Here is a method for getting started with basic improvisation with two hands on the piano. Improvisation is a particular passion of mine, and one I include in my daily practice, and record and publish regularly here.

There are many different methods of learning how to improvise, and whichever method is right for you can be a very individual thing, but below I have provided some ideas for a very basic entry point and how to start to develop your improvisation skills further.

Once you get into the swing of improvising, it can take many forms and styles. It can be very structured, such as using a strict harmonic sequence or lead sheet, or it can be very free-form, where you let your intuition and ear guide you to feel your way through the harmonies and melodies. The latter is how I tend to prefer improvising, generally within modes, but again, whichever form or style you are drawn to — whether that is jazz, neo-classical, pop, folk, or something else —  is a very personal thing.

Start with a chord sequence

Start with a chord sequence. Decide which key or mode you want to play in and familiarise yourself with the scale of that key. Learn scales here and modes here. Then work out which chords you can use in that scale/mode. You can do this by taking each note of the scale/mode and building a triad (3-note chord) on it.

Root or 1st of the chord: The particular note of the scale that you are building the triad upon is the root of the chord.

3rd of the chord: The next note of the chord should be a skip above the root, aka an interval of a 3rd (i.e. skip the next letter name, then take the letter name after that) but be sure to keep any sharps or flats that occur in the scale/mode.

5th of the chord: The next note of the chord is another skip (or interval of a 3rd) above the previous note, which makes it a 5th above the root, again keeping in mind any sharps or flats within the key/mode. It’s a 5th because you count the root as 1, then count all the subsequent letter names until you get to 5.

Learn more about intervals here, including 3rds and 5ths.

Here is an example:

The scale of D major is: D (1) – E (2) – F♯ (3) – G (4) – A (5) – B (6)– C♯ (7) – D (1 again)

The first chord is built on D, meaning D is the root of chord 1. To get the next note of the chord (the 3rd of the chord, i.e. a 3rd above the root) go up a skip (or an interval of a 3rd) from D, keeping in mind any sharps or flats relevant to the scale – you get F♯. Another skip up from F♯(or a 5th above the root D) is A . So the first chord from a D major scale is D–F♯–A.

The second chord would be E–G–B, the third chord would be F♯– A – C♯, the fourth chord would be G–B–D, and so on.

Learn more about chords

Once you’ve worked out your chords you can decide on a chord sequence. Play all the chords in order first just to familiarise yourself with them. Then start mixing them up to see which order you like the sound of. You might find you like the sound of a particular two or three chords in a repetitive sequence, or a more complex combination of chords. Write down the sequence you like, and then you can use this sequence as a basis for your improvisation. Often a chord sequence is repeated a few times in a piece of music. A very common and popular chord sequence, both in classical and contemporary styles is 1 4 5 1, aka I, IV, V I. Learn more about the Roman numerals chord naming systems here: Chords and Roman Numerals and here: Extended Roman Numerals.

In D major this would be: D–F♯–A, G – B – D, A – C♯– E, D–F♯–A. You can try this chord sequence to start with or vary it/extend it.

Experiment with the chord sequence

Play your chord sequence a few times in the left hand just to familiarise yourself with it. Then try varying how you play the chords.

Broken chordal/arpeggiated patterns: You could turn them into broken chords or arpeggio patterns and change the order of the notes within these broken chords/arpeggios according to what you like the sound of.

Octave plus inner note patterns: You can make an octave of the root of the chord with the 5th of the chord in the middle (e.g. D – A – D for chord 1);

Inversions: You can invert the chords e.g. by putting the bottom note of the chord at the top instead. Learn more about chord inversions.

Double up notes, omit others, combine patterns: You can double up certain notes of the chords etc.
You can combine these ideas of broken chords/arpeggio patterns/inversions and add interesting rhythms to get different effects.

This will get you started with improvising a left hand accompaniment on a chord sequence.

Melody

Next you may want to think about adding a melody in the right hand. Play through your chord sequence again in the left hand and use the notes of each chord as a basic outline for your right hand melody. To build up your confidence, you could start very simple if you wanted to, by only playing notes in your right hand that are from the chord in your left hand – these are called harmony notes. Then fill in and embellish the melody by adding some notes that pass between the harmony notes. These non-harmony notes are what start to add tension, shape and colour to a melody. Start to add some rhythm to your melody. You could start off with a very simple rhythm of just minims (half notes) and crotchets (quarter notes), then be a bit more adventurous as you become more confident and fluent with improvisation.

Avoid overthinking it, imagine your melody is like a song or speech, with the natural rhythm of the words, and cadence of breaths at ends of phrases. Feel the emotions or moods you are wanting to communicate, and allow these to shape your melody (and choice of harmonies if you decide to go a bit more free-form with your chord sequence).

This is a very basic method that can start to build up your confidence and familiarity with the process of working without a script or score, so that you can eventually experiment more with different styles and ideas. For example, you could take this method and use 7th chords instead, and improvise on the notes from a blues scale. You could start to do melodies in your left hand with chords in your right hand, or melodies in both hands. You could even improvise an unaccompanied melody for a different feel. Or you could start with the melody instead of the chords, and then see which chords fit the melody. This is also a useful method for getting started with composition.

Want Personal Guidance on Your Creative Journey From an Online Piano Improvisation Teacher?

Breaking free from sheet music can feel intimidating when you are practicing alone in a room. Working with an experienced piano improvisation teacher gives you the encouragement and guidance you need to build confidence. If you want structured feedback on your modal patterns, chord choices, or left-hand stability, I can coach you through the process.

I teach adult learners worldwide using a structured Video Exchange (Correspondence) method. You simply film yourself practicing these basic concepts at your own pace, and send it to me. I will send you back personalised, detailed feedback diagnosing your technique and guiding your next creative steps.

Click here to see how my correspondence improvisation lessons work

How Piano Improvisation Feels for Me — Creative Expression and Flow State

You may also be interested in reading about the benefits of improvisation, the benefits of learning piano, or watching me play a piece written in an improvisatory style.

Read more about improvisation here: Improvisation at the Piano: Finding Freedom Through Sound

Bluebell — Improvisation in F Dorian & Dorian ♯4, C Phrygian, G & C Mixolydian ♭6