His improvisation then began in earnest on three simultaneous levels: a walking bassline, mid-range chords, and an improvised melody. The bassline, for which McKenna frequently employed the rarely used lowest regions of the piano, was often played non-legato to simulate a double bassist's phrasing. The chords were played with the thumb and forefinger of the right hand or of both hands combined, if the bass was not too low to make the stretch unfeasible. Sometimes he also added a guide-tone line consisting of thirds and sevenths on top of the bass, played by the thumb of the left hand. With his right hand's remaining fingers, he then played the melody, weaving it into improvised lines featuring colorful chromaticism, blues licks and mainstream-jazz ideas. The result was the sound of a three-piece band under one person's creative control.