Piano Hand Independence Workout: Bass-Line Variations Under One Chord

To build piano hand independence, keep the right hand pulsing a single G minor chord (D G Bb) while the left hand plays rhythm variations on just three bass notes, G, A and Bb, mixing crotchets, minims, quavers, ties and rests.

Video lesson by Jason Zac · Beginner · 27 min

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What this lesson teaches

Most hand independence practice puts a melody in the right hand and patterns in the left. In this lesson Jason Zac flips that around. The right hand simply holds one chord, and the left hand becomes the melodic part: a bass line or riff. There is no chord progression, because the focus is purely on coordinating the two hands. It suits anyone who struggles with hand coordination, at any level.

The set-up

Right hand: one G minor chord

Play G minor as D G Bb. Other voicings work too, but this one is used throughout. The right hand plays in two rhythm styles:

• The pulse: steady crotchets (quarter notes), counted 1 2 3 4, at whatever speed your head naturally nods.
• Quavers: doubling the pulse, counted 1 and 2 and 3 and 4 and.

Left hand: only three notes

The left hand uses just G, A and Bb, which in Indian swaras are Sa Re Ga. Limiting the notes keeps the brain free for rhythm. A comfortable fingering is ring, middle, index.

Set 1: crotchets and minims

A minim (half note) lasts two beats; a crotchet lasts one. Combine them in a 4/4 bar, using the three notes in any order:

1. Crotchet, crotchet, minim (the long note lands on beat 3), for example A, Bb, G held.
2. Crotchet, minim, crotchet (the long note on beat 2).
3. Minim, crotchet, crotchet (the long note on beat 1). Many students find this the easiest.
4. Nothing on beat 1: hold the last note of a pattern longer, as a dotted minim or tied into the next bar, or leave a rest on the one.

Then string these four patterns together so they build a longer phrase. The key rule: the right hand must never stop. A common mistake is to stall, repeat or add extra right-hand hits when the left hand holds a long note. The contrast between the hands not always striking together is what makes it sound good, much like a drummer balancing kick and snare.

Adding right-hand variety

• Play the same left-hand drills against right-hand quavers.
• Play the right hand staccato, short and choppy on the pulse. Jason Zac likes to flick his fingers towards the wrist for staccato chords.
• For more of a challenge, play staccato right hand with legato (smooth, connected) left hand, or staccato in both hands.

Improvise in a three-note cell

Once the patterns feel solid, treat the three notes like a jail cell: you may not play any other note, but you can choose any order and any of the rhythms. Sing what you play as you go.

Set 2: quavers in the left hand

Now the left hand plays four notes per bar, still drawn from G, A and Bb, with some of them as quavers. Count 1 and 2 and 3 and 4 and out loud first.

• Start with four quavers on 1 and 2 and, then hold the last note for a minim. Try it both held and cut short (choked).
• Spread the notes out: keep the first note on the one and push the others further to the right, landing on different beats and offbeats.
• Delay the third note, add rests, or start on an offbeat.

As a final application, the lesson builds a left-hand line in stages towards the riff of Another Brick in the Wall, with the right hand keeping the pulse at all times.

How to practise

• Play the left hand alone first, slowly enough to count it, and sing it (note names or Sa Re Ga) before adding the right hand.
• Try closing your eyes, since your hands stay in one place; it sharpens focus.
• Slow down whenever you cannot control what is happening.
• Use a metronome only for fine-tuning, after you can nod your head naturally with the music.
• Try transcribing just the rhythms of a few variations by ear.
• Beginners need not do every variation; intermediate and advanced players should, and can then try other chords.

Stick with the process. Hand independence, once learned, tends to stay with you for life.

Questions about this lesson

Why play only one chord and three notes for hand independence?

Keeping the right hand on one chord and the left hand on three notes removes the mental load of harmony, so all your attention goes to coordinating the rhythms of the two hands.

What is the most common mistake in these drills?

Stopping, repeating or adding extra right-hand hits when the left hand holds a long note. The right hand must keep its steady pulse no matter what the left hand does.

Which left-hand fingering should I use for G, A and Bb?

Ring, middle and index fingers is a comfortable choice, though a little finger crossing also works if you prefer.

When should I use a metronome?

Only after you can feel the pulse and nod your head naturally with the music; then use it for a little fine-tuning.

Practise it

• Rhythm ArithmeticBuild a phrase from sounds and silences, see it become staff notation, and loop it for practice.
• 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

• Piano Hand Independence: 5 Habits That Actually Build ItTo improve piano hand independence, make one hand an instinctive engine that runs a pattern without thought. Free the other hand for the melody, and when things fall apart, simplify the right hand rather than the left. Build up with simple rhythms, singing and steady practice.
• How to Practice the Piano With Maximum EfficiencyTo practise piano efficiently, use a bottom-up approach: first build a reliable left-hand engine with simple root-and-octave patterns such as a steady pulse, the We Will Rock You rhythm and the tresillo, then play your melody, chords, arpeggios or exercises in the right hand over them.
• Left-Hand Independence on Piano: The Starter ExerciseTo build left-hand independence on piano, hold the bass note G down with your left little finger while your other fingers play a swung eighth-note broken G minor chord pattern, then move only the little finger between G and F while the rest of the chord stays the same.
• The Left-Hand Bass Line Every Piano Player Should Know (4 Chords)To build a left-hand piano bass line, land on the root or bass note of each chord on beat one and use passing notes, such as the chromatic climb C, D, D#, E into C7/E, to connect the chords in between.