Learn Piano as a Beatmaker + Producer [FL Studio] | Riley Weller | Skillshare

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Learn Piano as a Beatmaker + Producer [FL Studio]

teacher avatar Riley Weller, FL Studio Teacher

Watch this class and thousands more

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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

26 Lessons (2h 8m)
    • 1. 1.1 - Course Intro

    • 2. How to Ask Questions + Leave Review

    • 3. 1.2 - Real-world Piano Beat Walkthrough Example 1 [Goals Shall Be Achieved]

    • 4. 1.3 - Real-world Piano Beat Walkthrough Example 2 [Thy Kingdom Come]

    • 5. 1.4 - Piano Playing Example

    • 6. 2.1 - Before Practicing

    • 7. 3.1 - Octaves

    • 8. 3.2 - Keys and Scales

    • 9. 3.3 - How Chords Work (Major + Minor)

    • 10. 3.4 - C Major Scale Breakdown / Walkthrough

    • 11. 3.5 - C Minor Scale Breakdown / Walkthrough

    • 12. 3.6 - Note Names (Degrees)

    • 13. 3.7 - Counting Beats for Piano Playing + Beatmaking

    • 14. 3.8 - Using Inversions from a Creative Standpoint

    • 15. 3.9 - Arpeggios

    • 16. 3.10 - Some Advanced Chords to Give you Ideas

    • 17. 4.1 - Chords We Will Be Using

    • 18. 4.2 - Different Timings you Can Use

    • 19. 4.3 - Bouncing Around with the Right Hand [Improvisation Starts!]

    • 20. 4.4 - How to use your Left Hand [Left-Hand Techniques]

    • 21. 4.5 - Play Both Right + Left Hands Together - Learn a Song to Practice!

    • 22. 4.6 - Keeping Chord Progressions Fresh for your Listener

    • 23. 4.7 - Different Rhythms to Give You Ideas

    • 24. 4.8 - How to Find New Chord Progressions and Practice Them

    • 25. 5.1 - Tips for Actually Practicing the Piano [As a Beatmaker]

    • 26. 6.1 - Piano for Beatmakers - Conclusion Video

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About This Class


I've acquired much better video gear over the years of creating these courses, and the page your currently on to learn piano as a beatmaker was my best selling course of all time!

I decided to remake the course with the new video gear.  So click the link above and learn piano from a beatmaker's perspective!

Below is the description of the old (but still very useful) course.

# GratuiTous



There are tons of videos on the internet in regards to learning the piano. This is great, it gives you insight to how a piano works and how to get going.

But over my years of producing beats, I've realized we as beatmakers play the piano differently than someone trying to learn classical piano.

So why do we have to learn the piano from a classical standpoint when we're wanting to create awesome beats - whether that be beautiful piano beats, or just have a better understanding of chords and improvisation?

Cause here's the thing:

As a beatmaker, we create repetition.

We create loops which are on repeat over and over, and our goal is for these loops to be extremely catchy. (Also keeping in mind for our other instruments in terms of mixing for clarity.)

So in this course I cover with you:

  • The basics of a piano to get everyone on the same page
  • How keys, scales, and chords work
  • Figuring out powerful chord progressions (and sharing some of my own personal favorites!)
  • Thinking in terms of melodies and improvisation
  • How to bounce around with your right hand
  • Left hand techniques to add fullness to your composition
  • Playing with both hands
  • Popular note placement, counting beats, and different rhythms in the industry.
  • How to stay motivated to practice piano as a beatmaker

I have been practicing piano almost every day for the past 5 years, and these are the things that I have discovered and want to share with you within this course.

By the end of the course you will have an in-depth understanding of chords/scales, and be able to improvise on the piano.

From here on out, it's up to you to practice with this knowledge to take your productions to the next level!

Hope this course is the tipping point in your productions! :)

# GratuiTous

Meet Your Teacher

Teacher Profile Image

Riley Weller

FL Studio Teacher


GratuiTous (Riley Weller) is an FL Studio teacher who has used FL Studio since 2009.

He has worked with a GRAMMY nominated artist, and runs the podcast 'Music Production Made Simple'.

He also writes music production books, and has over 25 FL Studio music production courses!

His students tell him that his approach to explaining topics is extremely easy to understand.

His music production courses are based on FL Studio, and can range from beginners to advanced.

Feel free to reach out to GratuiTous with any questions you have about FL Studio.


GratuiTous' Most Popular Courses on Skillshare:

Piano Lessons for Producers FL Studio 20 Beginners Course: Learn How to Make Beats in FL Studio FL Studio ... See full profile

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1. 1.1 - Course Intro: all right. So welcome to my course learning piano for beat makers and producers. In this course, I want it in bed in you how to learn the piano as a beat maker. OK, because learning piano as a classical piano player is a lot different. Uh, then for us beat makers. Okay, so for us, beat makers were really focused on creating catchy loops, where, as the classical piano player, they're really focused on always being in time, always learning, you know, music theory and all these things. And as a beat maker, you do have to know these things. But since we can edit with our midi notes, that's a huge advantage where we don't have to learn piano as well as in a classical piano player. We just have to know, you know, scales chords on and kind of patterns, allowing us to create catchy loops. So I know for myself when I first started out making beats, you know, I actually use like my computer typing keyboard like my Corti keyboard. Um, and you know, that was good just to teach me my music program, but then it kind of got to the point where it's like a Well, I want to start creating beautiful piano beats. And in order for me to do that, I'm gonna have to learn, you know, music theory. And I'm also gonna learn how to play the piano. Mostly self taught. I did take a few lessons in the beginning from a lady who actually lived on my street. And she broke down how chords and scales worked. And from then on, it just kind of opened my eyes up and I was able to improvise. So I do know how to read music to an extent, like not at a high caliber level, but again, as a beat maker, it's, you know, that knowledge is kind of useless to us. We're creating loops or trying to create things that are catchy. So really knowing how to read music doesn't really benefit us. You know, I'm not saying you can't go and do that, but as a beat maker, someone who wants to make really catchy, high quality beats, you want to be able to learn how to improvise. And that's what I'm going to be showing you in our course. So going further, you know, I'm gonna be showing you how a piano works. You know, like scales, chords, keys, major minor. Um, we're going to get into, like, arpeggios because arpeggios is a big thing and beat making. It's really good for filling in a track. And, ah, you know, ah, lot of emotion. I'm also gonna be giving you tips on using, like, your left hand with your right hand. Um, that was a big thing for me, For example. I was able to play, like, maybe 1/4 of my left hand, and then I'd be able to kind of really play with my right hand, but I wasn't really able to blend them together. So over my years, I've kind of found certain ways Teoh play with the left hand to make it blend with your right hand a lot better. And then again, I'm gonna be teaching you how to improvise on a piano. That's the biggest thing. And then from there on, it really is up to you to keep practicing every day or how early, however often you can so that you can become better at the piano. So, for myself, you know, I've been practicing piano almost every day for the past, like four years about, You know, I actually did out of town work for there for a little bit, and I even bought a piano off Amazon. Had it shipped up to me. They're just so I could keep practicing the piano every single night because with improvisation, it's kind of one of those things that once you have your eyes opened, Teoh just playing a piano just random stuff. The more you practice, the easier it gets. And you will see you know, such improvement that, you know, it makes you want to keep practicing. And then finally, I'm going to be showing you kind of like popular patterns to get you going for playing like , you know, piano notes, toe adding toe loops. You know, whether that be like on every beat or things with, like, Syncopation, just to give you a general idea of, well, what are some kind of popular patterns that I could use to work off of? And then, you know, then it's up to you on how to make it work to be creative for yourself. All right, so that's a general course overview of this course piano for beat makers and producers. Hopefully, you guys learn a lot, and I really hope that my tips help you become a better beat maker again because we're not trying to be Classical piano players were trying to learn the piano to make amazing beats. Okay, so let's get into the course. 2. How to Ask Questions + Leave Review: all right. Hey, I'm gratuitous. And thank you so much for taking the course. The reason why I'm making this video is that I just want you to be aware that I also have other music production courses. Currently, I have 16 music production courses. They're based on FL Studio. However, the information does apply to all music programs. There's the odd video, which is FL studio specific. But for the most part, I teach the fundamentals which relate. Oh, everything to do with music production. E que compression sampling. So I just want you to be aware that you guys could be leaving a question as well as leaving a review. Okay, so I want to show you how to set that up. Okay, so let's start with how to lead. Ah, question. Okay. Soto asked me a question on skill share. All you have to do is click the community tab and just click basket question. And that's that. You guys can ask me a question. Post it and I will receive an email from you. And then I will come and answer your question. I'm really active with this stuff, and I want you guys to learn Okay. In addition, to leave a review, all you do is click the reviews tab Now. Skill Share says that you have to watch a few lessons before leak. Leaving review, Which makes sense. So, you know, after you're done watching, of course, just click the button here, leave a review, and I would really, really appreciate it if you would leave a review. All right, Now you know where to leave a question as well as a review. Again, I really appreciate the review. You know, it's gonna help my courses get to number one, hopefully help grow my online course business here. So again, I'm gratuitous, and I hope you guys enjoy the course and learned a lot. 3. 1.2 - Real-world Piano Beat Walkthrough Example 1 [Goals Shall Be Achieved] : we're gonna first start off with going through a beat where I've used piano as it the main element of the track. But what I want you to do is you know, you can watch this video and kind of get an idea. But I want you do move on further, watch the other videos, and then eventually come back to this video and see how I've used the techniques which I go over. As you know, as we go throughout the course. When you come back and watch this video, you'll see how I have applied a lot of those things, like things that just arpeggios and stuff like that. But so this track is called goals will be achieved. Its off my free beats by gratitude is Volume six and will play the track starting from here , we're going to kind of play a little bit and took the first verse, and then I'm gonna move it into some string section and then, ah, we will dissect each pattern individually. Okay, So okay , so moving on just a little bit further into a string section and then right here have this kind of cool uprise or sound too so continuing on. - Okay , so let's go over this track. Ah, you know, pattern by pattern showing you how have created it. And so tell you this off the start the piano piece is not that complex. It's pretty, pretty simple. It's actually this right here. Is that this? But the thing about this track is just all the parts go together so well that it makes it sound like such a beautiful composition. Um, so that's a big thing. I stress all throat. This course is this, like the difference between us is beat makers compared to like, you know, someone who just plays the piano like a classical piano player is. We're trying to create loops. They're catchy that all go together and create this beautiful composition. Because, as you'll see, I'll go through all these patterns with you and you'll see it just like old. That's pretty simple. Like, you know, there's there wasn't like a crazy amount of notes, not tons of chords going on. I don't even know if I played accord in. Actually, in this track it was more just kind of single notes and stuff like that case. So, as you can see with my patterns. These are all of them. I have the pad piano melody, which is the, um you know, that kind of one And then Ah, bass piano, which is kind of an RPG with the left hand again as you As you watch the course and come back in Washington video, you'll understand what an arpeggio is. So before we dissect this track, I actually created this song in C minor. And this is like the main melody, you know, so kind of simple. You know, it sounds very beautiful and like, Yes, finding these melodies is tricky, but it isn't very complex, like there's not, you know, tons of chords and stuff going on K and into our next one. So this isn't an arpeggio. Now, in the very, very beginning of this loop Ah, the arpeggio is a little bit different. Eso especially in the 1st 2 bars, I changed up like the actual ah, the timing of the arpeggio. And then later on, it just kind of plays more simple. Okay, so play this from the beginning. Okay, so that's an arpeggio. So the chord progression is see a sharp G and G sharp and I think it stays that way the whole way through. Yeah. Okay, so that's the court progression again, it's in C minor. And if we play just the piano and the arpeggio left hand piano case Now we are on to the baseline. This baseline is kind of unique. Kind of plays off times and stuff like that. If it played by itself. Ah, you'll hear that? It kind of It's almost like it's just not on time, So but you're here. Okay, So now, in context of the whole beat. Okay, so our next pattern is the drums. Thes drums are kind of different sounding. Um, they have, like, a little kind of like a muffled layer on them. So for this into him, case about to the beat, you know, out of snaring and for the snare. Ah, what I did was I actually layered three stairs here just for layering as more fullness. Ah, the next sound. We have this up riser, and this is kind of a cool trick. You just kind of play a sound on every single note and you just let it rise up like this. Okay, so there was no even pitch band or anything like that and that it was just all the single notes. I just kind of thought it sounded cool as it played. And then the percussion, Um, I have the extend the pattern here, so take this. So I just played by itself. Do you? Okay, so it's kind of sporadic, but it sounds pretty cool. We'll take the hat. So So far. So where we are at in the song and then on to the hat the hi hats, which had a lot of fullness into this track. So there's not much going on with the hi hats. Just this. So on beat. I have an extra layer just to add some extra on the actual hit. Um, you know, so one high hat sounds like this. No, it sounds like this. And then, ah, I think for the last pattern, I have this little build up and it goes like this. So this is just before a chorus, and it sounds like this, and I've just kind of ah, rubber that to some delay and some river just to kind of give like that sound. And I actually use this, uh, multiple times later on in the track. Also, I have an arpeggio, and it sounds like this on. And I kind of like this sound. I kind of don't. But I do feel that kind of blends in with the track. It kind of gives it a different sound and that it brings the track back in. And then, as you can see, I've later three arpeggios just for a different sound. And so, yeah, if we put this all together, um, you know, we get this so covering everything that I show you further on I played this song in the scale of C minor. Ah, used the RPG on the left hand. I just kind of played a little melody on the right hand with the notes that air in the scale of C minor. And then it was just a matter of using all those notes which are in C minor to compose a track that all kind of fits together. Nice. That's all to do a sound selection as well as um, yeah, you don't just just think that kind of stuff. You know, I used to different pianos here on that sea like other, the actual same piano. So I got PR power grand and then, ah, for the base of power Grand. So used the same preset, but just, um I separated them so I could mix them differently. I mixed the melody, You know, however, want to mix it as you can see down here with, like, different settings, I guess. Ah, so the melody, I kind of like this in the bass piano is like this. So, you know, as I was mixing, I guess that's what I decided to do. So there's two reasons why I want to record this video was the 1st 1 just to kind of give you guys a real world example of, um, my quality A beats. And the next one is to show you how I applied. Ah, lot of the techniques that I show you in this course into this track. Okay, So I'm also gonna do a walk through with one more beat with You guys were gonna pick just another, um, piano track that I've created over my years, and we'll do the same thing. Will kind of walk through. I'll show you how composed to be using all these techniques that I show you in the course 4. 1.3 - Real-world Piano Beat Walkthrough Example 2 [Thy Kingdom Come] : and the next be I'm going to be going over with you is called by Kingdom Come again is really heavily focused on the piano, especially for the intro. Um, and then I just kind of bring the piano in every once in a while. This track is very, very full. So it has a lot of different sounds. You know, as you can see here of, like, base. I have horns. I have kind of synth leads. Some pike sounds will go through each sound step by step. But I first want to play. Um, you know, the intro for you, you that you hear the beat and then kind of dissect what I did with the piano. OK, so he Rio okay , just a fast forward. It's a little bit further bringing the piano. Okay, so let's just dissect the piano quickly, and then we'll go through each track just to kind of show you how Ah, you know how it composed to be kind of focused around piano. The biggest thing for me when I was trying to learn to play piano, was again with the left hand, learning how I can do things in my left hand to make my composition sound folder like just the piano itself. So this track is actually in C major. This is actually, I think, the court progression, which I go over with you guys in the course like over and over and over just because it's a really beautiful chord progression. And it's one that's really simple to understand, especially the scale of C major. So it's only white notes. But as you can see, I didn't play a chord. I just played the note, and then I played the higher octave of that note, and I just would play it with, like, my pinky and my thumb, just like that on it would be see and then G and then a and then f so it looks like it's like an octave lower so big. What I did here was again, like that kind of filler. So before I went to a different chord, are against different note. In this case, uh, I hit like the late note and that just as that filler and then that's pretty much all I did for this chord progression turns of the left hand. I kind of changed up there a little bit, but it sounds like this by itself. So as you can see right here, like that kind of late note, you know, just gonna add just a little bit of fullness to the piano piece again. Oh, on then that just repeats over and over and over. So for the first sound in this, my patterns here. As you can see, I've played a lot in this one. I just haven't ate away. Consists, just consistently pounds. Okay, The next sound. I got some kicks. Just sounds like it is not a single kick there. All right. You know, I have another kick drum here to later on. Um, so this is an arpeggio. Um, this one is a part of nexus to, so, you know. And here we have our pigeons, and you just play one note. It sounds very, very beautiful just by itself, just cause they've really spiced it up that huge. So if you just listen, just a one note. Okay? So what I did is I actually played courts of that, and it sounds like this, you know, super, super beautiful. Sounding on to the next. So, again, that's the piano will keep going, So this is kind of a lead sound on again. This isn't C major, so I'm using the E there because he isn't see Major, but it's not in C minor. So moving on, so have some pipe kind of sounds, you know. So that's this kind of a cool rhythm. It's different from everything else that's going on. And as you can see, you know, in the first bar, I kinda added in a different rhythm than the second bar. Same here, um, again, just for different flavor in your beat is just not so repetitive. And then this sound here. So it's an arpeggio, and it's kind of, ah, one of the sequence ones from Nexus to and actually played as an arpeggio. So what I did there probably was a poorly played. The cords says You can see I have C, E and G and up here in the arrow and you go tools. Ah, you have the arpeggio tool appear R p J. And I'm pretty sure that's probably what I did here because I'm pretty sure I wouldn't have clicked all that stuff. And I just know for myself, like as I produced beats I don't usually work that way. So I must have doesn't like that Using the tool tons of effects on their like delay and reverb. You want to be careful with lots of delay and reverb because it can muddy a pure mix and then have it the bass sound here. So it sounds like this, actually. So a lot of times where I do is they take a bass sound and actually played up higher self Eichel. And a lot of times I find that's really, really catchy for lead. So in that case, that's what I did. It sound like this thing. Okay, on to the next. So these some horns, this kind of gives it that orchestra feel I played some chords. So again, ah, g c e so actually played in a version here. So this is actually a great beat to show you guys how have applied a lot of these techniques which I showed you in the course things such as arpeggios using the late no on the left hand and in this case, using the inversions. So instead of playing it appear right. But the G appear I just moved the G down here, Okay. As he watched through the course, you'll learn about inversions Are so just to play that, You know, that sounds really, really cool when I extended it, because just the way how this sound is programmed like that has nothing to do with me. That's just how the sound comes. Ah, it kind of has that emotion of like, you know, if someone's like blowing into it, it kind of like, you know? So, um, there's a certain word for that musically as you blow into it and then near the Andy searchable harder, and it kind of emphasises it, so it kind of like that human element. But that's the horns and those added tons and tons of fullness to this track. And then I have ah choir sound. This is the inversion again. So very, very beautiful sounding and then, as you can see over here. So instead of going to a I played it, I must have played it like a higher inversion. So instead of flinging down here, I played it here on then for the f. So set a plan like the F down here. No, this is the first version Second inversion so that's that's what I did. So on the second part of this loop in this in the you know, I guess seventh and eighth bar. Um, yeah, I just change up the inversions there, So just to give it a different sound So this is everything I've been talking to you about within the course. So, like in the first part of the loop, you know, you have your four chords, and then in the second part of the loop, you can change them up. You know, in this case, I didn't change the cords. I just changed them as inversions. So even though it's the same note for that cord, so it still like an F court or, you know, in a minor chord or whatever, Just a different inversion to give it a different sound and then moving on to have one more sound. Here's something like this, and this sound actually has quite an emotional effect Later on in the track, Hero let you listen to that. So this is a cool track because all of the instruments kind of blended together really well , and I was able to take a lot of stuff out and put stuff in, and everything kind of sounded full by itself. That's a really hard thing to do as a producer is to make each patterns some really full. You know, by itself that way it allows your arrangement to be a lot easier. Because when you have certain patterns which are weak again, it's hard to kind of put them in there by himself. You're always gonna need another layer to kind of add that fullness to get ad that excitement throughout the track. But But like I'm saying in this in this track, almost everything was just, um I could just kind of put it in there almost by itself, for the most part, getting the moving on. So have another kick drum here. This must be it. The main kick A Z conceive main kicker here, um, and got a snare. Had issues, one snare. So again, this second older track. I created it quite a while ago, and then I liked it, so I threw on one of my newer beat tapes. Um, but by itself, it really kind of cool snare for my high hats. Got this thing. So what I did there was I just played, um, you know, one faster. So kind of like this. So it just plays, you know, can fast. And then this one puts in every beat, and then this one plays on the half step and, ah, have some white noise, and that is just here. And I fill third it out. So if we just kind of listen to it so kind of this kind of sounded cool. And then I have, like, this percussion loop here. So as you can see on the first hair, I layered a lot of sounds, some of this, so that sounded pretty cool. But as I can see here, I've only added that percussion loop and you're like the end of the track. So you know, you can't hear it too well, but it's just kind of tucked in there. And then I have my bringing pattern, which is this kind of Ah, I've only added it. Direction were added in the intro, the very, very beginning. And then it kind of near the end. And the reason why I have this is just because it brings in that chorus. You know, you could be used like a reverse symbol which I have here, or like white noise again, which would have here, or even, like, a snare role or someone that those air typical things that you could be using to bring in a track on. And it sounds like this theme. Then the course would come in, so we'll listen to the and contacts of the beat. And then I think that is my last pattern. So that is this track, and I'm actually quite happy. I chose this track again because it's C major. Um, you know, in my later years of kind of more stuck to see minor again, that's a bad habit to be in. However, it really teaches you how to play the piano by picking a scale and sticking to it. But eventually you know you want to break free so that you can be creative on the piano. But as you progress through this course, you're going to keep hearing me say about building muscle memory and by choosing one scale to kind of practice that will help you to build your muscle memory. Okay, so I got one more video for you guys. It's just me actually playing the piano just to show you that, you know, I am able to sit here and play the piano. I'm just not talking just randomly. I have taught myself the piano, for the most part, mostly self taught. I did take some lessons from a lady down the street, you know, when I was trying to learn piano and she wrote on the piano in terms of opening up my eyes to how chords and scales work. And then from there it was really just up to me to practice. And I did practice. And I got to the point where I started to learn new things, you know, and each lesson, you know, each video. Each of those have kind of been like a turning point for me as I've been learning the piano . All right side is this track called by Kingdom Come. It's my free beats by graduates following five beat tape. So if you guys enjoy this course, if you guys could please leave a review, it has helps my course to grow, you know, and kind of get out there in the eyes of other people, you know. So hopefully this course helps you out and let's get into it 5. 1.4 - Piano Playing Example: all right. So just want to give a little introductory to this video before I play it for you. Because I released this video on YouTube of my dog, always standing up whenever I hit a per certain piano note. It's just really, really funny because you know what? I play the piano for five minutes or 10 minutes. Whenever I hit this cord, he'd always stand up because he's super excited. Like I was done practicing piano like now weaken players. Now we could go do whatever, but I just wanted to show you before I play you this video. Um, you know that it was originally for a slideshow for my dog anyway, So here's me playing piano and then we'll get into the course. 6. 2.1 - Before Practicing: Okay, So before we actually get into learning about anything about this piano, you know, octaves, scales, chords, anything that it's very important to set yourself up toe wanna practice. So, for myself, what I'm doing right now is I'm in fo studio and I'm using a plug in called Addictive Keys . You don't have to use, like, a plug in like this. You guys could just use something like fl keys. So if I right click and go insert Ah, I'm not sure fl Studio puts it by default cause I've organized these into my old folders for organization purposes. But as you can see fo keys right here, and it just sounds like this, you know? And you know, that's fine, but I find that hard to practice with. So something you can do is you can increase the release on here. Okay, You can increase this. And what that does is when you push a note, it allows it to play for extra long case of a lot. Okay, if I turned all that down now. Now, although full. Okay. So that's something I find that helps like release. But what I really want to show you is. As you can see, I voted it to number one here on the mixer. So on the mixer I have, ah, reverb. I put some compression and it puts a meek you on it just to make it, you know, more enjoyable and more fun to play. You guys can also even add, like delay on and stuff to again just to help you want to practice. It makes it a lot easier, because when a sound is so dry, it's very hard to know, you know, if it's going to sound good. But once it has a tail, either by adding reverb that release on or delay, you'll hear instantly it it sounds a lot better. Therefore, it makes you feel that what your playing sounds better and it will make you want to practice more. Okay, so I'll play the piano. I'll just remove fo keys here, so I'll be using ah, excellent audios, addictive keys. And right now, the effects air off. Okay, so this is what it would sound like. Okay, now, with the effects on, Okay, just sounds a little more powerful. So it's the first thing I want to tell you. Open up your plug ins. Add on some effects make your playing a lot more enjoyable. If you're practicing on a real piano, just take advantage of the sustain pedal. You'll notice that when you hold on the sustain pedal again, it allows the notes sound longer, and it won't sound so dry, and it'll make you practicing a lot more enjoyable. 7. 3.1 - Octaves: Okay. So I think the best place to start for you guys to really take off with your improvisation is to understand what you're looking at on a keyboard. Okay, so there's 12 notes in music and they keep repeating in octaves. Okay, so you start off on C five. That's your middle c. Okay, on. And then if we go down lower to the next, see lower it C four, go lower it, C three. Okay, higher. You're going to get the point. It just keeps repeating. So if we start all the way down here on the far left side again, it starts at sea. It would go to C sharp d d sharp e f f sharp g g sharp A ah h R b and then see again. Case will see. See? And then it would repeat against We'll see. C sharp d d sharp e f f sharp g. Okay, so have 12 notes. 12 notes, 12 notes, And that keeps repeating and repeating. So if you come all the way down here to, like, you know, see to thistles typically really, really good for, like, hip hop kind of tracks because you have that Lopiano, for example. Okay, just to kind of give you an idea of what you're working with and kind of give you some creativity. So that's the basics of how a piano works in terms of looking at the keys. And what are you looking at? You have 12 notes. Okay, So from sea to be here, then see to be here again. 123456789 10 11 and 12. And then it will repeat in the higher octave or lower octave. 8. 3.2 - Keys and Scales: Now I'm gonna introduce you guys to scales. Okay? So there's major and minor scales. People say that Major is happy and minor. It sounds sad this is gonna sound confusing to you right now, but once you get into it, you'll see that a C Major is actually a minor and a minor is actually a C major. Now, when people say happy and sad and stuff like that, well, it's just it's just kind of still how you are playing those notes at the end of the day because you could be looking at all these things like the Circle of Fifths. And I didn't really look into that stuff until later learning piano. And even after reading and understanding, it was just kind of like, Well, it doesn't really help me tons, because as a beat maker, as a producer, I'm wanting to know how to play the piano to make, you know, awesome beats and some of the theory that you're going to be trying to learn some of it is helpful, and some of it isn't, you know, so things that you that we will be getting into is like learning how to count in time learning how to, uh, play notes off time, but still, you know, stay in time. It's something called Syncopation. Um, but we're going to be learning about scales right now. Okay, So what I want you to do is go to Google and type piano World scale Helper. This is this is a tool that I have used in my beginnings to really, really help me understand and visualize what I am doing on a piano and how it all works. So when I first started, I was always hitting the white notes and I was like, Yeah, that sounds great. And then, as soon as I would try Teoh combined some of these black notes in I was never able to get them to work. And the reason for that is because I was playing in C Major. And what that means is C Major is on Lee White notes, so you can hit the white notes, and for the most part, they're going to sound good. But as soon as you start trying to bring the black notes in to see Major, that was my problem. It's like Well, in c major, there are no black notes So here on the virtual piano, uh, help her here. So I set my root note list to say to see okay. And then in the scale here, we're gonna go, major, and you're going to see its highlighted on Lee the white notes. So this is the reason why I could never play the black notes is because I was playing in C Major, and this is a really really column and thing for people just starting up. So now watch this. Remember I told you in the beginning of this video that C major is actually a miner, so I'm not going to go to minor here. I'm actually going to go to Pure minor, and I still have to select a in the root. No. Okay, so right now we're gonna We're looking at all the weight notes are highlighted. Going to go pure minor. We're gonna come down here to a and you're gonna see all the white notes are highlighted. It's like, Well, are you actually playing a c major or are you playing in a minor when you're playing that? So it all depends on how you play your notes. And as I have continued to play piano. Um, so for myself, I like to play. And actually C minor C minor is my favorite. Ah, scale to play in. So now the difference between a major and a minor scale is the 3rd 6th and seventh. No. Okay, So if we're looking here again from sea to sea, it's all white notes. But if I go to a pure minor, you're going to see that the third note changes the sixth note changes and the seventh note . So where we should have eaten and we should have A and B because they're white notes. You're going to see that these actually shift down, okay. And if I click pure minor, you're going to see that e becomes d sharp. A becomes G sharp B becomes a shirt. Okay, so e became d sharp, A became G sharp and be became a sharp. So this is why it's so important to pick your key, which is like your root note. So let's say the key of C and your scale before you actually start producing your beat. Otherwise, you're not going to know what notes you can play for that beat because this is telling us in C minor that we have these notes. We can play and they're going to sound the in tune, and they're gonna sound good now if you want to start changing scales as you are producing your beat, this is where, like the circle of fifths come in. Like like I was telling you before that a C major is actually a minor. So the circle of fifths is something you can just look up. So let's go see is actually a minor, okay? And that's where you can change if you want to be from a minor to a major, like, you know, halfway through your song or something like that. So this has been a really, really helpful tool for myself, just trying to learn the piano. But don't get too far ahead of yourself. It's just good to know the different scales that are out there because a lot of music that is written, they will show like, you know, it's in like the key of G, and it's g major or something like that. And that's where it's important because a lot of times they have these different root notes and stuff, because when you sing, their voices can match better toe like the certain frequencies choosing in that key on. And this also comes into production to So there's certain scales which allow you to have lower base notes. Okay, so I'll see you guys in the next video. This one was a lot to take in, but I'm gonna break this down for you and show you how to get started practicing. 9. 3.3 - How Chords Work (Major + Minor): Okay, So now I'm going to introduce you to what is accord? How to play a chord and also the difference between a major and a minor chord. And once you see the difference between major and minor, it will really open your eyes. And from there on, you know, things are going to start start because really easy. And you're gonna start sailing in terms of like, improvisation. So how record works and what a court is is is when you use three or more notes. Ah, So in this case, if I'm using C, E and G, that is Accord. I've read online that people even say, You know, sometimes it's even any more than two notes, but we're going to keep it simple. And we're just going to go with three or more notes. Is accord now how the numbering works? Because sometimes a real line like the 1st 3rd in the fifth, and it's like, Well, what is that? So on your hand, it's numbered. Okay, so your thumb is the one. Your index finger is the to your middle fingers. The three. Your ring finger is the four, and your pinky is the five. So now it could get a little tricky because when we're talking about the third here, we're not talking about like, the third note we're not talking about how many notes air in between. We're actually physically talking about your middle finger. Okay, that's your third. So if I were to play the C major chord, which is C E N g. And against with your thumb, your middle finger and your pinky. So every 13 and five Now, how you know a difference between a major and a minor chord is just how many notes are in between your first, which is your thumb and your third, which is your middle finger. So in this case, there are actually three dotes, making it a major chord. So 123 and then a minor court only has two notes. So I would actually move my third, which is about middle finger down to D Sharp in this case. So has two notes in between. So, you know, major minor and that is the difference between a major and a minor chord that, you know, like that's it. It's not more complex. It's not mawr, you know, it's it's that simple. And whenever I put like this like this, this is wrong. But I do it. So it's easy for you guys to see on the camera. But yes, so that's all. The differences between a major and a minor chord is just how many notes are between your first, which is your thumb and your middle finger, which is 1/3. And in this case, a major has 3123 on and Minor has to what we covered in this is extremely important for you to understand, because it's going to carry through the rest, of course, because once we start getting into the scales and me showing you, ah, what notes are in that scale and what chords Aaron that scale, it's fundamental to no major versus minor, okay? 10. 3.4 - C Major Scale Breakdown / Walkthrough: Okay, so this is going to be the video which is gonna open your eyes toe understanding how to improvise on a piano. If you don't get it, just watch it over a couple of times and tell it really clicks, K. I'm really gonna try and take my time and explain this to you. So I've introduced you two chords. You know, it's just three or more notes. I've introduced you to major Minor Major. One has three notes in between. Your first and your third miner only has to. And the reason why that's important to know is because it'll that you know if there's a major or minor chord in that scale. Because I kept repeating in the keys and scales video that C major on. Lee has white notes, right? So that's telling us something that's telling us that there can only be white notes within that scale. You know, you can't go in at a black no in because see, Major doesn't have black notes. So what that's telling us is that we either have to have a major were a minor chord, but it has to be made up of white notes. Okay, so see, Major is an awesome scale to have your eyes open to and to ah, visualize toe, you know, so you can improvise. So as you can see, we're in, uh, the key of C. We're on the major scale, and it's only white notes, So if we start at the root note, which you know is C So our court has to only have white notes and it's on our 1st 3rd and fifth again, every thumb, middle finger, pinky. So in this case, it's all white notes. So in the scale of C major, it has a C major chord. Okay, so if we come here to the root and we go to cords and go to major so as you can see, we have C, E and G, there is no black notes. So we have a C major chord. Let's continue on. Now. Let's look at D. Okay, so we'll be on our 1st 3rd and fifth. And how many notes do we have in between? Our first, which is a thumb, and our middle finger, which is the third wouldn't have one too. So we have a D minor chord because a D major chord would have this black, which is f sharp. But again, since one C major, we can't have black notes. And again so 123 that's the three notes. That means that's a major chord, which means that we have to have a minor d chord in the scale of C major. Okay. And just to confirm, you know, So we go to D and a major chord. As you can see, it has that f sharp. But for gold Miner has, you know, the white note, which is the f So I'm going to keep working my way through the scale with you guys because this is very, very important, because now when you go to any other scale, you're going to start to see it's just like, oh, okay, well, those cords air in that scale and old, you know. So once you start going to making your beats or started, you know, trying to confine new chord progressions, you'll know what cores you can hit. And then it's just a matter of finding what chords you like within your beat. And over my years, you know, I've always kind of found certain progressions that I like more than others. But over your years of practicing, you know you're going to start finding these different progressions. And then even when you're listeningto other people's music, whether it be like in film, other beats, there's always these common chord progressions and you'll hear them over and over and over . And you're like, Oh, I love that chord progression, you know? So this is really eye opening if you've never seen this stuff before, so let's continue. OK, so we're going to be working now on T E in order for our e court toe only have white notes . Let's see if it's a major or a minor. Okay, so from E, we have 12 Okay, we only have two notes. That's making it an e minor chord. An e major chord. We'd have the g sharp, which would have 123 Okay. And just to confirm, we're gonna go e minor. Okay. And as you can see on Lee white notes, because again, you have to only have white notes in the scale of C major. Okay, so moving on to the next note, which would be f so if we put our one on f are third on a and then our fifth on seat. So this is an f chord. But what you know, is it a major A minor? So we have 123 This is a major F chord, So f major f minor would have the g sharp making only two in between there. Okay. And just to confirm we're going to go f They were going to go, major. Okay, so on Lee White notes the minor again has that g sharp, you know? So only 12 notes before we're actually hitting our know, which is which is in the cord. Okay, so now we're onto G. So, you know, I could just play the court, but let's do it a little different this time. So if we look at G here, So we're going to come to G, okay? And we know it has toe only have white notes. This could be a different way for you guys to do it in case you get confused. Because, you know, for me, I could just play this And I know that this is a g chord, but, you know, it might take some time for you, for you to get used to that so you can kind of keep going back to the, you know, in this case, go to G and then see whether it's a major or a minor. Because, you know, it could only be white notes and out. You know, you can do it this way or the way I've been showing you is there has to be at least two notes in between for the minor chord or three notes for the major. So if you go 12 without B a g sharp, So it has to be a major chord within that C major scale. Okay, uh, on to the next, let's put a thumb on a and let's just count, you know, our notes. So 12 old goes right to see. So it has to be a white note because the next note is black and we're only a lot of weight notes, so it has to be C and then our fifth as on is on e here. So which means that this is a minor chord. So one too. So a minor is in this scale of C major. So just to confirm so a minor chord there you go. Only white notes. So let's keep going now. This is where it can get tricky for you. Okay, so if you look there is on Lee white notes and you know, I've said over and over and over, But if you look at a b chord Okay, let's go check this out. So be major. It's like, Oh, well, it starts in the B and then it has the d sharp because you're here, and then it also has Ah, the f sharp right there. It's like, Well, okay, so then it has to be a minor court, right? Like I've been sure. You you're like, OK, well, we have the b and we also have a d, which are white notes. But why do we still have the f sharp? It's like, That's a black note, but we're in the scale of C major, and this was a huge curveball for me, you know, as of as I've been trying to learn piano and understand and everything. And so what happens is your last cord. So, like your last? No, in this scale is what you call diminished in the case of a major scale. So what happens is so again, we started, be and we go 12 Okay, so this is a minor chord, right? Because if we went to Major, it would have the d sharpen it. And, you know, so we're only allowed white notes, so so far, we're on a minor chord, okay? And then now that you have this f sharp up here, what happens is you actually bring it back to the F, and this is a diminished chord. Now, the reason why this is so confusing and why it confused me for so long is because if you come here to the cords like nowhere, does it say diminished? Um, maybe it does, but I just don't see it. But over my years of using this tool to help me learn scales and chords and stuff like that , I was never able to see it. Um, but after watching, you know, other tutorials and like reading, um, I actually looked up like the diminished triad, and this is really interesting. So it says that a diminished triad occurs in a major scale on Lee on the seventh scale. Okay, so in our case, that is the B because if we're in the scale of C Major. We have 1234567 which is the B. So in the key of C, this is be diminished. So everything I've been telling you so far. So in our case, it's B, d and F. Okay, and now, once we get into the at the minor scales, it's actually the second note within that scale. But then I'll be in her next video. Okay, I'll be covering C minor with you, but really let this soak in in terms of be being diminished. And as I was reading into this with the Beano here. So in our case, the seventh note or the seventh ah, degree or whatever they're calling it is there's actually a lot of controversy with this last. No, in the major scale, because, you know, in the major scale it's the seventh. But in the minor, it's the second. So if you want to read a little further intellect, that controversy stuff I've been talking about, it's on the leading tone. You can click through this and you can kind of read down a little bit lower. Yeah, they kind of talking about you know how to use it because it's such a difficult court to blend into, like your court progressions. Because when I'm playing chords, which I'll explain later on, I typically avoid that seventh. I don't really use like like I use be if it's within the cord where I might even play it, like as a note here and there, but not as a fundamental cord for, like, a court progression. I usually kind of find it's hard to fit in, and, um, I just stay away from it currently with my knowledge of music. OK, so we're gonna be moving on to the C minor scale. Okay, This is my favorite scale to play, and we're just going to go through it just like we did here on the piano world Helper. Um, you know, so you might find it boring. Whatever. You know, if you already get it, if you already understand it awesome, you guys could move forward on into the course. But I really want to solidify this because this is the meat of the course. If you don't get how the scales work with major and minor chords, you know, figure out well, what cord and is it a major and is it a minor eyes in that scale? Then you know you're not going to be able to improvise, because in order to improvise, you have to know what notes on that scale as well is what chords. And once you understand that, then you're on your way to just being able to play an improvised, and it's awesome. 11. 3.5 - C Minor Scale Breakdown / Walkthrough: Okay, so now we're going to cover a minor scale. So in this case, C minor. And for whatever reason, C minor is like my favorite scale to make beats with to play in. You know, if I was gonna improvise to practice and I don't know why over my years, I've turned toe liking C minor so much, but I just know where all the notes are again. When I go to play, you know, I can actually kind of close my eyes and feel where the keys are, and that's just not see minor. Okay, so let's go back to see Major just for a second. So the reason why see Major I find is so hard to play is because it's on Lee White notes. And since it doesn't have black notes, you know there's nowhere to feel where you are on your piano because you know you have three notes and then two notes, three notes. I think it's only see Major and a minor, which how it just like the white notes. Most scales typically implement at least one black note, but for the majority of this course, we are gonna be playing in C major just because you know as your starting it's very easy to learn. It's very easy to practice. And then as you start advancing, I'd recommend picking a different scale, which implements some black notes Just because once you start practicing, you can you can improvise a lot better because you can feel okay. And so with that said, Let's go over the sea. Minor scale to the difference between the major and the minor scales is just the third, the sixth and the seventh note. So in this case, you know, used to be e It used to be a and East BB. So if we come back, appear to ah Major. Okay, so we have all white notes, so it would be the e would be the A and the B So E becomes d sharp. A becomes g sharp, B becomes a shirt. Now when it comes to sharps and flats, I'll just introduce you to this quickly, so I don't really understand music theory in depth, but at the end of the day, it's still the same note. Okay, so let me explain quickly, just Teoh get you up to speed. So if I was to be here A and I would go to the left. It's a flat, and if I'm a A and I go to the right, it's a sharp. So when you start looking at, like the circle of Fifths and stuff like that, you're going to see that it's just like, Oh, there's this many flats and there's this many Sharps or whatever, right? So I guess in this case, these are flats. So what? I'm saying that its g sharp. I guess it's actually a a flat. So if you come down here, you know, so g sharp slash a flat. So it is the same note, but it just depends on which way you're going. Because once you start getting into, like Maurin depth music theory, you know, I guess I guess it matters from, ah theory standpoint. But for me telling you the note, it's still the same note that even even like what they're saying here. Like route so g sharp and a flat, they're considering it the same note. So sorry I'm not trying to go intense and in depth, but with music theory, music theory is technical and it is complex, and it is confusing so I just wanted to let you know that flats are left. Sharps are right. So let's go back to really tell you the difference between C major and C minor scale. Okay. I just want to bring you up to speed on the flats and Sharps. So it's the third, the sixth and the seventh notes, which are different. So instead of them being here, three all just shift down to the left, I guess making them flats. Okay, so we're going to be going to see and written over a major. But we want to be going down to pure minor in this case because it's a C minor is gonna have a C minor court. Okay, So previously you know, in C major it was E. And that was 123 notes. But since in C minor, we don't have the e. So there's two notes in between record making it a minor court. Now we're gonna be going to d. So remember, if we go back to the major scales, it's the seventh which becomes the diminished in the minor scales if the second, which becomes diminished. So if we come up here to the diminish Triad. So, like it says here, on the other hand, the diminished triad in a minor scale carers on the second degree. So in the case of C minor, which is what we are practicing Ah, it is D diminished Triad. So is D F in an a flat so d f. And it should be a but it went to flat. But the reason why it can't be a is because if we come back here, we don't have a within the C minor scale in the C major scale. It's there, but not in C minor for myself. I typically stay away from D as accord within my progressions. I I just always kind of find it's always hard toe add an implement. That's not to say that I don't use the d note. I just stay away from the actual cord. Ah, I just find it kind of tricky again. You could read into it on Wikipedia here for more information within the leading tone and stuff like that. Okay, so let's move on to the next note, which is D sharp or e flat. So if we come up here and we look at what notes we have. This is where it's going to stretch your mind, and it's going to get you thinking and you're going to get confused. And that's awesome because eventually everything's going to click and you're gonna know you're gonna understand. You're going to be like, OK, well, these cords are worth in that scale, and you're gonna be able to practice and kind of play around and stuff like that. So remember, it has to either be two or three notes from our first to our third. So from our thumb to our middle finger So we have 12 And if we were to play the F sharp here, if we look here, it's like, Well, we don't have f sharp within this scale, okay? It's not blue, so it's not selected. So if we keep going to G now, yes, G is in that scale. So which means that this is actually a D sharp major chord. Okay, so 123 play on the G s. So just to confirm so on the d sharp here. So we come to d sharp slash e flat the same note. And if we call up here, do you have a minor? No, because see, it would have to be the f sharp. But in our case, we have three notes and making it the G s. So if we go major So we have D shirt G Asia. Our next note within the scale is F because we don't have e right. So we're going to go toe f now starting at F this count. Okay, so one to and if I were to play the g sharp here is that in this scale Yes, it is. Okay, so g sharp is in the scale is a in the scale, you know. No, it's not. So therefore, it has to be a minor chord, so f minor que licious confirms we're going to go f minor chord so f you know, and then g sharp and then see Okay, if you look at the major chord that has the A in it. So back to minor and back to our scale. So see Pierre Minor. So has the f has the g sharp. And it also has the see. Okay, so moving on to G now. So from G if we count. So we have one, two and if we were to play the a sharp is that in our scale? And yes, it is. So this is making it a minor chord as well. So from the G, we have 12 and then Russia playing the a sharp and then the D. So if you come here to G and we look at the minor Okay, so we have g. We have the A shirt and the d and the major would have the be in it right, because then that would be 123 notes in between the first and the third. So fickle Major has the be local miner. It has the a sharp and the A sharp is within our c minor scale. OK, so moving on to the G sharp now. Okay, so from the G sharp, we have 1 2.5 hour to play. B is being that scale in the C minor scale. No, it is not because, uh, a sharp is so again from G sharp 12 Okay, be isn't in it. So So every three that go to see. So since there's three notes in there, this is a major cord are one which is our thumb is on g sharp are three which is our middle fingers on sea. And our pinky, which is number five is on the d shirt on. This just confirmed that by looking at the court here. Okay, so g sharp. And let's go to major. Okay, So as you can see, it's g sharp. We have the sea and we have the d sharp. Okay, because it can't be be, which would be 12 notes. Make it a minor chord. Okay. And continuing on were onto a sharp now, OK, which is the last note, and it's the seventh. But since it's minor, we're not doing like that diminish stuff. That's only in the major. So our final note with end the C minor scale so from a sharp, so has to either be two notes or three notes to make it a major or minor. So 12 and then if so, if we're play c sharp here, well, we can't because there is no c sharp. As you can see, it's not highlighted, so it has to be the de, which has to be a major court because there's 123 notes in between record and then our pinky would pay on the F. So just to confirm that, let's go to a sharp here. If we were to go minor, you could see that it has that C sharp. But C Sharp is not in our C minor scale and that is it. So that's an overview of the C minor scale. A little tricky to understand and get your head wrapped around the first time you see this . But hopefully by me going over each note within this scale clarifies it for you. And if it doesn't, please watch the C major video again and then come back to this one. I watched this one again. Again. This is crucial toe. Understand? And get before you start moving on and we start kind of playing chords and talking more in depth about this stuff. As soon as you start to see this, then it's just a matter of you know you could play one chord. You can go another chord, another chord, and then to another court. And, you know, as we keep going through this course, you're gonna be able to to play those cords. And you know, there was nothing to that, you know, I always played was four chords there. It's not like I was playing fast or tricky or, you know, it was just It was just one so like, watch. 1234123412341234 Again. It's just the muscle memory. So since I've been playing this scale so much, I know what notes as well as what chords are in the C minor scale. So I'm able to play. But there was nothing intense about that. And by the end of this course, you'll be able to play chords like that and then implement them into your beats. Ah, where practicing is going to help you is to be able to kind of add that the filler notes it . OK, so we're going to move forward into some or theory, and then eventually we're going to start getting into, ah, some improvisation videos and, you know, to teach you how to actually play on the piano 12. 3.6 - Note Names (Degrees): Okay, So that's one thing I want to bring to your attention before we start going further learning the piano and everything. And it's called degrees. Okay. As you can see, here is a diatonic super tronic, immediate a sub dominant, dominant sub median and leading and then our back to Ah, the tonic. So inside of Google, I just searched Ah, degree music and I went to Wikipedia at the first page and you can see you know, the major and minor scales, which is what we've been talking about already. So as you can see here, if we're working in C major CIA's the Tonic D is a super tonic. E is immediate deficit sub dominant G is the dominant A is the Subedi int uh be would be the leading tone and then, as you can see in the major or in the minor scale, you know, so things, I guess, can change whatever. And then we come back up to ah, the tonic, which is just c but an octave higher. Now I just want to tell you all this music theory. Yes, it is interesting to know, and it can help you in terms of Ah, being able to have better conversations with people understanding what they're trying to tell you. But we has music producers, you know, making beats. We don't even really have to know how to read even that sheet music, you know? Sure, it would be nice, but you don't need to know it to make amazing high quality music for myself. Like I'm saying, like, I'm very self taught on the piano. So when it comes to talking to people, you know, you know, when dealing with things that tonic super tonic like I don't really relate that well, because I I don't really know music theory in those terms. So the reason why I'm covering this is just so that you are aware of it. And, you know, you've at least seen it, but I really don't deal with the piano. I don't really think of the piano in those ways. So I think of it more like this. I think about case. So I have to first choose a key and a scale, and then that will tell me Well, what notes, um are allowed to play inside of my beat. And that will also let me know what courts, whether they be major or minor, that I can also play inside by beep for myself as a beat maker and a producer. That's all I feel I need to know. And then from there, you know, as you start getting more advanced than you could start reading into the more music theory . Uhm, you know, dealing with bigger chords. You know, sevenths. Ah, all that kind of stuff. But what I just said, that's what I feel is the most important to really help you improvise and take off with the piano. But I just want you to be aware of it, since we're talking about piano notes, scales, chords, all that kind of stuff, So let's move on. 13. 3.7 - Counting Beats for Piano Playing + Beatmaking: Okay, So the next concept, which is extremely important being a producer, is knowing how to count beats. Okay, so for us as beat makers, we typically work in what is known as 44 time 44 Time is the most common for production. And all that is this is 12341234 And then depending on the temple, you've set that determines on how fast you count. So whether it be like one to you know or will be 12341234 So, for example, if I play this, we got 12341234 If I put this down really, really slow would be more like 12341234 Okay, so put it back up to 1 28 which is a really, really common temple for a kind of ah, electronic dance music, house music. Now where counting beats can become fun and add a lot of rhythm to your music is it's not just 1234 It could be one and two and three and four, or it could be one and a two and a three and a four. And if you're adding in little percussion notes on these one and ah, two and three and four on like the one you have your kick drum on the and ah, you would add like a percussion and kind like a high hat or something. This is where you're productions and your drum loops start to sound really, really full. And then as you're playing your piano, how you can count for that would be like 123412341234 So I don't do this counting out all the time, especially in my own head. So what I'm trying to say is it's gonna be hard for me to count and play at the same time for you guys. But just again, remember, it could be 1234 You can go one and two and a three and a four. Okay, You see how I threw that in there? So I changed up three and four different than one and two. This is where you could start being creative. So, for example, if I wanted to play a chord like this and go one and two end. And on the end, I play different notes. So one and two and three and 412 and three and four. So don't worry. We're going to get into this. I'm gonna be showing you. I'm just kind of giving you an idea of how to count. So in our later videos, I'm going to be showing you different chord progressions as well as different patterns to play the piano over top of drum loops. So don't worry if you feel that we're going too fast. But, for example, you guys could be changing your cord after every four beats, which would be one bar. So, for example, all play an account at the same time. So but 12341234123 four, 41234 So that's a really common thing. It's a change your cord after every four beats. And then, as you saw when I got to the fourth beat, it was one and two and three and four. And then I started again because if your piano loop was always just going those same four chords, you know after every four beats, it could become boring. Okay, we as produces. We want to keep our listeners years fresh. We want to keep changing the course you want to keep, you know, adding new things coming in. But at the same time, we also want the balance between having a nice rhythm for them to listen to and not be too busy. Case lose like that balance. There's a balance between being too slow, too boring, bland. But then there's a balance between way too much going on. So just to go over that one more time in production, you're gonna be wanting to learn 44 time and you already know it already showed you 123 for That's it, then, depending on your temple, you've set this dictates, you know, the kind of feel that you're going for, like a slower tempo. You know, um, is typically for, like, you know, hip hop and stuff like that. But that's not always true, depending on how you set up your step sequencer. This stuff is kind of going a little off topic from me teaching you piano. You know, I would love to teach you the whole thing, you know, in terms of drum loops mixing all that stuff. But we're just gonna be focusing here on piano. OK, so you you know, you got your four beats, depending on your tempo. And then to be creative, you can slip in that. And so one and two and and then, let's say, for example, three and 43 and a four and one and two, you know? So try that. Oh, and that was really good to help you. As you're producing, you're beats. 14. 3.8 - Using Inversions from a Creative Standpoint: okay. The next important thing toe learn about when playing chords. Is there something called inversions? Okay, What that means is remember within with an octave. You have keys that air down low, but then you have the same see? But it's just a higher octave. So, for example, Alosi, higher sea. So since you have all these notes all over your keyboard which are the same notes just higher octaves higher or lower octaves when you're playing a chord. Well, who says that you have to be playing this? See, for example, like what? If you want to play this e and this G But what about this? See, Appear. Okay. So for example, if this is, you know, just your your route position for your cord Well, what if we played the sea of higher That's called an inversion? And then what if we wanted to play it even if higher? So now we have the g, c and e appear, and this relates to every single court. So, for example, if I just put like a see down here on, then play like the cord, but in versions of it you'll see that it's like it sounds like I'm playing a different chord, but I'm just playing a different in version of it. Therefore, I could be getting away with a different sound It might be, even though I'm playing the same chord. So here we go. Okay, sounds kind of basic, but where an inversion comes into play and where it's really, really handy for us is beat makers is Sometimes you're playing your piano piece, but sometimes accord is almost too low down. It feels like so. Therefore, you could be getting away by playing an inversion of accord, which kind of brings you back up a little bit, because remember, right down here is a C major, and if I play the sea up higher, it's like, Well, I've now moved McCord up higher, even though playing the same notes. But the seas higher because as a producer, it's all about your sounds selection. So once it comes time to mixing, if you're always selecting sounds and playing notes in like the mid frequencies, it's going to be harder to mix. So a lot of times, what you want to do is you want to try and pick sounds that air someone that can in the high end, some in the middle and then some of the low end. This makes it a lot easier come mixed time, and it allows for a lot more clarity in your beat. Now, with the left hand, I wouldn't really recommend doing your inversions. And the reason for that is because whatever is your root no, on your left hand. That is typically what your baseline is. Okay, because once it comes through the lower frequencies, this gets into more the science behind audio. So you're frequencies as you play higher or faster. OK, when you play your lower notes, your frequencies are slower. Therefore, if a sound is clashing, what it comes to, like phase cancellation and stuff like that, you can notice it a lot more in your low end. And instead of that base sounding nice and clean and tight, it can sound really, really wobbly, weak sounding, and it really destroys your beat. So, for example, like let's say you inverted the cord with the G at the root note, right? But say you brought the G up. So now you're playing Ah, an inverted G. So, again, words in route position. So G's here. We're gonna bring the G up to here. OK, so do this. Now, the root note is actually be. And now you have to be making sure that your baseline is playing like a B again. Because, like I'm saying otherwise there could be clashing between playing Ah, a g baseline and then your piano courts playing a B here. Okay, so what I'm trying to say there is on your left hand. I wouldn't really recommend the inversions. This is just for myself as I produce. I found that it's given me the best results. The left hand. I I would I would keep it playing. Whatever note is the baseline as the root. And then on the right hand. That's where you can start playing your inversions and stuff like that. So that's a general overview of inversions, and that's just to introduce you that you could be moving around your cords yet playing the same chord. But in terms of mixing and in terms of sound, you could be selecting ah, higher or lower inversion of that cord. So you have your route position, you have your first inversion, you have your second inversion, and then you go back to route. But just in octave higher. Kant's That's inversions. Let's move on 15. 3.9 - Arpeggios: Okay, so now I'm going to introduce you to arpeggios. So, like I've been telling you all along, arpeggios at tons and tons of fullness. Your music case. So what is an arpeggio? Okay, so we're first going to start with. What is the block cord? Ah, block Cordage is when you play all three notes at the same time In arpeggio is when you play all three notes one after another. So, for example, I'm doing an arpeggio right now. So if I were to play now inside that court, like you don't have to be playing thes notes over and over again, very, very boring, and you don't have to be playing them in the same pattern. So for example, it could be and this is where it really, really, really helps in your music program. Ah, because you can simply click things in. Whereas you don't have to be in perfect timing and stuff like that. This is the difference between a beat maker and a classical piano player. The classical piano player there would be learning that arpeggio for hours and hours and hours trying to get the timing perfect. And their speed would be very very fast. You look, for example, they'd be up and down the piano kind of like this On. As you can see, I was playing the same chord, but over two octaves. So that was C d sharp. G C D sharp G. So right now I'm playing in C minor. So if we're going to be playing that and see Major and how I'm doing that is C E g. And your thumb comes under. And this is where you got to be fast, kind of rotating under, and your thumb would hit the next see, and then e and G, And then on your way back, your middle finger goes over to G. Anything like that. So see, e g thumb goes under sea, and your index finger comes over e g. And then if you work away back so g e c and your middle finger comes over hits G. And before we end this video, I want to introduce you guys to how to use the arpeggio in F l studio because this is for beat makers and I typically teach with fl Studio up here, you hit the gear, you're to come here to the wrench. Okay, you're going to see a section card called the Arpege aviator. So right now, if I play a chord, thistles the sound. Now, watch this. If we just turn it on with the up arrow, let's just say the same chord. Whoa! Right. So now you have different settings in here, so you have the range. So again, just like I showed you. What? I went solar. Turn this off first, just like when I went over two octaves for my arpeggio. That's doing the same thing over two ranges. So if I play this, it'll sound very similar. So I turned that off. It was more of this. But in compared to the music program, it's like I'm super super slow it doing that. Um, so if we do it like this, So now if we play that same court progression from before case, I turn it off and this is what I played, remember? I've been playing this all along with you guys. Okay? Shut on the Arpege aviator. And this is what it sounds like. And this is the difference between, like, you know, someone just starting up production and someone who understands all these tools so they can take advantage of them and add fullness. Because what you really could do is you could clone this. Okay, so now I have two pianos and on one of, um you can play the block courts. So we come here, take off the Arpege aviator. Okay. And now, let's see on piano one I play, you know, just like the normal cords and then on piano, too. I would then enable the AARP radiator, and I would play those exact same chords, and therefore you get best of both worlds. You get the actual block chords, and then you get the Arpege e ated against courts. So that's arpeggios. Try the moat. They're very, very cool again. Here in FL studio, you have other settings rather than just up you have down, up, down. And then, um yeah, you also have, like, a gate here, so with it right now, So it kind of makes it more of like a plucked sound. And then you can also change the timing of it. Okay, 16. 3.10 - Some Advanced Chords to Give you Ideas: Okay, So before moving on to actually showing you how to use the piano and how to, you know, start improvising. I wanna talk a little bit more about advanced cords just to let you be aware of them not telling you to use them, just letting you be aware of them. So, like I'm saying, I've been playing piano for 45 years, producing music for longer, and I'm still only using, like, your basic basic chords. However ah, accord that I have started to use more often is the suspend suspended four and suspended second. So right here if we have ah, see, Major. Okay, so with E in the middle, So on the 13 and five, So C e N g a suspended fourth is you just move the e to the FC. Just move up one on and then the suspended second. You actually go down one. So you're playing the d. But just to show you that, you know, I was playing the suspended second and the suspended fourth just to bring out some variety in my courts. Another one that you will typically see a law is seventh. So, like a major seventh and a minor seventh again. Like I'm saying, I've been playing piano for quite a while now, and I'm not even really using those cords tons. So don't feel that you have to learn all this stuff right now. In this course, I am wanted to keep this very, very simple for you, but still break down how a piano works and how to create beautiful piano pieces. You know, with your beats. And hopefully, by the end of this course, you will at least understand how to improvise on the piano. And then it is up to you to practice all of this. You're going to see I'm going to break it down for you. So our next section we're getting into actually how to play the piano. So hopefully you guys have been learning a lot so far. Let's get into it 17. 4.1 - Chords We Will Be Using: All right. So now that all the theory is out of the way in terms of, you know, like, what is a piano? How does it work? The notes, scales, chords? Now that you have a general idea of what they are now it's time to put them to use and actually learn how to play the piano. OK, so we're going to start in the scale of C major. So again, it's only white notes, and we're gonna play four chords and one of my favorite chord progressions. Depending on what court progression you use. It kind of gives you a different emotion. And as you here to this court progression, it's very, very powerful, very, very emotional. So ah, play. And then I'll show you what notes we played with in the courts. Okay, so go see, It goes G. It was a and then it goes to f the first quarter C major. So your thumb, which is your one, is on. See your middle finger, your three, which is on E and your pinky. Your five is on G. Let's see, Major, that we go down to G major. So your thumb is on G. Your middle fingers on B and your pinky is on D and then you go up to a minor so your thumb is on a your middle fingers on C, and then your pinky is on E on and then you go down toe f and this is F major. So your thumb is on f your middle fingers on a and then your pinky is on C cancel. Play that again. So see, Major G Major a minor on then f major, and you could play that with both hands. Okay, so I know See Major G Major a minor and then f major. So before moving on to the next video, just make sure to practice these cords. Learning the piano was all about muscle memory. It's all about playing those cords and knowing where they are. And then in our next video, we're going to get into timing, which again, all relates to this muscle memory. The more you practice, the more it becomes a natural to you. Okay, so practice it and I'll see you in the next video, which we cover. The timing of chords 18. 4.2 - Different Timings you Can Use: So now I'm gonna show you how to play those chords with different timings. Okay, so in a later video, I show you in your music program, NFL studio, in our case, different timings for your cords because it's a lot easier to click things in. But in this video, I'm gonna show you how to just kind of start practicing. We're going to start with some basic counting with records, and then I'm gonna show you just kind of one advanced way of counting with courts as well. So we're gonna use the same chords to see the G, the A and the F, and we're going to count it like 1234 and the change accord, you know, 1234 change record. This would be a good way for you guys to practice again. It's sellable building like that muscle memory. So one, 23 G 123 a 123 f 123 in the back, up to see. And you could just kind of keep practicing that all around. And then if you really wanted to kind of get creative Ah, and stretch your practicing, you could start implementing your inversions, you know? So on the first time around, you can use, like, just like the root position of C and then the next time around you can change up the progression. So, for example, like, you know, 123 G, 123 a 123 f 12 three in the back, up to see. And instead of playing like this, you could play it like Desi. And then you go back down just to give you ideas on how to practice. And now the next way for counting is instead of 1234 because sometimes I can get very, very boring. Um, you can go one and two and like we were talking about before. So on the second and fourth chord, I'm going to change it up on the and after two. So one and two and and right there, I would change court. So, for example, over starting C so one and two and three and four and one and two and three and four. And so that's just a way to kind of count and practice different chords in our later videos . I'm going to show you, you know, how you can kind of practice different cores, different court progressions. But for the time being, keep practicing this. It will soak in and over your days, weeks and months of practicing. You'll start to find that that stuff's getting super super easy. So let's get into the next video, where you kind of get to learn how to play around. 19. 4.3 - Bouncing Around with the Right Hand [Improvisation Starts!]: So in this video, we're going to be covering how to improvise with your right hand. Okay, So how to kind of play around, hit different notes as your left hand is playing the court progression. Now, this will be a little hard to teach because improvisation, You know, it's kind of like it's is improvising. You're tryingto find things that suit what's going on. But I can guide you in the general direction of what you're looking for and what's possible . And then from there you can start trying different things out. So to start with, we're gonna continue in our court progression C g, A and F And now, as you hit your left hand cord. So in our case, it bc What you could be hitting with your right hand is really anything in this c major scale. But you could be hitting any of these notes. Um, you know, for example, uh, just a little example. But here's a rule of thumb that I like to do. Ah, that I was kind of find where it's good for my tracks. In this cord, you have three notes, right? You have a C and e energy and Then when you go down to G, you have you known the G, the B and the D. So I kind of think it's like, Well, I could use any of these three notes for my improvisation. So if we go to see, we're gonna see a couple times and then let's go g a couple times So bond, then let's go down to G. So now let's hit G a couple times and then D a couple times and same with a So now I'm gonna hit a couple times and e a couple times because that is in the a minor chord, right? So and then we're gonna go down to half now. So after a couple times, I don't see a couple times a We did. There was we were just playing notes within the chord when we were going on that court progression because remember, we already counted So 12341234 So in our right hand, when we go to see, we could play any of those notes since see go down to G and here the notes in G. But at the same time, that's kind of restrictive because it's a war those Onley notes you can hit. And no, there was definitely not like I'm saying, since we're in the scale of C major, this is what's awesome because thes air all the notes that are available to you as you're playing your court progression. So, for example, like, we could just keep our right hand in the C chord and keep changing on our left hand the court progressions. So if you go see and then found a G, someone right hand is still in the C chord right on up to a and then maybe on this time around, instead of going C and G ago. Some like that eso everything that I've been telling you all along It should all be lining up, right. So I picked this scale of C major. It's only white notes. So these are all the notes that are available to me, and I actually just stayed in the C major chord with the right hand and then I just kept changing the progression with my left hand for some of it. You can calm down here like you know, a to this c five and then you can also may be a balance appear to see six. So going back to like the theory videos I was talking to you about, like the suspended second and the suspended fourth. So, for example, I will play something here, so So you could see that they didn't like that. Suspended second suspended four. So what I'm trying to say is you don't just have to hit at the single notes. You can play single notes. You can play kind of a variations of chords, different cores over, you know, different left hand chords. So I hope that kind of opens up your eyes and gives you just a general idea of how you can start using your right hand for improvisation. You know, I'm not going to go in plate. Mary had a little lamb with you and stuff like that. But if you apply the theory that I've been showing you again white notes those thes air the only notes that are available to you you have cords. So you find a chord progression that you like with your left hand, and then you can start hitting any of these notes. Since when c major, any of these white notes and it's up to you to kind of find, well, what? What sounds good. And it will only happen over time. I'll keep saying it over and over. It's that muscle memory. It's something that you are gonna have to sit down at least two or three times a week. Um, and just sit down for 10 minutes and just practice this. So in her next video, we're going to be getting into using the left hand. I'm going to ah, introduced you guys some left hand techniques, ones that I have found over the years because I've always found, like, the left hand to be the trickiest in terms of being able to blend it with the right hand, I was able to to progress quite well. With my right hand. I was able to kind of start bouncing around, but I always found my left hand was holding me back. And even still today I wish my left hand I was able to doom or and I was able to blend it and be more creative with it. But I'm going to share with you a lot of left hand techniques that I found over the years just to add, Ah, fullness, your piano pieces. And especially when it comes to composing your beats. These are things that add fullness. They're just like the extra note here and there, or the extra kind of filler. Okay, so let's get into the left hand techniques. 20. 4.4 - How to use your Left Hand [Left-Hand Techniques]: Okay, So in this video, we're going to cover a bunch of different left hand techniques that you can implement to make your piano pieces sound fuller. Just so you're not always stuck playing chord, chord, chord and corn seeing kind of add some kind of filler stuff in. So the 1st 1 I'm going to talk about is adding end. It's like a single late note. So as we play our cord before you leave to the next chord, you just play the top end of that court before going down. So, for example, in See You would play G again before going down to G, and then you play D again before going up to a And then you play Egan before going on effort and see. So, for example, would be like so just as just a little bit of fullness, that one's just a little kind of quick, one that's typically really good for baselines if you're creating, you know, baselines for your beats and then the next one is adding in a few more notes, so it's kind of building off like that late note. But instead of this adding one note, you can add in a couple late notes, and I can kind of think of it as rolling down or even rolling up or being random with it, so that it's not always so consistent. So, for example, a plate, the C chord here and then near the end of our counting, we would kind of roll down on Go down to G. So it kind of like 123 Then 123 of them will go up and then a and then this roll down and f s a little faster without counting just because I can play better that way. So it's kind of be something like this. And now for my next one is you can just be tapping the left hand as you are counting on beat. So, for example, you'd play the court on every single beat with the left hand, Okay, and then again, Now you can start adding in like those late note. So you know, and then you just repeat. So as you can see, our progressions keep getting a little bit fuller with each technique that I'm showing you here, okay? And you can mix and match and blend all these ones that have shown you so far to start getting fullness. And these are things you just gonna have to kind of keep practicing with your left hand now to build off of like, the tapping instead of playing every single beat. This is right that sink a patient can come in so it could be like So we're trying to play that with counting would be like one and two and three and four and one and two and three and four and one and two, entry and four and one and two, n three and four. Again, it's going off b but you call Syncopation. And as you know, it has such a unique sounded music and add such fullness like by itself, is just It kind of has silence and silence is something that you do want in your productions. But you want to be adding the silence in at the right times. So don't forget about silence k they all times you want to try and add as much into making as full as possible. But silence is a tool that we as producers use toe ad Ah, motion. Okay. And the next one I want to show you is like the arpeggio and this adds tons and tons of fullness. This one is going to open up your eyes to how to blend in the left and right hand a lot. Fuller. Um, this is kind of like a crutch, though, so don't get comfy with it. Don't make it a habit, but just keep it in mind and it doesn't have to just be these notes that you can start adding in other notes in your arpeggio. So instead of playing the e I'm adding in the upper see, what you're gonna do is just gonna go C g c. Okay, so not watch If I play this and I go down to G So now in G removing the B. But we're adding the G up higher, okay? And then the A we are removing the sea, but removing the app higher Stay with f just to go over this with you. So we have f removing a and we're keeping the sea. But they were adding the AF empire. So now watch. Listen to this. When I play, this sounds very, very, very full right. Very beautiful. Now if I want to play the right hand chord with that arpeggio. I'll just play up here just like my has the clash and again to be creative. You don't have to be playing with the sea, you know you could be going like to a or you can even go from CGE seeing and then don't come back to the gene. You can go to a different note like me, f or maybe air. You know that's for the arpeggio, and that's for the creativeness comes in. So that's been a big one. Now to build off of this, you don't have to use it as an arpeggio either. You can also play like the block chords kind of static cord. But the reason why I like this sometimes again, not all the time, is about variety in your music. I'm just throwing things out there for creativity on the left hand with you. So the reason why I like removing the E in this case like the three the middle, and adding an octave higher is because it adds that fullness and it kind of helps with a cleaner mix. But you're still getting fullness by, you know, with three notes on your left hand so you don't have to play as an arpeggio. You can't play it as the block chords to. So if I could, like, see and then down to G on up to a on down to f So, like it was saying, you can kind of mix and match these techniques that I've been throwing at you and kind of blend them together when you want. So, for example, with this arpeggio, you could be adding in like those late notes and kind of those filler notes to make your Arpege Oh, some fuller Just so it's to stop against so static sounding. So, for example, I'll just play just the left hand without the right hand and be like, Okay, so those are some helpful tips that I have found over my years of my left hand. In the next video, I'm gonna go over a little song that I've created in C minor, using the arpeggio as well as blending a little bit of the right hand. I'm gonna teach you the song and you guys can practice it. I've actually used the song in One of my feet Tapes is called Giving is giving up that beam or information in their next video. So ah so called this stuff in. There's a lot to take in, but you guys can mix and match that left hand stuff and blend it with your right hand again . It's just gonna take practice. But these are the things that I can pass on to you to help your improvisation go that much faster. So let's get into the next video, where you're gonna learn a little song that I've created. 21. 4.5 - Play Both Right + Left Hands Together - Learn a Song to Practice!: Okay, so the song I'm gonna show you to play does this song have created? And it was actually off of one of my beat tapes. Free beats by graduates, Volume four. From time to time, I just release beat tapes. And this song they was actually called giving in is giving up. I just created a little piano piece, and that was the beat where I used this piano piece. Now I created this in C minor. So we're going on a pure minor. So this is following everything I've shown you all along. Okay, so the court progression is C g sharp d sharp, a sharp okay. And I do it as an arpeggio. So of first gonna play the song for you first just so you can kind of hear it. And then I will show you how to play it A Z you could see on the left hand. I have the arpeggio stuff going on. And once I get to the last chord in the progression, I change it up a little bit, which I'll show you. And the right hand has its own little melody, which kind of follows a little bit of the arpeggio too. So the first court in the progression is see and go C, g and C. I don't go back to Giza goes and the legal right to G sharp sickles G sharp d sharp g sharp . Go back to D Sharp and then back to Gene Sharp. So Okay, and then we go down to D sharp T shirt, a shirt, T shirt, and then I go up to a sharp. Now, this is where I've changed up my arpeggio. So it goes. So it goes a sharp f a sharp G and an F o. K s. So if we do it together so C g c g sharp T shirt, G shirt, D shirt, G sharp, and then D shirt a sharp d sharp and then up to a sharp half a sharp, so I'll play it a little faster. Okay, so now on the right hand, how it works is I mostly just stay around D sharp a lot. I also had a sharp and then I also hit the G in the F. Once I add in the same notes is the arpeggio. So it kind of goes like on That's how it goes So if we add both hands together now, we're going to start at sea and I hold down the d sharp when I start received so on and I go down to G Sharp and I hit the D Sharp again. Now when I go back down, I'm hitting a sharp with the D shirt on and I hit the D sharp when it hit the G sharp circles. Okay, okay, so here we go. I hit the d Sharp a game when I go to the next court and then we go to a sharper hit it again. Now when I come back down to hit GF that's when I hit G enough here. So on the first time around, I think I just hit G and 1/2 But in the second time around, that's when it goes okay, it's kind of the off beat. So let's start from see here again, holding down d sharp d sharp again. Now this is where I hit a sharp in the d sharp. Now do it again. Now this is where I added, like the off beat a Syncopation and that's That's it. That's the song, que So why adults together. And then at the end there I just hit this note when it goes, and then that would just bring me into the verse. This is how it would go so on, then back into the chorus. And over my years, you know, I always just tryingto play around with that and kind of use that for improvisation and learn how to kind of add and little filler notes here and there because music's all about, like, timing that muscle memory. And hopefully, you know, you can kind of see my keyboard good in this video that nothing is kind of confusing. Um and yeah, hopefully you guys learned my song giving in is giving up. Ah, and our next video we're going to get kind of get into, like, learning about to keep, like, your progressions fresh and also different ways. You can be playing like you're cores of timing and stuff like that 22. 4.6 - Keeping Chord Progressions Fresh for your Listener: before balancing your on the keyboard like I was just previously showing you. I want to introduce you to a technique that I like to do to keep my court progressions fresh for my listener. So what that is is right now we only have four chords, okay? And this is going to repeat over and over and over all throughout your song. Sometimes this court progression is great. This is four chords. You know, it's not bad. It's not just like one chord repeating over and over two chords over and over. However, sometimes that could be great too. But for myself, I A lot of times like to work with sometimes eight cords. As in those eight cords, Some of them are the same court. I'll show you what I mean. So what I'm gonna do is I'm just gonna highlight all this and under press shift and click and will duplicate it, and I'm gonna put it over here. Okay, so now we have eight bars, all the same notes. They know like it's just duplicated it. So what I would do here is sometimes on, like, this last chord. I would change this and the reason for that is it gives a different ah feeling. You know, sometimes you can add tension, and that way it makes your loops not feel so consistent. So if we listen to this, so right here, we can change it. How about we try that inversion? So remember, So if it was C okay and I went down to G, how about I would just inverted so this G can go up here so it'd be like this. And then instead of playing a let's change it toe after the say so. Okay, so we're gonna put this one toe f I'm just gonna movies over here, and I'm just gonna slide them all over. Okay, so we kind of reversed our court progression a little bit, So we're just gonna listen to this, and we're really, really gonna focus on our last four bars where we change our chord progression and you're going to hear that is adding a lot of difference in our chord progressions, you know, and this ties totally into playing piano as a producer for making beats. Okay, this is the kind of mindset that you have to have to keep your loops fresh for your listener. So let's check it out. So, you know, I feel I could have used different chords in different areas to get the kind of feeling that I would have liked because especially when it change to this kind of didn't really like how that sounded. But that's where it comes for trial on air, on trial and air and since we're using a music program, were able to do that. Okay, So before we moved further, I wanted to tell you this technique, which I really really like a lot, you know, and again just to go over it. I typically like to choose eight cords, even if some of them are duplicated. I'm just saying eight courses in general, so eight bars that say so the 1st 4 bars. I'll set them up a certain way, and then I'll duplicated over and then I'll change how those cords are. You know, maybe, just maybe, even if it's just one chord in this case, I changed three chords, and I really didn't like how this one waas. But just for the sake of tutorials to keep moving, you know, I would just to trial on air until I found a chord within that scale because, remember, we're in C major scale. They're only white notes. So it have to be only white notes in those courts. You know, it kind of try and find when that suited the sound was going for. So let's move on. 23. 4.7 - Different Rhythms to Give You Ideas: So in music production, just in general, there's a lot of common similarities from beat to beat when it comes to court progressions , when it comes to when you play those chords. So, for example, you could be playing on every single beat like this. Okay, so that was just playing accord on every single beat, right? If account it with you. 12341234 etcetera. Etcetera. OK, and then if you want to start improvising, that's where you can kind of start playing other notes as you're playing those courts. So, for example, um, this is kind of going a little off topic, but I feel that it will help. So if I play the court, I'm just gonna kind of improvised us to show you. So here's a pattern with NFL studio I've created for you guys to see, um, if we go to pattern to here. So I'm just playing this on every single beat. And so this is how that would sound NFL studio, you know? So there's times for this sound in certain music, but a lot of the time it sounds very bland and very robotic, and, you know, It's just it's almost too predictive. So what I'll do is I'll let you hear that with the drum loop. Okay? This is what it sounds like. So in order to really make that stand out, you would need a really catchy baseline and kind of like a lead sound. You know, like a synthesized sound kind of in the background or something kind of doing what kind of bouncing around those courts cause by itself, you know, not very engaging. That's where you could start adding effects like reverb and delay and get into things excite chaining. Just give it your tracks and balance and stuff like that. Now, let's go on to the next pattern I created and no let you hear that. Just the piano by itself. Okay, so this is what you call Syncopation. Okay, so right here. These were like the previous notes from this pattern. Okay. As you can see, it's on every single beat. So 1234 go to the next patron. You can see that the first bar and the third bar. I have set them up so that this is what she calls Syncopation. It's kind of off beat Yeah, eso would be kind of like this one. And 3412341 and 341234 So it's kind of like that again when we're using that one and to n and one Anna to enna that allows for more engagement for listeners. And it makes you know it were fun. So now if you listen to this over top of our drum loop, OK, you're going to hear that when it's syncopated when it's kind of off beat. It kind of sounds a little bit more engaging for a dance track, So listen to that. So, in my opinion, one of its into it here, it kind of sounds kind of boring. And here it kind of has a lot more life into it. Even the list on as many notes there's not as much going on. It kind of has time to breathe. Okay, And now for the next pattern. So what I did here. What I'm gonna do is it's gonna copy this and I'm gonna come over here and just do it with you from scratch. So right here we could be playing this on every single beat like we have been doing all along, you know, just like this. So I'll highlight this. And if we listen just to the pattern, okay, Now the Syncopation, we just remove one chord and we move this one, uh, you know, off be so it sounds like this. Now, what I did was I moved this cord to this off beat right here, and I put a space in between each one and its total selling fist now. Okay, so we'll listen and actually put one more, actually, at the end. And this is a really popular sound in a lot of dance music as well. Okay, so what I'll do is I'll delete this. I'll let you listen just to the pattern by itself, and then we listen to it with the drum loop. So right here. This is what I just showed you, uh, you know, one space in between them all and then with the other chords. I just kind of bounced them around a little bit. Just so it's just are so repetitive. So we'll check this out in make with the drum loop. OK? So hopefully it kind of opens your eyes. Some kind of variety in your music to start kind of bounce around in the next video, I'm going to kind of break down some rhythms for you guys to practice. 24. 4.8 - How to Find New Chord Progressions and Practice Them: Okay, So in this video, I'm going to show you how to find courts to practice. I'm gonna show you how I would go about doing this when I was learning. So when you're doing research on music theory and stuff like that with cords, you'll hear people say, you know, like the 145 chord progression is a really popular one and stuff like that. But I always liked if I like my own chord progressions because I don't want to do other people are doing I want to be original. I want my music to sound like my music. Ah, what? I'm trying to express through it. And so how I do that is like I'm saying so I look at what I have within my scale. In this case, C minor. We have, like C d d sharp f g g sharp, a sharp and then back to see this is where you're gonna be having to learn Well, what chords are in that scale. Because right off the bat, like I already know what chords air in this scale because of my muscle memory of playing it so much. But for example, let's go like a c and then the school like G sharp. Let's go d sharp and then let's go, Asia. So our cores are C minor, G sharp, major de shirt, major. And then Ah, a Ah, a shirt major. Okay, now, right hand. I'm just going to stay in the court of C minor. I'm just gonna kind of maybe play around with a little bit. So So as you can see, you can play really slow. I just went over the chords with you. But for me to tell you this, you know, it's just like it's so simple. But this is where your practice will come in because all the theory I've shown you along ready everything is lining up. You're seeing all the notes, where which are within that scale. And now it's just up to you to find out what chord progressions you like with your left hand and then figuring out a melody with your right hand. Now, here's a little trick that'll pass on to you that I like to do. So the first time around, I'm gonna hit f for this a sharp chord. But on the next time around, I'm going to hit D So instead of heading the F one hit the d. So watch this. So nef and then next time around, De Okay, so as you could hear the first time around with E f, it sounded like, you know, there was different tension and then the d um, you know, so some notes could make it sound resolved and unresolved. That's the thing that you hear a lot with music production and, like, you know, chords. So, you know, in that case, I used the F and in the next time around is that the d you could go the other way around, but even with the other courts, he could be doing the same thing. So as you can see, when I was playing the C minor chord, I was playing us play the D sharp note. Okay. And then when I went to the G sharp, we'll see is actually in that cord. So I actually started with C. So watch this. So when I'm playing the C minor court, I'm playing D shirt with the right hand and then when I go down to G sharp, I'm actually going to see because that's actually in the court. And then when I go up here, it's like, Well, in this court, Will d Sharp is in that court, right? It's there is the root on. And then when I go down here, I changed upto f which would be in that court Or I played the the D, which would be in the middle, which, like I was saying, a lot of times I don't like to use the middle note the you know, within the court, because it sounds muddy and it kind of clashes with the baseline. And, you know, again, that's just my opinion. But that's that was one chord progression. Okay, lets go over one more with you, and I'll stream just a little improvisation and I'll go over the improvisation with you. Hopefully that kind of helps you out. So this is something I found later in my years is just because you're in the scale of C minor doesn't mean that you have to start on C. Okay, so let's actually start on g sharp. So what I'm gonna do for this court progression is we're gonna go g sharp. We're going to go up to d sharp on that. I'm gonna go down to see so c minor and we're gonna go down to a sharp. Okay, So all these chords we pretty much used in the last progression. Except now we're just playing him in different orders for a different sound. So again, with the right hand of this kind of improvised something Okay, Okay, so let's go over that. So what I did was the first time around I went G sharp D shirt, see down to a shirt, and then I turned I've been a change it around, like once I got later into it. Maybe I kind of forgot the progression or whatever, but I was G Sharp D shirt and then a and into see so you can kind of change that around for for different flavors. And then with the right hand, I was just kind of playing notes, which I knew were in the scale. And then I kind of got into more of an arpeggio with the left hand. So, you know, I tried to break that stuff down a little slow, and then I just tried to improvise there, just to show you how I kind of practice in terms of finding a progression that I would like for my beat because, remember, you know, I'll keep saying it without the classical piano stuff. You know, we are not trying to be classical piano players like we're not trying to learn as fast as we can. We're not trying to learn, you know, music theory in depth. We're tryingto learn to create really catchy melodies again, as as you could hear when I was playing. All that stuff is just like a man like that. That's a progression that, you know, if you just add like a drum loop over a little bit of a baseline, it's like, Man, you get an artist to sing or rap over that. It's a You have a hit if everything blends together very well. So hopefully this video kind of inspires you and kind of gets you thinking in terms of being creative on the piano. You know, I tried not to play fast. I tried not to show off or anything. I just tried to show you what I would do to apply the theory of show new to practice for myself, and this is where I've gotten over my years of applying these techniques 25. 5.1 - Tips for Actually Practicing the Piano [As a Beatmaker]: So in this video, I want to pass on some tips to you guys. Some things that have really helped me, like, stay motivated when it comes to practicing piano on. Um so the 1st 1 is, if you're playing on a real piano, take advantage of that sustain pedal. How you're supposed to use this? A sustained pedal is you're actually supposed to lift your pedal up as you push down accord , and then you're supposed to hold down the sustain pedal before you lift up. That way, it doesn't get all muddy. But as you were just practicing, hold it down. Just push that sustain pillow down and display, Okay? This has helped me tons in terms of the length of the notes, you know? And I know over to talk to about this, but it adds that fullness. Okay, if you're just on like your music program, whatever. If you're using something like addictive keys or fl keys or any type of piano V S t, you can just adjust the release, and that's pretty much doing the same thing is holding down that sustained pedal. The next tip I have for you is ah, you know if you're in your music program is toe add effects on to the actual piano itself. If you're going to practice, um, you know things such as, like reverb and delay. These just add fullness to your sound, and it makes it sound a lot better as you're playing. And it will encourage you to keep playing mawr and Mawr because, you know, sounding good. The next tip I have for you and this is kind of a cool for us beat makers is to practice piano over top of drum loops. So in this case, if I were to go to this pattern and just play this practice playing piano over that just over and over and over because again we're not practicing piano to be a classical pianist, you're practicing piano to be a beat maker. So in order to do that, you have to be like in a beat making environment. So that has been a really helpful one for me, too. And our next tip is because you're a beat maker. You actually don't practice as much as what you think you do, because when you're making beats, you're trying to find a melody over top of that drum loop. And once you find that melody, you're on to the next sound. You're on to the next loop. So you're not really actually practicing your piano? You're not practicing your keys, you know all the things I showed you. So really, look at the amount of time you're actually spending practicing piano, even if that's five or 10 minutes a day, you know. So if you set time Oh, to make beats for an hour before you start making beats, make a little quick drum loop, load up your piano, add effects on and start practicing some piano over that drum loop. And then maybe through that time, maybe you you kind of find a court progression or that kind of way you're wanting to go with your track and then start making your beets okay, so kind of warm up by practicing that might create a good habit for you. And then eventually you're going to start to get better and better and better and keep coming back to these videos, keep seeing you know how you can bounce around with your right hand left hand techniques, and then how to kind of put them together. One thing I didn't show in the left hand technique video is I like to kind of play the right and left hand like play notes together. So I'll show you what I mean. And one final tip I have for you is sometimes don't always play piano. Sounds as you're practicing piano. Um, again, if you're practicing in your actual music program, you guys can load up. You know, VSC such as, like, serum silent one stuff like that. And you guys can play different sounds, uh, so that you can, you know, kind of get different emotion out of your sounds it as it gives you work, creativity. So I voted up serum here, and this is like, you know what? It would sound like you could practice with these, you know, we will try warmer sound. Okay. I hope this kind of encourages you to keep practicing and have different ways to kind of trick yourself to be motivated to practice 26. 6.1 - Piano for Beatmakers - Conclusion Video: alright, guys. So that is my course on piano for beat makers, you know, there's a lot to take in a lot to soak in from you. Seeing it, you might all of a sudden realized like only that's all there is to the piano, like in terms of little keys, scales, courts and stuff like that. But the biggest thing is the practicing and muscle memory, and then starting to learn how to create melodies and find catchy loops. That's what's going to set you apart. So the purpose of this course is more just toe open your eyes to the opportunities and how to get started as a beat maker on the piano. Because, you know, if you're one of those people created trap beats, you know, currently like that's like the trends, the trans change and beautiful beats with, like piano and stuff like that that stuff. In my opinion, it is always going to stay around because it's beautiful music that touches your heart, your soul, and it's so emotional, like when you listen to it, especially when you listen to a very, very well composed song. If you guys ever have questions about anything regarding this piano and what I've taught you in this course, you guys can always contact me through my blawg. It's gratuitous. Stop calm! A Z could see I have, ah, curriculum that I went over here. I tried to follow it the best I could and include all the things that I kind of started to learn over the years, kind of like the turning points, as when I was practicing the piano that when I start to learn something new, it was like, Oh, let's make you be so much better You know, things such as like arpeggios, especially with the left hand or things like inversions or again like that, suspended second and fourth. So those are just tips that I want to pass on to you, things that have really helped me feel that my piano is improving. If you guys like this course, you know, I'd appreciate if you guys would be like a review on my block coming up the product page and leave a review. It just looked. Other people know that the course is helpful and it kind of helps to build my own brand and business. So thank you very much. I go by the artist name and produce the name gratuitous. My real name is Riley Weller. Hopefully, I'll see you guys in my other courses or tutorials, or however you kind of follow me online. I'll talk to you later.