Nathaniel School of Music

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.

Video lesson by Jason Zac · Intermediate · 8 min

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Key points

What this lesson teaches

This is Part 4 of Jason Zac's Andalusian cadence series at Nathaniel School of Music. It shows you how to play double arpeggios: a different arpeggio in each hand at the same time, arranged so the result sounds melodic rather than mechanical. It suits intermediate pianists who are already comfortable with basic broken-chord patterns and want to build two-hand coordination.

The chord progression

The whole series uses the Andalusian cadence in D minor:

In the patterns below, L, M and H stand for the low, middle and high notes of each chord shape.

Step 1: A slow left-hand arpeggio

Start with the left hand alone, playing slowly. You could use L M H M or L H M H. The key detail is to hold the L: sustain the root of the chord while the other notes move above it. Holding the root is the core of the whole technique, because it anchors the harmony while the hands get busy.

Step 2: Make the right hand contrast

The right hand should not simply copy the left. If both hands play the same thing it sounds as though one hand has stolen the other's part. Instead, look for contrast.

Contrast of speed

The first idea is to let the right hand play the same kind of pattern at double speed (2x) while the left hand stays at normal speed (1x).

Contrast of pattern

Next, give the right hand a completely different shape. Jason Zac's own favourite combination, which he uses in much of his music, is:

Avoid L M H M in the left hand here, as it tends to clash with the right-hand pattern. With L H M H against H L M L, the chance of the two hands landing on the same note at the same moment is almost zero, so every note stays clear.

Contrast of inversion

You can also add an extra chord tone to the right-hand pattern (such as the root D over the D minor chord) and, rather than playing the same inversion as the left hand, choose a new inversion in the right hand. Do this for each chord of the cadence.

Now you have three layers of contrast: different speed, different pattern and different inversion. The effect is almost like two pianists playing at once. For listening inspiration, think of the busy, tumbling piano arpeggios in the Mr Bean background music or Danny Elfman's Edward Scissorhands themes.

Which hand plays fast?

You might wonder whether the left hand could take the double-speed part instead. It is possible, but much less common, so keep the fast arpeggio in the right hand and the slower one in the left.

Step 3: Let a melody grow

Once the arpeggios feel steady, start shaping a melody with the top two fingers of the right hand. Keep the arpeggios going, especially in the left hand, and let the highest notes form a tune. Repeating a chord tone such as C a few extra times can help the melody stand out.

Now and then you can step away from the arpeggio altogether and play a short lick, and finish with a flourish at the end, much as a drummer ends with a drum roll.

How to practise

  1. Play the left-hand L H M H pattern slowly through all four chords, holding the root each time.
  2. Practise the right-hand H L M L pattern alone at double speed.
  3. Put the hands together slowly, making sure two right-hand notes fit each left-hand note.
  4. Try a different right-hand inversion for each chord.
  5. Finally, bring out a melody with your top fingers and add an occasional lick or ending flourish.

Questions about this lesson

What chords are in the Andalusian cadence used here?

The lesson uses D minor, C major, Bb major and A major, which are the i, bVII, bVI and V chords in D minor.

Which arpeggio patterns work well together in both hands?

A low-high-middle-high pattern in the left hand at normal speed combined with a high-low-middle-low pattern in the right hand at double speed works well, because the two hands almost never land on the same note.

Should the left or right hand play the faster arpeggio?

Keep the double-speed arpeggio in the right hand and the slower one in the left. The reverse is possible but much less common.

How do I add a melody on top of double arpeggios?

Keep the arpeggios running, especially in the left hand, and use the top two fingers of the right hand to bring out a tune, occasionally breaking into a short lick or an ending flourish.

Practise it

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