Hear the idea before you study it.
Keep common tones when they work, move the other voices by small intervals, and treat the bass as its own melodic line. The fewest movements aren't always the most expressive, but they're a useful starting point.
Part 01
Let notes stay where they belong
Compare Cmaj7 (C–E–G–B) and Am7 (A–C–E–G). They share three pitch classes: C, E and G. You can keep those notes in the right hand and move only the remaining voice to make the change feel effortless.
Try Cmaj7 → Am7 with your right hand. Keep C, E and G held or near their previous positions while you add A.
04 · Go deeper into let notes stay where they belong
Now compare Dm7 (D–F–A–C) and G7 (G–B–D–F). D and F are common tones. Holding them while the other voices move can create a connected jazz sound without requiring elaborate technique.
A good voicing is not simply a stack of notes. Its spacing, register and relationship to the previous chord all matter.
- Common tone
- A note belonging to both consecutive chords that can stay in place.
- Contrary motion
- Two voices move in opposite directions.
- Close position
- Chord notes are grouped fairly tightly.
- Open voicing
- Chord tones are spread across a wider register.
Part 02
Use inversions instead of big leaps
Say you're moving from C major to F major. C–E–G can move to C–F–A with only E rising to F and G rising to A. That's F major in second inversion rather than its root-position shape F–A–C.
Play RH C–E–G → C–F–A → B–D–G → C–E–G. In the LH, play C → F → G → C as single bass notes.
04 · Go deeper into use inversions instead of big leaps
When the harmony continues to G, try moving C–F–A to B–D–G, then return to C–E–G. Each voice has a relatively small job, which helps the progression breathe.
Inversions are especially useful when learning to play chord progressions with the right hand and a separate root or walking bass in the left. Keep your left-hand note simple at first so you can really hear the right-hand connections.
Part 03
The bass is a melody too
A slash chord lets a bass note connect otherwise separate harmonies. G → D/F♯ → Em7 makes the bass descend G → F♯ → E in whole and half steps, rather than jumping to D in the middle.
Play just the bass G–F♯–E–C as single notes before adding the right-hand chords.
04 · Go deeper into the bass is a melody too
Sometimes the best bass line is not the root on every beat. A passing note, an octave, or a carefully chosen inversion can lead the ear toward the next chord. But excessive movement can undermine a quiet folk or ballad arrangement.
Try comparing the same progression with and without a bass walk. If the chord itself already has a strong melody, a stable bass may sound better. Voice leading serves the phrase—not a rule.
Part 04
Smooth doesn't mean lifeless
The closest possible chord position is not always the most musical choice. Register creates emotion: an open top note can make a chorus soar, while a closely voiced middle register may give a jazz ballad warmth.
Keep the harmony fixed and swap between Block and Arpeggio in Studio. Decide which one makes the next chord easier to anticipate.
04 · Go deeper into smooth doesn't mean lifeless
Articulation matters as much as the notes. Block chords, arpeggios and broken patterns create distinct shapes in time. Choosing a style should reflect the music, not randomise it.
PianoTry's Studio lets you compare these interpretations using the same chords. Listen once to the bass and once to the right-hand notes. If the movement feels inevitable rather than busy, you've probably found a useful voicing.
Try the ideas for yourself.
Hear a progression, follow the keyboard and make a variation that feels like yours.