Nathaniel School of Music

15+ Easy Piano Rhythm Patterns: Sing and Play Country, Gospel, Blues and Folk

To accompany old-school country, gospel, folk and blues songs on piano, use simple patterns such as a cascading arpeggio, the oom-pah (root, chord, fifth, chord), a bluegrass broken chord, a banjo roll on the offbeats, a waltz (left, right, right) and a blues left hand built on the root, fifth and sixth.

Video lesson by Jason Zac · Beginner · 25 min

Can't see the video? Watch it on YouTube.

Key points

In this lesson Jason Zac of Nathaniel School of Music demonstrates a set of piano accompaniment patterns for singing and playing traditional songs. These are not disco, salsa or dance-pop grooves. They suit old-school styles such as country, folk, bluegrass, swing, blues and gospel, using well-known songs that are around a hundred years old. It is ideal for beginners who want to accompany their own singing.

1. Cascading arpeggio

Break the chord across both hands: three notes in the left hand and two in the right, or two in the left and three in the right. Spread it wider if you want the lower register. Jason applies this to 500 Miles, adding colour with chords such as B minor 7 (B D F# A) and E minor 7 with an added ninth, plus a sus chord before resolving.

2. Oom-pah

This traditional pattern alternates bass and chord: root, chord, fifth, chord. The fifth can be played above the root or below it. Jason uses it for I'll Fly Away. Add passing notes in the bass between chords so the left hand walks rather than just marching. Focus on the left hand, otherwise the two hands simply march together.

3. Bluegrass pattern

Start left-right like the oom-pah, then break the chord in the right hand, in the style of a mandolin, guitar or banjo. Demonstrated on Oh! Susanna with a D major chord (D F# A):

The same idea works for You Are My Sunshine, where you can emphasise the last hit. That song uses a straight feel rather than swing.

4. Banjo roll

Play an arpeggio in the left hand and sneak offbeats into the right. Count 1 e and a, 2 e and a, and place right-hand notes on either the e or the a; the a is the more common choice, and you can combine both. Shown on In the Highways. Because the hands stay relaxed, it can be played very fast. Use left-hand inversions for a galloping effect, keep the bass present, and thicken it with full right-hand chords or small melodic fillers where a snare drum would hit.

5. Ballad pulse

For mellow songs, play a steady pulse in the right hand for every beat of the time signature (2/4, 3/4 or 4/4), while the left hand supports at a ratio of 1:2, 1:3 or 1:4. Jason demonstrates on an E major chord, then applies it to Down to the River to Pray, whose unusual chord timing suits this approach. Add rhythmic interest with eighth notes, then sixteenths with ghost notes, or keep plain quarters. It also fits Keep on the Sunny Side and When the Roll Is Called Up Yonder in C major.

6. Bluesy slide

Instead of the bluegrass pattern, slide from the minor third to the major third of the chord, as in Down by the Riverside. A slower, swung oom-pah suits songs like Just a Closer Walk.

7. Waltz and 3/4 feels

For 3/4 songs such as Tennessee Waltz, play left, right, right. For variety, use root, chord, chord, then fifth, chord, chord, but keep it simple. A swung 3/4 with an inner voicing works for Farther Along, including songs that use the IV chord as a passing chord.

8. Gospel filler and blues

For This Little Light of Mine, move the left hand from the root to the major third and harmonise fillers in the right hand. For blues such as Sweet Home Chicago, the left hand plays the root, fifth and sixth while the right hand fills; keep that feel going and solo over the 12-bar framework.

How to practise

  1. Learn each pattern on a single chord until it is steady.
  2. Add the chord changes of a song you know, then sing along.
  3. Choose swing or straight to match the song's character.
  4. Add one embellishment at a time: passing notes, top notes, offbeats.

Questions about this lesson

What is the oom-pah piano pattern?

It alternates a bass note and a chord: root, chord, fifth, chord. The fifth can sit above or below the root, and passing bass notes make it less mechanical.

How do I make a piano sound like a banjo?

Use the banjo roll: an arpeggio in the left hand while the right hand adds notes on the 'e' or 'a' offbeats of each beat. Adding an extra high note on a broken chord also gives a banjo-like sound.

How do I play a waltz accompaniment on piano?

Play left, right, right for each bar of 3/4, a bass note followed by two chords. For variety, alternate the root and the fifth in the bass.

Should I swing or play straight?

It depends on the song. In this lesson swing suits slower songs, while jumpier songs like You Are My Sunshine use a straight feel.

Practise it

Related lessons