 Welcome back guys, this is part 3 of our classic rock piano riff which includes a bass line and then some interesting variations which you would find all through the 80s and 90s music which guitar players do, which piano players do and a lot of musicians do. So the variations are reminiscent of some of those music, 80s glam rock and that sort of stuff and also we continue to work on our piano skills, hand coordination, theory and upgrading those things, chords, chord inversions. This specific part focuses on quick chord shifting okay and we are using arguably the most famous cadence of them all, the plagal cadence also known as the amen cadence, amen as in a church. So you go the same old riff, hope you've got this riff, if you are, if you've just stumbled on part 3, don't forget to watch part 1, finish that off very quick and then come to this part because there we learn how, the theory of this riff, how to count it and I do it really slow. Riff again, play along with me, pause the video and get your keyboards, pulse, so earlier parts we did pulse then we did the accent at arpeggio. So what's going to be different with this part is there's going to be different hit points and quick chord changes using a really nice sounding cadence. I'll play it for you again, you heard it in the intro video, I'll play it again and just show you once I'm done. That goes on and the right hand will go, so what's happening there, A major, I'm playing it in this inversion, kind of like it this way, so you could do like this C sharp E A, if your fingers are a bit smaller, with mine it's a bit tricky, so sometimes I play like this and avoid the thumb there, you could also play here, this is also nice, when you play E major you could invert like this, with your ring finger playing the G sharp, so this is your first job, you have to get the ability to shift from A to E in this smooth manner. It's not about the shifting, it's about the rhythm pattern which should be at the forefront of your imagination, so that's the rhythm which I'll break down very shortly. So get these chords first, C sharp E A, you could use your thumb or some people prefer their index finger and then the second chord you could go thumb middle ring or thumb index ring, if your index was already there for the first chord, stick it there, if the middle was there for the first chord, keep the middle for the second chord also, so verses, both approaches work fine, you could also consider the other inversions or you can do the other either normal and do A root E first inversion, so there are always three ways to change from chord to chord because of inversions, so you go or those are all the three ways of doing it. If you have a doubt with chord inversions you need to follow the stuff we've talked about over the years actually, we've done a lot of chord inversions tutorials, we've even put it in a neat playlist for you and it's on our website, so chord inversions may be a topic you want to dive into deeper if you're having a bit of a doubt with moving between the chords, okay, so for now the rhythm pattern is one and two and three, so one and two and three and four and, let's get that bar one first guys, one and two and three and four and, so let's try and do that with a pulse, one and two and three and four and one and two, take a break, let's not do the next bar till we get this, one and two and three and again, one and two and three and four and again now, one and two and three and four get a bit creative in that stray bar or that free bar, try and sing something, just to be within the framework of the music, right, you always want to feel the music when you play, then your subconscious will react well, you know, even when you're not playing it will decide to train itself and get it done, pulse in the left hand, that's the initial stage, then we'll do the riff, for now it's the pulse in the left, first bar only, sing okay, so now before I continue to get carried away, you can now get the second bar which is one and two and three and four, that's slightly tricky because you don't play at the on beat of the next bar, right, so at the end of the two of the second bar, and of the two of the second bar, one and two and three and four and one and two and three, give it a hold there, I've notated it with a tie, so hold it a bit longer, only the second bar two and three and four and one and and three and four and one and two and three and four and okay, two and two and four and one and two and four and with the pulse, left hand pulse, both bars with the pulse, if you read notation, there's a notation for you, if you don't read notation I've even circled where the beats are and meaning the off beats and 1, 2, 3, 4, implying the down beats. You'll find it on Patreon, you can head over there and it'll be a great support to our channel as well. So, moving forward, we now need to set up a goal where we get the bass riff of the past videos, the classic rock riff with that in the right hand which we learnt now. So, you could start with one bar, take a gap there and then fill it up fully, speed. You can then play around with it a bit like, can practice that. This is actually tricky for me because even I am making it up as we are talking. So, you can sing it, that'll help. See when I did, I did that, sometimes I may end up changing the left hand bass because I am thinking of something different in the right hand. That doesn't mean the left hand bass has to be changed. It just means that your hand coordination is not yet there and you need to practice like we all need to do. So, the riff for today for this video is the same thing we've learned. But you can play around with it is what I am saying. Once you've got it, you could play around with it. That'll be a very good 15-20 minute solo jam on the piano. There we go. It's a great feeling once you get the right hand and the left hand together. So, I would encourage you to keep trying. Once you get this, your independence is going to be rock solid and hand independence is a skill which is based on confidence. It's not based on achievements, I think. It's more about what you feel as a player over the days or the weeks and months of practice. Do you feel better on the piano? Do you feel like your hands are playing different instruments? So, it's more for the mind and your mental state. Like how do you feel about hand independence? Do you feel confident about it from within? It's not about how many things have I done, you know? That will always happen over time. So, don't go too much with respect to the goals of a pianist. Like, I want to do this. I need to do that. Not really. Just go with the process which you enjoy. So, I hope you enjoy this music and this riff and whatever I've composed in this lesson. Just keep at it. It'll come. And once you get this, you'll have the confidence to play actual songs, actual compositions of yours or just exercises which you jam on or improvisations. Right, guys? So, before I leave this lesson or this part of the four-part series, I wanted to talk about a little bit on theory, the plagal cadence. So, if you think about it, these are, this is a four of the E major scale or the E mixolydian scale and it's resolving very well in this plagal amen in this four to one. Very, very, very rock and roll, very rock, very, it's been used. You must have heard this already. Now, what you could also do is transpose it and see how many scales you can play this on. Like, you could do and then you could try this out on the key of D major. What is that? That's the four of D is G and then go to C major. What's the four of C? F major, C. By the way, I'm playing it in this rock context would be to not change my bass. Just keep E as the pivot. So, actually you could call this as an A slash E or a slash chord. So, keep your E pivoted for the most part and then slowly weave in the riff which is also a drone of E. Then when you go to D, you transpose the whole thing to D and you move your chords also to D, D, A, C, D, D, D, A, C, D. So, what's the plagal of D guys? It will be G to the D and it's a nice movement. This is like a verse or a section of a song. Maybe B flat, A flat which is F sharp. You can just practice all your scales. You can even play around like you can keep this same thing on E and do plagal cadences irrespective of E. Like you could do could do G, D and it adds a very ambient or very interesting vibe. So, another way to remember the plagal cadences is using the circle of fifths. If you take C's neighbor, counterclockwise neighbor, that's F. If you take E's counterclockwise neighbor, that would be A. So, that's exactly how the plagal cadences happen. A to the E, G to the D, F, F to the C and so on. So, the plagal cadences should make it sound like an entire product, a finished section, a verse or a bridge or a chorus or whatever it may be. Right guys? So, in this part we've taken the riff. We've now, we've played like a very quick change chord movement here which will train our inversion knowledge and our hand independence. There's some serious hand independence going on. Right? And then you play around with it rhythmically if you want to improvise and then explore other plagal cadences. Right? So, moving forward we are now going to go on to variation four which will be a lick which I have composed a fusion lick like basically this one. So, we now move into the world of 16th note semi quavers with accents, with fusion, with the same old bass riff. We're going to realize very, very quickly that this bass riff doesn't get easier and easier as you keep adding stuff there. It'll have to stand the test of time like a serious pillar like sound. Hit that bell icon, it'll give you an update when the next part is released and whenever any video is released. You could also hit that subscribe, give us a like and leave us a comment with something you'd like to learn in the future. Onward to part four.