Summer of '69 Riff on Piano with Hand Independence

The Summer of '69 piano riff moves through Dsus2, D, Dsus4 and D arpeggios (then the same pattern on A) in sixteen semiquavers grouped 3+3+3+3+2+2, and you build hand independence by playing left-hand root octaves first on the accents, then on the steady pulse.

Video lesson by Jason Zac · Intermediate · 26 min

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This lesson from Jason Zac at Nathaniel School of Music teaches the famous chorus riff of Bryan Adams' Summer of '69, the part that follows the line about the best days of my life. Along the way you learn how suspended chords work, how to count an unusual accent pattern, and how to train your left hand to play independently of a busy right hand. It suits players who already know basic triads and want a rhythm and coordination workout.

Suspended chords: sus2 and sus4

A major or minor chord has a root, a third and a perfect fifth. A suspended chord keeps the root and fifth but replaces the third:

• sus2 uses the major second instead of the third. Dsus2 = D E A.
• sus4 uses the perfect fourth instead of the third. Dsus4 = D G A.

Dsus2 (D E A) contains the same notes as Asus4 (A D E); the two are inversions of each other. The name you use depends on the bass note, and since the left hand plays D, this is called Dsus2. Stacking the notes as E A D gives a quartal voicing built in fourths. In this riff the major third returns in between the sus chords, creating the shimmering arpeggio.

The rhythm: not a triplet

Many players call this a triplet pattern, but it is really a bar of sixteen semiquavers in 4/4 with accents grouped 3+3+3+3+2+2. Four groups of three make twelve, plus two groups of two make sixteen. The accent falls on the first note of every group.

To feel it, use South Indian konnakol syllables: say ta-ki-ta for each group of three and ta-ka for each group of two. You can also count the bar first as 1 e and a, 2 e and a and so on. Then say the syllables with the ta louder and higher, whispering the rest.

The right-hand riff on D

Hold a low D in the left hand. The right hand plays each chord from the top note down (high, middle, low):

1. Dsus2 as A D E, played E D A
2. D major in second inversion, A D F#, played F# D A
3. Dsus4 as A D G, played G D A
4. D major again, played F# D A
5. The last four notes: E A F# A, short fragments of sus2 and major

Fingering: thumb on A, index on D, middle on E, ring on F# and pinky on G, so each finger owns one note.

The riff on A

The second chord is a carbon copy starting from A: Asus2, A major, Asus4, A major, then the two-note fragments. The notes are E with B, C# and D above A, and the same fingering works, with the ring finger on the black key C#. The riff alternates between the D and A patterns.

Left-hand variations

1. Roots on the accents

Play the root of each chord as an octave (D or A) only on the accented notes, every ta. You can also toggle between the low root and its octave instead of hitting both together.

2. Roots on the pulse

Now play the root octaves on the four steady beats of the bar, regardless of the right-hand accents. For a more rock feel, try an eighth-note pulse. Once both are secure, switch between accent and pulse while the right hand stays exactly the same; this keeps a repeated riff exciting.

How to practise

• Say the rhythm aloud before you play, so your hands become an extension of your voice.
• Move your head to the pulse, not the accents, just as a listener would.
• Start very slowly and play along.
• Write the theory in your notebook, then repeat until it is solid, even if it takes a couple of weeks.

Questions about this lesson

What chords are used in the Summer of '69 piano riff?

The chorus riff uses a D shape and an A shape. Each one moves through sus2, major, sus4 and major again as arpeggios, with a D or A bass.

Is the Summer of '69 riff a triplet rhythm?

No. It is sixteen semiquavers in a 4/4 bar, accented in groups of 3+3+3+3+2+2. The two groups of two at the end make it an accented semiquaver phrase rather than triplets.

What is the difference between Dsus2 and Asus4?

They contain the same notes, D, E and A, and are inversions of each other. It is called Dsus2 when D is in the bass and Asus4 when A is in the bass.

How do I get my left hand independent of the right hand in this riff?

Say the accent pattern aloud, then play left-hand root octaves only on the accents. After that, play them on the steady beat instead. Keep your head moving to the pulse rather than watching both hands for sync points.

Practise it

• Rhythm TeacherBuild accent patterns, divide beats and explore odd metres and polyrhythms.
• Groove MetronomeWork with tempo, accents and polyrhythms instead of a single unchanging click.
• Piano classes at Nathaniel School of MusicLive online or in Bangalore, with a teacher.
• All free music apps40 practice tools for harmony, rhythm, ear training and more.

Related lessons

• Build Piano Finger Independence With This Rhythm Exercise (Fsus4 Drill)To build finger independence and syncopation on piano, play an Fsus4 arpeggio (F, Bb, C) in 16-note cycles accented in groups of 5, 5 and 6 against a steady metronome, then add thumb and little-finger variations and finally left-hand quarter notes.
• 10 Rhythm Patterns That Make Chord Inversions EasyTo make chord inversions musical, play the root position, first inversion and second inversion of a triad such as Bb major or C major through real rhythm patterns like block chords, oom-pah, waltz, broken chords, arpeggios, the tresillo, the Charleston, dual-speed arpeggios and floating inversions.
• 3 Piano Rhythm Techniques That Make Your Chords GrooveThe 3-3-2 piano rhythm groups eight eighth notes in a bar as 3+3+2, placing the hits on beat 1, the 'and' of beat 2 and beat 4, and you can play it as single chord hits, as accents within continuous eighth notes, or as arpeggios.
• Make Your Piano Arpeggios Sound Unique Using Accents (8th and 16th Note Phrases)To make a piano arpeggio sound unique, group its notes in uneven patterns such as 3+3+2 eighth notes or 5+5+3+3 sixteenth notes, so the anchor note of each group lands sometimes on the beat and sometimes off it, creating natural accents.