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### Lesson Three: Root-fifth

Root-fifth is a rhythmic accompaniment pattern I learned from Tim Seaman, who in turn learned it from John McCutcheon. While the left hand plays melody, the right hand alternates between two notes of a chord -- usually the root and the fifth.

Once again, we'll demonstrate with "Simple Gifts." Click for a MIDI file or sheet music (GIF).

First, you'll need to get your right hand used to the alternating movement. Find the marked G on the bass bridge and the marked D straight across on the right treble. This is the root and the fifth of a G chord. Go back and forth between these two notes. (Hint: If you strike the strings farther from the bridges, you'll have less distance to cover, and it'll likely sound better, too.)

Next, experiment with your left hand. While your right hand keeps going, play some left hand notes -- any notes -- on the left side of the treble bridge. At first, strike simultaneously with both hands. Then, try hitting some left hand notes in between the right hand notes. Slow down if necessary. Whatever happens, keep your right hand steady -- it should feel like a metronome.

For "Simple Gifts," you'll need at least two chords, G and D. (If you like, you can experiment later to find additional chords.) To find the D chord, you could find a D (the root of the chord) on the bass bridge and play the A (the fifth) across from it on the right treble.

Another possibility is to switch the root and the fifth. Then you could play the D chord by playing the A on the bass bridge and the D on the right treble, and you could play the G chord by playing the D on the bass bridge and the G on the right treble. You'll notice that this fifth-root variation involves a slightly diagonal line, not the straight across like the root-fifth.

You can also experiment with using the third instead of the fifth: G on the bass and B on the right treble. Or try other variations. The main idea is to keep your right hand moving between a bass note and a right treble note. In the example, I keep things simple for the first time through the tune, then show a little variation.

Record yourself playing just the melody with your left hand. Use this recording to practice the right hand part, so that you can figure out when to switch chords and what variations of the chords you want to use.

Now try putting the two parts together. It may help to work one phrase at a time, then put the phrases together. Slow down as much as necessary to keep the rhythm steady.

This technique works with a variety of tune types, from stately marches or airs to lively reels. For faster, note-y tunes, you will likely need to cut out a lot of the melody notes in order to play the melody one-handed at a reasonable tempo. Listen to a recording of the tune (yourself or on a CD) and decide what the most important notes are -- the notes that jump out, the ones that carry the mood or tell the story. Adding some syncopation is often a good idea. For an example, consider "Angelina Baker": first the way I learned it, then with root-fifth accompaniment.

It's also a fun technique to use as a basis for composing. Check out "Timberline Wander" by Tim Seaman, or my own "Third Street Market," for example.

You might notice a recurring rhythmic ornament in those two examples. If you'd like to try it, here's the hammering pattern: R_RLRLR_R_RLRLR. The bold print "R" is for the right hand notes on the bass bridge landing on counts 1 and 3. The plain "R" is the right hand notes on the right treble landing on counts 2 and 4. The left hand notes are all on the count "and." Very slowly, tap your hands on your desk or lap as you count "1, 2 and 3 and 4, 1, 2 and 3 and 4," or say "Right, right-left-right-left-right, right, right-left-right-left-right." Feel free to make up your own variations, dropping in left hand notes on whatever "and" counts you like. You can also vary what note the left hand hits.

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