 Hi everyone, this is Jason here from Nathaniel. Welcome to part five of the series on how we can take a simple chord progression, a four chord sequence and try to add our own personality, develop something very creative using it and hopefully, you know, build a song and what you're playing on the piano should ultimately be like a stamp on the song. People should remember the song not only for how unique the vocalist is or how, you know, awesome the lyrics are, they should remember it because of the chords and the way the chords are played and, you know, that personality created by those chords. So in this part, all I wanted to say is basically a very simple thing. Explore the opportunity or the possibility of taking the same chord progression but sort of stretching it and expanding it and creating at least two sections of a song, which could be a verse and a chorus. So maybe a verse could be exactly how we learned it all the way back in part one or even part two where we learned the bass line. So you go, creates a very busy sound, right? That's the word I'm going to operate with busy because of this whole staccato nature, you know, also staccato versus legato, all that stuff was happening. So that could quite work for a verse. But now if you take the exact same chords, the exact same ecosystem and just think of it as a chorus and just change your drum groove, okay? The first thing you can think of is what will the drummer play next? So in the verse, maybe the drummer is going, right, snare, snare at the two and the four. Now what if the chorus section, the drummer goes a groove like this, basically the snare drum might be three of the bar. So what would you change on the piano to make it a chorus more, you know, open and more bigger? And also the drummer is doing his or her job by playing on maybe the right symbol, a more resonant kind of drum symbol or maybe they are opening the hi-hats during the chorus section. So what do you do? You also have to open. So let's see what happens. First of all, one great tip would be to now start bringing in the pedal during the chorus, which adds an additional layer of harmonic elements. So I'll play you and then show you. So it's the same music, just with the pedal, more legato and look at my accents, one, two, three, four, one, three verses and I try to be a bit busy during the verse because this is not the most catchy vocal part, maybe this is really catchy. So your main hook melodically has to be sung by the vocalist, right? So you could just keep this sound going, a very heavy, epic, thick sound, verse. This is what we learned in the earlier parts, right? Part one, we just looked at getting that dynamics going, legato, stagato with the snare drum, you know, and the overall drum kit in play. And then we looked at a bass line in part two. So that was also cool, right? All that stuff. And now what I'm just trying to do in this part is just to kind of show you, we can put things together. Now, another thing you could do is you could do your verse with the bass line and maybe the next section you could add like a triplet feel into the equation. This is more eighth note swing, two and three and four and one and two and three and four. But in the chorus or the next part, the triplet's going to tuck it, tuck it, tuck it, tuck it, tuck it. Again, the drummer is changing the groove, tuck it, tuck it, tuck it, tuck it. Basically snare drum at three, earlier the snare drum was at two and four. It's sort of like the rhythm secret, you know, what these drummers do. The snare at two and four makes it busy, makes it very punchy and choppy. Snare at three, you know, generally in the overall loop of the bar will make the song very epic and more like a chorus, I would imagine. And that's how you need to react as a piano player. So what are we doing here? In the verse, we do not divide by three. We divide by doing swing with that bass thing and then the chorus bringing in triplets, tuck it, tuck it, tuck it, tuck it, tuck it, tuck it, tuck it, tuck it, tuck it, tuck it, tuck it. And maybe in the bridge, you can just like, what are we doing? We're just doing what we learned in part four, exploring different inversions of each of these chords. So all these options and maybe break it down, just play around with the inversions. After this part, the catchy part of your song is, you know, I honestly haven't thought of the melody here, but come to think of it, I quite like this progression. So I think I'm going to try and make a song out of this and I will share it with you guys and you guys should also try and do something with this, okay? To conclude our series, I would like you to practice this, work on all the five parts which we've discussed, dynamics, baseline, time field, inversions, building themes and now trying to create it into an entire section. And also, I am on Instagram and I've started using it quite recently. So what you could do is you could record your performance, record your own take on the music which we've been dealing with, send it to me or tag me rather, you post it, tag me and I will definitely listen to it and reshare it on my own Instagram which can hopefully, you know, give you some kind of motivation as well, right? Everyone, again, this is Jason here from Nathaniel School of Music and if you haven't already, don't forget to subscribe to our channel, consider following us on Patreon, download all my handwritten notes as PDFs, like the video, share the video, leave us a comment with something you'd like to learn in the future. Keep rocking, cheers.