Accompaniment on Piano By Simon West At Isnare.com Ezine Articles

There are many musicians who make the errors in the manner of playing with a bassist in similar way that they play during their solo. You have to learn to pick your spots even though at times you can do it. In my opinion this type of playing is not preferable. When the bassist plays a C note while your left hand keys in the C two octaves below the middle C on the keyboard, the sound being created is messy or muddy. This is something that a piano player should avoid.

Instead of playing in similar way that the bassist play, you should try to see this few options that you can apply.

Since many of you are familiar with the chords we’ll have to do it in the key of C. This will be easier to comprehend.

What you should know first are these two very significant things:
1. The options you’ve got are endless; you should play anything except what the bassist is playing. I’ll just explain the reason below.

2. Whatever the key, just let your left hand play the play chord notes around the middle C. By listening carefully, you’ll be able to tell if the sound is getting very muddy.

You will have to use major7, minor7, dominant7 and diminished seventh chords in the key of C.

A significant thing you need to understand – By using your left hand, you need to learn playing these kinds of chords in different versions. You can discover which version will work for you as you get along.
See the example I’ve set below:

We’ll use the following progression as an example below: in the key of C

(2-5-1=Dmin7-G7-CMaj7)

2-BASSIST=D

CF – Your Left Hand

CFA or CEFA (Dmin9) = Your Right Hand

5-BASS=G

BF= YLH

DGB or FACE (G9) = YRH

1-BASS=C

BE or CE (around middle C or just below middle C) = YLH

EGC or DGC (Cadd9) or BDEG (Cmaj9) = YRH

Let’s say {Cmaj7=C(1)E(3)G(5)B(7th) or any chord. The chord is distinguished by the third as major or minor while the stability of the chord is determined by the 7th. Consequently, when you finish a song in the key of C you play a Cmaj7 instead of playing C dominant 7. It is unstable to play G in the key of C because it will be going somewhere so you need to play it as a G7 chord instead.

On the left hand, you’ll observe that the 3’s and the 7’s of each chord are being used for in any given chord, they are considered the most significant notes. You can add flavor to the piece by adding other notes but juts make sure that 3 and the 7 are included. (Similar chords that are being used on the right can also be used by the left hand since both 3 and 7 are included.)

A tritone is a minor 3rd and a flat 7 in a dominant chord. An example we have here is G7=GBDF. B and F are called the tritone.

You can as well play scales with your right hand while keying in chords with your left hand. That is the manner of playing jazz.

When you are playing dominant chords, you can try to experiment with the chords on your right hand,

G7-BASS=G

BF = LH

BEAb(E Major chord) = RH, thus giving you the chord G13b9.

Have fun in your lessons!

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