Learn the theory

Fingering and movement

Choosing the right fingers is not a matter of purism. A chord on its own can be played several ways; what decides the correct fingering is the chord that comes *next*.

Fingering depends on context

If you play C major on its own, any comfortable fingering will do. But if G major comes next and then F major, the hand has to get there — and that is when the fingers you left free start to matter.

The goal is always the same: move the hand as little as possible. Every large jump is a chance to arrive late or hit the wrong key.

  • Avoid the thumb on black keys when you have a choice.
  • Look for the most relaxed position: if your wrist has to strain, the fingering is wrong.
  • Leave a finger “waiting” over the key you will need in the next chord.
  • Practise the change between two chords, not each chord on its own.

Inversions shorten the distances

Here is the most useful tool on this page. An inversion is the same chord with a different note in the bass, and picking the right inversion turns a jump into a one-semitone move.

Compare: the progression C – G – F in root position forces the whole hand to move twice. With G/B and F/C, all three notes stay almost in place.

C major — C, E, GCEG
1 · C in root position — C, E, G
G major — G, B, DBDG
2 · G/B — the G stays put, the other two step down
F major — F, A, CCFA
3 · F/C — again, a minimal move

The sequence is still C – G – F: the chords did not change, only their lowest note. This is why inversions turn up so often in accompaniment rather than as a theory exercise.

You can try it with any chord: open it in the studio and use the inversion buttons to hear the bass move while the chord stays put.

The basic hand shapes

Every chord on the site shows a suggested fingering on the keyboard, for the right or the left hand. The starting shapes mirror each other:

  • Right-hand triad: thumb (1), middle (3) and pinky (5), from the lowest note up.
  • Left-hand triad: pinky (5), middle (3) and thumb (1) — the reverse order.
  • Right-hand four-note chord: 1 – 2 – 3 – 5, leaving the ring finger free.
  • From five notes on, all five fingers are in; beyond that you need both hands.

These are suggestions, not rules: they follow the most common shape and may vary depending on what comes before and after. To practise movement between chords in real sequences, see progressions and chord exercises.