Learn to Play Czerny Etude, Op. 139 No. 1 | Dimitrov Boelee | Skillshare

Learn to Play Czerny Etude, Op. 139 No. 1

Dimitrov Boelee, Piano Duo

Learn to Play Czerny Etude, Op. 139 No. 1

Dimitrov Boelee, Piano Duo

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7 Lessons (42m)
    • 1. Introduction

    • 2. Lesson 1 - Reading the First Bar

    • 3. Lesson 2 - The Right Hand

    • 4. Lesson 3 - The Left Hand

    • 5. Lesson 4 - Putting the Hands Together

    • 6. Lesson 5 - Bar 1 - 8

    • 7. Lesson 5 - Bar 9 - End

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About This Class

Welcome to our course on Czerny's Etude Op. 139 No. 1. We've divided this course into 5 different lessons:


➜ Lesson 1: Reading the First Bar

 Lesson 2: The Right Hand

 Lesson 3: The Left Hand

 Lesson 4: Putting the Hands Together

➜ Lesson 5: Practice With Us! Bars 1 - 8

➜ Lesson 5: Practice With Us! Bars 9 - END


This is a course for almost complete beginners, however to follow along, it's necessary to be able to read notes. It's ok if you're not fluent yet, but you need to understand the theory behind note reading. If you've watched Elvire's : the Fundamentals of Piano Playing 1 and 2 you will be able to follow easily along.

If you are a not able to read notes yet, you can check out the Fundamentals of Piano Playing Part 2:

The Fundamentals of Piano Playing Part 2


The best way to follow along with this course is to print the score that we've provided for you in the project section. Also don't forget to practice consistently, we recommend at least 15 minutes every single day and you can expect to see great results!


Please let us know if you have any questions or requests about this etude, or any other piece you're playing. We'd be very happy to hear from you and help you.


Pieces on a similar level are:

* Hanon exercise in C No. 1

* C Major Scale 


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PS. Check out Dimitar's MindCoach classes on Skillshare 

Self Awareness, Self Honesty, Consistency and Progress

and YouTube Channel with him practicing his own pieces



Meet Your Teacher

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Dimitrov Boelee

Piano Duo



Originally from Bulgaria, Dimitar was called by jury members of the many competitions he won a 'Lion of the Piano in the tradition of the old Russian's'. It's his passionate and commanding playing that sets the tone for the duo

Dutch pianist Elvire was already winning prizes at 11 years old. Playing in many ensembles and with orchestras during her music studies in the Prins Claus Conservatory in Groningen, she knew when she met Dimitar Dimitrov, she wanted to form a piano duo together. And she managed to convince him... forming the DimitrovBoelee piano duo in 2014.

Elvire Boelee and Dimitar Dimitrov are both professional pianists, having studied their Bachelor and Master of Music in Groningen and Amsterdam (the Netherlands).

The DimitrovBoelee piano du... See full profile

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1. Introduction: welcome everyone to our course on the Cheney edge it opens 139. Number one were the Dimitrova Play Piano Door. My name is Dimitri Dimitrov. My name is healthier. Bowling were a piano duo currently living in the Netherlands, both fast graduates of conservatories in the Netherlands and performing throughout the whole country. We also have piano students of different kinds of levels, from complete beginners to very advanced pianists. And we like to bring our experience and knowledge into our courses. This course is about charity is a chewed and who was Czerny? Journey was a student of Beethoven and the teacher of none other than funds list, he wrote many works for his students to study and his a choose are great for developing your piano technique. This a chewed is one of 100 in this opus. They're all very short and they're all focused on beginners piano technique. We've divided the course on this agent in five different lessons. In the first lesson, we're going to read the first bar with you and point out important information in the second and third lesson. We're going to check and separate in the fourth lesson. We're going to put our hands together and give you an exercise so you can improve further your edges. In the fifth and final lesson, we're goingto do something very interesting. We're going to record the piece for you in a comfortable practice temple so you can watch the video over and over again and also practice together with us. Now who is this course for? This course is for almost complete beginners. However, you should understand, at least in theory, how to read notes. Even if you're not fluent yet, that's okay, but you should understand how to read notes. If you don't yet know how to read notes, we would recommend that you start learning that first. If you want, you can check out my fundamentals of piano playing Part two, in which I teach you how to read notes. The best results you can get from this course is if you practice yourself every day consistently, start with a minimum of 15 minutes to help you further with following the course easily, we've uploaded the exact same score we're going to use during the teaching, and if you happen to have any questions, any problems during the course with the piece don't has day to contact us. We're always open to hear back from our students. For us, making this course was a pleasure. Enjoy watching. 2. Lesson 1 - Reading the First Bar: Welcome to the first lesson of our course on the Cheney agents. Number one Opus 139 in this lesson will begin studying this agent by reading the first bar . And usually the first bar is one of the most important bar you need to pay attention toe because it contains important information that you apply throughout the whole piece. Skipping the first bar. We're not paying enough attention to the information that's written there can lead through mistakes throughout whole piece that can be easily avoided by reading. The first bar is how we always want to start studying your pieces. Let's begin. The first thing you need to know is that we're reading the first bar from the left to the right, and we're starting the first thing you can see sexually the cliffs. We have a geek left for the right hand, which is actually the most common class for the right hands. Most of the time, that's what we're going to see in the chip left indicates this G on the pier for the left hands. You can see that we have also a chick left instead of a bass clef. Most of the time, in the left and we're going to usually have a bass clef. And this is an exception. And perhaps it is interesting for you to know why in this case do we see a G cliff? Well, the G clef actually covers the notes from the central see up on the right side of the keyboard, which is why we usually use it for our right hand and the f clef. The bass clef is actually covering the central sea and down from that part, which is why we usually see it with the left hand. But as you see, our notes are written all here very close to the central see and up. So using a bass clef would be actually resulting in such a note as you see here, which are very difficult to read. You'd have to count out all the stripes in other words, not very efficient. That's why charity in this case rise g clef simply to make it more readable. If we move to the right now, we're going to see the letter C that indicates common time, which means for four that's the most common time signature You're going to see 44 and the 44 means that we have toe have four water beads, 4/4 notes in every single bar throughout the piece. If you look at the left hand, you're going to see that we have those 4/4 notes. But if you look at the right hand, you're going to see toe half notes, which, if put together the equal 4/4 notes as well. Because every half note has in itself 2/4 notes, so to half notes have together for water. No. So again, right and left hand have always 4/4 beats in every single bar. That's what 44 means now. There's one actually important thing that's not existing here, and that's sharps or flats. Usually, if we have any sharps or flats, they're going to be placed exactly between the clef and time signature. And here you can see that we have nothing. That means two things were in a key signature off. See, major or a minor. Those two K signatures actually don't have any sharps or flats Now, how do we know? Actually, in which case in nature we are well, we're looking at the beginning of the peace, and we're looking at the end of the piece. If you look at the beginning of the piece, you can see that we're starting on seeing and e So I'm assuming Oh, I might be actually in C major because, of course not. See, Major, right, We start. And that sounds actually quite major. We're not. He doesn't sound sad or anything like that'll be minor, But we're starting like this. I'm assuming I'm in C Major Now. What I said earlier was that you look also at the end of the piece that will be your final check at the end of the piece. You can see that we're also finishing like this, and that's the most standard court for C major that's actually see major cold. That's how we know that we're in C Major, and that's why we don't have any Sharps or any flats. The last thing that we take a look out before we start learning the piece is the tempo indication, which is in this case, more Toronto, which is definitely not too fast, just moderate kind of temple. This is not important as a starting off point since we always practice in the beginning, very slowly, but it is very important to know what our goal is. Often the temple is also an indication of the character of the peace and in this case is not over to also piece. But it's a very much singing peace. You have to make a beautiful sounds. It just flows really beautifully, and that would be your final goal. But once again, it's not our starting off point. We're going to start a lot slower than this is just important to know. What are we working towards and what is the meaning and the character of the peace. We strongly recommend that you always to read the full bar this way because you can avoid so many mistakes later or in the piece. For example, in this case, in this piece, if you would have glanced over the first bar and not taking the time to carefully look at the information that's there, you could have easily assumed it was just a common clef situation of stickler for the right hand in an F left for the left and as it is usually and you would have read the first notes of the left hand, you would have read all those notes wrongly since the in the F cliff. Of course, instead of the sea energy instead of staying here, you would have actually read it over here totally different notes, which, of course, would have sounded very strange. So make sure to always check everything before you actually place your hands and begin playing. And so that was all for the first lesson in the next lesson. Lesson number two, We're going to actually start reading the piece together with you, and we're going to do that, hence separate. 3. Lesson 2 - The Right Hand: Welcome to lesson number two. We're going to now continue learning the peace as we know already the important information in Bar number one. We're actually going to start learning the notes. That's one of the most important things off course where the peace to sound tried. We're also going to check the notes durations. That's very important. Half knows. Do we have water? Note. What kind of notes do we have? The next thing we have to check is the fingering. Fingering is something extremely important because without it you can't actually develop proper technique, let alone play the piece properly. It it just wouldn't work. And the last thing that we have to check, which is, of course, one of the most difficult is the articulation. So we'll leave that for the last, because first you need to do the most basic things notes, durations of the notes and fingering. We're going to go through this process slowly, carefully. We're not going to keep temple. That's really not good to do in the very beginning, because you feel rushed, you feel pressure and you might skip a lot of important things, so we're going to take it very easy and approximately. We're seeing that we have half notes or quarter notes were not going to really count them and keep in a Rio temple. Let's begin with the right hand. As you can see, the first I think I'm going to check is but what finger I'm beginning first. Of course, I find the right note which I know that it's E. But after that was very important is that I see the right finger and that street indicated above the note. That's very important because later on, if I start with the wrong finger, I'll have trouble with the other notes with the nose other coming. I will not be able to play them properly and then my hand, I will have to shift into awkward positions. So that's why fingering is so important. If we begin with third finger, everything after that is very easy. I just called for on the air. Why five on the G, then I'm going here is something very important after five on the G, it would be very tempting to play with one and three this interval after five, you can try on the piano and you can see how easy it feels to do while, but after that I will have problems with the intervals. After that, it wouldn't be possible to do what journey wanted. And that's to make a perfectly Gatto. Between this interval and basic rule, I need to connect those toe and the most natural way to do that. It's with four to, like rhythm and 13 like reading on the be. And so I'm starting again from the G that I'm going to twin for and one and three on the beat. And then I have everything right so far and you might feel tempted to play with whatever finger comes. So you congest get to know this piece sooner. It is a bit more difficult to do this with a proper fingering, but this is one of the keys to good and proper technique. Internee was genius with fingering and genius with piano technique, so we would strongly advise that you do literally all the fingering that he wrote. It will give you amazing basis, and it will give you amazing feeling for fingering when you yourself have to write fingering later on in more advanced pieces. The next thing I want to mention something important. As you can see, this B and D the first being the in this bar has a little dot and also the leg Otto slur on top of the first few notes from the beginning of the peace until this being the we have a long slur which ends on the BND on this internal. And so the slur indicates that we play llegado everything until that not in this life ends . And then we have a doctor, which means that we have to play that note short or that interval. In this case, it's an interval. We have to play it short, and that sounds like this. I will begin again from the G in the second bar. That's how we have to play. So I would like to pay special attention. That's the articulation I was talking about earlier. Now we move on a little further. We have water notes here. It's important. Also disconnect because the slur ends on the last note in this bar on the T and the F. So that means that also, the last note is disconnected. It's not connected to the next half note, so we have to play like this, that's very important. Then we disconnect gently from this note and now we continue with the next bar. But here's something very important. You have to shift toe third finger on the That's very important because we had in the previous bar five and three and 24. It could be very easily tempting to play. Actually which fourth finger on the E. But then after that, we will have the fingering left actually continue with the next note after that. So make sure that after this combination, you disconnect and shift toe third finger. Only then we continue funder. Everything is kind of the same, like the 1st 2 bars. But now we have a little bit of a variety instead of this connecting instead of playing short the BND. We actually continually gotta like this. So as you can see that a deal the end of the piece, we're actually playing on Lee Legat and we have a little quarter note. What arrest? Actually in the last bar that something also important because it adds up to 4/4 beats in every single bar like we discussed in the first lesson and the last thing for this system is the thick bar line you can see at the end and also the two dots. As you can see, that means that we have to repeat. That is the sign for repetition. We have to repeat from the beginning of the peace once more. So we play this first system in total two times. Now with all those little marks that we did little little things that we had to pay attention, toe. I won't show you how the first sister them is supposed to sound. I will not do it fast anyway, the pieces not really fast because it's moderato, so that will help you toe understand even better. Let's hear the first system. And then, of course, I can repeat. But now it's not necessary. You know it already. Now let's move on to the second system, where we're starting in our first interval with 31 Now we're moving to the second bar and pay special attention to the fingering here because even though we have the same inter fall were actually shifting from 24231 in order to make the connection comfortably to the next. Where we were playing our interval with 24 and shifting to 31 as well on the same injure ful Now based special attention here because we're having an accidental as it's called. It's an f sharp. So instead of playing an F natural, were playing an F sharp 1st 1 to 4 and then shifting to 31 as I said, so that we can comfortably manage the next connection to the next bar where we're having single notes and I'll pay special attention to this next snow, the F, which has a natural sign indicating that the F is no longer an f sharp. Now I think it's important to mention that this sign is actually obsolete, since an accidental is only valid in the bar itself. So the F Sharp was only found in this bar and not in the next bar. Anyway, the publishers added this natural sign just to help you out, and just to remind you that the F is an F natural. Now let's move off. We're having half notes with 23 and important to see that we're playing the G with 1/5 finger. Naturally, we would be playing with the force finger as you see. But in order to make the nice connection to the interval with 24 we have to play a five on the job. So to four on the interval. And we're finishing exactly as we finished the first system. Everything league, Otto. And with it, watch her wrist. In the end. Once again, we're seeing the repeat signs one over here and one over here indicating that the second system needs to be repeated once. In other words, the second system. We're going to play it two times in total, just like we did with the first system. Now let me play the second system once for you to show you how this all sounds. And you, of course, have to repeat it once more. Make sure to repeat a few times your right hand and no, it really well before you proceed to lesson number three and the left hand 4. Lesson 3 - The Left Hand: Welcome to lesson number three. Let's continue now with reading the left hand. Let's begin, of course, with the Forest Bar. The first thing that you need to see is that we have to play with 1/5 finger the sea. And don't forget that it's actually a C you're playing with with finger on the notes. See, because we have the declare, we explain that or their own. So that's the only thing that you have to pay attention. Put your finger on the sea and let's begin. Everything is going to be like God very slowly and relaxed. Just follow the fingering in the score, and I'm going to stop these g with the fifth finger. It's important to stop here because there is something interesting the slur. As you can see, we have a slur from the beginning of the peace until this J and the slur ends here on the nog. That means that the note has to be short. This has to be short, and also the notes after that have to be also known Lego toe and short because there is no slur. So that's that's the only detail, little detail I want to pay attention, toe because that makes it sound very unique. Later on, when we put their hands together, let me do it once more from bar number one. And I would just simply continue after the third bar. I will not stop anymore. Just you hear how I disconnect. Let's begin with this finger. Oh, nice In the ghetto. Uh huh. Now we continue with 1/5 finger on the B. That's very important that place the right finger when you begin. Because then after that, everything goes much easier. Here. We also disconnect. As you can see, we have a little slur over this bar under the notes and it answered. And g, that means that we have toe also disconnect before we continue with the next note. See, let me do this bar once again from the B. I miss you everything Licato following the fingering in the score. No, I'm going to stop here because there's something important. As you remember in bar number three, we disconnected this low Gee, from the other. Jeez, but now we're going to continually gado. As you can see, the two slurs are connected to each other. That means that we have to continually got from the G like this. And the last note is also a little bit short, because again the slur finishes their generally Remember the rule that the slur when the slur ends off phrase and as well and when a phrase ends, usually we'll have to disconnect a little bit because that makes music sound really nice. There is one more thing in the last bar and does the quarter rest Don't forget. That's why actually, we're finishing with a short note with 1/4 3rd quarter, not a little short. And we disconnect in order to also give us the opportunity tohave this 1/4 rest. And like in the previous lesson, just don't forget that there is a repeat your You know what the sign means, but just to repeat it once more. Now, let me play the whole first system once for you, with all those remarks with all those knows that we made, huh? Yeah, yeah. Uh, now let's take a look at the second system and make sure to always pay attention to the fingering. We're going to start on the fifth finger on this G and the first thing you'll notice is that I'm playing normally gateau, and that's because there's no slur connecting these notes. Now when we get to the third bar here, pay attention, especially to the fingering of the next bar, because we're have to put two and four on the interval and as you just saw my second and fourth finger actually in a different place in the previous bar. So I have to actively move them in order to catch this interval. If it's necessary, take a few times extra to practice these onto its nice in Fluent and now here in this bar were playing the interval. Make sure it's two beats and after that we have two beats of rest. Make sure that you lifted exactly on the third beach, which is together with the F in the right hand after that and I would recommend that you used his two beats to move your hand because after that we have to me with fifth finger on the sea. And as you're seeing, we have our fifth finger at the moment when we're playing this interval on the F. So we need to make a jump from the fifth finger from the s to the sea. And then, as you see, we're going to play the Final Four bars, which are exactly the same as the Final Four bars of the first system. As you'll notice there's actually no fingering. And that's because the fingering is exactly the same as the previous system. If it's necessary, feel free to write down the same fingering. It could be very helpful as we did in the first time in the first system. We're playing everything llegado, uh, and we're finishing the slur with a little bit of a shorter note and the quarter rest Now let me play that once for you so that you can observe everything that's happening, huh? Oh, now there's a mistake that a lot of our students make and we want to show you a little exercise to prevent you from making this mistake. The problem is the following. If you look at the beginning of the peace, we have these, right? We know that already. But what our students do very often is this as you get. See, I'm keeping my fifth finger, which isn't correct. You have to actually release the fifth finger. So we have to do this, then our students do the same. In the third beat, they keep the deep, then they keep the heat and then they keep the seat. Those are the notes that are most commonly kept down. Press down the keys. And so that means that we have the first, 3rd 1st 3rd beats all the time, the dangerous to keep those beads to keep those keys press down. We would like to pay special attention to that because it's an incorrect technique. It wouldn't sound good for the city. And it's actually not good for your technique for later on, when you want to play a little bit more advanced pieces. So we recommend that you resolve this immediately so you can avoid it and go proper technique. Make sure that observed very carefully how you're playing. Take it nice, easy and slow, and just check that you really is the fifth finger. Then you release the fourth finger. Then you release your finger on. Then you release the 50 and observe actually toe all the whole score. If you actually are keeping some kee's press, for example, if you look at the second system, you might also keep the or the sea here or to be here. You don't want to form any intervals. You just want to articulate very after you learned the letter and would recommend that you go back and force to the right and to the left and in practice them a little bit separately for some time. So you can get really fluid really smooth. You feel very confident, and only then proceed toe hands together. We would also adviser to practice with the Metrodome so that you get used to playing it very fluently and competently before you put your hands together. We also found an indication of what temple you should be able to play before you start putting your hands together and that will be around 90 will show. You know how that sounds. This is how 90 sounds and I'm going to show you a little bit of the right in a little bit of the left ends. And this seldom after Hans, it's a As you can see, ninth means that we have one tick of the metronomic together with each quarter note. This was all for less than three. In the next lesson, we're going to start putting hands together, and we're going to give you some useful tips and exercises you can use in order to improve this piece. 5. Lesson 4 - Putting the Hands Together: Now let's continue with less number four. Since we already know our hands separate, it's time to put them together. It would be really useful if you actually know your hand Separate really well that you can play them very smooth. And in the temple we gave you, which was 90 with the Metro. In that way, you ensure that when you start the process of putting hands together that everything goes, it's moved as possible. This is how ninth sounds with the Metro, and I'm going to show you what I would do when I start putting the hands together. This was just the example of the previous lessons. What we expect you to be able to do. And now when I start putting hands together, I'm going to go extremely slow, much slower than this 90 like this because I want to observe everything I'm doing. Yeah, that will be our first advice. After playing hand separate in Temple 90. Just forget about the temple and drop extremely slow so it could be very conscious and aware of what you're doing when you play hands together. It's important to drop your temple because there are things that you might find very easy when you're playing your separate hands that suddenly become difficult when you put your hands together. This is something you can't know in advance, what exactly, will find difficult and it's important that you drop your temple enough that you could observe everything. One way is to drop the temples solo that you actually don't really follow a temple. As you saw, I was playing extremely slow, and I didn't try to maintain a specific temple. I just take my time with each note. After you do this, we would recommend that you use the metro because, of course, sooner or later you want to keep a temple and you want to develop the piece so you are able to play as it's supposed to sound. But what we would recommend is instead of going to 90 like you did with hands separate that you dropped the matter marking toe as low as 50. That will be on initial temple to start with, let me show how 50 sounds. This is 50 for 1/4 note we have wanted with each modern note, and as you can hear, this is almost the double slower than actually hand separate, so you can imagine what amount the focus it takes to play two hands instead of one. The next thing we want to do is to actually divide the piece in four bars. We're going to show you now how you can practice and use that. Practicing appease in smaller sections is actually a really great way to study it faster. Let's take a look at the first system. The first sentence. The Czerny Road is four bars, and it ends here. And then the second sentence Attorney Road is the next four bars, which ends the first system. So a logical way to practice would be by four bars. Now I'll show you exactly how I would practice it. I would start at the 1st 4 bars, uh, and pick a comfortable temple for you. Remember to new all the articulations and I would add the first No, that's very important because we want to make the connection later to play the whole complete system. Of course, adding the first note is a really good way off already introducing that connection, and now we're going to repeat this first section, keep on repeating this 1st 4 bars at least three times, and if you're able to play at least three times without mistakes, you can move on to the next four bars. Now let's begin the 2nd 4 bars, Uh, and forget about the repeat. Don't do the repeat yet. Just keep on practicing these four bars and repeat them at least three times again. When you're comfortable doing this, when you're able to play three times without a mistake, these separate sections What we're going to do now is play the whole first system. Don't continue to the second system, just play the whole first system, and also try to do that at least three times without mistake. And now do this same with the second system. Practice the 1st 4 bars into here. Remember to make the connection to the next bar just with the first note and practice it again at least three times, just like we did with the first system. And then, when that's comfortable, continue to the last four bars until here and practice that again at least three times before he put the whole system together and repeat that several times and I want to show you a few sports that you need to pay attention to when you attempt to play your hands together. I'm going to start from the very beginning and I will stop at the sports where I want to pay special attention to We start in the beginning very comfortable Temple. Here. I want to make sure that you disconnect both off your hands that something very important for the proper articulation of the peace. Then we continue a little further here. We're going to stop and disconnect both of our hands. That's quite easy to do. Just you need to pay attention to. Then we continue for their here. We also disconnect. Make sure to pay attention to that. And then we continue for here is well, we disconnect both off our hands, as you can see. And just to remind you, we're disconnecting at the end of every single slur. Now let's move on to the second system. The first thing I want to pay attention to is the left, and I want you to play the left and not heavy Atto. That's very important for your technique. Make sure that you have a nice in light left hand and not like this thesis sort off. Cleaning to the keyboard will be very, very bad for your technique, so make sure that you play nice and light. Now let's move on to the fourth bar of the system. There's one little thing you have to pay attention to their and thats I'm going to play the bar, and I'm going to stop exactly where you have to pay attention. Here, I want you to release the left and exactly together with the F natural in the right hand, I'm going to show it wants more here. Exercise this a few times so you can develop a proper coordination. It's very important to be able to play one hand while actually you lift the other hand, how we're going to show you one exercise about articulation, articulation, and this attitude is relatively simple, and that's because most of the time your both hands are articulating in the same way. But there are a few places where both left and right hand are actually doing a different articulation. And that is, of course, more tricky Now. This exercise is about those places. Let's take a look at Bar three now. The first note isn't so difficult because, as I said, both hands are doing the same thing. We're both lifting up. However, the second quarter note your right hand starts to play. Lay gotta while your left hand has to play non league Anto. Here's where it's a little tricky. Your left hand has to go up while you're right hand stays down and here again you're right and stays down, but your left hand has to go up. The last one is a little easier again because we're disconnecting. Both were disconnecting from the slur, so both of them are short now. I want you to do the following exercise, and that's actually simply taking more time so that you can observe if you are doing the right thing. So start. I would advise that you start on the second quarter note for this exercise and remember, take extra time so pushed on your right hand and lift up your left hand. Take enough time that that's done. And if it's not done, just play this note again and try again. Continue to the second again. Press down the right hand and the left hand lifted up, and now the final is a little easier. You're lifting up both hands now Let's move on to the 1st 3 bars of the second system. Look at the 1st 3 bars. We have half notes in the right hand and we have water loads in the left. And it's a little bit easier than actually the bar Severe has just shown you because we have low notes in the right and that makes it a little bit easier. So you have a little bit more time. But still, the exercise is about being conscious. It's very simple. All you need to do is be patient. So what we're going to do is we play the first note way, ensure that the right hand stays down while the left and it's actually short. The second node of the left hand will be very easy because we have only one short note here . The third beat will be a little tricky, because again, we have to play the White House and the record has to stay down while the left and goes up . Then the next quarter again is easier all the time. When you have a water note of the left end alone, it's much easier then we move on to the second bar, we play together, but we make sure that the right hand stays down while the left and goes up. You see how slow I do it? While I'm explaining it to you, I would like to do it the same yourself, even explain to yourself what you're doing and do the same with the rest of the bars. Like I said, these exercises all about being patient and being conscious. As long as you do that you will develop a very nice independence between the right and the left hand. This were all the lessons actually, that we give you tips and advice is about this piece in the next. In the fifth, less and we're going to do something different. We're going to record all the different four bar sections for you so you can practice together with us. We're going to record those four bar sections, actually in a moderate temple, so it can be easy for you to follow along. Listen carefully and practice together with us. If you have more questions about this piece or any other piece, you're playing a few free to let us know also, if you have a request for a piece that you want to play, make sure it also let us know we've uploaded the score for you off this a chewed so you can easily follow along with the course but also practice it yourself. After you've watched the course, we would advise that you also take a look at the other H use of this opus or other issues, a charity wrote. He's there really fantastic for developing your piano technique. You can check our other courses too, as well as our YouTube channel, where we upload the video every Sunday. We talked there about our own practice so you might find out quite interesting. You can also follow us on Instagram and Facebook. If enjoy, this course will be happy to see Arabian from you. For us, it was a pleasure and see you in the next course 6. Lesson 5 - Bar 1 - 8: let's begin playing the first system, which will be from Bar one until bar eight, and we're going to do that with the repeat. The Metro marking will be set to 70 and our count four beats before I begin playing one to Key four. 7. Lesson 5 - Bar 9 - End: Now let's continue with the second system, which begins in bar number nine until the end of the piece, and we're going to repeat again. The Metro marking will be the same set on 70. And I'm going to count four beats before I begin playing one to the four. Okay, do and okay.