Funky Piano Rhythms 1 (The Patterns)

1. Intro: What were you doing in your first piano lesson? I would venture to guess, probably not something rhythmic focused, right? Maybe you were learning, where is Middle C? Maybe you were learning some chords or some scales or something like Mary had a little lamb. Now Zoom over to the guitarists world. Right out of the game, they're learning rhythms, strumming patterns. They're learning how to groove on day one. Most of us pianists, we didn't really get that. Partially, because if we were to try to learn these rhythms, using traditional sheet music, it would end up looking something like this. No cool. Very gross. Even I would have a hard time reading that. It's part of the reason I came up with my own notational system for this type of playing. Now, you're going to be learning that notational system, and you're going to be learning a total of over 25 different patterns. There's lots of variations within these patterns. So in total, you'll have over 25 patterns to work with as part of your palette. Now, why is that important? Well, different songs require different rhythms. And also, we don't want to be forced to be stuck with one rhythm the whole time, right? Now to that point, it's also important that you're able to create your own. And by the end of this course, that's what I'm hoping to encourage you to do. Learn a bunch of patterns and eventually create your own patterns so that you have a stylistic voice, rhythmic voice, all of your own. For this courses project, you're going to have one of two different options. For your first option, you're going to be notating one of the patterns that you've come up with and sharing it with the community so that we can help you maximize its funkiness by trying it out ourselves. And of course, because we're all sharing our patterns with one another, we're going to be able to add to the pool of patterns that we have available to us. The second option is to either take chord progressions or a song that you're working on. Use multiple patterns from within this course or perhaps some of the ones that you've come up with and apply them either to the progressions or to that song that you're working on. Aim here is to make sure that you understand how you can seamlessly transition from one pattern into the next without missing a beat. Now, don't worry, there's going to be plenty of more details within the next video where we fully outline these two project options. And it's my hope that within the community, we can all talk together about how each other can improve these rhythms so that we can become the funkiest piano players possible. So you're going to learn some new notation. You're going to learn tons of new patterns. You're going to create your own patterns. I think we're ready to jump in. Let's dive into the first class. 2. Class Project: Let's get talking about your class project options for this course. You're going to have two different options. Your first option is going to be a little bit more simple, a little bit less committed, and just requires you to write out some patterns. The second option is going to require you to do a video of yourself and submit it playing some of the patterns that you've created or learned throughout this course. Let's dive into Project option number one in more detail. For Project option number one, you're going to select 1-3 patterns that you've created, using the build your own rhythms course as guidance. You can write out these patterns by hand, pencil and paper, and take a picture, or you can submit a digital version where you're using something like photoshop or some other digital illustrator to make these patterns. If you are writing them out by hand, just make sure that you keep it neat enough that I'm able to understand what you're submitting. Also, if you're only using pencil and paper, You're not going to be able to take advantage of the color coded system that I've created. Instead, use a system of your own. Just make sure you give me a legend. If you want one of the dots to represent two beats, maybe it's a dot with an arrow after it. At the bottom, just say arrow equals two beats. That's idea. Now, make sure that you're not just writing out these patterns, but that you're actually testing them out to make sure that they resonate with you and that they do in fact sound funky. After all, a student could just write out a random pattern that fulfills the requirements, submit it, but without checking it, we won't really know how it's going to sound. Once you've written out your three different patterns or completed them digitally, make sure that you upload them to the class project section of this course. From there, I'll be able to give you some feedback. Maybe the patterns sound perfect. Or maybe they need a little bit of an adjustment so that they could sound even funkier. Either way, I will review the patterns and give you any feedback that I feel is necessary. For project option, number two, you are going to be submitting a video entry. I want to start off by saying whatever phone you own is likely good enough to do these recordings, both from sound and video. So feel free just to use your phone. You don't have to submit a cinematic masterpiece. This project is just about capturing you, performing some of these patterns. So let's dive into the details. Let's say you're a songwriter, and you have a song you've worked on, and you know the chord progressions for each of the different sections. Maybe you have an intro, verse, chorus, and a bridge. Each of those sections, I'm going to recommend that you use a different rhythmic pattern. Now, in some cases, maybe the intro and the verse would work really well with the same pattern. But for the sake of this project, try varying things up a little bit more. Once you have a pattern for the intro that works well and a pattern for the verse and the chorus and the bridge that work well, You're going to find it a little bit tough to transition between the different sections and the rhythm patterns that you've selected. That's one of the main points of this project is to teach you how to transition from one pattern into another in a real world context like a full song. You're going to find that some of these patterns don't work well together. Okay. So through process of elimination, which patterns do you like, which patterns are complimentary with one another and work from that starting point. Now, you might not know which patterns sound good together until after you've already tried this. But that's part of the practice you have to put in in terms of finding your rhythmic style and which patterns resonate the most with you. Now in the case of having a song with four sections, that is quite a few sections, and you might find that it's difficult to find rhythmic patterns that all work well together when you have to find that many rhythmic patterns to work with each other. So if you want to make one section a little bit more simple, perhaps just sort of a quarter note stomp. And then back into one of the main patterns, that might work really well as a palette cleanser. When the whole song is just riddled with tons of different patterns, it becomes a bit disorienting, and the effect of those patterns and their funkiness flattens out. But if you have a section as a palette cleanser, something that makes a section a little bit less rhythmically dense before you jump back into one of your funky patterns, then that can be a great solution to give contrast between your sections while keeping things funky. Whether you're doing a quarter note stomp, one, two, three, four, one, two, three, four, or just holding chords. Three, four, two, three, four, two, three, four, and then back in. To one of your funky patterns, those would both be great options for you. Now, if you're not familiar with chord progressions, I do have plenty of courses on those. I'm not trying to funnel you there. I'm just letting you know that's a resource that's available. But basically, a chord progression is taking a few chords in succession that work with one another, usually four, and that counts as a progression. So let's say we have D minor nine, G minor nine, A seven, flat nine, D minor nine. Maybe that's my first progression, and my second one might be G minor nine, A seven, flat nine, B flat major seven, and then back. You take two progressions, where you say, this set of four chords and this set of four chords. You're going to play the first progression two or four times and then transition into the next progression two or four times. Allow me to demonstrate something like this using those chords that I just mentioned for those two sections. That's one. That's two into the next one. That's one. Then maybe something fun at the end, and then you're back. That's sort of idea. You can look this a couple of times. But again, what you're going to get out of it is selecting progressions on your own. Coming up with different patterns for those two different sections and making sure they compliment one another enough to work within this project. But most importantly, you're going to be able to transition from the first pattern to the second pattern without missing a beat. It's going to take some practice, but that's the whole point of this project. Whether you're working with a full song context or a couple of chord progressions. I want you to record yourself playing through these patterns and the transitions between the different patterns and submit it within the class project section of this course. Can't actually submit video files, so what you're going to do is upload your video to YouTube or Video, and make sure that you're supplying in the class project section a public link, public because otherwise, I won't be able to access it. Once you've submitted it, I will review it, I'll let you know the pros, the cons, and the improvements that you can have for your funky playing. Once you've submitted the link for your class project video, I will be reviewing it. I'm going to let you know the areas that could be improved, the areas that you've done very well, and just generally let you know how I think your pattern could be a little bit funkier. Now, remember, these projects are supposed to be fun. If you feel like it's forced, waited Wait for that day where you really feel in the zone and do your project on that day. There's no rush, but the whole point is to have some fun and learn along the way. And of course, I will engage with you to let you know how you can improve these and just generally how well you've done with the project assigned. So that's it for your project options. For this course, I'll see you in the next class. 3. Preliminary Material: Hello, everyone, and welcome to our first class, which will be a review on preliminary information to help you get kick started as a beginner, so you can jump right into these rhythmic classes. On both of our hands, as you probably have noticed, they're mirror images from one another, and we have five fingers. And these five fingers have five finger numbers. Thumbs are always one, Indexes are two, middle fingers are three, ring fingers are four, and pinkies are five. One more time we have ones, twos, threes, fours and fives. Notes on the piano are used based on letters within the English Alphabet. The first letter that we end up finding out as a beginner pianist is actually the letter C. You might think it would be A, but C is a little bit easier to find. Use finger two and three in your right hand on a group of two black keys and slide down to your left side. That note is a C. I want you saying the notes as you go, say C. We're going to move one pattern higher on the piano to this set of two black keys. Same deal, move to the left side and say C, two more times, moving up higher, C, and one more time. C. Try also with the left hand, still using fingers two and three, slide to the left, and say C, moving down. Slide to the left, and say C. One more time, moving down. Slide to the left, C. Our musical alphabet starts at the same place as our regular alphabet. It does start with A. We have to be able to find an A. To find the note A, you're going to count backwards from C. I want you repeating after me. A B C, and now, C A. Here's how this works. Find one of your cs, and say C. From there, move down one note to the left and say, B down one more and say A. Keep in mind what I'm saying down the piano. I'm referring to the left side, and up the piano is to the right side. So we had C A, and that helps us find our A. From there, we simply say our alphabet as we move to the right, one note at a time until we reach G. A, B, C F G. Let's move up one more note and repeat it again. A B, C E FG, A, B, C D FG, so on and so forth. I mentioned just a moment ago, the idea of moving up patterns on the piano from this set of two black keys to this set of two black keys up to here. We call this an octave. An octave is the idea of moving up or down one pattern on the piano, Oct meaning eight, so they're referring to eight notes. For example, if I play this C with my left hand and move up to this C with my right hand, I'm moving up one octave. If again, I play this C with my right hand and move down to the next available C in my left hand, that's down one octave. We can also move more than one octave. Here's a C. There's a C one octave higher, a C two octaves higher, a C three octaves higher, and it works going down. One octave below, two octaves below three octaves below. To properly execute the patterns that I'm going to be teaching you within these classes, it's recommended that you're able to stretch an octave using one hand, in this case, your left hand from finger five on A in this case to finger one, your thumb, on the A that's higher. If you cannot stretch an octave, your next best alternative is to play a fifth, which would be A two, in this case, E. If we count the A as one, it's one, two, three, four, five, hence the name a fifth. However, I'm going to assume that for now, you can stretch an octave. But again, if you can't, you can still play along throughout this course. In your right hand, you're going to be expected to play a chord or perhaps many chords. If you're a beginner, you can get away with playing just a octaves in the left hand and an A minor chord through each of these exercises. All of the patterns really can work with this. So in my right hand, to explain what a chord is, we have three notes happening all at the same time. And they are one skip apart from each other. Skipping letters, A, skip B, C, skip D, played at the same time. If this is too difficult, my recommendation is to play fingers one and five on the A and E, and then add Finger three afterwards while holding down one and five still. Try this a few times. Once you've got that mastered, try playing all three at the same time. If it's still not working, go back to playing the outside notes in the middle note, play it another I'd say ten to 20 times, and then come back and try to play the chord again. If this still is not working, have a good sleep, wake up the next day and try it again. Some of this stuff needs to be sorted out subconsciously. So what you can expect in a lot of these different rhythmic patterns is a right hand chord and a left hand octave being the foundation for these rhythms. Again, we have finger two as an option in the left hand to create more difficult or advanced patterns. And if your hand can't stretch the full octave in the left, play a fifth A to E in this case. Our next video is going to be on the notational system that I use and how you can understand it so that way you can start playing these rhythmic patterns as soon as possible. 4. Notational System: The notational system that I use is quite simple. The section is broken up into a lower left hand section and an upper right hand section. The left hand is going to be broken up into either a low dot, a middle dot, or a high dot. If you have smaller hands, you will be mimicking the cord that the right hand has. For example, if the cord in the right hand is a minor, then in the left hand, you'll also consider these three notes as your low middle and high options. Low dot would be the bottom node of the cord, middle dot is going to be the middle note of a cord, and the high dot will be the high note of a cord. If you have larger hands and can span an octaive, then the low dot is going to be the bottom note with the pinky. The top dot is going to be the thumb, and the middle dot will be the fifth, which is located between these two notes. That will be with finger two, and I will specify in each pattern what this note will be, because at this point, we haven't really discussed how to determine a fifth, so I'll help you with that in each example. For the right hand, you'll notice that the dots are mostly stacked vertically on top of one another. This represents to play all three notes in the right hand cord at the same time, like so. But you may also find that the dots are broken up. The bottom.in the right hand is the bottom note of the chord. The middle dot will be the middle note of the chord, and the top dot will be the top note of a chord. If you just see the bottom dot, you just play the thumb. Let's say you just see the top two dots. You would just play the top two notes, so on and so forth. You may also find examples where dots have lines connecting them. What this means is that you are to play the two notes quickly in succession, like so. For the left hand or for the right hand. It may even be connected between the left hand and the right hand dots. So if that line spans from the bottom of the left hand up to the top of the right hand, we'll be trying something that might look like this. Or of course, I'll specify in each pattern how to break this down and how to better understand it. If you see two series of cords, in other words, three vertically stacked dots on top of one another right beside each other, this is going to represent a double tap of the cord, like so. Or if there's three of these beside each other, then it'll be a triple tap. A. Each of these examples can be played with a straight rhythm or a swung rhythm. Without breaking down exactly how straight and swung rhythms work, here's an example of how one A would sound with a straight rhythm and then a swung rhythm. That was straight. And that's swung. So we can associate straight rhythms with genres like standard pop music or classical music, a lot of westernized sort of traditional music. And then for the swing stuff, we're going to be associating that with hip hop, R&B, soul, jazz, some funk, that kind of stuff. So I'll break down each example and play them for you in a straight rhythm and a swing rhythm. You will also see on the right side in the white section, BPM suggestions, and BPM, if you don't know stands for beats per minute. This is something you will be putting into a metronome, whether it be a physical metronome that you own or an app that you purchase. The top number will represent an easy difficulty level. The middle number will represent an intermediate difficulty level, and the bottom number will be the most difficult suggested speed. Of course, starting slower or progressing faster than the suggested speeds is encouraged. Underneath the metronome markings, you will see the word Jam. This is here as a friendly reminder to let you know that within Section four, each and every rhythmic pattern has its own downloadable audio file that is a five minute drum loop, and it's designed for you to practice along with so you can bridge the gap between playing with a metronome and playing with a full band. To be clear, you'll be looking to the right side of each pattern link within the overall playlist of videos. There you will see the word resources. You just click that and then download the audio file. So it's just meant to kind of give you a little bit more of a real life scenario as to how these patterns are going to feel and really help you get into the groove of them. The last thing is below that, you'll find some suggested chords, and these will be sets of two chords per example. Of course, you can do every example with just a minor, as mentioned in the previous video. But I do suggest if you want to get more adventurous and really play around with these exercises, try the suggested chords for each example. Also, at the very bottom of that section, you will see three colored dots, red equals two, green equals three, and blue equals four. This simply means that if you were to see a red dot, you would hold the cord or the single note for a value of two. If you see a green dot, you would hold it for a value of three, and if you see a blue dot, you hold it for a value of four. A white dot, one red dot, one, two, green dot, one, two, three, and blue dot, one, two, three, four. All of this is going to make a lot more sense once you actually start to get into the patterns. Of course, I'm going to give you as much detail as I can as we go. I really hope that this makes some sense and that you find yourself comfortable getting into the first video as soon as you're ready, jump on over, and I'll help you through your first funky rhythmic piano part. See you there. 5. The Details: I did. Before we go through the patterns within this course, there are some ways that you can get the most mileage out of each of these rhythms, so I briefly wanted to discuss that with you beforehand. First off, despite having the word piano within the title of this course, these rhythms will work really well with various keyboard and Oregon sounds. So it's highly recommended that you explore some sounds that you think might work well for you. But of course, all of these rhythms will work fantastic with a basic piano sound. As a quick demonstration, we could have piano. Electric piano. Oregan. Or one of my favorites, the clavinet which sounds really cool if you put a phaser or some type of wall or auto wall on the clav sound. So as your second tip, I would recommend accenting certain chords as you're playing. And some sounds are going to bring out these accents even more. While in the next course, I do go through a whole class on great detail on velocity sensitivity. We're going to briefly outline it right now. So if I take the sound of this suitcase roads and play it quietly versus loud, It has a different sound. Lightly, it sounds more like bells. And louder, it has more saturation or distortion. So I would recommend trying to find a sound that has some velocity sensitivity. So when you play it a bit louder, the sound changes and possibly distorts a little bit. And then work that into your playing. You can start with just piano for this. So if I take a piano sound and go, That sounds fine, but if I go Now certain chords are popping out, and it creates almost a little tiny rhythm or a sub rhythm within the main pattern itself. Again, keep in mind, those two first tips go hand in hand. Your sound selection and the accents that you're going to add. If you choose the right sound, those accents will be even more accentuated, so make sure that you're exploring different sounds and playing around with the way you accent these patterns. The third tip is finding an appropriate speed for the patterns that you're playing. Most of these patterns will have a sweet spot, sometimes referred to as the pocket, and we want to make sure that we get into that pocket for each pattern. I'm not saying every pattern is going to have the same speed in terms of finding a sweet spot, you're going to have to play around a little bit to find that speed. A general starting point, try 105-120 beats per minute and see how that sits with you. Now, if you're a hip hop producer, you're going to want to go much slower than that. And if you're a Latin producer or playing on something like drum and bass or dubstep or an electronic genre, you might want to go much faster. But for general funky tempos, I'd recommend 105-120 as a great place to start. Now, one of the main reasons I'm doing this class, outlining some details so that you can get the most out of these patterns is because a lot of these patterns that I demonstrate are quite slow. And if I'm playing and telling you, now practice it because it'll sound funky. You might not believe me. But again, when you speed it up, then it starts to sound funky. There has to be a bit of trust here. As you go into these patterns and learn them slowly, do keep in mind that as they speed up, they do sound more funky. For the most part, on most of these classes ahead, I do try to demonstrate these patterns a little bit faster so that you can hear the potential of their funkiness. Lastly, I'd recommend playing around with shorts and longs. In other words, you could play a whole pattern, extending every single instance of the left hand and right hand to full length, which would sound like this. Or you could play them all quite short, which would sound like this. Or you can mix it up. Like what you were doing with the accents, you can choose some left hand instances or some right hand instances to, in this case, be a bit longer. Let's say we keep everything short, but we decide to make maybe one thing a little bit longer. Let's see how that would sound. Now it feels a little bit less mechanical and a little bit more like there's some intentional decisions behind how this pattern is supposed to sound and how we're trying to make it groove. You don't have to incorporate all of these details to make a pattern sound funky. In fact, that might be a bit overwhelming. For now, take one or two that you think works well with your playing and try them on some of the patterns ahead. Finding the right speed is perhaps the easiest one as well as finding a proper sound selection. From there, accents and the idea of holding some notes a little bit longer as a separate little project for yourself. Take one of the two, try to become a master of it, let's say it's accents. Get really good at doing those accents, and then come back and say to yourself, Maybe now, I'll try extending the length of some of my left hand or right hand notes. To review what we talked about, you want to make sure that you have a good sound to start and that you're accenting some of the notes so that they pop out a little bit more. Now, your sound selection should try to compliment this idea of velocity sensitivity, bringing out certain notes a bit more as you play them a bit louder. Again, it's not just louder, you're changing that sound a bit. Next, you want to make sure that you find an appropriate tempo or speed for the pattern that you're playing. Lastly, you want to make sure that you start to play around with these notes so that they're short. Long and then that you have a combination of the two, and this will sort of bring out a little bit of extra groove within the patterns that you're playing. Lastly, I want to mention that some of these details could be covered a little bit deeper, and that's why I put in full classes on most of these concepts in funky piano rhythms two. There's no obligation to go into that course. I've already given you enough detail in this class to be able to get plenty out of the patterns to come. But if you're like me and you want to dive into these patterns with as much funkiness, as much grooviness as possible, then the second course might be great for you. After all, the whole course is on detailing these patterns. That all being said, the meat and the potatoes of this concept is learning the rhythms themselves, so let's start to jump into those rhythms. I'll see you in the next class. 6. Pattern #1 (fixed with mention of pdf): F. Alright, everyone. Let's get started on Pattern one A. It's gonna sound something like this. The position for this is going to be two A minor cords for smaller hands, moving down to two G major cords. As Cs and Es with fingers 135 and Gs Bs and D's with fingers 15. If you have larger hands, your left hand is going to span the octave with finger two on E, and then for the G chord, it's going to again span an octave with finger two on D. Let's go through pattern one A. If you're in the smaller position, it's going to look like this. Pinky, cord, um, pinky, cord, um, pinky chord, and then move it down to G, Pinky, ord, um, pinky, ord, pinky chord. For larger hands, it's the same idea, but with the octave in the left. Moving down. And we're going to be trying each of these cord patterns two times, it's actually going to sound like and then we move down to G after two patterns. And then back up again. I'm not going to be showing you the entire pattern for the large hand positions and the small hand positions in each of these videos. It would take a very long time. I'm just going to be using the larger hand positions. It sounds more powerful, and again, the low middle and high notes do translate over into the smaller positions as well. Let's try out pattern one A at a slow tempo. In one, two, three, four. Good. Then we're going to move it down. Good. Again, repeating that. Back up. Here we go. So, let's go through the medium tempo next. I one, two, one, two, three, four. Next, the fast tempo. In one, two, three, four. So that's the general idea, and now let's go back to the medium tempo and try it with a drum beat. Here we go. I one, two, one, two, three, four. Let's try it. Swung. A There's also a finger variation available for this pattern, where in the left hand, instead of playing pinky, cord, thumb, Pinky, we're going to play Pinky, cord, thumb, and then finger two, or in the smaller hand position, finger three, but the middle of these three fingers. So, let's give you this pattern a shot back with the Jam drumbeat again in one, two, three, four. Let's try it swum. So that's it for one A. Here's pattern one B. So in this pattern, we're breaking up the right hand or. So instead of always playing all three notes, we're sometimes playing the or the top two notes. Also, you'll notice that the jump between a minor and D minor is quite a bit bigger than a minor to g major. So we're adding an extra layer of difficulty if you're keeping up with these chord progressions. Of course, don't forget you can try all of these patterns on one simple chord. So keep it all to a minor if you're having trouble with the chord movement, and then once you start to get confident, then you can start switching between chords. So the two hand positions for this will be for the smaller hands, a minor chord up to d minor chord with both hands. And again, left hand is low middle high on a minor and low middle high for d minor. And then for the larger hands, we're going to have a minor with the left hand on A E A and up to D minor, we're going to have D A D in the left hand. Let's go through the pattern. It's going to start left hand pinky, right hand thumb, left hand thumb, left hand pinky, right hand, top two, left hand thumb, left hand pinky, and then right hand thumb. Just looking at the pattern and playing through it, it looks like this. It sounds really great fast by the way. Check this. Let's try one B at a slow tempo, in one, two, three, four. D. Now at a medium tempo. One, two, three, four. And finally, at a fast tempo I one, two, three, four. Now let's try it out with our drumbeat at the medium tempo, I one, two, three, four. Here's how it sounds swung. Our finger variation for one B is the same finger variation for one A. So the second instance of the left hand pinky is now replaced with a finger two or for smaller hand positions, finger three. Again, with the drumbeat, here's how pattern one B is going to sound with the finger variation in one, two, three, four. Here it is swung. So that's it for pattern one B. Let's move it over to Pattern one C. Pattern one C sounds something like this. It's a similar idea to pattern one B, but instead of playing the thumb then the top two notes, and then the thumb of the cord, we reverse it. Top two, thumb, top two. For smaller hands, you're going to be moving between an a minor cord in both hands up to an e major cord in both hands, and for larger hands, you'll have a e A in the left with an A minor cord in the right and E E in the left with an major cord in the right. Let's run through pattern one C. So first, we have a left hand pinky, right hand, top two, left hand thumb, left hand pinky, right hand thumb, left hand thumb, left hand pinky, right hand, top two. So the pattern sounds something like this. Two times to e. Let's try out pattern one C at a slow tempo in one, two, three, four. Next at a medium tempo, I one, two, three, four. And finally, at a fast tempo, one, two, three, four. Remember, these are just landmark tempos. So feel free to start as slow as you need to, try to work up to some of these goal metronome markings, and feel free to work even faster if you're feeling ambitious. Next, let's try out pattern one C with our drums in one, two, three, four. Here it is swung. And the finger variation for Pattern one C is the same as for Pattern one A and B. The second instance of the left hand pinky is being replaced with a finger two, in this case, on E for larger hands or finger three on C for smaller hands. Let's try out our finger variation for Pattern one C with our drums in one, two, three, four. Now, swung. So that's it for Pattern one. Don't forget to try it over and over and over in all of its stages. And if at any point, it gets too difficult. Skip forward to Pattern two or to Pattern three, try them out. And if you're finding those manageable, once you build more confidence, come back to the stuff that you were finding tricky before, and you will get it at some point, it just takes practice. So, let's get going over to Pattern number two. 7. Pattern #2: Up next is Pattern two. It sounds something like this. We have F, A flat and C in the right hand, and F and C in the left hand, followed by e flat, G, B flat in the right hand with E flat and B flat in the left. The chords are also going to apply for the larger hand position, but you'll just have the root in the left hand. For the F minor chord, you have f, and for the E flat major ord, you'll have E flat. For this pattern, the way I want you to start it is to break it down into two components. The first one is just to simply create a pulse between the pinky and then the chord. H simple enough, right? So we're just going to get used to playing that, and then we're going to add something else into it. You'll notice that in the left hand, the two dots that have a line connecting the two of them. When I was playing the pattern, I played it like this. A really quick succession of the two notes in the left hand preceding the right hand's chord. The main beat still applies. In other words, we still have one, two, three, four, and these little quick notes are going to be happening before beat two and before beat four, like this. On, two, three, four. So in slow motion, it would be one, two, three, four. The chord is happening on the beat. So as you probably noticed, we're playing the F minor chord three times, followed by the E flat major chord only once. Let's try this with a few different metrono markings, starting with a slow tempo. One, two, three, four. M. Next with a medium tempo I one, two, 34. And lastly, with a fast tempo, one, two, three, four. Let's next try it with a drum beat at a medium tempo. One, two, three, four. We're also going to try a variation of pattern two, where on our way up through this octave, we're going to play a finger two on our C like this. So, or for smaller hands, three on A flat. Let's try this pattern for our larger hand position with some drums in one, two, three, four. Okay. The last thing that I'll recommend is to play a pinky in the left hand after you've played the second chord, and you can try it at various parts of beat four's rhythm. In other words, we could try on the e, or the of beat four. And to explain, I'm talking about breaking up each beat into quarters, 1e2e 3e4e. So after I said four, I said e and. We're going to try a left hand pinky on the E, and then on the end, and then on the. It'll sound like this. One ed e 3e4e and one And to and three end four e end. Next, on the end, one e end, two e end three e end four e end, one e end, two e end, three e end, four e end a one. And then finally, on the one e end, two e end, three e end a four e one, e end, two e end three e end a four e one. That's it for pattern two, but I would recommend that you also try it within other patterns that I go through within this course. In other words, if I was to go through pattern one again and try, for example, to roll up into the second instance of our C chord, so instead of We'd have You can get some really interesting results, and you can try that on any pattern. It's just going to take you a little bit of time to break it down. The idea is to start to combine these patterns in new and various ways so that when you're slowly creating your own style based on the preferences of what you like the most in each of these patterns. In other words, explore, augment, permutate, create your own variations, and it's going to be the most rewarding doing it that way. I'll see you over at pattern three. 8. Pattern #3: All right, here's pattern number three. The smaller hand position is going to be a G minor or in the right with G and D in the left, and then we're going to raise that top note to an E flat. Here's our second shape with E flat and B flat in the left hand. For larger hands, you will have octaves on G for the first shape, and then octaves on E flat for the second shape. So you might notice the red dots in this pattern. And as mentioned before, and in the bottom right corner of the pattern, you're going to see that a red dot equals a value of two. So when we see those red dots, we're going to be holding 12 for our cord. So the whole pattern is going to go like this. One, two, high, chord, high, low, one, two, high, ord, high, low, Cord, high, low, high. If you find that having some chords with a value of two, and some chords with a value of one is difficult, try counting out loud as you go like this. One, two, one, one, one, one, one, two, one, one, one, one, one, one, one, one. Do that two times. Then move to your second shape. One, two, one, one, one, one, one, two, one, one, one, one, one, one, one, one. Start this exercise super slow. Don't worry about having it get groovy right off the bat. The whole point is to really understand when you're holding these cords and starting to sort of internalize and memorize this pattern, so you're more ready to approach it with a metronome or a jam drumbeat. Speaking of which, let's move over to our slowest metronome marking. Sound something like this. Two, three, four, hold, um, d, um, pinky Card, hold. So Cord, some pinky, Cord, some pinky. So one more time. Cord, hold, some Cord, some pinky. Hold, some, Cord, some pinky, coord, some pinky, sum, second shape. Hold. So, Cord, some pinky. Card, hold, So, Cord, some pinky, coord, some pinky, mb. Ord. The idea is for you to not be reacting to me saying, thumb, pinky. I'm just trying to be extra clear about exactly how this pattern goes. For the next pattern, we're gonna set it up a little bit faster with the metronom and I'm not going to talk just so you can start to see how this pattern develops. Two, three, four. That's the general idea. I recorded each pattern twice there, but you can play through each one just once. The faster the tempo, the more appropriate it is for you to repeat these chords, because you won't really get as much information on that G chord if it's flying by really fast. So really fast, it's appropriate to play each chord more than once, but slower, just play it once each. Here's a faster metronomrking. I one, two, three, four. One, two, one, one, one. Two. Next, we're going to try it with a drum beat. First, I'm going to play it straight, and then we'll play it swung. And again, this drum beat will be at the medium tempo. I one, two, three, four. Swung. Lastly, the variation for this pattern is going to introduce the idea of playing finger two. For larger hand positions, it'll be on D for the first chord. And for the second chord, it'll be B flat. For smaller hand positions, it'll be the B flat in the middle of the first. And then when we move our pinky up, we're going to move the whole left hand down to a full E flat major cord root position with a G in the middle. So I'll be B flat in the middle, G in the middle. Again, the demonstrations will happen with the larger hand position. It'll sound something like this. Cord, hold, thumb, cord, thumb, two, Cord, hold, thumb, cord, um, two, cord, um, pinky thumb. Keep in mind for the smaller hand position you're using Finger three instead of Finger two, or you should be anyway. Next, let's try that variation with a drumbeat in one, two, three, four. Now, let's try it. Swung, three, four. And that's the general idea for pattern three. So, I do recommend that you try this pattern really slow to start. This pattern sounds fantastic when it's really fast. So these are some landmark tempos along the way to get you started, but, of course, feel free to have fun with it, and try variating it in your own ways. It doesn't have to be the first and the second pinky in this pattern that get replaced with finger two. It could be the first and the third. That would sound like this. So we have here's a two B to the pinky. Back to the two. So again, start to experiment with this stuff as we go through the patterns more and more. I want you to start to create your own and your own variations towards these patterns. I hope you enjoyed that one, and I'll see you over at Pattern number four. 9. Pattern #4: All right, here's pattern number four. For smaller hands, your position will be on an F minor cord in the right hand, F A flat C with F and C in the left hand. It will sound something like or for larger hands, an F octave in the left hand. I didn't actually create a chord progression or a series of chords to try within this example because I want you to try exploring maybe some of your own favorite chord progressions or just moving between a few different chords that you might know. Maybe you start on F minor, and then move to D flat major. B flat minor C major. That's up to you. So I want you to start to explore that a bit. So you'll notice that the cords within the pattern picture are immediately placed beside one another. So three vertically stacked dots right beside each other, and that's going to represent a double tap of the cord in the right hand. So what we have is a double tap, high, low. Double tap, high, low, double tap, high for the left hand. If we were to try this pattern at a slow metronome marking, here's what it would sound like. In one, two, three, four. Here it is at a medium metronome marking in one, two, three, four. And at a fast tempo. I one, two, three, four. Next, let's try the pattern with a drum beat, but we're not going to be trying it straight and swung. I'll show you why. If we were to swing this pattern instead of we'd have. And the right hand doesn't have that same panicked, twitchy double tap that I'm hoping that you can sort of develop from playing this with a straight rhythm. So don't worry about playing it swung, if you want to. You can explore that. But for now I'm going to recommend that you just try it with this straight rhythm. Here's our drum beat. In a one, two, three, four. On Don, Next, we're going to try our first variation of this pattern with our drumbeat, where instead of playing double taps in the right hand, we're going to play triple taps. It'll sound something like this. One, two, three, four. Another thing you can try is doing a triple tap the first time, then a double tap, and then a single tap, something like triple double single. Let's try that with some drums. One, two, three, four. So that's it for Pattern four. I hope you enjoyed it. I hope you got something out of it, and I'll see you over at Pattern five. 10. Pattern #5: I All right, here's pattern number five. You might have noticed that this is the first and actually only major based pattern starting on an F sharp major chord. For my experience, minor just tends to be a bit more cooler hip. I don't know. I mean, quite a few funk songs are written in major, but the majority would be written minor. Anyway, I thought I'd give a little variation with this major based progression or pattern. For smaller hands, you'll be on two F sharp major chords, left hand, of course, just using the outside notes, same as usual in taller variation, and E flat minor being the second chord shape with E flat and B flat on the outside. F sharp A sharp, C sharp, with F sharp and C sharp, E flat G flat B flat, with E flat and B flat. Or we could say D sharp F sharp. For larger hands, you'll have the F sharp major chord with F sharp octaves, and e flat minor chord with e flat octaves. So again, you're going to see some dots are red, and now we even have a red.in the left hand. So we're starting the left hand with a value of two beats, and we're ending the right hand with a value of two. Again, I recommend, start without a metronome and count out loud, one, two for any red dots and just one for any regular white dot. So we would have one, two, one, one, one, one, one, one, one, one, one, one, one, one, one, two, one, two, one, one, one. One, one, one, one, one, one, one, one, one, one, two, one, two, one, one, one, one, one so on and so forth. Let's try this pattern with a slow metrono marking in one, two, three, four. Moving down. Next, let's try it at a medium tempo. And to speed things along a bit, I'll just do each pattern once. In one, two, three, four. And lastly, with a fast tempo, one, two, one, two, three, four. As per usual, we're next going to try at the medium tempo with a drumbeat I one, two, one, two, three, four. Let's try it sw. Lastly, there is a variation for this pattern. The easiest way to explain it is really to look at the pattern, but the second instance of the left hand low note is replaced with a finger two, as well as the fourth instance of the left hand low note. Now again, this is for larger hand positions. When I refer to finger two. If you have smaller hands, it'll be finger three in the middle of the cord. Let's try this pattern note. First straight then swung with our drumbeat yet again. Here we go. I one, two, one, two, three, four. Now, swung. Uh So, there it is. That's pattern number five. I hope that you enjoyed it. We're starting to get used to holding the left hand for more than one beat, as well as the right hand. And this one's a little bit longer in terms of how many right hand chords we play. So it might be a little bit trickier to memorize, but still a really awesome pattern. And again, if we're to go full speed, you get almost reminds me of Mario and things get really intense. So anyway, really awesome pattern, I'll see you over four. Pattern number six. 11. Pattern #6: All right, here's pattern number six. Sound something like this. For small hands, we'll be in the position of a B minor cord with B and F sharp in the left hand and an optional D, and we have an A major cord with A and E in the left hand with an optional C sharp in the middle. For larger hands, B minor or with B octave, A major cord with A octave. You'll notice that this pattern also has some cords that are red. In other words, they hold for a value of two beats. And it looks a little bit similar to pattern three A, but it gives a very different feel because it's been displaced and also changed a bit throughout. So you can go back and forth between Pattern six and pattern three to start to get really used to holding these right hand cords for a value of two to see how that helps add a little bit more groove into the pattern. Going through the pattern, we have cord, um, pinky, cord, hold. Sum, Cord, um, pinky, cord. Hold, thumb, cord, thumb, pinky, thumb, and then the same pattern down on A. Let's try this pattern at a slow tempo, in one, two, three, four. Next, at a medium tempo. In a one, two, three, four. And lastly, at a fast tempo in one, two, three, four. Next, let's try our pattern at a medium tempo with some drums. First straight, then swung in one, two, three, four. Now swung. Ta If you really do want to play most of these patterns swung, and that's the sound that you prefer. I do recommend that you try to either play with a drummer or just a drum loop with a full swing to the actual beat. We're playing with straight drum groups for this course. But it would just be way too extensive to go through all these different drum patterns, straight, swung, small hand position, big hand position. I had to make some choices along the way to make sure that this course was going to be streamlined for intermediate students that knew some of the beginner stuff, but also for beginner students that didn't want to be thrown into deep waters. So, again, if you want to play most of these swung, make sure that you're also practicing with a swung drum beat. If I get enough people asking, I'd be happy to supply one as well, too. For the variation for pattern number six, I want you to take any one of the left hand pinky instances and replace it with a finger two. This time, you're making the choice. So I'm just going to demonstrate it once with no metronome, where first we take the first pinky, replace it with finger two, and then the second pinky, and then the third, and we're just going to keep it on one chord. Keep it nice and simple. So B minor is our chord, and we're going to take the first instance of the Pinky and play an F sharp in our left hand instead. It sounds like this. If I was to take the second instance of the left hand pinky and replace it with finger two, it sounds like this. And finally, the third instance of the left hand pinky replaced with finger number two. You're also welcome to take any two of those or even all three and replace them with finger number two. I'm going to let you make this executive decision because eventually, once you've learned these patterns, you're going to be creating your own, and I want to start to put the reins in your hands. That's it for Pattern number six over to Pattern number seven. 12. Pattern #7: Here's Pattern number seven in its basic form. For small hands, you'll be on an E flat minor chord, e flat G flat B flat, with the left hand playing e flat as your low note and B flat as your high note optional finger three on G flat. For your second chord, D F A flat, you'll notice this is not a regular major or minor chord. This is a diminished chord similar to D minor with a flattened top no. In your left hand, you'll be matching the shape for the low note and the high note, D and A flat with an optional F in the middle. Larger hand position is the same e flat minor chord with e flats in the left, D diminished with D octaves in the left. Let's go through pattern seven A. It sounds something like this. Cord, thumb, pinky, cord, thumb, pinky, cord, hold, thumb, cord, thumb, pinky, cord, thumb, pinky thumb. Cord, thumb, pinky, cord, thumb, pinky cord, hold, thumb, cord, thumb, pinky cord, thumb, pinky thumb. For pattern seven, what we're going to be trying is any one of the chords in the right hand can be held for a value of two, any one of those chords. So we don't want to hold one chord for a value of two as well as another within the same pattern. So you'll notice that the first chord that we're holding for a value of two is the third instance of the right hand chord. And then afterwards, we're going to be trying seven B, which will be the first chord for a value of two, seven, which is the second chord for a value of two, Pattern seven d holds the fourth chord for a value of two and seven E, which is the final chord for a value of two. Also, keep in mind that the metronome is subdivided within this example. So for every one click of the metronome, it's going to represent two beats. The reason I subdivided this one is because for the fast speed, it's just a machine gun of a metronome, and it's just really difficult to play along with something that's happening that fast. So I thought that by breaking down the metronome, we might be able to sort of fit into that groove a little bit better. So here is pattern seven A with the metronome. I one, two, three, four. Here it is at a medium speed in a one, two, three, four. And finally, at a fast speed. I one, two, three, four. So that's getting pretty fast towards the end. I'm assuming that by the time you hit pattern seven, you've really tried to perfect some of the other patterns along the way, and you're getting more comfortable with this playing style. But keep in mind, if you find the fast tempo a little bit challenging, that's because it's meant to be. Next, let's go through all of the patterns seven A to E with a straight rhythm. I'll put a small space in between each to explain which chords we're going to be holding and also keep your eyes up on the patterns as well, too. Here's Pattern seven A, in one, two, three, four. Next is Pattern seven B with the first chord held for a value of two, in one, two, three, four. Pattern seven C is going to hold the second chord for a value of two. It sounds like this in one, two, three, four. Pattern seven D holds the fourth chord for a value of two, and it sounds like this in one, two, three, four. And lastly, pattern seven E with the final chord being held for a value of two, sounds like this, one, two, three, four. Each of these patterns can also be played swung. I'm going to go through this a little bit quicker just because there's so many patterns to go through. And I won't bother with the metronome for now, just to kind of show you the basics. So pattern seven A. Pattern seven B. Pattern seven C. Pattern seven D. And lastly, pattern seven E. Just the same as in pattern six, I encourage you to take any of the left hand bottom notes or the pinkies and replace it with Finger two for larger hand positions or three for smaller hand positions. And you can already see the amount of variations that you could have, even just within this one pattern. There's a lot. I mean, I haven't calculated it, but it's five different types of patterns, and any of those left hand pinkies could be a finger two or a finger three. So you can get a lot of mileage out of this pattern number. I hope you have some fun with it. And please try to master each pattern before you move to the next, so you don't feel like you're falling behind by not instantly mastering each of these pattern seven A through to E. So, Master seven A. Then move on to B. Remember, this is supposed to be fun. It's not supposed to be like homework. It should just be like a piano playground where you're really just sort of noodling through these and acquiring some great rhythmic skills along the way. Am I talking too much? I'm probably talking too much. Let's move over to pattern eight. 13. Pattern #8: All right, here's pattern eight in its basic form. For smaller hands, you'll have a D minor chord in the right hand, D A, with D and A as your low note in ino in the left hand, and a C major chord with C and G in the left hand. For larger hands, you'll have the D minor chord with a D octave in the left, and the C major chord with a C octave in the left. Pattern eight is going to sound like this. Pink roll up the cord, thumb cord, Pinky, roll up the cord, thumb chord, and then moving down. Same thing. You'll notice that this is similar to pattern two, but now the right hand is doing all of the quick work. So it's something a little bit contrasting from number two, but at the same time complimentary. Let's try a pattern eight A with a slow metronome marking. I one, two, three, four. Next, at a medium tempo I 1234. And finally, at a fast tempo in one, two, 34. This pattern can't really be swung. So to variate it, I'm going to be giving you eight B, C and D, which will all have their own specific variations. For Pattern eight B, the first chord that we play won't be ascending through the notes, but rather descending through the notes. And for pattern C, we're going to have that ascending sort of flick up through the notes happening on the second chord rather than the first, and you can probably guess pattern eight D is still on the second chord, but descending. I'm going to go through each pattern once consecutively with the drums, starting with Pattern eight A. Here we go. I one, two, three, four. Pattern eight B. Pattern eight C. And Pattern eight D. So there you have it getting used to the right hand rolling up or rolling down. My recommendation is to not think of each finger impacting individually and pressing and sort of curling, but rather just rolling on the hand or rotating the wrist. That's the idea. I hope you enjoyed Pattern eight. We're gonna go over to Pattern nine, where we're gonna get a little bit different again, but so be lots of fun. I'll see you over there. 14. Pattern #9: Next up is pattern nine. It sounds like this. For smaller hands, you'll be on an E minor chord in the right hand, EGB with the same notes in the left, and you're going to notice that the feeling of rolling up through these notes is like a combination between patterns two and patterns eight back to back. After the E minor chord, we move up to G major, which is GBD in the right as well as in the left, again, it's the same feeling. For larger hands, you'll still have the E minor chord in the right hand with an E octave in the left and a finger two on B. And for the G major cord, you'll have a G octave in the left hand with Finger two on D. To properly play this with a metronome or a drum groove, we need to know what fingers are going to land on our main beats. And luckily, it's always the pinkies. So it's 12, three, four, one, two, three, four. You have to anticipate beats two and four with this roll up. So even more slow motion, it's one, two, three, Four. So the pinkies on one, right hand pinky on two, left hand pinky on three, right hand pinky on four. Next, let's try this pattern with a slow metronome marking, and we're going to be thinking of the metronome as eighth notes. So you're going to have two clicks per beat like this. One, two, three, four, one, two, three, four, one, two, three, four. That's the idea. Next, at a medium tempo in one, two, three, four. And finally, at a fast tempo in one, two, three, four. So here's Pattern nine with our drum groove at a medium tempo in one, two, three, four. For the variation of Pattern nine, we're going to be descending through all of the notes on beats two and four. So it's one, two, three, four. Admittedly, this is the pattern that I would use the least out of the variations of Pattern two, Pattern eight, and pattern nine. But I still think it's important for us to understand that feeling with the hands because every once in a while you're gonna want to use that sound. So let's give it a shot with some drums in one, two, three, four. That's it for Pattern nine. Let's move over to Pattern number ten. 15. Pattern #10: All right, here's your final pattern number ten. It sounds like this. For smaller hands, you're going to be moving between an A minor chord in the right with A and E in the left, G major chord in the right, with G and D in the left, F major chord in the right, with F and C in the left, and E major chord in the right with E and B in the left. For larger hands, you'll have the same cords A minor with an A octave, G major, with a G octave, F major with an F octave and E major with an E octave. You'll notice that we finally have blue and green dots. And I wanted to potentially do a second half of these rhythmic exercises moving forward. So I thought towards the end, we would get into these blue and green dots, so you can start to introduce those into your own patterns and also just get used to the idea of not being limited to one beat or two beats per left hand instance or per right hand cord. You might notice the introduction of the left hand blue dot for four beats, and the right hand green dots for three beats. So it's going to sound something like this, one, two, three, four, one, one, one, one, one, one, one, one, one, one, two, three, one, two, three, four, one, one, one, one, one, one, one, one, one, one, two, three, one, two, three, four, one, one, one, one, one, one, one, one, one, one, two, three, one, two, three, four, one, one, one, one, one, one, one, one, one, one, two, three, and then reset the pattern. Here's pattern ten at a slow metronome marking. And please keep in mind that the metronome for each beep that you hear, it's going to be worth a value of two, so it'll sound like this. One, two, three, four, one, two, three, four. One, two, three, four, two, three, one, two, three, four, one, two, three, two, three, four, one, two, three, one, two, three, four, one, one, one, one, two, three. For the medium tempo, I'm not going to be counting out loud, just so you can start to hear how this pattern really starts to come together. And here it is at a fast tempo. Let's try it over top of some drums at a medium tempo. It sounds like this. In one, two, three, four. Let's try it swung. With Pattern ten, again, I'm going to give you the responsibility to come up with variations by taking any of the left hand pinkies and replacing them with finger two for larger hand positions or finger three for smaller hand positions. Although I do recommend that you start with a nice, powerful pinky to get this pattern started, and after that, any one of the pinkies, those would be the ideal ones to replace. So you did it. You got through all ten patterns. I'm hoping that along the way, you tried to perfect each pattern as you went, because really, there's no sense trying to learn all these patterns in a day or two days. You want to really digest the rhythm to really internalize these patterns, so you don't have to overthink them. For the next video, I'm going to give you a device that's going to help you come up with your own patterns so that way moving forward, you can develop your style and come up with something that sounds truly unique and rhythmically interesting. Thanks for watching the first ten videos. I'll see you in the next one. 16. Build Your Own Rhythm: Hey, and welcome to the Funky rhythmic piano course, where you're going to be designing your own rhythms. As you probably know, a lot of rock and funk music is broken into four main beats and then further subdivided into eight beats. So one, two, three, four, one, two, three, four, five, six, seven, eight, that sort of idea. We're going to be lending rhythms from Afro Cuban music as well as Latin clave patterns, and breaking up these subdivided eight beats into two groups of threes and a group of two. As such, our options are going to be 33, two, three, two, three, and 233 for our main accented patterns. Blocked on chords, they would sound like this in order. On 231, two, three, one, two, one, 231 2312. The second one, 1231 2123 1231 2123, and the third one. 02123123, 12123123. Although we're starting to create some rhythmic interest and a syncopated pattern that falls in between the cracks of the main beats, we're going to still further subdivide these groups of threes and twos to get an even funkier result. So our basic options for the groups of threes would be pinky, thumb, cord, Pinky, cord, thumb, thumb, pinky, cord, thumb, cord, pinky, cord, thumb, pinky, or cord, pinky thumb. Any one of those options would work really well to accent your group of three within your rhythms. For your group of two, what I'd recommend is again, something simple, pinky thumb or pinky cord, thumb, pinky, or thumb cord, Cord, thumb, or lastly, Cord pinky. So if we were to take the first group of 332, and let's say we were to apply pinky thumb cord to our group of three, and thumb cord to our group of two, we would get one, two, three, one, two, 31, two, one, two, three, one, 2312. For the second pattern, it would be 123121, two, three, one, two, 312123, and the third pattern, one, two, one, two, three, one, two, three, one, two, one, two, three, one, 23. But again, you could choose a different pattern for your group of three. Let's say we were to do a descending cord thumb pinky for the group of three and a cord pinky for the group of two. Now we would have for the first pattern, 12312312, one, two, 312312, without me counting. Sounds pretty groovy. The second one, three, 23 would sound like this. And the third one. So what I would recommend is come up with a bunch of your own patterns and write them down on paper first. You'll probably be surprised when you come over to the piano, just how groovy these patterns sound, based on the fact that you're subdividing and syncopating your rhythm within these two groups of threes and a group of two. You might get some sort of hiccup moments where something like this happens. Let's say I'm starting my pattern of three with pinky th Cord, and then my group of two is Cord thumb. I would get for the first pattern, where there's a hiccup or a double tap on that chord. One, two, three, one, two, three, one, two. And that's okay. The whole point is to try out a bunch of different patterns, and you're going to get some really interesting and unique results. What I want you to do is start to take note of what patterns was I playing easiest, and what patterns did I like the sound of the most? These two decisions are really going to help you start to develop your stylistic preferences and aesthetics when it comes to playing funky keyboard parts. So as you can imagine, for me to go through all of the different permutations and variations of these potential patterns, would A take a very long time, and B, that's not quite the same as you coming up with them yourself. There's also other ways we could even subdivide the beat into seven and one or six and two or five and three. But I'd recommend off the start, work with these two groups of threes and a group of two, and you'll get some super funky results. So don't forget to try these patterns with a metronome so that you're locked into your beat, and also with some drum grooves to make sure that you're able to bridge the gap between playing these by yourself and then eventually playing them with a full band. To help you better understand some of the nuances as to how your customized patterns are going to lock in with a full rhythm section. I've created a Tips and Tricks video as the final video within this course. This next video is to help you have convincing parts that really lock in with the rhythm section. And also, it might answer some unanswered questions from the previous videos and help you better understand what you should be listening to and how you should be practicing. I'll see you over at the last video for those Tips and Tricks. 17. Outro: You made it to the end of the course. Firstly, I want to thank you for being part of this, and I also want to congratulate you if you did, in fact, go through all of these classes or even the majority of them, you're definitely going to benefit from it as a pianist. What have you learned from this class? Well, of course, you've learned a new shorthand notation that you'll be able to use to quickly jot down your rhythmic ideas. Learn tons of new patterns that can work over plenty of different styles of music, and you've even started to explore your own rhythmic style by creating some patterns that are yours alone. Now, it's really important that you practice these patterns separately outside of band settings and also within band settings. Play along with a drummer, play along with a guitarist and bassist, and see how your part can fit in without smothering the rhythm of the band In other words, getting into the pocket of the rhythm within the full rhythmic section. Sure, you can practice these along with a metronome, but it's highly encouraged that you play along with some sort of drum beat. You can easily find drum beats just by themselves on YouTube. So go into YouTube, type in, funky drum beat, find the tempo that you prefer, and jam along with that. Now, we've been mostly focused on using piano sounds within this course. But it's highly encouraged that you use electric pianos like Wlitzer, and Roads that are velocity sensitive. Clave, organ, and other sounds that you think might work really well with these funky patterns. And in fact, in the next course within this series, we're going to be really diving into some of these other sounds and straying outside of this piano specific atmosphere to show you how you can maximize the funkiness of your keyboard playing. Now, of course, if you don't have access to all these extra sounds, piano is the fundamental instrument for this course, and it will absolutely work well, but it is encouraged, at some point, try it with some other sounds, and you might be highly impressed with the way your playing sounds just by changing up the sound itself. So I hope you enjoyed this course. If you have any feedback, please feel free to let me know whatever website you're on and that you found me through right now, Contact me to let me know how I could improve my course, what you really enjoyed about the course, and what courses you want to see in the future. I hope you have a musical day. Remember, Keep it funky, and I'll see you in the next course.