The Church Pianist: Left Hand Pattern(Marching Bass Octaves)

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Left Hand Pattern #2 (Marching Down Bass Octaves)
Once again, this pattern works well for Hymns with a repetitive bass line.
(Repetitive bass line refers to the same chord lasting for at least 3 beats or more)

Example Hymn: When We All Get to Heaven (Key of C) *First line only

Left Hand Description:


Measure one: (marching down bass)

Beat one: C octave (Middle C and Bass C)

Beat two: B octave

Beat three: A octave

Beat four: G octave


Measure two:

Same as above


Measure three:

Beat one: G octave (1st and 2nd G below Middle C)

Beat two: D octave

Beat three: B octave

Beat four: G octave (2nd and 3rd G below Middle C)



Measure four:

Beats one and two: Running octaves moving up in eighth notes (start 2nd and 3rd G below Middle C)

G octave
G octave (repeat same G octave)
A octave
B octave

Beat three: C octave (2nd and 3rd C below Middle C)

Beat four: C octave (next octave down)


A combination of the left hand patterns I’ve shared since yesterday, make for a nice variety in hymns with a repetitive bass line.

Just remember the following ingredients: alternating bass and marching octaves. There are other patterns as well that I will have to share in another post.

The Church Pianist: Left Hand Accompaniment Pattern (Alternating Bass)

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Key Factors that Determine the type of Left Hand Pattern #1 (Alternating Bass)

*Time Signature

*Tempo

*Mood of Song: Peppy, Slow; meditative; etc.

I will share an easy left hand pattern for Peppy Songs in 4//4 time with repetitive bass lines.


Songs that have the same chord lasting 3 or more beats constitutes a repetitive bass line.


This applies to songs such as: At Calvary, When I See the Blood, When We All Get to Heaven.


The name of the pattern is: Alternating Bass (for repetitive bass)
(uses the 5th of the root chord for the alternating bass)


Example: (first line of…. When We All Get to Heaven in the Key of C)


Measure One:

Beat one: C octave

Beat two: C chord (root posisition)

Beat three: Lower G octave

Beat four: C 6 (1st inversion of C chord) Notes bottom up: E, G, C


Measure Two:

Beat one:C octave

Beat two: C chord (root posistion)

Beat three: G octave (higher one for variety)

Beat four: C chord (root posistion)


Measure Three:

Beat one: G octave (higher one)

Beat two: G7 cluster chord (Notes bottom up: F, G, B )

Beat three: D octave

Beat four: G7 cluster chord


Measure Four:

Beats one and two: Running down octaves in eighth notes: G F E D

Beat three: C octave

Beat four: Lower C octave

The secret to interesting left hand accompaniment is using a variety of left hand patterns for one song.

I will share another left hand pattern later on. Try this pattern with the hymns mentioned above.

The Church Pianist (Left Hand Accompaniment Tips)

1. To prevent a muddy tone, do not play a 3 note chord lower than Bass C.
(The 1st C under middle C)


2. When using broken LH chords for accompaniment: use 1-5-10-
instead of 1-3-5 for a more open tone.

For example: in the key of C….the broken chord: C-E-G (1-3-5)
could be changed to C-G-E (1-5-10)

(It’s a wider broken chord but sounds more pleasing than
the 1-3-5 broken chord.)



Try out these left hand tips on a song that lends itself to a flowing tempo such as:
"My Jesus I Love Thee".

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