This arrangement is a great way to level up your seventh-chord vocabulary — you're cycling through Am7, Dm7, Dm9, Em7, and Fmaj7, so your fingers need to get comfortable holding those extended shapes without tension.

Your left hand follows an oompah bass pattern, meaning you'll alternate between a low root note and a mid-range chord hit on the off-beat; keep that steady and light, almost like a heartbeat, because at 112 BPM it can easily turn muddy if you're heavy-handed.

I'd suggest learning the left-hand pattern alone first until it feels automatic, then layer in the right-hand melody.

Watch the transition from Dm9 to Em — that's where most students stumble because the hand has to shift quickly and the voicings sit in different positions.

Loop just that two-chord move at half tempo until it's smooth.

Use a touch of sustain pedal, releasing cleanly on each chord change so the sevenths don't blur together.

Once this clicks, you'll have real confidence with minor seventh shapes and syncopated bass lines that show up everywhere in modern pop and R&B playing.