 Hi everyone, this is Jason here from Nathaniel. I've titled this part of the Andalusian Cadence series as the funky versions. So the funky versions basically use a sixteenth note phrasing which divides the beat by four, that's what sixteenth notes do, one e and a two e and a then there's a lot of syncopation between the two hands. So with funky music, the right hand and the left hand almost never meet. They almost play the piano in a very percussive or tabla like manner, you know you go stuff like this. The hands are never meeting unlike the earlier patterns where you would find that the left hand plays something very specific and then the right hand goes crazy or whatever else. Here the two hands almost never meet, they are syncopated rhythms as I would call them. So I'm going to teach you two funky rhythm patterns in this lesson. The first one goes like this. So let's just break that down, first of all the right hand, e and a two e and a two e and a two e and a two and a pa pa pa pa ta ta ta ta ta pa pa pa pa pa pa pa pa pa pa. The chord progression again, D minor, C major, B flat major, A major, that's the andelugian cadence so ta pa pa pa. Now check out the left hand. So I hope you've got the right hand accents which are e and a two e and a. Let me try and get you only the right hand with some snapping with my left hand thumb. So that's your right hand, the left hand goes ta pa pa pa pa pa pa pa pa pa pa pa pa pa pa. So left hand is quite intricate because it's trying to find in those missing beats. Okay, so you need to, I think follow the hit points mentioned in the diagram in the notation and the instruction chart. Let me slow it down. So 1e and a, 2e and a, 1e and 2e and a, 3e and a, 4e and a, 1e and 2e and a, 1e and a, 2e and a, so you could do 1e and a, 2e and a, or 1e and a, 2e and a. So let's slow that down even more. Now you could do, pa, pa, pa, or, a, a, a, a, a, a, a, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, pa, pa, dum, ta, ta, pa, dum, ta, pa, pa, or, ta, pa, pararum, ta, pa, parire, which I told you earlier. And at the end of the progression you could add like a, ta, pa, pa, pa, pa, which is a, g, f, e. When you do, try to keep the independence going in the right hand to not lose the rhythm there. So that is funky rhythm number one guys. So if you want to make the right hand a bit interesting before we sign off with this rhythm, you go, you could actually play the very next inversion and come back. It creates a very melodic movement, doesn't it? pa Beauty of this rhythm sounds good even if you play it slowly the groove is still there moving on to funky rhythm pattern number two let me first play you the pattern and then explain. Again 16th note based. So the right hand goes 16th, D minor. Okay the bass is again filling in the missing beats of the right hand creating an interesting pattern between the root, the octave and the middle 5th. So D. It's very difficult for me to count it while playing it. So the notation is up there for you guys. So check it out. I will slow it down though. Right hand. Same thing. The fifth one when you add it it's more like a ghost. So do it a bit choppy or staccato. Could also be a little reggae if you slow it down. That was the second funky rhythm pattern and I'm going to leave you with this Andalusian Caden series by giving you another song which I think falls under the funky category. That would be, well, this rhythm in the left. That one. You may know it's all, you may get it. It's quite familiar isn't it? Big in Japan, Alphaville. That one. So I would recommend that you play this rhythm in the left hand. Almost disco. And the right hand goes pulse. Pulse. Pulse. Pulse. Pulse. Pulse. Pulse. Pulse. Pulse. Pulse. Pulse. Pulse. Pulse. Could do that at the end if you want. That concludes pretty much all the Andalusian Caden's ideas. So in this lesson series we have gone through the, well, the theory behind the Andalusian Caden's. The one, the seven flat, the six flat and the five. We kept using that. We've used the key of D minor. I would encourage you to practice on other keys as well. E minor is great. G minor is great as well. And we looked at a variety of things to use this cadence. We started off with some very basic left hand and right hand interactions. If you remember, just the left hand and the right hand into play, then we looked at some arpeggios. Simple arpeggios. Then we spent a lot of time on arpeggios, which I tend to do. We looked at arpeggios on different timings, different time signatures. And we looked at some more complex arpeggios where I gave you a left hand pattern to help you with some, to serve as a platform for something nice in the right. Then we looked at, well, we looked at some double octave arpeggios where the right hand in the left hand played two arpeggios, but at different speeds, different inversions and bring out some melodies. Then we stole some, some ideas from some great songs like Feeling Good, Believer and other famous songs like the Michael Jackson song Who Is It and so on and so forth. We also looked at some traditional flamenco stuff which you would otherwise hear more from a guitar player playing a Spanish or a nylon string guitar. We also looked at some very funky stuff and we also looked at some thematic stuff. We looked at things which you could perhaps use or add for a movie theme like idea. I hope you've gone through all the parts and it's been a lot of fun producing this series for you. I've written down like a huge booklet of each and every one of these rhythms with my hand written notes. It's been notated for you. And yes, please download, get a copy on our Patreon. It'll also help us do further lessons. Your support will mean a lot for our channel. So patreon.com slash jasonzac. You could also record yourself playing any of these challenges or any of these Andalusian cadence rhythm patterns. Send it to us on Instagram. Tag me and I will go through it and definitely consider sharing it as well whenever we can. Thanks a ton for watching. Again, this is Jason from Nathaniel. Cheers and see you in the next one.