Study A — simple pulse
| Bar | Chord / right-hand notes | Beats 1–4 | Left hand |
|---|---|---|---|
| 1 | C · C–E–G | hit – hold – hit – hold | Low C on 1 |
| 2 | Am · A–C–E | hit – hold – hit – hold | Low A on 1 |
| 3 | F · F–A–C | hit – hold – hit – hold | Low F on 1 |
| 4 | G · G–B–D | hit – hold – hit – hold | Low G on 1 |
Study B — spacious answer
| Bar | Chord | Attack pattern (four quarter-note counts) |
|---|---|---|
| 1 | C | beat 1 only; let it ring naturally |
| 2 | F | beats 1 and 4 |
| 3 | Am | beat 1 only; release gently after beat 3 |
| 4 | G | beats 1 and 3 |
Study C — moving rhythm
| Bar | Chord | Chord attacks | Separate bass |
|---|---|---|---|
| 1 | C | 1, 2-and, 4 | C on 1 |
| 2 | G | 1, 2-and, 4 | G on 1 |
| 3 | Am | 1, 2-and, 4 | A on 1 |
| 4 | F | 1, 2-and, 4 | F on 1 |
For Study C, count aloud 1 & 2 & 3 & 4 &; 2-and is the offbeat between beats 2 and 3. Start by tapping that subdivision on your knee before playing. The chord names tell you which notes; the attack instructions tell you when. Hold to the next marked attack unless the bar specifically says release.
Turn a four-bar loop into a small piece
Use Study A twice as an eight-bar verse. Play Study B twice as a contrasting section; finish on C for a sense of home rather than pretending the progression follows any existing recording. A counted one-bar intro is sufficient. Do not overlay a copyrighted melody unless you have permission.
If you lose time: stop, clap four beats through the entire progression, then add only the right hand. Slow to a pulse you can count accurately; there is no pass/fail speed. To arrange the left hand, follow the three bass patterns. To change harmonies, learn progressions or use the practice planner.
Sources and scope
Published theory and the original exercises above are editorial work, not a first-hand product test. Merchant statements were checked 28 October 2026. Music examples are original text arrangements; independent musician review remains a required prepublication check.