BALLADE STYLE - Piano Rhythms Vol.2 | Ilse Lozoya | Skillshare

BALLADE STYLE - Piano Rhythms Vol.2

Ilse Lozoya, Music teacher and Online Educator

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34 Lessons (2h 10m)
    • 1. Introduction

      1:30
    • 2. How to get the most of this class?

      3:51
    • 3. Important recommendations

      10:52
    • 4. Chords of this class

      2:31
    • 5. What is an inversion?

      4:27
    • 6. Chord Inversion

      3:57
    • 7. Comping #1 -Analysis-

      4:50
    • 8. Comping #1 -Left Hand-

      5:24
    • 9. Comping #1 -Both Hands-

      6:10
    • 10. Comping # 1.1 -Variation-

      3:42
    • 11. Comping #2 -Analysis-

      4:17
    • 12. Comping #2 -Right Hand-

      3:01
    • 13. Comping #2 -Both Hands-

      4:19
    • 14. Comping #3 -Analysis-

      2:08
    • 15. Comping #3 -Right Hand-

      4:03
    • 16. Comping #3 -Both Hands-

      4:02
    • 17. Comping #4 -Analysis-

      4:18
    • 18. Comping #4 -Both Hands-

      3:03
    • 19. Comping #4 -Left Hand-

      5:48
    • 20. Comping #4.1 -Variation-

      2:34
    • 21. Comping #5 -Analysis-

      1:47
    • 22. Comping #5 -Left Hand-

      4:07
    • 23. Comping #5 -Both Hands-

      4:07
    • 24. Comping #6 -Analysis-

      2:51
    • 25. Comping #6 -Left Hand-

      4:36
    • 26. Comping #6 -Both Hands-

      4:06
    • 27. Comping #6.1 -Variation-

      2:16
    • 28. Sus2 Chord -Analysis-

      1:45
    • 29. Sus2 Chord -Tutorial-

      5:19
    • 30. Sus4 -Analysis-

      2:08
    • 31. Sus4 Chord -Tutorial-

      4:46
    • 32. V11 Chord -Analysis-

      2:24
    • 33. Chord V11 -Tutorial-

      4:18
    • 34. Congratulations!!

      0:53

About This Class

Would you like to learn to accompany simple songs in ballad style?

  Knowing how to play chords on the piano but want to improve your accompaniments?

  This course for you!!

 Through 100% practical videos I will show you how you can learn to play simple accompaniments in ballad style on the piano, I will teach you how to play these practical patterns on the piano in a fluid way. 

 This course is dedicated to beginners, however if you have been  playing piano for a while and you want to venture into the world of accompaniments, outside of the mere reading of notes, you will find the exercises presented in this course quite useful.

 This course contains: 

  • 100% practical tutorial videos where it is shown on the piano how to play the accompaniments.

  • Theorical complementary lessons where the characteristics of each accompaniment are analyzed.

    Also once you are enrolled in this class you can post all your questions through in the disscussion board or send  me many comment about your piano work to the instructor, so you are not alone in your learning path!

    ENROLL in this class today and begin developing your piano creativity in the fun world of rhythms on the piano. 

    Want more Piano Rhythms classes?
  •  

            Piano Rhythms Vol.1 : Rock and Roll  https://skl.sh/2CTdkBq

            Piano Rhythms Vol.2: Ballad Style https://skl.sh/2qmKSR1

            Piano Rhythms Vol.3: Bossa Nova (Brazilian rhythm) https://skl.sh/2Fz6Rib

  • d87b2def

Transcripts

1. Introduction: hi will come to this class. Did you like ballot style? Would you like to be able to play the piano? This beautiful pieces that are part off the maybe romantic pop songs and all this thesis that we love that are kind of flow romantic and what this is called ballot style. In this last, I'm going to share with you some tips on how to play Eat it, follow piano compartments playing ballot side. My name is Steele said. Oh, so you and I am going to be your instructor in this class Iran pianist, music teacher and I am currently teaching on sculpture more than 60 glasses in this class. I'm going to teach you how to play through Practical Media's 100% practical videos. I'm going to share with you some theoretical explanations of you. Want to go further? Understand? What are you playing? You can download material. You can download PDFs, and you can download the drum backing track so you can really have so much fun making sure that we are playing this correctly following the rhythm and really getting into the mood off this beautiful style and role in this class today while you are taking the class. If you have any question place, let me know and I will be guided You unhealthy you while you are taking this last so enrolled in this class today What? 2. How to get the most of this class?: Hi. This is a course number two dedicated to learn peon rhythms and is dedicated to learn the valid style. I think that you have read all the descriptions in this course about who is this course for by when we talk to about this briefly. And who is this course for? This course is dedicated to beginners. If you are having playing piano and you want to learn how to play, you know this simple rhythms of the piano so you can be able to play with other singers and other instruments. What this course is going to help you. What do you need to know? Where It's a good year to have a basic knowledge about music theory about the courts and a little bit about piano. But if you have not, um, did you are not on a music theory expert. Don't worry. Remember that this has many practical BDO, so you're gonna be helped by that. And how does this work coursework? This is really important because I really want you to get the most off this course, and this course is a structure, and in this way it has six com pings six com pings that that really come rhythmical patterns that are characteristics off the piano. Valid style off course. There are many other companies, and you you will see that you can be created with them. But this course has six calm things, and each comping has a lecture. What? Where I am going to analyze each campaign So you really can, you know, see, what do you need to? How do you need to study and what is important in each coming? Each camping has video tutorials with the practical explanation on how to play them. This is important. They're going to see me playing. I am going to be explained to you how to practice him. Each company has a downloadable PdF so you can practice off line. You know, you can print the the camping's and practice without the Internet if you want to. And you can down though the all of your files with the backing track so you can hear the drums playing while you are practicing, because maybe you have a keyboard. Do that has all the drums tracks, but maybe to do not. So if you do not have a keyword, don't worry, you can use this down on the boat files to practice. Do you have any questions? This is really important. If you have any question about the course, you can send me your older questions through a private message or right, just post the questions in the discussion board in this course. I mean, you are not alone. Even that is an online video course. You can ask me about the course and about your piano practice. In general, I have had the students that have asked me some recommendations even to buy a new keyboard or something about that. So do not worry. If you have any questions, please send. Send them freely to me. This okay? I will be very, very happy to help you. I really enjoy share with you all the steps. Recommendations. So you have any question? Please let me know and make sure that you go over all the lectures and am videos as many times that you think it's necessary. Always go at your own pace. So we can't really get the most off this course 3. Important recommendations: Let's take a moment and consider some advice is that I really want to share with you about your piano practice. This is very important because it's not just matter that I'm sharing with you, these all this company patterns and that you do want to learn to play a Vallat style the piano, which is pretty good. But it is absolutely important to understand and for you to understand how you must practice. And in my experience, if it's really important as students to understand how we must study, how are we studying right now? How do we really improve? How can we really, really for what we are doing? Because what happens is that if you just and rolling the scores and start practicing all the camping's, it's not just for me sharing the video tutorials, which which are great, but I will. It's great to share this with you. I hope that you find them great. But the point of my conversation here is that I really would like you to get the most of your piano practice, and this is this course. This is the piano rhythms Volume two and I in the volume number one we talked about rock and roll, and I share with you. Some advice is. So if you didn't and roll in the volume Number one, this is going to be new for you. Even this is the second course for you. Maybe this is formula. And so let's make a quick overview about this. First, I really recommend you to study, you know, short periods of practice time with specific goals. It's better to practice 30 minutes Bailey. Then one hour and 1/2 or two hours once a week. Why? Because if you really want to develop a with the and they go technique and reading, you need to be consistent. This is really important. And a second advice. I recommend you to always begin with warm up exercises. Technique exercises. Why? Because we need to develop. It. Doesn't marry of you are an amateur. Or, of course, if you want to become a professional, this is more more important for you. But you really need to develop a good piano technique. We want to prevent injuries. We really want to be able to play relaxed, be able to control our sound, so it's really important to practice. Give your practice. One hour will take 15 or 20 minutes from that hour to practice. Unimproved your technique. Okay. The other advise is well, always always play separate of hands first, always analyzing. What are you doing? If you are gonna play comping, take a moment, even Eve. The right hand looks really easy. Will take a moment and go over both hands. And really make sure that you are practicing correctly and analyzing. What are you doing? And when you go on, play both hands at the same time. Play slower, very slower. If you play separated hands, for example at 100 beats per minute Then when you play both hands at the same time, play a slower, I will say at 60 bits per minute or 70 around that. On Why? Because we want to be able to play both hands at the same time without mistakes. And if we try to play at the same speed, it's not gonna be as e CSU think, and that can bring kind of frustrating and move to your practice. And we want to really avoid that. Okay, in about the scores practice all the come pinks using each chord separated. What? Talking about this? Well, make sure to practice a comforting but practice. Each court separated many times before playing the sequence off all the courts. That the song that you want to play has This is an important so you can play without making mistakes or stopping between measures or something like that. And Well, okay, this artist, the advice that I gave you before, but I want to talk about something important. What happens if you do have been doing this? And sometimes Well, something happened. And do you are following all the instructions about ur seal not getting the specter resource, everything waas pretty good. But let's say that you get to company number four and something happens, And you you are just capable to to play without mistakes or something like that. What? This is my recommendation. And this is very important to consider because if you were so motivated at the beginning, this can become something for trade it and you can feel really disappointed. And without the good terminate without productivity. When do you study? So as I mentioned, he doesn't marry, view an amateur student. Well, I really want you to be an efficient piano student. First of all, keep calm. Don't think that because something they are not getting the results that you want, that maybe the piano is not for you, and it's about your age. Or that you began later to later to too late to study piano. Keep calm, because all this thoughts can really stub you from your music. Outgrowing. So my recommendations remembered that practicing and musical instruments when we are practice in any instrument, the way that we are is reflected. And if we are a can a fan act anxious person and we are not patients or something like that , well, that can affect the way that we practice. So ask yourself this a my playing too fast the example that I gave you when you start practicing separate of hands sometimes and that it's a common mistake, sometimes you say, Well, the right hand is too easy and you focus on the left hand, and when you play both hands, you cannot play them without mistakes. Sometimes, because you're playing just simply too fast, play slower, you may say, Well, the point is that this song is faster. Yes, off course, But the beginning, you should always play slower. That's a must. Another question. Is there any section that has not been the studies correctly? So have you practiced those specific ally mean versus or measures or changes radical changes or core changes? Where do having having problems? Well, make sure that you have practice, that you have follow older structures that you have proactive, separate of hands and all the sections perfectly Are you allowing yourself mistakes is very common that when you are playing, sometimes you stop for less than a second. You say OK, I'm going to play this again. No. Try to play without stopping section by section. This is very important. If you're you have allowed yourself to practice with mistakes. What is happening is, as you are learning the exercises in the wrong way, so it is very important. Don't allow yourself to play with the six. Do I know what the courts the? Sounds pretty obvious, but are you sure that you can play all the courts off the song that you want to play? If you cannot well, go and learn, let them perfectly learn the come things using each court separated that then play the whole section. Can I play all the courts in the correct order? This is important. I may be capable to play be measure. But what happens if I need to play if, major and then be major? Well, maybe I cannot play this through courts. I'm not capable to play them without stopping or thinking too much. So we'll go to that area and make sure that you can play in the same order. This is an example. Here you have. I don't know if you are familiar with this, but this bars indicates that this are measures. And so let's think that this is a a sock that you want on a plate. And right here, as you can see in the second measure, I have see Major and the major. It means that I need to change twice in this measure. And maybe I am people to fly everything but morning. And when I get to that measure, I stop, I stop. It goes, I need to change, and I not capable to play this, that the sequence off this court. So make sure that you are practicing like this, remember? Have a good position. Sit down correctly. It's important that you keep your hand in a good position because that is going to help you to play relaxed and use the correct fingering. Two. This is important and haven't really have an efficient is studied. Routine produces satisfaction and better results. So is a must to always analyze ourselves when we are practicing. So really, we can get the results feel motivated and ive you practice 15 minutes in a very conscious way of small section and you have good results. Dragon achieved. This is more goals that you set for your piano practice daily, and that is really going to encourage you to keep practicing and you're going to feel motivated. And you are really going to enjoy why, why you are playing. What do you want to achieve? When are you playing? It doesn't matter that you are practicing a scaled. You're going to feel really more motivate. So this are my recommendations. I really hope that you can find ah them useful for your panel practice, and you can really improve and feel motivated when you play 4. Chords of this class: Let's take a look off which courts we are going to use in this court. Well, we're going to be working with the harming progression that has. Ah, it's called 1451 and we are going to work specifically with the C major scale. This is that C major scale. See the E f g A B. It has only natural notes. By this, I mean that and the piano. You are only going to play the white Keys. And when we say that the harmony progression that we are going to use this one for five, we're going to use this three notes and we are going to play the courts. So it's going to be C major F Major Engy Major. This are the ones that were going to use, not going to be showing you how to play this com pings from the ballast style. Using this court's off course, you need to be able that this is something that you have to work in your own to able to apply this calm pings to any chord. According to the to the song that you want to play off course, we can really not go over all the court because there too many. So the point here is that you need to be able to understand how it worked. Comping works, so you can apply this to any court and we're going to use C major F major engine major. Here are the courts and how we're going to play this well, you can download, remember all the material and going to show you here how to play this in the piano. But the harmony progression basically sounds like this. It's a very basic progression, very common and easy to follow. So we're going to be using C major, F major and G major. So take a moment and practice this records before going to the camping. So you can really follow what I am going to show you directly on the piano. 5. What is an inversion?: Let's take a moment and analyze what is a court inversion. Why is this important? Because I am going to be playing inversions when I am showing you how the come picks work. So I am going to be using not only the right position but also inversions. So what is this? I'm going to give you the example using the harmonic progression that we're going to use in this course, which is a C F G major courts is the Harmony Operation one for 51 from the the C major key . Here are the courts, but a court inversion and the notes off the core can be played in different order. How is this? Well, this is the C major court. The notes are played in this case. I pay played an arpeggio so you can listen each one. But I am. The lower notes that is being played is the C note, which is the root off the court. E is 1/3 and G is the fifth, but I can play this notes also in different order. Check how I moved the C note. I am playing the C note on octave higher, so it's going to sound like this. E, g and C. This is the C major court, but I am using an inversion and this is called the first inversion. The other one where the C note is played as the lower note by the lower note, is the one that it's right in the left. Well, that is the root position, but this one that you are watching here is the first inversion. How it is written well, you can often find this as you can see the scene, the sea letter, the the bar and then the e. So it means that is a C major court with the e note right, played, that is going to be the base. The base is going to be eat and you need to play the C major court. Well, here is the second inversion. By this, I am going to play the G note, which is the fifth off the court. This is going to be the base, the lower notes place, so it's going to be G C E. All this three notes are the same is a try it off the C major court, but I am playing them in different order. Okay, this is the F major court. This is a real position. What happens if I played the F one octave higher? Well, this is what you get. This is the first inversion a see and this and then I have the second inversion. I am playing the sea, which is the fifth off The F major chord is the base and this is the second inversion. I am going to be used in G major as well as you can see. Right here is the root position. And they're now I have the first immersion, which is b the base, then the and G. And the first version you get the third note off the court is going to be right in the basement. This is the second inversion. As you can see in the second inversion, the fifth often note of the quarter, which is the it's played as the base. So this is what an inversion iss and take your time to practices, especially with C major, if major and G major. So you can follow my recognize instructions on my examples right on the practical bdo off each comping 6. Chord Inversion: in this video. I am going to explain something that maybe you know this already, but I really I don't want you to feel confused at any time. Off the course, I really wanted to follow all the vocabulary that I am using and that it was an important a term that I am will be continuously using is inversion a court inversion? What is a court inversion? Well, you can play this in this case. This is the C major court C, E and E. When you play the notes off this court using the same order that the triad has in this case , C is the root of the court. And actually, this is the lower note off the court. So this is going to be like, you know, the base. This is going to be the lower note that I am playing. So this is the root position. If what happens if I want to play right here? This is the same C major. Instead of playing the C note right here, I am going to play right here. I still have C, e and G, but I employ in this in different order. So e g and C. The third note off the court which is E is going to be the lower note. So this is the first inversion. This is the first inversion. Remember? If I play like in the same order that to try it, then the try It has this note. Well, this is the root position. This is not the first inversion. This is the root position. So right here, this is the first impression. Now I am going to play E right here. So the lower note is going to be the G note. This is the fifth note off the court, so I still have C, E and G. But I am playing this in different order. This is the second inversion. So still see, Major. But I am using the second inversion. Why? This is important. Well, sometimes where we're going to use in this course, the harmonic progression 1451 and we are going to use only see measure. So this is a major the Fort note. The fourth court is going to be f major on the fifth G major, but I can use invasions instead of moving from C major to this F major using only root positions. I am willing to use inversions. So if I am playing See Major, I can play right here. This is F major, but I'm using the second inversion. I can play G major here and this is going to be the major but first inversion because the third note is right. Here s so what I really recommend you first is to get familiar with the C C major, f major and G major courts and with all the inversions off these three courts so you can really follow the videos where I am explaining the conflicts and you won't have any problem when I am play. When I play any court in second or first invention, this is important. So you can really follow the videos in this in the score. So take your time if you are planning to start playing another less another song, Well, you can get familiar with those courts and at the beginning, that's really, really important. But this is what an inversion iss 7. Comping #1 -Analysis-: Now let's begin analyzing the camping's that we are going to learn in this course we're going to begin with Kim Comping number one, and something important to understand is that, um, com thing is a rhythmical pattern. In this case, as you can see, well, the left hand, it's going to be playing certain rhythmical figures that we need to understand we are working, and we're going to be working all the course with a time signature that it's 4/4 and would need to understand all the beats off each measure. As you can see, I added the counting. So 1234 So you can really understand where thus each note goes. And in this case, not is the red lines. What's this? Well, it's important. And sometimes when we are working with slowest peas and we're working with eight notes would need to be able to divide each beat. In this case, I have 1234 But I have this sign that I as it that can be used as this when we count, we're going to say one and two and three m for n when I say n it's equals two a and h note , and in this case, the this symbol. It's going to mean the end. So if I put the Metrodome in this case, I'm using 50 beats per minutes and it's going to be one and two and three m four an. So when I am referring to the end, it means that it's half off the beat. So when I'll go back to the comping number one and I take a look off the left hand, you can see that I am. I am using the root note off the court and the fifth. But which is interesting is that I'm going to be play in the eight note right on the end on the second part, off beats two on four. So my recommendation here ISS to in this case I'm sorry is to count and clap right in that when you say an and when and beat 214 So first you can just say one and two and three m four and and I'm going to clap where the left hand months must play. So it's going to be one and 2 10 3 m 4 10 1 and two m three m four. Then I recommend you to do this the good exercise and going to do it again. Counting 1st 1 in two and three and four and one and two and tree M floor, then one and two and three m four. This way you are practicing how their rhythmic fell figure goes, and when you go to the piano, it's going to be easier right here. I have on variation from this company, which is quite simple, what I'm going to do. I am playing quarter notes with my right hand, but fans ensured that I want to change in the fourth beat. I'm going to play 1/4 note so the rhythm is going to change. I'm going to be doing something like this one and two and three m four. So the fifth note off the court from the left hand goes exactly at the beginning off the four beat and I circle with this yellow cooler, so it means that you need to play both hands at the same time. That's the difference when you go to comping at the variation of the company one. So it's important to understand what's happening. Try clapping trying, counting aloud used a mansion on This is going to help you and prepare you to the practical video so you can really understand and follow what I'm doing. He goes, Do you have analyzed this? Ask our justice. 8. Comping #1 -Left Hand-: in this video, I am going to show you how to play this comforting the bottle of camping number one on. We're going to analyze the left hand. It is absolutely very important and recommendable to take a look off the previous lesson where I am analysing and explaining to you how is the rhythmical figures important and how that you need to understand how this competent must be played before just going to the key world. Well, after that, now let's take a look off the left hand. Well, what we're doing here is that I am going to play a dotted quarter note and what I'm going to do is I'm going to play the C major court. This is like the basic core that we're going to use to learn this. Come pings. We are working with the harmonic progression one for 51 in this case, C Major F Major G Major and see Major. But actually it is not important the order off the courts because ah, you are going to adapt this to any song that you want to play. So what I'm going to show you is how to distribute your Ah, the notes off the court using the following rhythm. When we were working at the C made with a C major chord, you're going to play the route off the court in this case is to see me the see note. And then we're going to use the fifth note in this case, the G note. So I am going to do this. I am going to play the C note, this adult if quarter note. Then I'm going to play in the second beat. I want to play on eight note. So it's going to be something like this. 12 and three and four and and at the end off the measure, in this case, the fourth week, I'm going to play the fifth note on Lee at the end of the measure. So it's going to be 12 and three and four and and then I'll go back to beat number one. I am going to show you this. Wait, the Metrodome. So I want to set the metronomic at 50 bits per minute. This is going to help you. I really recommend you to use this without any louder click. So do you really? Can you can do this first without click so you can count again. And after that I am going to said the click at the beginning. So this are 50 bits permanent. The methadone one Jew, three, four and 12 and three and four and 12 and treat and floor and one. This is basically what I'm going to do. What happened? What happens if I moved to F? Well, I'm going to begin with the route off the court in this case F. And so I'm using If and the fifth note the C note. I can if I want. You have remote more control. You can play f right here and then play the sea here. But this really important at the beginning to be aware off which notes you need to play so you can't work with this separated. There are many exercises that you can do to really play with more confidence, especially when we're talking about the route on the fifth note off the court. So I want to play this one more time. Now I'm going to set the click at off the Mithra Nam. This is four over fourth, so it's going to be one. Listen how the 1st 1 is louder. She's going to be one too tree for and again. 12 and three and four n 12 and three and four n on. I can go to if if I want or if I am moving to the G court, the gym major court, I just can't do this 12 and three and four and on and I play again. The G note, because of the note, is a route off the next court. So actually, you can follow the the order any order that you I need to play. But you need to be sure how you are working with the the route on the fifth in this court in the next less than I am going to show you how to play both hands and how toe play with this with, uh, the style the women style off the drums of style off this keyword 9. Comping #1 -Both Hands-: Now I'm going to show you how to play both hands at the same time. We previously analyze how we're going to play the left hand. We're going to use this working with the route off the court and the fifth note off the court. So what I'm going to do? Well, this is very simple. My right hand is going to be playing Onley quieter notes. So it's going to be really easy. I am going to play in this case, the C major court. This is the root position, that fundamental position. I'm just going to follow the beat of the Metrodome, fall over the time doing something like this. So you really need to understand how to play this together. You can see in the image off in this video, you can see how the the all the beats are the biting while we are going to play. And where do we need to focus? Especially when you're playing at this at the half off any beat. So what I'm going to do? I'm going to play 12 and 3 a.m. four n one. So the first beat both hands at the same time, the second beat. I played two. And so because my right hand is really just following the beat, it's not to be is going to be really difficult. And you may think that this sounds not very difficult. It is not difficult, but it sets a very nice, simple and easy to follow base way. Want to start playing ballots? So what I'm going to do This is the master in, Um I'm using 50 beats per minute and I'm going to count this 24 And then I'm going to play this together. And which account for first? 12 and three and four and one to end tree am four and 12 and three m four and one, two and three and four. You can play this even slower. Remember, it is absolutely important to understand how to combine this. We analyzed this previously, but it is really important to have this really clear before start increasing this piece. Otherwise, they're gonna be you're gonna lose control. You're gonna lose that The piece off the rhythm. So it is really important to do this. I am going to use now. And you just said the the drums here in the key war. If you don't have this, remember that you can download this in this court. You can download the you can download the audio file with the drums and whatever something this is that in this this is a job Maha keyboard And it is the ballot, the piano ballot style. But just any, you know, ballot rhythm can't help. It will help. Would you? With this six or size? So I'm going to count to four and then I am going to play again. I'm using 50 beats per minute. 12 and three, M four in John two and three, M four and 12 and Treat and four going to play F major 12 and three and 41 two and three and four C major again. 12 and three, M 412 and dream on 40 Major 12 and 341 two and 34 and C. Major. Again, I really recommend you to go and practice each court many times before trying to stick to the order off the course off the song that you want to play. So this is how it sounds when we use 50 beats per minutes. I'm going to set this a little bit faster. Just so so you can really have an idea how it sounds. But remember, don't play too fast if you cannot control the the time. 1234 12! Three! 412! Three for F 12341234 Seem a year or 23 and four. It's really important on play too fast and really enjoy what you are doing. If it is necessary at the beginning, go like 12 and three and four and one. If you play this very slowly, do count aloud that it's really going to help you to understand what you are playing. And remember that try separated cans always, even if I am playing 50 beats per minute. If I can just play the right hand, you may think that this is not necessary. But at the beginning, especially, maybe you don't feel so confident following a bathroom or this drums off the drum section right here in the keyboard. So try to do that very, very slow separate camps before playing this together 10. Comping # 1.1 -Variation-: Now we're going to give you as variation from the camping number one. This is very you see, and you may think that it's not really necessary to learn this. But it is important because it can help in the future to really control, especially if you need to change at the end off the measure. The last bit. If you want, you need to change the court. This is going to help you what we are going to do. My right hand is going to keep practicing and playing just quarter notes following the time following the Metrodome. In this case, just quarter knows I'm playing 50 beats per minutes, but the difference when I get to my left hand is that at the end of the measure, I am going to play the fifth note of the court rights and the beat number four. So it is going to be like this one to three four in 12 and three m 412 and three and four. So the difference, actually, is that in the first company company number one I was using playing the fifth note right at the second part off the fourth beat in this case, I'm going to play this directly in the four beat too Tree for N one and two and three m four at the same time. 12 and three m four I'm going to play this both hands. Three m four and 12 and three and four at the same time. In the last beat. 23 m 412 and three and four te familiar two and three and 412 and 3 a.m. Four. So now I'm going to use the drums right here and again is 50 beats per minutes going to sound like this? And one Teoh and 3 a.m. 412 and three and four F major. One two and 341234 How it sounds. If I played this faster, I'm going to used 70 bits for minutes. 123412 and three and 4123 and four If major 123 and four, 41234 Similiar one to entry and four. And this is how you change this. You will see that with the other camping's. It will be necessary to learn sometimes to play the fifth note off the court, right in the other fourth beat or at the half off the four beats. So this is important to understand. Just practice this. It's not very difficult. You may find it easier. Uh, from after you have played the company number one. 11. Comping #2 -Analysis-: Now let's analyze the second comping in this course. This is comping number two and let's take a moment and see what's happening here. Jay Kim, Play the parts of this video positive video and watch and try to get an idea by your own What's going on right here. If you have done this or you can just listen to my explanation well, what is happening here? Well, the right hand is playing the court as an arpeggio, as you can see the notes here that I am playing that I'm going to play with my right hand R C E G and this notes are repeated on this notes are part off the C major court because this company that I'm showing to you is working toward the C major court. So I am really just using the notes off the court. As in our Pedro. The left hand is actually playing use in the rhythmical pattern that we learned in the comping one that won the variation off the company one. So here is this is a company number two. My suggests Young What? I'm going to suggest your ISS that pay attention on the This is the time signature. So we have count one and two and this is going to help you to understand how the eighth notes off, the right hand needs to be played. Need to be played. And where do you need to believe both hands? This is important. You need to play on the second part off the second beat and right on the four beats goes together at the same time. So my suggesting here to understand the rhythm is to clap the left hand, call up the left can and you can club that of him and read the notes off the right hand allowed. Actually, this exercises are pretty good. This type of exercises are used in many universities, music, universities as a subject. I mean practice in all this types off combinations, you can say, read the notes, clap, read them in many other ways that can combine this. So what I am going to do, I'm going to set the methanol at 50 bits per minute, and I am going to collapse the left hand first. Then I am going to say the name off the right hand that I want to read the notes allowed So first, let's take a look off the left. Can't Juan to end. Three m four one two and 3 a.m. Four one, two and three m four. If you practice comping the variation of company number one, you won't have any problem with this. Now you are going to name the notes. You're going to read the notes, see e g E c e g. So, first, I am going to do it on Lee following the Metro Nanquan and two and three and four one c e g e c A g c g b a c A G. Now I am going to collapse the left hand and want to read the right hand one to three floor in C A G e c g c e g e c E g. If you cannot do this right now, take your time and go practice. Each can separate it off course on the lights, and this is going to make you when you go to a piano is going to be really it's going to easier. So take your time, analyze this. It really it's worth the time to take on analyzed this and the next video the practical, but I'm going to show you how to play this directly on the panel 12. Comping #2 -Right Hand-: Now we're going to show you how to play the second comping in this course, and we're going to use the rhythmical, the rhythmical pattern than we used in the campaign. One that one. So we have analyzes profusely. So what I'm going to show you in this video is how to play the right hand. We're going to play eight notes. First we have a rest, and then what we're going to do, I'm going to play instead of play the whole C major core. I am going to play this as an arpeggio. So I'm going to play see e g e c in this order so I can feel, you know, that the whole measure at the beginning, off the measure beat number one. I'm going to begin with arrests, off course, playing this both hands at the same time. It's going to make this easier. You would see. But what? I'm going to dio 12 three, floor one. And so this is what I'm going to do. I want to play this again in one and two and drinking. And before you can play this just saying that him off the notes first. So you can follow the beat. You can follow the time, but you can easily follow the timing. This is just 1/4 notes. I'm sorry. Eight notes. So see e g e c e g, and that's it. If I play f you can use on inversion or if you are, you send every position, right? So how's is going to be gone, too? Tree m four and one and two and 3 a.m. for F one and two in 34 and see. So you just need to practice the air pages, depending on which course you are going to play and depending, of course, am versions. But this the rhythmical figure is the same. So just practice the our page of the same as if you were playing the court at the same time . Well, all the notes of the same time just practicing our page in the next video. I'm going to show you how to play this both hands at the same time, 13. Comping #2 -Both Hands-: Now let's play both hands at the same time and we are working with the company number two. So what do you need to understand is where you are going to play bold camps at the same time, I really recommend you to practice is separate it, then together so very, very slowly. So you can I understand. Go at your own pace on. The most important thing is to play without any mistakes. So I'm going to play one and two. And so as the on the second part off the second beat, I'm going to both hands are going to play at the same time. One and two and three and four. All right again, See? And the four beats a same time. So at of the half, half off the second, wheat on, right in the four feet dangling to play both hands at the same time. This is important. So I'm going to do this without any metron. I'm just counting first very slowly. This is the speed three m for N. One and two and three and four, one and two and three and four. Now this is the Metrodome. 50 bits permanent 12 tree M floor and one and two and three and 41 and two entry and four and one into end three and four f fun and to entry. And for one and two entry am for so. And now we're going to use the drums 50 beats per minutes again so you can see other. But you know what? More with the drums, how it sounds. 12 tree four in one and two. M three and 41 and two and 3 a.m. for now if, major One and two and three and 41 and two entries. And for ever she may your want. And 341 and two and 34 If I go to G major, the same one and two and three and 41 and two entry for so one. I'm sorry, one and two and treat them four. So this is important. Go at your own pace and follow Full of actually, the order of the courts were do of the sun that you want to play. So I'm going to play this a little bit faster so you can see how it sounds. I'm going to play. See Major 12341 and two. Entry for a major C major. Major Major, you're finished. You can play at the same time on the beach, number one. So this is the comping number to practice separated hands, especially the our Pedro, so you can move fluently when you change to another court. 14. Comping #3 -Analysis-: Okay, now I'm going to explain you the company number three. We're working with this battle Camping's and take a moment Possibility analyzed by yourself . What's going on with this comping number? Tree? What? What is going on? What is going on? First, my left hand is going to play the company number one as you can see, the rhythmical and the weight I am playing playing the root note off the court in this case C And they am betting playing the fifth, which is G. And I am using the rhythmical pattern off company number one. What ISS my right hand doing here? What's happening with the right hand? It's playing in the broken court when you have a court in this case to see major court and you play see e g at the same time. It is a block court, but when you play two notes first and then the other one that is called broken court and what I'm doing what I just mentioned before, the left hand is playing the company one for them. But right here what you are going to do? What I really recommend you to go on played the core with the right hand and then play. Separated knows that is what's happening and you are playing eight notes all the time. So just with carefully and see where the yellow cooler is marking right the When we're talking about the second part of each beat, we can see that we need to pay attention here on the second part off. See, And if so, that's a place where both hands need to play. So go and practices off course. This is better plate of the piano. So if you've practiced this and you won't have any problem when you'll get to the practical BDO. 15. Comping #3 -Right Hand-: Now let's move to the camping number Tree when we're playing ballot. Well, why are we going to do in this comping? I am going to use in my left hand the same rhythmical pattern that we learn in the comping number one. This is important. So ive you can do this fluently without any problems. You won't have any problem to do what I'm going to teach you right now with your right hand . What I'm going to do. Well, as you can see, there are many ways the to combine and to play the same court. You can go a different with different rhythmical figures in this case, what I'm going to do in the previous comping I made of Prado with my right hand well, in this company, what I'm going to do is instead of playing the C major chord all the notes at the same time , I'm going to split this. So I'm going to play the two notes, the e energy. This is the third and the fifth at the same time on. Then I am going to play the C note right here. So it is going to be like this. I'm going to play just eights notes. And actually, I don't have any rests, so I'm just going to do this. It is important to make sure that you are playing the over two notes at the same time, so this is not correct. Do not need to play this, so your position needs to be good position so you can play both fingers. So both notes at the same time in just move gently. If you opened your hand like this and you're playing like this, you can have mistakes and you're you can feel tired of playing so you can just gently used your wrist to move When you are playing this cycm payments. So what I'm going to do? I'm going to play E N G at the same time on then the route off the court. But pay attention. What I'm actually doing It's not about playing the third and the fifth. It's about playing the to higher notes off the inversion off the court that I am using. So if I am going to play F major like this eso I am going to play a friend a at the same time, and then I'm going to play the lower note after that. Uh, just make sure to go. Don't play too fast. Just keep the timing. So in this case, I am going to use the Metrodome. 50 beats per minute, and it's going to sound like this. 12 and 3 a.m. Four. One and two and three m 41 and two and 34 if I play F one and two and three m four c major again. One and two and three and 40 major one on day two and three. M foresee. Major eso. You don't need to play too fast. Just follow the eight notes and it's important to practices separated without playing both hands. So you can really feel okay with the timing and will the speed that you are, you sing it. It's important. I really recommend you to as soon as possible. Start practicing with the Metrodome so you can really make sure that you are keeping the same speed 16. Comping #3 -Both Hands-: Now let's learn how to play this company number tree both hands at the same time. What I'm going to do, a use in the rhythmical pattern that I learned to play in the comping number one. And now I'm going to just, you know, play this broken court. Actually, this is the correct name broken courts like this on what I need to pay attention. It's what, exactly? I am going to play both hands at the same time as you can see in the image in this video. In the upper parts of this video, you can see the the notes and how the oh the beats are divided one and two and so at the beginning, beat number one at the same time and the second part off the second beat. I played both hands at the same time, three. M four. And so when I say and in the fourth beat, I play at the same time, so I'm going to play this. This is 50 beats per minute, 12 three M floor and one and two and 3 a.m. Four and one in three and 41 and two and three AM fourth and one. You can't play this a slower say, like one and two and three and four and one. This is story. Okay, You can play this even slower. But as soon as possible, you can start playing this with the Metrodome. So you can really make sure that you are not stay in too much. Really? Ah, stay longer than necessary in any beat. So I'm going to play this with the drums off the keyboard and counting to 41 and two and three F four and one and two and three. M four and one and two and 3 a.m. for F Major one and two and three m four and one and two and three and four C. May your one and two and three and 41 and two and three for the major. One and two and 3 a.m. for one and two entry and for s e major off course that the order can change according to the song that you are playing. But but it basically this is how it sounds. If I play a little bit faster, I just going to give you an example with the C Major court. 123 and four, one and two. Entry. But remember, never never increase the speed if you have not practiced the previous a speed is not to be able to play without any mistakes. So this is how do you can't play? You've seen the rhythmical pattern off the company. Number one off course. You will see that you can actually play with the rhythmical pattern off the variation off the camping number one so that there are many things that you will be able to do once you start practicing and playing all this cos you can use your imagination, your creativity, and adapt this to the song that you are play. 17. Comping #4 -Analysis-: Now let's analyze the camping number four in this course posted a video Analyze was going on here. As you can see the right hand, it's playing 1/4 note and a dotted half note. It's playing the court as a bloke, corn as well, so it's not difficult to count and neither to play. What is going on with the left hand is this we're playing. We're going to play in our page. You We need to be aware off the one and two entry am for and accounting that we have practiced previously because, as you can see, we haven't arpeggio, but we have some ties. Notes. When you have a tie note, as you can see right there where the red lines the tiny red arrows are marking. Well, when do you have a tight note to knows that are the same that are similar, are tied. You are going to the 2nd 1 journal going to play it again. It's like you are counting the the rhythmical figures together in this case. What is going to happen is that I'm going to play the denote at the and part of the Sekem beat and after the 3rd 1 right here. So when I get to the end to entry and I am going to play the notes So how can I do? What can I do to understand this? While my suggestion is to keep the temple clapping and read the bass clef notes aloud, I am going to do this for years that you can see how what I'm talking about how you can do this. This is really going to help you to understand their rhythmical pattern here. So I have C g see the e. You're going to see this in the practical video. How must be played. So I am just going to read this and I'm going to read clapping all the beats off the metronomic. Be careful. I am not clapping the rhythmical pattern pattern off the right hand. I am just going to clap each beat off the measure and I am going to read the left hand. So I'm going to come to for one to three m four m c g c the a g. I want to do the GAM story one to 34 c g c the e. So be careful here again. You can do this with Delta mentoring him first like C G, c, the E and say in the and then e it sounds like the same because of the bowel off the name of the note. So is going to be one two in three fam four c g c, the e c g c the e So you can do that And that is that can help you to understand how this company must be played now. But we have a variation. This is a comping for one or the variation. What I'm going to do here. Well, I am playing the same on the left hand, but I'm going to ask Hey on eight note with my left hand, as you can see. So in the last part right here I'm going to play the court again. That is going to add movement, and it's a little bit more difficult on the camping for but practiced that before and then at this and that is going to help you, especially if they're going to change the court. Sounds pretty well in the next video on the practical video, I'm going to share show you how to play this directly on the panel 18. Comping #4 -Both Hands-: Now I'm going to show you how to play the right hand and this come pick number for that. We are practicing Well, if you follow the timing, this first option is really, really kind of easy. What you're going to do, you are going to play right here. This is 1/4 note. So in the first beat you're going to play in the first place and in the second. And then you're just going to leave the core the rest off the measure. So it's really not. Not difficult are all one and two and three m four, and that's it. So how it's going to sound three and four, So 123 m floor and that's it. And you may think that this is really too easy or not really sounds. Sounds to simple. But when you play both hands at the same time, it's going to sound like this one and 3 a.m. for one and 3 a.m. Four, so it will give you just a say something more full is actually Fuller. It's going to sound fuller, but it's a good way to start practicing this comping just living here and Tempel one and two and living this beat one and to the rest of the measure how it's going to sound with drums, tree and floor and Ron and two and three and four and one and two and three and four. If I played this faster 17 bits per minute, it's going to sound like this 1234123 and four and G. C. Major And you can even start practicing playing. Just hold notes here, then adding the rhythmical figures that I am suggesting you the rhythmical pattern. Just go al germ pace. Remember, you can play the F major here. Just around this area, it's much, much better. Don't go to too low, because that would sound every bit confusing, especially if you are planning to play with A with a bass player. So this is how you need to practice this not difficult, but just follow your gold. Your own pace. Don't play too fast. 19. Comping #4 -Left Hand-: Now let's go into Let's play this company number four in this course And right here I'm going to begin with my left hand because this company, it's different pretty different from the previous ones. Because I want to move a lot. I would have so much more movement right here with my left hand. So what? I'm going to do police before trying this. Go to the lesson. What? Where I am analyzing this very Kelly. So you can really understand. What do you need to play? How and why is this written like this? Even that that you can see the image off the notes, the written notes right here in the top of the video. So what I'm going to do well, this company sound like this. Are thats kind of popular? There are many. Actually, there are some popular songs that begin exactly like this and what I'm going to do. Well, I am going to play the route on the fifth note off the court and then I'm going to play route the fifth, the root again, and then I am going to move towards the towards the fit. The third note. So it's going to be in the case off. See, major court is going to be C G c the e. And be careful with this movement. I am suggesting this fingers 125 to 1 to one 5 to 1 to one. So you can't have this fingers free to move and go back to the pattern that I'm using. So what I'm doing I actually passing to get to the third note I'm passing to the denote in this case is a 90 note off the court. But the attention right on the edge, rhythmical figures what I'm doing, I am. I am playing eight notes. Then I have this tight note list right here. So I'm going to play the at the middle off the second beat and then I'm going to say there until half off the third beat on. Then I just keep I just leave the e note there until the end off the measure. So it's going to be one and two and three and four. You for high use. The master non 50 beats per minute is going to be like this three and four and one and two and treat em for one and two entry em for you really need to pay attention. Exactly. When you play at the half off the third on the half of the second and the third beat and you don't play. You just hold there until the end of the measures is going to be like this one and two and three and four and one and two and three m four again. One and two and three. M four. So be careful with this. Ties notes. So can you. Little bit confusing. What do you get it? I mean, when you listen to this and you understand how it sounds on why it's going to be really more easier, really release here. So if I go to F major is going to be like this. I can't work here in lower, so it's going to be FC FC Gene A s. I need to open my hands like this. Five lady G D. Gene G the G A B. So I'm going to do this. I want to show you how to play in each court First would see major too three M four and C J C B E one. And I'm sorry. It really this again? One to three. M four and blonde and two n three m four. Again. One and two Entry M. Ford F one and to N three. M four. Again. Now G again, huh? What do you need to pay? Attention? Well, right here. What? The mistake that I have previously is that I didn't hold and I didn't stay my and right until the enough to measure. So that's what you need to just stay calm and do this counting. Analyzing. What are you playing? Okay, so if I said the drums is going to sound like this three and four n As you can see, this is a very popular way off. Ah, playing the left hand and this with them. So it's very popular and practice to several times before playing both hands at the same time. 20. Comping #4.1 -Variation-: Now I'm going to give you another option that you can use and discomfort Number four. Another combination. Well, what I'm going to do is I am going to play right here with my right hand and temple. Well in the beat one and two and three and four. But at the end of the measure at the end off the beat number four, I'm going to play this. I'm going to play a eight note as you can see the much here. So it's going to sound like this one and two and three and four n. One into entry and four and 12 and three and four. So it gives you other with more movement when you play right here, the age notes before going to another chorus example that helps. But if you are not capable to play to control the movement off the the courts here and stay in there, don't try to do this. It it doesn't sound difficult, but you need to be able to play the previous example off this company that I gave you without any mistakes. So how it is going to sound? I'm going to said the this Pete off the drum said. 50. Business for minutes. Someone's going to be too tree. And four and one and three and fourth and one and three and four F one and three and four and C major, one in three and four g one and two and 34 on a tree. M four. How it sounds If I play this faster, I'm going to do this on Lee. Do this only with the C Major Cartman to Tree and 41 and three and four. So John play too fast. Guajira in pace, always understanding why and how you are going to play this variation before increasing the speed. 21. Comping #5 -Analysis-: Okay, now I'm going to explain you the comping number five, possibly video. Take a moment and analyze what is going on in discomfiting. And let's see if you fear out by yourself. What is going on here is that the company three is has been switched. So I switched the patterns and I am playing. What's going on here? Look carefully. Remember coming number tree, my right hand displaying the block court. But it's using the rhythmical pattern that I used in company number treat the left hand displaying the broken court. So instead, off playing the tree notes at the same time, I am playing the E G. And then the scene. No. So it's a bloke in court, broken court and right, Here's a time signature. 1234 Why am I circling this? Because that's a place where both hands are going to play at the same time. This is important. You're going to see this more clearly when and the practical BDO, but you need to be a word of that practice. Separated can practice your left hand many times. I'm going to show you how to do this in the next video, but This is the important thing where the yellow line has been added. That's a place where you need to play both hands at the same time, which is the important thing in this camping. 22. Comping #5 -Left Hand-: Now let's learn how to play the company number five from this course and I'm going to start . They're going to begin with the left hand. If you have seen the video where I analyze this comforting theory Kelly old about the rhythm and how it, um, must be structure Well, you'll see that with your right hand you are going to you are going to use one of the patterns, the rhythmical patterns that we we used previously with or left hand. So why are we going to Dio? Actually, all this rhythms are about to be creative and combined, sometimes the same pattern. But we are alternating. Sometimes we use it. Ah, we use them with right hand or the left hand. So in this coming number five, what I'm going to do, I am going to break the court. It's I mean and we're going to use a broken court instead of playing just the the C major court. What I'm going to do and do ISS. I am going to play the to upper notes from the core, but I'm not talking about if it's 1/3 or fifth, just the to higher notes that I'm playing in according to the inversion that I'm using. Well, and actually this isa one that I played previously in the comping number treat with my right hand. So, actually, I am just like switching how this rhythmical patterns and the courts are using this company . I'm searching this from the company moment tree. So what I'm going to do this is the C major court, and I'm going to play Thing is important and it is really necessary for you to practice this. I told you previously, when you use this would your right hand When? When do, Especially if you're right with your right hand. When you play with your left hand, you may find this a little bit more difficult, So use your wrist so you cannot, uh, you want get tired or stress because you are doing this and you're using your wrist to just roll your hand so to upper parts the to upper notes e and G at the same time. And then I play the lower note s so I recommend you to said the metronomic This case is 15 minutes at 50 beats per minutes. So what I'm going to do, I'm just going to practice this and this'll r eight notes. So just gently practice by this. I'm moving to F major C major G, and see if you want to use this pattern with other course. Just try. Take, take your time. God, you're on pace and practice, said the metronome and practices several times. But ah, taking your time practice many times each court before getting to the order that is set in the song that you want to play. So take your time. Just go gentle like this. You can play this slower if you think is necessary, because it's important not to play too fast in order to avoid mistakes. So just take your time and do this in the next video to show you how it sounds both hands at the same time. 23. Comping #5 -Both Hands-: Now let's take it of how we can play this camping number five using both hands at the same time as I mentioned before. And you took the time to analyze the lesson where I analyzes Teri Kelly and with Nicolle. Well, you see that with my right hand, I am going to play the court, only just score. Gonna like here. I complete right here, right here. Defense where my emergence in my right hand are going to be played. Language made this doctor water note on going to three. The new off the second meat. And then at the end of the fourth Fleet, as I mentioned before, I actually this comping is a number three switched. I just switched my my hands. So if you took the time previously this company, it's not gonna be that difficult. So what I want to do, it's important to understand. And you can see the image right here in the upper part of the video. You can you need to understand where my both hands are going to play together. So it goes at the beginning, one and two. And when I say and you the second beat on the floor. This is the bedroom. 50 bits per minute. One, two and 34 and one and 41 and four three askew. So I just alternate. See Major? If Major G major. But actually the the sound off the company changes a little bit. If I play, for example, in the company number tree because off the know that I am playing in the base, this is important to consider. It is not the same to play on Lee the routes off the court and the 50 notes or just play the whole ward leaving the court assigned doing this in the company number five. This is the difference between the number five under third coming. So that's important. The how the um the musical almost fear is different. So I want to play this with drones from the keyboards singing See and how sounds. I said. This is 60 beats per minute. I'm thinking she maker one and two and 34 make your C major. You're see Mayor, a pressure that maybe you have already recognized this competence because they are very, very popular. You can use them as the in trough in song, maybe, or in the bridge between any bears is or in the course, and this is a actually do. Durability is not only one song, you can makes them, and you can combine them according to your creativity. 24. Comping #6 -Analysis-: Now we are at the company. Number six of this course. Take a moment. Posit video again. My recommendation. Analyze what is going on with discomfiting. Okay, let's analyze what's happening here. The right hand, actually, as you can see right hand, it's playing the pattern off the company. Number four. I am playing a bloke court and I am using that rhythmical pattern. The left hand is playing. An arpeggio is using the C major court playing in their page. Oh, no tied knots. This is the difference. And right at the end. Off beat. Second part off beat number four. I am going to play the eighth note with my right hand. This is important and you can try this clapping. Let me give you a suggestion. You can as we have done this before. Breathe the notes off the left hand, read the notes off the bass clef using the Metrodome. And then, if you want, you can clap following the rhythmical figures off the right hand. I'm going to do this. I'm going to say the name of the notes counting to four first one two and 34 c g c. The a. The sea again. C g c the e the C. Now I'm going to collapse the right hand of the same time that I am breeding the base. Cliff Juan too. 34 C g c the a the c c g c the a the safe off course You can try this without reading and counting and all my recommendations. Maybe you can do that means you can go directly to the practical BDO. But is my recombination. If you really can't want to get the most of this practice, asked this us I'm telling you. Okay, this company has a variation of very easy one you're just are going to play with right hand . You're going to play block courts playing quarter notes so it can be even easier just to play. As I just said, the right hand and then the same with the left hand Tried this several times gold your own pace before trying to play different courts. But well, I'm going to explain this to you how to play this. How to move your hand in the practical bdo 25. Comping #6 -Left Hand-: we're now at the company number six in discourse. And what are we going to do? Well, I'm going to show you how to play first, the left hand. And actually, this is a little bit variation from company number four. But what we're going to do, well, we are going to We don't have any ties. Note, And we're going to No way we're going to add a two notes at the end off this comping. If you take a look as I wish you did in the previous Let someone where I explained this well, you will see that I'm using the route The fifth, the roots. And then I am moving toward the third note off the court and I'm passing through the in this case, the denote because I am playing C major So But instead, off say here, as I did in the company Number four. I'm going back to the and finishing a to the D note. See note, which is the root note in this court. So C g c, the e, the C now tie notes. Just at the end, I'm going to play 1/4 note or staying at the root off the note. So it's going to sound like this. C G. C the the sea. I'm going to set the Metrodome 50 bits per minute. So include to some like this three M four and one and two and three and four. It is important to mention that when I finished and I play here when I play here, the route off the court again the C note. I recommend you to move your fingers to the same position. You know if, if you are moving to another core, will just take them to the next note. Right? It's important not to stay there until it's sound to go to the next note, because you can get confused and you won't be able to make it on time. So you do this on. Did you anticipate your the the movement off their fingers? So I'm going to play this one more time. Amputation at the end, how I am preparing my hand again to go back to the C. Note. Three. M four and one and two and three and four. It's ready one and two and 34 If I go to F one and two and three and four. So I am preparing. I am preparing my fingers. I'm I am always thinking ahead off the of what I am playing. So what am I going? So I am going to prepare my fingers to play this off course you can practice. I really recommend you to stay. If you are going to play a song that has five courts, well, stay playing each court several times and then practise passing and going to the next core before playing in the sequence that the song requires. This is important, so you can have control off the speed and the movement off your fingers because otherwise you can get a stress and we don't want it would really want to prevent any injury because actually, you can have injuries, Eve, you stress and you make so much force. So how is this going to be? I'm going to said the drums are in the key war one and two and three and four and 1234 Prepare! And this is how it sounds in the next video, going to show you how to play discomfort both hands. At the same time, 26. Comping #6 -Both Hands-: Now let's take a look. We are working with the comforting number six, and I'm going to tell you how to play with both hands. Well, this is a suggestion, of course. Through time and through practice, you are going to add and be created with this, but something. My recommendation first, is just a plea, a dotted half note. So you're going to hold play the court and just hold it for three beats. And then at the end of the fourth beat, you're going to play a on H notes before going to the next court. It's actually really, really simple. Just, uh, this movement that I am playing them, combining at the end off the fourth beats just playing the route and then playing the court again here at, um, a little bit off movement, they will help you to just not be so, so monotonous with your right hand. But actually it's not that simple. I mean, it's ah, ants in a good way. This the measure. So what I'm going to do? I am going to set once at the Metrodome. 50 beats per minute to three and four and 12342 and three and four F one in two and 34 on two and 34 C Like this. Okay, yes. So that's that's how you can combine this. I'm going to set the drums and you can see I'm going to play here. I actually moved the inversions right now, but I'm going to use it in a the rep position 23 and four c major if Major C Major Jeanne uh, E I can't go back to see Major. Actually, the combination off the courts are depending off the song that you are playing. I'm going to play this one more time at 70 beats per minute, so you can have an idea how this sounds if I play faster. 123 and four f c major the major C major. So take your time. And if you are working with the keyword, you can change and use another sounds. But ah, actually, this is a very it sounds simple, but gives a good regular angry a compound mint and good camping to the ballot. This style 27. Comping #6.1 -Variation-: Now I'm going to give you in a non turn ity with your right hand. If you are playing the coming number six. What you can do well, you can instead of just playing a dotted half note and at the end off the fourth beats you are going to play Andi H. Note. Well, I've just You can just play black right here. Use the court way. Used quarter notes. Just It can sound like this. I'm going to go directly to the drums, playing at 60 beats per minute. 123 and four and F Major C Major Jeanne, Jeanne, Major and C Major. Actually, this keeps movement and gives ah good sound to the camping. I'm going to play this one more time, only C major, so you can see how it sounds faster. 34 As you can see, it sounds. It's correct how I'm playing this No problem. So it sounds OK, but don't play too fast if you're playing too fast and you are losing the continuity in the speed, you are moving the speed, changing the speed. It does not going to sound well, so I really commend you to go at your own pace and practices many, many times 28. Sus2 Chord -Analysis-: they suspend that to court, suspended too Well, this court is a very peculiar court and I have recommended you to learn the score because it's it keeps a very special touch to the valid style. And let's take a moment to analyze these. Well, suspend the court. It means that this court has no third. You are gonna just remove the third off the court basically, and that means that a court is suspended. But if I say suspended too, it means that has the second. Instead of the third, I'm going to add the second note off the court. So in this case, what I'm talking about see Suss to well, I am going to have see which is the first G, which is the fifth. And instead of having e. I'm going to play the which is the second, and it's going to sound like this if I play this as an arpeggio. It is a very pretty I. For me, it's a very pretty core that is very often used when you hear the ballot on pope ballot style. And here's how you must play this court and so get familiar are so you can follow my recommendations on how to use it in the practical BDO 29. Sus2 Chord -Tutorial-: in this video, I'm going to give you a quick tip on how to really play the intro, injure ballot songs and make it more beautiful. How is this? Well, I'm going to show you how to play the suspended court. In this case, I'm going to begin with Suze too. Sauce to iss, a suspended court, which instead of playing the major court, if we are playing something, any song that it's written in C major, we are going to We can change the C major by suss to court at the beginning. It's going to sound really pretty. I'm going to show this to you before explaining it so it can be like this. If I said the drums is going to sound like this, Why can't play here? It sounds pretty, right? Well, how I am going to add this eve, you are not really an expert in music theory. Maybe you are playing just by ear or something like that. Well, I'm going to show you how to play this, and this is going to make this really easy. Take your time and I really recommend you to go over the the lecture where I explained the structure off. This court's more in with more details that is going to help you to understand this better . But what is a suss to court? Well, suspend. Of course. Our courts in this case is a major court. And instead off playing the 13 and five notes, you know, from in this case, the C major from the root I'm playing 13 and five. Well, I am going to play the second note in this case. This is the second note from the route, and I need to have one whole step here. This is important from the sea. I am playing the d note. So I need to have one whole step or two semi tones and just I add one, the second and the fifth. So I am not playing the third note in this court. So I'm just playing on this is cool sauce, too, because I am adding I am just a ditching the three and the third note and I am playing the 2nd 1 So and this give you the sensation that you need to go into the major record. So it sounds very well. Well, if you do this if you want just to, you know, set Nice intro. Sending the the speed of the off the song and wait until maybe the singer is ready. Or do you want to sing? Well, this is going to really help you, so I don't recommend you. If you are playing, you're going to play something that has four beats. You can play twice the suspended. So the sauce to 12 and then you play the major twice you on. You can actually play with notes off the suss to court so you can do something like this and then the major and Dan, something like this actually is just your creativity to one Teoh That can sound pretty well . So I recommend you to use the mantra name or the drums off your keyboard so you can and, you know, play with this. You can also remember that you can download the other files and you can play with them. So what I'm going to do? Well, I'm going to play this right here. I moved my left hand. I just going to play the octave two tries the C note on and this keeps you nice intro. You can play here the route on the fifth and do this. I think this is the drums. I'm using 50 VIPs for minutes and it's going to be and it's a good idea. You can begin use and make your own inter with this, and you can actually between any between the verses and between the course and what's next . You can do something like this. It's a good idea. Sounds very well, and it's really not difficult to play. 30. Sus4 -Analysis-: Now let's let's take a moment to analyze what a suspended for court is suspended. Four or suss floor. You may find this very frequently. When do you go and you want to play any song? A valid song. Pop song while many songs. But this styles on this John Ross eyes very common to find this. What a suspended core means that this court has no third. So we're just going to take the third away. And in this case, because it is a sauce, for we are going to add the fourth note off the court. In this case, this is going to be from the scene. Oh, this is a C sas four from C to F. We need to have to whole tones and 1/2. So this is going to be the fourth, and this is a me a perfect and forth, and it's a pretty also as the sauce to court. It's a pretty court. Sounds like this, and it's very common is very common in this Jan, right and in the practical. But you're going to give you some recommendations on how to use this. But this is how it looks. The sea is the first F is the fourth and G is the fifth. So basically it has the 14 and five notes. And this is how you must play the see saw four, which is the court they were going to use in this course and going to give you some tips on how to use this court. Sounds pretty good. Sound like this again? If I played this assignar arpeggio is going to sound like this. Maybe you have heard this before, and I'm going to show you how to use it in the next video. 31. Sus4 Chord -Tutorial-: in this video, I am going to show you another quick tips so you can really improve and make your intros in the ballot style really more beautiful. Well, maybe you have heard this before. It sounds pretty, right, Not a sounds too difficult to follow, and it's really it really makes a more beautiful any instrument or plain this between any worse off any song. Well, what's this? This is the suspend that is a suspended court. The suspended court in this case that Sauce four is a suspended core because you are not playing the third note off the major court instead of playing only See Major, I am going to play the fourth note off in this case, off the court, I am going to play C, which is root and if so is 14 and five on then I can resolve. I can't go to the C major corporate. In this case, this is a suspended court. This is the suss for court. From the root to the fourth, you need to have to whole tones and 1/2 2.5 tones. This is what you need to have, right? This is if I am following the C major scale. What? This is what I need to have the two tones and have on and then the fifth on Then I recommend you Then do go to the major court and this is very good If you use this with the first note not I'm sorry The first quart off the song that you are playing If you are playing any song that it is written in C major Well, you can use this combination to that court to see Major so on the end result So I recommend you to play twice with sauce fourth on Then you play the major on You can be creative and play. You can play an arpeggio You can play with the notes off the off the cess for its us pretty or you can dio Sounds pretty, right? Well, if I said the drums right here in the keyboard at 50 what I'm doing, I am playing twice Thus for And then I go to the major and with my left hand I just playing you know, following the speed beats off the off the drums and I'm playing with the route on the 50 note. Remember that this court does not have 1/3 so like this on then I can play the major where I can play like this. You're on playing tapes. This the route on the octave, the drums right here at 50 beats per minute that it sounds that will is going to help you to make up pretty intro and not too difficult. You don't have to be an expert on the music theory, but you can you ask at this and it will sound really like a ballad style. This is very common when you play pop music, too so and give it a try. And if you have any question, of course you can ask me and will be very happy to help you. 32. V11 Chord -Analysis-: Now, let's take a look of this court, which is the 11th court. We're going to be using this court when we're talking in the fifth. Ah, great. The 50 court off the scale. We're talking about the harmonic progression. 1451 Because we are using the Seton major scale, the secure the C major key. We're going to see how this court works with the G court. Well, what's this? Well, this court, it's a court that has actually six notes. This may sound kind of complicated or advance, but this is like a quick, um, a tip that I'm going to keep you going to explain this better, um, the practical tutorial. But what you can see here is that you are going to be began playing G and then do continue adding notes, adding thirds until they get to the 11. So, actually, this court sounds like this is going to play it as another Pedro first. But you may think, Well, how am I going to play this? I only have 55 fingers. So well, my recommendation here and this is how this court is actually played here is how it sounds . Well, it looks if you want to play this of the piano, but what we're going to do, we are going to play on Lee, the 79 and 11. So we're actually this is a If you see the notes, it's like thinking us ah f major court. So we're going to play this tree notes, but we're going to play the G note as the base. So it's going to be basically a f major court with the G note in the base, so I But don't don't get confused. This is a G 11 court, and I'm going to shoulder in the practical video how you can use this as a quick tip on how to work with this court's even that you don't understand at all how this work. I'm going to show this to you. 33. Chord V11 -Tutorial-: in this video. I am going to give you a quick tip on how to play when you are playing. Operation one for 51 If you want to play the fifth course if you are playing, see major the songs on C major and you have the fort, which is, if major, than you have G major. Well, instead, off playing only the G major core. Where are you going to do? You are going to play? You would think Well, what am I playing white? This is not easy to understand. Well, take a moment to analyze If you want the theory, come lecture where I am analyzing this court. But I'm going to give you a quick tip because this court is really, really so much easier to play than to understand. Theoretically, Well, this court has. This is a major court. If I ask the seventh, the ninth and the 11th. Well, I don't have this court where I am getting to the 11th note off the court, but what I'm going to do idea is going to play the last three notes in this case F A and See, which are the seventh, ninth and 11th. Well, I'm going to play their roots off off the court in this case, G the G note. So I'm going to play G Note and the street notes. But if you pay attention, this three notes are actually the notes off the fourth court in this progression. So this'll is an F major. This is F major with G. This is the base of the court is going to be G. And I'm going to play F major right here, and it really improves the sound off this court instead of just playing and C major, I'm going to play. So just listen how it really proves. I am playing right here. The F major. I'm using an inversion, but you can use anyone. You can do this and sounds really like a fuller core, so I'm using right. This is an F major. It's an embarrassment, but it's a f major court and I am playing G as the base of this court, which is the root of the court on can then go to the first great again. So if you have any G in this case, the fifth court, if you have it in any harmony progression as part off the intro off any song or between. Or like the bridge between the course and the burst. Well, you can try this. It will sound pretty good. I'm going to play this with drums. I'm setting the drums at 50 beats per minutes is going to. If I am playing C major, then I'm going to play this court F major with the G has its roots, and I go again to see me So 16 with the way again, it really, really improves the sound. It makes the sound off the court really, really fuller and more pretty, right, really much prettier. So take your time, analyzes, but it's really not difficult. It's easier to play than to understand it. Theoretically, if you have any question, please let me know. I was very happy to to give you more tips and recommendations on how to practice this 34. Congratulations!!: Congratulations. You are now at the end off this sculpture class. Thank you for letting me share with you about the beauty off, whether music, piano or education. Thank you. My name is Jill Salo's. Oye. Again. Thank you for being part of this class in this community. Gives You want to check out the rest of my classes to just go to the next? Plaster is recommendable for this one that you have just finished. We'll check out description off this class, you will find all the links there. You have any questions, please? You know, I will be very happy to hear about your comments and your suggestions off this class. And you want to know which glasses recommendable for you now was just let me know and I was very happy to help counter to lay just and I can't wait to see your in another class