 Hi guys, welcome back to part 2. If you have not watched part 1, don't forget to head over and check that out, because that sets the kind of foundation for what we are going to do now. I'll be giving you sort of idiomatic patterns for a bunch of genres. We'll do reggae, but reggae in different levels, we're going to do some funk for sure. You cannot do without knowing funk. Then we'll do some glam rock, some AT style and then let's end with some rock. Okay, so the chord progressions are going to pretty much be from the Dorian, so you'll have your just to recap A minor, B minor, C major, D major, E minor, F sharp diminished, G major, A minor. Okay. A Dorian uses or borrows the same chords from the G major scale as it's the second mode of that particular scale. So the first genre will be reggae and just before we start, it'll be awesome if you can consider hitting that subscribe and turning on the bell icon for regular notifications. Notation is waiting for you for each pattern on our Patreon page, including my handwritten notes for just $5 a month. Let's get cracking. So to get reggae going, keep some eighth notes in the left hand, pretty much like what we did in the earlier patterns and just get the ans in your right hand and have a control over these ans, first of all as staccato, whilst your left hand is doing a legato. So this is the essence of reggae, to kind of whack all the ans. Okay, I'm going to show you those sneaky ghost notes as well, but for now, and two and three and four and one, two and three. Let's do some chords. A minor, G major, D major, A minor. You can even shift your bass in the left hand. One, two, and one. But I'm just going to keep it simple for the purpose of exercise and to develop our independence without thinking too much of musical data, three and one and two and three and four. So my left hand's just going to play A, right hand's playing A minor, G major, D major, A minor, A minor, G major, D major, A minor and keep that staccato going, but whenever you need to play legato, you should also have that ability, staccato, legato. Right? So that's your basic reggae groove, but reggae will also introduce an element of swing. So you have that, the 16th notes also waiting for us to explore, one and two and three and four and so have keeping that in mind. Let's do pattern two. So pattern two will just pull the alternate hit points back by a beat or anticipate, so it'll sound like... So one and two and three and four and one and two and three and four and one and two and three and four and one and two and three and four and one and two and three and four which is nice. We are now going to do one and E, one and E, one and two and three and four with some swing. Okay, that's some reggae I guess. Let's make it a little more reggae. So the next pattern, we are just breaking up the chord. So what we did earlier was just accessing the E instead of the and now, both the E and the and are coming, but at the alternate time. So it's a combo of hitting the chord as a block strong as well as a broken feel. You can do like um-pa-um-pa. See the notation as well. And the more you like the beat, the more you swing the ease and the more reggae it'll be. So try and figure that out. And play along to a few reggae drum tracks that would be pretty helpful. And the more you practice with drums in real world scenarios, the more you're going to groove for sure because groove comes from rhythm instruments. It's always good to be associated with them in some way. So that's about reggae guys. We first looked at the and then we pulled back to the E and then we added a kind of a broken effect. So let's now bring in some funk. Let me play you and then teach. Music A lot of these E's and E's in there, right? A lot of the off beats. So I'm dividing first of all by four. It might help before you even start playing to say one E and a two E and a three and a four E and then the left hand is maintaining one and two and three and four and one E and a two and anth. So now the pattern one E and a two. Now you can pretty much play any Dorian chord. It'll sound very funky. So the four one E and a two E and a three. One E and a two E and a three E and a four E and a lot of those off divisions and they don't seem to repeat either. That's what funk is about, I guess. So one E and a two E and a three E and a four E and a one E and a two. D major. The faster you play, it starts graduating or becoming a little bit of disco, you know. And the pulse is always happening in your left hand. Never lose sight of that. And what I also try to do is move my body to the original pulse, to the quarter note pulse. So I'm also tapping my foot. So even if your left hand is currently now playing eighth notes or quavers, your head doesn't have to go quaver. You're going to get a neck ache or something. So go with the pulse. Never lose the pulse with your body, with your leg or your head. And then... And the other essential ingredient about a funky pattern on the piano or on any instrument is how you control the lengths of the chords. So, you know, so some chords could be longer in duration, some chords could be shorter in duration, something like this. The very last one was long, no? No. Can start like that. So this will allow you to kind of wander off and play a lot more funkier patterns because in this phrase I've given you the pattern which includes on, off, really off and so on and so forth. So that's a funky pattern for you. Let's now move into some 80s glam rock which I enjoy playing a lot. Again, a lot of those 16 notes in there. One e and a two e and a. So first of all, it starts with just the ands and the ons. One e and a two e and a. Three e and a four e and a. So then it goes into the e's and the a's. So let me show you, demonstrate. There we go. One e and a two e and a three. And again, the left hand's maintaining the quaver movement with the toggle octave. One e and a two e and a. So you can probably just start with two chords in there. One e and a two e and a. One e and a two e and a three. And I like to kind of make that specific point a bit long. One e and a two e and a three. At the three. One e and a two e and a three. Because it's on and on. You tend to want to glamourize it or make it a bit more prominent. One e and a two e and a three. See, I sneaked in an F major there as well. It's very commonly heard in some glam rock 80s songs. So that's more of a borrowed chord F major. It's coming from an A natural minor. You'll find the band toto using this a lot. A lot of progressive rock bands as well. You can probably break the ice by doing a lick clip. Okay, let's do one more pattern before we sign off from part two and move into part three which will I guess be a bit more advanced for you. So this will be a kind of a rock style or maybe disco rock if you want to put it that way. So this has that very green day or Imagine Dragons chord progression. That's one minor, three flat major, your seven flat major and then your very famous Dorian chord which is the four major. So one minor and the rest are all major making it a very... It's what Dorian is about. It's that whole against the system, brave kind of sound. So it starts off pretty simple. On of the one and of the one. On of the two and of the two. But at the three it becomes very exciting. Three and a four e and a three. Three and a four e and a four. That's the pattern. So on, off, on, off, on e. On, off, on, off, three and on, off, on, off, three. And maybe to anticipate the one as you recycle the bar. You can do a three and a four e and a four. You can do the of the four as well to create a bit more syncopated and an anticipated feel. So let's just do that with and without syncopation. First without. Now with some syncopation making each phrase very unique. So as you can see as I go a bit more faster. Gets a bit more disco, don't you think? But I'm never losing sight of the pulse when I play. This will allow you to record this in a studio environment. This will allow you to jam and perform this with a band or an ensemble. And it will allow you to work with other people a lot better. So always have the pulse as you go along. Because these patterns are starting to access a lot of those offbeat divisions. The ease, the urge and even the ants can get pretty tricky at times. So this was part two in our journey towards hand independence mastery. I don't think you can actually master it but it's fun to say that. And hopefully you've got some of these drum like grooves. You've understood them. You may want to practice them a lot more after watching the video a couple more times. Maybe after researching the handwritten notes and the staff notation on our Patreon. There's also MIDI files by the way which might help. And for those of you who want to go forward which I hope is all of you, stay tuned to part three. You can do that by just hitting the subscribe button turning on the bell icon for notifications. It will inform you when the next video rolls out. So let's move on to part three and challenge ourselves with a few more genres. Get into some Latin and salsa grooves. Also make some very hooked like chord patterns. What I mean by that is chord patterns which make a kind of a melodic statement. And let's also work on our inversions a bit more. Let's try and create something like an endless sequence so to speak. Thanks a ton for your time watching this video guys. It means a lot. Cheers and catch you in the next one.