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Piano Accompaniment PATTERNS Book For Beginners Written By John Axsom

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The easiest piano accompaniment pattern is to simply play a left and right hand chord together at the same time using a steady beat. In the exercise below you can practice doing this on a ONE chord song. The sing is ARE YOU SLEEPING BROTHER JOHN. Just keep a steady beat going on a C major chord in both hands while you sing the song at the same time.

In the music below, here is a note for beginners. The top line is the VOCAL line. You DO NOT play the vocal line on the piano. You SING the vocal line while you play the bottom two lines on the piano at the same time. The bottom two lines is the grand staff for the piano accompaniment pattern.

3 % 3

33 % >3 3

Are You Sleeping Brother John

C

œ œ œ œ

Are you sleep - ing?

sm g sm g

sm g sm g

sm g sm g

sm g sm g

% œ œ œ œ œ œ

Morn - ing bells are ring - ing.

% œœœ > œœœ

œœ œ œœ œ

œœ œœ œ œ œœ œœ œ œ

œ œ

œ œ

sm g sm g

sm g sm g

Are

you sleep - ping?

sm g sm g

sm g sm g

œ œ ˙

Broth - er

sm g sm g

œ œ œ œ œ œ

Morn - ing bells are ring - ing.

œœ œ œœ œ

œœ œ œœ œ

œœ œœ œ œ œœ œœ œ œ

œ œ ˙

John.

sm g sm g

sm g sm g

Broth - er

sm g sm g

œ œ ˙ Dong.

Ding

Ding

œœ œœ œœ œœ œ œ œ œ œœ œœ œœ œœ œ œ œ œ

Copyright 2015 By John Axsom All Rights Reserved

sm g sm g

sm g sm g

John.

sm g sm g

sm g sm g

œ œ ˙

Ding Dong. Ding

œœ œœ œœ œœ œ œ œ œ œœ œœ œœ œœ œ œ œ œ

2

In this next accompaniment pattern, you will again play Are You Sleeping Brother John, however, this time instead of playing the chords at the same time in the left and right hands, we will ALTERNATE the chords in the left and right hands. In the previous rendition of this song we were in the key of C major and you have to have a deep voice to sing the last two measures. In this rendition we will do the same song, but in the key of F major which will be easier to sing for most people. ARE YOU SLEEPING BROTHER JOHN - Using alternating left and right hand chords

F

% α β œ œ œ œ

%α β > β α

Πga p

Πga p

œ œ œ œ

Πga p

Are you sleep - ing?

gap Œ

%α œ œ œ œ œ œ

gap Œ

Are

Πga p

you sleep - ping?

gap Œ

gap Œ

œ œ œ œ œ œ

œ œ ˙

Πga p

Πga p

œ œ ˙

Broth - er John.

gap Œ

gap Œ

œ œ ˙

Morn - ing bells are ring - ing. Morn - ing bells are ring - ing. Ding Ding Dong.

%α Œ

œ > α œœ

œœ œ

Œ

Œ œœœ

œœ œ Œ

Œ

œœ œ

œœ œ Œ

Œ œœœ œœ œ Œ

Œ œœœ Œ œœœ

œœ œ Œ

Copyright 2015 By John Axsom All Rights Reserved

Πga p

Πga p

Broth - er John.

œœ œ Œ

gap Œ

gap Œ

œ œ ˙

Ding Ding Dong.

Œ œœœ Œ œœœ œœ œ Œ

œœ œ Œ

3

Here is another ONE CHORD song which is called ROW, ROW, ROW YOUR BOAT. Use the alternating left and right hand piano accompaniment pattern to play this song in the key of D major. Play the accompaniment pattern at the same time as you sing this simple children's folk song.

ROW, ROW, ROW YOUR BOAT

∀∀ 3 3 œ %

∀∀ 3 % 3Œ > ∀ ∀ 33 aqj

œ

Row,

% %

∀∀ œ ∀∀

œ

Merri - ly

Œ

> ∀∀ œœœ

œ

Πaq j

row,

œ

aq j Œ

row

œ

merri - ly

œœ œ Œ

œ

œœ œ

Πaq j

œ

œ

œ

gent - ly

your boat

merri - ly

Œ

œ

œ

œ

aq j Œ œ

œ

merri - ly

œœ œ

Œ

down

œ

˙

Πaq j

the stream.

aq j Œ

œ œ œ œ ˙

Life

Œ

œœ œ

Copyright 2015 By John Axsom All Rights Reserved

is

but

œœ œ Œ

aq j Œ

dream.

Œ

œœ œ

œœ œ

Œ

4

This is a 3/4 time piano rhythm that uses alternating left and right hands to play the chords. However, in this pattern you play one left handed chord followed by 2 right handed chords. There are hundreds of 2 chord songs. Down In The Valley is a good one to start out with.

2 %α 3

DOWN IN THE VALLEY C

F

œ ˙− œ œ val

Down in the

-

œ ˙− œ œ

œ œ œ ˙−

˙−

ley,

val - ley so

˙˙ −−− ˙

˙˙ −−− ˙

low.

Hang your hed

o

-

2 % α 3 Œ œœœ œœœ Œ œœœ œœœ Œ œœœ œœœ Œ œœœ œœœ Œ œœœ œœœ Œ œœœ œœœ Œ œœœ œœœ − > 2 ˙˙˙ −− α 3 % α ˙−

ver,

˙˙ −−− ˙

F

œ œ œ

˙−

hear that wind blow.

% α Œ œœœ œœœ Œ œœœ œœœ − > α ˙˙˙ −− C

% α ˙−

blow.

% α Œ œœœ œœœ >

˙˙ −− α ˙−

˙˙ −− ˙−

œ œ œ

˙−

˙−

˙˙˙ −−−

˙˙˙ −−−

Hear that wind blow

Œ œœœ œœœ Œ œœœ œœœ

˙˙ −− ˙−

˙˙˙ −−−

˙−

œ œ œ

val

˙˙ −− ˙−

˙˙ −− ˙−

Down in

˙˙ −− ˙−

the

Œ œœœ œœœ

-

Œ œœœ œœœ

˙˙ −− ˙−

œ œ œ

dear,

hear that wind

Œ œœœ œœœ Œ œœœ œœœ Œ œœœ œœœ

˙−

˙˙˙ −−−

œ œ œ

ley,

val - ley

˙˙ −− ˙−

˙˙ −− ˙−

Œ œœœ œœœ

˙˙˙ −−−

so

Œ œœœ œœœ

F

˙−

low.

Œ œœœ œœœ ˙˙˙ −−−

5

In this 4/4 time song ( London Bridge ) we are going to use a left handed octave pattern followed by the 5th of the chord. This is a steady beat of 4 beats per measure. So, you alternate left hand, right hand, left hand, and then right hand, and then start the pattern over again. Notice that the right hand chord uses a ROOT C Major chord, but uses a 1st INVERSION G Major Chord.

London Bridge

3 % 3 œ C

œ

œ

Lon - don bridge

G

œ œ ˙

œ

fall - ing down.

is

œ œ ˙

Fall - ing down.

C

œ œ ˙

Fall - ing down.

33 Π% sm Πsm Πsm Πsm Πsj Πsj Πsm Πsm g g g g g g d d > 33 K K W K W W W N K K K W C

% œ

œ

œ

œ

% Œ

œœ œ

Œ

œœ œ

Lon - don bridge

> ˙ ˙

˙

is

œ

œ

˙

Œ

œœ œ

Œ

G

˙

fall - ing down.

˙ ˙

˙

My

œœ œ

˙

fair

Œ œ Œ œ œœ œœ ˙ ˙

˙

Copyright 2015 By John Axsom All Rights Reserved

C

œ ˙−

la - dy.

Œ œœ Œ œœ œ œ ˙ ˙

˙

6

This is a 3/4 Time piano accompaniment pattern. The right hand has a steady beat of quarter notes. The left hand plays an octave bass, and then after the 2nd beat it left hand thumb plays a back beat. The rhythm as a whole combining left and right hand would be a quarter note, 2 eigth notes, followed by a quarter note. It would look like this broken down to its simplest rhythm representation.

Home On The Range

∀ 2 % 3 Œ Œ œ œ œ œ ˙ G

Oh give me a

∀ 2 % 3 œœ œœ œœ œ œ œ Œ ‰ > ∀ 2 ˙− œ− 3 ˙− %

∀ ∀

D

˙−

play.

œœ œœ œœ œ œ œ Œ ‰ > ∀ ˙− œ− ˙− %

œœ œ Œ ˙− ˙− ˙

œ œ œ œ œ ˙ C

œœ œœ œœ œ œ œ Œ ‰ ˙− œ− ˙−

œ ˙ œ œ

G

Where

œœ œœ œœ œ œ œ Œ ‰ ˙− œ− ˙−

A

œœ œ

home where the buf - fa - lo roam. Where the deer and the

œœ œœ œœ œœ œœ œ œ œ œœ ‰ Œ ‰ œ− ˙− œ− ˙− œ

œ œ œ œ œ G

sel - dom is

œœ œ Œ ˙− ˙−

heard

œœ œœ œœ œ œ œ Œ ‰ ˙− œ− ˙− C

œœ œ

œ œ ˙

a dis - cour - ag - ing word,

œœ œœ œœ œœ œœ œ œ œ œ œ ‰ Œ ‰ œ− ˙− œ− ˙−

œœ œ Œ ˙− ˙−

œœ œœ œœ œœ œœ œ œ ∀œ œ œ ‰ Œ ‰ œ− ˙− œ− ˙−

œœ œ Œ ˙− ˙−

œ œ œ − œι œ G

and the skies

œœ œœ œœ œœ œœ œ œ œ œ œ ‰ Œ ‰ œ− ˙− œ− ˙−

Copyright 2015 By John Axsom All Rights Reserved

an - te- lope

are not

œœ œœ œœ œ œ œ Œ ‰ ˙− œ− ˙−

7

%

∀ ∀

D

œ œ œ ˙−

cloud - y

œœœ Œ > ∀ ˙− ˙− %

%

∀ ∀

G

day.

all

A

D

œ œ œ ˙−

œ œ œ

an - te - lope

deer and the

œœ œœ ∀ œœœ œ œ Œ ‰ œ− ˙− ˙−

∀ ˙ %

œ œ

G

and the

skies

∀

word,

œœ œ Œ > ∀ ˙− ˙− %

œœ œ ‰

œ−

œœ œ

œœ œœ œœ œœ œœ œ œ œ œ œ ‰ Œ ‰ œ− ˙− œ − ˙− ι

œ− œœ œ Œ ˙− ˙−

œ œ

are not

œœ œ ‰

œ−

œœ œ

˙

œœœ Œ ˙− ˙−

œœ œœ œœ œ œ œ Œ ‰ ˙− œ− ˙−

G

home on

œœ œœ œœ œ œ œ Œ ‰ ˙− œ− ˙− ˙

play.

œ œ − ∀ œι ˙ −

D

Home,

œœœ œœœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ Œ ‰ Œ ‰ ‰ œ − ˙˙ −− œ − ˙˙ −− œ −

œœ œ Œ > ∀ ˙− ˙− %

Œ

˙

˙−

G

œœœ œœœ ‰ œ−

œœ œœ œœ œ œ œ Œ ‰ ˙− œ− ˙−

œ ˙ œ œ

œ

Where

sel - dome is

D

œ œ

cloud - y

œœ œ ‰

œœ œ Œ ˙− ˙− œ œœ œ

œœ œ Œ ˙− ˙−

œ−

heard

œœ œ œ œ C

a dis - cour - ag - ing

œœ œœ œœ œœ œœ œ œ œ œ œ ‰ Œ ‰ œ− ˙− œ− ˙− G

all

where the

range

G

œœ œœ œœ œ œ œ Œ ‰ ˙− œ− ˙−

œœ œ Œ ˙− ˙−

the

œ œ

˙−

day.

œœ œœ œ œ ‰ œ−

œœœ Œ ˙− ˙−

œœœ œœœ ‰ œ−

˙

Œ

œœ œ Œ ˙− ˙−

œœ œœ œ œ ‰ œ−

NOTE: Use the sustain pedal as much as possible to keep the sound ringing. But when you change chords you will have to lift the sustain pedal up and then back down again for the next chord.

Copyright 2015 By John Axsom All Rights Reserved

8

In this song you are going to learn the foundational pattern for piano accompaniment. It is called the BALLAD PATTERN. The rhythm is a set of eight 8th notes played in a steady beat. The verbal count would be: one and, two and, three and, four and. This is a 4/4 time pattern.

3 %3 œ C

Skip To My Lou

œ œ œ œ œœ ˙

G

œ

œ œ œ

3 Œ ˙ Œ ˙ % 3 Œ ˙˙ œ œ œ œ ˙ œ ˙ œœ ˙ œ ˙ œ ˙ >3 œ œ ‰ œ œ œ ‰œ œœ‰ œ œœ‰œ œ œ ‰ œ œ œ ‰œ 3 Chooseyour part - ner skip to my Lou.

%œ œ œ ˙ G

C

œ

œ œ œ

Chooseyour part - ner

œ œœ ˙

% Œ ˙˙ œœ Œ ˙˙˙ œœœ Œ ˙˙˙ œœœ ˙ œ > œ‰ œ œœ‰œ œ œ ‰ œ œœ‰œ œœ‰ œ œœ‰œ œ skip to my Lou.

G

%œ

œ œ œ

Chooseyour part - ner

œ

skip to my Lou.

C

˙ dar Œ

˙

˙˙ œœ ˙˙˙ œœœ %Œ ˙ œ >œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ Skip

to my Lou

my

-

ling.

9 Practice singing do, re, me, fa, sol, la, ti, do....while using the ballad pattern on the 7 chords in this progression: C - Dm - Em - F - G - Am - Bdim - C

%β

C

Dm

ϖ

ϖ

Do

%β Œ

˙˙˙ ‰

œ

>β œ

œ

œœœ ‰

œ

œ

Re

Œ

œ

Mi

>œ

œ

˙˙ ˙ ‰

œ

œ

ϖ

œœ œ ‰

œ

Sol

œ

œ

œ

œ

œ

œœ œ ‰

œ

‰

œ

œ

˙˙ ˙ ‰

œ

œ

œ

œœ œ ‰

Œ

La

œ

œ

œ

˙˙ ˙ ‰

œ

œ

œ

œœ œ ‰

œ

C

%ϖ Ti

>œ

˙˙ ˙

œ

œ ϖ

B µdim

%Œ

œ

Am

%ϖ >œ

Œ

Fa

G

%Œ

œ

‰

œœ œ ‰

F

%ϖ %Œ

œ

œ

Em

˙˙ ˙

œ

˙˙ ˙ ‰

œ

œ

œ

œœ œ ‰

ϖ Œ

Do

œ

œ

œ

˙˙ ˙ ‰

œ

œ

œ

œœ œ ‰

œ

10

This is the 3/4 time Ballad Pattern. It is similar to the 4/4 time Ballad Pattern. Notice how you start the pattern out on the second time you play it on the same chord.. The second time around you use a different lead finger.

% 32 ΠC

Œ

On Top Of Old Smokey F

œ

œ

œ

œ

Œ œœ œœ œ œ œ œ ‰ œΙ œ ‰ Ι

Œ œœ œœ œœ œ œ œ > 2 œ œ ‰ Ιœ ‰ œ œ œ ‰ Ιœ Ι 3 % 32 Œ

% ˙− % Œ

top

On

of

˙

Œ œœ œœ œœ œ œ œ > œ œ ‰ œΙ ‰ œΙ œ œ ‰ Ιœ % ˙−

˙

Œ œœ œœ œœ œ œ œ > œ œ ‰ œ ‰ œ œ œ ‰ œ Ι Ι Ι % Œ

% ˙− %Œ

˙

Œ œœ œœ œœ œ œ œ œ œ >œ œ ‰ œ ‰ œ Ι Ι œ ‰ Ι er

˙−

old

œ

Smoke

œ

œ

Œ œœ œœ œ œ œ œ œ ‰ Ι œ ‰ Ι

all

œ I

œœ œ ‰ Ιœ œ

cover - ed

œ

Œ

œ

Œ œœ œœ œ œ œ œ œ ‰ Ι œ ‰ Ι

œ

y

˙−

Œ œœ œœ œ œ œ ‰ Ι œ œ ‰ œΙ

with

œ

œ

my

œ

court - in'

true

œœ œ œ ‰ Ι

C

snow.

œœ œ ‰ œΙ

G

˙−

Œ œœ œœ œœ œ œ œ œ œ ‰ œΙ ‰ Ιœ œ œ ‰ œΙ

lost

Œ œœ œœ œ œ ‰ œΙ œ œ ‰ œΙ

for

-

˙−

lov

-

œœ œ ‰ Ιœ

C

œ

˙−

Œ œœ œœ œ œ ‰ œΙ œ œ ‰ œΙ

to

slow.

œœ œ ‰ œΙ

11 Practice these variations of the 4/4 time Ballad Pattern. Just simply play the patterns over and over again on a C major chord. Then once you are good at that, play the patterns on a chord progression: C - Am - F - G

3 % 3 −−

∑

3 −− Œ %3 C > 33 −− g

sm g ‰

s

s

m

sm g s

‰

s

∑

− % −Œ

> −− g

s

s

−− Ó

% −− Œ C > −− g

−−

sm g sm g ‰

‰

s

sm g ‰

s

In variation #3 your right hand will play three octaves of the chord.

sm g

−−

smg s

s

‰

s

‰

−− −−

Ó

sm g ‰

−− −−

In variation #2 of the Ballad Pattern your right hand goes up and octave, but then it returns to its starting position.

C

%

−−

In this variation #1 the right hand chord simply plays an octave higher

−−

%

Œ

−−

s

−−

12 BALLAD PATTERN VARIATION #1

%β

˙

Tell

%β Œ

me

the

œœ œ

Œ

œœœ

œ œ

˙

tales

œ œ

that

me

were

Œ

Œ

Œ

Œ

˙

œ

œ

Long, Long Ago

œœœ

to

œœ œ

œœœ

ϖ

dear.

so

œœ œ

Œ

Œ

œœœ

œœ œ

>β œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ C

%˙

œ

Long

%Π>

long

œœ œ

Œ

œ a

œœ œ

-

go,

Œ

œœ œ

Œ

œœ œ

˙

œ

long,

Œ

long

œœ œ

Œ

œ a

œœ œ

-

ϖ

go.

Œ

œœ œ

Œ

œœ œ

œ‰œœœ‰œ œ‰œœœ‰œ œ‰œœœ‰œ œœ‰œœœ‰œ œ œ

G Major chord 1st Inversion

œ

ϖ

C

Once you learn these patterns you should be able to use them on songs to back you up as piano accompaniment as you sing, or back up other singers and instrumentalists. You want to practice these pattens over and over in order to develop muscle memory in your fingers. You will get to a point where you can do this without thinking about it, just like riding a bicycle. Another point you have to remember is to keep your fingers down on the keys as long as possible, or use the sustain pedal alot in order to keep the notes ringing, otherwise if you don't, the pattern is going to sound to choppy and not sound good at all. Frequently when you play in a small band you are only given the lyrics with the chords. You are not given any music notation, just lyrics and chords. This is called a basic chart, and with a basic chart you have to fill-in using piano accompaniment patterns, or left hand solo patterns to support your right hand melody.

Copyright 2015 By John Axsom All Rights Reserved

13

Use Variation #1 of the ballad piano accompaniment pattern to back yourself up as you sing this simple children's song: God Is So Good.

God Is So Good - Children's Sunday School Song

% 33

˙

is

% 33 Œ

Œ

œ

œ

God

œœ œ

ϖ

good.

so

œœ œ

Œ

œœ œ

Œ

œœ œ

˙

œ œ

Œ

Œ

God

is

œœ œ

G Major chord 1st Inversion

so

œœ œ

ϖ

good.

Œ

œœ œ

Œ

œœ œ

Œ

œœ œ

>3 œ œ ‰ œ œ œ ‰ œ œ ‰ œ œ œ ‰ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ 3 C

%˙

œ

%Œ

Œ

God

is

œœ œ

œ

so

œœœ

˙

good.

Œ

>œœ‰œœœ‰œ œ C

œ

F

œ

He's

œœ œ

Œ

œ

so

œœ œ

C

˙

good

˙

to

me.

Œ

Œ

Œ

œœ œ

ϖ

œœ œ

œœœ

œ œ œ ‰ œ ‰ œœ‰œœœ‰œ œœ‰œœœ‰œ C

G

C

One thing you really need to keep in mind is that presently you are using the same piano accompaniment pattern over and over again, which can become a little monotonous. Once you learn a couple of patterns, then you will want to mix the patterns up. In other words, you will want to play more than just one or two patterns in a song, but you will want to play maybe four or five patterns in a song to make it sound really interesting. After a few more lessons on patterns we will begin to MIX the pattens up. Copyright 2015 By John Axsom All Rights Reserved

14

%

∀∀

The right hand chords consist of 3 octaves. The chords with the ledger lines may be difficult to read, so just consider them an OCTAVE of the previous chord. THIS OLD MAN

β œ

˙

œ

This

œœ œ

old

∀∀ β Œ %

œ

man,

œœ œ

he

œœ œ

> ∀∀ β œD œ ‰ œ ‰ œ ‰ œ %

∀∀

œ

œ

He

∀∀ Œ % > ∀∀ œ A

%

∀∀

played

œ 1st inversionœ ‰ ‰

œ

%

Œ

> ∀∀ œ D

œ

%

œ

œœœ ‰

old

Œ

œœ œ ‰

> ∀∀ œ

œ

œ

œ

œœ œ ‰

‰

‰

œœ œ

one.

œ

‰

my

œ

œ

œ

œ

œœ œ ‰

Œ

œœ œ

œ

œœ œ ‰

œ

œ

œ

give

came

roll

œœ œ ‰

Œ

A

œ

‰

-

œ

œ œ

œ

dog

a

œœœ

œ

œ œ

œ

the

Œ

œ

œ

œ

œ

œ

œœœ ‰

œ

œ

œ

œ

œ

œœœ ‰

œ

thumb

œœ œ ‰

œ

with

a

˙

bone.

œœ œ

œ

‰

œœ œ ‰

œ

œ

œ

on

man

œ

œœ œ

knack

œ œœ œ

œ

œ

pad - dy whack,

œ

This

A

œ

knack

∀ % ∀ œ ∀∀

œœ œ

œ

played

BALLAD PATTERN VARIATION #2

knick

œœ œ

knick

∀∀

œ

Œ

˙

œ

‰ ˙

ing

home.

œœ œ ‰

Œ

œ

œ

D

œ

œœ œ ‰

œ

15

Ballad Pattern Variation #3

∑

% 33 −−

−−

Notice the 8va symbol over the last right hand chord. This means to play the chord an octave higher than what is seen in the music notation.

3 −− Œ %3

√

sm g

> 33 −− g

smg ‰

s

‰

s

‰

s

Mary Had A Little Lamb - Ballad Pattern Variation #3

%œ

Ma -

%Œ

œ

œ ry had œœ œœ œ œ

œ √œœa œ

œ

œ √œœa œ

œ

œ

lit - tle

Œ

œœ œ

˙

œœ √ œ œ œœ

lamb.

œ

œ

lit - tle

Œ

−−

sm g

œœ œ

˙

œœ √ œ œ œœ

lamb.

œ

s œ

lit - tle

Œ

œœ œ

−−

˙

œœ √ œ œ œœ

lamb.

>œœ‰œ‰œ‰œ œœ‰œ‰œ‰œ œ‰œ‰œ‰œ œœ‰œ‰œ‰œ œ C

%œ

œ Ma - ry had œœ Œ % œœ œ œ

œ

œ

G

œ

œ lit - tle lamb it's œœ √œœ Œ œœ œ œ œ

œ

œ

C

œ

œ œœ √œœ œ œ

fleece was white

Œ

œœ œ

as

ϖ

snow.

Œ

œœ œ

œœ √ œ œ œœ

>œœ‰œ‰œ‰œ œœ‰œ‰œ‰œ œ‰ œ‰ œ‰ œ œœ‰œ‰œ‰œ œ G

Copyright 2016 By John Axsom All Rights Reserved

C

16

Ballad Pattern Variation #4

∑

% β −−

− β % −Œ

> β −− g

sm g ‰

C

3 %3 Œ

s

Œ

% 33 Œ

œ

œ I

s

‰

will

−−

sm g

−−

s

m œ

œ

twine

‰

smg

Wild Wood Flower

˙

−−

with

˙

-

min

my

œ

gles

œ

of

‰ œ ‰ œ Œ œœ ‰ œœ ‰ œœ Œ œœ ‰ œœ ‰ œœ œœ œœ œ œ œ œ œ œ C œ œ œ œ œ œ >3 œ œ ‰ œ œ œ œ ‰ œ œ ‰ œ 3 œœ œ

%˙

ra

>

œ

œ

œœ œ ‰

œ

ven

-

%Œ

G

œ

‰

œ

œ

˙

black

œœœ

‰

œ

Ó

hair.

œœ œ

Œ

C

œ

œ

œœ œ ‰

Copyright 2016 By John Axsom All Rights Reserved

œ

‰ œ

œ œœ

‰

œ

œœ œ

17

Ballad Pattern Variation #5

∑

% β −−

% β −− Œ

> β −− g

sm g

C

s

‰

s

sm g ‰

s

‰

sm g

‰

−−

sm g

s

m

Ballad Pattern Variation #7

∑

% β −−

s

smg ‰

s

‰ m

sm g

‰ s

−− −−

s

m ∑

− β % −Œ

− β % −Œ > β −− gC

s

sm g

smg

Ballad Pattern Variation #6

% β −−

> β −− gC

‰

‰

−−

√

sm g

−− −− −−

−− −−

18

3/4 Time Ballad Pattern Variation #1

∑

% 32 −−

2 −− Œ %3

%

˙ All

%Œ

sm g ‰

s

ι œ œ ˙− night Si lent œœ œ Œ Œ œœ œ C œ ‰ œ ‰ œ œ œ Ι Ι œ

2 % 3 œ− > 32

−−

sm g

> 32 −− g 2 %3

−−

œ œœ œ

is

˙− calm.

Œ

‰

s Ι

Silent Night

œœ œ ‰

ι œ œ ˙− Ho ly œœ œœ night. œ Œ Œ œœ œ œ œ œ œ œ œ œ Ι ‰ Ι œ ‰ Ι ‰ Ι œ œ−

œœ œ

˙

œ

All

is

Œ

œœ œ

‰ œΙ ‰ Ιœ

˙−

bright.

Œ

œœ œ

œœ œ

œœœ œœœ œœ œ C ‰ œ ‰ œ œ œ ‰ œΙ ‰ Ιœ œ œ ‰ Ιœ Ι Ι ι œ œ œ œ œ− ˙− Ι gin child. Ron yon vir œœœ œœœ moth - er and œœ œ œœœ Œ œ Œ Œ œœœ % Œ œœœ œœ F œ œ œ œ œ œ C œ >œ ‰ Ι ‰ Ι œ ‰ Ι ‰ Ι œ ‰ Ιœ ‰ œΙ œ œ ‰ Ιœ œœ œ G > œ ‰ œ ‰ œ œ œ Ι Ι œ œ− œ %˙

−−

s Ι

œœ œ

‰ Ιœ œœ œ

‰ œΙ

ι œ œ œ − œ œ ˙− Ι Ho in fant so ten der and mild œœ œœ œ œœ œ Œ Œ Œ œœ % Œ œœœ œ œ C F > œ œ ‰ œΙ ‰ œΙ œ œ ‰ œΙ ‰ Ιœ œ œ ‰ œ ‰ œ œ œ Ι Ι œ ˙− ˙ œ œ ˙− œ % %˙

%Œ

Sleep

œ œœly œ

œœ œ

in

19

œ−

Œ

heav - en

-

œœ œœ œ œ G > œ ‰ œ ‰ œ œ ‰ œ œ Ι Ι œ Ι %œ œ œ− œ heav Sleep in œœ œ Œ œœ %Œ œ G > œ œ ‰ Ιœ ‰ œ Ι œ œ

œœ œ

ly

Œ

peace

œœ œ

œœ œ

Œ

œœ œ

œœ œ

‰ Ιœ ‰ œΙ œœ œ

œœ œ

‰ œ œ œ ‰ œΙ ‰ Ιœ œ œ ‰ œΙ ‰ Ι ι œ œ ˙− peace. en - ly œœ œœ œ Œ œ œ œ œœ œ œ C ‰ œ ‰ œ œ œ ‰ Ιœ ‰ Ιœ Ι Ι C

It is time to see if you can use these piano accomaniment patterns on a CHART where all you have is just the chords and the lyrics. Give it a try. C G Silent Night, Holy night, All is calm. C F C All is bright. Ron yon virgin mother and child. F C Holy infant so tender and mild. G C Sleep in heavenly peace. G C Sleep in heavenly peace.

œ Ι

3 3 3 3 3 3

20

Ballad Pattern Variation # 8

∑

% 33 −−

3 −− Œ %3

> 3 −− g 3

sm g s

‰

s

−−

Πm

sm g s

‰

sm g

‰

−− −−

Ballad Pattern Variation # 9

∑

3 % 3 −−

3 % 3 −− Œ > 3 −− g 3

sm g s

‰

−−

Œ

smg

smg

Note that the right hand chords at the end are an octave higher than in Pattern #8

s

m

Copyright 2016 By John Axsom All Rights Reserved

s

‰

‰

−− −−

21

% 33 −−

3 −− Œ %3 > 3 −− g 3 3 % 3 −−

3 −− Œ %3 > 3 −− g 3

∑

Ballad Pattern Variation # 10

s

sm g

Πm

∑

s

smg s

sm g

Ballad Pattern Variation # 11

s

smg s

smg

Πm

sm g s

sm g

‰ m

∑

sm g

‰ s

sm g

−− −− −−

sm g

‰ m

−− −−

s

Basic Country - Rock Pattern

3 % 3 −−

3 −− ‰ %3 > 33 −− g

smg s

−−

−−

sm g

−− −−

22

Use the BASIC COUNTRY - ROCK pattern while you sing this easy folk song.

∀3 % 3 Ó

Œ

She'll Be Coming Round The Mountain

œ œ œ œ œ œ œ œ œ œ

∀3 % 3 ‰œ‰œ‰œ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ œœ œœ œœ œœ œœ œœ œœ œœ

She'll be com - ing round the moun - tain when she

> ∀ 33 œ œ œ œ G

œ œ œ % œ œ œ œ œ ˙ ∀ ∀

œ

œ

œ

˙

Œ

œ œ

‰ ‰ ‰ ‰ œœ œœ œœ œœ œ œ œ œ

comes.

She'll be

œ œ œ œ

œ

Œ œ œ œ œ œ œ œ œ œ œ

% ‰ œ ‰ œ ‰ œ ‰ œ ‰ œœœ ‰ œœœ ‰ œœœ ‰ œœœ ‰ œ ‰ œ ‰ œ ‰ œ œœ œœ œœ œœ œœ œœ œœ œœ G D œ >∀ œ œ œ œ œ œ œ œ œ œ œ com - ing round the moun - tain when she comes.

She'll be com - ing round the moun -tain she'll be

∀

% œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ϖ com - ing round the moun -tain she'll be com - ing round the moun - tain when she comes. ∀ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ % œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ >∀ œ C

œ

œ

œ

G

œ

œ

œ

Copyright 2016 By John Axsom All Rights Reserved

œ

œ œ œ œ

23

% 33 −−

3 −− ‰ %3 > 33 −− g 3 % 3 −−

3 % 3 −− ‰ > 3 −− g 3 3 % 3 −−

3 −− Œ %3 > 33 −− g

Basic Country - Rock Pattern Variation #1

smg

‰

∑

smg

m

‰ s

smg

‰ a

−−

sgm

Basic Country - Rock Pattern Variation #2

sm g

‰

∑

sm g

m

‰ s

ι Œ sm g a

−− s

∑

s

s

m

Copyright 2016 By John Axsom All Rights Reserved

s

−− −−

Basic Country - Rock Pattern Variation #3

WQ K a

−−

−− −−

sm g a

−− s

−−

24

2 % 3 −−

23 −− Œ % > 2 −− g 3 2 % 3 −−

Basic Country - Rock Pattern Variation #4

∑

s

sm g a

sm g a

s

−− s

Basic Country - Rock Pattern Variation #5

∑

2 −− ‰ %3 > 2 −− g 3

ι smg

% 32 −−

Basic Country - Rock Pattern Variation #6

2 % 3 −− Œ > 2 −− m 3

−−

Œ

∀k

‰ s

m ∑

sm g αf Copyright 2016 By John Axsom All Rights Reserved

‰ s

ι smg

ι sm gf

−− −−

−− −− −−

−− −−

25

Basic Country - Rock Pattern Variation #7

∑

3 % 3 −−

33 −− Œ % > 3 −− g 3 3 % 3 −−

sm g ‰

s

s

am g ‰

s

sm g ‰

−− 33

s

−− 33 −− 33

Basic Country - Rock Pattern Variation #8

∑

∑

3 −− Œ Œ s Œ s %3 smg Œ smg mg mg > 33 −− g g g g α f g g g g a a s s m m g % 33 −−

Basic Country - Rock Pattern Variation #9

∑

∑

−−

−− −− −−

3 % 3 −− ‰ sm ‰ sm ‰ sm ‰ sm ‰ sm ‰ sm ‰ sm ‰ sm −− g g g g g g g g > 3 −− −− α f 3 a a s s m m g Copyright 2016 By John Axsom All Rights Reserved

26

Basic Country - Rock Pattern Variation # 10

% α 33 −−

3 −− ‰ α % 3

gap

> α 33 −− g p

∑

‰

gap

‰

‰

gap

αo p

j p

−−

gap

j p

−− −−

Sing the song below "Goodnight Ladies" while you accompany yourself with Rock Pattern #10 above.

3 %α 3 ˙

Good

˙

night

-

Goodnight Ladies

˙

œ ˙−

la - dies.

Good

-

œ ˙−

˙

la - dies.

night

3 % α 3 ‰ œœœ ‰ œœœ ‰ œœœ ‰ œœœ ‰ œœœ ‰ œœœ ‰ œœœ ‰ œœœ ‰ œœœ ‰ œœœ ‰ œœœ ‰ œœœ ‰ œœœ ‰ œœœ > α 33 œ œ α œ œ œ œ œ œ F

%α ˙

Good

-

˙

night

œœ œœ α œœ œœ

œ ˙

œ

la - dies

we're

œ œ œ % α ‰ œœœ ‰ œœœ ‰ œœœ ‰ œœœ ‰ œœ ‰ œœ ‰ œœ Bα F > œ œ α œ œ œ œœ α œ œ α œ œ œ œ œ

œœ œœ α œœ œœ

œ

goin'

œ

to

œ

œ

leave you

C

œ œ œ œ œ œ œ œ

ϖ

now.

‰ œœœ ‰ œœœ ‰ œœœ ‰ œœœ ‰ œœœ ‰ œœœ ‰ F F C œ œ œœ œœ œ œ œœ œœ œ œ

Copyright 2016 By John Axsom All Rights Reserved

‰ œœ ‰ œœ œ œ

œœ ‰ œœ ‰ œœ œ œ œ αœ œ œ œ

27

Basic Blues Pattern

3 % 3 −−

33 −− ‰ % > 3 −− g 3

sgm

% 33 −−

3 % 3 −− Œ > 3 −− g 3

∀k

sgm

−−

‰

smg

m

‰ s

smg

Blues Pattern Variation # 1

∑

3 % 3 −−

3 −− Œ %3 > 33 −− g

‰

∑

m

sm g ‰

∑

−−

Œ

s ∀k

m

‰ s

ι − sm − g −−

Blues Pattern Variation #2

s ∀k s Œ

m

Πm

−− −−

s

−−

sk Œ

m

−− −−

28

Mixing Basic Country Rock Variation Pattern #1 With Basic Blues Pattern The Crawdad Song

3 %3 œ œ œ œ œ 3 % 3 ‰ œœœ ‰ œœœ ‰ C >3 3 œ œ œ You

get a line

œœœ

œ œ œ

% œ

œ œœ ˙

‰œ ‰œ‰ œ ‰œ‰œ ‰œ‰œ‰œ œœ œœ œœ œœ œœ œœ œœ œœ

and

I'll

œ

get

a line

% œ ˙−

œ œ

œ

% ‰ œœ ‰ œœ ‰ œœ œ œ œ > œ ∀œ œ Babe

%œ

œ

craw - dad

˙

hole.

and

œ

Hon - ey/

get a pole.

% ‰ œœœ ‰ œœœ ‰ œœœ ‰ œœœ > œ œ œ œ You

œ ˙−

œ

œ œ

œ ˙−

‰œ ‰œ‰œ‰œ œœ œœ œœ œœ Ba - by/

œ œ œ œ

œ œ ˙

œ œ œ œ

œ

˙−

‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ œœ œœ œœ œœ œœ œœ œœ œœ G œ œ œ ∀ œ œ œ œ œ

I'll

œœœ

get

œ

Babe

a pole

œ

œ œ œ

œ

œ

‰ œ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ C œ œ œ œ œ œ œ œ F œ œ œ œ œ œ œ œ œ œ You

œ

get a line

˙−

Hon - ey

‰œ œœ

and

I'll

œ

get a pole

˙−

Ba - by

% ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œ œ œ œ C œ œ œ œ G > œ ∀œ œ œ œ œ œ œ œ

and

we'll

ϖ

mine.

œ

œ

œ œ

œœ ‰ œœ ‰ œœ ‰ œœ œ œ œ œ go

∀œ

down

œ

to the

œ

œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ œ œ œ œ C œ œ œ œ ∀œ œ œ œ œ œ œ

29

Arpeggio Pattern #1

% 33 −−

3 −− Œ %3 > 3 −− g 3

‰ s

m

−−

ι m g ‰ Ó

s

m

g

Arpeggio Pattern #2

2 % 3 −−

2 −− Œ %3 > 2 −− g 3

∑

‰ s Ι

m

ι g ‰

m

≈ s

s

m Œ

∑

θ g ≈

−− −− −−

Arpeggio Pattern #3

% 13 −−

1 −− ‰ %3 > 31 −− g

∑

sm Œ

Copyright 2016 By John Axsom All Rights Reserved

−− −− −−

g

−− −−

30

Arpeggio Pattern #4

% 33 −−

3 % 3 −− Œ > 3 −− g 3

‰ s

m

2 % 3 −−

ι sm g ‰ Œ

−−

Πs

g

m

∑

Arpeggio Pattern #5

2 −− Œ %3 > 32 −− g

‰ s Ι

m

ι g ‰

sm Œ

−− −−

g

Arpeggio Pattern #6

33 −− Œ % 3

m

‰

ι m g

s1

‰

1

3

Œ

5

s

−− −− −−

∑

3 % 3 −−

> 33 −− g5

∑

5 3 1

−−

‰

sm g

−−

g Ι

‰

−−

2

31

Tripplet Pattern #1

∑

1 % 3 −−

13 −− Œ % > 31 −− g

m

sm g ‰

s

−−

−− s

m

−−

3 3 Tripplet Pattern #2

∑

% 32 −−

ι 2 − ≈ sm −−− %3 −Œ g > 2 −− g m s ‰ ≈ s 3 Θ

ι ≈ sm −−− g ‰ ≈ sΘ

−−

−− −−

3 Tripplet Pattern #3

∑

3 % 3 −−

ι 3 − %3 −Œ sm −−− ≈ Œ g > 33 −− g m s ‰ ≈ s m − Θ

ι sm −−− ≈ g s ‰ ≈ s Θ

3 Copyright 2016 By John Axsom All Rights Reserved

−−

−− −−

32

Tripplet Pattern #4

3 % 3 −−

∑

ι sm −−− g s ‰−

3 −− Œ Œ %3 s g m > 33 −− g m s Œ g− 3

≈ s Θ

−−

−− −−

3 Tripplet Pattern #5

∑

2 % 3 −−

2 −− Œ %3 > 2 −− g 3

3

m

s

g Œ

m

s

3

θ sm g ≈

‰−

smg −− − Ι

Tripplet Pattern #6

% 32 −−

∑

2 −− Œ %3 s m g ‰ g m s ‰ ‰ > 2 −− g m s Œ Ι 3 3

3

3 Copyright 2016 By John Axsom All Rights Reserved

3

−−

−− −− −−

−− −−

33

Scale Pattern #1

∑

% 33 −−

3 −− Œ %3 > 3 −− g 3

s

sm g ‰

3 −− Œ %3 > 33 −− g

s

Œ

s

Πs p m g j

Scale Pattern #3

∑

3 % 3 −−

3 −− Œ %3 > 33 −− g

s ∑

sm g ‰

s

sm g ‰

s

−−

s p m j g Ó

Scale Pattern #2

% 33 −−

−−

s p m g j s p m g j

Copyright 2016 By John Axsom All Rights Reserved

−− −−

−− −− −−

−− −−

34

∑

Scale Pattern #4

% 33 −−

3 − %3 −Œ > 3 −− g 3

s

sm g ‰

% 33 −−

−−

s p m j g Œ ‰

s

s Ι

∑

sm g ‰

sm g Ι

sm g Ι

Scale Pattern #6

∑

3 % 3 −−

s

sm g ‰

Πs

−− −−

Scale Pattern #5

3 −− s %3 p m g j > 3 −− Œ ‰ 3 33 −− Œ % > 3 −− g 3

−−

‰ s p m g j

sm g Œ

−− −− −−

ι − sm − g −−

35

Scale Pattern #7

∑

3 % 3 −−

3 −− Œ %3 > 33 −− g s % 33 −−

sm g j m p s g ‰ s Œ ‰

s Ι

∑

Scale Pattern #8

3 −− %3 g j m p s > 3 −− Œ ‰ 3 % 33 −−

−− 33

sm g ‰

smg Ι ∑

Scale Pattern #9

−− 33 −− 33 −− 33

smg Ι

sm g Œ

−− 33 −− 33 −−

3 − − Œ − − sm s %3 p p m j g g j m s > 3 −− g s ‰ s m −− 3

36

3 % 3 −−

Scale Pattern #10

∑

−−

3 −− Œ − sm %3 s p m j j m p − g g > 3 −− g s ‰ s g j m p s p m j −− 3 % 33 −−

Scale Pattern #11

∑

−−

Scale Pattern #12

−−

3 g −− d a sm s % 3 −− Œ g g j m p s > 3 −− g s ‰ s m −− 3 3 % 3 −−

∑

33 −− Œ − − % sm s p p m m j g g j > 33 −− g s ‰ s Ó −− Copyright 2016 By John Axsom All Rights Reserved

37

Scale Pattern #13

∑

2 % 3 −−

2 % 3 −− j m p s p m j g g sm sm > 2 −− smg g g 3 ∑

2 % 3 −−

2 −− Œ %3 > 32 −− g % 32 −−

Scale Pattern #14

s

s p m j g ΠΠScale Pattern #15

∑

2 − g d a − %3 g j m p s g smg smg > 2 −− smg 3 Copyright 2016 By John Axsom All Rights Reserved

−−

−− −− −−

−− −− −−

−− −−

38

The 2nd of the chord added to a chord is the color tone. Color Tone Pattern #1

∑

% 33 −−

3 − % 3 − smj g > 3 −− g 3 6

smj g ‰

smj g

smj g

Œ

‰

−− g Ι

Color Tone Pattern #2

∑

% 32 −−

2 −− % 3 smj g > 2 −− g 3 K−

smj g ‰

‰

g Ι

−− g Ι

Color Tone Ballad Pattern #3

s

smj g ‰ s

Πm

−− −−

smj g

∑

% 33 −−

3 −− Œ %3 > 33 −− g

g Ι

−−

s

−− −−

smj g ‰ s

−− −−

39

3/4 Time Ballad Color Tone Pattern #4

∑

% 32 −−

2 − %3 −Œ > 2 −− g 3

smj g ‰

s

∑

s

−−

s

jm g Œ

Ó

g

∑

m

‰ s

ι m g j g ‰ Œ Copyright 2016 By John Axsom All Rights Reserved

−−

jm g

Color Tone Arpeggio Pattern #6

3 % 3 −−

33 −− Œ % > 33 −− g

−−

s Ι

Color Tone Pattern #5

% 33 −−

3 −− Œ %3 > 3 −− g 3

−−

smj g ‰

s Ι

−−

Πs

−− −−

−− m

−−

40

4/4 Time Chord Connecting Bass Run Pattern #1

∑

3 % 3 −−

∑

∑

−−

3 −− Œ %3 sm ‰ sm ‰ sm Œ j ‰ j ‰ j Œ sm Œ sm −− g g g ds ds ds g g C G C > 3 −− g s ‰ s ‰ ‰ j ‰ j ‰ ‰ g s ‰ s m s ‰ s −− 3 d a s a d 3/4 Time Chord Connecting Bass Run Pattern #2

∑

∑

% 32 −−

2 −− Œ %3

WQ K

Œ

NHW

∑

−−

Œ s s −− mg mg

s‰s‰s− > 32 −− g s ‰ Ιs d j ‰ j g − Ι d Ι a a s Ι C

G

C

Copyright 2016 By John Axsom All Rights Reserved

41

4/4 Time Chord Connecting Bass Run Pattern #3

∑

3 % 3 −−

3 −− Œ − %3 WQ −− K

∑

Œ W− NH −−

∑

−−

Œ s Œ s −− mg mg

> 3 −− g s ‰ s s s j ‰ j j j g s ‰ s m s ‰ s −− d a s 3 a d C

G

C

3/4 Time Chord Connecting Bass Run Pattern #4

∑

% 32 −−

2 % 3 −− WQK −−−

∑

WN −− H−

∑

−−

Œ s s −− mg mg

> 2 −− g s s s j j j g s ‰ s ‰ sΙ −− d a s a d Ι 3 C

G

Copyright 2016 By John Axsom All Rights Reserved

C

42

∑

∑

% 33 −−

4/4 Time Chord Connecting Bass Run Pattern #5

∑

−−

3 % 3 −− Œ smg ‰ smg ‰ smg Œ sj ‰ sj ‰ sj Œ smg Œ smg −− d d d > 3 −− g Œ d ‰ ‰ − Œ Œ Œ ‰ ‰ g − d 3 a s a s g d a s a d g C

C

G

3/4 Time Chord Connecting Bass Run Pattern #6

∑

∑

2 % 3 −−

ι 2 −− % 3 smg ‰ smg ‰

ι ι smg sj ‰ sj ‰ d d G

Copyright 2016 By John Axsom All Rights Reserved

−−

ι Œ − sj smg smg − d

ι ‰ ι ‰ K− > 2 −− g dι ‰ ι ‰ 3 a a d s − g d a K d a s C

∑

C

−−

43

Melody Pattern #1

∑

% 33 −−

3 % 3 −− Œ > 3 −− g 3

s

sm g ‰

s

p

Melody Pattern #2

s

smg ‰

g Ó

s

j

m

∑

33 −− Œ %

s

sm g ‰

s

−− −− −−

Melody Pattern #3

3 % 3 −−

> 3 −− g 3

m Œ

s Œ

∑

% 33 −−

3 −− Œ %3 > 3 −− g 3

−−

g j m j g Ó

Copyright 2016 By John Axsom All Rights Reserved

−− −− −−

−− −−

44

Melody Pattern #4

∑

3 % 3 −−

3 % 3 −− Œ

−−

−− sm j m j g j m j g g > 3 −− g s ‰ s Ó −− 3 Melody Pattern #5

∑

% 33 −−

3 % 3 −− Œ > 3 −− g 3

s

pgs ‰ s

s

sm g ‰

−− s

Melody Pattern #6

∑

3 % 3 −−

3 % 3 −− Œ > 3 −− g 3

sm g ‰

−−

s

smgj ‰ s

pgs ‰ s

Copyright 2016 By John Axsom All Rights Reserved

−− −−

smgj ‰ s

−− −−

45

Melody Pattern #7

∑

% 33 −−

3 % 3 −− Œ > 3 −− g 3

s

g j m j g Ó

s

Melody Pattern #8

∑

3 % 3 −−

3 −− Œ %3 > 3 −− g 3

sm g ‰

s

sm g ‰

s

p m m j g Ó

−−

−− −− −−

−− −−

These are all beginning piano accompaniment patterns. I am in the process of writing a second book on intermediate piano accompaniment patterns. The patterns in this book will be explained on my YouTube channel. But, these videos will be unlisted, and you will only be able to view them if you have purchased this book and received the URL website where the videos are located. The videos will be reference Page 1, Page 2, Page 3, ect. Contact me for the link to the videos. [email protected]

Copyright 2016 By John Axsom All Rights Reserved