 Hi guys, this is Jason here from Nathaniel in this lesson We are going to continue our study of 16th notes by looking at a pattern Which you can play in the base hand or the left hand a chord pattern basically over 16th notes And then the right hand is going to essentially hold a steady pulse or just hold a very nice Colorful voicing of the respective chords which we've chosen from the exercise So if you've heard in the intro video the chords are quite colorful, right? there are these colorful major 7th chords some 9ths and then minor 7ths and then Like that chord. That's a nice 9th. So We're going to learn a few things about these extended chords or colorful chords if you will But the main point of the lesson is to cover the interaction between the two hands or rather the independence between the two hands if you look at it that way Where in the right hand is going to do something very machine like or engine like while the left hand in this exercise is the creative hand Now we've done quite a few exercises on 16th note independence Where in some instances the left hand is the pulse where the left hand plays something very Machine like and the right hand does something on a pattern But in this exercise the left hand is going to do a pattern and the right hand is going to hold the pulse So let's start with the left hand now and then move to the right hand The left hand is going to do all the all the chords mentioned in a very spread way in a spread voicing Environment as I call it. So what happens with spread voicing is the first chord for instance is E flat major So the way it's played is pretty much like how it's voiced on a on a guitar or more specifically a bass You know where the frequencies are too close to each other For the notes to be played like a normal piano triad in this case E G B flat so to make the triad shine cut through as well as bring out the bass Sometimes we then say oh it sounds too muddy. So let me move it a bit higher But then that ruins the bass So why not have both a non muddy sound and a sound where the bass really comes out and you get that booming piano bass, so How we voice it very quickly in the left hand would be Take the third of the E first chord, which is E flat major Okay, I will tell you the other chord shortly. So This is the first chord instead of playing the G here. I Take it to the top octave and Played above the E flat octave That's what we call the 10th interval right So there are pretty much just three chords in this exercise the first chord is E flat major Which I just showed you the second chord. Let's figure out how to play that. That's an F minor Which again sounds a bit muddy as you can hear probably so That's how I'm voicing it in the left hand That's F C A flat what is the first chord again E flat B flat G so for the first bar you're gonna pretty much have that And then next bar That's F minor seventh or F minor for now So I'd first encourage you to toggle between these two versions Spread voicing if you will of the triad On its own it just sounds quite nice, right? Right so the chord progression Basically is that but at the end I've added an interesting chord Which will come to life once I bring in the right hand voicing as well to play some blocks within the left hand So the left hand again, let's finish it off E flat G E flat major Then you go F minor F minor then come back to E flat major for the third bar and then you go F minor for half of the fourth bar and then You do like a B flat sus four or add with an ad nine So that's B flat F C Okay, I'm not doing Normal B flat major Sounds a bit more colorful Okay guys, so you have E flat major in spread first bar so you can go start with eighth notes Three and four and one. Okay, that's E flat again E flat three and four and F minor Three and four and back to E flat major and now F minor B flat nine sus four Okay, so it's F minor B flat F minor B flat F C Okay Get used to your fingers generally the pinky will obviously start off each voicing You have to put your thumb at the top because this is quite a stretch, isn't it? So you'll have to put your pinky and your thumb there and now the middle one can either be the index finger But if you feel that there's too much of a stretch You can decide between the middle finger being the actual middle finger which is that of course or The index finger in this case. This is really too much of a stretch. So depending chord by chord You have to decide which finger is gonna go in the middle in this case the middle finger for F minor I think the index finger works well there I mean middle finger is a bit too big for me. So I Do the index there? I'm also holding the pedal so that the sound rings and it doesn't Sound choppy since you're lifting your pinky off the off the E flat right or the first route E flat F minor E flat major F minor B flat Suspended I'm using my I think the index finger works really great and then come back Those are both the fingers those are both the voicings or the shapes of these Respective chords used in the lesson now I did not play this that way in the performance video at the beginning, right? I did something like this Right So this is engaging with the 16th note vibe which we've been doing all through this 16th note independent series Which which we ended up going like So I'm counting actually ease and hers in between the and so that's 1e and a 2e and a 3e and a 4e and so my entire grid is set up like this and Then I'm playing my notes at specific points on the 16th note grid Right and you need to do this within the grid then your timing really gets rock solid Even if you're an intermediate player who's played for a few years You may get it by feel or by vibe if you will a lot of musicians get that But I think if you follow people like your drummer or if you follow other members of your group Or if you just feel it by by listening and then getting it may not be perfect Right unless you've perhaps heard a lot of music in this genre Maybe then you will get it But then you still have to get it with some things like the metronome You have to get it into a studio to record your performance. So these things may not be that easy So it's always good to get the time internally within so that's where you can help yourself by counting 1e and a 2e and a 3e and I keep that going for a while 4e and a 1e and now let me sing the bass line and Then try and play it for you as well. Okay, the bass line is Okay, it's going at all those 16th note divisions if you will so let me now play that it's very tough to count it and play So you just have to get the hit points, right? I've put it out there for you to see so first chord E flat major This is how it goes One two three four one Trying to do the pulse with my voice A bit tricky right to get it with the voice but anyway, that's not the end goal The end goal is to do it on the keyboard. So that's your pattern for pretty much all the chords. So what do we have again? Okay, 1e and a 2e and a Okay, 1e and a 2e and a 3e and a 4e and a Those are your hit points the intervals you're playing within these hit patterns are One five three one five three five one five three one five three five by three I mean the 10th or the Octave of the three okay, and it follows on those hits one e and a 2e and a 3e and a 4e and right and a 2e and a 3e and a 4e and a 1 Okay, the other chords F minor E flat major F minor B flat Back to E flat cycles minor E flat major F minor boom That's pretty much about your left hand Let's now move on to the right hand where you're gonna discover a few interesting voicings of the chord to make it a bit more colorful as we say extended harmony and We'll also try and bring in the pulse amidst all of this left hand chaos moving on So for the E flat chord in the left You're playing pretty much as a triad Trying to add some color in the right by actually playing What's finishing off as the E flat major seventh chord, but without the need of playing the E flat Because E flat is already played in the bass and that is the root of the chord Which is supposed to be played in the bass. So why do The E flat there makes it a bit tricky for the hand why play four notes when you can just play three And it also sounds clean so You can play E flat major like this Create the overall product ends up being an E flat major seventh another great way to look at this equation is play E flat in the bass and play a G minor in the right hand and together It's exactly an E flat major seventh chord those are the four notes one here and Three there in this case I'm playing all the three notes of the chord here and spread and I'm just keeping it As a triad in my right hand G minor over E flat. You can also call it G minor slash E flat That'll become like a slash chord. Okay first chord Playing like that then F minor Again, I'm converting the F minor into an F minor seventh All right, I do that I'm playing a flat major triad that that's the upper extension of the F so A flat C E flat So far we've got ourselves two chords. You can just hold it for now E flat A flat With F in the base overall package is F minus seventh E flat major seventh F minor seventh now come back to E flat major seventh or else you could even add up An E flat major seventh plus nine or E flat major ninth Which is that F there that adds a lot of color so E flat dust can be played in two ways G B flat D in the right hand or That's a B flat triad over the same base spread voicing so That way so maybe the first E flat I'll play with G B flat D the second one It's actually at the third bar I'll play it with B flat D F that voicing so an F minor A flat there okay in the top end so all the chords E flat F minor E flat with the nine F And now I'm ending with that interesting chord we discovered in the left hand earlier that's B flat The sus chord here the B flat sus chord That's B flat with the fifth and the ninth over here and what do we do here? We play the same a flat major chord Which you used over the F minor which works perfect? for that B flat ninth sus four chord But I like to play it with another inversion maybe this version Just adds a different vibe so F minor seventh you play like this with a flat at the top end and The B flat sus nine chord You play this way It's a really nice dominant resolution back to E flat major seven in fact without the rhythm itself. It sounds quite cool. That's the chord And now coming back to the groove so let's just play the left hand on the 16th note Pattern that is and then we vibe in with the right hand just holding the chords for now E flat F minor E flat with the ninth F minor B flat E flat Remember the last F minor and B flat up late for half the bar So That is already quite a workout if you ask me but to add to this if you really can you could work on Generating the pulse in the right hand while you do this crazy 16th note pattern in the left hand so The right hand you could just start by maybe just playing the root or the saw of the scale Which is E flat and just see how it goes, you know Just One note One two three four one two three four one two three four Sounds good with and without the pedal now, you know when you just play the pulse And this is already so much of groove happening that it actually sounds nice with the pedal as well as without it You know this is without which With Okay, and now of course we don't want to just end our journey by playing a single E flat We want to play the voicings which we learned a very short time ago. So E flat F minor 7th Back to E flat with the ninth if you can F minor 7th And then ending with that B flat 9 chord sus4 Okay Okay And then Okay Now we need to play this as a pulse So 34 change two three four change two three four one two and back Okay, and then of course we somehow have to get that left hand pattern with the right hand. Let's see how it goes That's the interaction or that's the involvement between your two hands generally what happens in independence Whenever you work on it, you are always thinking like a drummer a drummer will always have something consistent going on like the kick drum In the case of a dance song will always go Do And then you have the groove around the kick or else in a normal drum groove You'll at least have the ride or the hi-hat doing the pulse or the time field, right? It'll go Whatever it may be The drummer is always giving you a groove element or a pattern as well as the pulse Right. Otherwise, how do you feel anything? You have to you have to at least send the pulse across to the audience They have no clue about this pattern This is just groovy. It's just nice and Groovy, but then if they don't feel the pulse, how are they gonna get up and do anything, you know You want them to dance don't you right so in the right hand you eventually build towards the pulse I understand it'll be tough initially because You still have to get acquainted with the left hand doing spread voicing in that 16 note groove which we discussed Then you have to work towards the right hand eventually playing the pulse starting off, of course, we're just holding the chords Right And it goes on Right guys, so let's just quickly conclude what we've done We have a four chord sequence over four bars or other maybe five chords if you add the turnaround chord So you have E flat major 7th your first chord played spread voicings always in the base And you're playing these upper triads in the right hand which shows off the color of the triad In this case the major 7th then the next chord was F minor 7th Spread F minor 7th with the upper extension a flat major. I'm trying there and Then come back to E flat major 7th or else you could even do the B flat on top giving you that ninth flavor and then Back to F minor 7th, but then in order to do something interesting at the end we then add it along with the B flat 9th chord sus 4 which is that E flat And it goes on And your goal or mission rather should be to play that interesting 16th note pattern Which we've discussed all through the lesson in your left And Your right hand will hold those chords and try your best to play it along with the pulse and Bring in all the dynamics and all the other flavor as well Don't just end by getting the max between the two hands try to Ultimately make some nice music eventually with a lot of purpose and a lot of feeling and a lot of dynamics So yes, you need to practice this one as hard as you can and do send it to me Once you've got it I'll be happy to hear it and get back to you with my feedback as well for sure So how I've normally concluded these 16th note lessons is to just play the whole thing really slow for you to just digest and hear and Really nail. Okay. Remember play it with a 16th note feel 1e and a 2e and a 3 and a 4e and or by now I guess you've got the the general flow of this exercise Eventually do it to a metronome, which is about 104 to 110 beats per minute 110 will be awesome if you can play to to that speed and that's about it Thanks again for tuning into this lesson and don't forget to subscribe to our YouTube channel if you haven't already Follow us on Instagram You could also support us on patreon where all my handwritten notes are there for pretty much all the exercises We will ever do on YouTube and have done in the past So patreon is an awesome resource if you could consider it and I will catch you in the next one cheers So let's get to the slow version