Klavarskribo: A Revolutionary Way of Reading Music | Eric Bennemann | Skillshare

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Klavarskribo: A Revolutionary Way of Reading Music

teacher avatar Eric Bennemann, Klavarskribo expert

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

25 Lessons (51m)
    • 1. Introduction & Class Project information

    • 2. Reading Black Notes

    • 3. Reading White Notes

    • 4. Pop Quiz!

    • 5. Ledger Lines

    • 6. Stem Direction

    • 7. Parts/Voices

    • 8. Templates for Other Instruments

    • 9. Chords

    • 10. Practical Exercise

    • 11. Introduction to Rhythm in Klavar

    • 12. Brief TN Refresher

    • 13. Time in Klavar

    • 14. Similarities with Synthesia & Guitar Hero

    • 15. Beat Lines

    • 16. Beat Subdivisions

    • 17. Beams

    • 18. Practical Example

    • 19. Rests

    • 20. Independent Timing

    • 21. Continuation Dots

    • 22. Time Signatures

    • 23. Got Rhythm?

    • 24. Very Important Messages

    • 25. What's Next?

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About This Class

Klavarskribo (or klavar for short) is an alternative music notation system that was designed from the ground up to improve on many of the problems and inconsistencies of the regular (traditional) notation and facilitate the performance of music.

Klavar is much simpler than the traditional notation in almost all aspects. It is revolutionary in two main ways:

1. It is much easier to learn, both for people who know the traditional notation and people who cannot read music at all;

2. It is more efficient for sight-reading, meaning the music can be translated from the page to the fingers in a more fluid manner, with less effort and with fewer mistakes. Because of this, musicians using klavar tend to learn pieces faster and with less frustration.

Here is a visual example. Observe how this music in the traditional notation looks polluted, with way more symbols than anyone should have to deal with:


It features accidentals (♯, ♭, ♮) on every note, and no less than 9 combined clef changes in just two measures. Yikes! Music like this is almost impossible to read on-the-go: the musician is forced to carefully study and memorize it before trying to play. Now compare with the same music on klavar (which is read from top to bottom):


Notice how it looks a lot cleaner, none of the notes are accompanied by a barrage of accidental symbols, and there are no clef changes whatsoever, making it much easier for the musician's brain to interpret what they're supposed to play! And these are just a few of the many ways in which klavar makes things better.

Who is klavar for?

Anyone wishing to improve their comprehension of music while reading from a piece of paper. Klavar's layout is based on a keyboard instrument (piano, organ, etc.), meaning it is especially useful for players of those instruments, but players of other instruments can also benefit from it, to a lesser degree.
For more details, see the "limitations of klavar" question further down.

Does klavar completely replace the traditional notation?

Not necessarily. I myself still use the traditional notation on easier pieces (mainly for convenience) and Klavar for more complex pieces. That's where it truly shines! It is especially helpful for any music which—in the traditional notation—is in a difficult key signature (4 or more sharps or flats, for example), since klavar is equally easy to read in all keys.

Did you invent klavar?

Haha, no, I wish I was that clever! :) It was invented in 1931 by a Dutchman called Cornelis Pot. While he, unfortunately, wasn't successful in spreading it to the world at large during his lifetime, the notation has a following in the Netherlands even today, being especially loved by organ players there.

Why are you doing this course?

As someone for whom the discovery of klavar has been the single biggest blessing of his life as an amateur pianist, this course is my humble attempt to spread the word about it and help as many people as possible have a more enjoyable time reading music. Therefore, this course is completely free: no need to be a Skillshare subscriber!

Do I need any special knowledge?

This course is geared for people who are reasonably familiar with notated music. This is because I use jargon such as "time signature", "chord", "bar", "beat", "octave" etc. that requires some basic knowledge of how music works and how is it systematized on a piece of paper. If I had to explain basic concepts—such as how music is divided in groups of usually 3 or 4 beats—this course would become way too long, and there are a million free online tutorials on those topics already :)

If you're completely new to studying music and want to start the smart way, the Klavarskribo Association of the Netherlands is supposedly producing an English-language course that teaches klavar for people with zero knowledge of music. I'll link to their course here once (and if) it's made.

How long will it take me to learn?

Whenever I've taught it in-person to someone who already knew how to read sheet music, it only took me around half an hour to teach them to read klavar. Some learned it in just 10-15 minutes. It is that simple! The online course naturally takes longer because I don't have instant feedback on whether the student has "got it" or not, so I have to be more thorough.
If you don't know how to read sheet music, please see the last question.

What are the limitations of klavar?

Klavar is designed to improve the performance and learning speed of a piece. One of the many ways it accomplishes this is by considering, say, F♯ and G♭ as being the same pitch, which is true for keyboard instruments, but not necessarily in other contexts. A choir singer might sing both pitches slightly differently. Should this prove a big issue, the musician can fix it simply by writing a sharp symbol next to the accidental in klavar if it is the raised version of the previous note, or write a flat if it is the lowered version of the next note.
The non-explicit accidentals also means klavar is worse than the traditional notation for the study of harmony and formal music theory, where you need to know which notes are raised or lowered to understand the concepts taught.  But I'm not aware of any music theory classes in klavar anyway :)
Finally, identifying intervals is harder in klavar than the traditional notation, which again, is not ideal for sight-singing.

Learning Klavar would be useless if I can't find sheet music for it later?

1- That's not a question and 2- I completely agree!
In the course, I teach you where you can find sheet music in klavar and, most importantly, how you can create sheets automatically from MIDI files downloaded on the internet for free, or if no MIDI exists for that song, by transcribing manually using a special (free) software called Klavarscript. It's the same software I'll be using throughout the course to teach. It is also perfectly possible to transcribe with physical pencil and paper using the templates I provide.

Great, I'm in! What do I need to do?

This course is free! Just create a Skillshare account and choose the "Begin Basic" option to watch the course.

Meet Your Teacher

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Eric Bennemann

Klavarskribo expert


Hello, I'm Eric, an amateur pianist who discovered the Klavarskribo music notation system and got his pianistic life completely revolutionized. I now hope to be able to change other musician's lives for the better by teaching the notation for free here on Skillshare!

My referral link for a free trial of 2 months of Skillshare Premium (not required to watch the class): https://www.skillshare.com/r/profile/Eric-Bennemann/9754819, then click the blue banner at the top.

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1. Introduction & Class Project information: Hi. My name's Eric and I've been playing the piano for nine years. Allow me to show you a very short clip of me playing one of my favorite pieces of music. Did anything stand out US art to you about that clip? Let me show it again. Don't worry, I'm not crazy. I'm not reading the sheet music sideways. I'm actually using an alternative music notation system called Claver scribble, which is read from top to bottom. Clubbers layout is based on a keyboard instrument like a piano or organ, making it very easy to figure out which notice which this course will teach you everything you need to know to start using the notation, including how to convert your favorite pieces of music too clever. Take this lullaby, for example, which I used to sing a lot during my childhood in Brazil and which I've now converted to clever Scribble it. That's pretty much everything you would expect a notation to do while at the same time simplifying things as much as humanly possible. Clubber does not have accidental symbols. There is no need to memorize key signatures, no complicated cleft changes. In fact, claps don't even exist in cover. There's only one rest symbol. Ledger lines are much easier to read, etcetera. The list goes on. All of this means that musicians can learn pieces faster and with less frustration and make fewer mistakes in reading from the sheets I discovered Claver years ago, and it has really improved my musical life ever since. I hope the same happens to you. Your project for this class will be to transcribe a short piece of music to clubber. You can use any PC like are one of the easy ones that provide Let's go to the project and Resource is Todd, and detailed instructions will be on the class project. Pdf file here. You can also find a file containing specialized templates for various different instruments to ask me any questions you may have during the course, you can go to the community tab. You're expected to have basic knowledge of music for this course. Some examples of concepts you should already know I presented on screen Right now. This course is totally free. Just need to create a skill share account, watch it, then click the begin basic option. All right, let's begin the course 2. Reading Black Notes: In this first lesson, you're going to learn how to read every single note Berries, which means all 12 notes pair octave in all octaves. That's right, but usually takes weeks to teach for. The traditional notation can be learned in clever within 15 minutes. We're also going to learn the difference between white and black notes and cleverest rebo and how the stem direction represents the hand you should play the note with, or the part or voice it represents. Here we have a blank canvas of clever. You can see that it is composed off a group of three vertical black lines, followed by two vertical black lines and then three again than to again. Never mind the fact that the lines air dashed. All it means is that we're in the centre, octave or middle C, basically, then three again and so on. It's always three, followed by two by three by two by three. And so as it happens, it is the same layout of a keyboard instrument, such as the piano or organ. So if I drag this here to line these images up, you will see that the two black lines line up with the two black keys on the keyboard than the three back lines line up with the three black keys. What this means is that these black lines represent the Black Keys, the accidental. So, for example, if I put a note here, it will mean C sharp or D flat, this one IHS de sharp or a flat. Here we have F sharp G sharp in a sharp and C sharp again de sharp again F sharp. And so one. This correspondence between black lines and black keys makes it very easy to figure out any note in cleverest Rebo in any octave, because the octaves repeat themselves. The note on the first black line of the group of two black lines in one octave. This is one active below Middle C, by the way, is the same note as the first note in a group of two black lines and the next octave. So if this is C sharp, which it is, and this is also C Sharp, because both are the first note in a group of two black lines, exactly like C. Sharp is the first note in a group Group of two black notes on the keyboard. Now I will delete these notes to show something. I'll add four notes in Let's Hear them again. The fact that they sound similar to is not a quinces. All of these are F sharps. How do I know? Because each one of them is the first note in a group of three black lines. If you follow one of them down to the diagram of a keyboard here, you will see that they are F sharp or G flat, which, for all intents and purposes when performing, are the same for a keyboard instrument at least. What this means is that once you learn to read one octave in clever scree bow, you can read all of them because they look exactly the same. They repeat the same way Onley in different parts of the staff octaves there more to the left are lower pitched or more base, if you will, and activists, more to the right are higher pitched are more trouble 3. Reading White Notes: and the white notes are determined in relation to the black notes. So, for example, what is the note between C Sharp and D sharp? It is D, and you can see that the natural is a white circle because in clever scribble, white notes correspond toe white keys on a keyboard or piano and black notes correspond to black keys on a piano. So, for example, which note what this one be? Well, it is the natural note between F Sharp, the 1st 1 in the group of three black lines, and G sharp, the 2nd 1 So it is looking at this diagram. You can see that it is G because it comes just before g sharp. What note with this be now. This is slightly trickier. And the reason for that is because this space here is large. This big space between a sharp and C sharp, you have two possibilities. You have be natural or see natural. Which one it is will depend on which note it is closest to. So because this one is closer to a sharp, this means it is be because it is the note coming right after a sharp. In contrast, if I put a note here, which is just beside C sharp than it is, see Natural. So the difference between B and C natural is the note. It comes right after or right before, so be comes right after a sharp or B flat and C comes right before C sharp or D flat. So again, this would be see because it's closest to the Group of two black notes. This is B because it's closest to the end of the Group of three black notes. See and be if you notice there's another big space which is to the right of d sharp, it is the big space that contains E and after natural it is the same deal as V and C. So if I put a note here, it is e natural because it is touching D sharp or flat. If I put a note here, it's F because it's touching of sharp. So same deal. Yeah, yeah. So if this is C, which note with this one day, it is also see just 1 October below because both are touching. See sharks. So this is middle C. This is C one octave below 4. Pop Quiz!: right, let's check it. Really learned to read the notes. Here's a little challenge for you. Write down the names of these eight notes in sequence, and the answer sheet will appear on screen in three to one. There you go if you got them. All right. Congratulations. You've understood everything so far. Let's move on. 5. Ledger Lines: you may have noticed that this template only has three octaves. So here we have Middle C. Well, this notice actually be, but a note to the right of it is middle C. Then you'd have the C an octave below the sea and active above. And then what? Well, clever scribble also has ledger lines exactly like the traditional notation here would be another seat another see? And I really, really high c the same way here. Weaken make alleged lines for C two octaves below middle C and three octaves below me to see. But actually, it's not letting me reach the sea. This is actually an E because it is in the space between the group of three black lines and two black lines, and it is right next to e flat. So this is E, and it's not letting me go any further. So unfortunately, I can't show you the C three octaves below middle C, but there you go. 6. Stem Direction: and how do you know which hand you should play with? Traditionally, this is accomplished by having an upper staff for the right hand on the lower stuff for the left hand. But this leads to complicated cleft change shenanigans when the notes played with a hand fall outside. It's usual range. Clever has the same staff for both hands, and it's a direction off the stem that determines the hand played so far in all the notes have added here, the stem begins from the note and goes to the right, and when they finish their sometimes beamed together, the reason they're being together would be explained in a future lesson. The next lesson, to be precise, own rhythm. But they are all pointing to the right. The fact that they're pointing to the right means that they should be played with the right hand. It's a simple is that and then if I want to play songs with the left hand notes, sorry, I will go and change the stem direction to the left. So these new notes, I added, are to be played with the left hand because the stem is pointing left 7. Parts/Voices: Now, if you're not playing a keyboard instrument or you're playing an instrument that doesn't require different hands, so you always use the same hand to play, then this. Then direction can mean the different voices in the piece. Or you can have literal voices in the case off choir music. This voice, for example, could represent base in a choir. The next one could mean tenor and then, if I add another voice further up with the stem pointing to the left again, this could mean, for example, control to our an alto voice. And then if it points right again, it could be the soprano voice, the highest voice. So that's how you can use stems to separate voices or parts or which hand should play. 8. Templates for Other Instruments: it would be good to clarify at this point. The clever does have other templates. Besides piano, it has templates for several instruments, including the S A T B template require. So here we can have the bass voice, then Turner Soprano High here. We're also a good lower. So since since it keeps the voices uniquely separated, this is definitely the template of would choose. If I were writing choir music and clever, I have made available a PdF document with several printable templates, which can be downloaded in the course resources page. 9. Chords: Now you may have realized that some notes share the same stem, while others don't. This is pretty much exactly like in the traditional notation. If notes share the same stem, it means they are a court and should be played together. So this is a court of be natural, C sharp and D sharp, and this is a court of be natural, de natural and F sharp. And also black notes always go above this them, while white notes go below this step. The reason for that is if you have a lot of notes cramped together, if the black notes also went below this time, it would overlap with the white notes behind them, and it would be confusing, so they go above the stamp to reduce confusion. 10. Practical Exercise: congratulations and getting this far. I know it's a lot of information to take in a very short span of time. So here's a little song to celebrate. This is, of course, Handel's Hallelujah from Messiah. Now let's do a little exercise to put what we've learned to the test, shall we? Here I have a few notes in the traditional notation, and your task is to convert them too clever. So here is a blank slate of clever. You have three options to go about this. You can download the clever script software at www claver dot com, or you can go to the class Resources page and download the template and print it, then draw the notes. In are the third and probably easiest option, which is to just draw a few vertical groups of three and two black lines in the paper so you can do the exercise just fine. And whichever one you choose is up to you. It doesn't matter where you insert the notes because this is something you will learn in the next lesson about rhythm. I'm more concerned if you get the notes right and they should be in the right sequence as well. You could, For example, put notes in the bar line at the top and in each of the three b. Klein's the horizontal dotted lines. So go ahead, pause the video. Take a time, and we're going to see now if you got it correctly. 321 If your answer looks like this, Congratulations. You are wrong. Well, you're actually half right. He just forgot a very important detail, which is the key signature. Don't worry. All this means is that just like me, you suffer from a serious psychiatric disease called key signature amnesia. It is the story of my life, and pretty much the main reason I switched over to clover. So these are what the notes actually should be like. And this is the correct answer to you. The exercise. All right. If you have any questions about anything you've learned so far about the quest or anything , please don't hesitate to contact me. Also, I hope you got the octave correct. And also the stem directions. So the notes and the bottom staff should be with us. Them facing $2 wreck. So now we're ready to move on to the second lesson and rhythm. See you there 11. Introduction to Rhythm in Klavar: how, this time keeping work in Congress. Tribble. Because so far, all I've taught you is how to read the notes. But how do you keep track of the rhythm? How do you know when to play a note and when to release it or when to keep holding it? And what are these mysterious small dots under the stems of the notes that I haven't touched upon these and other mysteries you will learn in this amazing class on her rave? Um, rhythm in clever Streible works in a completely different way from the traditional notation . And because it's such a change in the way you have to think such a shift in paradigm, so to speak, I thought it would be better to review how, exactly how it works in the traditional notation. Briefly. Of course, I don't want to bore you because most of you already know this stuff. But, uh, I thought it would be best to review what we already know so we can compare with Clover Street 12. Brief TN Refresher: time in the traditional notation, IHS captain, a very mathematical way where the duration that you have to hold a note for this marked on its them from the stem itself. And by the end of this, off the bar, the some some of the values off each stem has to correspond to the total time value off the bar. So in a four by four time signature, all the values of the notes up to sum up to four, right? So, for example, here we have 16th notes are, I think, semi quavers in the UK spending anyway, So they're worth 1/4 of a beat. So they stood together. Have some up to half with that Quaker over there. It's half so one, then one here for this note. This note is a long one. So it's held for two beats and that sums up to four. So we know we are in the correct place. In this way, the rhythm is completely independent from the staff. So if I move the notes closer together like that for some reason, ah, nothing really changes rhythmically because you already know how long you should play each note for and when to hit them because of the rhythm is encoded in the stem. So of course, it would look a bit weird to have ah, large space without anything because for aesthetic reasons and well for other reasons as well, the notes are usually evenly spaced in the staff. But if I do that, nothing should really change. We should play this the same way as before. Similarly, if I moved some of the notes closer together But, Father, apart from the others, nothing will change either, right? It might be a bit weird and harder to play initially because I'm not used to this. But in theory, nothing should change in clever scree, Bo. However, this is not so time and space. Okay, this is gonna sound very philosophic. Onal are very theory of relativity Overtime Stein's see. But in cover scribble, time and space are linked because time is kept on this stuff itself and not the notes. The note stem does not have anything to do with time. In Clover Street, it is the start itself that keeps time 13. Time in Klavar: so imagine this was Clavius, Kriebel and the note stems have nothing to do with time whatsoever. Actually, you don't have to imagine it. I just I did that for you. So they ago it changed the notes. They don't look the same now, and they don't keep track of time. Now imagine that you're scanning the bar at a fixed rate like a vertical line that starts in the bar and goes from left to right at a fixed speed. And each time it hits a note, you play that note. So let's say I'm going to scan the bar in three seconds. So in the 1st 2nd I would cover 1/3 of the bar that would plays three notes. The 2nd 3rd of the bar, or or the 2nd 2nd would be just holding the the third. The third note that we played because in clover scribble, the rule is you keep holding a note until you encounter another note, our arrest symbol as well, which I will teach later. But yes, so the 2nd 2nd of the by would be just holding the third note that we played and then on the 3rd 2nd I would play the these two notes for half of the 3rd 2nd and then for half off the third for the other half of the 3rd 2nd I would just hold that note over here. So let's see how that would work in practice. One to three. But the ah, uh ah. There. You see, I just scanned the Bayram roughly three seconds. And each time, my mouse, which I try to make go in this constant speed, hit a note or where a note would be it played. But if I bring the notes closer together now, it changes. You would play. But, Bob Ah, so in this case, you would play all the notes in the first half off The period of the bar, which in the case is in this case, is three seconds. So in the 1st 2nd and 1/2 we would play these five notes in the 1.5 seconds remaining. You would hold the fifth note only. Yeah, And if we go back to the original example, it would play something like pop up. Uh uh uh, yep. 14. Similarities with Synthesia & Guitar Hero: And by the way, if you've ever used a piano roll Cynthy Zia, which is a digital alternative to sheet music for the piano or played a rhythm game like guitar Hero the fair familiar with any of those thin the following footage will make a lot of sense to you. Uh, and all those examples. You have a fixed line and his staff that moves towards that line carrying the notes with it . But what if it did the opposite? Had a fixed staff in a moving line playing the notes as the line reached them? Can you see that it would have the same effect? Well, that's exactly what you're doing. Clever. You scan the sheet with her eyes at a fixed speed and you play the notes when your eye line reaches them. 15. Beat Lines: before I show you all of those examples would look like in clever. I must explain how beat counting works. We know that the staff and clever keeps track of time. Consequently, it keeps track of the beats each bar, which is what I'm hiding, highlighting here. This is one bar, and this is another bar in the third bar and so on, Right? Each of these bars has several beats in it. The first beat is on. The first is on the bar line of the first bar. Or measure, if you prefer to call it image than the second beach of this song, is in the first dotted line, which is called Beach Line. So, yeah, this could be a bit confusing, but the first beach line it's actually the second beat off the song because the first beat of the song is coincidental with the thick line, which is the bar line. Yeah, so here's first speech. Second beat on the first decline, third beat on the second beat line and fourth beat on the third beat like and then we start a new bar or measure, and this now we re psyched account of beats so this will be the first beat again of the second measure. Second beat, third beat, fourth beat and first speed of the third measure, Second beef and so on. Right from this, we can deduce that this staff this is on a division off four beats per measure because each bar has the first beat on the byline plus three beat lines. Ah, signifying that there are four beats within the bar. Okay, so let's start simple or put a note in each beat so that it effectually functions effectively. Sorry functions as a metronome. So if we play that you can see that the notes play at regular intervals and each of these intervals is beach. You see, it's just like a metre new now. Now I add some melody notes, hopes coincidental with the Metro known beats, right, let's play and see what happens. Just what we expected. The notes are coincidental with the so called matter known beats that we made because their stems are level. So because each them of each note is in the same horizontal level as, ah, the fake Metrodome beats that we put there. They play at the same time. What if we wanted to make them not play at the same time. So I can do these and I can put them in the middle of the beat instead. Here, here, here, in here. Let's see what happens now. You see, because each note is now physically in the middle between the beats, they also play in the middle within the beats. So if you were a counting, the beast would say one and two and three and four and and in each number you would play the Metrodome beats, and in each end you would play the melody. Beats that it put here right? 16. Beat Subdivisions: you can also have even finer subdivisions of the beat. So if you wanted to play the equivalent off 16th notes or semi quavers off the traditional notation, you just need to put four notes within a single beat. So let's play that. Okay, simple enough. 17. Beams: moving. By the way, the fact that these notes are now joined by a beam the stems air no joined by a large being has nothing to do with keeping like that. The notes keep time or anything like that. They look exactly like you would expect from from Quay vers or eight notes or 16 notes being beamed together on the traditional notation. But in cover scribble when they're beamed, it means that there is a note that is at least one note that is falling within within a beat. So, for example, if we put each note in the beat here, they don't join up because each one is on a new beach where they are in different beats. But as soon as I put a note in between beats, they're now joined together, and they stopped being joined together when ah, new beat starts. So because there's a note foot calling on each and each middle of beat here, it is joined to the previous note that it's falling on the beat if we put more notes in between. They were still big in that beat group, So within that single beat, so being notes only ever spend Ah, single beat. I put a note in the first feat, for example, and one in the middle of the second beat. They are not joined together because they are on different beats so they don't have a beam joining them together. Yeah. 18. Practical Example: Let's apply what we've learned so we can convert the situation from the beginning of the lesson. Too clever. Well, let's interpret what's going on here. In the traditional notation, you have to 16th notes. So these two span half a beat together so as to exactly doesn't clever. So if this was based class, this would be a g. So the G just before middle C then a c 1/4 of a beat later and then it lasts until half the beat where the E comes in, so have to beat here. But this e last for the entire beat. So this would be half a beat and this is another half beat. So we put another you here. So there is a space of one beat between these two. Yes, and this last for two whole beats. So it lasts for this entire beat plus half of each beat on either side. So here we would put the sea again. So this is what it would look like in clubber. You can clearly see the notes that last long. Have a large space until getting to the next note. While sharp notes have a small space until the next note 19. Rests: well. Congress People also features breasts, and it looks much simpler the traditional notation because there's only one rest shape the traditional notation. You have several possible head rest shapes shown on the screen right now, but in the Clover Street, where you only have one rest, which is this little V here. So the V is telling me that this note, which was previously being held, is now going to be released, and there will be a silence off Ah, beat until the next buyer begins. If it was a cord such as a C E G card, a simple C major chord, I wouldn't and I wanted to have stopped the whole card. I would need to put a V under each of these notes. So now, because there's arrest symbol underneath each of these notes, then the whole cord stops at the fourth beach. In the fourth beat is entirely sign 20. Independent Timing: previously in this lesson and briefly mentioned a rule of clever scree bow, which is that a note is held until you find arrest symbol the V or until you find, ah, another note of the same hand, so or the same parts. So with the stem pointing in the same direction, for example, at a nude here and then I wanted to I want it to less for ah, beat and 1/2. I can either put a V here in the middle of the second beach, or I can put a note there off the same direction of stem, so either of these options will make the first note last for a beat and 1/2. Conversely, if I change the hand and I put this note with the stamp pointing the other direction, it doesn't affect the timing off the first note at all. They are completely different, Um, timing wise. So that note was still be held but still keep holding, no matter how many notes off the right hand I put here then only when I put a left hand note or rest sign, let me put a left hand note here again, doesn't have to be the same type of note could be a different note entirely. Only when I put that note there with the left pointing stem this the original left hand notes stop playing. So this note will be held for a total of four plus 2.5 beats. So this see here is being held for a total of 6.5 beats the four hole beats of this bar and then these two extra beats of the next bar and then this half beat here. 21. Continuation Dots: in order to make that even clearer that is still being held. The softer added this little dot here, which is directly underneath that nose up there. This is called a continuation dot and it applies always to the note that is directly above it. So this one is that is applying to that note because they are in directly underneath or above each other. And it's simply telling me like, Oh, despite the fact that you started a new bar this keep holding the note, it didn't need to be there. It's just for clarity in this case. There is one case, however, where it does need to be there. That's make a new example. Let's say I'm playing the simple broken chord here, too simple arpeggio See e g. Normally they would play that the data in each note with new note. I would release the old one. But what if I wanted to hold this? See here for degeneration off the arpeggio, so I wantedto hold despite the fact that I'm playing new notes off the same hand, I can simply drag it like this. And now, underneath the stem of each new note, there is a continuation dot and because this continuation dot is underneath that, see, it's telling me that that c should be held. Continue holding Despite the fact that I just encountered a new note. The same situation happens here and then same for that note. And the sea will only stop holding half a beat before the next bar. So this sea is now holding for a total off. 123 and 1/2 beats. Yes. So that's the duration off that see over there All these other notes, all right. Still being released us normal when a new would note comes in because they don't have continuation dots. But I can easily fix that. If I also wanted to hold that he as I play the G, I could just drag it like that. Let's simplify this. So no the e IHS Ah, continuing to be hold Just like the sea is us. I play the G. So it has also its own continuation dot And now this nog has to continuation dots because each one belongs to one of the previous notes. And this see this see over here will be released as I play the the again Well because I must release to play exactly the same note. But then, if this was a different nose, it would still be released when I played this f sharp here because there's no continuation dot So again I could fix the situation by just creating a continuation dot over there. And now we have an interesting situation because this one, this original C, is being released at the one sorry half a B two B before the bar ends. But I told the program that I want to hold the E until the end of the bar. So now the rest symbol is at the end of the bar for the E. And it's half a beat before the end of the bar for the sea. And the program has also generated a new continuation dot where just close to this rest here for clarity again. So it's saying that all despite the fact that you're releasing that note over there, you still keep holding this note over here. The so it's because of this abundance of arrests and continuation dots whenever you need them. It's very clear in clever scribble when you need to release our hold. A note now if we briefly go back to that cord we have up here. What if I wanted to hold this sea until the end of the bar and but wanted to release the e and G early? I simply change the rest of the sea to a continuation dot Many faster wanted to hold e but also become a continuation dot Now, if this also becomes a continuation that then there's no need for continuation thoughts anymore. All of them disappear as soon as they put ah rest. Now again, the continuation dots reappear for clarity. And if I drag it so it lasts for a beat and 1/2 stopping half a big before there the bar and then the continuation dots move along with it. It's as if there was an imaginary dotted line here signifying that the half of the beat and the tip off. The rest is touching this imaginary line and the continuation dots there just underneath it . Right. So I hope with from all those explanations that, uh, these things are extremely clear now, in case things, they're not entirely clear. Please don't be shy and ask me about anything you need. I'll be more than happy to help you with any difficulties you may be having 22. Time Signatures: So far, we've been dealing with a time signature off four by four, so the BIS have four beats in them. But what if we wanted to write a waltz, for example, which is typically in a three by four time signature, meaning that the bars have three beats each? Well, let's change and see what happens. So now each Barra has one beat line less than before. So here it's counting for you the 1st 1 So it's 123 and then it stops counting. Just 123123 So it is very much a simple as that from 4 to 3, you take one beats line away from the bar, and then if we go further and have a two by four time signature, it takes one extra beat lying away. And, ah, each bar. We only have one beat line. So that means each part has two weeks. The bar line and the only beach lying there is 12 12 12 Nifty 23. Got Rhythm?: congratulations and surviving yet another huge information them even bigger than the first lesson to celebrate. Let's hear one of my favorite songs by Coldplay. Yeah, sorry. This was just an excuse for you to see that when the sound it's cut abruptly like, isn't Bob Bob, Bubba, Bubba, you put ah rest under each note. So just to reinforce that concept that we already learned okay, it was to celebrate as well, but just a little bit. And now it's time for another practical exercise. And if you thought the previous one was too easy, were we not? My twisted mind has come up with something much more difficult this time. Behold, this little gem here will test your rhythm. Excuse and make sure you understood everything about rhythm and clever. So let's go. Just drawl groups of three and two black lines with ah meter off three just times of three beats per bar and three buyers, please. I will give one hint, though that that ihsaa, even though there is technically to voice, is going on in this bottom clef here. You only need to use the left hand stem because the right hand stem is for the right hand there. So it's basically just this note here, held for degeneration of the other two notes. All right, so please pose the video and do the exercise now, and the answer is in three to one. And that's the correct answer. Please analyze it carefully and make sure you understood everything that's going on there. If you haven't understood something, don't hesitate to ask me. And congratulations again. You now know pretty much everything you need to start using clever, some events, topics, air coming in the next few lessons, but they are pretty much optional and now a very important. 24. Very Important Messages: right. So before I tell you my very important message, let me tell you why I'm doing this course. Clubber has been very helpful to me over the years. I think I'm I wouldn't be half the pianist am today if I hadn't found Clubber because it has helped me learn songs so much faster. My repertoire of songs is it's mostly thinks too clever these days. So I have always wanted to returned the favor to make more people aware of clever and let it help more people. So and I've always been frustrated that people don't generally know about clever of. It's very, very unknown, Unfortunately, so I'm doing this course entirely for the promotion of clubber. I'm not earning any money with it. It's a free course anyone can watch. The problem is there that there is no use making a great course. Well, I hope it's great, at least, ah, if people don't get to watch it because it's buried under the like on the ninth page of the courses on Skill share, because Kosher decides to promote other courses. Instead, school share promotes the courses that have engagement. An engagement is mostly well. It is due to how many people watch your course, but it's mostly related to reviews. So a review is worth a lot more for engagement purposes and therefore, for a skill share, promoting the course and putting it in its on the front page of stuff, then people simply watching the course. So I must ask, please, you would do me a great favor and honor if you left a review for this course. And also, another thing that's worth a lot in terms of engagement is some submitting the class project, which I hope you'll want to do anyway because it's great practice for clever, but even doubly, eso. Because it is. It also promotes the course a lot. Tell your friends who play music about clever referred them to this course. I mean, it's free. So what do they have to lose? Lastly, you can follow the instructions and screen to try skill share premium for up to three months for free and scale share will reward me with $10 even if you decide not to subscribe in the end. So thank you very much. It means a lot to me. You have no idea how much it means to me If Claver gets ah got smart famous. I would be very happy with that. So thank you very much in a can't wait to see what your class project looks like. 25. What's Next?: So what's next? While you now have the basic knowledge to start using clever, there are several topics that I haven't taught shit, such as the basics of the clever script softer so that you can better transcribe your own music to clover. Also, what is this blue symbol here? And where can you get ready made cheap music such as the lovely transcription of the moon? My Sonata, your senior? These advanced topics were becoming in separate classes to be published in the coming weeks . Stay tuned.