 Hi guys, so welcome to the next part where we are going to continue onward with our exploration of the six eight feel or the six rhythm pattern. So what we did earlier was just visualize it as triplets or else as divisions of two of a three beat per bar kind of a song. What we are going to do now is just look at accents a bit more and also try to build a few unique patterns, try to make it our own sort of own it and make a song using it if you will. So the first thing is let's look at a few accents. So if we divide six by two equal pieces, you're going to get simple triplets. So there are no accents as such because it's very even accents happen when there is some unevenness and that creates a little bit of syncopation. So the first thing I'd like to share is a busier six by eight feel what I call the busy feel. So there you group the six eight as twos and fours. So you do two plus fours, there'll be one two one two three four, one two one two three four, one two one two three four, one two one two three four, right? It sounds a bit weird, doesn't it? It doesn't sound as natural as one two three, one two three, one two three, one two three or one two one two one two one two one two one and two. All of those sound very normal but when you say one two one two three four one two one two it just doesn't feel normal but sounds quite beautiful. Let's try and get a get it going on the piano now. So you go so this is your chord again D minor. Again I am playing D minor with the top note copying the bottom note that gives you that it gives you a bigger sound it gives you more options for your arpeggio and it's just what's there when it when it comes to a six eight kind of a feel okay. So you go this is how I would play a two four busier six eight feel you do one two one two three four one two one two three four. So what am I doing there I'm kind of not going fully down initially not going all the way down I'm going one two and repeating one two three that creates a very unique accent one three four one two two two you're sort of stressing the note not at the predictable point which is at now it's uneven. So just try focusing this on the D minor chord maybe play those accents in your bass okay then you can proceed towards the other chords right so that's another way you're doing six it's sounding a lot more busier and a lot more forceful a lot more aggressive I guess quite like it little more to think though because it's not even isn't it two and then the four another thing you could do with the two fours you could complement it with the left hand by just holding your ground and playing normal steady triplets two three one two three I'm just keeping a three going there you know two three one two three assuming it's a three four one two three four one two one two three four okay and to make this a little bit lazier as I guess it feels like to me you do four plus two so you do one two three four one two one two one two three four one two one two how did I do that I come all the way down one two three four one two and then you do the two so you sort of invert what you did earlier now so one two three four and what's also happening is it's creating some very interesting accents which could also inspire your melody line and make these chords sound very very unique like the chords itself are becoming a melody in this case right and keep that three going in your bass that'll also complement very well oh sorry that was the busier one let's do the lazier one one two one two three four one two almost like a swing feel tang tang tang tang and so on so that was your two four or your four two feel the two four makes it a bit busier the four two makes it a bit I guess lazier if you will I'm just putting names to this very very unofficial but it just feels like that to me when I practice it so again we've taken six beats in a phrase or in a cycle but we've grouped it unevenly in the earlier part we grouped it in threes or twos now we've grouped it two plus four four plus two and as you may know if you know your maths two plus four equals six four plus two equals six and we are still in the six world right guys so now that we've explored the busy and the lazier feel let's look at growing our accent vocabulary but instead of taking a cycle of six we are going to sort of double that into a cycle of 12 or two cycles of six if you want to call it that now when you do a cycle of 12 you have more options you can use some odd number groupings combine them with more even number groupings as you saw with busy and lazy you could combine four and two and two and four together but those are even numbers with the bigger cycle maybe you do a cycle of 12 you can do you know the odd number groupings like maybe we can try five plus four plus three what is that five plus four equals to nine nine plus three equals to 12 which is still two sets of six or six twos are 12 right this is a maths class also by the way anyway so you if you want to build five on the piano what you could try to do so try to count five one two three four five and figure out the kind of a pattern anyway you have your four notes but now you have to add one to make it five isn't it one two three four five one two three four five so i think i kind of like that for now one two three four five starting with the pinky on the top now after doing five i need to do four one two three four five one two three four one two three four and then one two three where i'm starting from the bottom so that three is from the bottom so maybe practice each of it separately and then piece it together it's your five four three okay of course you can't do it with gaps otherwise it won't actually give you that 12 set or that six feel over two cycles three four five one two three four one two three four five one two three four five one two three four one two three so it's as you can see it's very irregular kind of tough to play also isn't it because it's not you don't move with the pulse your piano is doing all sorts of things but this could still be pulsed out because it's it's still three if you think about it one two three four one one two three four five one two three four one two three one if you count if you snap your fingers you could actually do a normal three you can snap like that you know so you can get some kind of a regularity with your other hand with your left hand to simulate a pulse of your choosing okay okay for starters however let's just maintain the accents just to show you one two three four five one two three four one two three change and then you do the G and it goes on and on over this phrasing fine so all you could do something consistent right but for starters maybe you don't want to do too much with the left hand otherwise it creates too much of confusion because your right hand's already doing something odd yeah so that's another way to use the six feel where you take it over two cycles and then do different accent groupings in this instance I've chosen five plus four plus three which still equals to twelve so eventually it feels the listener will move the listener will move to the pulse but you're presenting something unique which they can remember your song by what I wanted to end with in this series is to kind of show you how you can make a melodic pattern as well using a six eight feel and what I'm going to do for that is just take a chord the same chord D minor you don't have to play the octave as well you can just take the same triad DFA and add one note to this which is a non chord tone okay so a non chord tone with D minor could be E E is still part of the scale though right it's still part of the the scale in which all these four chords came from but it's not a chord tone it's not part of the D minor triad so you could do E as your fourth note remember for this whole six by eight discussion we used four notes instead of the usual triad which gives you three so the fourth note I'm going to play right now for you is that and let's try a six over that right so in my opinion this starts sounding very very unique and it's like it's not really just a pattern to accompany the melody or the singer it's something where you are trying to actually play something rememberable on your own and very melodically at the same time harmonically so if you do or I'm just adding a B flat there a B C E G or quite like that you're like not playing the F at all you're just playing two non chord tones the sus two the sus four and the perfect fifth so maybe you could experiment F major C major G major explore different options so you have a ton of options now so essentially the the tip or the suggestion I have for you all is you take a chord D minor you add a non chord tone example E G B B flat stuff like that and play them so you have three triad notes D F A and you have one non triad note in this instance E or in this instance G or B flat C stuff like that and again you weave that together in your arpeggio going up down or down up and it creates a very very unique sounding thing right and you don't have to keep the thing going in a very very busy manner right to you can also chill out a bit with your arpeggio by just doing just stopping there here and there just stop and still then you can go back to something else so it's a nice world to be in and if you have a song which you're composing over this feel you have a lot of creative possibilities especially if you like playing arpeggios right so that's how I've sort of structured this two part series in part one we looked at the traditional way to feel the six time over triplets of four or two or over eighth note sequences of three and in this part we've looked at ways to make it busier a bit more different using accents a lot more unique using irregular groupings odd number groupings of notes and we've also looked at creating unique patterns by looking at different chord tones right guys so I hope you found this lesson useful and if you haven't already please subscribe to our youtube channel give us a comment stating anything you'd want us to cover in the near future and what else can you do share the video with your musician friends thumbs up all those nice things right so as always see you in the next lesson we'll be doing more very very soon coming your way have a good one cheers