I’ve got some new exciting left hand patterns for y’all! Let’s dive right into it. You know I’m a great fan of arpeggiated broken 10ths, right? This is the pattern that stride pianists of the 30s-40s have been using in their ultra-fast left-hand rolls when they got bored by stride bass and triads. 10ts are nothing less but 3rds transposed up an octave — but they sound much sexier, airier and just cooler. Think of them as 3rds with the make-up on. Or 3rds in lingerie. Okay, I guess I made it clear enough, let’s not explore this analogy further—
So, the 30s guys used to play them fast and mostly harmonically, meaning — as chords (that require a hell of a finger span), but the real magic happens when you play them melodically, i. e. when you arpeggiate them. You can then add other diatonic intervals and discover whole new universes of left hand patterns. By the way, if you’re lazy, I have a ton of exercises on this very topic for you.
Just like any other chords, 10th “chords” have “inversions”. And just like any inversions, 10th inversions have — ahem — permutations. If you aren’t familiar with the concept of chord permutation, read this post. Inverted 10ths come very handy when you want to diversify your left hand playing style. For example, if you have a pattern that goes: Cm7 — Bbm7 — Ab∆7 — Eb∆7, it would be a bit repetitive and stale to use the same broken 10th pattern for all four bars. By alternating inversions and combining them with normal 7th chord arpeggios (and arpeggiated chord shells) you can create the fabric that flows very smoothly, blending between chords in intricate and subtle ways, as opposed to robotic switches when you just repeat the same pattern in a different harmonic context.
Let’s take a closer look at inverted broken 10ths:
This is the classic 1-5-10 pattern for the Cm chord: starting on root (C), then on the fifth (G) and on the 10th (Eb one octave above).
Here’s how you can construct a unique left hand pattern using three different ingredients: inverted 10ths, 7th arpeggio in two permutations and the shell voicing.
And that’s just one chord! So, even if you’re going to be staying in Cm for a couple of bars, by having your left hand pattern flow like this, you’re much less likely to sound stale and static.
Here’s the C Phygian piece using some combinations of the aforementioned patterns to create smooth connections between the chords and make the whole thing sound richer and more interesting. The progression is the same: Cm7 — Bbm7 — Ab∆7 — Eb∆7, right hand plays simple arpeggiated triads.
I hope my new score highlighting approach improves legibility of the ideas that I’m trying to communicate here, and not vice versa 😆 Let me know if the old one was better! So, back to the piece — as you can see, I’m alternating here between the three ingredients we’ve already seen before, trying to create the uninterrupted line by starting each new bar on the closest note possible to the last note of the previous bar. It’s very much like walking bass lines, right, bass geeks? 🤓 Seriously, I guess I have to credit Todd Johnson and Scott Devine and many other bass instructors here for making me internalise this principle of voice leading — make it flow, make it flow.
Check out how it sounds:
Okay, that should be it for today, I hope it was helpful! See you later and — harmonise till it hurts! 🤙🏻