 Okay, so if we observe the melody and what it's become after so much of detail, we've kind of left that gap, right? So again, leaving a gap in music is always going to be like punctuation in any language. You cannot possibly keep talking without stopping. Of course, you need to breathe, that's another issue. But in general, we need to break that monotony. When you read, when you listen to someone talking, there are always pauses or there's always the purpose of the sentence is defined by what's at the end of the sentence. In a question, you know how a person ends with a question or an exclamation mark or a full stop or a comma. So with music, we try to do the same thing as best as we can. It's not that powerful a tool compared to a language, but we try. So you go, I have that gap. Now musically, my melody you may think is over, but it's not over because if you think about it, that's just one actor or that's just one person saying something. What about if you visualize that as like a call and response as we call it in music, where one person says something and now either another person needs to respond or a group of people needs to respond to that particular call or that particular question or that particular statement. So maybe you could think of it that way and play something like so that that's like the answer simple answer a little bit more complicated or I don't want to do something there. So we'll do two responses at the end of the first two lines. Okay. So you see how I'm building it also. It's happening organically. I'm trying to hold the piano down and try and come up with something with my voice. So it also balances the load on the piano, something like this could be another instrument. If you look at this from a composing point of view, maybe this could be played by a violin or another singer. So I'm not telling you this primarily piano, but the piano is such a powerful instrument that it tends to be able to do all this stuff what we imagine. It's almost like a one man orchestra as opposed to a one man band with some people call this. I think it's more like a one man orchestra because it can do a bit more than a band if you visualize it well. So so one simple one, one fancy one. Let's try that. What did I do there? And my lick or my filler is just in the vicinity of my hand. I'm not not doing I'm not going away from my finger position. Isn't it so or what you could do for the response just to make it seem like another person is responding to the statement. You could maybe respond with a different time feel like triplets. That'll be quite cool like quite like that. So let's do that again. See that's your triplets two, three, one, but my normal melody was straight. So okay, there's also that turn around. We're going to do a lot of things at that turn around. So do stay tuned. It's going to get quite interesting at the end you could say. Right. So that's about the call and response style. So when you compose a melody yet another writing tip for you, always think of a melody with punctuation. Or if you don't know what punctuation means this melody with gaps. So in this case, I've left a whole bar of nothing, you know, can Anna to Anna. So there's an entire bar or even a half bar or a minimum would be more than enough to then create this call and response. So another thing you would like to do, I guess would be to focus on a few grace notes or turns or piano like ways of embellishing the melody, maybe something like this. What did I do that I created a pickup. So quite like that may not have been in your original thought process, but it's something a piano can do. So not a huge fan of sliding unless you're playing the blues, but just that initial energy just to lead the audience to the next sentence of the song, that would be quite helpful. So you can even do like a slide from E to an F sharp if you want, like, or maybe in the response, you could create a response like instead of doing standard, you can do a very country like descent. So again, and when you end, when you do the last A line, you can make it very harmonic. So what did I do there? Just an old trick to play like folk music, you can use your thumb and just slide it a bit and you get two notes for the price of one finger. So there we go and end with a very gospel ending there. That's a full on D major chord inverted to play that F sharp on the top so that your melody is still represented well. So this is only the last line. So I love this chord. This is an add four, A add four, can even do a lick there. So whole thing to do a nice response to all that at the end. Again, now if you like this, what tends to happen in the creative process of making the song that thing you added at the end because of simplicity from the very beginning, we've been talking about punctuation and gaps. So because of that ending which I made now, it feels or it could end up being another section. So maybe you can play, just repeat that very piano thing, just a turn there if you can and don't forget the other lick which we made just now. So maybe the song could actually grow from this and it's also a little insight into how I make some of my tunes and finished product songs you could say. I start with a phrase which just happens organically wherever just while eating food or maybe sometimes watching TV or driving around. The tune comes in, you record it, but you need to believe in that tune. You have to really know that that is going to be the next biggest thing. If you don't, it's like a seed, it's going to go away. So it's your job as the farmer or whatever in this context to grow it. If you don't, then it's gone. It's just a waste of a product. So that's what we've been doing from the very beginning of this lesson and what we are going to continue to do is no different. So you go call and response. You can do that. A nice response there. So I like that. That's also very country. Some gospel stuff. And end with a, this is like a that could become another section. So this is a little bit on melodic embellishment. So what all did we end up doing? A pickup, then some responses with grace notes and sliding of notes like that one, the gospel harmonic thing. That's some turns and slides. And we've, we've not yet talked about the bass. The bass was just chilling out playing the roots of the chords. The first thing you can do with the bass is to compliment the right hand rhythmically. Perhaps with some, you could just hold D with your pinky and using these two thumbs, you could try and create a groove which you'd like to go along with the tune. So something like this. Just getting that flavor. Or start with a groove like this. Somehow bring in the melody. Okay. The other thing you could do with the bass is look at it to connect from one chord tone or one chord root to the other. If you want to go from D to B, you can go via the C sharp, perhaps. Okay. Let me just demonstrate that slowly. D to try and sing it and then play it if you'd like. So I'm trying to go to the next note. Depending on which D you want to end. You can do something elaborate like G, A, B, C sharp D and end with that alto part there. I like that. So the bass could actually inspire the melody even more. You're doing for some reason. And when you do you could either do or both options seem to work. So for some reason that lick came out because of this. So again, I'm trying to also guide you or tell you that it's a very organic process and so it should be. It's very difficult if you just try and ask a musician, a famous musician, how did you write that song? I don't think they can really tell you how they wrote it. Maybe they can tell you how it started. Maybe they can tell you how they arranged it or produced it and some inspirations along the way. But I don't think anyone can really specifically say this is how I made the melody. Step one, step two, step three. There is no way like that if you think about it. So enjoy the process and make and let the process be as organic as possible. Yes, as a teacher I use a lot of scientific terms or very theory, a lot of theory jargon, but it doesn't mean that just because I'm saying serious things like 16th notes and triplets that it's something which loses passion. I'm just naming what it is, but it sounds really good, whether you know theory or whether you're just a common listener, a person still can enjoy the music. So moving forward, just a couple more things before we conclude guys. Now what about time signatures? Just a little word on time signatures. Whatever we did so far was on 4, 4. And what if your melody could be considered or explored over other time signatures, let's say over a 7. So if you count 7 or if you're able to feel 7, it sounds something like this. So 1, 2, 3, 4, 1, 2, 3, 1, 2, 3, 4, 5, 6, 7, 1, 2, 3, 4, 5, 6. So let me try and demonstrate the melody which was once 3, 4, 1, 3, try to convert that to a 7. 1, 2, 3, 4, 2, 3, 4. So a good way to remember 7 if it confuses you is to break it in smaller numbers like 3 meeting 4, 1, 2, 3, 1, 2, 3, 4, 1, 2, 3, 4, 1, 2, 3, 1, 2, 3, 4, 1, 2, 3, 4, you won't go wrong. 1, 2, 3, 1, 2, 3, 4, 1, 2, 3, 4, 1, 2, 3, 4, 5, 6, 7, 1, 2, 3, 1, 2, 3, 4, 1, 2, 3, 1, 2, 3, 4, 1, 2, 3, 1, 2, 3, 4, 1, 2, 3. You can do your call and response and all the ideas of the past but it'll sound different because of this new time signature. It's also okay to not play the tune when you're as you're feeling the rhythm because sometimes rhythm takes more control of the melody. So be it. Let that happen organically or it's going to be tough for you to latch on to the melody but yet you believe in seven. You believe in the power of seven for this tune so you have to bank on that. So try to explore your melody on different time signatures. Let's say five for example just to conclude this topic. One two one two three one two one two three four five simplified as one two one two three one two or keep that and play. You can make it longer five you can make it quicker five so more on that later we can probably do a lot more lessons on those topics like odd time signatures you find that interesting leave us a comment and whatnot. So I just I wanted to end our lesson with the turnaround the final thing at the end because the melody is chilling out there right he's going back to the world of four kind of ends there so maybe at one of those endings we could do I just thought we can go might as well bring in some toto there so so bass so that's quite cool with the right hand you're actually harmonizing that lick with a consistent D on the top end and starting not at the on beat but so let me play you the turnaround again which we compose now with with context of the other parts the simpler parts and now that's the lick let me teach you that this is my ending you can go higher that's that's the melody for you right so I just got carried away there with some improv improvised stuff so if you're an intermediate or an advanced player I've I've recently been learning from a lot of my students since I'm more of an old school kind of pianist I've I just come from the CD or the tape environment where you hear the song and you try to figure it out or you somehow get your band to teach you the song so in a more schooled environment of 2022 a lot of students use midi files so they they kind of take midi of whatever a teacher gives them or whatever they do and they and we import it into free software like maybe synthesia there's something called midiq lists as well so you could check those softwares out so what it allows you to do is you bring in midi into the software and it just plays your plays it out it gives you a notation if you want it gives you a nice dropping notes kind of view which I don't fancy but you'll see the keys highlight which is more than enough so the midi file for this entire lesson will be available on our patreon there'll also be some notes here and there which may help you with this lesson but like I said this is not one of those lessons where you'll find like a 30 page booklet on patreon it'll just be a few pages here and there just to explore it and we've done two parts of this series the first part is definitely designed for beginners so don't feel dejected if you're a beginner watching this part please head over to the first part again and focus primarily on that and then you can come back to this particular part and try to improve from there right so that's about it guys this is Jason here from Nathaniel do consider checking out our website which is nathanielschool.com on our website you'll have access or a listing of all our courses the syllabus the brochure you'll also be able to sign up for regular workshops which we conduct we on a weekend basis at convenience slots at our school if you can't make it in person there's also video resources for all of our classes there's a lot of my lessons which are on youtube you just have to hit that join button and you get access to a lot of lessons and it is going to be upgraded and updated very regularly and yeah you also have video resources on our website as well if you'd like a one-off lifetime purchase you get a lot of these videos including a lot of our other lessons which have been prerecorded on a variety of topics i'm sure there is a topic for for everyone out at the current moment we've been doing online lessons for a while now and it'll be great to have you on board thanks again for watching the series this is jason here from Nathaniel cheers