 Hi everyone, welcome to part 3 of this series on how to basically make your chord progression stand out from the crowd using various techniques. In part 1 we looked at dynamics, various kinds of staccato, legato, interplay, following the drummer which is very very important. In part 2 we built a super cool melodic bass line which I hope you have learnt if you haven't already head over and learn part 1 and part 2 and come back to part 3 which will be quite nice and will be a nice flow for your learning. So what you heard me play in the intro video which was very different than the earlier renditions where I kind of just played ta ta ta ta with my right hand. Now I kind of added a few more things, I did something like this in both my right hand and my left hand. In some cases I would have also made my right hand just to play what it used to play and let the left hand do all the magic. Not necessarily a bass line but just with the roots. Just a groovy drum like pattern. So what I am doing to kind of take this chord progression to the next level is to just think of the time feel in which I am in. Now time feel is just the way I understand the beat being divided by. Now a beat could be divided into any amount of units. In this case I am trying to look at two time feels or two time division worlds. One would be dividing by two and swinging the division. So that will be something like dum pa dum pa dum pa dum pa dum pa dum pa dum pa one and two and three and four and one. So even though you are playing with seems like quarter notes or on the pulse internally it will be nice if you can feel the eight notes which could be ta ta ta ta ta ta ta ? oh you can even feel eighth note triplets which will divide the pulse into three units. Ta ba da da one triplet, two triplet, three triplet rate, ta da da da da da da da da da da. Let's see how that works. So even though I am playing the default option I am imagining either tata tata tata which is swing tata tata tata tata tata tata tata pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa into my playing with my two hands and try and bring some of that which is already in your mind onto the piano. Okay and this is where it starts sounding really unique to your own personality or your own style or your own human approach towards playing the piano because no two people are going to play the same thing on the piano the same way due to its dynamics. One or two of the things you decide to play will be longer than the other player. One or two or maybe more things which you decide to play will be shorter or longer or louder you know than the other players who are playing pretty much the same thing. So you need to basically exploit that and as I said in part one kind of defeat the computer or the world of these programmers who we call them programmers for some strange reason even though that should happen to software or coder people but a music programmer well the way they input notes is sometimes a bit funny because they just use this pencil tool in a DAW software which may not which is not how piano which is not how the piano should sound so that's another point I would like to convey hopefully through this lesson series is if you are a music producer and you're you have a you know sort of a working piano knowledge I'd rather you improve your piano playing you know than improve your programming skills because you can do it a lot faster and you can do it with a lot more you know character if you will okay. So now coming to the time field bringing those on to your instrument so if I go back to our default forget about the bass line in this part the bass line earlier was we developed a very cool bass line so head over to part two and watch the bass line if you haven't already but we're gonna bank that for a while and just keep a simple bass just do this first F A flat C E F okay okay and the first approach will involve occasional broken chords in the right hand let me play it and then demonstrate feeling that so the the beat which I chose to break it was two three at beat three I wanted to divide it into two but swung because this entire time field is swung three and four two three and four one two and three and four and one and two and okay how am I getting that broken feel and how am I getting the eighth notes after having broken the chord basically play together okay one two three and four so that three beat gets the it takes these three notes of the chord and breaks them up one two break so how do how am I breaking it again I'm taking the extreme notes the low and the high note okay and then playing the middle one out in out out in out if you'd also like you could do and take the top two notes and then weave it with the bottom note both techniques out in together out in out together together out in out I'm just choosing beat three for this part but you can do you know what did I do that I broke the beats up or I divided the beats at beat two and three one two and three and four one two and three and four one two and three and four one two and you can do it wherever you want but I'm just going to stick with dividing at three with the bass so anyway you had that time feel in your mind one and two and three just bringing some of that out onto the piano okay the other thing you can do is triplets but for triplets maybe you could bring in an arpeggio something like this so I would prefer something like this hit arpeggio hit hit arpeggio hit why do you need an arpeggio because it's three beats in this instance I'm trying to divide the beat by three getting that triplet vibe so triplet triplet triplet triplet triplet try getting that you can even play the arpeggio with a little bit of a broken feel or you can just do full-on triplets it's a nice vibe all beats are divided into three going back to swing divide by two swung or just do it at three and so on so that's about broken feel or broken chords in the right hand now there's another thing you can do in your left hand by keeping your right hand pretty much the same as what it used to do at the very beginning of the lesson but the left hand can now look at adding what's called as ghost notes okay which are soft bass notes which just add flavor and again bring about the time feel of the song which in this case is either swing or triplets okay I'll play it and then teach you so I'm doing something like right you can even swing it like that or or instead of doing that I'm doing right so let's just try and do it with just one chord and then you know embellish it with the others so this is the rhythm triplet rhythm one and a two and a three and stick with the C so the ghost notes are essentially C obviously the this is the main note this is the octave ghost and this is the fifth ghost so these are also to be played a bit softer you could just stick with C even C for the second chord C doesn't sound great for the F chord so maybe you can drift to F so just C and F right another thing I like you can get that triplet feel or that time feel with just your two thumbs of the obviously the right hand thumb and the left hand thumb they work together so you can then just do octaves in the left one triplet one triplet one triplet three sounds a lot more rich right a lot more notes a lot more dynamic as opposed to maybe the earlier version earlier versions also great but this adds a more you know epic character bringing back the epic vibe track your snare drum maybe this could be like an alternate part of the song this the other part which is bass ghost notes maybe just stick with right hand broken so you see all these opportunities are there you can do left hand ghost notes you can do right hand broken chords with those little arpeggios you can even combine your two thumbs as I showed you which is a kind of a trick I do very often in my music to add to that time feel and make it even more unique if it isn't already right guys so this is about part three where we use the time feel of the song divide the beat either swing it or make it into triplets and then we access those subdivisions which are already in our mind and bring them out on the piano in a very creative unique and sometimes to be honest a very random way and by random I may want to replace the word random by human because that is exactly what you want to do you want to develop your own voice on the piano just like how your own normal natural speaking or singing voices the same thing will happen on the piano if you approach it this way you know if you approach it with the intention of playing creatively and playing with freedom so this is about part three we are now going to head over to part four where the chords and their different voicings are going to be used also known as inversions we are going to look at how we can also build some some really nice themes okay so work on part one part two part three head over to part four I will see you there