Learn To Play Keyboards - From Scratch! | Colin Jones | Skillshare

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Learn To Play Keyboards - From Scratch!

teacher avatar Colin Jones, Musician

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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

9 Lessons (47m)
    • 1. Introduction - Keyboard not piano!

      8:33
    • 2. Finding the notes

      5:55
    • 3. The Black Keys, and the C Major Scale.

      6:21
    • 4. The C Major Chord

      2:09
    • 5. Using the left hand too.

      3:50
    • 6. The F Major Chord.

      2:32
    • 7. Different positions (Inversions)

      8:28
    • 8. The G Major Chord and playing a 3 chord pattern.

      7:30
    • 9. Summary and further advice.

      1:53
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About This Class

Aimed at complete beginners: No musical or keyboard knowledge required.

This class, aimed at absolute beginners, first explains the differences between the job of a piano player and a keyboard player. Then, through a series of video explanations, where the camera is focused entirely on the keyboard, you will learn how to work out the pattern for any Major Scale (in this context, 'Major' is a musical term, similar to 'Minor') and from that how to play a chord, the building block of keyboard playing.

You will begin to understand how this knowledge can be put into practice in a real playing situation. 

Meet Your Teacher

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Colin Jones

Musician

Teacher

I'm Colin, a musician currently working as a touring trumpet player in the UK, playing mostly pop, with experience in theatres, music venues, classical settings and recording studios.  I have studied music in great depth and breadth and continue to do so, and my aim is to teach music in a way which is interesting and fun - and accessible to those with no prior experience.

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Transcripts

1. Introduction - Keyboard not piano!: This course is gonna do exactly what the title suggests. It's gonna teach you how to play the keyboard from scratch. So you don't require any previous knowledge of the keyboard at all. You don't require any previous musical knowledge, ETL. So this is aimed at total beginners. So ideal for people that have perhaps had a keyboard lying around the house for ever. Maybe the kids used to play and they've left home when you've just tentatively experimented, but not quite sure where to go with it. So I'm going to show you the way around the instrument and I'm going to explain the way that keyboard plays work. And really we're going to cover the basics and you're in a position where you can go further than that by understanding how it works. So you can work out for yourself, things that go beyond what we're gonna do within this course. Now, the first thing I want to look at is, so we've called this how to play keywords from scratch, not how to play piano. So I wanted to just talk briefly about the difference between those two disciplines, the keyboard player and the piano player, because it's very easy to think, perhaps surely that's the same thing. It isn't. Let's look at the instrument itself first of all, so a piano is an acoustic instruments, so it actually makes its own sound, okay, that might seem obvious, less, less delve a little deeper. So a piano is a large box, comes in different shapes and sizes, but essentially it's a large hollow box. And we didn't have box are 88 strings pulled very, very tight and tied to an ion frame usually which was what makes it so heavy. And what's happening when we press a key on a piano keyboard. A piano is a little chain reaction kicks into play. And essentially when we press a key, a hammer strikes one of the strings within the piano. So every key on the piano has a corresponding string and the corresponding hammer mechanism. So we're actually creating a real sound within a piano, like you would with a guitar or a harp, or even a drum. So the keys are intrinsically connected to a set of strings. So when the string is struck by a hammer, caused by striking one of the keys on the keyboard. And it vibrates and it resonates within the large box that is the, the, the PLL, the actual instrument. So when we talk about a piano, we're talking about an actual acoustic sound creating beautiful instrument. What we talk about a keyboard, we talking about a computer. So we can think of the keyboard on a, on an electronic keyboard as just being some kind of controller in the same way that he a computer keyboard makes things happen on the, on the computer. So the keyboard is just our way of giving instructions to the computer. The computer itself is a series of sounds usually, so it's just being told what sound create at any given time. Now, this keyboard I have in front of me, it doesn't have any speakers, is an old stage piano we call, we call them. So there's a lead coming out the back of it. I've got a large amplify on the other side of the room, very different to a piano. And now if I play it right now it is going to sound like a piano, but that's because that's what I've told it to do. But equally, just by pressing buttons and choosing one of the different sounds we can make you sound completely different. We can choose a strange effect. And the point I'm making really is that this isn't an instrument, a toll is a computer. So the computer has various options and effects and sounds and things built in. And the keyboard is just the controller for those sounds. Ok. Now, keyboard, very hugely. This is old, it got a great playing action and the piano sounds great. It's also got some terrible sound and effects on them. And they come in all shapes and sizes. You might have something much more modern and lighter with different sounds, you might have something much smaller with smaller keys, it doesn't matter the principles of playing are the same. And now the key difference is how piano plays and how keyboard players actually work, how they actually operate. Now once there is a lot of crossover, a piano player, a trained pianist, they look at music and that tells them exactly what to play. And that might sound obvious again, but I'll explain the relevance of that in a moment. So a piano player is usually looking at some very, I would say complicated music, but then I'm not a piano plan. Then I've just got some, I've got some very, very old piano books lying around mostly for decoration actually. So if I just give you an idea, so this is a piano book and it looks complicated. We've got four, sorry, we've got two lines of music. I mean, if you're not used to remediate, this will look ridiculous, ridiculously complicated. So that's a piece of piano music. So the piano player learns to read the music and respond. So they can have you guys, you can imagine up to ten notes pressed at the time and then all sorts of things going on. The keyboard player is working to a kind of code. So a keyboard player needs to understand how music works and they get a basic code. So for example, I might be told to play my music in whatever format it is. It might tell me to play four bars of C major. For boss of F-major. My job is to know what that means. What it doesn't tell me is how exactly I should go about creating that. So I could interpret that as search, which would feel the brief will come to that a bit more in detail. In a totally different environment or different song or different mood, it might be more appropriate to interpret that play four bars of c by four bars at f like this. So we're working to a kind of code. Again, all this will make sense. I promise it probably sounds ridiculously complicated right now, but I'm gonna simplify it for you and just to show you the contrast. So this is an extreme, so this is a Keyboard Book of nineties pop songs. And now if I show you the keyboard boy, this is just one example and straight off, so there's no music. Can you see there's just the sort of lyrics and then just these letters above them. And these chord symbols f, n. And strange things like that, which perhaps don't make a lot of sense outside the world of music. So that's the code that we decipher. And then I have a kind of in-between as well. This is a Songs from Moulin Rouge and this is keyboard really. Now we've got a mixture of both. So there is some notation, so music, but there is also these symbols above the line every stage with the chord symbols on board. So the main differences between keyword and piano. The piano is a proper instrument that makes a sound. The keyboard is a computer controller. The main differences between the piano player and the keyboard player. The piano player plays exactly what they are told and exactly where on the keyboard and when the keyboard player is kind of told what effect to create, and then they are left to work out for themselves how best to do that. That's where we're going to go with this course. We're going to learn to understand the information that the keyboard player gets given and make some connection with the instrument and work out what to do with it. From there, we'll start at the very, very beginning, the very basics. And we will move slowly through. And we will finish in such a place where you'll be able to go beyond this and work out even more for yourself. So what are you waiting for? Go and fetch that all keyboard, plug it in, make sure it works and we can get started. 2. Finding the notes: So the first thing we need to do is find our way around the keyboard. Now, whatever keyboard you have in front of you, and I have no way of knowing, of course, the layout is standardized. So you'll be looking at either a full-size keyboard like this one, or you may have a shorter portion of a keyboard, but the layout you standardized in this way. So you will have a full complement of full length white keys and a fewer number of shorter length black keys. Now, let's orientate ourselves towards the center of the keyboard. And we're going to see we've got these two black keys together. And then there's two white notes that don't have a black key between them. And then we have a set of three black keys together. And then to white notes with no black key between them, and then their pattern repeats. So we have these two black keys again to white notes without a black key between them, three black notes again, and so on. Now this pattern is replicated right up the keyboard, 232323, all the way up the keyboard. Okay? The first thing we're going to do is find the two black notes towards the center of your keyboard. And we're just going to press the key to the left of this. So we're going to start here. And this is called C. So if you find the note towards the middle of your keyboard to black keys and just a white node to the left of it. And hopefully you're gonna get a sound remarkably like that one there. Now, every time we find that same key up and down the keyboard, that is also going to be c. How can we have more than one note with the same name? Well, Have a listen and see if you can make some sense of it. When we play a C together with another c, we get a kind of togetherness. There's a sense that it is the same sounds. So here we go. And if I find the two black notes further up, and this white one to the left of it. So that's also see. Now if I play them together, you'd be forgiven for thinking there's only one note playing. That's how pure the sound is. That's called an octave. So this is a C, this is also a C. Let's see if we can find all the other Cs. We started here, come down the keyboard. We got the two black notes together there. So this is a C. Let's see how it sounds without other seas. So that octave, that same note in a different position, has that same sound. Now we can hear their separate. When we play them separately, we can hear this is much lower, but we pay them together. They blend beautifully. If you scientifically minded, you'll want to know that the frequency, the vibration of this one is exactly double that of this one. This one is double that of this one. You don't need to know that, but if you're scientifically minded, it might interest you. So when we play any of these together, we have this beautiful sound. Just by way of comparison. If I play two notes that aren't an octave, the same note. So this is a C, This is a C two, therefore this isn't the effect is 1over a clash. Okay? So C, C, C, C, C, C, And actually right up there as well. So those are our seas and we call them an octave apart. So from this C two, this C is an octave. Octave, meaning eight notes, 12345678. Another octave, 1-2-3, 4-5-6. So every time you get that note to the left of the two black notes, that's going to be our C. Okay. So we used the names of the letters of the alphabet to label our notes. So we started on C. And if we move to the right of the keyboard from there, we're going to go from C to D, to E, to F, to G to H. We started again at a, we just use the first seven notes, a, B. And then as we know, this one here is a, C. Let's do that again. C, D, E, F key, a, B, C. Now, we looked at all of the seas on the keyboard and you might be spotting the pattern here every time we find any one of these nodes in the same position up or down the keyboard, it's the same note. Say for example, we found c And we found D now. So D we can see is between a set of two black notes. Whenever we get to that same note, two black nodes here, this is also d. We can hear that relationship between the two. Again here, two brothers together, the one in the middle, also d. And here, let's go down as well. Also DIE also D, also d. And we could carry on e, e, e, and so on. So what we actually have is an octave C, D, E, F, G, a, B, C, which is replicated up the keyboard. You may have many octaves, You may have few octaves. The layout is always going to be the same. So that's your first job. Trying orientate yourself, challenge yourself to find an a, for example, and find all of the other AES and just get you familiar with that basic layout of the keyboard. That's your first job. 3. The Black Keys, and the C Major Scale.: So we've worked out what all the white keys are codes. We starting from C, D, E, F, G, a, B, C. And we repeat up and down. Okay, let's see where the black keys fit into this. Ok. So the distance from any note to the note next week, whether or not that's a black or a white key is called a half step or a semitone. So we looked at C to D. Now, there's this note in between. Now, this is where the magic happens. So this node is slightly higher than C, but slightly lower than d. So we can think of it as a half-step. So to date, we can hear this node in the middle. So if I play the three together, see a bit higher. And then D. And if we carry on, we got D to a and in-between he SO D and then E. Again, see half-step, half-step e. Now, every one of these intervals is equal. Now, when we got to E, you lurches, there isn't a black note separating e from F. Now, E to F is already a half-step. So let's compare see today. Each f you may or may not be able to hear that. Actually, it doesn't matter at this age is not going to hold us back at all. So just try to recall the gap from any one note to the note next to it is a half-step. And whether it's a black node or a white note. This is called a chromatic pattern. Chromatic. Okay. Why does this matter? And what do we call these notes in between? So the Noachian between two white nose is called either a sharp or a flat. Yep, that's right. You can have two different names depending on the fate of the context, yet it's exactly the same note. So I can call this note here either as C sharp, because this was the say, and it's a step higher than the C, so we call it a C sharp. But in some contexts we'll think of it as being a lower version of the D, in which case we'll call it a D flat. So this same key can only be called a C sharp or D flat. Depending on the context, it sounds the same. We play exactly the same way. Let's take a look at another example. So here we can probably work out that this is F. Let's just check that. So we know this is our C, C, D, E, F. So this note here, if I think of it as being the note half a step higher than an F, I'm going to call it an F sharp. F sharp if however, I think of it as being half a step lower than a g, I'm going to think of it as a G flat, G flat. So whether it's an F sharp, G flat, it's just a matter of the rules of the particular piece we play. Don't overthink this at the moment. This is simply an explanation as to, as to the reason the keyboard is layout the way that it is. Now. The next part of our building blocks is to look at what's called a major scale. Now, here's the reason I started on the C rather than the alphabetically morphological a. If we start on the sea and play all of the white nodes between this c and this c, We are all already played a C major scale. Here we go. So that pattern is a C Major scale. Now, that only works when we start on this. See, let me explain why. So the pattern for a major scale is as follows. So we looked at a half-step or a, or a semitone. The alternative is a full step or a tone. So if I go from C to D, that gives us a toner whole tone. The pattern from major scale is as follows. So we start from the first note and we move a whole tone, another whole tone, then a semitone, which as you can see from E to F, is a semitone. Another whole tone, another whole tone, another whole tone, and a final semi-tone. Again, there's no extra, this is already a semitone. So when we start on the sea, that major scale pattern is already there for us. Tone, tone, semitone, tone, tone, tone, semitone. If we started on a different note, let's start on the F, for example. So if I move to a tone, and the tone Now is the Time I need my semitone. Now the semitone from a is in fact here, B flat or a sharp. So we would need to use a black note to play the F major scale, then is a tone and another term, another term, and then the semitone. So some keys or scales needed to use the black keys on the keyboard. Others don't see major specifically, doesn't. That's a little bit more complicated than we need to get into for right now. So please treat that as background. And if it's remotely confusing, don't be don't be put off by it. Just we can just move on without their knowledge. 4. The C Major Chord: So now we move onto something called chords. Now, a chord is a series usually of three notes played at the same time. So some of the music I showed you in the introduction video showed some notation with some letters and courts cymbals above it. So that's what we can start to look at now. And we're going to start very simply with the C Major chord. So the C major scale, we just looked at all the white keys measuring from one C to the next. So the major chord is made up of the first note of the scale, played with the third note of the scale. So 123 and the fifth note of the scale. So it's every other, so 12345. So when we play those three notes together, that's a C major scale. Why don't you try and find those three notes on your keyboard now. So we've got the C, Mr. Day, a, Mr. F, by the j, and spend a little bit of time trying to make sure they all go down together rather than. So you want the three fingers, however you choose to phrase it. However you choose to place those fingers nice and relaxed. Just fine for now. Just trying to play that C Major chord. And then, once you're happy with that, try and find the same pattern further up the keywords. If I start on this C, C, ignore the D, ie, ignore the FG. Further up, lower down, right down the bottom. So spent a little bit of time trying to find that C Major codes up and down your keyboard. 5. Using the left hand too.: Now that we're familiar with the C major chord, we're going to introduce the left hand and give that something to do. Now all we're going to do at this stage is find a c lower down the keyboard. So we now going to put the right hand onto C major chord. And we're going to put the left hand just onto a C, lower down the keyboard, just a single note. Or down here, if you prefer, closes on a say agonist Eigen, they actually sounds better. Now let's just try and press the C major chord with the right hand at the same time as the scene note in the bass in the left hand. And just try and keep a steady. Nothing too exciting is difficulty not just trying to get the two hands doing something at the same time together. Suspend the fever, is trying to get used to that and pause the video until you're comfortable with that. When she must depressing the C and the C code together. Let's try alternating. So we're going to play 12341234. Now on counting just in groups of four, just for simplicity, if we could play in threes, we could play 1231234 example. Let's not go there. Let's stay with for the moment. So the counting a repeated 412341234 and alternating 1234123 and spent a few mm is trying to get comfortable with that. Then let's try and make it a little bit more exciting. So maybe now we'll play 1211211 and spend a female who is trying to get used to that pattern. Now let's challenge the left-hand little further. So what I'm going to try and do now is find 1c. And he hadn't will spread. Let's try and find the other C an octave lower. So we've got to seize an octave apart in the left-hand. So I'm using my thumb and my little finger. Like a pivot nicely with the rest like that. Now let's try this, bring this code back in the left-hand. Now we're going to try. Just gets a little more interesting. Spent a few members trying to get acclimatized with that pattern. And from there, we can just make things more fun key as we progress. Still just working with one coat is only so funky we can get with just one chord. But this is the very start, the basis of how we play keyboards. Suspension time, acclimatizing with those few pathogens, just working with the C code at the moment. 6. The F Major Chord.: Let's try and fight another major chord. And we're going to look for the chord F. So we studied C chord and we learned that it's the first, the third, and the fifth narrative, the C major scale. So when we come to work, our F major chord is going to be the first, the third, and the fifth note of the F-major scale. So we're looking for the notes F, a, and C. So we started with the free black nodes from the, starting to the left of there, 12345. So similarly to the C chord 135, we now have an F chord. Let's spend a few members getting acquainted with our F chord. Let's look up and down the keyboard for other positionings. And let's try the same thing that we did with C Major. Let's find just a single ef note in the left-hand lower down the keyboard. We're looking for whether three black mix together our list of one to the left of the leftmost black note there. Let's place our F-Major chord in the right-hand, So F, a, C. And to start with, let's do exactly the same thing. Let's play altogether. So 14, spend a few members getting acquainted with that pattern. And then let's try the alternating left and right hand like we did with C major. So one. And when you are happy with that, let's try the two Fs in the left-hand side. I'm gonna find one here with my thumb just to the left of the pattern of three. And the other one loaded down with my little finger. And let's try. 7. Different positions (Inversions): So we understand that the code has to be the first, the third, and the fifth note of a scale. They don't have to be played in that order though. These are called inversions. So we know we need a C and E and the G to play a C Major chord. And we also know that up and down the keyboard or various examples of a, C and E and the G. So let's mix it up a little bit. So instead of playing C, E, G, I could play E, g. And this C further up. Still a C major chord, because all the ingredients are there. We have a C and a and a G. So all those changes the order we inverted the position. There's one other example we could play. So we'll try to starting on a, C, C, E, G. We've tried starting on e. We can also of course, on the g. Now, why would we choose to do that? Which you should do that because it allows us for free movement between one code and another. So, so far we've looked at two chord C, C, E, G, and F major. C major, F major. Now, the difference between their theory is a little bit clumsy. So this is where the inversion starts to come into usefulness. So if instead of playing C here and f here, Now there's one common note in both of those cause and if you spotted it, so C is C, E, and G, and F is F, a, and C. So both of those chords, C Major and F-major, require the use of a sea. So there's no reason why I need to move away from that see in the first place. So if I play my C major in, in the first position, c, e, g. So remember it's playing F-major, which you aren't gonna go Next, we need F, a, and C. So I can move this e to this F, and I can move this G to this. So now I have an F major chord, F, a, and C there on the bottom there. So let's check that again. So starting with the C major, C, E, G, and we changing to an F-Major consisting of F, a, and C. So for, just for recognition, so that C was originally up here, wasn't it? So we started with 12345. And all that's happened is we've changed the safe from being that one to this one. The effect of sound is the same. Not exactly the same. We can hear that C has moved to a lower one, but the harmony is the same. How does this help us? Well, because now instead of playing, as we changed from C to F, I can simply play. Allows us a much smoother move between the tree possessions. Let's find another one. So still change between the C chord and the F chord. So now I'm going to play my C starting on the G. So we want a C and a and a j. So and instead of getting up to this G here, like we might do, I'm going to use this g down here. So G, c, e to the 3x is still there. It's still makes a C major chord for us. So now, if I want to change to an F major chord and utilize F, which is here, a, which is here, and see which I've already gone. So now the change in my C major chord to my F-major code is really smooth indeed. And the important thing is that the three notes don't change. So a C major chord is always going to base e and j. F major chord is going to be F, a, and C. So what we have now is a much smoother transition between the two. You compare that to where we started. It's much easy to mess and actually doesn't sound as good. It's not as smooth. So those are called inversions. Ok, let's try and put that to use. So let's use that pattern I just finished, John. So let's try to find that C major chord, but with the g at the bottom. So we got C and a, and then we find the g down the bottom. So locate that, that position, that, that code on your keyboard. And then we're going to pivot to the F-Major chord. So we're going to leave the safe. We're not going to change that at all. Whereas the outer notes are going to move up one step. So they're both going to go one step to the right in slow motion. And let's just practice that change a few times. Ok, we'll see if we can find that again in just a moment. Now let's bring the left-hand back into play. So now we're going to try and match that C code with the safe in a left hand. And the F chord with an F in the left-hand side. We're looking for this. This is where the coordination starts to become a serious issue. So the right hand we just practice. So let's take a look at the left-hand side we want to see with one finger and at f with another finger or thumb, I'm gonna use my thumb because it's config C, C, C, C, f. Much slower if it's necessary. At some point we're going to try and bring the C chord and the sea bass note in line with the F chord on the bass note. F, C, C, F, C, C, F, F. So all are changed. There is just a little bit a rhythm into how implying the Tonight's CC chord, F, C, C, F code. What I'm playing hasn't changed at all, is still that simple. I'm just like my hand of a bit of a dance. Now your turn. 8. The G Major Chord and playing a 3 chord pattern.: So by now we should be able to locate any of the pitches, the notes up and down the keyboard, starting from the seed that we began with and finding all the C's and so on, up and down the keyboard. We should understand that a major chord is made up of the first, the third, and the fifth note of the major scale. So we've looked at C major, and we've looked at F major and say, and we should go. So now understand the three nodes don't have to be plastic, plastic, plastic pressed. Who played, wow, in any particular order. So instead of playing C, E, G is perfectly valid. Play AG in C or G, c. And what matters is the three nodes are pressed down. So c can be then, then an f can be there. And of course that's true at any, at any position on the keyboard, as long as there's three notes. We have that Cohen. Okay, so let's bring in a third chord, and that's as far as we're going to take in this particular course because it starts to get particularly challenging from there. And I want you to be able to work things out of yourself after this. So we're going to look for a G major chord m. So we can find the G either by counting up from our familiar, say c, d, e, f, g. Or we can just get used to adapt position is secondary between the three black keys here. So G major, so you want the first note, not the second, but the third, the fourth, the fifth. So our G-major code consists of the notes G, B, and D. Let's bring a left-hand gene as well. So again, we can counter from the CFE helps C, F, G. So G note in the bass and the left side. And a G chord in the right side is a practice that on the B three. And once we are more familiar with that, let's try alternating again. And it's just exactly the same as you did with the other Kurtz. And now let's try two different genes in the base. And let's try and alternate. So you're gonna go code or the G code, login, code higher G. Now let's try to find the inversions or the, the other positions that we can play a G major chord in. So as long as we have the notes G, B, and D. So let's start now on B instead. So if we take our GUI, so we install on the Bay, so we need a j has used this one, a bay. And the day, so that's one of our inversions. And the other inversion will start on the D. So we can take this beer away. You have a G and a G. And we can put this B here is a. Now we have a, G, a, B, and D. Still a G major chord. So let's recap. So a3 G-Major chord positions are inversions are here, G, B, and D. The D and G, O, D, G and B. Let's try and put a3 called pattern together now. Okay, so we're going to start on the CME and the plate is C in that first position, C, E, and G in the right order. Essentially. We then going to move to the F chord by just moving the E energy across to the F and a. So let's just practice out again. So I have c, f, c, and f. Say noticed the C doesn't move, is just the e and the g moved to the right to get the F. Okay? Now we're gonna go from the C to the g And we're going to move, we can lead the G where it is. And again to move the C and the E one step to the left to take in the B and a D. So C, changing to G. So C, which is C, E, and G, changing to G major, which is G, B, and D. Let's try and move those three chords. We're going to go from c, the F to C to G. And repeat C to F and C to G. And again, just another demonstration of how useful inversions are. If I play each of those codes without mixing the United shop, it would look like this. Fairly clumsy, lots of physical movement around the keyboard and lots of jumping around of pitches. We don't get that smoothness. There. We try and bring in the left hand. Of course we do. So let's find, with the left-hand, say an F and the DJ. And just try and keep those three notes under fingers. Amygdala, try and match that left-hand up. What the cost is a Hayes the right-hand pattern again, we're gonna go C, F, C, G. And let's try and keep us sort of to count on each one. So 12121, chain, one, chain, K 12. Let's just go run around a few times to one, to one, t bar j. The allies try bringing the left-hand C, F, C, G, C, F, C, C, F, C, j, and finish on the sale. 9. Summary and further advice.: I hope you found these explanations and exercise is helpful in getting you started understanding how the keyboard player works. The key things to take away are the way that the major scale is formed. So that's that patents that we start on any notes. And we move a whole tone, a whole tone, and then a half atone, a whole tone, a whole tone, a whole tone, and then a half atone. Sometimes people talk about that as being a tone, tone, semitone, tone, tone, tone, semitone. That matters because with that understanding, we can work out any of the major scale. So we looked at C major scale, F-major scale, and G-major scale. That matters because we then work out the chord, the major chord from that basis. So the chord remember, is the first note, the third note, and the fifth note of the major scale. So with that pattern of tone, tone, semitone, tone, tone, tone, semitone, you can work out any major scale might be very slow going at first, but you understand the principle. And then once you worked out the scale, you can work out the cause. And that is the building blocks of how we play keyboards. It does get more complicated. There are other kinds of codes. There are minor chords, for example. There are numerous variations on the major cause that we've looked at here today. But knowledge is and something we build upon gradually we have to understand my first before we move on to the second year. If you do have some musical understanding, then you can push it a little further, more quickly, perhaps by looking into these other chords and things. And looking at the crossover between perhaps how a piano pay works and how a keyboard player works. But essentially the keyboard is working with code. So the chord symbols that were being told what effects to create rather than specifically how to create it. Keep on learning and good luck with the keyboard.