Uploaded April 2017 | Updated September 2026, 3 weeks ago
billspianopages.com/how-to-really
billspianopages.com/seven studies
patreon.com/billhilton
I often get asked about techniques for creating piano improvisations on chord progression that include non-diatonic chords. One common approach, especially in pop and ballad piano styles, is to base the improvisation around modes.
That's what I demonstrate in this piano tutorial. I look at a simple looped chord progression that runs G - Gb - C - G, in which Bb is the non-diatonic chord, and explain how to use mixolydian and lydian modes to put together a cool improvisation.
The great thing about modes is that they not only have a really distinctive sound (and, in fact, are very commonly used by composers and songwriters for that reason), but also that they give you access to a harmonic and tonal palette that can more closely fit a chord progression that contains non-diatonic chords - closer, at least, than you would get using regular major/minor and pentatonic scales.
billspianopages.com/how-to-really
billspianopages.com/seven studies
patreon.com/billhilton
I often get asked about techniques for creating piano improvisations on chord progression that include non-diatonic chords. One common approach, especially in pop and ballad piano styles, is to base the improvisation around modes.
That's what I demonstrate in this piano tutorial. I look at a simple looped chord progression that runs G - Gb - C - G, in which Bb is the non-diatonic chord, and explain how to use mixolydian and lydian modes to put together a cool improvisation.
The great thing about modes is that they not only have a really distinctive sound (and, in fact, are very commonly used by composers and songwriters for that reason), but also that they give you access to a harmonic and tonal palette that can more closely fit a chord progression that contains non-diatonic chords - closer, at least, than you would get using regular major/minor and pentatonic scales.
