 Right everyone welcome back. So in this part, we are going to look at the Andalusian cadence using some simple arpeggios I understand the one I did in the beginning was not so simple in the introduction video But yeah, I'm going to start off with something really really basic and then take it all over from there, right? So in the process of teaching you these simple arpeggios and then we are going to go forward from there and there on You're going to learn a lot about phrasing. You're going to learn a lot about time signatures And last but not least you're going to play a melody which I composed and I've composed the melody or the riff with both my hands So a lot about these arpeggio patterns over the Andalusian cadence will use both your hands to make the arpeggio and To our luck both the hands are going to be in one position. They're not going to go I've done a few other videos on where we do runs and fills and whatnot if you'd like you could check those out So the first basic arpeggio pattern We are going to learn will be on the four by four signature and on the three by four signature the most common signatures in life So if you take the same Andalusian chords, this is how I'm playing the basic pattern So I play D and F the first two notes of the chord D minor and then I'm playing the remaining notes as the inversion So I do D F A D F Okay, you want to get a hold on that first Then C E G C E B flat D F B flat D AC sharp E AC sharp or AC sharp E G C sharp if you like the dominant seventh one more time Um Okay, this is Itself quite a nice pattern. So you go one and two and three or one E and two E and three E and start with that So you see I've just gone all the way up. I can now go up and down Now you can when you go down there are two permutations you can go You Can do that One E and a two E and F A D. So it's always an arpeggio created with both our hands Okay You can even do Just go up and down Or so those last three notes I'd leave to you, you know, how you want to actually frame it But I'm I'm going with I like this the most So F A D so you're repeating this and you're holding the pinky as much as possible D F A D F F A D C E G C E E G C B flat D F B flat D flat D F B flat A C sharp E G C sharp E G C sharp or E C sharp E G So the last three notes could just be linear from somewhere in the middle Takademi takademi takademi That's the pattern Now this is all over One and two and three and four and one two three four you could say four by four Now, how do I make this three by four? I could do One two three one two three one two three one two just by reducing two beats See one two three one and two and three And two and three and three and so you can pretty much use this technique to play arpeggios on whatever time signature Let's take another one. Let's take five One one and one two three four five one two three four five five is strangely easy because you just go all the way up and it adds up to five You could also consider seven one two three four five six seven Three four five six seven one two three four five six seven Three four five six seven and repeat And repeat With a seven or any feel you can also think of it from a melodic perspective. Let's say you want it to go Maybe I wanted to do that In thirds Let's do that again Quite like that And seven two three four five six seven one two three four Six seven one two three four five six seven three four five six seven one two three four five six seven Very slowly Arpeggio with something melodic One two three four so the one two three four is the arpeggio of D minor then Just adding that little melodic flavor ending on a non chord tone, which is e This will be notated for you. So do see the notation But it's on a seven by eight signature. Isn't it now you can also Well, what I've ended up composing with this Instead of doing I did very movie theme like so I ended up Do Let me break that here we did fga e fg so with a staccato The pattern which I compost so arpeggios you start off with Four by four one two three four five one two three one two three four five one two three three that accent then we built it up to six and seven and five and I also taught you a nice composition which I did on seven hope you found that useful guys again we've taken the Andalusian cadence which is the D minor C D flat A major which is nothing but one minor seven flat major six flat major and then ending with the five dominant or the five major at the end okay we have a lot more work to do on the Andalusian cadence let's move forward