Tutorial — Theory and Songwriting from Intermediate Piano¶

Five levels. Built for someone who can play piano comfortably but doesn't know much theory. Each level connects theory to what your hands already do.

Level 1 — The 12-note system, intervals, and key¶

Goal: internalize the layout of the keyboard as a musical structure, not just a sequence of named keys.

The 12 notes (and why)¶

The chromatic scale: 12 semitones per octave. On the piano, that's every key in order — white and black. The pattern of black keys (groups of 2 and 3) is your spatial reference for where you are. Use it.

The 7 white keys are named with letters A B C D E F G. C is the white key just left of the group of 2 black keys. This is the only spatial fact you need to memorize; everything else derives from it.

Intervals¶

An interval is the distance between two notes. Number it by counting white-key positions inclusive (C to G = "fifth" because C-D-E-F-G is 5).

The intervals to learn first, with what they feel like:

Drill: play each from C, then from G, then from F. Hear them. Most people learn intervals visually but never hear them; that's why theory feels like a dead language. Pair every interval drill with a song that begins with it (e.g., "Here Comes the Bride" = perfect 4^th; "Twinkle Twinkle" = perfect 5^th).

Major and minor scales¶

A major scale is a 7-note ladder built with the pattern:

W W H W W W H

Starting from C: C D E F G A B C — all white keys. C major is the only major scale that's all white keys. Every other major scale uses the same W-W-H-W-W-W-H pattern starting from a different note, which forces black keys.

The natural minor scale uses:

W H W W H W W

A and C are relative — same notes, different starting point ("tonic"). Every major key has a relative minor a minor 3^rd below.

The 12 keys¶

There are 12 major keys and 12 minor keys (24 total, but each major has a relative minor). They differ by which sharps or flats they contain. The circle of fifths organizes them:

                C
          F           G
       Bb              D
      Eb                A
       Ab              E
          Db         B
                Gb / F#

Going clockwise (C → G → D → A → E → B → F# → ...) adds one sharp each step. Going counterclockwise (C → F → Bb → Eb → ...) adds one flat each step.

Learn the circle. It's the map.

Practice for Level 1¶

Daily, 10 minutes: - Play C major scale, hands separately, then together. - Then G major. Then F major. - Add one new key per week on the circle of fifths. - Drill intervals on tenuto / musictheory.net for 5 minutes.

By month 2, all 12 major scales should be at fingertips. By month 3, both relative minor of each.

Level 2 — Chords, chord function, and your first progressions¶

Goal: understand chord construction, build the diatonic chords of any key, and play the I–V–vi–IV progression in any key.

Triads¶

A triad is 3 notes stacked in 3rds. Four flavors:

• Major — root + major 3^rd + perfect 5^th (e.g., C-E-G).
• Minor — root + minor 3^rd + perfect 5^th (e.g., C-Eb-G).
• Diminished — root + minor 3^rd + diminished 5^th (e.g., C-Eb-Gb).
• Augmented — root + major 3^rd + augmented 5^th (e.g., C-E-G#). Rare.

Diatonic chords (the 7 chords of a key)¶

In C major, build a triad on each scale degree using only white keys:

Uppercase Roman = major; lowercase = minor; ° = diminished.

Memorize the pattern: I ii iii IV V vi vii° = Major minor minor Major Major minor diminished. Same pattern in every major key, just shifted.

Functional harmony (the simplest possible model)¶

Three jobs: - Tonic (T) — home. Chords: I, vi (sometimes iii). - Subdominant (S) — departure. Chords: IV, ii. - Dominant (D) — tension wanting to return home. Chords: V, vii°.

Most songs in major cycle: T → S → D → T (or T → S → T → D, etc.). This is why the same progressions work over and over: - I–V–vi–IV ("Don't Stop Believin'", "Let It Be"-ish) → T D T S — pure pop sweetness. - I–IV–V (12-bar blues, "Twist and Shout") → T S D — rock & blues default. - vi–IV–I–V ("Apologize", "Despacito") → T S T D — emotional pop. - I–vi–IV–V (50s doo-wop) → T T S D — innocent / nostalgic.

Practice for Level 2¶

• Build all 7 diatonic triads in C, then G, then F. Play each ascending and descending.
• Practice I–V–vi–IV in C, G, D, A, E, F, Bb. Use simple voicings: root in left hand, triad in right hand.
• Pick a song you like; identify its chord progression by ear or from a chart. Notice it's almost certainly one of the patterns above.

By end of Level 2 you should be able to play any of the four "core pop progressions" in any major key.

Level 3 — Inversions, voice leading, 7^th chords, modulation, modes¶

Goal: make your chord progressions sound good, not just correct. Add color.

Inversions¶

A triad has three positions: - Root position: C-E-G. - First inversion: E-G-C (third in the bass). - Second inversion: G-C-E (fifth in the bass).

Same chord, different bass note. Inversions make smooth bass lines.

Voice leading¶

When moving from chord to chord, move each voice (note) the smallest possible distance. Compare: - C → G7 → C with all root-position chords: bass jumps C, G, C. Sounds blocky. - C → G7/B → C: bass goes C, B, C. Walks. Smoother. Same chords, better voicing.

Rule of thumb: shared notes stay; non-shared move by step where possible.

7^th chords¶

Add a 4^th note (a third above the 5^th) to any triad → a 7^th chord:

• Major 7^th (Imaj7): C-E-G-B. Dreamy.
• Dominant 7^th (V7): G-B-D-F. Strongest tension; classic "wants to resolve to C."
• Minor 7^th (ii7, vi7): D-F-A-C. Smoother than minor triad; jazz/R&B color.
• Half-diminished (vii°7 or iiø7 in minor): B-D-F-A. Tense, jazzy.

Pop, R&B, and jazz live on 7^th chords. Once you start hearing them, plain triads sound thin.

The V7 → I cadence¶

The cornerstone of Western harmony. G7 (G-B-D-F) → C (C-E-G): - The B (leading tone) wants to resolve up to C. - The F wants to resolve down to E. - That tension-and-resolution is the engine of tonal music.

Every key has its V7 → I. Practice in all 12 keys.

Secondary dominants¶

Want to sneak more tension? Use the V7 of a chord that's not the tonic. E.g., in C major, before the IV chord (F), play C7 (C-E-G-Bb) — that's V7 of F. The Bb pulls down to A (the 3^rd of F). It works because you've borrowed momentarily into F major's harmonic gravity.

This is how songs feel like they "go somewhere" without modulating fully.

Modes (briefly)¶

The 7 modes of the major scale are 7 different starting points for the same notes:

For songwriting: Mixolydian (V over its own root for a whole song) and Dorian (ii for a whole song) are easy mode-experiments. "Norwegian Wood" is Mixolydian; "Scarborough Fair" is Dorian.

Modulation (briefly)¶

Changing keys mid-song. Easiest method: pivot on a chord shared by both keys. C major → G major: both contain a C major chord (I in C, IV in G). Land on C, then treat it as IV-of-G, then play V-of-G (D7) → G. You've modulated.

Practice for Level 3¶

• Play I → V7 → vi → IV with smooth voice leading in 6+ keys.
• Re-harmonize a simple folk melody by adding 7ths to the chords.
• Choose a mode (Mixolydian or Dorian); improvise an 8-bar piano part using only that scale. Notice how it feels different.

Level 4 — Melody, song form, lyrics¶

Goal: write a complete song with verse, chorus, melody, and lyrics.

Melody fundamentals¶

A melody isn't random; it's shaped:

• Contour — does it go up, down, arc? Most memorable melodies have a clear shape.
• Range — too narrow is boring; too wide is hard to sing.
• Rhythm — melodic rhythm is half the song. Same notes with different rhythm = different feel.
• Phrases — call and response. Most pop melodies are 2- or 4-bar phrases that pair off.
• Step vs. leap — most steps (small intervals); a few leaps for impact. After a leap, often step back the other direction (a "balanced melody").
• Repetition with variation — the human brain craves familiarity then surprise.

Melody from chords (the easiest start)¶

1. Pick a 4-chord progression (e.g., I–V–vi–IV in C: C–G–Am–F).
2. For each chord, the safest melodic notes are the chord tones (root, 3^rd, 5^th, sometimes 7^th).
3. Start a phrase on a chord tone, walk through 1–2 stepwise notes (passing tones), land on another chord tone.
4. Sing it. If you can't sing it, change it.

Example, melody over C–G–Am–F (whole notes per measure):

Measure:   |  C  |  G  |  Am  |  F  |
Melody:     E─D─C─C   B─A─G─G  C─B─A─A   F─E─D─C
            (chord tones bold)

That's a melody. Refine by adjusting rhythm.

Song form¶

Common pop forms:

• AABA (32-bar) — verse, verse, bridge, verse. Standard for jazz, old pop. "Somewhere Over the Rainbow."
• Verse–Chorus — V, C, V, C, B, C. Modern pop. The chorus is the hook; the verse sets it up.
• Verse–Chorus–Bridge — adds a contrasting bridge for variety. Most contemporary pop.
• AB binary — two distinct sections; folk, hymns, simple songs.
• Through-composed — no repeats; each section new. Art songs, prog rock.

Verse–Chorus is the highest-utility form to learn. Standard structure:

Intro (4–8 bars)
Verse 1 (8–16 bars)        — sets scene, lyrically rich, melodically simpler
Pre-chorus (4–8 bars)      — builds tension, lifts toward chorus
Chorus (8–16 bars)         — the hook, melodically the highest energy, repeated lyric
Verse 2 (8–16 bars)        — continues story, same melody as verse 1
Pre-chorus
Chorus
Bridge (8 bars)            — contrasting harmonic/melodic, often modulates or shifts
Chorus (often double)
Outro (4–8 bars)

Hook¶

A hook is the part listeners remember. Usually the chorus melody; sometimes a riff (instrumental hook). Test: can someone hum it after one listen?

Hooks are typically: - Short (1–4 bars). - Repetitive but with a small surprise (interval leap, syncopation, lyric pun). - Built around chord tones of the most stable harmony.

Lyrics (briefly)¶

Lyric writing is its own discipline; this is just the entry:

• Conversational, specific, concrete. "I miss you" < "I miss the way you made coffee badly."
• Singable — open vowels on long notes (ah, oh, ee). Try singing your lyrics aloud; if a syllable is awkward, change it.
• Match stress — the natural stress of the word matches the strong beat. Misalignment is the most common amateur lyric mistake.
• Rhyme is optional but used; near-rhyme (like-night) is fine and often better than forced rhyme.
• Read your favorite lyricists — Joni Mitchell, Paul Simon, Tom Waits, Phoebe Bridgers. Different schools, all worth studying.

Practice for Level 4¶

• Pick 5 of your favorite songs. Write out their forms (V/C/B, etc.) and chord progressions. Learn to play and sing each.
• Choose one song; write new lyrics to its melody. Forces you to focus on lyric craft separately.
• Choose a chord progression; write a new melody over it. Focus on melodic craft.
• Combine: write an original verse + chorus to a 4-chord progression. Don't aim for genius; aim for finished.

Level 5 — Composing complete pieces; recording; iteration¶

Goal: write, record, mix, and release.

A composition workflow¶

1. Idea capture: voice memo every fragment, even bad ones. Most songs start from a 4-bar germ.
2. Choose a key and tempo. Tempo dramatically changes character. Try the same progression at 60, 90, 120 BPM.
3. Build form: rough out V/C/B blocks with chord progressions in each.
4. Write melody for verse and chorus. Iterate. Sing aloud constantly.
5. Write lyrics to fit melody. Edit ruthlessly.
6. Arrange: what instruments come in when? "Less" is usually right. Verses sparse, choruses fuller, bridge a contrast.
7. Demo in your DAW: scratch piano + scratch vocal is enough to evaluate the song.
8. Iterate: take a week off; come back; cut what doesn't work; rewrite the weak section.
9. Produce: layer real instruments / better vocals / synths / etc. Or hand off to a producer.
10. Mix to balance levels, add EQ/compression/effects.
11. Master for loudness and final polish.
12. Release to streaming via DistroKid / TuneCore / CD Baby (~$20–40/year).

Mixing fundamentals (briefly — this is its own discipline)¶

Mixing is balancing: - Levels — each track at the right volume relative to others. - Frequency — EQ each track so they don't fight (carve space for bass and kick to coexist; remove muddiness around 200–400 Hz). - Dynamics — compression to even out levels and add presence. - Space — reverb and delay to place sounds in a virtual room. - Stereo image — pan elements left/right; vocals and bass center.

Books / channels (see learning.md) cover this depth.

Sight reading: deliberate plan¶

Slow sight reading is fixed by reading slightly easier music every day. Not the hard piece you're learning — much easier music, played at tempo, without stopping.

Daily 10-minute routine: - Open a book of pieces 1–2 grades below your playing level. - Set metronome to a comfortable tempo. - Sight-read 2–3 pieces, hands together if possible. Do not stop. Keep moving even on errors. - Tomorrow, new pieces. Do not repeat the same piece — that defeats the exercise.

Sources for graded sight-reading material: - ABRSM Sight Reading practice books, grades 1–8. - Royal Conservatory sight-reading books. - MuseScore.com — search by difficulty. - Hymnals — endless, predictable, grades approximately easy.

After 3 months of daily 10-minute sight reading, your reading speed will be transformed. After 6 months, you'll catch yourself reading patterns instead of decoding notes.

Ear training: deliberate plan¶

Daily 5-minute routine using musictheory.net or Functional Ear Trainer: - Interval ID (ascending and descending). - Chord quality ID (major, minor, diminished, augmented, then 7ths). - Scale degree singing (sing "1, 2, 3, 4, 5, 6, 7, 1" in any key on cue). - Melodic dictation (hear a 4-note phrase; write it down).

These are tedious. Do them anyway. After 6 months you'll start hearing progressions when you listen to music — knowing it's I–V–vi–IV without thinking. That changes how you write.

What "advanced" means¶

You can hear a song once and write down its chord progression. You can compose a melody and immediately propose three different harmonizations of it. You have a finished catalog — at least 10 complete songs, recorded and released somewhere — and you've gotten honest feedback on most of them. You can sit at a piano with a friend and improvise a song over a chord progression they suggest, in any key.

Most of all: you write more than you analyze. The musicians who release music constantly outrun those who study perfectly and never finish anything.