Learn to Play Una Mattina by Einaudi | Dimitrov Boelee | Skillshare

Learn to Play Una Mattina by Einaudi

Dimitrov Boelee, Piano Duo

Learn to Play Una Mattina by Einaudi

Dimitrov Boelee, Piano Duo

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10 Lessons (45m)
    • 1. Introduction

    • 2. Lesson 1 - Reading the First Bar

    • 3. Lesson 2 - Bar 1 - 12

    • 4. Lesson 3 - Bar 13 - 20

    • 5. Lesson 4 - Bar 33 - 45

    • 6. Lesson 5 - Practice With Us! (1)

    • 7. Lesson 5 - Practice With Us! (2)

    • 8. Lesson 5 - Practice With Us! (3)

    • 9. Lesson 5 - Practice With Us! (4)

    • 10. Lesson 5 - Practice With Us! (5)

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About This Class

Welcome to our course on the Una Mattina by Ludovico Einaudi. We've divided this course into five different lessons:


 Lesson 1: Reading the First Bar

 Lesson 2: Bar 1 - 12

 Lesson 3: Bar 13 - 20 

 Lesson 4: Bar 33 - 44

 Lesson 5: Practice With Us!


This is a course for intermediate pianists who already have some experience with piano playing*. To follow along with this course you have to be able to read notes, sharps and flats, understand basic rhythm and know what 16th notes are. You also have to have some technical skills and some experience with different pieces. An example of a piece of the same level is the C major Prelude by J.S. Bach. If you're able to play that piece, you'll be able to play Una Mattina.


*A note for complete beginners:

If you are a total beginner and you're not able to read notes yet, we advise that you go and check out the Fundamentals of Piano Playing, starting with part 1:

The Fundamentals of Piano Playing Part 1

The Fundamentals of Piano Playing Part 2

The Fundamentals of Piano Playing Part 3


Back to Una Mattina: In each lesson we help you read the score and help you practice the piece. We also point out all the places that our own students have trouble with and give you useful tips and practicing advice about these spots.

It would be a good idea to find the score of Una Mattina online so you can follow along with the course and practice the piece afterwards. The sheet music is very easy to find online. Due to copyright reasons we're not allowed to upload it for you here.


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


Join our YouTube channel: https://www.youtube.com/channel/UCxu2...

Visit our website: https://www.dimitrovboelee.com/


Follow us on:

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 Facebook: https://www.facebook.com/DimitrovBoelee-427755974647204/


For Skype lessons and more, feel free to contact us!

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 to our course on the famous piece by Ludovico Einaudi, Ulama, Tina, Where the Metro play Piano Door. My name is demented trough and my name is available, and we're both professional pianists who live in the Netherlands and performed throughout the whole country. We also have many students from different levels from complete beginners toe very advanced , and we gather our knowledge from the lessons we give and we put them into our courses. We've taught, you know, Matina toe a lot of our students, and it's one of their favorite pieces. So we wanted to share it with you in this course. Now a few words about this course with Violet in five different lessons. In the first lesson, As always with our courses, we begin reading the first bar with you and point out important information in the next three less is we're going to show you two major sections and we'll show you and help you with the most important things you need to know in those sections. In the final lesson. Lesson five, we've recorded these major sections for you in a moderate practice tempo so that you can see all the things that we've discussed and also so you can practice along with us in order to fall along with this course and actually play the piece, you need to be able to read notes and understand basic rhythm. You also have to have some experience with playing pieces. For example, a piece of a similar level two in a Matina would be the C major prelude by Bach says we're not allowed to applaud the scored UTO copyright reasons. We recommend that you actually find it online like with because then you can easily fall along with our course as well as practice it yourself. If questions come up while you're watching the course feel free to contact us will be happy to respond. We created this course with pleasure and we wish you lots of fun watching it. 2. Lesson 1 - Reading the First Bar: Let's begin with the first lesson of this beautiful piece by a now d ola Matina. We're going to start with rating the very first bar. That's how you usually start studying a new piece. The very first bar of piano pieces usually contains information that applies throughout the whole piece, and we've seen so many people's keep. Actually, the first bar toe read the first bar and then they make mistakes, trial the peace, the written goes wrong, the nose go wrong. Many different things can go wrong. And you can skip all those mistakes by basically just checking the first bar before you begin playing. And we're going to start reading the first bar now simply by reading from left to right. The very first thing we'll see are the cliffs, and those are very important because, of course, they show what notes you have to read in the upper system. We see the geek left, and in the lower system we see the F cliff, which is pretty standard. But for those of you don't know, the G clef is actually named the G clef because it shows the jeep, it shows the G above the central seat. The F clef is named the F clef because it shows the F and it shows the F under the central . See. The reason why I mentioned this is because many students have trouble in the beginning, actually recognizing which octave to play. So instead of playing in this octave where it's written, they would get confused and play their left hand, for example, on October lower or their right hand and octave higher. Just trying to remember if you get confused trying to think back to the cliffs geek, always showing this g the F clef always showing this. So in this case, I just see the f clef shows this the A's only two lines above that we're actually here were very close together with our hands. The same goes for the G cliff. It shows this G or 22 lines lower, which means this after we see the cliffs, the G and the Aflac of their explained, we're moving to the right and a step to the right. As you can see, we have the four for the time signature indication, which means that we have toe have four water notes or fork water beads in every single bar toe. How the peace, unless indicated otherwise. And just to be very precise, to explain to you what 44 means. The upper digit indicates how many beats we have per single bar. And the lower digit, which is also for, indicates what kind of beats those will be. In this case, there will be quarter Bates. Make sure to always check your time signature because otherwise the peace may sound a little bit strange and you wouldn't even know why. Now there's something a little bit unusual, and I don't know if all of you know these, but it's better to be explained. It's the upbeat. As you can see in the first bar, we're talking about the class and the time signature. We have a single little note, 1/16 note, and in this first bar we're talking about, we're actually calling this bar on a beat. A bit is an incomplete bar because, as you can see, we have only one note and not 4/4 notes. Like I mentioned earlier in every single bar of the peace of the Hopis, we have to have 4/4 notes or 4/4 beads in this case, we have only 1 60 note, and that's called on a bit on incomplete bar. The rules usually are that the upbeat, together with the last bit of the bar, would make up four beads put together. But in this case, in many cases of modern composers, actually don't apply this rule. They don't really add up to four beats. As you can see in this piece, if you look at the last bar, we have a complete bar for beats and the upbeat put together with the last. But it doesn't make up together forbids, but it becomes more than four. So with modern composers still order pieces, you will not see this anymore. You just good to know the rule that upbeat with the last bar together make up to four bids . In this case, if the time signature is 44 time signature is to four, they'll make up together three beats, etcetera. Now the final thing we see above the very first bar is a tempo indication. It's written 1/4 beat is 18 and his return legible, legible means to play lightly and gracefully, and that ties in very nicely with the temple as well, which is pretty fast now. Quarter equals 18 means that 1/4 beat would equal 80 on the Metrodome. And I'll show you how that sounds. This is 80 and we have four notes per beat. Now, this temple indication, remember, is our final goal. This is what we're working towards and certainly isn't where we're going to start practicing the piece for the first time. Those were all the important things we wanted to share with you in the very first bar. Or like we call it the A beat. We mentioned the cliffs, which are very standards. Jake left for the right hand and F clef for the left. And we saw the most common time signature that you were ever going to see for for 4/4 notes in a single bar or for water note beats in a single bar. And we saw a temple indication of 80 per quarter, not or 80 for 4/16 notes in this case. In this piece and the general, which means playing light. And remember the tempo indication is just a final goal, something we strive towards. It's not something that we begin with. In the next lesson, we're going to look at bars one through 12 3. Lesson 2 - Bar 1 - 12: Let's begin with lesson number two. We're going to read through those 1st 12 bars together with you very carefully and point out important things you need to remember and pay attention to now, often our students, when seeing this PC just a flood off 16th notes. But as we mentioned in our previous lesson in which we talked about the time signature in the first bar, thes notes are actually written in a very structured way. They're written in a 44 time signature, so we have four beats per bar, and they're also written in groups of four. So per bar, we have four groups of 4/16 notes. These 4/16 notes each equal one beat 1/4 notes, and when you pay attention to what over here said then you're not in danger of playing too few or too many notes. So the best thing is perhaps to just count them in the very beginning, just make sure that you have 12341234 while you're playing. So then you sure that you know where you are like this? Want toe treat for one toe change one toe for if I stopped. Now I know exactly where I am at a bar number one, and that's the four beat. So I'm ready to continue Oneto treat Oneto one and etcetera. Now, if that's difficult for you to do like I just did, we would advise you and recommend that you just marked the first of each group of 4 16? No. So you just put a little mark on top of the 1st 16 North Beach group, so it can be much easier for you to fall. You don't need to really struggle with this. And once you find it comfortable, you can even raise the mark and train and see Do you know where you are while you're playing? And this way with counting, by the way, 1234 Counting all the 16th notes is actually our first exercise. We would like it to do this out of temple, out of rhythm. No Metrodome, no whatsoever that keeps you stressed. You don't need to feel stressed. You won't feel nice and relaxed and call it a slow as you need. And that could be our first exercise. Just keep on counting toe. You, by the way, can slow down in the middle of nowhere. It doesn't matter how slow you go. Just make sure you can't want to treat for and you know where you are in the score. Feel free to slow down because this exercise is only about understanding the rhythmic structure of the peace. And because in the first lesson we mentioned something about I'll be then you know that it's an incomplete bar. And so we have 1/16 note. So you might wonder, how do we count this first note? Well, you count it very simple like this. I would basically count it as 1/4 beat. Right, Because we have all the time want to treat for I'm saying all the time want to treat for So I'm not going to count it as one. But I'm going to count this four because in bar number one, I need to arrive at one on the first. No. And so I'm going to do this One toe treat won t o asi heard. I'm not playing the first note in barn number one, the A. You can see that in the score. There is a little slower above the A of the left and and I'm not playing that old because it's a tie. No final means that I know have to play it again. So what I'm doing is I want to treat for one drink for one again. So I'm using this this note in the A beat as a last 4th 60 note prior to what's coming after that, I want to treat for one now if that's too difficult for you to do. If you really are a beginner and you've never done this before, we don't have any problem with actually using this upbeat as a first note or as a first count, like this 12 treat so you can start straight away counting 1234 Don't worry about that. You can do this in the later stages of your development. It's not a problem at all. Once you're comfortable with this first exercise, our second exercise is going to be accenting every first of the group. If you have marked it before, in our previous exercise, you simply plays an accent on the marked note on every first of the group like this. In this way, we're really feeling those quarter beats were feeling every first of the group. It would actually be very useful if you combine this exercise with the previous exercise where you actually count 1234 Because in this exercise, as you heard very is not counting anymore. She's not saying 1234 we're live on that you actually did the previous exercise very well. You don't need to come and you're just accepting yourself before being and the 1st 16 note . But when you're ready with this exercise and when you get the hang of it, just combine the first and the second exercise shift between them. Now, the final exercise we're going to do is also the most challenging We're going to count. Actually, the quarter beats remember, we have 4/4 beats in a bar, so we're going to count on to a four in every bar and every quarter beat comes together with every first of the Group of 16th notes. In the previous exercise, we accented every first and now we're going to count every first beat that sounds like this one, 23 four, one to 34 etcetera. What's very important is that you don't need toe copy the speed with which showed you the exercise. She showed it quite in a fast temple, and I can imagine that we're starting for the first time. This piece. You will need a slower temple, so feel free to take it as slow as you need. You can really go even so slow, three, etcetera. You can go throughout the whole piece. This way. It's not a problem at all. The most important is that you do the exercise properly. And if you're having a bit of trouble counting on these four beats, feel free just like we marked it with our first exercise. Feel free to mark the beats just right. 1234 above every bar and you'll see it helps you a lot with counting. Now let's move on to bars. 2468 10 and 12. The doors. Few bars actually have a new Rid Me group, and that's written a book is one and the same in all the bar, so once you learn one of them, you will know all. So far, we've explained that in every bar you have groups of 4/16 notes and in those bars that we're going to talk about now 2468 10 and 12. We have the same thing in every beat of the bar, but the written the group is different, and so in that written group will still actually have 4 16 notes. But in this case, Tree of the 16th knows are actually contained in one daughter. A note. Let's just look at the 1st 1 and that's in barred to because all like I said, all the others of the same. I'm talking about the third beat, right? This The daughter take knows has 3 16 naughty itself to treat 34 So, you see, I'm still counting 1234 But I wait just three counts on the dotted signal, one to treat for and then the big is my 4th 60 note. Now let me show you how this works in the Khobar. Like if I play the whole bar to like this. 123123434 And I'm going to do absolutely the same in all the similar bars. After that, I'd recommend that your stick toe counting for a little bit because you need to get used to this. You need to get used to How long you actually have to wait on that daughter egg note. And once you feel comfortable and once you think Okay, I I'm pretty comfortable. I can try without counting. Then go ahead and just remove the counting. Just play normally like this. We just want to avoid that. You shorten this daughter Ain't no that you make it really short. If I play from before not to sound something like this, that's too soon because we needed to wait 3/16 notes. That's the whole reason we're mentioning this exercise. It's very important. We pretty much have the same pattern until bar 11 where we have a whole note in the left hand, which we have to hold for whole of our 11 as well as the whole bar 12. Because it is a tie note and this is how it will sounds. And, as you have perhaps seen, I actually lifted on the third quarter beat off Bartsch Well, because otherwise I cannot stretch my hand enough to catch the B, and the Penhall will take care of still holding the note for you. So lifted as I did. I'll play it from Bar 12 once again for you to see and lifted here. So you're able to comfortably catch this B. And when you put pedal that they will be held for you by the pedal. And let's demonstrate how it actually sounds with the pedals off. Starting in Bari level, I'm lifting, but we still have the sound of the A note. The base. The second thing we want to mention in Bar 11 is the 16th rest in the right hand. As you can see everywhere in the piece, we actually have constant flow off 16th notes and suddenly Inbar level. We have rest, but that's not a problem, because actually the function of distressed is taken by the left and playing. Okay, so we still have this continuous flow of 16. Nose is just that 1st 16th note is taken by the left hand. So we just have one Chief Nothing. Nothing more complicated than this one. If I take it from bar then then you can hear the connection. I'll just count for you. Want to treat one toe for 12341234 a Z. You can see the floor of 16th notes and counting. 1234 It's not interrupted a toll. This were all the things we consider important for the 1st 12 bars of this piece. But in the next lesson lesson number three, we're going to continue from Bar 13. See you and Lesson number three. 4. Lesson 3 - Bar 13 - 20: Now let's continue with lesson number three, which will be from bars 13 until 20. The most obvious, an important thing to remember is the constant flow off 16th notes. And as we had a lesson, Number two here is well, the 16th knows they're divided in groups by four. And so this will be our guidelines for the right rhythm of the peace and understanding it. Now let's have a look where the hands come together in this section between bar sturgeon and 20 because in the previous lesson in the previous section, the hands were playing one singular musical life. In this case, we're having both a right and left and playing different lines. And so that's why it's interesting to look where they come together before we get started. Let's take a look at something called a tie node in Bar 13. For those of you who already know what it is, a little refresher. And for those of you who've never heard of it before, let's explain. So a tie note is a note connected with the same note by a slur, so keep in mind that it should be the same note. It indicates that you have to hold the note but not play it, so it means holding out. But don't play it again. Don't know this. Just hold it for the entire duration off the two titles and ask your seasons. We're looking at this E. As you see, this note is once more connected by a slur to the same note again to another eat. Which means that also the second notice a tie node as well. So that means that this e has to China was in this bar and we hold it e for the entire duration of those two titles, we don't play three separate ease. We only play that once. Now let's take a look at bar 13. Let's explore where the hands play together. So we start together and then you hold the right hand left, continues. And here you're together. And now remember, we have a tie. No, here in the right hands. So you just continue with the left hands. Another China would coming up. So just continue with the left hands. And now, here on the de of the left hand We're playing together with the right hand. We keep on playing together 16th notes. Now in the next bar, remember that we have another tie notice from the previous bar. This be is tied to the previous Be So don't play. Just continue with the left together only left and together. Another tie node coming up. Just play with the left hands. No, another tie note, which we hold for 3/16 notes. One to three playing to be on the force and remember to hold your left hand. Continue with the 60th Onley in your right hand and let's stop here Now let me show you once more, but this time I'm not going to explain it. Anything. You just listen and look at what's happening. Let's start em Bar 13 again. Oh, you Oh you! And let's stop here. Now let's have a look at bars 15 and 16 because there is something interesting that we need to pay attention. Toe Bar 15 and 16 are slight variation on Bar 13 and 14 so let's take a slow look at when the hands come together going to start in Bar 15 slowly and together they come together here once again a tie note in the right hands so we just hold it and continue playing with the left hand once more a Taino. So just continue with left hands. We come together here and remember that you actually have different notes in the right hands. So pay close attention to that when you're practicing and m bar 16 instead of having a tie note again instead of having a china be, we actually play in this time on, together we come a China once more continue on Lee with the left hand while holding your right ends. Now we still have a China would in the right hand and we play the left hand in a and we hold that for 3 16 feet. So 123 No, we take over with right hands. Let's take a look at it until here and now, once more just I'm going to not talk on Lee show you take a look and listen. Going to start again in bar 15 Oh, uh, and I'll stop here and now it's time to look at bar 20 so far, you know everything you need to know in this section we pointed the most important and interesting things. And now I would like to look at the Fed matter. OK, so here is Bar 20 and this is what our motto is. We have it in the right hands and we have it in the left hand as well. And what for Mata means is that we actually have toe hold those notes for a longer period of time than indicated originally. Originally, we have the right hand for three beats. It's half daughter note, which means three beats and left and has 1/2 note, which is only to be. But in this case, we can hold them longer than that and, for example, how these could sound. It's like this, and now I'm free to decide how long I want to keep. When the music fades away a little bit, I continue right so we don't need to necessarily count upto three in the right hand enough to do in the left, and we can feel free to hold a little longer. Now it's very important to know exactly when the hands come together in this section, but really, please make sure that you also check your hands separately. Check the correct notes. Check the correct fingering so that you don't make any mistakes. Switch between playing hands together and also switch to practicing your hands separately. Now, as a final thing, we're goingto play this section slowly so you can follow along and we'll show you an animated video which shows you exactly where the hands come together. That will be very useful. Uh, - well , this was all for lesson number three. In the next lesson, we're going to look at some interesting sports in bars 33 to 45. 5. Lesson 4 - Bar 33 - 45: Now let's continue with lesson number four of these analogy piece una Matina. Today we're going to talk about the section starting in Bar 33 until bar 45. As you know this, probably we're skipping the section from Bar 20 and to bar 33 the reason for that is that everything in that section is the same rhythmically as a lesson. Number two. If you go back any wash, let's number toe. You understand that section from Bart went into a bar 33. The only difference, of course, is that you may have different knows, of course, that you will always need to read and check all the different notes. But rhythmically, everything will be very easy to understand for you. And now in this section, we're going to see some new things. We're going to see some new rhythmic patterns, and we're going to go through them all and explain them. The first thing we're going to start with is Bar 33. Let's have a look at it now. Let's have a look at Bar 33. The first thing and most important thing that I would like to talk about is the dotted quarter note in the left hand. As you can see, we start with the daughters quarter and that quarter load lasts a few. The next f in the left hand, which is UNAIDS. No, I was very important here, as you can see is that second f is connected to 1/3 a win, a slur, and probably you already know what that slur means. That means that the third no is a tie knows we're not going to play that half half note f We're not going to play, but we're going toe. Hold it until the end of the bar. Now, this is of course, in theory, and I would like to show how that works in practise, while at the same time I will be explaining exactly what they just set. So we're starting with the F plated. Now we're going to play the effort. Now. We're not going to play the f. We're going to play just the right hands, the A and we're going to hold the F until the end of these bar. Now, let's do this once more, and this time I'm not going to talk. Just make sure that you follow when I played yet, and when I don't play there, you'll see it also very easily indicated in the animated video we made for you. Now let me show how this sounds in a little bit of a faster temple, because always the comparison and the combination between a slower and faster temple gives the best indication and best understanding how you have to play the bar. Let's see how that sounds most more. Mm. The best thing you can possibly do is to start very slowly and very consciously make sure that you understand and feel exactly where you'd have to play the air and when you have to hold it and not played. Once you feel comfortable with that, we recommend that you start speeding up a little until you reach Desire Temple, but always start slowly, unconsciously. And now let's move on to the next bar that has interesting things to offer. And that will be Bar 34 Empire 34. We see 1/2 note in the right hand, and we've touched very briefly on the subject of 1/2 note. When we saw the dotted half note in the right hand em bar, 20.5 note in Bar 20 as well in the left hand. They were indicated, however, with a for matter, which means we're holding them longer than usual, so it wasn't that important to be counted. Precisely, However, Number 34 is extremely important to be counted precisely because we have this continuous flow. So let me explain to you how it's best to count this half. Now. We've been counting on this whole piece in 16th notes, and in every bar we have to have four groups of 4/16 notes. Now let's take a look at the groups of 16th. Note em Bar 34. Here we see the first group of 16. No, now we see the second group of 16th notes, and since we already had two groups of 16th notes, it logically follows that the half note is worth two groups of 4/16 notes and if we think about it, is actually very logical in 1/4. Note. There are 4/16 notes in 1/2. No, there are 2/4 notes to logically, there are 8/16 notes in 1/2 note. Now that you know the theory, let's explored in practice And this will be our first exercise that I want you also to practice at home. We're going to count. 1234 All the 16th notes. Let me show you. I'm going to start him. Bar 34. 1234123412341234 And to the next choir. So, as you might observe, the half note is actually a lot longer than you might expect. Let me demonstrate once more. 12341234123 Or 1234 And the next bar. Take care that you practices for as long as you need to feel comfortable. Once you are very confident we can move on to the second exercise, which I'm going to explain to you. Now we're going to use the Metro. No, we're going to not count out loud anymore. But we're going to put the Metrodome on marking 50. And the 50 is for quarter beats. So that means that we have 4/16 note per beat of the Metro. No. And I'll demonstrate that too, you know, one and two here. As you heard the half note was simply too beats of the Metrodome and the 16th notes came as four per beat. Let me demonstrate once more. Make sure to do this exercise first with counting the 16th notes and only then move to play with the metronome. And using quarter beats is your indication of count. That's very important, because if you don't start with the 16th notes second exercise, it's actually more advanced, so it will be much more difficult to do. And also the temple there has just shown you 50 doesn't mean that you have to do it exactly in the temple. You can definitely go slower. And if you really confident and really comfortable, you can also go faster. It's just a Nen vacation. Now we're going to move on to the next bar that we consider important and interesting and that bar 37 1st I'm going to show how that bar is supposed to sound, and then we're going to talk in detail about it. What's more, now this is Bar 37. The first thing I want to mention are the slurs. Let's look at this list one by one. Let's first have a look at this first E, and as you can see, the is connected with a slur to another. In that case, the second e shouldn't be played because it is a tie note. You already know what that I notice. It means that we don't have to play. Let's move on to the next. As you can see, it is also connected with a slur toe another E, which is 1/2 note. That half note shouldn't be played, which would be held until the end of the bar. And now let's explore the exact rhythm of playing this bar. The first thing we have to do is indicate the groups of 16th notes. We have because, as you already know when, as we already mentioned several times, the old pieces built in groups for 16th note. So let's have a look at this bar 37 see the groups of 16 notes the first group of 4 16 notice and you here. Then we have another group of 4 16 notes, which isn't you here, then 1/3 1 until here and the final and most easily recognisable is this one, because educates, you have clearly 4/16 notes in the right hand. It is the easiest one to recognize. After we indicated the four groups of 4/16 notes, it is timeto exercise this bar, and we're going to do it by playing slowly and we're going to count. 1234 for 4 16 snows. Let's begin 12341 to G four g 412341 Let's do this. One more time to dream for 1234123412341 one Final thing. It is a little but actually white. Interesting. Have a look at this E. I counted there two times. That's because it is a Nathan note. And in 1/8 note, we have two counts or to 16th notes, so make sure that you hold it for up to two counts. You can practice it like Dimitar showed you for a while until you're comfortable. And just as with the previous bar with the previous exercises, we can move on to the second exercise, which is putting the Metrodome on the quarter beats, and you will have 4/16 notes per beat of the Metro. No, and I was the final thing. I want to show you how this bar sounds in a faster temple, because when you combine the slower and the faster tempo you can truly understand and few how the music is supposed to flow. Let's have a look how the sounds in a little bit of a faster tempo. Let's do it once more. Our final tip for this piece would be that you mark in your score all the important things for you all the things that you consider important. For example, groups of £16 eight dotted, eighth notes, half notes, whole notes, all the little things, all the little details that you consider important data will help you get comfortable. You can sit behind your piano and you can relax and just read the music and enjoy it. We would also advise that you cross out all your China. It's as you've seen us do because it really makes it easier to remember not to play those knows. But to hold them in lesson number five that will be our final lesson will do something very different. We're actually going to record in different segments all the sections of this piece in a slow and comfortable temple so you can practice with us. You can put the segment. You can just listen to it, relax and understand how exactly? Supposed out you'll see. Also my hands. Well, I'm playing so you can absolutely understand fully. How can you play this piece? We're going to record all of the sections, including the sections we haven't talked about because they were very similar. We're going to record all the sections, the full peace, so you can practice along with us. If you have more questions about this piece or any other pieces, always feel free to contact us will be happy to help you. You can also follow us on Facebook, Instagram and YouTube on YouTube. We upload the video every Sunday so you can enjoy them due to copyright were not allowed to upload this score for you, but you can very easily find it online, as we did. Make sure to also check our other courses as well, because we have several courses, applaud it already and will be very happy if you actually watch them. And if you enjoy those courses, give us a review will be very happy about it because we can create a better connection with you if you enjoyed this course and you enjoy playing this peace. A similar level is our Bach Prelude and C major. So look out for that course for us. Creating this course was a pleasure and we'll see you in the next one. 6. Lesson 5 - Practice With Us! (1): I will put the Metrodome on 50 and before I start each section, I will count four beats in advance, one to three four. 7. Lesson 5 - Practice With Us! (2): one to three four. 8. Lesson 5 - Practice With Us! (3): one to Green Tour. 9. Lesson 5 - Practice With Us! (4): one to three four. 10. Lesson 5 - Practice With Us! (5): one to three four.