Nathaniel School of Music

Bass Line + Melody in Thirds: Build Serious Piano Hand Independence

To build piano hand independence, keep one right-hand melody in thirds constant in F minor while the left hand changes between a syncopated bass riff, a 3/4 pulse of spread chords and a dotted-quaver pattern, practising each combination slowly against a steady pulse.

Video lesson by Jason Zac · Intermediate · 22 min

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Key points

What this lesson teaches

This lesson from Jason Zac at Nathaniel School of Music is a hand independence workout built from one of his own short compositions in F minor, the relative minor of Ab major. It is aimed at intermediate and advanced players, roughly six months to a year into the piano. Beginners can still follow along, and there is an easier version at the end.

The idea is simple: the right hand learns one melody and never changes. The left hand then cycles through different jobs underneath it. Independence is not built overnight, so treat this as a gradual drill.

Step 1: The scale and the chords

The piece uses the F natural minor scale: F, G, Ab, Bb, C, Db, Eb. The chord progression is:

Step 2: The left-hand bass line

The bass line sits in 3/4 but is phrased in an unusual, almost progressive-rock way, like a real bass guitar part. Over F minor it bounces between F and C, then moves to Ab at the end of the bar, which puts your little finger in place to reach Db, the root of the next chord. Over Db and Eb it works around those roots, then Db passes down to C.

The ending is different each time round. The first time, the whole C minor chord leads back to F. The second time there is an ending variation. Otherwise the line repeats, using mostly fifths and octaves to connect the chords.

To learn it, block the chords in your right hand, holding each one for the whole bar, while your left hand plays the bass line. Do this until the left hand feels comfortable. This reflects how the piano works as two instruments at once, almost a one-man orchestra.

Step 3: The right-hand melody in thirds

The melody is a waltz-like line in 3/4 with a slightly odd phrasing. Play every melody note with a third stacked under it so the line moves in parallel thirds. Then add two embellishments:

This is all the right hand will ever do in the lesson.

Step 4: Put the bass riff with the melody

Play hands together slowly so every point where the hands meet is clear. This exercise is harder slowly than fast, which is exactly why slow practice trains your timing. At any speed, lock onto the pulse. Nodding your head steadily helps.

Step 5: A spread-voiced pulse

Next, swap the bass riff for the same four chords played as open spread voicings: root, fifth and octave. Play them as three even crotchets per bar, a plain waltz pulse under the melody.

Step 6: Dotted quavers in the left hand

Finally, play the left hand in dotted quavers. A quaver is half a beat, so a dotted quaver is three quarters of a beat, equal to three semiquavers. A bar of 3/4 holds twelve semiquavers, so four dotted quavers fill it exactly. Most of them land off the beat, giving a three-against-four, polyrhythmic feel. It is more a workout for the mind than the fingers.

Easier version for beginners

Learn the right hand as taught, then play just the chord roots in the left hand, either as a dotted minim held for three counts or as a three-beat pulse. Skip spread voicings until your hands are used to them.

How to practise

  1. Bass line with blocked right-hand chords.
  2. Melody in thirds with hammer-ons and ghost notes.
  3. Melody over the bass riff, slowly.
  4. Melody over the spread-chord pulse.
  5. Melody over dotted quavers.

Repeat often, rest, and try again the next day.

Questions about this lesson

What is a dotted quaver worth in 3/4?

A quaver is half a beat, so a dotted quaver is three quarters of a beat, or three semiquavers. Four dotted quavers make twelve semiquavers, which fills one bar of 3/4.

Why practise hand independence slowly if it feels harder?

This exercise is actually tougher slowly than fast, and that is the point. Slow practice isolates where the hands meet and improves your sense of timing.

What is a spread voicing in this lesson?

It is an open chord played as root, fifth and octave in the left hand, for example F, C and F for F minor. These are played as a three-beat pulse under the melody.

Is there an easier version for beginners?

Yes. Keep the right-hand melody and play only the chord roots in the left hand, either held as dotted minims or played as a three-beat pulse, without spread voicings.

Practise it

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