 Right guys, so let's take the same old rhythm which we've been looking at for a while now the tum-ta-dum-ta-dum, tum-ta-dum-ta-dum, okay and let's see where this can take us, fine. So melodically a great way to improvise a melody in the right hand with some plan in mind otherwise we just say take a scale and just jam on it that doesn't get you too far because sometimes you won't know what to do. So improvisation is also about getting a few basic ideas or a few basic concepts or a few basic patterns or shapes and then you assort them together in all sorts of ways and then that creates improvised performance, right. So sometimes improvisation should not be just playing music freely. You need some kind of job or some kind of restriction, right to to give you that creativity. So the two patterns which I'd like you to focus on in this chapter of our series would be sets of three and thirds. So to build a third you need a scale. So I'm on E minor but as I mentioned earlier we could consider the hybrid minor which could either have a flat minor seven or the major seven. So that creates harmonic. That's the natural harmonic. Okay so you first figure out your thirds. To get a third you skip one and play the next one. So E third is G, F sharp third is A, G star is B, A star is C, B star is either D or B to D sharp and then C star is E or D to F sharp or D sharp to F sharp E G. That's the octave. So without me saying much those are your thirds of the minor. So you're going to use that as a system. So you bring in thirds over whenever you see two notes in your rhythm. So maybe at the last two you could incorporate thirds. So the first three could be maybe a set of three. So how do you build sets of threes? Quite self-explanatory. Your scale. Three sets. Thirds. Threes. Okay so you're combining two really catchy ways of playing melodies. Combine them in clusters of three or use thirds which is the most pleasant or usable or the best interval you could say because thirds build everything including chords. So you combine that in this rhythmic structure and what is the rhythm again. So maybe you do a set of three. You do a third. So three, third, three, third, set of three, third interval. So let's do that with just the rudimentary, the first three notes. Quite nice. If you ask me it sounds quite nice this as a melody. Practice that. Now if you observe the sets of three are being played in an ascending manner. That means I'm going up the keyboard. Even the third is being played in an ascending manner. I'm going up the third. So why not you descend both. You get another pattern or another tune. That's an ascending. Descending. It's sort of like even it could be used as a call and response compositional methodology. Same rhythm. One is ascending and one is descending and then I'm sure you guys are already wondering what if I combine them. Let's do that. That's ascending sets of three, descending thirds or descending sets of three and ascending thirds. So now again some of you may be wondering why do you why are you only playing E F sharp G and then E G. Well I'm just doing it to demonstrate but then you can go all over the scale. So make a note of all your third pairs and make a note of all your sets of three groupings. All of this is printed out for you. It'll also be available as a download on our Patreon. You should definitely head over there and get yourselves a copy. So you create this environment of merging the third sets or three sets with thirds and that's how you you're going to improvise over the same old rhythm pattern which is this is almost become a broken record by now if you've been following these chapters from the very beginning. So you go you can just improvise. So no one is telling you which set of three to play or which third to play in which combo with each other. Similarly one could be ascending the other one could be descending. So even though I've given you a very stringent way of making your melody use thirds use sets of three that's all but then that's not all the way they actually come together is well right now saying this I would imagine a lot of possibilities to a point that you just say it's very infinite and very artistic because there's so many options out there right you could do let me just jam a bit can stop a little bit or maybe I'm doing thirds and then sets of three or okay and then why does the left hand just have to drone with E the left hand is rather simple now right so have some fun with it and then quite like that right so that was an improvised melody in the right hand using sets of three and third pairs with the left hand keeping it fairly simple as long as your diatonic on the scale the thirds can either be ascending descending the sets of three also can be ascending descending okay as long as you're on the key it should be fine it's printed out for you do check it out and practice accordingly did we use any different rhythm not really it's just been the same rhythm throughout this this series dum-tadum-tadum so I have one more really creative approach to navigating through a single rhythm for one bar let's do that and I hope all these five approaches are going to give you a little bit more creativity when you're staring into a piece of rhythm and also open your mind a bit more towards music notation learning how to read music is quite important it's a great skill to have and more than a skill to become a pro or a professional musician it's an inspiring tool music notation so it's good to read it because it's our own programming language as musicians so it's important to know it and it it's global you can communicate with anyone through music notation let's move on right guys so let's move on to this last chapter of our series on improvising over a single rhythmic pattern for one bar okay so what I want you to consider or what I wanted to think about what are all those finger drills which you practice as a beginner piano player I would reckon that the first ever one would be dum-tadum-tadum-tadum-tadum you know just going up and down it's the same for a guitar or other instruments as well they just tell you go up and down the first five notes of the scale so in this case we've been doing minor for our entire lesson so minor third g okay so the whole purpose of this chapter would be to take a rather redundant exercise could even be a going up and down a major scale but doing it in a rhythmic phrase or doing it with this particular rhythmic pattern which is okay so I'm just going to do so what's happening there the rhythm is tada tada it's always been that right earlier we did some bass stuff we've done a drum groove we've done chord patterns arpeggios melodic improv now it's just a rather boring finger drill which we are trying to make a bit more creative so instead of doing that which is endless eighth notes you do so what's happening there you're just going up and down in terms of fingers and scale degrees in terms of swaras and if you observe while doing the right hand I'm preparing my left hand for the work to come which could be the pulse or a minimum or just hold it with something in the scale so if I'm on e minor you just stick with those notes get used to e change over c maybe a b c sharp into a lot of notes okay now what if you do what if you do another pattern in your left hand with this pattern in the right and now that'll be quite crazy let's not bother doing that in this particular lesson but you get the idea if you wanted to try another rhythm like which is like queens we will rock you if you want to do that in the bass using pinky pinky thumb root root octave and then hold your own in the right on the main rhythm we've been learning all throughout which is tongue tongue tongue so tongue tongue tongue tongue is here and we will rock you is here be a good challenge and a good finger exercise or rather starting to it's not really sounding like an exercise anymore isn't it right you what was once very something you just do to just pass the time and improve your technique by doing something which you'll never use in an actual song with a rhythm pattern which you read very well and acknowledge you know and count it really well combine it with the left hand it doesn't have to be called an exercise anymore it can be like anything it could be a step towards building melody or a song which are going to compose okay guys so in a nutshell we've looked at five ways to look at a rhythm and be as creative as we possibly can because the rhythm does not give you pitch it does not give you chords it doesn't give you any real uh y axis or pitch information as we say so what do you do you have to figure out what can be done on your primary instrument which is the piano so we first looked at drum drums with the left hand kick and snare then we looked at chord patterns using blocks arpeggios and broken chords right then we looked at building a bass line over the pentatonic or the blues scale then we looked at some awesome improvised melodies in the right hand which can be built using just sets of three and pairs of thirds ascending descending right and last but not least we took an otherwise boring finger drill and then make it more rhythmic and groovy with with the rhythm pattern right so these are five ways to really enhance your creativity hopefully and also work out a rhythm pattern by reading it and if you have any other way which you are practicing or if you'd like to share yourself playing any of this stuff do consider maybe recording something on instagram and tagging either the music school or me which is jason zack on instagram and i'll be happy to go through it otherwise i don't know what you people are up to a lot of you are watching the lesson giving some great suggestions for future lessons but i need to also i would love to hear you guys also playing some of this music right again this is jason here from nathaniel if you haven't already do consider downloading the patreon notes for this entire lesson stuff in the past also things to come you could also subscribe to our channel hit the bell if you haven't already leave us a comment share the video and like the video cheers