 Hi guys, welcome to part 2. So if you've seen part 1, which I hope you do, do watch that the link will be in the description. What we did there was we basically looked at the same exercise which is going up and down the C minor scale, E becoming E flat, that's how you get your C minor, first 4, first 5 notes and we interacted our two hands using beat division. So beat division by 2 would imply, you know, 1 and 2 and 3 and 4 and beat division by 3 will imply 1 and a 2 and a 3 and a 4 and a with the pulse of course and for the most part I think we did the lesson at 90 beats per minute. So if you take just the pulse, it would have been divide by 2, divide by 3 and divide by 4, right? And then we looked at different coordination, different coordination systems between the two hands. One hand plays faster speed, double speed, 3 speed or 4 speed while the other hand will play the pulse and then you flipped your hands. Now moving forward, I'm going to explore something called as the dotted time feel or the dotted note feel, okay? Just to give you a sample of it, if this is the pulse, it'll be something like, right? Very modern pop if you ask me, you know, very EDM, very disco, that sort of a vibe. So to get that onto the piano, so first of all, a little theory behind this dotted thing, you're dividing the beat into four units. So if you take 1 and a 2 and a, this is how we divide by 4, a 2 and a 3 and a 4 and a, what happens with the accents will be you have to divide this division into parts of 3 or you accent it in 3 even though you're dividing by 4. So 1e and a 2e and a 3e and a 4e and a. Now naturally, you'd want to 1e and a 2e, you'd want to play like that. These are all the downbeats. You're dividing this division, which is 16th notes, you're hitting 1 for every 4 16th notes. But that's not sounding groovy, right? Quite lazy. So what you do to generate the dotted feel would be you package it in sets of 3. So that'll be 1e and a 2e and a 3e and a 4e and a 5e and a 6e and so it just goes on and on to a point that you don't even know what time signature you're on to be honest. So maybe you could say it's a 3, 4 which keeps resolving but even if you don't know it, it becomes a kind of a feeling, a dotted time feel which will be 1e and a 2e and a 3e and a 4e and a 2e and a 3e and a 4e. And what's really cool about this is it is enunciating all the 16th note hit points and never repeating them, you know, at least in a sequence to show you slowly 1e and a 2e and a 3e and a you saw that all the four unique syllables 1e, a 2e and a 3e. All that happened together. So that's the beauty of dotted notes. A lot of rock bands use it as well. If you look at U2, the delay of the guitar, it's also called popularly as the edge delay and that's exactly the dotted feel. So basically you're taking a time unit which in this case is 1.5 times the beat value and repeating every delayed note or next note or next occurrence by 1.5 times the value and that is essentially what a dotted note means in music. If you take a dotted minimum or a dotted half note, it's going to be the note which is a minimum which last two beats and the dot adds half of that note's value. So if you take 2, 2 plus half of 2 is 2 plus and I'm confusing myself with this maths. But anyway, 2 plus half of 2 equals 2 plus 1 equals to 3. If that doesn't make sense to you, it's okay. A dotted minimum has three counts. So it's always 1.5 times the note value. So if you take a dotted or a dotted quarter note, that'll be the crotchet plus a dot. That'll be 1.5 counts for the note. However, for this lesson, we are trying to look at a dotted eighth note. So that means it's going to be 0.75 times of the beat. 0.75. Well, that's a little annoying to take in so much. I understand if you're not a maths person, but it's very simple. Take an 8, 1e and a 2e and a 3e and a 4e and a and package it in accents of 3. So 1e and a 2. Let me try and tap those accents here. 1e and a 2e and a 3e and a 4e and a 3e, 1e and a 3e and a 3e. Having something like this, a shaker will really help you to feel this music. We've done a lesson on how to play the shaker. So it will be in the description. Check it out. There's a lot of technique used to play this. It may not come to a lot of you naturally. So do watch a video. We've done this video on basically how to do this, how to play a shaker. It's not as easy as it seems. There's a lot more variations going on. So watch the lesson. So you go 1e. So you have to now feel this. You have to internalize the 16th note thing in your head because I want your left hand or whichever hand starts first to still play the pulse. Let's do that with a click on 90. Okay. Now, while this is happening, you need to feel the 16s. So that's what I was doing earlier, right? On the shaker. Now, the dotted. Okay. That's just me trying to get the hits out with my voice, right? Do some wannabe beatboxing. But now you can try it out on the keyboard. Start with one note. Okay. So 1e and a 3e and just sounds awesome, right? You can do this for hours. It just sounds really cool to maybe you could just play a chord. But now coming back to the drill at hand, you need to do that. This is really weird, right? I'm singing something completely off the left hand's radar, but they work together because of the maths which unites the two hands. So it's just 1.5 times faster, this hand or yeah. So, this is really weird, right? I'm singing something completely off the left hand's radar, but they work together because of the maths, which unites the two hands. So it's just 1.5 times faster, this hand or yeah. So, okay. Let's go back to the pulse in the bass. There we go. Finally, they overlap. You know, it took so long. Again, that was a long amount of notes per cycle, but you need to feel these dotted notes. So let's try that again. Pulse in the left hand. Well, now we can, let me flip it around. Pulse in the right hand. This is also what a lot of drummers do. I've pretty much learned this from drummers. Whatever they used to do with one limb versus the other limb or maybe one limb with one foot, they'll start flipping it around. And that's what makes for very good solid, rock solid practice. So now you have to do dotted in the left. And it finally unites and overlap, right? So that's the dotted feeling. So again, in a nutshell, you're dividing the beat by four units, four equal units, but then the way you're accent, accenting the subdivisions is different. It's not one and a two and a three and you're going one and a two and a three and a four. And so on. Right. So in a sense, this dotted rhythm is almost like its own pulse. You know, it's almost like this is the way you're feeling the music. And I would love to do another lesson on just the dotted rhythm because there's so much to talk about how you can integrate it into any time signature and kind of really shape the song the way you want it to. Okay. Or just add it as a flavor to an existing piece of music. Okay. So that's about the dotted rhythm. And as you're supposed to practice, one hand will do the pulse, either the right or the left. And while one hand is doing the pulse, you need to work your dotted magic with the other hand. So again, dotted in a nutshell, basically is adding 1.5 times the value of a particular note. And it's always kind of landing on the odd divisions, because if you have something where you're dividing by two, and then you do the dotted rhythms, it's going to not do that, that, that, it's going to be that, that, that, that, it's always going to go against the existing divisions. And in our example, if you divide by four, one year, one year, four year, right, it's always against. So it's a little tricky. If you haven't watched part one and digested that, try part one first and then come to this very important. Okay. So that's about our dotted, Another thing which I'd like to suggest would be triplets. Now, in the earlier part, I talked about eighth note triplets. Eighth note triplets divide the pulse into three units. Da-ba-da, da-ba-da, da-ba-da, one and a two. So we ended up doing that. Ta-kitcha, ta-kitcha, right? Now, imagine that, imagine the division. Ta-kitha, ta-kitha, one and a two and a, but now don't play all those divisions. Don't play ja-ja-ja-ja-ja-ja-ja-ja-ja-ja-ja-ja-ja. You wanna do lesser. So one and a two and a three and a four and a one and a two and a. So this gives you like a polyrhythmic feel or what we call popularly as quarter note triplets. Because quarter note triplets divide the minimum or the one, two, three, this. One, two, divide that by three, okay? So if this is my main beat, which is now slower, okay? You're getting that triplet. This is called as a quarter note triplet. Let's compare this with eighth note triplets. Quarter, doom, pa-pa-pa, pa-pa-pa. If you're an Indian student, you'll recognize this a lot in folk music, Bollywood music, doom-ta-ta, doom-ta-ta, doom-ta-ta, doom-ta-ta, doom-ta-ta, okay? So that, okay? So this is what we call as a quarter note triplet or like a polyrhythm of three meeting two or two meeting three. So the goal for us now is to try and get triplets, quarter note triplets. In the last video, we looked at eighth note triplets. So we have to get quarter note triplets in one of the hands and the other hand will do the pulse. So if I maintain that, this is just two notes, C and C, then play the pattern in the left. So triplets, ta-ka-ta, ta-ka-ta, then the exercise. Feel that triplet, ta-ka-ta, one and a, two and a, one. So you're dividing by three and you go one and a, two and a, three and a, four and, okay? And of course, you can flip the two hands around. So you go, you know, pulse in this particular hand. First, perhaps get the two hands working with a singular note, maybe C. Now the right hand's doing the pulse, triplets, yeah. That was quite a workout even for me, as you can see by my expressions, because it's a job. Whenever we play triplets, there are so many ways to have fun with it. And when you have so many patterns and so many permutations to kind of flip your brain, especially as a pianist, is always tough. At least for me, at most levels, it's tough. If you want your left hand to do that, right hand to do that, it's a job, okay? So moving forward, what you could also do is, you know, do all sorts of combinations of your two hands. You can perhaps look at eighth notes in one particular hand, like, you know, and do try a dotted feel in the other hand. So yeah, one e and a, two e and a, three. Remember the dotted, which we did at the first part of the lesson. And we wanna do eighth notes here, one and two and three and four and one and so on. This will make sure that things are going to go absolutely crazy. And the challenge of this exercise, which I found while doing it myself, is you just cannot change the melody. The melody is, sa-re-ga-ma-pa-ma-ga-re. So that's the thing which kind of really messes with your head. It's not the two hands, actually. It's also the melody, because you're feeling the melody in so many ways, you know. The same melody which you do every other day is just starting to sound different each time. That's what messes with the head. It's not the hands, in my opinion. It's the tune. It's the sound of the tune. So whether you like it or not, your ears are always working as a musician. So these sounds will hit you. You need to embrace it. So don't play the piano like a dummy, as I say. That means use your ears at all times. I understand some of you read music. You can stare at the notes. Some of you, you know, would watch a YouTube video and it'll be like so well organized. It'll be slow, steady, you know, and you do it with that particular video on YouTube. But the most important thing is you need to be wired to this music. You need to be naturally playing it and enjoying yourself through the music. And the enjoyment is also a function of one's confidence. So when you're showing that passion while you play the music, it means that you know your stuff. It means you've practiced. You're not hesitant. You're just looking at it like a normal music lover or a music fan. Okay. The last variation for this lesson would be accents again. But now I'm just gonna give you one so that we can dive in a lot more into the subject in future lessons. But accents now, if you divide by two, let me just divide by two in the right. We did this last video, right? Dividing by two. But now, divide by two, but accent in threes. What I mean by that is the speed of your right hand will be double of the left hand, but the accents are in sets of three. Let me show you that. One and two. But that's dividing the click by two. So you feel, oh, it's three, but actually it's dividing by two, you know? Two and three. One and two and C, dividing by two. One and two and three. So normally we'll go like that. Now we're doing. And now of course, the Herculean task of putting this all together with the pulse, right? And now divide by two. Divide by two with the accent. There we go. The music just changes over its head, doesn't it? Left hand pulse. And then of course, you can flip the two hands around. I'm not gonna show you that. I guess you get the idea. So in this rather more intermediate finger exercise or finger independence building lesson, we've taken the same set of notes. We've looked at the dotted feeling, where you divide by four, but you go in sets of threes. Then you look at the triplet feeling, creating quarter note triplets by dividing by three, but going in sets of twos. One and a two and a three and a four. That Indian rhythm, the dum, dum, tak, dum, dum. While the dotted feel, dum, dum, dum, dum, boom, dum. Very EDM, very disco. So we've done that. Then we looked at finally accenting. So these are just intermediate variants of the same drill. I would still suggest, go back to part one, do all the variations and intertwine them together. You don't have to necessarily follow a specific order. Once you've done all the parts, you can just piece them together and more importantly, have fun. Start slow. My metronome has been on 90 for this whole lesson. I think 90 works for general practice for these sort of things. But yeah, you're free to just change it around to maybe 70 or 60 or 80 or whatever you find comfortable. You're also free to speed it up. You can go to 100, 110, 120. But like I said at the very beginning in part one, the metronome is just a third-party electronic device. You should not be a slave to the metronome. You should first try to develop internal timing and a clock within you. Once you seem to be good at your own natural timing sense, you then play it with a click and move forward. Right guys, thanks for watching. Again, this is Jason here from Nathaniel School of Music. And if you like the video, do give it a like or a thumbs up, whatever we, you can see there. Share the video with your musician friends. Leave us a comment with stuff you'd like me to teach in the future. And you can also consider being our Patreon member by heading over to the Patreon link where you get all our notes for all these lessons which we put out regularly. And if you find yourself more in the beginner segment of piano learners, we have a members-only foundation piano course very structured from the very basics. You just have to go there and just be a member. So you get this portal where you have a bunch of members-only videos which we've put out part by part, all the way from the basics and that'll be a great learning tool for someone who's perhaps new at the instrument. See you guys in the next lesson. Bye.