How to Play Chords on Piano

Begin with C major (C–E–G), A minor (A–C–E), F major (F–A–C) and G major (G–B–D). This short path shows how to read a chord and complete one change; use the chord chart when you need another name.

1. Find C, E and G on the keyboard, then read the C chord reference.

A chord symbol names a root and a quality. C is C–E–G; Am is A–C–E. Formula numbers such as 1–3–5 describe chord members, while C4 names an octave and finger 1 names a thumb. Read the note names before choosing a hand shape.

Finger numbers identify digits, not keys. The shown right-hand 1–3–5 example applies to root-position C major. An inversion or a change between chords can require a different hand shape.

Play C4–E4–G4, then keep C4 and E4 while moving G4 to A4. The second chord is Am/C: A minor with C as its lowest note. This changes the bass and chord name without assigning a new fingering.

1. Read C4–E4–G4, move G4 to A4, then return to G4.

Use the existing chord references to hear and check each note set. Then open the progression practice, choose the vi–IV–I–V example in C major, and follow Am–F–C–G at a comfortable pace. The browser checks its own controls; it does not assess acoustic timing or hand position.

After this first change, compare a major and minor third, read an inversion, or explore seventh chords. The references below cover those distinct tasks and more advanced chord types.

Compare A–C–E with A–C♯–E. Keep A and E fixed and listen to the change in the middle note. The symbol Am names the first collection; A names the major triad.

Use the comparison controls rather than assuming that a mood word defines either chord. A listener’s impression depends on the musical passage as well as the notes.

1. Compare the same root without changing register at the same time.

Compare the fourth chord tone and the quality of the underlying triad. Do not treat the bare symbol “7” as another spelling of “maj7”.

Choose a named subtype in the seventh reference. Read its formula, then compare the lowest note in each displayed position. A four-tone seventh chord has root position and three inversions, not four inversions.

1. Distinguish C7, Cmaj7, Cm7, Cm7♭5 and Cdim7.

Open C13. The formula view lists C, E, G, B♭, D, F and A. The supplied playing example uses C, E, B♭, D and A; G and F are explicitly omitted.

Try both views. In the playing-example exercise, an approved omission is part of that example. In the full-formula exercise, all reference pitch classes are required. Neither task establishes a universal rule for every performance of C13.

1. Understand a named omission instead of guessing missing notes.

Compare C7(♭9) with C7(♯9). They change the ninth in different directions while retaining the major third and minor seventh. The written ♯9 is D♯, even though its piano key is also called E♭.

A generic “alt” label needs a chosen interpretation. This collection offers explicit combinations instead of pretending that one fixed group of notes is the only altered dominant chord.

1. Keep altered intervals and actual key names distinct.

Begin with Dm7–G7–Cmaj7 in C major. Compare it with the named Dm9–G13–Cmaj9 color-tone example. Use the displayed formulas and voicing notes to see exactly what changed.

The jazz section is an introduction using particular examples, not an exhaustive style dictionary. Check any altered or omitted note before assuming it comes directly from the selected key.

1. Connect the jazz reference to an actual sequence.

In the power-fifth reference, C5 contains C and G. Here “5” is part of a chord symbol; it does not mean the single pitch C5. The optional octave-doubled example plays C3–G3–C4.

Because the third is absent, do not label this pair as major or minor. Compare it with the complete C major and C minor examples to hear the added third.

1. Use the original power-chord task, with a real output.