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The very first page I hand to friends. No MIDI keyboard needed — click the keys or type A W S E D.

How I start every practice session: three roots, random order, no way to predict the next chord.

Once a week I run this to keep every key equally familiar. One miss is still a Good day.

Slower than feels comfortable is the point. I set 60 BPM and play one chord per click.

My left hand gets its own page. The keyboard starts at C2 and the drills live low.

The page I leave open: quick jumps into the ready-made drills, plus a metronome always in reach.

How I open every session: one octave of C major up and down at 60, then a minute of rest before I touch anything hard.

What I hand someone on day one. Five notes, one finger each, no MIDI keyboard required — click or type A W S E D.

Twelve keys in the order harmony actually moves. I set the metronome slow enough that I never have to guess.

Thirty-six chords, twelve keys, one shape. This is the page that finally made ii-V-I automatic for me.

I-V-vi-IV. Learn it in C, then change the key in settings and learn it again — that is most of pop piano.

I always abandoned Hanon books until the drill played itself back at me. Watching my own cell fall toward the hit line at 60 is the first time I practised it more than three days running.

I could voice ii-V-I but panicked whenever a tempo was attached. This is the page that decoupled the two for me: the shapes, twelve keys in a loop, and no clock anywhere telling me to hurry.

Improvising used to feel like being graded with no answer key. Five notes, a live readout instead of a score, and a keyboard that rings the scale — this is where I let myself just play.

FOR JUSTIN — rewrite this note in your voice. I put this page together to turn any MIDI file into a practice routine: upload a piece, loop bars 1–4 until they are comfortable, and let the tempo ramp raise the speed a little each run. The falling notes show what is coming; the keyboard underneath rings what you play.