Piano Note Trainers

Learn every key by name

64 lessons and counting — starting with the letter names of every key (white, sharp, flat, and the full chromatic scale), building through the major, Dorian, and Phrygian scales, every chord triad and 7th chord, chord inversions, and dozens of jazz and gospel color chords along the way (6ths, 9ths, 11ths, 13ths, altered dominants, sus and add chords, quartal and Neapolitan colors, and more) — plus real hymn and gospel song trainers woven in throughout. Every lesson comes with guided playback, and the scale and chord lessons add hands-on MIDI exercises: circle-of-fourths drills, and 5 jazz plus 5 gospel chord progressions in every key. Rootless voicings, improvisation technique, and more are next on the roadmap. Tap the keyboard below to hear it in action.

Lesson 01

White Keys

The 7 natural letter names — A through G — with guided runs and a flashcard quiz.

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Lesson 02

Sharp Keys

What a sharp (♯) is, all 7 sharp keys, and where the enharmonic exceptions land.

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Lesson 03

Flat Keys

What a flat (♭) is, all 7 flat keys, and where the enharmonic exceptions land.

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Lesson 04

Chromatic & Solfa

All 12 keys, ascending and descending, with movable-do solfa syllables.

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Lesson 05

Major Scale

The major scale in all 12 keys, plus a short improvisation demo built from real MIDI files.

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Lesson 06

Dorian Scale

The Dorian mode in all 12 keys, plus a short improvisation demo built from real MIDI files.

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Lesson 07

Phrygian Scale

The Phrygian mode in all 12 keys, plus a short improvisation demo built from real MIDI files.

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Lesson 08

Major Chords

How every major triad is built by counting semitones, plus two MIDI exercises: all 12 chords around the circle of fourths, and a I-IV-V-I progression in every key.

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Lesson 09

Minor Chords

How every minor triad is built by counting semitones, plus two MIDI exercises: all 12 minor chords around the circle of fourths, and a pleasant i-iv-v-i progression in every key.

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Lesson 10

Augmented Chords

How every augmented triad is built by counting semitones, plus two MIDI exercises: all 12 augmented chords around the circle of fourths, and a pleasant I-I+-vi-IV progression — with just one augmented chord — in every key.

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Lesson 11

Diminished Chords

How every diminished triad is built by counting semitones, plus two MIDI exercises: all 12 diminished chords around the circle of fourths, and a pleasant I-IV-#ivdim-V progression — with just one diminished chord — in every key.

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Lesson 12

Power in the Blood — Song Trainer

Play the classic gospel hymn with both hands: the real melody in your right hand, and a new left-hand accompaniment mixing major and minor triads, in every key.

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Lesson 13

Dominant 7th Chords

How every dominant 7th chord is built by counting semitones (a major triad plus a minor 7th), plus two MIDI exercises: all 12 dominant 7th chords around the circle of fourths, and a classic blues-style I7-IV7-V7-I7 turnaround in every key.

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Lesson 14

Diminished 7th Chords

How every fully-diminished 7th chord is built from three stacked minor 3rds, plus two MIDI exercises: all 12 diminished 7th chords around the circle of fourths, and a I-V7-vii°7-I cadence showing its dominant-substitute function, in every key.

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Lesson 15

Minor 7th Chords

How every minor 7th chord is built by counting semitones (a minor triad plus a minor 7th), plus two MIDI exercises: all 12 minor 7th chords around the circle of fourths, and a natural-minor i7-iv7-v7-i7 progression in every key.

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Lesson 16

Major 7th Chords

How every major 7th chord is built by counting semitones (a major triad plus a major 7th), plus two MIDI exercises: all 12 major 7th chords around the circle of fourths, and a classic jazz/gospel Imaj7-vi7-ii7-V7 turnaround in every key.

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Lesson 17

Half-Diminished 7th Chords

How every half-diminished 7th (m7♭5) chord is built from a diminished triad plus a minor 7th, plus two MIDI exercises: all 12 half-diminished 7th chords around the circle of fourths, and a I-V7-viiø7-I cadence showing its diatonic leading-tone role, in every key.

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Lesson 18

His Eye Is on the Sparrow — Song Trainer

Play the classic gospel hymn exactly as originally arranged — real melody, real accompaniment, unaltered — including all five 7th-chord colors taught in Lessons 13-17, in every key.

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Lesson 20

6th Chords

How every 6th chord is built by counting semitones (a major triad plus a major 6th), plus three MIDI exercises: all 12 6th chords around the circle of fourths, and 5 jazz plus 5 gospel chord progressions featuring the 6th chord, in every key.

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Lesson 21

Minor 6th Chords

How every minor 6th chord is built by counting semitones (a minor triad plus a major 6th), plus three MIDI exercises: all 12 minor 6th chords around the circle of fourths, and 5 jazz plus 5 gospel chord progressions featuring the minor 6th chord, in every key.

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Lesson 22

Chord Inversions

What inversions are, the different types, and how to build one for every chord type taught so far — then 5 jazz and 5 gospel chord progressions where you choose the inversion and play in every key.

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Lesson 23

Augmented 7th Chords

Also known as 7♯5, +7, C+7, C7+, or augmented dominant seventh — how every augmented 7th chord is built by counting semitones (a dominant 7th with a raised 5th), plus three MIDI exercises: all 12 augmented 7th chords around the circle of fourths, and 5 jazz plus 5 gospel chord progressions featuring this altered dominant, in every key.

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Lesson 24

Major 7th ♭5 Chords

Also known as maj7♭5, M7♭5, or Δ7♭5 — how every major 7th flat 5 chord is built by counting semitones (a major 7th chord with a lowered 5th), plus three MIDI exercises: all 12 maj7♭5 chords around the circle of fourths, and 5 jazz plus 5 gospel chord progressions featuring this unsettled, floating color, in every key.

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Lesson 25

Major 7th ♯11 Chords

Also known as maj7♯11, M7♯11, or Δ7♯11 — how every major 7th sharp 11 chord is built by counting semitones (a major 7th chord plus a raised 11th on top), plus three MIDI exercises: all 12 maj7♯11 chords around the circle of fourths, and 5 jazz plus 5 gospel chord progressions featuring this bright, "Lydian" color, in every key.

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Lesson 26

Add9 Chords

How every add9 chord is built by counting semitones (a major triad plus a 9th on top, with no 7th of any kind), plus three MIDI exercises: all 12 add9 chords around the circle of fourths, and 5 jazz plus 5 gospel chord progressions featuring this bright, wide-open, "at rest" color, in every key.

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Lesson 27

Sus2 Chords

How every sus2 chord is built by counting semitones (a plain fifth with the 3rd replaced by a major 2nd, so the chord is neither major nor minor), plus three MIDI exercises: all 12 sus2 chords around the circle of fourths, and 5 jazz plus 5 gospel chord progressions featuring this open, unresolved color, in every key.

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Lesson 28

Sus4 Chords

How every sus4 chord is built by counting semitones (a plain fifth with the 3rd replaced by a perfect 4th, the mirror image of the sus2 chord), plus three MIDI exercises: all 12 sus4 chords around the circle of fourths, and 5 jazz plus 5 gospel chord progressions featuring its taut, leaning color, in every key.

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Lesson 29

Dominant 7sus4 Chords

How every dominant 7sus4 chord is built by counting semitones (a sus4 chord with a minor 7th stacked on top, the suspended cousin of a plain dominant 7th), plus three MIDI exercises: all 12 7sus4 chords around the circle of fourths, and 5 jazz plus 5 gospel chord progressions featuring its softened, lingering pull, in every key.

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Lesson 30

6/9 Chords

How every 6/9 chord is built by counting semitones (a plain 6th chord with a 9th stacked on top, and no 7th of any kind), plus three MIDI exercises: all 12 6/9 chords around the circle of fourths, and 5 jazz plus 5 gospel chord progressions featuring this rich, fully "at rest" color, in every key.

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Lesson 32

Dominant 9th Chords

How every 9 chord is built by counting semitones (a plain dominant 7th chord (Lesson 13) with a 9th stacked on top), plus three MIDI exercises: all 12 Dominant 9th chords around the circle of fourths, and 5 jazz plus 5 gospel chord progressions featuring this color, in every key.

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Lesson 33

Dominant 11th Chords

How every 11 chord is built by counting semitones (a dominant 9th chord (Lesson 32) with an 11th stacked on top), plus three MIDI exercises: all 12 Dominant 11th chords around the circle of fourths, and 5 jazz plus 5 gospel chord progressions featuring this color, in every key.

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Lesson 34

Dominant 13th Chords

How every 13 chord is built by counting semitones (a dominant 11th chord (Lesson 33) with a 13th stacked on top — the fullest possible dominant chord), plus three MIDI exercises: all 12 Dominant 13th chords around the circle of fourths, and 5 jazz plus 5 gospel chord progressions featuring this color, in every key.

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Lesson 35

Dominant 7♭9 Chords

How every 7♭9 chord is built by counting semitones (a plain dominant 7th chord (Lesson 13) with its 9th lowered a semitone instead of left natural), plus three MIDI exercises: all 12 Dominant 7♭9 chords around the circle of fourths, and 5 jazz plus 5 gospel chord progressions featuring this color, in every key.

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Lesson 36

Dominant 7♯9 Chords

How every 7♯9 chord is built by counting semitones (a plain dominant 7th chord (Lesson 13) with a raised 9th on top — nicknamed the "Hendrix chord"), plus three MIDI exercises: all 12 Dominant 7♯9 chords around the circle of fourths, and 5 jazz plus 5 gospel chord progressions featuring this color, in every key.

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Lesson 37

Dominant 7♭5 Chords

How every 7♭5 chord is built by counting semitones (a plain dominant 7th chord (Lesson 13) with its 5th lowered a semitone), plus three MIDI exercises: all 12 Dominant 7♭5 chords around the circle of fourths, and 5 jazz plus 5 gospel chord progressions featuring this color, in every key.

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Lesson 38

Dominant 7♯11 Chords

How every 7♯11 chord is built by counting semitones (a plain dominant 7th chord (Lesson 13) with a raised 11th on top — the Lydian dominant color), plus three MIDI exercises: all 12 Dominant 7♯11 chords around the circle of fourths, and 5 jazz plus 5 gospel chord progressions featuring this color, in every key.

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Lesson 39

Dominant 7♭13 Chords

How every 7♭13 chord is built by counting semitones (a plain dominant 7th chord (Lesson 13) with a lowered 13th on top — a darker altered-dominant color), plus three MIDI exercises: all 12 Dominant 7♭13 chords around the circle of fourths, and 5 jazz plus 5 gospel chord progressions featuring this color, in every key.

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Lesson 40

Dominant 9♯11 Chords

How every 9♯11 chord is built by counting semitones (a dominant 9th chord (Lesson 32) with a raised 11th stacked on top — also called the Lydian dominant 9), plus three MIDI exercises: all 12 Dominant 9♯11 chords around the circle of fourths, and 5 jazz plus 5 gospel chord progressions featuring this color, in every key.

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Lesson 41

Altered Dominant Chords

How every 7alt chord is built by counting semitones (an umbrella name for any dominant 7th chord voiced with altered upper tones (some mix of ♭5, ♯5, ♭9, ♯9) — this trainer voices the common ♯5/♯9 combination), plus three MIDI exercises: all 12 Altered Dominant chords around the circle of fourths, and 5 jazz plus 5 gospel chord progressions featuring this color, in every key.

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Lesson 42

Minor 9th Chords

How every m9 chord is built by counting semitones (a minor 7th chord (Lesson 15) with a 9th stacked on top), plus three MIDI exercises: all 12 minor 9th chords around the circle of fourths, and 5 jazz plus 5 gospel chord progressions built around this color, in every key

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Lesson 43

Minor 11th Chords

How every m11 chord is built by counting semitones (a minor 9th chord (Lesson 42) with an 11th stacked on top), plus three MIDI exercises: all 12 minor 11th chords around the circle of fourths, and 5 jazz plus 5 gospel chord progressions built around this color, in every key

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Lesson 44

Minor 13th Chords

How every m13 chord is built by counting semitones (a minor 11th chord (Lesson 43) with a 13th stacked on top — the fullest stock minor 7th-family chord), plus three MIDI exercises: all 12 minor 13th chords around the circle of fourths, and 5 jazz plus 5 gospel chord progressions built around this color, in every key

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Lesson 45

Minor 6/9 Chords

How every m6/9 chord is built by counting semitones (a minor 6th chord (Lesson 21) with a 9th stacked on top, and no 7th of any kind), plus three MIDI exercises: all 12 minor 6/9 chords around the circle of fourths, and 5 jazz plus 5 gospel chord progressions built around this color, in every key

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Lesson 46

Minor-Major 7th Chords

How every m(maj7) chord is built by counting semitones (a minor triad (Lesson 9) with a major 7th on top, instead of the minor 7th a plain minor 7th chord uses), plus three MIDI exercises: all 12 minor-Major 7th chords around the circle of fourths, and 5 jazz plus 5 gospel chord progressions built around this color, in every key

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Lesson 47

Minor-Major 9th Chords

How every m(maj9) chord is built by counting semitones (a minor-major 7th chord (Lesson 46) with a 9th stacked on top), plus three MIDI exercises: all 12 minor-Major 9th chords around the circle of fourths, and 5 jazz plus 5 gospel chord progressions built around this color, in every key

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Lesson 48

Major 9th Chords

How every maj9 chord is built by counting semitones (a major 7th chord (Lesson 16) with a 9th stacked on top), plus three MIDI exercises: all 12 major 9th chords around the circle of fourths, and 5 jazz plus 5 gospel chord progressions built around this color, in every key

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Lesson 49

Major 13th Chords

How every maj13 chord is built by counting semitones (a major 9th chord (Lesson 48) with a 13th stacked on top — the fullest stock major 7th-family chord), plus three MIDI exercises: all 12 major 13th chords around the circle of fourths, and 5 jazz plus 5 gospel chord progressions built around this color, in every key

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Lesson 50

Major 7th♯5 Chords

How every maj7♯5 chord is built by counting semitones (an augmented triad (Lesson 10) with a major 7th on top, instead of the minor 7th an augmented 7th chord (Lesson 23) uses), plus three MIDI exercises: all 12 major 7th♯5 chords around the circle of fourths, and 5 jazz plus 5 gospel chord progressions built around this color, in every key

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Lesson 51

Dominant 9sus4 Chords

How every 9sus4 chord is built by counting semitones (a dominant 7sus4 chord (Lesson 29) with a 9th stacked on top), plus three MIDI exercises: all 12 dominant 9sus4 chords around the circle of fourths, and 5 jazz plus 5 gospel chord progressions built around this color, in every key

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Lesson 52

Dominant 13sus4 Chords

How every 13sus4 chord is built by counting semitones (a dominant 9sus4 chord (Lesson 51) with a 13th stacked on top), plus three MIDI exercises: all 12 dominant 13sus4 chords around the circle of fourths, and 5 jazz plus 5 gospel chord progressions built around this color, in every key

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Lesson 53

Major 7sus2 Chords

How every maj7sus2 chord is built by counting semitones (a sus2 chord (Lesson 27) with a major 7th stacked on top), plus three MIDI exercises: all 12 major 7sus2 chords around the circle of fourths, and 5 jazz plus 5 gospel chord progressions built around this color, in every key

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Lesson 54

Major 7sus4 Chords

How every maj7sus4 chord is built by counting semitones (a sus4 chord (Lesson 28) with a major 7th stacked on top, instead of the minor 7th a dominant 7sus4 chord (Lesson 29) uses), plus three MIDI exercises: all 12 major 7sus4 chords around the circle of fourths, and 5 jazz plus 5 gospel chord progressions built around this color, in every key

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Lesson 55

Add11 Chords

How every add11 chord is built by counting semitones (a major triad (Lesson 8) with an 11th (4th) added, keeping the 3rd — distinct from a sus4 chord (Lesson 28), which removes the 3rd), plus three MIDI exercises: all 12 add11 chords around the circle of fourths, and 5 jazz plus 5 gospel chord progressions built around this color, in every key

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Lesson 56

Diminished Major 7th Chords

How every °(maj7) chord is built by counting semitones (a diminished triad (Lesson 11) with a major 7th on top, instead of the diminished 7th a diminished 7th chord (Lesson 14) uses), plus three MIDI exercises: all 12 diminished Major 7th chords around the circle of fourths, and 5 jazz plus 5 gospel chord progressions built around this color, in every key

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Lesson 57

Minor 7♭9 Chords

How every m7♭9 chord is built by counting semitones (a minor 7th chord (Lesson 15) with a ♭9th stacked on top, instead of the natural 9th a minor 9th chord (Lesson 42) uses), plus three MIDI exercises: all 12 minor 7♭9 chords around the circle of fourths, and 5 jazz plus 5 gospel chord progressions built around this color, in every key

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Lesson 58

Half-Diminished 11th Chords

How every m11♭5 chord is built by counting semitones (a half-diminished 7th chord (Lesson 17) with a 9th and 11th stacked on top), plus three MIDI exercises: all 12 half-Diminished 11th chords around the circle of fourths, and 5 jazz plus 5 gospel chord progressions built around this color, in every key

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Lesson 59

Power Chords

How every 5 chord is built by counting semitones (just a root and a perfect 5th, with no 3rd at all — the simplest possible chord shape), plus three MIDI exercises: all 12 power chords around the circle of fourths, and 5 jazz plus 5 gospel chord progressions built around this color, in every key

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Lesson 60

Split-Third Blues Chords

How every 7(♭3/♮3) chord is built by counting semitones (a dominant 7th chord (Lesson 13) with both the minor 3rd and major 3rd sounded together, instead of just the major 3rd), plus three MIDI exercises: all 12 split-third "blues" chords around the circle of fourths, and 5 jazz plus 5 gospel chord progressions built around this color, in every key

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Lesson 61

Quartal Chords

How every quartal chord is built by counting semitones (five notes stacked entirely in perfect 4ths, instead of the stacked 3rds every other chord in this app uses), plus three MIDI exercises: all 12 quartal chords around the circle of fourths, and 5 jazz plus 5 gospel chord progressions built around this color, in every key

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Lesson 62

Tone Cluster Chords

How every cluster chord is built by counting semitones (three adjacent notes struck together — a half step and a whole step stacked right on top of the root, with no 3rd, 5th, or 7th at all), plus three MIDI exercises: all 12 tone clusters around the circle of fourths, and 5 jazz plus 5 gospel chord progressions built around this color, in every key

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Lesson 63

Polychord (Slash Chord)

How every / chord is built by counting semitones (a major triad (Lesson 8) rooted a whole step above the bass note, stacked over a dominant 7th chord (Lesson 13) built on that bass note — the app’s reference voicing for "X/Y" slash-chord notation), plus three MIDI exercises: all 12 polychords around the circle of fourths, and 5 jazz plus 5 gospel chord progressions built around this color, in every key

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Lesson 64

Neapolitan (♭II) Chords

How every ♭II chord is built by counting semitones (a plain major triad (Lesson 8), but rooted a minor 2nd (half step) above the tonic instead of on it), plus three MIDI exercises: all 12 Neapolitan chords around the circle of fourths, and 5 jazz plus 5 gospel chord progressions built around this color, in every key

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Lesson 31

Now Behold the Lamb — Song Trainer

Kirk Franklin's gospel classic "Now Behold the Lamb," played from its real piano accompaniment (right-hand chord comping + left-hand bass, both taken from the original arrangement) in every key — the song lesson whose harmony introduced the sus2, sus4, dominant 7sus4, and 6/9 chords taught in Lessons 27-30.

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Lesson 65

Every Praise — Song Trainer

Hezekiah Walker's gospel anthem "Every Praise," with all three parts — Alto lead vocal, piano right hand, and piano left hand — visible and playing together on their own full keyboards the moment the lesson opens, in every key.

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Play along with real MIDI

Every lesson works instantly with a built-in synthesizer, and upgrades automatically to real MIDI hardware — output or input — in Chromium-based browsers via the Web MIDI API.

Works on any device

Built with plain HTML, CSS, and JavaScript — no build step, no framework — and laid out to work well on phones, tablets, and desktops alike.

Open and free to use

Released under the MIT License by HepziBen Technologies Limited — see the LICENSE file for details.