Modes Part 3: The magic of push pull

by | Jun 30, 2025

Welcome to part three of my series on unlocking the power of Modes. I hope you followed along in my last post as we are building on that with a brilliant piano hack to really elevate your toolkit for song writing.

Every pianist knows that playing chords is a fundamental part of piano practice. But what if there were a way to make your chords feel more expressive? Enter the Push and Pull technique, a method I use to add depth and emotion to your playing by subtly altering chords and exploring new harmonic territory. This technique is simple, creative, and endlessly rewarding, whether you’re a beginner or a seasoned player.

Again, as with all articles in this series, we will not be covering any theory or technical jargon, all you will need is a digital piano or keyboard and the basic skills you learnt in the last articles, MODES??

What is the Push and Pull Technique?

The Push and Pull technique is all about adding tension and release to your chords. You start with a triad—a basic three-note chord—and use your right hand to either “push” the chord upwards by playing the next note up in the scale or “pull” it downwards by playing the next note down. This subtle shift creates harmonic variety and emotional impact.

In essence:

  • Push: Add tension by raising one of the chord tones by a half or whole step.
  • Pull: Ease the tension by lowering one of the chord notes by a half or whole step.

How It Works

The technique begins with establishing a mode or scale. Within this mode we are going to play simple three-note chords called a triad.

For this example, let’s use the C major scale. Place a finger on your left hand on the root note to define this mode, the Ionian.

With your left hand anchoring the C mode, your right hand plays the triad associated with the root note (C-E-G for C major). From here, you can begin to explore the Push and Pull technique.

First we will “push” the triad to become more tense and emotional.

Push Example

  1. Play a C major triad (C-E-G).
  2. Raise the E finger to F, creating a suspended sound (C-F-G).

The triad now sounds more tense and anticipatory right? Bring your finger back to the E note and try pushing the G note.

  1. Play a C major triad (C-E-G).
  2. Raise the G finger to G#, creating a suspended sound (C-E-G#).
  3. Remember, we are only lifting by one note, in this case its a black note.

Again, the triad sounds more tense. This is the basic foundation of pushing the triad.

Now try pushing BOTH E and G. This will give you the triad C-F-G#. You will notice this sounds thicker and darker.

Now finally, reset your triad pattern and this time push the first note, the C. This will give you C#-E-G, and it sounds very disjointed, but like its leading somewhere, or pushing you towards something.

You now have the choice to push any of the three notes in the triad, or combinations of each or even all three. But wait, theres more!

You can double-push! Try a double-push on the G note to get C-E-A. This sounds very leading, and in fact pulls you towards a triple-push! Try C-F-A#

Double or triple pushing work on all three notes and gives very interesting results, have a play and listen.

Now lets look at “pulling”, which I’m sure you guess correctly, is the same thing but backwards.

Pull Example

  1. Start with the same C major triad (C-E-G).
  2. Lower the E to D#, creating a more open sound (C-D#-G).
  3. Notice how the chord feels more relaxed and open-ended.

Using what you have learnt about pushing, apply the same to pushing the notes back one step at a time. Each pull results in nearly the equal opposite of the same push.

Now for the mind-blowing section

As with all modes you will find, this technique translates perfectly across all modes!

so, for instance, if you are playing in the moody and mysterious D mode (dorian), you can push or pull thpse triads the same.

The base dorian triad is D-F-A, which can push to D-F-A#, or pull to C#-F-A

this works across all modes, give it a try.

You have now added effectively 126 embellishment feelings to your base 7 modes – ka-pow!

The term used for this technique is voice-leading, in case anyone asks. But its much deeper as this concerns scales, and we are talking about modes. There is a definate theory behind this technique that is quite indpeth, and while I encourage you to study dominants, sub dominats and suspensions, you can learn all the stuff when you’re ready, for now we want to write some songs and get playing.

Can you push or pull the root note?

Genrally speaking, no, as this fundimentally changes teh mode you are using. Of course, you do you, changing modes is interesitng….

Practical Applications

This technique isn’t just about experimenting; it has practical uses in a variety of musical contexts:

1. Improvisation

In jazz, blues, or contemporary music, the Push and Pull technique can add flair to your improvisation. By embellishing standard chords with these subtle shifts, you create unexpected textures that keep your audience engaged.

2. Songwriting

Songwriters can use the Push and Pull technique to evoke specific emotions. For instance:

  • Use a “push” to build tension before a chorus.
  • Use a “pull” to create a sense of resolution at the end of a verse.

3. Practice and Warm-Ups

Incorporate Push and Pull into your daily practice to develop a deeper understanding of harmony and improve finger independence. For example, try playing through a chord progression and experimenting with pushing or pulling different chords.

Tips for Mastering Push and Pull

  1. Start Simple: Begin with triads in one mode, like C major. Focus on experimenting with one note at a time.
  2. Experiment with Modes: Try the technique in different modes to see how it changes the character of your chords. For example, Push and Pull in the Dorian mode (D-F-A) will sound different than in Ionian (C-E-G).
  3. Use Dynamics: Combine the technique with dynamic changes (loud vs. soft) to amplify its emotional impact.
  4. Listen Closely: Pay attention to how the Push and Pull affects the mood of your music. The goal is to develop an ear for subtle harmonic shifts.

Beyond Push and Pull

The Push and Pull technique is closely related to other harmonic concepts, such as:

  • Chord Borrowing: Incorporating notes or chords from a parallel scale or mode to create unexpected shifts.
  • Voice Leading: Smoothly transitioning between chords by moving individual notes by the smallest possible interval.
  • Suspensions and Resolutions: Using suspended chords (e.g., Csus4) to delay resolution, adding tension and interest.

Conclusion

The Push and Pull technique is a powerful tool for pianists looking to add expression and variety to their playing. By mastering this method, you’ll develop a deeper understanding of harmony and unlock new creative possibilities in your music.

So, the next time you sit at the piano, don’t just play chords—Push them, Pull them, and make your music come alive!