 Hi guys this is Jason Zach from Nathaniel School of Music. In this lesson we are going to basically look at how you can take simple arpeggios and how you can get them to create a lot of impact and improve the emotion which you want to convey to your listeners of course. So along with learning these arpeggios we are going to do them in two time signatures with a lot of variations and I'm going to teach you an interesting chord progression compared to you know how arpeggios are generally taught which is sometimes just one chord or a 145 or a 1564 even I have gone through a few lessons with just the usual cheesy pop stuff. In this lesson we'll take a nice progression as what you heard in the intro performance. So I'll teach you the chords first then I'm going to show you the arpeggio pattern and what makes it unique what is a general logic and the goal here is we will give you a few variations but you also have to have the technique to develop your own after this lesson is over and that's also my hope with this lesson. So before we get started with the lesson it'll be awesome if you could consider going to our Patreon page supporting us for a minimum of five dollars a month and you get all my handwritten notes, staff notation, backing tracks and MIDI wherever applicable and you can also feel free to hit that subscribe button and turn on the bell icon for regular notifications so that you don't miss a single video which we have in store for you. Let's get cracking. So the chords first first chord is C minor now I'm going to show you this in three different shapes just so that we get a good chord workout as well and if you wish you could pause the video get your keyboards out and learn with me you can play along with me in this lesson I'll be slowing it down and you'll see the learning angle as well which will be quite helpful as well as the notation so you go first chord C minor I'm playing in a lower form starting with G C E flat so C minor second chord would be A flat major and all I'm doing for that is moving my thumb up to play A flat and moving my left hand down to play the root A flat C minor A flat the third chord is F minor sixth you could also call this as a D minor seventh flat five so an F minor sixth and a D minor seventh flat five are cousin chords they are the same notes basically but they have different personalities so this would be the F minor sixth chord how do you form a minor sixth it's a root the minor third perfect fifth and the major sixth the minor sixth has a major sixth on top so you to keep that in mind and this could so easily become a D minor seventh flat five you just have to play D in the bass there we go becomes a minor seventh flat five which is a which is a diminished chord actually okay so let's do the three chords again in this voicing C minor A flat major F minor sixth and then I like this voicing of G seventh it's a rootless voicing in the right hand you don't have the root but you have the root in the left hand so F B D so that's seven flat the three and then your five and it works well on the fingers I think your hand will be just in this region let's do that again four one two three now bringing my middle finger into play and playing that D with the F bass and now dropping my index to B and bringing my thumb to F or you could do it with other fingering if you wish these are just what I'm doing and A flat I'd like to use my ring on top there for some reason middle and then bring back your ring if you want for the last chord now you can play these chords in different shapes so let's try them out starting from the root position of C minor so that would be C minor A flat major which is just moving the ring finger to A flat A flat major now here's where you could have some fun you could do C D A flat which would be that same F minor sixth in this way C D A flat or check this out what if you wanted to make it D minor seven flat five bring in the other cousin then you don't need the D in the right you don't need the D in the right hand because you already have D in the left hand so you can play an F minor in second inversion in the right just keep the F there C F A flat if you want a D in the bass or if you prefer the F in the bass you can do C D F so so far we have C flat G C E flat E flat then I'm doing C D E flat or I could do I could do a D bass and then play C F E flat and then the last chord would be a G seventh which I am playing trying to play without the G D F B without the G there's no G so that's D F B and then let's do it again you can even play G seventh like this can play a B diminished in your right hand or you could just do it as D F B that's a nice way okay and now coming to the third voicing strategy you can do E flat G C like this or like this you could finger it E flat G C then A flat major E flat A flat C and now I like this shape especially when you're playing a D in the bass this would make it a D F A flat C D minor seven flat five or if you wish to do F in the bass you can do you can avoid the F and do A flat C D or D A flat C and then G you can do D F B or you can even suspend it if you wish it's a nice shape to play that makes it quite choral in nature you can hear each voice moving well so let's play that voicing again D minor seven flat five and then the other voicing root position A flat C E flat A flat in the right and then you do love this voicing C D A flat with an F in the bass you could do a sus and then resolving and then the original voicing which I showed you G C F flat A flat C E flat now F in the bass A flat C D F B D one more time G C E flat C minor A flat C E flat A flat major A flat C D F minor sixth F B D G seventh okay so that's about the harmony that's about the chords and so on and so forth now coming to a very interesting arpeggio concept which I think will benefit your playing so let's just say you you want to play this stuff all these four chords which you've learned now as arpeggios so what would be a normal thing which people do you can either go one by one starting from the top it's a nice way or you could go from the bottom and just play the arpeggios in a kind of smooth manner this works very well but a nice way to add impact especially to ballads rock songs and anything you want to to add some bite to where you want the piano to really stand out would be to just continue to do whatever you're doing which is let's start with just high I'm calling it as high middle low middle and we're taking one chord just C minor for now high middle low middle high middle low middle now while we do this check this out the first hit I want to have an impact or rather I want to have an impact at the downbeats so I will play the extreme notes the low note and the high note together only at that one point so and then it continues so I could choose to do or I could choose to do LMHM still but L with a H and then what I like is high middle low middle it makes the one stronger you don't even need the left hand there we go so it's almost like a chord played in block style and high and hybridding with the arpeggio it's a block with arpeggio going together hand in hand and why are we playing block to just add the impact at the beat one there we go impacted beat one clearly right do it for all your chords only at beat one I'm doing it now at beat one and beat three which I think is cool or you can just do beat one only at one you can feel only one standing out isn't it you could do it at beat one and three one three one depends also how you count it if I count these as 16th notes one and two and three and four and maybe too long so then I could do one and two and three and four and one and two and three and four if I count this as quavers or eighth notes one and two and three and four and one and two and three depends on how you count it I guess the faster you play I guess you go into the semi quaver or the 16th world and the slower you play you go into the eighth note or the quaver world quavers you could say okay so if I do quaver stressing at beat one only one and two one and two so only one might be a bit boring now that we have a fair grip on this technique let's do beat two and even do beat three most people will do one generally with this technique let's do one and three if you do one and three it goes with the pattern also or you could just do one and four four you can pretty much do any beat but now you need to be a bit clever so let's say you're doing only beat one and beat four one and two and three and four and four so you have to keep in mind at four I need to play this dyad or the block of two notes so wherever you want to phrase that particular chord or that arpeggio pattern you can then play a dyad one two three four one together one two three together three four so now I'm doing three and four three it's an easy way to add stress to any beat and why stick with just beats you can even do sub beats so sub beats would be maybe the end of the two you can start focusing on the end of the two check this out so I'll stress on the one and the end of the two so one and two and three that's the end of the two one and two and three and four one and two and three and four we'll do one and the end of two one and two and three and four one and two and three let's see how that goes now so one and two and three and four so you'll have to reorder your arpeggio bit it'll be impact impact and what is no impact so an impact in the arpeggio is where you play two notes together no impact is where you play one note at a time okay one and two and three and four and one and two and I'm whacking it together and four slowly with our chords again and why not also stress on the four you get a nice thresio what we call a stressio four and and and and four one so let's not just focus only on four by four I have some three by four also for you and let's see how far this can take us this idea of impactful arpeggios so if you do this over three first of all one two three one two three and if we divide that three depends on how we divide anything really anytime signature has beats one two three and sub beats so it can be one and two and three and one and two and three and or it could be one and a two and a three and one and two and a tree and which is dividing the three by four sub divisions you could also have a three by four where you divide by three one and a two and a three and a one and two and three and so the division of a beat has nothing to do with the time signature it could be three by four could be five by four or whatever the time signature is a very human-made construct while beat division is maths at the end of the day. So, let's look at a 3 by 4 arpeggio with dividing by 2, 1 and 2 and 3 and 1 and 2 and 3 and and 2. So, it feels natural in this arpeggio and 3 and that the high note or the high point of the chord visually is at the 1 and 2 and 3 and why not look at that and add one more to that party to the high note. So, anytime you play the high you could consider adding the low with the high and that creates the dyad. So, this is a 3 by 4 arpeggio normal without the impact 1, 2, 3, 1, 2, 3, 1, 2, 3, 1, 2, 3 with impact 3, 1, 2, 3, 1, 2, 3, 1, 2, 3. So, let's try some more 3 by 4 stuff maybe a pattern like this 1 and 2 and 3 and so I'm trying to also highlight the end of the 3 you could also kind of complement that impact in your left hand as a base makes it a bit more aggressive or stick with the pulse 2, 3, 1, 2, 3, 1, 2, 3, 1, 2, 3, 1, 2, 3, 1, 2, 3, 1. It's the same strategy used to create the impact. Now, if you go to maybe another division of 3 which could be 1, 1, 2, 3, 1, 2, 3. Now, I'm dividing the 3 by 4 into triplets. I'm dividing each beat into triplets, right? So, give that triplet an impact. The other divisions of the beat could also be highlighted 1 and 2 and in that case the end of the 2, 2 and a triplet. Check that out. 3 still walls, 2, 3 or Indian walls if you think about it. So, think of which beats you would like to highlight in your performance and to highlight it you have just this simple idea of adding a dyad instead of playing a single note and just before I conclude the lecture it'll be nice to see how you can do this on other time signatures. What about 5? 1, 2, 3, 4, 5. 5 by 8 arpeggios are a lot of fun and it'll work really well with this technique. In fact, I learned this technique while trying to play arpeggios for odd meter or odd time signatures. So, if I take 5, you have to use this technique. It's almost mandatory, right? So, hit, hit, hit means impact. That gives me that 1, 2, 1, 2, 3 vibe. You can flip that around and do 1, 2, 3, 1, 2 and this sort of energy created on the piano is great in an ensemble like a band or a choir or any group setting because whoever is playing with you will feed off your sort of portrayed accents of importance which are whatever you project forward is what everyone's going to end up playing. So, the strumming pattern of the guitarist will change because of what you're doing or the guitar player will have no other choice. So, if you are propelling this idea forward then you're kind of the leader of your pack, so to speak. They all have to follow you or they might have to propose something else because you've made your part extremely obvious and very impactful as opposed to just the usual cyclic arpeggio thing which everyone do. Okay, that's 5. What if you want to do, what's next? 7? So, takedemi for takedown. As you can see I feel more at home with this because I learnt this technique with odd time not with even time with even time or four by four time I was just playing the usual run of the mill arpeggios right guys so just to conclude let's boil this technique down to just it's really it's micro properties which are now if you take a chord let's pin ourselves down to C minor now if you want this impact another way to look at it is look at your music in sets or groups of two of three and four just tiny sets of these three numbers if you take sets of two and you want to create impact there we go two packets of two if you want to do sets of three and create an impact arpeggio here we go you want to do sets of four and create an impactful arpeggio if you put that together you'll realize that two meets three is not a big deal one to one to three and similarly when we learnt it in the four by four world if you took it if you took the thresio you could look at it as three meets three meets two so you have a kind of a rhythmic figure for two for three for four three two this will allow you to I mean every time signature will be possible in this sense and time signatures when you look at five when you look at seven don't get scared of the big number see how you can arrive at five or seven or nine or 13 just using smaller numbers for example what plus what equals five two plus three even three plus two equals five now that for music is different two plus three is five three plus two is five it's different because what is that two and three those are time units isn't it so time is two time going to three time that's less more versus more less that is different because music is focusing or functioning almost mainly with the time axis in mind the time axis is moving forward right guys so that was the lesson we took four amazing chords C minor A flat major F minor 6 also known as it's cousin chord which is D minor 7 flat 5 and then that nice heavy weighted G 7th voicing which is used a lot in songs like moonlight sonata which you must have heard it's a lot of impact so we took those chords we learnt it in three different voicings three different shapes the notes are available for you to download you can check it out and then what did we do we looked at an a way to create impact arpeggios as I'm calling it an impact arpeggios where you play a run-of-the-mill idea whatever you normally do but you add impact by adding a dyad to the structure and at the end of the day we have three impactful arpeggios which are in twos which are in threes and in fours that's the lesson pretty much right guys all the notes are available on our patreon page and if you like the lesson do consider hitting the subscribe button and hitting the bell icon for regular notifications it would help our channel go a long way thanks a lot for watching the video and do watch similar related lessons which we've curated in our descriptions in our end screens and cards and everywhere else in this video portal we've done a lot of lessons on hand independence on arpeggios beat division rhythm training in general so please go through our youtube channel and browse and see what you enjoy cheers and if you so please feel free to go through our youtube channel and browse around and if you'd like something more structured where all the notes are written in a book format by me you can consider going to Nathaniel school dot com and heading over to our members only section or doing a course with our school members only section will have structured video courses and you can also do a course at our school and learn with me or the other incredible faculty at our school who do guitars who do vocals and drums and so on and so forth right thanks a ton for watching the video catch you in the next one cheers