel (3/4). It is for pianists who already know the tune and have perhaps played it with simple block chords or in a four-part chorale style, and who now want a richer sound.

The aim is for the left hand to cover the harmony, bass and rhythm on its own, so the right hand can play the melody, add embellishments or improvise freely.

Why spread voicing works

When both hands play close chords in the middle of the keyboard, the melody and the harmony start to clash. Moving a close chord very low to escape the clash makes the texture muddy. A spread voicing solves both problems: the chord sits deep on the piano but stays clear, and the right hand has three to four octaves to roam above it.

How to build the voicing

• F major: root, fifth, then the third an octave higher (a tenth above the root): F, C, A.
• F7: keep the root and the upper third, and replace the fifth with the dominant seventh: F, Eb, A.
• Every chord uses just three notes laid out the same way, for example Bb, F, D for Bb major, D, A, F for D minor and C, G, E for C major.

The chords, line by line

Line 1: Amazing grace, how sweet the sound

Start on F. On the second syllable of grace, turn it into F7; the added seventh makes the stable tonic feel unstable and pull towards Bb on how sweet. Return to F on the sound. Bb to F is the plagal or church cadence (IV to I). For extra colour you can play F over A (F major with A in the bass) on the sound.

Line 2: That saved a wretch like me

Play D minor on that saved (a D minor seventh is also an option), then G7 on wretch (plain G major works too). Like me sits on C major for a long time, so you can go C major to C7, which leads back to F. A wider C voicing that adds an eleventh gives even more flavour; use the sustain pedal if your hand cannot stretch that far.

Line 3: I once was lost, but now am found

This is almost the same as line one: F, F7, Bb, then the F over A voicing on found.

Line 4: Was blind, but now I see

Play D minor on was blind, then C major or C7 on but now. Instead of ending simply on C to F, Jason prefers Bb to F on I see, because that plagal ending suits gospel and hymn styles. For a passing-chord ending you can try Bb, F over A, G minor, then end on F.

How to practise

1. Sing or hum the melody while playing simple block chords so you hear the progression.
2. Learn each spread voicing slowly, low on the keyboard, keeping a steady three-beat pulse.
3. Play the whole song with the left hand alone, calling out the chord names as you go.
4. Add the melody in the right hand, then start embellishing and improvising over the steady left hand.
5. Try the same three-note spread voicings on other hymns and songs you know.

Questions about this lesson

What chords are used for Amazing Grace in F major?

The main chords are F, F7, Bb, D minor, G7, C and C7. Line one goes F, F7, Bb, F; line two uses D minor, G7, C and C7; line four ends D minor, C, then Bb to F.

What is a spread voicing on piano?

It is a chord laid out wide rather than in a close cluster. In this lesson each chord is root, fifth and the third an octave higher, such as F, C, A for F major, played low in the left hand.

Why not just play close chords low in the left hand?

Close chords low on the piano sound muddy, and close chords in the middle clash with the melody. A spread voicing stays clear in the low register and leaves room for the right hand.

How do I make the F7 chord in this voicing?

Keep the root F and the upper third A, and swap the fifth C for the dominant seventh Eb, giving F, Eb, A.

Practise it

• Voicing RoomA hands-on lesson room for piano chord voicings.
• Cadence LibraryCompare piano cadences across keys and listen to how different chord movements create closure, suspense or a turn in a new direction.
• Piano classes at Nathaniel School of MusicLive online or in Bangalore, with a teacher.
• All free music apps40 practice tools for harmony, rhythm, ear training and more.

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• How to Make Left-Hand Piano Chords Sound HugeTo make left-hand piano chords sound huge without getting muddy, use a spread voicing: play the root, then the fifth, then the third an octave higher (a tenth), so F major becomes F C A and F minor becomes F C Ab.
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