How to Count and Feel 6/8 Time on Piano Using Arpeggios (Part 2)

To make 6/8 arpeggios sound unique on piano, group the six sub-beats unevenly, as 2+4 for a busy feel or 4+2 for a lazy feel, extend to a 12-beat cycle grouped 5+4+3, and weave a non-chord tone such as E into a D minor arpeggio.

Video lesson by Jason Zac · Intermediate · 16 min

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

This lesson is Part 2 of Jason Zac's exploration of 6/8 time on the piano. Part 1 treated the six sub-beats as two groups of three or three groups of two. Here you go further: you use uneven accent groupings to create syncopation, build an odd-number pattern over a longer cycle, and add non-chord tones so your arpeggio becomes a melody in its own right. It suits intermediate pianists who can already play a basic broken-chord pattern.

The chord shape used throughout

The lesson uses a D minor chord with the top note doubling the bottom: D F A D. Having four notes instead of a plain triad gives a bigger sound and more options for arpeggio patterns, which suits a 6/8 feel. Once a pattern is comfortable on D minor, move it to the other chords in your progression.

Why uneven groupings create accents

Dividing six into equal pieces (3+3 or 2+2+2) sounds natural and even, so there are no real accents. Accents appear when the grouping is uneven, because you stress notes at points the ear does not predict. That unevenness creates syncopation.

The busy feel: 2 + 4

1. Count each bar as 1, 2, 1, 2, 3, 4.
2. For the first group of two, do not go all the way through the chord; play just two notes.
3. Then play a four-note group through the chord.
4. Accent the first note of each group.

It feels a little strange to count at first, but it sounds busier, more forceful and more aggressive. Try putting the accents in your bass as well.

The lazy feel: 4 + 2

Reverse the busy pattern: count 1, 2, 3, 4, 1, 2. Come all the way down through the chord on the four, then play the short group of two. This version feels more relaxed, almost like a swing feel. The names busy and lazy are informal labels for how each grouping feels.

Steady left hand

A good way to anchor either pattern is to let the left hand hold its ground with even groups of three (1, 2, 3, 1, 2, 3) while the right hand plays the 2+4 or 4+2 accents. The contrast also creates interesting accents that can inspire a melody line.

Odd groupings over a 12-beat cycle

Double the cycle to 12 sub-beats (two bars of six). With a longer cycle you can use odd numbers. The example in the lesson is 5 + 4 + 3, which adds up to 12.

1. Group of five: take your four chord notes and add one more, starting with the little finger on the top note.
2. Group of four: play a four-note group through the chord.
3. Group of three: play three notes starting from the bottom.

Practise each group separately, then join them with no gaps, otherwise you lose the 12-beat cycle. It is irregular and quite hard because your hand no longer moves with the pulse. Yet a steady three can still be snapped or tapped underneath, so the listener can feel the pulse while hearing something memorable. At first, keep the left hand simple so it does not add confusion.

Melodic patterns with non-chord tones

Instead of doubling the octave, take the D minor triad D F A and add one note from the scale that is not in the chord, such as E. Other options include G, Bb or C. You can even leave out the F and combine the root with two non-chord tones and the fifth, for example D, E, G and A.

Weave the four notes into your arpeggio, going up then down or down then up, and apply the same idea to other chords. The pattern then sounds less like accompaniment and more like a recognisable musical idea. You do not have to keep it busy: stop the arpeggio here and there, then carry on.

How to practise

• Count each grouping aloud before playing it.
• Master each pattern on D minor before changing chords.
• Add a steady left-hand three only once the right hand is secure.
• Experiment with different non-chord tones on each chord.

Questions about this lesson

How do I make a 6/8 piano pattern sound less predictable?

Group the six sub-beats unevenly, such as 2+4 or 4+2, and accent the first note of each group. The stresses fall where the ear does not expect them, creating syncopation.

What is the difference between the busy and lazy 6/8 feels?

The busy feel counts 1, 2, 1, 2, 3, 4 and sounds more forceful. The lazy feel reverses it to 1, 2, 3, 4, 1, 2 and feels more relaxed, almost like swing.

Can I use odd groupings in 6/8?

Yes. Extend the cycle to 12 sub-beats (two bars) and group it as 5+4+3, which still adds to 12, so a steady pulse can be felt underneath.

Which non-chord tones can I add to a D minor arpeggio?

Scale notes outside the D F A triad, such as E, G, Bb or C, work well. Weave one into your arpeggio to make the pattern sound melodic and distinctive.

Practise it

• Rhythm TeacherBuild accent patterns, divide beats and explore odd metres and polyrhythms.
• Groove MetronomeWork with tempo, accents and polyrhythms instead of a single unchanging click.
• Piano classes at Nathaniel School of MusicLive online or in Bangalore, with a teacher.
• All free music apps40 practice tools for harmony, rhythm, ear training and more.

Related lessons

• Make Your Piano Arpeggios Sound Unique Using Accents (8th and 16th Note Phrases)To make a piano arpeggio sound unique, group its notes in uneven patterns such as 3+3+2 eighth notes or 5+5+3+3 sixteenth notes, so the anchor note of each group lands sometimes on the beat and sometimes off it, creating natural accents.
• The Cascading Cluster Exercise: Cinematic Piano ArpeggiosThe Cascading Cluster exercise builds cinematic piano arpeggios by holding three adjacent notes as fixed pivots under the index, middle and ring fingers while the thumb, pinky or both float to new notes, played in groups of four (4/4) or up-and-down groups of six (6/8).
• How to Count 6/8 Time on Piano Using Arpeggios (Part 1)To feel 6/8 on piano, add the octave to a triad to make a four-note arpeggio, play it up and down so it cycles every six notes, and count those six either as two groups of three (a triplet feel) or as three groups of two (eighth notes in 3/4).
• 3 Easy Ways to Make Your Piano Arpeggios Sound ProTo make piano arpeggios sound professional, shape the volume with dynamics guided by your breathing and the singer, use the sustain pedal while lifting it just before each chord change, and accent the notes that fall on the snare drum beats, usually beats 2 and 4.