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The right hand plays the melody, which is in the top stave. The left hand plays the accompaniment part, which is in the lower stave. In the first bar of the accompaniment part, the pianist plays a C Major chord in the left hand; this chord is arpeggiated (i.e., a chord in which the notes are played one after the other, rather than simultaneously).
Figured bass is the most perfect foundation of music. It is executed with both hands in such a manner that the left hand plays the notes that are written, while the right adds consonances and dissonances thereto, making an agreeable harmony for the glory of God and the justifiable gratification of the soul. [33]
There are several technical demands that need to be addressed. Due to the thick chords, they may be played as rolled chords or alternative finger number such as using a thumb to cover the bottom white key and the black key. Many chromatic scale-like runs and jump-bass accompaniment patterns in the left hand make this piece tricky to master.
In jazz, comping (an abbreviation of accompaniment; [2] or possibly from the verb, to "complement") is the chords, rhythms, and countermelodies that keyboard players (piano or organ), guitar players, or drummers use to support a musician's improvised solo or melody lines. It is also the action of accompanying, and the left-hand part of a solo ...
His sonatas frequently employ arpeggiated accompaniment in the left hand in one of several patterns that are now collectively known as Alberti bass. Alberti was one of the earliest composers to use those patterns, but was not the first or only one. [ 4 ]
The organ accompaniment rests on a pattern of chords held often for a full measure in the left hand, and broken chords in eighth-notes in the right hand. The choir voices enter together, with the lower voices also moving slowly like the left hand (a full measure for "Deep", another one for "peace"), while the soprano pronounces "peace" sooner ...
Alberti bass is a kind of broken chord or arpeggiated accompaniment, where the notes of the chord are presented in the order lowest, highest, middle, highest. This pattern is then repeated several times throughout the music. [5] The broken chord pattern helps to create a smooth, sustained, flowing sound on the piano.
The left-hand bass figure in measures 1 to 2 is used ten times in this movement. “The rhythmic pattern of the accompaniment motive is a common blues figure.” [20] The other, and more important, unifying motive is the descending third melodic figure within the right hand. This figure occurs at the start of every new twelve-bar phrase.