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Applying Patterns: Making An Accompaniment

The document discusses different accompaniment patterns that can be used in classical music, including the Alberti bass pattern. It provides examples of applying patterns to sequential harmonic progressions like the circle of fifths.

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Yban Ryko
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Download as PDF, TXT or read online on Scribd
269 views

Applying Patterns: Making An Accompaniment

The document discusses different accompaniment patterns that can be used in classical music, including the Alberti bass pattern. It provides examples of applying patterns to sequential harmonic progressions like the circle of fifths.

Uploaded by

Yban Ryko
Copyright
© © All Rights Reserved
Available Formats
Download as PDF, TXT or read online on Scribd
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Applying Patterns

Making an Accompaniment
If one is familiar and comfortable with creating 4-voice keyboard homorhythmic homophony, then
creating an accompaniment pattern is fairly easy. One can simply choose a rhythmic pattern to apply to
the left hand and a rhythmic pattern to apply to the right hand. The right hand is usually much more
active

since

it

holds

the

chord.

The

bass

pattern

is

generally

significantly

simpler.

Nonetheless, patterns do not need to be elaborate. In fact, very elaborate patterns are often not stylistic
of Classical era music. Below are some examples. Note that none uses NCTs, but it is possible to
incorporate NCTs.

Alberti Bass
Perhaps one of the most characteristic accompaniment patterns in Classical era music is the Alberti bass.
Typically, the Alberti bass takes 3 chord tones and projects them in the following pattern: lowesthighest-middle-highest. The pattern is repeated for the duration of the harmonic rhythm. But this
particular pattern isn't the only kind of Alberti bass one will find. Within reason, one can be creative with
the pattern. But certain things should be kept in mind:
1. the lowest note should always be first,
2. the pattern should only include chord tones,
3. the rhythm should be even but fast enough to allow for all 3 chord tones to sound within the
space allowed by the harmonic rhythm.

Patterns and Sequential Progressions


Sequential harmonic progressions like the circle of fifths also rely on patterns for their melodic and
rhythm elaboration. Below are some examples of the 3 sequential progressions we look at in this course.
Unlike the simpler elaborations above, these include NCTs and a "translation" from 4-voice SATB
homophony to 3-voice polyphony. There is even a version given where the upper 3 voices have been
merged into a single voice. This kind of writing would be typical in solo, unaccompanied music,
particularly from the Baroque era. Bach's violin partitas and cello suites provide expert examples.
Circle of Fifths

Circle of Fifths (single line)

Descending 5-6

Parallel 6ths

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