Popular Rock and Roll Piano Sounds

Rock and roll piano incorporates some common sounds and techniques that every pianist needs to know, including using 5 chords, eighth notes, and octaves. This section covers all of these basic techniques and more.

One of the most common features of rock and roll piano is the repeated chord, mainly because in a band situation it was the only way for the piano to be heard. Sometimes these are played as a complete chord and often (particularly in the higher register) as 5 chords (root and 5th only). They are frequently accompanied by a sharpened 4th (or flattened 5th) at the beginning of a group of three or fourth eighth notes. Another useful device, which is often found with the repeated chord pattern, is accenting notes in groups of three. This type of rhythm is often used with two groups of three followed by one group of two, as shown in the exercise below.

This example uses 3rds throughout. To spice it up even further, double the melody line down the octave. In other words, try adding the note an octave below to each note in the melody line.

In the example below, the right-hand figure includes a nice mixture of harmonic and melodic elements. Played fluently, this example represents the quintessential rock and roll piano sound.

There’s something about this arpeggiated triplet figure that sounds distinctly Spanish. To hear it in action, check out Del Shannon’s first release, “Runaway,” which topped both the U.S. and U.K. charts in 1960. Apart from being a great song, it’s also interesting for the unique “Musitron” solo that inspired many keyboardists of the day.

This example features the melody played in octaves. Using unison octaves is another handy rock and roll piano technique that lets the piano cut through the sound of a band whenever a solo line might not be loud enough. You could also try this two octaves apart or an octave or two down for some interesting changes in color.

In the example below, the riff is harmonized (adding an interval) in certain places, which provides an interesting contrast. As you’ll see, it’s a simple device but can be useful in adding some flair and variation if you’re playing a song with numerous repeats. It can also help differentiate certain key parts of a song, such as the chorus. Generally an interval of a 3rd or 6th works best, but be careful: if you overdo it, this example can start to sound overbearing. One example that works really well on the whole line is The Beatles’s “Money (That’s What I Want).” If you’re into guitar bands that use great riff harmonizations, check out The Allman Brothers Band.

When moving from one section of the song to another, it’s common for the previous section to end on a downbeat, usually beat one, which leaves a short gap before the start of the next section. Often the other members of the band will stop playing completely, and it is in this gap that the piano player would usually insert a fill to emphasize the difference between the two sections. Practice the fills on their own first before adding the riff. Also, try adding your own rhythmic subtleties or variations. This is your opportunity to break away from playing in unison with the band and make yourself heard. Here are three examples to get you started.

Notice the tremolando (or roll) on beat two with 3rds in the melody.

In this example, notice the half-step approach on the first, second, and fourth beats played with a steady eighth-note rhythm.

Here, the offbeat rhythm (playing in between the beats) creates a strong syncopation that drives the music into the next section.