How to improvise from the chord depends on chord construction knowledge and knowing some basic bass patterns. Building on last week’s example, here are some accompaniment patterns that are commonly used. If this seems difficult, remember – you do not have to read any of these notes – just take them from the chord and use them in bass patterns!

A New Pattern

Measure 1: C chord – which is built on the root (first note) of the C Major Scale (the key signature of this example).

Measure 2: G7 chord – which is built on the fifth note (G) of the C Major Scale, but think of G as the top note of the C chord. . . using the 5th of the C chord to know what chord might come next (the G7, which is the V7 chord). The “7” refers to the 7th note above the chord’s root G (which is “F”).

Here, the G7 is played broken (one note at a time) as the 5 – 1 – 7 – 1 of the chord; meaning starting with the 5th note of the G7 chord (which is D) – then the root 1st note G – then the 7th note from the root G (which is F) – then ending on the 1 (which is G).

Measure 3: G7 chord – 5 -1 -5 -3. Notice that the 3rd leads into the next note C in the following measure.

Measure 4: C chord – only the root 1. The root is repeated an octave lower to emphasize finality.

Why These Notes?

When you create an accompaniment for the left hand from the chord symbols, any note from the chord will sound like it belongs. You can play them short or long, eighth notes or quarters, etc.

Basic Bass Patterns

These are basic bass patterns for the left hand. Use these chord accompaniment patterns with different chords until you are comfortable improvising.

Instead of just C – G7 – C try F – C7 – F.

Then a I – IV – I – V7 – I pattern. In the key of C this would be the chords C – F – C – G7 – C.
In the key of D this would be the chords D – G – D – A7 – D.

In the near future, we’ll add notes of the chord to the right hand, with the melody on top to carry the tune.

If this seems difficult, remember – you do not have to read any of these notes – just take them from the chord and use them in bass patterns!

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Leslie Young is the author/composer of the Revolutionary Piano Method. She co-founded a K-12th grade charter school in Texas and has been a piano teacher for about 40 years. She has had experience teaching a variety of students tackling piano for the first time or as returning student

Leslie believes that “learning to play the piano is more about diligence and perseverance” – but would add that just as critical to success is the method that is used, the encouragement of critical thinking, and the instructional principles that promote immediate success.

She states: “In teaching piano to students of varying ages, what also varies is a commitment of time and the amount of dedication. Children of certain ages may do very well with a parent as teacher; others may need someone who is not family to instruct them. Some older children and adults prefer to make progress on their own, and this method is designed to act as a meticulous guide through new material. Some adults and teens insist on professional teachers, which also encourages continuity. Because these books are self-explanatory, a new or experienced professional teacher will have no trouble using the Revolutionary Piano Method with students. It is an easy way to learn piano.”