Every Chord Formula, Every Inversion, Every Speed Level: One Triad Workout
To build chord fluency on piano, harmonise F major and F harmonic minor into seven triads each, then play every chord in root position, first inversion and second inversion as block chords up and down the scale, changing chords every bar, every two beats and finally every beat.
Key points
- In major keys, chords 1, 4 and 5 are major, chords 2, 3 and 6 are minor, and chord 7 is diminished.
- In harmonic minor, chords 1 and 4 are minor, 2 and 7 are diminished, 5 and 6 are major, and the flat 3 chord is augmented.
- Play every triad in root position, first and second inversion while the left hand keeps the chord's root.
- Build speed in stages: one chord per bar, then every two beats, then every beat.
- Writing chord notes in a circle reveals close shapes clockwise and spread shapes counterclockwise.
This lesson from Jason Zac at Nathaniel School of Music is a triad workout for pianists who usually practise scales one note at a time. You move up and down the scale in chords instead, in every inversion and at three speeds. It suits late beginners and intermediate players. The spread shapes at the end are a good extra challenge if you have been playing for a while.
Step 1: Harmonise the two scales
F major (one flat, Bb)
The formula for any major scale is: chords 1, 4 and 5 are major, chords 2, 3 and 6 are minor, and chord 7 is diminished. In F major that gives:
- F major (F A C), G minor (G Bb D), A minor (A C E)
- Bb major (Bb D F), C major (C E G), D minor (D F A)
- E diminished (E G Bb)
F harmonic minor (flat 3, flat 6, major 7)
F harmonic minor is F G Ab Bb C Db E. It is the F natural minor with its seventh raised from Eb to E. Its formula is: chords 1 and 4 minor, 2 and 7 diminished, 5 and 6 major, and the flat 3 chord augmented.
- F minor (F Ab C), G diminished (G Bb Db), Ab augmented (Ab C E)
- Bb minor (Bb Db F), C major (C E G), Db major (Db F Ab)
- E diminished (E G Bb)
Watch out for the augmented second between Db and E, the flat 6 and the 7. The augmented chord is also symmetrical. Its first inversion (C E Ab) sounds like C augmented, and its second inversion (E Ab C) sounds like E augmented.
Step 2: Write each chord in a circle
Jason suggests writing each triad's three notes in a circle. Read clockwise and you get the three close shapes: F A C, A C F and C F A. Read counterclockwise and you get three spread shapes, which are open-voiced triads: F C A, A F C and C A F.
Step 3: Block chords in root position
Your right hand plays all three notes together. Your left hand plays the chord's root and its octave. Go up the scale from F to F, then come back down. Use a metronome or count steadily, and play at three speeds:
- One chord per bar of 4/4 (four counts each)
- One chord every two beats
- One chord on every beat
Changing chords on every beat, at the speed you might play a scale, is the real goal. You can also add articulations such as legato and staccato.
Step 4: First and second inversions
In first inversion the root moves to the top, so F A C becomes A C F. In second inversion the root sits in the middle, so it becomes C F A. Your left hand still plays the chord's root. You do not change the bass because of the inversion.
Run each inversion through all three speeds, ascending and descending. Then do the same in F harmonic minor. Some second-inversion shapes there are awkward, such as a white note squeezed between two black notes, so go slowly at first.
Step 5: Spread shapes
Next, play the open shapes up and down the scale, for example F C A, then G D Bb, and so on. These can span about a tenth, so share the notes between your hands. Practise all three versions, starting on the root, the third and the fifth. Try them in the harmonic minor too, where they sound especially beautiful.
How to practise
- Count aloud or use a metronome, and only speed up once the slower level is clean.
- Train your ear as you play. Call out or sing the chord name, its notes, or just its root. Using swaras is fine.
- Once block chords feel secure, try broken versions, such as the outer two notes against the bottom one. You can also try low-middle-high-middle arpeggios. These are a preview of the next, more rhythmic part of the workout.
Questions about this lesson
What are the triads of F harmonic minor?
They are F minor, G diminished, Ab augmented, Bb minor, C major, Db major and E diminished. The raised seventh, E, creates the augmented chord and the major chord on C.
Should the left hand change when I play an inversion?
No. In this workout the left hand keeps playing the root of the chord and its octave, whatever inversion the right hand plays.
What is a spread shape on piano?
It is an open-voiced triad such as F C A instead of F A C. You find these shapes by reading the chord's notes counterclockwise in a circle. They often need both hands because they stretch about a tenth.
How fast should I change chords?
Start with one chord per bar of 4/4, then move to one chord every two beats. Aim eventually for one chord on every beat, ascending and descending in every inversion.
Practise it
- Chord TreesStart from a note and explore related chords, inversions and voicings.
- Groove MetronomeWork with tempo, accents and polyrhythms instead of a single unchanging click.
- 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.
Related lessons
- The Spanish Andalusian Cadence Every Pianist Should Know (Part 1)The Andalusian cadence in D minor is Dm–C–Bb–A (i–bVII–bVI–V), a descending, flamenco-flavoured progression that borrows the C from the natural minor and the A major (with C#) from the harmonic minor.
- Chord Trees: Build Any Chord From Any Root on PianoAny single note belongs to exactly six major and minor triads: as the root of a major and a minor chord, the fifth of a major and a minor chord, the major third of one major chord and the minor third of one minor chord. For C these are C, Cm, F, Fm, Ab and Am.
- Close vs Spread Triad Voicings: Make Your Piano Chords Sound FullA close triad voicing keeps all three notes within one octave, like D F# A, F# A D and A D F#. A spread voicing opens the notes beyond an octave, like D A F#, A F# D and F# D A, which gives a fuller, more orchestral sound, especially in the low register.
- Piano Chord Inversions: Play Any Progression From Any Major ScaleTo play any chord progression smoothly on piano, write out the chords of the major scale, list every inversion of each chord, then move between chords by keeping their common note in place while the left hand plays each chord's root.