Learn to Play the Indian Song | Dimitrov Boelee | Skillshare

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Learn to Play the Indian Song

teacher avatar Dimitrov Boelee, Piano Duo

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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

6 Lessons (50m)
    • 1. Intro Skillshare

    • 2. Lesson 1 - Reading the First Bar

    • 3. Lesson 2 - Reading the Right Hand

    • 4. Lesson 3 - Reading the Left Hand

    • 5. Lesson 4 - Hands Together

    • 6. Lesson 5 - Musical Ideas

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About This Class

Welcome to our course on the Indian Song from the Alfred's Basic Piano Library Lesson Book 1A. We've divided this course into five different lessons:


 Lesson 1: Reading the First Bar

 Lesson 2: Reading the Right Hand

 Lesson 3: Reading the Left Hand

 Lesson 4: Hands Together

 Lesson 5: Musical Ideas


This is a course for almost complete beginners, however to follow along, you have to be able to read notes and sharps/flats. If you've watched Elvire Boelee's : the Fundamentals of Piano Playing 1 - 3 you will be able to follow easily along. 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

In each lesson we help you read the score, explain the musical terms you need to know, and give you some useful practicing exercises and tips.

The best way to follow along with each lesson is to buy the lesson book, which you can find on Amazon here: 

Alfred's Basic Piano Library Lesson Book 1A

You can also get the kindle version on Amazon.

Alfred's Basic Piano Library Lesson Book 1A Kindle Version

It's a very popular book, used by many people to start learning piano, so maybe some of your friends or family still have an old Alfred's book that you can use or borrow. Or check out your local library to see if they have a copy. 

When you have your book, mark the bar numbers so you can follow along easily with this course.


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:

 Instagram: https://www.instagram.com/dimitrovboelee/

 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. Intro Skillshare: way. Welcome everyone to our course on the Indian song from the Alfred's Basic Piano Library Lesson book level one A. My name is Demeter Dimitroff. My name is Sofia Coppola and where the Dimitrov pull a piano duel currently living in the Netherlands and also graduates of Conservatory's in the Netherlands, as well as performing throughout the whole country. We also teach many different students from many different levels, from beginner to very advanced. And a lot of our ideas for these courses come from our experience with our students. We recommend the Alfred and Father piano books and piano methods because they help you develop your piano skews very gradually in a very pleasant way, in this case, our courses on the Alfred Matter, and since we're not allowed to upload the score, we advise you that you actually bite. It's really cheap, easy to find, and you can follow easily along with our course. Then we recommend generally that you play all the songs from the books anyway, so for you it will be very useful for developing your piano skills. We divided the course in five different lessons in lesson 123 We're going to burn, hence separate together very slowly. Then a lesson four and five were going toe. Put hands together and give you some useful tips and exercises as well as musical ideas to finalize your piece. If you have any questions about this piece or about any other piece of the Alfred book, where any pace in general feel free to let us know we love to help you out. This courses for beginners who are able to read notes already as well as being able to read sharps or flats. Anybody who has watched my fundamentals of piano playing until part three can easily follow along if you are a complete beginner and you don't know anything about piano yet, we would recommend that you first watch the fundamentals of piano playing until part three , and I will put the link to these courses below. Creating this course for us was a big pleasure, and when we showed a lot of fun watching it 2. Lesson 1 - Reading the First Bar: welcome to raiding the first bar less and one from the offers. Basic piano library from the lesson book level one A. As you already know in this course, we're going toe read with you through the Indian song from this book, and how we do that is by beginning from the very first bar of the piece. That's where the majority of the information and actually the most fundamental everything you need to know isn't first bar. So that's where we start. Always read the first bar and read all the information that there is before going to play the piece. It's very important, especially since you were a beginner. It's very important to start with the right habits now. The first and most important thing to remember when you start raiding the Forest bar is that you have to read from left to right, and what that means is we have a few signs that we have to check. They give us the basic and fundamental information we need to know, and we always have to start from the left because that's the easiest and the very first thing you will see if you take a look at the very first bar are the cliffs. The very first thing that comes up in the first bar on the top staff is the chick left, and in the bottom staff is the F. Now why do we need to check this? Because standards it will start within G Cliff and an F class, but it is possible also to be different. It's possible to be to G cliffs, and it is possible to be two F cliffs. If you don't check that out beforehand, you'll be playing some very strange notes. After we've checked the cliffs and we've seen that we have the G and the glass. We move a little bit to the right, and if you move to the right, the second thing you'll see is 44 upper digits in a lower digit. The most important thing we need to know is, what does the upper digit mean and what does the lower digit mean? The upper one indicates that we have four beats in a single bar. So to our the Hopis will have in every single bar for different beats. And what does the lower for me? Well, the lower for indicates what type bit we're going to have, and in this case, four comes from 1/4 load, so we're going to have four water notes in a single bar. Another way to explain the lower digit is it indicates which note has one beat now. Very often, that is, the quarter notes signified by a four. The four stands for 1/4 note, but it can be a different note as well. In this case, don't worry about that. It just means that the quarter note is one beat. And since we don't have any, sharps and flats in other pieces will teach you some additional stuff about sharps and flats. In the very beginning of the piece, we don't have anything else to worry about. We're just seeing the cliffs. We've just seen the time signature, and now there is one last thing we need to check. That's actually quite interesting and useful to know. And that will be the Temple indication, which stands above the 1st 2 bars. If you look about the 1st 2 bars, you see moderately like Tom Tones, that's an indication for a temple, and so that means that we have to play nor too fast nor too slow. While it might be tempting to immediately try out the piece in this indicated temple, that is not what you should do. Remember building good habits. We need to start a new piece, always very slow. However, it is really good to check out what kind of temple we're going to be playing in later, because you need to have a goal in mind. Are we working towards a very fast temple, or are we working towards, in this case, a moderate temple? Very important and very useful to know what is your final goal usually, and Temple Indication will be just great to know because of the character you want apply while you're playing the piece. So, for example, in the piece is very slow and very tragic and very said the tempo indication will be different. In our case, it's not a very really cheerful and happy and very fast kind of a piece, and also it's not slow. It's something in the middle, so we'll be looking for this type of character, and you can imagine it's called an Indian song. So, for example, I'm imagining these Indians and they're very proud of themselves. so if you want to play the piece too fast, I cannot imagine how somebody is too proud and goes. It's more superficial and kind of happy, right? But in this case, we want to imagine these Indians, and they have really pride. And they're walking not too fast, not too slow there, walking with a nice rhythm. So you want to take on and they have their own dignity and stuff. So that's what I'm imagining when I see modern like Tom Toms. And so that would be my advice to use it as a character indication, nothing more. Just don't start trying to play generally immediately. The temple you see indicated so you don't ruin the way you're going to play the piece. And, of course, your future skills. This were the most important things we want to share with you in our lesson Number one. So we have the G and the F clef. Very stay tender kind of cliffs for the right energy For lessons. The F class we have a 44 indicating fork water beads or 4/4 notes per bar, and we have a border of temple, so we have to strive for not so fast. Temple. Those were the most important science we needed to pay attention toe and since we now have all the information in the next lesson, we're going to start reading and playing the right hand. 3. Lesson 2 - Reading the Right Hand: Let's begin with lesson number two, and that's reading the right hand separately. We always begin a new piece by rating hands separately. Why? Simply because it's much easier than trying to put hands together. If you try to put hands together from the very beginning, when you start learning a new piece, you may be so many important details. And that's the main reason we want to start hand separately because we can observe in detail 100% what's happening throughout Hopis and prepare ourselves in the best way possible for hands together. And for those of you who are very impatient as we're as well when we want to learn a new piece, I want to tell you that, actually, that even though it may seem like a slower progress, right to learn first the right and then the left, and actually you're going to get there much faster and in a much better way. And this is not just an advice we're giving. You were actually everything we're saying to you were actually a applying ourselves. That's why we're so sure of it. To this day, No matter how difficult an advanced piece we're playing, we always start the same way we're reading from the left, right, like in lesson number one, and we're practicing right and left and separate for quite some time before we try to put them together. We don't want to be soon any important details because we want to improve constantly in our own practice, where super interested in efficiency and in building really good habits. And of course, we want our students to do this as well. Now let's begin with our right hand. The very first thing we're going to check are the notes and fingering. So very often my students would see a one before they see the note and just ask me in panic . Where where am I supposed to put my hands? No. Always start with a note. First, read the note. If you're not able to read this note, go back and study your notes. We check our first noted. We see it's a G, and we checked the thing. The ring is written one. So the last thing to check now for this note is its duration. It's a whole note, which means that it will be four beats, so let's try that out now. one to three. You don't have to try to play the next note immediately. Let's just take our time to study it. Let's check the second bar. Check the next node, which is, if you've been studying. You know that it's a D. And now something about the fingering. It's not written a separate fingering, but because we had our first finger on the G. Logically, as you see, my fifth finger is on the D and you should played with whatever finger it is already prepared on. So they're assuming that, you know, you have to play this d with the fifth finger. If that is difficult to remember, feel absolutely free to just write it down. I'd like to add here that always in piano music, you see later on, when you're more advanced, things will start changing. You have to apply more different fingering and stuff. But always this rule applies. If there is no fingering written, you're looking for the most logica one, and in this case, like over set from 1 to 5, they're exactly the case leading up to the deep. So you're looking for the most logical fingering. What's illogical is to play 100 to play two on the That's a logical because you're not applying the fingering that air coming after stir the G and Dozer to a tree on B four on C . Fine on the look for the most logical fingering possible, and you see that the D that we just mentioned is also for beat so you can go ahead and practice that one to three four. Now let's have a look at the third bar. We're going to check the bars we consider important for you to know in Bar Number Tree. There's something different we're having now. Water notes. So we're not going to hold one note and counter for, but we're going to count on every beat while we're actually playing a note like this one to tree floor Now was something very important in the third bar. Even more important than knowing the quarter knows, because that may be obvious to many of you is the big flat. That's a mistake many beginners make. They don't notice that on the fourth quarter note or on the beat, we have fled to written before that. We have a little tip here because many of our beginner students panic here and they play by accident Another Blackie. Because in this case, of course, we have to play the black key on the B, which is the big thing, this one. Many people panic, and instead of taking their time to find it, they go and then, uh, point their finger toe another key and play that other key, which is wrong. Our advice would be to be very patient into one to tree, and before you play the force beat, you find the B. You know it's here. You don't even need to present. You can just point your finger there, slide half a tone, Hohler, and then you play the fourth beat, which is the B flat. So don't be in a hurry. Then you can do that again, one to tree. Find the beat for, and when you're sure that you can plate without slowing down, then you can proceed for the world to treat for because your finger already knows where to go. After bar number three, everything until the end of the first system, which is bar number eight, is the same, so we don't need to look at those things you can definitely study them very easily. What's important now to mention are the slurs on top of the 1st 4 bars and 2nd 4 bars. Make sure that on your own score, mark the bar numbers for you that will be much easier than to follow along. We start with Bar one, which we mentioned which one it is. And then after. That just marked the rest of the bar numbers because then you don't need to count every time. If you don't know what those letters mean, we're going to tell you because that's important for this particular piece. So, for example, the slur means usually licato or a phrasing mark. We're not going to complicate things right now, since you're a beginner and we're not going to talk about the phrasing because that's a little bit more advanced. But the slur you need to remember that it means leg Otto. What that means is that the first four bars we need connect simply licato like this and not like this. That's non legat, so we're don't want to do that. The slur ends in bar number four and then begins again in Bar number five. Does the most important thing. You need to remember that between four and five we can actually disconnect like this to for 12341 toe 123 for disconnect one. So you can have a little interruption between those two bars between bars four and five and make sure that between bars eight and nine, you also disconnect like this. That's from bar five. 123412 Chief 234 12 to for, As you see, I disconnected there as well. In the second system, we're starting out with only quarter notes. And as you see, they don't have a slur over them anymore. So we're just going to play them normally got or not connected. So 4/4 notes and as we come and bark 10 again, remember, if you find a tricky to find the B flats, just remember, find the be first and then go half a step to the left. Which brings you on this key. And now one very important thing about bartender an accidental as we call a flat or a sharp in a bar itself an accidental always is for the whole bar. That means that any be in this bar, even if we pay for bees will be a B flat. The next bar. It's not valid anymore. But in the bar itself, in this case in bartender, it will be valid for all the bees in the bar and make sure that when you reach bars 12 14 and 16 12 who have this and 14 were for gained the same like in Barton, the same rules apply. Once you see a big flat written, it applies for whole bar and pay attention to barce 12th and 16 when we have 1/2 No. Two. Don't miss that, because it means, of course, that we have to count to Beach without actually playing any additional notes like this to for what? To three. For. It's a small detail, but many people miss that detail and what extremely nice and interesting to know is that actually from Bar nine and you bar 16 as a very mentioned we don't have llegado. Why that's interesting to me is because it presents us with a contrast from the first system. In the first system. Everything was nice and lyrical and then from Barney, and we get a very different character. So use that as a nice inspiration to produce the two different characters one regatta and one normally Gatto. Now, while you were exploring the first system, you might have already noticed this thick bar with FINA underneath. Now we'll get to that right now, because once we finish the second system underneath, the last bar is written D C all fina, and that is short for Chicago all FINA, which means repeat again from the beginning until you see FINA, which we see at the end of the first system. So, in other words, were playing, three systems were playing one to one again, an end. How you can recognize also when it's the end of the piece, is by seeing this thick line we have in bar number eight after bar number it. As you can see, we have a nice and thick line compared Tobar, 16 where we have to ordinary lines. So always when you see the thick line, it means that it is the end of the peace. And now, since we read the right hand, we have a final advice for you, and that will be make sure that you practice the right hand on to you. You're very good with it. Like, do you complain really easily and only then move on to the left hand. You always want to be confident with something before you move to something else and with fluently, we mean in a nice temple without having to think too much. For example, if you're still thinking very deeply about what notes you have to play, you're not ready to add another hand yet keep on practicing a bit. I'm going to give you also on example, how our practice this one's have become food. What we meant by fluent is that frees up. I can put even the Metro home and play together with the Metro. That means I'm ready for the next step like this, for example, while she'll learn the right and very well, said the matter. For example, the Metro marking now will be 70 for myself, that is one beat of the Metrodome for every quarter note like this, what, 2 to 4 to in the same Inbar number nine. You don't sound like this with Central, huh? The tempo of chosen 70 is personally good for me. I feel comfortable in 70 but you don't have to necessarily put it in 70. You can put it in 60 50 or lower doesn't matter. The most important is that you feel comfortable and relaxed playing together with the Metro that was offered this lesson about exp flooring the right hand. In the next lesson, we're going to take a look at the left hand. 4. Lesson 3 - Reading the Left Hand: Welcome to Lesson number three. After exploring the right hand, of course, it is time to explore the left hand of the Indian song. The first and most important thing is to find where those two first notes in Bar number one are. The first thing is, you can count if you know where the Lord of the F clef is, since the F clef you know is here. After that, I can count downwards. They'll find those two none of the left. But our advice would be in the beginning. Yes, you might be counting, and that's absolutely fine. But what's better and really necessary toe actually remember the notes and never have to count again. Then you ensure that with every future piece you're playing, you never have to count on you. If you always comfortable and you read notes, it's always very important to remember not only the note but also where the notice on the keyboard, for example, just knowing that this is a DMG isn't enough. You need to know exactly where are those DMG because it's not optional. You can't just pick any random TNG where you it wherever you want these air the D and the G over here on this side of the keyboard exactly as Demeter indicated underneath the F of the F cliff. And of course, if you haven't studied this do now, we strongly recommend that you go back in the book and studied those important size and important notes. Because otherwise, with every future song you're playing, you have more and more trouble left, and it's actually much easier than the right hand. Why? Because we have one and the same duration of nose, and those are quarter notes. If you look from bar one until bar eight, we have only this eso we have. Of course, that's no the temple you have to pay. I'm making a joke out of it. But it is actually the fact that we have only one and the same notes and one in the same durations only quarter notes. So Onley check bar number eight. Make sure just that you don't play again. 4/4 notes because we actually have embarked eight this toe way. Have 1/2 note that it's important to note. Is this in the first system of the zone Now, a little tip for the first system of this piece. Since it's very easy, we recommend that you immediately try get better with it and add the metro. So first, what you're going to do is you count up to four and you play the left and not too heavy. You don't want to bang it toe because that will slow you down and actually kill your right . And you will not be able to produce any kind of sound from the right hand, because this register of the piano is very powerful. So what we would recommend is you take the left engine. Do you just do gently? 34 Uh, can you see? My hand is very relaxed. I'm moving very relaxed. You can do the same for, for example, for five minutes, only the left just to get very comfortable. What, you're comfortable. You can put the Match journal and just follow a rhythm. A specified rhythm, a specified tempo, actually, and that's very useful. Let me show you how the matter marking would be 70 and what I'm going to do is simply the same. You can also call out loud, remember when it's one when it's stool and when it's time for to And when you reach just before I finish. When I When you read bar number eggs, make sure that you do. I'm waiting for two beats two clicks of the metro. That's very important. So then you respect half? No. So that's what do you have to do for the first system? Let me want to The second system, which started bar number nine. The second system is actually a bit more challenging than the first system, but will have that solved for you in a jiffy. So the first thing you would notice in the second system is that you start with a single note instead of two notes at the same time. Intervals as we call that. What most students find difficult is going from the single note to the interval and that if you find that challenging, I have a little trick for you. Take a little time, Yeah, to prepare yourself first of all mentally to remember, I need to start playing two notes at the same time and also physically take extra time to switch again to this to the single note. Yeah, take a little time again, prepare herself, and once you've done that a couple of times you'll notice already automatically. The time you take will be less and less until you're totally comfortable with it. The nice part about the second system from Bar nine is that once you conquer two bars, you'll be able to play the rest of the system much easier because it's all the same. So take your time, folks on the 1st 2 or three bars, just practicing a few times, and that everything else will be solved automatically. Once you go to the end of the second system. Remember, the D. C are finished. That's very important. We mentioned it earlier. That means that you have to go back from Bar one or the first system the beginning of the first system and play until bar eight, where it's the Phoenix, which is the end of the piece. So the sign the couple off feeling actually applies off course toe pull hence, so let's hands really actually a fund to learn because you have nothing complicated. It's only two nodes, and the only challenge is actually from Bar nine, where where you have to actually shoot between a single note and a double for some of your ducks will be a piece of cake, while for others it will be a little bit extra work. But it doesn't really matter, because after that song will sound really nice. Now, just as we advise with the right hand, make sure that you practice this until it's fluent and steady until we put the hands together. Also, one of the keys to this is to play not too heavy, as Demeter has already suggested. Playing light and with the Metrodome since the left hand is actually white, easier than the right hand were recommended to spend your time or on the right hand, because then you have a nice balance between both hands. Try to never spend time more on things that are easier and spent. Always your time. Give always extra additional time to the hand or the place that's a little bit more challenging. This was offer less number tree. We hope that you enjoy it and we'll see you. Lesson number four where actually it's time that we put hands together looking forward to it. 5. Lesson 4 - Hands Together: now in lesson number four. We're going to attempt and put our hands together since we practiced until now, right and left and separate. It's time to try and do this. We're going to show you how, actually when you start putting hands together right and left and might influence each other in a negative way, and we'll discuss how you can achieve the good result before we continue with the video. We want to keep in mind that always when you start putting hands together, you need to drop your speak. And that's because when we practice and learn, right unlettered, separate were usually playing in a much faster temple, since it's of course, easier to do separate hands. But once you start putting hands together, drop that speech. Don't apply the same speed you had for playing hands. Separate. One of the first things we often see with students playing this song for the first time is exactly what to Demeter mentioned, how the hands influence each other. So mostly the first thing I see is this A soon as you put it together, your right hand instead of holding your whole note, gets influenced by the left hand and starts participating and mimicking the left hand is very often that whatever the right hand is doing, the left hand wants to do or whatever the left hand is doing. The right hand wants to do so. Let's explore several exercises that you can do to help you get immediately. A great result when you're putting your hands together. So the very first exercise weaken do is simply to play our right hand before our left hand . So in that way we can ensure that your right hand is holding down your note. And then we can add the left hand just to get used to say that will sound like this. Now again, the right hand first. And do this exercise with all the bars that have the whole notes in them and keep in mind when you're doing exercises that it's not going to be a magic trick. You're not going to do the exercise ones and have a result. Perhaps you will, but it's not going to be a lasting results. Keep in mind that you can do the exercises for several days or even several weeks to get a good and lasting result. I just want to add that usually when the hands influence each other that's very actually normal in the beginning stages of your playing piano. So don't worry. And don't be afraid. It's very normal that this can happen. We've seen it many times. They're just like of experience and just you need to play a lot of pieces, that's all. And now let's move on to the second exercise in those bars where you have a whole not in the right hand and quarter loads in the left hand. The exercise will be the following. We want you to play the first note and stop. So what you have to do is play like this. Basically, you applied the right articulation and articulation means in this case that the writer has a not so you have to keep the right hand and left head is going to be short, but we want you to stop to ensure you did that properly and only then continue with the next notes of the left hand like this barn one in the true dream. For I stopped on the second bar because it's a new note of the right yet, and then I continue. Let me demonstrate the exercise once more. I start a game in Barra. I stopped. I make sure the left hand is clear and short, and I continue to four. Then you can even stop before the second bar and just do this Stop. Make sure the left and it's nice and clear in short and continue with the rest of the notes . Make sure to shift between these two exercises, as well as Brexit, slow and in a variety of other temples, while additional tip for the second exercise, very often in our experience will see people just not stopping long enough so far is up. I said Stop the first note to ensure that the meth and it's really nice. In short. In the right hand, Main Tae's playing down just keeps from playing down what people would do. Usually they would do the first, then that would move in the second bar. Already, they were going to not stop. So basically the stop we ask you to do become smaller and smaller, and at some point people don't even do it. We would recommend that even if you're confident and even if it works very well, to really do it a couple of times before inside to remove the stop. Now we're going to move to a more challenging sports and thats port is barred. Tree and Bar seven does box way. You have to play quarter loads leg Otto in the right hand and quarter notes. No leg Otto or staccato in the left. And this is one of those cases, which seems very easy to do in theory. But it's actually in practice pretty challenging, if that's the first time you try it. And again here we see hands influencing each other. Either both hands want to play known licato or both hands. One day they got on the left hand is influenced by the right hand with almost not wanting to lift from the keyboard. So my first, the most favorite exercise that I do with my students, for this is speaking out loud what you're actually doing. So to make sure to train your mind also to know what's going on, I say we pressed together on Ben, I say, right hand stays, left hand lifts and what I'm saying, left hand lifts. I'm also lifting at the same time. My left hand. Then I continue. Hence together, right hand stays, left hand, lives hence together, right and stays left hand lifts, hands together, right hand stays and left hand lives on. That is the next bar already was very important to remember in this exercise, as you probably already sold from various demonstration, is that she's not keeping a particular temple and rhythm. As you could see. She just out of rhythm out of tempo. She's not counting. The most important goal is toe actually articulate and speak out loud what you're doing with your hands and only when you're ready you continue to the next note. So, she said, hence, down right and keeps down, left and goes up, and you have to take all the time in the world. In order to do this really properly, you need to feel really nice and relaxed. It's not about playing past or keeping a temple. When he did this a couple of times, and when if you really confident, really comfortable, we would recommend that you try to not say out loud what you're doing. Still, keep playing out of tempo. You don't need to count or anything just stopped saying out loud what you're doing and see if it's easy to do without, like this and again, you see that very staking all the time she needs in order to do the exercise properly with every exercise would give you that's the most important that you take your time. And the more times you repeat this exercise, the faster you become. That's just a very natural process. You just not feel the moment when you're actually playing much faster. Let's move on to the second exercise for this challenging bars three and seven. We want now to exaggerate the left and what that means is usually the left and has to play a short while. The right hand has to play the God. We know that already. But since we conquered the first exercise, now we have to exaggerate a little bit in order to really have a good articulation in the left and because very often people just try toe cling onto the keyboard, and that's what I mean. So they will succeed, playing kind of no, only Gatto in the left hand. But it could sound like this. You see, my can't I don't want get out of the keyboard kind of. I don't want to go up. I just want to stay down there. And that's what we see very often with people. They succeed plainly. Gone in the right, don't left very few. So we want to remove this clinging feeling. And, of course, the way we want this place to sound. It's like this. So that means that I'm not cleaning it all to the keyboard. I'm nice and easy with my left hand. We also not only wanted to sound grade, we also want you to feel very easy and confident with it. We also want you to really feel different things. Leg Otto simply feels different from non league Otto, and you should feel this very clearly. Let me show you what I mean by exaggerating the left hand so we usually have to play like this like a short. But now I'm going to do it really slow and I'm going to show you how a exaggerate the left end like this. Note by note, Really carefully. Slowly, As you can see, I'm lifting my left and extra extra high. That doesn't mean that later on I'm going to play the piece like this, Of course. No, I just want toe ensure that I feel nice and relaxed and comfortable. And I feel nice independence to keep my right hand down while the left and goes nice and high once more when I'm ready to go to the second note, Then I go to third note and the fourth and then later on, if I'm a little bit more comfortable, I can do it a little faster. The whole point here is not to really go too fast because you can't exaggerate this big movement with a very fast speed. So I just go tiny bit faster like this, but start really slow in again with all those exercises. The most important is that you don't go too fast too soon. Or don't move on to the next exercise. Or you think that after doing it once or twice, you're ready to play the piece. We would recommend that you take the time to repeat those exercises several times, even for several days, in order to develop proper technique. This was what we wanted to show you. Lesson number four, where we actually put their hands together. These are the most common mistakes and the most important we consider for this lesson in lesson number five, we're going to move on toe the musical aspect of the song. We want to give you a few tips on how to make this be sound really beautiful and fun. 6. Lesson 5 - Musical Ideas: now in lesson number five, we're going to get busy with one of the most fun parts of playing piano, and that's how to make it sound really beautiful and fun. But don't forget that you need the right skills for that, so make sure you go through the previous lessons first. If you don't apply a musical approach to our playing, everything can sound kind of the same. So if I start playing this piece, everything will sound, for example, like this on that. At some point, you will think. OK, well, I heard this already. What's gonna happen next? And the song can actually I can convince you that the song is actually pretty pouring. But if I apply a musical approach, I cannot convince you that the soul is actually pretty awesome to play. And so how we teach our students is always the technical aspect. First, your skills need to be solid, and after that we combine that with a nice and musical approach. So you need to also study, of course, how to phrase play beautiful. First things were going to take a look at are the dynamics and the dynamics we have here in this piece is 40 and piano and just a little side note. If you don't know what for 10 piano ways, Porta is loud and piano means soft. That's first. Take a look at the Fortis's. This is a dynamic that we hear most problems with with our students. The first thing I have to mention when talking about 40 is that 14 means loud, but it doesn't mean loud, ugly, loud is still a beautiful sound. We still have to make a beautiful sound very often when my students CNF, they play as loud as they can and they bang the piano. But if you are speaking in mention, if you're speaking to an audience, you have to speak louder than when you're speaking one on one. But you're not going to scream at your audience because they'll probably run away. So make sure that you always pay attention to the quality of your sound. 40 is still a beautiful sound, and also remember, one other thing 40 is loud compared to something else. If your piano is very soft, your fort it doesn't need to be so loud. For example, if my piano is like this, Uh huh, then my fourth. It would be like this. But if my piano piano dynamic it's like this on, I don't control Well, then how much more can actually play on that? I consider already to be quite forceful and quite unpleasant. Also, the piano start producing a metallic sound after a certain point, so make sure to always compare your fourth to your piano. Dynamics are always relative. They're not something permanent like you say. Fourth, this is supported. No, for me can mean something else. The fourth toe Severe and Porter toe another person. So especially you have to always always compare. The second important thing is that 40 doesn't mean that all notes should be played at the same volume. For example, Bar one. I don't need to play all the notes sport like this on Barto. That's not necessarily what I have to do. In order to do this properly, we need to first know that, actually, inforty, not all the notes are the same. They're always knows that will be or important, and notes that will be less important. That's the secret behind playing musical. So the first example afford that was all that holds the same. But in the reality when you're a little bit more advanced. You know, actually, how to phrase this properly And that would sound like this. And it's to fort it. What am I doing? Different? The difference is that I actually play a little bit sharper. The first note on then I released tension. Then in second bar, I get a pilot with more pressure on. Then the rest of the lords are a little bit lighter in the left. And then when I reach bar number three instead of Hemery every single quarter like this, I take it easy in bar number three. And I kind of used Bar three as a transition place going towards bar number four like this on you can see, I'm constantly changing the nodes volume I'm playing in Bar Juan first, no stronger after that lighter in bar to the same bar tree. I approach it in a totally different way. I kind of transition there and go towards Bar number four. Make sure that when you're dropping and sound, you never make the Contras too high. So don't drop suddenly from 42 pianissimo. It needs to sound natural. It needs to sound all around 40. Just the secret is never to play all the notes, the same 40. And let me show you another example. For example, starting in barn nine instead of again playing everything Fourth because we actually have an indication of 14 Bar number nine. Instead of playing like this, I'm going to play like this. A Z you can see I have notes that not as loud, not this heavy as other nodes. For example, Bar nine, I can start the first note kind of strong. And after that I go again towards bar number number 10. This first note is the most important, and the third note is the most important. So, second in the forethought, I kind of dropped them. I do this stronger, lighter, stronger, brighter. Let me show you a little faster. Say my doing. Bar number 11 in bar number 12. I do something different. I go towards the half note of the right and so I go like this and then you can see that I'm constantly applying a variety of approaches. So what we would advise you to do also yourself as well is with your teacher. Just experiment look for what? Know what you like to be war and what knows you like to be a little bit less important. And then you see that music becomes much more fun and interesting to play. You can also always record yourself and listen from a distance. And now let's move on to the next thing. And that's the contrast between 14 and piano, as you already saw. Probably in this piece, we have two dynamics. One exporter in one is piano, so we would like the piece to someone, something like this. One of the most important things when you make the contrast here is in Parse five and Bars 13. When you get the piano, it's very important that you actually make the contrast already from the first note and not any later. The most common mistake we see is that, like a mentioned, you need to start from the first note. Usually people would not be able to do that, and so if I start, I'll show you what happens. I'll start in bar number three, and I'll continue to bar number white, and you see that I make the contrast a little bit later, which wouldn't be good the way that the piano comes much later. But we won't immediately after bar number four or the the first note to be in piano, and that's what we're going to teach you to do. Making an immediate difference between 40 and piano requires you actually in a it's second to make an immediate difference between a lot of pressure for the fortune and very few pressure for the piano. The exercise we would like you to do is a very, very simple one. For example, I will start in Bar number four and then before I played the piano in bar number five before I played the first, I will stop, prepare myself and then when I'm sure that I can continue in piano, I'm going to continue like this. Bar number four. Let me show you again, this time probe our number three because also that's where you can start as well, and then I continue in a perfect piano. We want you to continue repeating this exercise until you can do it without stops, and this will happen very naturally. You're stops will naturally be a little bit shorter and shorter until you don't need them at all. And by the way, you can do the same exercise in the connection between bars 12th and 13 where you get this . So make sure that you apply the same exercise, their one additional but very important tip for bars. Five home and 13 own. Once you start playing piano, we recommend that you actually use the Metrodome toe exercise wife because most of the time we see that when people start playing soft, they slow down, probably because they have to control the sound and that requires extra attention. So you're kind of distracted and you cannot keep temple. So we recommend Just put the Metro, um, in a temple that you're comfortable doesn't matter which metro marking use as long as you keep the same tempo and play soft at the same time. This were all the tips and ideas we wanted to share with you for this Indians song from the Alfred Book. Don't forget also Toe Purchase actually the book so you can follow easily along with us. This is a great book to buy because it's filled with lots of songs that help you develop your piano playing, and it's available pretty much anywhere, but it's also available as a digital online version. Buying the book for yourself would be not useful only for this lesson in this India song, but also for many other pieces because we're actually playing when making many courses all the different songs by Alfred, also from the different books of Alfred. So make sure you check out the books in general, if you have more questions about this piece or any other piece. If you also have requests for courses on a specific piece you love, let us know will be happy to respond. Make sure to also check our other courses and follow us on YouTube, instagram and Facebook or new, too, by the way, where every Sunday posting a new video for us, creating this course was a big pleasure and we'll see you in the next one.