Chords & Harmony

Alberti Bass

Pronounced al-BEHR-tee

Definition

Alberti bass is a left-hand accompaniment that breaks each chord into the repeating pattern lowest–highest–middle–highest, such as C–G–E–G. It is a hallmark of Classical-era keyboard music.

Alberti bass is a left-hand accompaniment that breaks each chord into a repeating four-note pattern: lowest note, highest note, middle note, highest note. On a C major chord (C–E–G) that gives C–G–E–G, C–G–E–G, usually in even eighth or sixteenth notes. It is a kind of broken chord, and one of the most recognizable sounds of the Classical period.

Two bass-staff panels in 4/4. Block chord: a whole-note chord C3 E3 G3, labeled 1 3 5. Alberti bass: eighth notes C3 G3 E3 G3 C3 G3 E3 G3, labeled 1 5 3 5 1 5 3 5. — C major as a block chord, then as an Alberti bass. The numbers show which chord member each note is: root (1), third (3), fifth (5); the Alberti pattern plays them in the order 1–5–3–5.

Where the name comes from

The pattern is named after Domenico Alberti, an Italian composer of the early 18th century who used it so often in his keyboard sonatas that it became linked with his name. He was far from its only user: Haydn, Mozart, Clementi and many others wrote Alberti basses. The opening of Mozart's Piano Sonata in C major, K. 545, is one of the best-known examples (Inside Mozart's Sonata in C, K. 545).

How it works with a melody

Alberti bass keeps the harmony moving and fills every beat, which frees the right hand to sing a simple melody above it. That texture, a clear tune over a chordal accompaniment, is called homophony. In the example below the left hand stays in one small area of the keyboard: the chords are in their closest positions (I, IV6/4, V6/5, I), so only one or two fingers move at each change.

Grand staff in 4/4, three bars. Right hand: half note G5, quarters E5 C5; quarters F5 A5 G5 F5; whole note E5. Left hand eighth notes: C3 G3 E3 G3 twice; C3 A3 F3 A3, then B2 G3 F3 G3; C3 G3 E3 G3 and a half-note chord C3 E3 G3. Chord symbols C, F/C, G7/B, C. — I – IV6/4 – V6/5 – I in C major. The left hand breaks C–E–G, C–F–A and B–F–G into the Alberti pattern while the right hand plays the tune; the melody's F, the seventh of G7, falls to E on the final chord.

Playing it well

Keep it quiet. The accompaniment sits under the melody; it should not compete with it.
Lighten the repeated note. The top note (G in C–G–E–G) comes back twice in every group. Play it with a light thumb so that it doesn't hammer.
Rotate, don't lift. Let the forearm rock gently between the little finger and the thumb instead of lifting each finger high.
Learn the blocks first. Play each chord as a block chord until the changes are easy, then break it into the pattern.

A common left-hand fingering for C–G–E–G is 5–1–3–1: little finger on C, thumb on G, middle finger on E.

Practice with Alberti Bass and Accompaniment patterns.

Common questions

Why is it called Alberti bass?

It is named after Domenico Alberti, an Italian composer of the early 18th century who used the pattern constantly in his keyboard sonatas. Many other composers of the time used it too.

What fingering do you use for Alberti bass?

For C–G–E–G in the left hand, 5–1–3–1 is the usual choice: little finger on the bottom note, thumb on the top note, middle finger on the middle note.