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Ten Standard Left Hand Patterns

All examples are basically 12-bar blues and have the same chord progression and melody.
Transcribed from Ken Larkin's video at http://www.youtube.com/watch?v=m3_zRmb-0u0

Turned into sheet music by John W. Pierce, Seguin, Tx (jwp@thyrsgeat.org) 08Oct2012 using MuseScore 1.2
I know (sort of) who originally extracted the bass lines in another form, but don't know if she wants credit in what
could become a public document. I did go back and check them myself. I found a version of the melody line in another form
somewhere that I can no longer find, but eventually went back and did that myself (took forever - I'm not very good at it).
In any case, all errors are mine. And MuseScore needs some better way of entering this type of text, or if there is one, it
needs to be more obvious.

Basic Walking Bass Pattern #1


1  
 4                        
2 3 4

 4                  
I I I I

5   
                        
6 7 8

                  
IV IV I I

9

                          
10 11 12

               
V IV I I

1
Basic Shuffle Pattern #1
1 
        2              
3 4

  
                 
5 
        6  
                
7 8

                 
9
 
        10
         11
         12

               

2
Basic Shuffle Pattern #2
The second beat of the I chord is actually played like 3/32 + 5/32 - he slides off the flat onto the natural.
1  
                        
2 3 4

                                


5   6 
                         7 8

                                


9

                          
10 11 12

                          

3
Jerry Lee Lewis
1  2 
                        
3 4

                               
5  6  
                        
7 8

                               
9

                          
 10 11 12

                          

4
Fats Domino #1
1  
                        
2 3 4

                        
In the ⅛ note pairs in the bass line, it feels like the first of each pair is slightly shorter than ⅛
and the second slightly longer - but I could just be counting poorly.

5
     
                        
6 7 8

                        
9

                          
10 11 12

                    

5
Fats Domino #2
1  2 
                        
3 4

                       


   
5
     
                        
6 7 8

                       


   
9

                          
10 11 12

                    
 

6
Bumble Boogie
1  
                        
2 3 4

                               
In the first beat of each bass line measure it feels like the first ⅛ note is slightly long and the second slightly short.

5             
6
               7 8

               
               
9

                          
10 11 12

                          

7
Basic Country Pattern
1 
        2              
3 4

  
            
   
5 
        6  
                
7 8

              
 
9

        10
                  
11 12

            

8
Country Swing Pattern
1  2 
                        
3 4

                               
5  6  
                        
7 8

                               
9

                          
10 11 12

                          

9
Lucille
1  2 
                        
3 4

                               
5  6  
                        
7 8

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9

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10 11 12

                        

10