VY Vv TRA TRACKS Bian ony pono tes jt secon = = a ‘The right-hand part in this example uses two-measure rhythmic phrases, a common device across a range of contemporary styles. In the first measure, the C major triad lands on beat I, then halfway through beat 3 (on the “& of 3;" see rhythmic counting on Track 4). Then in the second measure, the F major triad lands halfway through beat 1 (on the “& of 1), then on beat 3, This two-measure rhythmic phrase is then repeated during measures 3-4, over the G and C major chords. Meanwhile the left hand is again playing the root of each chord in a repeated eighth-note pattern, adding octaves to create a bigger, heavier sound. The Classic Blues/Rock Left-Hand Pattern Next we'll use the same right-hand part in a blucs/rock style, by combining it with a classic left-hand pattern that you should know! This lefi-hand pattern alternates between the root-Sth and root-6th of each chord. For example on a C chord, the note a Sth interval above the root is G, so the root-Sth interval would be the notes C-G. Similarly, the note a 6th interval above the root is A, so the rool-6th interval would be the notes C-A. So, the “root-Sth, root-6th” pattern on this chord would alternate between the intervals C-G and C-A: oO oO TRACK 16 TRACK 7 pane cry _paro pas Swing eighths Fi syn section c