The Spanish-Sounding Left-Hand Arpeggio for Almost Any Song

The pattern plays root, octave, fifth, octave over each chord of the Andalusian cadence (Dm–C–Bb–A), then adds the root an octave higher, with the pinky on the root, a finger on the fifth and the thumb on the top octave.

Video lesson by Jason Zac · Intermediate · 7 min

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This lesson from Jason Zac at Nathaniel School of Music teaches one versatile left-hand arpeggio pattern that gives your accompaniment a full, Spanish or flamenco flavour. It is Part 3 of a series on the Andalusian cadence. Jason describes it as an intermediate to advanced arpeggio. It suits pianists who can already play basic chords and want a moving left hand that supports right-hand melodies and improvisation.

The chords: the Andalusian cadence

The progression uses four chords that step downwards:

1. D minor
2. C major
3. Bb major
4. A major

The left hand does not play full triads. It uses each chord's root and fifth, plus the root an octave above:

• D minor: D, A, high D
• C major: C, G, high C
• Bb major: Bb, F, high Bb
• A major: A, E, high A

The left hand stays open and resonant, and the right hand supplies the colour.

The arpeggio pattern

Step 1: low, high, middle, high

For each chord, play the notes in this order:

1. Low note: the root
2. High note: the octave
3. Middle note: the fifth
4. High note: the octave again

On D minor this is D, high D, A, high D.

Step 2: make it more interesting

You could simply repeat that four-note group. Instead, Jason copies the low note and places it an octave higher. The root carries the pattern upwards rather than going round in a loop. This small change makes the arpeggio sound more flowing. Apply the same shape to C, Bb and A.

Fingering for a smooth left hand

• The pinky holds the root of the chord for the whole duration.
• The index or middle finger plays the fifth.
• The thumb plays the top octave.

Two tricks make the movement easier:

• Bb is the tricky chord. Angle your thumb a little when you play the high Bb so it sits comfortably on the black key.
• Flip the thumb out, then in. At the end of each chord, flip your thumb outwards to reach the last, higher note. Then flip it back in. That last note of one chord helps your hand shift to the next chord.

Practise very slowly first. Speed up only when the changes between chords feel even.

Adding the right hand

Once the left hand is steady, float a melody on top. Jason plays a melody he developed over the pattern, and he also plays it in a higher register. You are free to play anything you like. He suggests two ways to improvise:

• Chord tones: use the notes of whichever chord is sounding (D F A, C E G, Bb D F, A C# E).
• A scale: try the blues scale or the harmonic minor. D harmonic minor (D E F G A Bb C#) fits the Andalusian sound well because its C# matches the A major chord.

How to practise

1. Play each chord's shape (low, high, middle, high, then the root an octave up) on its own, slowly.
2. Link the four chords, using the thumb flip to move between them.
3. Gradually raise the tempo while keeping every note even.
4. Add a simple right-hand line, then move on to improvising with chord tones or a scale.

The key rule is to keep the left hand pumping at all times. Do not let it falter. If needed, start the right hand very simply so the arpeggio never breaks.

Questions about this lesson

What are the chords of the Andalusian cadence?

In this lesson the Andalusian cadence is D minor, C major, Bb major and A major. The left hand voices each chord with only its root, fifth and the root an octave higher.

What fingering should I use for this left-hand arpeggio?

The pinky holds the root, the index or middle finger plays the fifth and the thumb plays the top octave. On Bb, angle the thumb slightly, and flip the thumb out and back in to reach the last note and move to the next chord.

What can I play in the right hand over this pattern?

You can play a composed melody, or improvise using the chord tones of each chord. A scale such as the blues scale or the harmonic minor also works.

What if the right hand makes my left hand stumble?

Keep the left-hand arpeggio going steadily no matter what. Start with a very simple right hand and add complexity only once the left hand is secure.

Practise it

• Cadence LibraryCompare piano cadences across keys and listen to how different chord movements create closure, suspense or a turn in a new direction.
• 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

• The Only Left-Hand Piano Arpeggio You Need (Works on Any Song)Play each left-hand chord as low, high, middle, high in steady eighth notes (two cycles per bar), use inversions so the chords move smoothly, and then improvise a right-hand melody using chord tones, the pentatonic scale, singing, or small scale shapes.
• Two-Hand Piano Arpeggios With Melody Over the Andalusian Cadence (Part 4)To play double arpeggios over the Andalusian cadence, hold the root while the left hand plays a slow low-high-middle-high pattern, and have the right hand play a different pattern (high-low-middle-low) at double speed in a different inversion so the hands never collide and a melody can emerge on top.
• 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.
• 3 Go-To Left-Hand Piano Patterns Every Player NeedsThree dependable left-hand piano patterns cover most genres: the umpah (root-fifth bass with a staccato chord), the four-note arpeggio (low, high, middle, high), and the power chord (root, fifth and octave) played in different rock rhythms.