 One, two, three, four. Right. Welcome to part two of this series on classic rock piano riffs. I've already talked to you the bass riff in the right hand with pulse and some very Beatles day tripper like chords in the right hand. But you had to do that as a pulse and then we talked about a few mental and technical aspects of developing your independence. So for this, we'll just continue from where we left off. We'll take the same two chords, this one B D E and B C sharp E. So now we could play them as the pulse or we could play them as arpeggio. So what is an arpeggio where you take the chord and you just break the notes up instead of going you go in some pattern one by one of a pattern. So the pattern I am suggesting now you could have easily done that but this is what we call as an even arpeggio pattern where there are no accents as such or the accents are only at the downbeat or at the strong beat beat one in this case. One, two, three, you know, two and three and four. So this is not what we are going to try to do for a rock idea. You're trying to group this in threes. So you count one and two and three and four and one but you group your phrase which is B D E you group that in threes. It's a three note phrase. So what you could do one and two and three and four and one and two and now if you had not said one and two and etc and just played it in threes you may have even considered it as triplets. One and a two and a three and a four and one and a two and you know but that makes your body sway that's more like a triplet feel where you're dividing the beat by three. Here I'm dividing by two because the pulse is one and two and three four one. So the pulse is two three four. The division of the pulses one and two and which is dividing by two not three one and that's why we say one and two and three and four and so the division is by two but the groupings of the phrase we are creating or the accented phrase because it's why we say accent would be because it's on the off beats. It's going to land on the ands more often than or as often as the ons or you'll have more landings on the accented notes or the off beats than the on you know so it's a combo on and off so that's why we call it accents you go one and two and so still dividing by two but grouped in threes so it goes one and two and three and four and one and two and three and four and two and three and four and one and two and three one there we go so you kind of get confused so it's important to know when the cycle of the left hand is ending right so it goes so if one let's revise the left hand so the left hand is ending its cycle over two bars it's a two bar bass riff so how long will it take for groups of three quavers or eighth notes to kind of end over two bars it's not going to end exactly so you may want to end it earlier and change it to the next chord by the very end of the second bar so something like change you need to have that variation as well otherwise it'll start sounding monotonous so B D E then B C sharp E and the arpeggio will be low note middle note high note okay so change change okay so you can just look at it as a kind of a rule or a goal where you play each grouping of three five times it'll not resolve exactly over two bars but that's not what we are going for we are going for like an unresolved accented phrase which is going to sound very interesting for the year okay so you could play this either around middle C or you could play it a bit higher let me demonstrate both this is lower now the challenge here is again independent so independence earlier was to give us the pulse now we are playing quavers eighth notes which is actually easier but we are accenting those eighth notes you may find that doing this is a lot easier one and two and because it's a cyclic repetitive pattern while over that is not so easy so give it maybe count five five of each of these arpeggios one there we go played a bit higher if you're not so confident to go from D to C sharp just play just B D I just thought it'll be a nice contrast to add those two chords so these sort of changing elements you know not just run-of-the-mill patterns or run-of-the-mill chord progressions inspires eventually will inspire the singer or the melody player to to do something over this so you might not even consider this as the melody this is just the backbone or the foundation of the song the melody will now follow right so that's about the arpeggio guys and let's also look at a turnaround which you can pretty much use for this whole thing very inspired from the song my Sharona by the neck where you go my Sharona right okay listen to that song so now what I've tried to do at the end is so you could do fifth chords or power chords that's your base and then G A G A G A A A A A A A G A G A G A G that's the pattern on the left and the right you could play triads A major A major G A G A G A G A G see the notation we've mapped it out one and two and three and four and one and two and three and slowly so you could do for however long even this one turn that's the turnaround so in this part of the four part series we've covered an arpeggio pattern in groups of three also called as accented groupings those those two phrases and the challenge is you're you're having a pulse which is important for the audience even always then you're dividing the pulse by two units or quavers or eighth notes but then you're not playing da-da-da-da-da-da-da-da or you're not playing da-ba-da-ba-da-ba-da-ba-da-ba you're not playing those even on beat hitting phrases you know you're doing da-ba-da-da-da-da-da-da-da-da-da-da look at how my head is moving and when I say da-ba-da-da-da-da-da-da-da-da-da every the the loud da the the accented thing which I'm doing with my voice is not coinciding with my head all the time it starts with da-ba-da-da-da-da-da see it doesn't really go with the head all the time some of the times yes but that's the beauty of accented phrasings guys lot of these things are 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