Subtractive Arpeggios: Make Common Piano Patterns Sound Original
A subtractive arpeggio is a common piano arpeggio pattern, counted in eighth notes (1 and 2 and 3 and 4 and), from which you deliberately leave out one or more of the eight beats and off-beats to create space, rhythmic flavour and a more original-sounding part.
Key points
- Count arpeggios in eighth notes (1 and 2 and 3 and 4 and) so you have eight slots per bar.
- Leave out one chosen slot to create space and rhythmic flavour; optionally play the missed note on the next available slot.
- Try removing each slot in turn, then two at once, such as beats 1 and 3.
- Vocalise the rhythm before playing, and vary accents, dynamics and note order.
- Subtractive patterns make memorable intros and interludes rather than a background bed.
What this lesson teaches
In this lesson Jason Zac of Nathaniel School of Music shows a first approach to making everyday piano arpeggios sound unique: subtractive arpeggios. Instead of adding notes, you choose which beats not to play. The idea suits intermediate players who already know a few basic arpeggio patterns and want their intros and interludes to sound like their own.
The chords and the starting patterns
The lesson uses four chords: E minor (E G B), G major (G B D), D major (D F# A) and A major (A C# E).
Get comfortable with these common three-note loops first, because everything else is built by changing them:
- Low, middle, high, middle – a round-robin loop starting from the lowest note.
- High, low, middle, low – the same idea starting from the top.
- High, middle, low, middle – a downward-turning loop.
Count in on-beats and off-beats
Counting is essential. Arpeggios embellish chords, so they should move faster than the pulse – at least twice as fast. If you play them with the pulse, they start to sound like a melody instead. In this lesson the beat is divided by two, so you count 1 and 2 and 3 and 4 and.
The numbers are the on-beats or downbeats, which feel relaxing. The ands are the off-beats, which create a sense of excitement for both listener and player. That gives you eight slots in the bar.
Subtracting one beat
Start by removing beat 3
Play the E minor loop while counting. Notice which note lands on beat 3 – in the example it is an E – and simply don't play it. You now have two choices:
- Keep the shape of the pattern and just leave the gap.
- Revisit the pattern: play the missed note on the next available slot, the and of 3, so it arrives late.
The second option gives a hooky, recognisable figure you can use as an intro or interlude, so listeners identify the song straight away rather than treating the arpeggio as a background bed. You are also free to reorder the notes, for example E G B G or B G E – leaving one slot empty actually opens up more creative choices than a plain up-and-down loop.
Add accents, dynamics and pedal
Make one note slightly louder as an accent, and let the volume rise and fall over time – it should never stay the same. Use the sustain pedal for a fuller harmonic sound. Then play the same idea through all four chords: E minor, G major, D major, A major.
Work through every slot
Once beat 3 feels natural, subtract each other slot in turn, one at a time:
- The and of 3
- Beat 4
- The and of 4 – this leaves a nice breathing space at the end of the bar
- The and of 2
- Beat 2
- The and of 1
- Beat 1 – here the left-hand bass note is the one that drops out
Each choice gives the pattern a different flavour. Feel free to jumble the note order too: cyclic, low-middle-high, high-middle-low, up or down as you please.
Subtracting two beats
After you are comfortable leaving out any single slot, try removing two. One combination demonstrated is subtracting beat 1 and beat 3 together.
How to practise
- Count aloud, then visualise the gap before you play it.
- Sing or mumble the rhythm with your voice first – it really helps the timing – then play it.
- Try it slower, then faster, softer, then louder.
- Listen for melodies the pattern suggests; it can inspire a line to compose on top.
Questions about this lesson
What is a subtractive arpeggio on piano?
It is a common arpeggio pattern from which you deliberately leave out one or more beats or off-beats of the bar. The gaps give the pattern rhythmic character so it sounds intentional and original.
Why should arpeggios be played faster than the beat?
Arpeggios are meant to embellish chords, so they should move at least twice as fast as the pulse. Played with the pulse they start to sound like a melody, which defeats their purpose.
What do I do with the note I skipped?
You can simply leave the gap and keep the pattern's shape, or play the skipped note on the next available slot, such as the and of 3 when you remove beat 3. Reordering the notes is also encouraged.
How do I keep the timing steady when leaving out beats?
Count aloud, visualise the gap, and sing or mumble the rhythm before playing it on the piano. This makes the missing beat feel natural rather than accidental.
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
- 3 Piano Rhythm Techniques That Make Your Chords GrooveThe 3-3-2 piano rhythm groups eight eighth notes in a bar as 3+3+2, placing the hits on beat 1, the 'and' of beat 2 and beat 4, and you can play it as single chord hits, as accents within continuous eighth notes, or as arpeggios.
- 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.
- 4 Left-Hand Piano Chord Patterns for Beginners (Accompany Any Melody)To accompany a melody on piano, learn the tonic, subdominant and dominant chords of a major scale (in G major: G B D, G C E and F# C D) and play them in the left hand using four patterns: arpeggio, oompa, waltz and salsa.
- 5 of the Best Left-Hand Piano Accompaniment PatternsFive left-hand piano accompaniment patterns that make simple chords sound professional are spread voicings with the third added, a root-and-fifth toggle, the LHMH magic arpeggio, a tresillo dance groove, and a pedalled deep bass with the chord played higher.