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This is the second page of the Staggered Pentatonic Scales improvisation work-out. For maximum benefit, work through Page One first.

The talking heads videos explaining how to use this material are all in the Mister Musicarta YouTube Staggered Pentatonic Scales playlist.

Jamming over the three-four bass

Here's a run-together up-to speed selection of treble (right hand) riffs and chord textures. The left hand is taken from the Staggered Pentatonic Scales module riff, on the first page.

Watch, paying close attention to the titles, so you understand what's significant and what you're aiming at.

The practice segment videos

Now here are the practice segments at a comfortable 90 bpm. They're set to repeat - the joint won't be seamless, but good enough to play along to. You'll have to stop them playing manually.

You can dot about and work through them in any order. Some of the later ones are in fact easier than the earlier ones.

The aim is the keep a beat going and try out ideas in your right hand. Feeling absolutely rubbish at it initially is normal! If persistence didn't pay, it would be a very sad world.

 Segment 1

'Placeholder' left hand plays a single beat per bar; right had plays five-note triplet quaver strings starting just after the left hand.

The last two RH phrases are strung together, for rhythmic variety.

Work out a fingering that works for you.

 Segment 2

A new, less frantic left hand - a variety of the standard "two up, two down", i.e. two minor pentatonic scale-tones above and two below the bass (with a optional grace note).

Ignore the F sharp 'grace note' if it gives you trouble.

 Segment 3

Now with the original left hand riff.

It's important here to work out which LH note goes with which RH note and to play accurately, or it can sound very messy.

You can always stick with the simple "two up, two down" left hand. The idea is to come away happy, not feeling defeated!

 Segment 4

Now with the original left hand riff.

It's important here to work out which LH note goes with which RH note and to play accurately, or it can sound very messy.

You can always stick with the simple "two up, two down" left hand.

 Segment 5

Take a break and play some chords in the right hand.

There are three chords. Work out what they are and what fingers feel best.

Think of them as bottom (B), middle (M) and top (T), and notice the order they come in. It's patterned.

The four groups played here are:

• B M B M B M T M
• T M T M T M B M
• B M B M B M T M
• B M T M T M T M

They all have a slightly different character - all 'say something' slightly different.

You should be able to look at those four lines above and hear them in your head.

Take the opportunity the try out your own sequences.

 Segment 6

New right hand material - four rising five-note strings, four falling.

You can try this over the simpler left hand pattern in Segment 9.

 Segment 7

Take a break with some right hand chords, again.

A slightly different rhythm - more anticipation, so the chords are more evenly spaced.

Use the 'falling columns' in the video to match the chords up with the notes of the familiar left hand riff.

 Segment 8

The Segment 6 material, falling only.

Try choosing a different four notes to descend from, that 'fits' and sounds right. The options are limited, you'll find!

 Segment 9

The RH 4 x 5-note strings over the simpler left hand.

Try mix-and-matching the 5-note groups, one rising, one falling, for example.

 Segment 10

New Right hand chord work: hold the middle C down and 'flap' the outer 'voices'. (There's a new straight F7 chord in there.)

The left hand defaults to the easier version, and a new chord pattern appears, with a 'stab' at the tonic thrown in. That doesn't have to be an octave, btw... a good, loud single note would do.

 Segment 11

A new chord rhythm, with a 'stab' at the tonic thrown in. That doesn't have to be an octave, btw... a good, loud single note would do.

Tap your foot! It's a no-no for classical pianists, but not for us (except in the recording studio).

 Segment 12

Longer melodic strings. Notice the resulting change in pace.

• Six notes descending to the (repeated) tonic;
• Six notes ascending to the (repeated) tonic;
• Descending from a lower note; overshoot and come back;
• The inverse, from below.
  

 Segment 13

This pattern is built from the elements above. What is it?

Devise other patterns with the from above/from below, overshoot/no overshoot options.

 Segment 14

This is the Segment 12 material over the easier left hand.

Devise other patterns with the from above/from below, overshoot/no overshoot options.

 Segment 15

Heading for the exit - the 'outro'.

The chord work is sort-of the opposite of Segment 10: you hold the outer notes of the chord and put some rhythm in by 'flapping' the middle finger.

Plus (optional) stab at the tonic.

Aaaaand, fade to black...

...or, go back to Page One and embed those scales drills!