 Hi guys, welcome to part 3. So traditionally when we play major scales We tend to go in a very straight way or what we call the straight feel and 2 and 3 or 1 2 3 4 5 6 7 8 1 2 We are not really taught to go inside the beat or to explore what happens when you count a specific way But you play more things inside what you count, right? So one really good rhythmic opportunity, which you have could be swing where you know a lot of blues and jazz music will be Encountered so to practice the major scale in a swing System you generally have to displace the quaver a little bit to the Right, right? It's not one and two and three. It's not so steady or so even it's more Lazier one and two and three and four and inevitably The sound of the end and the feeling of that swung beat is what really makes the unique sound, right? So one point is where you place the notes, which is sort of going to be Displaced as opposed to This is straight. This is normal with swing it is Right once you've got the one and two and three the swing feel What you want to do is make each of those beats sound slightly different So you may want to go one and two and three and four and one like to highlight the and beat makes the music a lot more Specific to the the the blues and the jazz genres of music where they specify or they focus a lot on the Subdivisions in this case the swing subdivisions. So you go It helps to imagine a drummer playing with you, right? You can immediately vibe and groove a lot better And if you come compare or if you combine this with what we discussed in part one where we Look at it as a seven note passage ascending and descending which it is and Make it over make it elongate over eight beats. So one beat becomes a bit longer and you go in the swing world make one note Pump out a bit longer Quite like that. I'm still going up and down pretty much So a good way to feel this and make it a lot more dynamic and interesting could be to practice the same scale up and down in the swing time but add a few articulations or a few Dynamic expressions, which could be something like as simple as just play the ands a bit Aggressively or a bit louder. Maybe this way right Right, you could play the and a bit longer or maybe you could explore lagato and staccato between the notes So whatever note has a longer time. Maybe you could bounce that you could bounce that most staccato Let's try another point And another way to practice this is if you see my snapping It's always on the twos and fours of the bar by default It's sort of how we train ourselves to play genres like blues and Jazz music and swing music in general. You don't want to do Also doesn't sound so great. So what you want to do is practice feeling the two and the four of the bar One two three four one two Right, essentially where the drummer hits their snare drum that that could be a great location or a target location You could also use the metronome to help you get this job done Do check out a very detailed lesson I've done on how to use the metronome for practicing very creatively not just as a kind of a Tool which pushes you to be better at time just to make you're playing a bit creative, right? Everyone so that's about the swing feel and like we've been doing in this entire series It's just about going up and down with the scale and in the swing department. You're just displacing the and What was once? It's now going to be Parapara parapara parapara Feel the twos and the fours play with that swing dynamics where you pump out a few things a bit louder and Staccato legato toggle and yeah have fun So head over to part four perhaps after you've digested part three a little bit And we are going to dive in further with a few more interesting ways to play the major scale, which was once Right, that's boring. So we are going to make it a lot more exciting in the very next video head over there. Cheers