 Hi guys welcome back if you haven't already this is a three part series so try to watch part one and part two and then head over here however if you're an advanced learner and you want to learn some fairly advanced catchings of the off divisions on the piano and rigorously train your hand independence in this video is for you but you might still find part one and part two useful even if you're an advanced learner try to finish it off and come here we'll you'll have all the links in the description and this particular series is geared to train your hand independence so you'll have a bunch of videos in a neatly made playlist on our youtube channel do consider heading over there and it might also help to subscribe and turn on the bell icon for regular notifications for future lessons on the same subjects different subjects and a lot more concepts in the field of music and our patreon page is available for my handwritten notes for the backing tracks wherever applicable you'll also get midi files and in this particular series is case you're going to get staff notation as a neatly downloadable pdf so do consider heading over to patreon and supporting us for just five bucks a month let's get cracking so the first pattern will include a hook like arrangement using eighth note so a hook is just something which you can kind of identify the song by you don't need to only identify the song by what the vocalist sings or the lyrics or the riff it could also be a chord pattern which is following up with some nice inversions over a specific rhythmic phrase or grouping of beats so let's see how that sounds i have one hook pattern for you and it'll hopefully inspire you to make many more so i'll play it for you and then teach you just need two chords to create this pattern maybe a minor and d major so start on the on one e and a two e and a three e and a four e and so you just need two chords to create a very memorable hook like phrase maybe a minor b minor a minor d major just to have that contrast so one e and a two e and a so that's fairly simple one e and a two e and a three e and a that's where the fun happens at the new chord three e and a four e and then i take a break which is very important when you're creating phrases and hooks you need breaks and you need the actual hook let's work on that so i'm in this instance i'm doing a minor d major in this inversion so it's easier to shift so pump pump pump and i could anticipate the a minor chord as i've shown in the earlier parts as well one e and a two e and a three e and a four e and a without anticipation and i like to make the one or the first hit very exaggerated very legato there we go to exaggerate it you know yes you need to tell yourself legato but also get your body to react in some way for me as you can see my facial expressions are such that it's very different when it comes to the legato and the staccato so that works for me you know see i don't know what i'm doing i'm honestly not in control over what i'm doing it may look very weird for you watching it but again you don't have to watch it you need to learn this stuff but just note that our expressions our body expressions matter a lot for us yes people would say that you know theatrically speaking you need to have your facial expressions the right gestures to entertain people but these expressions or these gestures are also for you to feel the music more even you have to groove to what you're doing so you have to be your own audience and you have to kind of dance to yourself so to speak only then can someone else groove in my opinion so feel each beat has to have a vibe so in this occasion i'm playing a minor b minor c major b minor so because of the rhythmic phrasing and because of the movement of the chords it's adding a very rememberable hook i feel almost pushing you to actually focus on your inversions so the higher note is very melodic in nature that's going to propel the melody forward for the listener's ears you can even kind of have more chords you know you don't have to you don't have to four a minors you can do and over time this starts becoming a hook it could be an intro for the song could be a main riff over which a vocal could sing also the idea is to make it as catchy as possible so the more harmonic motion you have with your chords of course we are on the dorian as we've been throughout this particular series as you move and float through the chords you get a lot more of an you you get an impactful rememberable hook like sound okay so that was the hook style okay let's now do another pattern which i call catching the ease and the ears because that's what ended up happening to me even i took some time figuring this one out but at the end of it all it it felt really groovy so i had to share it with you let's get that done now and see what's happening there a lot of the ease and the ears so let's break that down so i just need two chords for this let's not overdo it so a minor and g major which comes one tone down or a minor and b minor which goes one tone up so that's all i'm going to toggle with it as you can see it's pretty tricky for me to count and play however i'm going to give it a try oh of the two and a lot of these us and ease right oney and see how sort of peaceful that and sounds even though that is also an offbeat oney and just stick with two chords that should do for now so two of the us oney and three and four and the end of the four and also the i'm not hit so much compared to the other patterns i've taught you in this series so when you hit less when you divide more and play less you groove more but when you groove more it's also a bit tricky to count because you have a lot less beats and lot more spaces to fill lots more permutations going on in the brain let's do that once more that's what i call as catching the ease and the us now there's a genre which will definitely improve our hand independence and we have to note as we journey forward in the world of grooving and playing with drummers and being better with time in general there are some salsa patterns which i have for you there is there are three for this lecture there's tresio there's song clave and there's rumba clave i've discussed salsa in a lot of videos on our youtube channel we we leave a few links for you first off the tresio will be oney and three very dance we also call it the soca or the pop soca or the soca clave oney and three sort of like edge here in shape of you so many songs du alip you know those songs right so this is the pattern what is the pattern now oney and three four and oney and two and now i'm dividing or distributing my role by not hitting the one or the on beats in the right hand just one oney and two and oney and two and three and four and oney and oney and there we go very dancey you can even start sort of hovering over the base of each chord so c b minor a minor c d e a c g b a c g or let's just keep a in the left a b minor c major b minor a you can just toggle whichever dorian chords you prefer the hit points are very important so we are calling this the tresio oney and two now take the tresio step further we have the song clave which is that one oney and two and three and four and oney and you can even change each based on the bar you can do one bar with a minor b minor c major b minor like that that's song clave clave and i like to avoid the one so in the right hand and song clave can also be flipped around and what i played for you was the three two song clave three hits and then two hits you can then do two hits and then three hits which will be a completely different feel you know that's your song clave and song clave we can vary it a bit by doing what we call as the rumba clave which is another famous dance form in salsa music so the rumba will be lot more off beats oney and two oney and oney and two there we go yeah you can even do the two three rumba clave lot more of the off beats right guys so that was some salsa do check out our channel for more videos on these genres on the dance style at least we've done a lot of dance videos and i have one more very interesting pattern because it also uses some harmonic concepts of chord inversions i call it the endless descending pattern with inversion swapping so in this particular pattern you're going to end up needing to know your chord inversions from different starting points and if you haven't watched part one we have come full circle because this is what i taught you in part one a minor g major d major a minor or a minor g major d major a minor or a minor g major d major a minor in all these inversions as i covered in the first part so let's now do the last pattern which i call as the endless descending pattern so it goes something like okay so the chords i'm using are a minor g major d major and just for flavor i'm borrowing a chord from the natural minor namely f major so the pattern lot of off beats so one very similar to the rumba but i've just extended it so in a sense the new chord is helping you remember the rhythm a lot better in my opinion so one and what i what i mean by the inversion descent is if you start with a minor root position you end up coming to the root position of f and then the journey could continue with the second inversion of a minor which transitions pretty well from the root of f so and then second inversion of a and g major d major second inversion of f major and then first inversion of a minor g major d major f major if you really want you can keep keep going down okay so that's what i meant by endless dissension so let's now do that with the rhythm pattern f new inversion d new inversion descending right guys so hope you found the tutorial and hopefully the entire series if you watched it useful it was a three-part series on developing hand independence chord inversions using the dorian chords over a lot of genres which i hope you found exciting and hopefully it'll be useful in your journey as piano players and producers and musicians in general if you liked it and if you haven't already don't forget to hit that subscribe button and turn on the bell icon for regular notifications do stay tuned to our other portals as well you can follow us on instagram and you can also get supplementary resources for all of our lessons including this series on our patreon for just five dollars a month you'll get midi and my handwritten notes thanks a ton for watching the video cheers and catch you in the next one