 Welcome to part 2. In this part we are going to look at basically how you can divide the beat into triplets and semi quavers or sixteenth notes. Sixteenth notes divide the beat by fourth generally, eighth notes divide by two that I have already taught you in part one. If you stumbled on this video and haven't watched part one, please head over there and watch part one where I have even taught how to count these subdivisions. So moving on to triplets, so how it works here is to refresh your memory, we are taking three notes which in a normal world of no beat division would have ended up being this. 1, 2, 3, 4. Right? Nothing fancy because there is no division to deal with. But now if you divide by three, you count, maybe you count while playing the same thing. 1 and a 2 and a 3 and a 4 and a 1 and a 2 and a 3 and a 4 and a 1 and a 2. To say 3 we can use 1 and a 2 and a, it's just easy on the tongue. So everyone uses this sort of now globally. So 1 and a 2 and a 3 and a, you can even say it faster. So now you decide where you want to place your hits. So if you see pattern number one, I have deliberately not used notation for triplets and sixteens because some of a lot of my followers don't read sheet music. So I don't want to confuse you. Rather I've just put arrows to show you where exactly the spot lies. Normally it would have lied at 1, 2, 3, 4, 1, 2, 3. But now if you see pattern one, 1 and a 2 and a 3 and a 4 and a 1 and a 2 and a 3 and a. So when you do the end of the two, it just gives you that very folk or that very Indian groove. So you can build a melody just on the end of the two. Changing the notes if you want. Of course I got carried away but you get the idea. Whatever I did, even though I did kind of take a diversion there, I did not take a diversion with respect to the time feel. I was still in the world of triplets or the grouping of triplets. So counting triplets that was exercise one. Also good to sing it sometimes. Take a distance away from the piano and you can practice it like on your balcony or walking your pet, whatever it might be. And I also make up these additional ghost syllables like I would recommend you could also do it because it helps you to count it and navigate and find where you are in the bar easily. Otherwise just going pump, it just kind of gives you a shock. So I'd rather go, just make some other noises and then go whatever you want to do, whatever you can do or anything. Moving on to next pattern, I'm having some fun at the three wherein it's the end of the three. So how does that work? There we go. I'm playing it loudly to demonstrate. You don't have to actually play it loud. Of course in this lesson, we are still focused on D, E, F, E as I've even shown you in part one. Coming to pattern number three, which I think is quite cool. On of the one and of the one. One and two and three and and of the four. So correct. One and two and and we always encourage you to improvise and try to be as creative as possible within the framework of the beats. Okay. So fourth rhythm which you see there, which will be on of the one, E of the one, E of the two and the on of the three and then you wait for the four to end. That'll be one and a two and a three and a four and a one and a two and a three and a four. Get used to it a bit slower. Right? It's rather tricky. Even for me, you have to, it's a very new pattern. So any new pattern, go to the very beginning, try clapping it, slow it down and then bring it up to speed once your brain enjoys it. Okay. So one and a two and a three and a four and internalize it. One and a two and a change it. One and a two and a three and a four and a tough to count and play, but you get the idea. Stay there, play whatever you want. Two and a three and even if you stop playing, keep the count going. Two and a three and a four and a three and a four and a two and a three and a four and then bring in the melody. Okay. Last one on the triplets, then we move into sixteenths. So you go, as you can see there one and a two and a three and a four and so and of the three and means the middle triplet division. So one and a two and a three and a four and a one and a two and a three and four. So a very important thing when you're practicing these subdivisions, your body needs to be in a state of excitement when you deal with them. If it is not in that state of excitement, it'll, the lazier energy will be more for the on beats, the one, two, three, four, but one and two and three and four and there's some kind of excitement. I don't know how to really explain it. It's sort of like you've just got a small like jolt or some kind of a shock just came to you, you know, like, like that, you know, you just get startled a bit. So that's how you practice the subdivision. Some people try to make the subdivisions easy. Well, easy may not be the right operating word. It may be, it may be so that you have to make it exciting for you because if it is not exciting for your own mind and body, how is the audience who's going to listen to you want to dance, they're not going to feel that energy which you would need to send to them. So you need to be feel excited when you play subdivisions, very important. So your mindset also needs to be such that whenever you have an offbeat, feel some kind of excitement. So those are all about triplets. I hope these five workouts would be nice for you to, to then continue your journey with triplets. You saw what I did. I put four arrows in a grid, which gives us the opportunity to put 12 arrows if we want, but I'm limiting it to four. As I generally tell people with respect to creating melodies or grooves in general, divide more, play less. You don't want to divide by three and then do dung, dung, dung, dung, dung, dung, dung, dung, dung, dung, dung, dung. You don't want all those divisions. You, you're trying to build a house with gaps so you can walk around as well. So you need gaps. So play four, but have the opportunity to play 12 or have the possibility of playing 12. That's important. Let's now move into semi quavers. I have five exciting rhythms for you in that system as well. Right. So 16th notes also called as semi quavers, divide the beat into four units. As I told you in part one, you go one e and a two e and a three and a four e and a one e and a four e and a four e. You get all these exciting divisions. You have one on beat for every beat. That's one, two, three, four, one, two, three, then you have the and and and and and and then each, each, each, each, each, each, each, each, each and one e. Everything feels different on the body and so it should. Okay. So the first rhythm you have printed there would be, okay, let's go back to, let's reset our mind by going while you demonstrate this. Try to go one e and a two e and a three e and a four e and a four e and a one e and a two e and a three e and a four e and a one e and a now the second note, one e, came at the e of the one. If you see pattern number one or row one, Keep the pulse in the left hand. 3 and a, 2 and a, 3 and a, 4 and a, 1 and a. Second rhythm now for you. Again, try to count it first or do beat by beat. Pause it and then piece the whole thing together. Next one is 1, 2, 3 and a, 3 and a. Okay. I'll just do the first two. 1, 2, 3 and a, 3 and a. Just do that. 1 and a, 2 and a. Forget the rest. 1 and a, 2 and a, 3 and a, 4 and a. Now I'm trying to hunt the a of the 2, which is 1 and a, 2 and a, 3 and a, 4 and a. Ignore the last one. 1 and a, 2 and a, 3 and a, 3 and a, 3 and a, 3 and a, 1 and a, 2 and a, 3 and a, 1 and a, 2 and a, 3 and a, 3 and a, 3 and a, 3 and a, 3 and a, 3 and a, 3 and a, 3 and a. That was rhythm 2. Again, feel that excitement. You have to feel the excitement. I don't know why it, everyone reacts differently. You see my expressions, I mean, for some of you it looks very weird and sometimes a bit funny or whatever it may be, but I can't help it. That's how I react when I'm, so how I react to 16th notes will be very different than how I react to triplets or eighth notes. The body will just do different things and even you have to let yourself lose when you play these things. You can't do it in a very studious environment. Yes, start studious, but it has to graduate to something musical because music is to entertain people. Okay, the third rhythm now, which will be quite cool. Let's get acquainted. 1 and a, 2 and a, 3 and a, just the e of the 2. That's all you deal with. Okay. 1 and a, 2 and a, 3 and a, boom, boom, boom, boom, boom, boom, boom, boom, boom, boom, boom, boom, boom, boom, boom, boom, boom, boom, boom, boom, 1 and a, 2. Again, I repeat, I'm doing this on the piano. You can do this on anything. You can sing it, you can drum it, you can do it on the violin, whatever you want. Fourth rhythm for us now. 1 and a, 2 and a. Okay, now I have kind of cramped up 3 in the space of the 2 beat. So let's see how that works. 1 and a, 2 and a, and wait, there's a gap. 1 and a, 2 and a, 1 and a, 2 and a, there's a gap at the 3 or 1 and a, 2 and a, you can leave the gap. 1 and a, 2 and a, or hold it on. 1 and a, hold the last note, 1 and a, 2 and a, wait, 1 and a, 2 and a, why I gave you this rhythm is, 1 and a, 2 and a, it forces you to count better. 1 and a, 2 and a, 3 and a, so I've cramped up, 1 and a, 2 and a, 3 and a, nothing there, 1 and a, 2 and a, 3, okay, 2 and a, 3 and nothing there, from the 3 onwards. Last rhythm for 16s guys, so we wait now instead of bringing everything to 2, I've kind of brought it off to the 3, so that'll be, 1 and a, 2 and a, 3 and a, 1 and a, 2 and a, 3 and a, 4 and a, 1 and a, 2 and a, 3 and a. Always count the 16s, very very important. Right guys, so far we've just pretty much taken these three notes, D, F, we've repeated the E, we've done it with triplet patterns and 16-note patterns. Just a couple of points to leave you with from this lesson or this two-part lesson as it's ended up becoming would be what if the time signature changed? Just to give you a little bit of a push in that direction, let's say your time signature was three by four. One, two, three, one, so you could do a three time signature, but still you can play the same four notes, right? Maybe with three, four, three by four, two, three, I will divide by four. So meter is three, time signature is three, but division of each beat is four. So how do we do that? One E and a two E and a three and a one E and a two E. So now let's say I strike the one E and a, one E and a two E, one E and a two E and a, I'll do the on of one, the E of one, one E and a two E and of two and the E of three. Sounds confusing even for me. Let me break this down again. So you go one E and a two E, okay? One of the one, one E and a two E, one E and a two E and a three E. So on, on, so you go on, uh and E, on, uh and uh, on, uh and is also what we call as a dotted feel. So but the signature is one, two, three, right? Interesting for maybe some of you advanced or intermediate guys out there. So one E and a two E and a three E and a it actually becomes a poly rhythm. If you think about it, four in that hand and three in this hand for your information. Okay. Again, uh, some of food for thought would be creating longer melodies using this concept. So let's say you do dividing by two, but now you pick any of those rhythms which we've done in the past, maybe divide by two and do second bar, something different, one end, displays the two, right? Create some longer melodies like triplets and so on. So take one simple bar, maybe tang tang tang tang tang tang tang tang tang tang tang tang tang something like that. So simple and then something else. So that way you piece two bars of music together, which are still in the same time feel. So that's some more food for thought you can also, you must have seen, I've been doing some stuff with my left hand. You don't have to just keep playing the D. You can change it around. So explore the scale. A few tips while harmonizing, you see what melody you're playing here and maybe choose one of those notes like I'm choosing D here, C or whichever note you want to you decide is important. Maybe you could go up or down a third. D's upper third is F or B flat. That way you get some nice harmony or just play chords. Not essential for this lesson, but just something to keep in mind. You may have seen some of what I played sounded a bit more spicy. So those are things you could consider. Right guys. So again, in this two part lesson, we've looked at how to build melodic phrases or riffs on the piano using subdivisions and just three notes, just three notes D, E and F. So what did we do? We looked at quavers, eighth notes dividing by two, then we looked at triplets where the beat structure is divided by three, then we looked at semi quavers or sixteenth notes where the beat structure is divided by four. We have more slots to fill, but yet we just say I'm going to play four always. And those were all the exercises which we have. So all of these notated exercises are on the Patreon. You could check it out in the description or wherever. You just have to go to Patreon and you can find me there and you will get all the handwritten notes, notation, whenever we do notation, backing tracks, MP3s, whenever it needs it. And also it will keep happening. So the next lessons, we'll keep putting it up on that Patreon page. It's just $5 a month and your support for our channel will be great as well. And if you're watching this lesson, if you're still watching, it's great, but if you haven't subscribed, that may not be that great because there's a lot more videos coming your way. So hit that subscribe button, hit the bell icon. It's not only important to hit the subscribe, also hit the bell. We do a lot of lessons and you will get a notification whenever the new one comes up and when it does pop up on your YouTube feed, you can decide to watch it or whatever. Thanks again for watching this lesson and I will see you in the next one. Cheers.