Definition
An accompaniment pattern is the way the pianist distributes chords over time and between the hands. The same C–Am–F–G progression sounds classical, jazz, gospel, or pop depending on the pattern. The left hand (LH) and right hand (RH) have different roles: usually the left provides bass and rhythm, the right harmony and melody.
Alberti bass (classical)
A broken chord in the order low–high–middle–high, in eighth or sixteenth notes, in the left hand. On C: C3–G3–E3–G3. It takes its name from Domenico Alberti (18th century); famous example: Mozart, Sonata K. 545, first movement. Rule: keep the pattern in the C3–C4 register to avoid muddiness.
Stride (jazz of the 1920s–30s)
The LH alternates a bass note (or an octave, or a tenth) on beats 1 and 3 with a chord in the middle register on beats 2 and 4, jumping back and forth. On C: C2 (beat 1), chord E3–G3–C4 (beat 2), G1 or G2 (beat 3), chord (beat 4). The RH plays the melody with chords. Masters: James P. Johnson (Carolina Shout, 1921), Fats Waller, Art Tatum.
Jazz comping
Comping (accompanying/complementing) is rhythmically free accompaniment behind a soloist:
- Rootless voicings of type A and B (Bill Evans, Wynton Kelly): over Dm7–G7–Cmaj7 in type A: F3–A3–C4–E4 (Dm9), F3–A3–B3–E4 (G13), E3–G3–B3–D4 (Cmaj9).
- Rhythm: short, syncopated hits (Charleston: beat 1 and 2-&), anticipations, rests. Comping responds to the soloist, it doesn't cover them.
- The bassist plays the roots: the pianist avoids the register below C3.
- Red Garland block chords: two-handed chords with the melody doubled at the octave.
Pop ballad
- LH: root and fifth (or octave) in half notes or whole notes: C2–G2.
- RH: broken chords in eighth notes or rising arpeggios (C4–E4–G4–C5), or held chords with the melody on top.
- “Continuous arpeggio” variant in eighth notes in both hands: Adele — Someone Like You (2011) uses a continuously arpeggiated piano throughout the song.
- Inversions in the RH to connect the chords by step (C–Am/C–F/C–G/B).
Rhythmic pop (pumping)
Repeated chords in eighth notes in the RH (C E G), octaves in the LH on the beat and on the “&” (Coldplay — Clocks, 2002, with the sixteenth-note arpeggio in three groups; Elton John; The Beatles — Let It Be).
Gospel
- LH in octaves, strong in the low register, often with chromatic walk-ups toward the next chord (C–C#–D to go to Dm).
- RH with full chords and passing chords: between C and F you insert C7 or Gm7–C7; between I and IV the classic “1–4” with diminished passing chords (C–C#°–Dm7).
- Shout/drive: a strong eighth-note rhythm with accents on the offbeats, two-handed chords.
- Turnarounds and fills at the ends of phrases (blues scales, octave tremolos).
Gospel harmony is explored in depth in the lessons dedicated to gospel harmony.
Other patterns
- Montuno (salsa): syncopated RH figure in octaves over clave 2-3 or 3-2.
- Boogie-woogie: LH in eighth notes with the pattern 1–3–5–6–b7 (C E G A Bb).
- Reggae skank: short chords on beats 2 and 4.
- House piano: offbeat chords (2-&, 4-&) and syncopated figures in 1990s style (M1 piano).
Register and mix
The piano covers the whole spectrum: in a mix with bass and voice, the lows below 100–150 Hz are often attenuated (if the bass is present) and the mids at 250–500 Hz are managed so they don't muddy the voice. The piano's LH should not double the electric bass in a different rhythm.
Practical exercise
Play or program the same C–Am–F–G progression in six patterns: Alberti, stride, arpeggiated ballad, eighth-note pumping, gospel with walk-up, offbeat house. Then choose the most suitable pattern for each section of one of your songs (e.g., ballad in the verse, pumping in the chorus).
Related topics
Voicing: Close, Open, Drop 2, Shell, Composing in the Classical Style, Gospel Harmony, The Jazz ii–V–I, Clave and Tresillo, Arranging for the Rhythm Section.