The Go-To Left-Hand Arpeggio That Frees Your Right Hand

A simple go-to left-hand piano arpeggio plays the chord's lowest note, then its highest, then its middle, then its highest again (G, D, Bb, D for G minor), held together with the sustain pedal so the right hand is free to play the melody.

Video lesson by Jason Zac · Beginner · 5 min

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What this lesson teaches

This lesson from Jason Zac at Nathaniel School of Music shows one go-to left-hand arpeggio pattern. It keeps the harmony moving underneath while your right hand is free to play a melody. It is the first part of a series on left-hand accompaniment patterns.

The pattern suits mellower music such as ballads, songs with a distinct, catchy melody. It is a good fit if you want to accompany yourself, make a solo piano arrangement sound fuller, or build independence between your hands.

Use the sustain pedal

You will use the sustain pedal a lot with this technique. The pedal lets the notes of the arpeggio ring together. This creates the ambience and resonance that makes the pattern sound warm and full, not thin and broken up.

The pattern, step by step

Jason uses G minor as the example chord, chosen at random. G minor is spelt G, Bb, D. The left hand plays the chord's notes in this order:

1. The lowest note of the chord. In root position this is the root, G.
2. The highest note of the chord. In root position this is the fifth, D.
3. The middle note, here the third, Bb.
4. The highest note again, D.

So G minor becomes G, D, Bb, D, repeated over and over. Keep it rolling steadily. You can play a whole song this way, just changing the chord each time the harmony moves.

Moving to other chords

When you move to another chord, for example C minor (C, Eb, G), you can play it in root position. Usually, though, it is better to use an inversion, so the hand stays close to where it already is and the change sounds smooth. The pattern stays the same: lowest, highest, middle, highest.

Jason uses left-hand arpeggios in two main ways.

Way 1: Go to the next chord

Shift the whole hand to the next chord, often using an inversion, and play the same pattern on the new chord. Remember to hold the pinkie note, the bass note under your fifth finger, for the length of each chord. This keeps the bass sounding underneath the moving notes.

Way 2: Change only the bass note

Keep the upper notes of the pattern where they are and change just the bass note under your pinkie. You pivot on the higher notes and move only the root underneath. This can sound quite interesting, because the same upper notes take on a new colour over each new bass note.

Adding the right hand

Once the left hand is steady, the right hand can play long, sustained melody notes on top. Because the left hand carries both the harmony and the movement, the right hand does not need to fill space. It can simply sing the tune.

How to practise

• Start with G minor alone. Repeat G, D, Bb, D until it is even and automatic.
• Add the sustain pedal and listen for the notes blending together.
• Practise moving to C minor, first in root position and then using an inversion. Notice which one feels and sounds smoother.
• Try Way 1, moving the whole pattern to the next chord while holding the pinkie note.
• Try Way 2, keeping the upper notes and changing only the bass note.
• Finally, keep the left hand rolling and add a slow right-hand melody with long notes.

The next part of the series looks at ways to groove with the melody.

Questions about this lesson

What is the left-hand arpeggio pattern in this lesson?

You play the chord's lowest note, then its highest note, then its middle note, then the highest note again. For G minor in root position that is G, D, Bb, D, repeated steadily.

What kind of music does this left-hand arpeggio suit?

It works best for mellower music such as ballads and songs with a distinct, catchy melody. It is usually played with plenty of sustain pedal for a warm, resonant sound.

Should I use inversions when changing chords with this pattern?

You can play each chord in root position, but inversions are usually preferred. They keep your hand close to its previous position, so the chord changes sound smoother.

Can I change chords without moving my whole left hand?

Yes. One approach is to keep the upper notes of the pattern in place and change only the bass note under your pinkie. This gives the same upper notes a new colour over each bass note.

Practise it

• Bass AlchemyKeep the upper notes in place while changing the bass.
• Chord TreesStart from a note and explore related chords, inversions and voicings.
• 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

• Piano Ballad Accompaniment: Block Chords, Broken Chords and Arpeggios (Creep Progression)To accompany a ballad on piano, play the I–III–IV–iv progression (G–B–C–Cm in G major) with smooth inversions in the right hand as block chords, broken chords or 16th-note arpeggios, while the left hand plays root octaves as whole notes, minims, toggles or soft ghost-note eighths.
• 3 Beautiful Piano Arpeggio Patterns (for Any Genre)Three go-to piano arpeggio patterns are low-middle-high-middle (LMHM), high-middle-low-middle (HMLM) and high-low-middle-low (HLML), played as eighth notes in the right hand over close chord inversions while the left hand plays the root of each chord.
• Make Simple Chords Sound Pro: Country Piano SecretsTo make simple country chords like G, D, A and Bm sound professional on piano, voice every chord in the right hand with the same note (D) on top, add the A in between for colour, and support it with left-hand root octaves or root-and-fifth.
• The Daily Piano Chord Exercise: Climbing Inversions With Many Rhythm PatternsThis daily piano drill moves three-note chord shapes up and down the keyboard in C major, then plays them as block chords, broken chords, arpeggios and a broken-arpeggio combo, across different speeds, time signatures, syncopated hand patterns and finally in the left hand.