 Hi guys, welcome back to part 2 if you haven't watched part 1 do check that out So what we are going to do in part 2 the same melody which I talked about earlier with all those ornamentations We did over the simpler chords, which is Okay with that melody Then we ornamented the melody we added a lot of the embellishments and ghost notes and slides and Runs and fillers and whatnot what we are going to do in this part is exclusively focus on the left hand It may help if you can read sheet music because all of this has been notated So do consider heading over to patreon getting the pdf with midi if you need on the muse core fire The first left hand pattern which I have for you Represents folk music very well. It's what I call as the thresio Okay, so I'll just play you the thresio rhythm and I've done a lot of other thresio videos But that's more for the Latin stuff and the funky stuff. This is more for the folk stuff, which will go over that tune That's the thresio So good way to think of this could be One two three one two three one two three one two one two three one two three one two three one two three Now Do That's the tune Sometimes it helps to just play a shaker and sing Try doing this pump But it helps to use a shaker and maybe played in a 16th note environment and yeah move forward from there fine so Getting that vibe. This is the first variation thresio Whoever the chord has more time, I tend to also cover the octave A. Mm-mm-mm. Not . Which you could also do, by the way, but in the notation also I have developed. slowly start that. Now you may want to consider metronome if you are good with it. If not just go by the feel of your body. If you are comfortable with this you are playing it well. So melody. This will really train your independence as well as sound quiet folks. Sometimes at the time of getting it I try to close my eyes. It gives me more focus because remember you are trying to isolate your brain or you are trying to split your brain even though I don't think that's possible. You are trying to forget about this stuff. In fact as I am teaching this lesson I am trying to forget about this stuff by talking to you and not mess up. Independence is a really weird thing. You have to just feel it and let it organically come to you. Like for example I am able to talk to you right now but if you ask me to write even a word on a piece of paper I don't have that skill. But I can talk and play this melody. So that's how we need to do it. We need to practice. Get in some of the ornamentations. Simple version. Now the left hand can also get a bit exciting when you combine the thresio with a simpler straight old 8th note arpeggio. Something like. I like that contrast. Straight. Thresio. Straight. More and more folk like I guess. There we go again. That's the thresio meets normal as I've called it. So the normal is like what we learned in the first part where we just did normal quavers again. That's thresio. That's combining with normal. Try that out. That's thresio means meets normal as I call it. Now the next style of arpeggios is what I call as accented arpeggios. So that'll group it in an irregular way. What we've been doing with the normal version was four plus four. One two three four. One two three four. So with the accented one what I'm doing is let me play it for you. I'm going one two three four five. One two three one two three four five is still equal to eight. Earlier we did four plus four equals to eight. Now it's three plus five. So that makes it very interesting for the listener. Very common in folk music. So check out that bass. Now next chord. One two three four five one two three four. One two three four. One two three four. So you have to kind of tell you a pinky finger to remember to hit it at three plus five right. One more time. Slowly with the tune. It's not going to be perfect initially. You have to practice. But this is the accented arpeggios as I've called it. Very common in folk music. One two three four five. Slowly. Pinky is at one and the next one. At the four. One two three four five six seven eight. So I've taken this accented style and added in some sixteenth note flair and this is how it sounds. It's still accented but very much like a banjo player or a mandolin player or well a string player. A lot of string players do this. Finger style guitar. That's the groove. So if you get that into your head. I think the arpeggio will come to life. Now we have to somehow get that melody amidst all this chaos. Try it with a click whenever you in your own time. Adds that vibe to the accented arpeggio. I call this like the bluegrass arpeggio. Maybe you can call the hillbilly arpeggio or something whatever you want. Give it give each arpeggio a name. Keep that groove going. I have one more left for you guys. That's what I call as the baila arpeggio. Similar to the style baila we have. A lot more eastern. Always imagine a drum like beatbox a drum groove and then it's folk music. It has to be done organically. That's all I can say. Yes there is notation for all of this available but the end result has to be organic. You have to do it for a purpose and lot of this is to make people dance. So you have to also kind of inherently feel like dancing. You have to feel the groove go inside you and then come out to the listener. Otherwise they are not going to dance. People who want to hear music and enjoy music they want to sing. They want to dance and they want to feel something. They don't care about all this complexity. You have to throw all this away when you perform it for them and to do that practice, practice, practice. Coming back to baila. Move. There we go. The good thing about this organic environment of allowing your body to naturally move to the music is when you make a mistake it's going to be very difficult for you to not know that you made a mistake. You feel like something is self-destructed. There's some serious problem which happened. So put in your 100% into the playing and even if you're playing slowly, even if you're playing one bar or one half of the tune or a simpler version, put your 100% into it when you play. Never play the piano in a lukewarm or cold environment. It has to be piping hot when you play. There has to be that aggression and that energy you give the piano. Otherwise it will not give you anything. Maybe this can be a plan for a future lesson I don't know but maybe you can do arpeggios with triplets. In this whole series even though it was quite long we didn't really explore triplets. So just to give you a prelude of something which is to come and if you're interested in this stuff first of all thanks a ton for watching the parts and the video this long. It means a lot and it really encourages people like me to keep going and it motivates a lot to read your comments and your viewership definitely means a lot. Keep the comments coming and you should also consider sending recordings. Whenever you've done a recording of this send it to our Instagram either my personal one or the school one and we'll be happy to go through it and share it and enjoy it of course. So if you take this with triplets the whole environment changes. That's a common triplet vibe which you'll find very much in India. Every part of India has that groove. You see I've changed it completely into like an Indian folk song. I'm also motivated to change the melody because it just feels good with definitely more on this maybe in another video. I'll probably compose something else. Leave me a comment if you'd like to learn some triplet arpeggios or Indian style arpeggios give me a few references as well we can come up with something cool. Thanks again for watching this two part series. We've done a lot actually we've done that melody which is going on and on then we ornamented the melody in part one. We added a lot of embellishments licks fillers then our left hand was holding fort by doing the normal arpeggio. Then we did a lot of other variations the accented variations the thresio the thresio meets normal then we did the bluegrass arpeggio style we did the baila style and yeah quite a bit. So I hope you have fun with the lesson I hope you have fun for I don't know how long you're going to take with the lesson but whatever it is I hope you enjoyed it and I hope you will incorporate it in your practice journey. Cheers thanks for watching and catch you in the next one.