Piano Lessons for Beatmakers and Music Producers | Riley Weller | Skillshare

Piano Lessons for Beatmakers and Music Producers

Riley Weller, FL Studio Teacher

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29 Lessons (4h 14m)
    • 1. [INTRO] - Piano Lessons for Beatmakers

      9:47
    • 2. 1-1 - Presenting My Skills and Qualifications

      2:37
    • 3. 1-2 - Beatmakers vs. Classical Piano Players

      11:13
    • 4. 2-1 - Piano General Overview

      2:33
    • 5. 2-2 - Piano Note Names

      2:05
    • 6. 2-3 - Using Octaves as a Beatmaker

      7:48
    • 7. 2-4 - How Keys and Scales Work [Overview]

      6:07
    • 8. 2-5 - Your Hand's Numbering

      1:33
    • 9. 2-6 - How Chords Work: Major and Minor

      6:12
    • 10. 2-7 - C Major Scale Breakdown

      18:12
    • 11. 2-8 - Diminished Chord [Leading-Tone]

      6:42
    • 12. 2-9 - C Minor Scale Breakdown

      13:06
    • 13. 2-10 - Note Name Degrees

      3:42
    • 14. 2-11 - Circle of Fifths and Fun Facts

      10:30
    • 15. 3-1 - Making Practice Fun on a Piano

      9:32
    • 16. 4-1 - Counting Beats as a Beatmaker

      16:23
    • 17. 4-2 - Practicing Scales and Hand Positioning

      3:38
    • 18. 4-3 - Using Inversions as a Beatmaker

      5:32
    • 19. 4-4 - Arpeggios: Manual and Automatic

      4:47
    • 20. 4-5 - More Advanced Chords

      4:24
    • 21. 5-1 - How to Use Chords to Make Beats

      8:45
    • 22. 5-2 - Adding Spice to Chord Progressions (Syncopation)

      7:51
    • 23. 5-3 - Playing with the Right Hand

      11:29
    • 24. 5-4 - Playing with the Left Hand

      15:44
    • 25. 5-5 - Playing Both Hands Together

      8:08
    • 26. 5-6 - Learning a Song on Piano

      7:37
    • 27. 5-7 - How to Find Powerful Chord Progressions

      18:25
    • 28. 5-8 - Composing a Beat from Scratch

      23:15
    • 29. 6-1 - Conclusion: Recap Playing Piano as a Beatmaker

      6:05
11 students are watching this class

About This Class

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THIS COURSE IS AN UPDATE TO AN OLDER COURSE "Learn Piano for Beatmakers and Producers".

Learn Piano for Beatmakers and Producers has received TONS OF AMAZING REVIEWS!

This course will teach how to learn piano by yourself, and is just like taking piano lessons for beginners.

With me continuing to create these online music production courses, I have acquired much higher quality video production gear, allowing me to achieve extremely high-quality courses.

Here's some reviews from the previous piano course (this course is very similar, but way higher quality, and a bit more in-depth.)

  • [Fantastic course. I had a hunch that trying to learn to play classic piano wasn't really going to help me produce. This course solidified that and I'm now on my way to actually making great music. I highly recommend this course. - Chad Fox (5/5)]
  • [This is what i been looking for!! Thanks!! - Gina Sloan (5/5)]
  • [The content so far is excellent and understandable so with a little practice I can achieve my personal goal I set at the beginning of the course. Awesome course!!!! - Rob Young (5/5)]
  • [Riley (GratuiTous) is a great instructor. I have a done 1 on 1 with him in the past regarding vocal mixing and a bit of mastering and he knows his stuff. If you are a beatmaker and have little to no experience with playing the piano and want to learn for production or just to learn to play the piano this course is for you! This course brought my music productions back to life - Andrew D Brown (5/5)]

So what's all covered in this course, and what's all the hype about?  Why such good reviews?

Well, I've been creating these music production courses for many years now, and I would not have continued if it wasn't for your amazing feedback.

Students continually tell me I'm able to break down concepts in such an easy to way to understand, which still relates to the real world when it comes to music production and how we can apply these theories to real world practices!

As a beatmaker, I discovered we beatmakers actually play the piano differently than a classical piano player.

If you're trying to check out YouTube tutorials on "how to play the piano for a beginner", or, "how to play piano to make beats", you will not find your answer.  Trust me, I was at that point in my production career, too!

Classical piano players have a different mindset behind the piano.  Sure, we beatmakers and classical piano players use the same instrument to make our music, but our outcome is different.  Therefore, our mindset should be different, and how we practice and use the piano should be different, too.

So how do we beatmakers use a piano differently to make our beats?

We need to focus on two main areas:

  • Improvisation (creating melodies on the fly, knowing what notes we're allowed to play; spontaneity)
  • Catchy loops (we need to train our ear to know what is catchy, and what will and will not work for our loops as a beatmaker.)

With that knowledge in mind, our course focuses on what is necessary to learn these two main concepts, and excel in this field of music production.

There is absolutely no prior knowledge of a piano required to take this course, as everything is covered from beginning to end.

We start at the basics, explaining how a piano works, what notes are available to you, how to play chords, but then keep referencing back to music production, and how these parts of a piano actually relate to music production.

For example, choosing to play an instrument up or down an octave can really help in the mixing stage, and prevent instruments from clashing in the same frequencies!

You may ask, is it necessary to learn piano for music production?

The answer is actually no.  You can click notes in to make a beat, but if you don't learn piano, it will take FOREVER to click notes in, and it is much harder to create beautiful compositions and great ideas if you don't know the piano.

In my opinion, I'd say yes, it is necessary for a beatmaker to learn piano for music production to become a great music producer.

You can enroll into this course above, and I'll be happy to teach you how to learn the keyboard for music production.

Here's a quick list of what you'll learn:

  • Differences between beatmakers and classical piano players

  • How a piano works

  • How to make practicing fun on a piano

  • Learning and Interaction (I show you cool tricks you can use, then how to practice using them.)

  • How to actually play a piano to make beats (we even create a beat in this section!)

  • How to play with both the right and left hand together, and improvise!

  • Tips to practice the piano efficiently

Sound like a useful course?  You bet it is.  The previous piano course continues to help thousands of students every year learn the piano.

And now with my new video equipment, the piano course has gotten even better.

Enroll now, and take these online piano lessons for beginners.  You'll learn how to produce music in any genre, as the information relates to music production as a whole.  (hip-hop, edm, etc.)

Transcripts

1. [INTRO] - Piano Lessons for Beatmakers: or he was a body gratuitous here and welcome to my newest course, teaching you guys how to play the piano as a beat maker. I'll tell you right now, if you guys are trying to learn the piano by searching on YouTube, you know, and learning classically classical piano, you guys air learning the wrong way as a beat maker. What you're wanting to learn is improvisation and creating catchy loops. That's all we need to know as beat makers. But in order to create these catchy loops and in order to improvise, you have to know the general concepts of how a piano works in the sense of keys and scales . What notes you allowed to play, what chords you load to play, how these notes and chords kind of integrate. Okay, once that stuff is revealed to you, then it is up to you to practice, to build muscle memory so that you can continue and improve off of your different melodies . Right? So you know, when you go to make your beat, you start with like, let's say, your piano. Then you may add a guitar. Now you have a lead. Now, in order to add that lead over top of your other two instruments. You have to know what notes your you are allowed to play, OK? And this is what I teach inside of this course. Now, I just want to let you guys know I released this piano course many years back. But since I've continued to do these courses, I have acquired all this higher end gear video production gear. You know, you can see on here if I had some keys and stuff. So this course is going to be extremely high quality. I'm gonna break down what is necessary to know as a beat maker to play the piano. Um, you guys were gonna learn improvisation. You guys gonna learn, You know, chords, keys, scales and how to actually use them from a beat Makers perspective. Oh, case. Because again, if you compare a beat maker toe a classical piano player, there's a lot of differences which I'm going to be covering further on into this course. Okay, So, again, this is like the new updated version. The previous course received tons of five star reviews. Like countless five star reviews. It's been my best seller out of all of my courses I've ever created. I currently have 22 courses and it's continually growing. Ah, but this course right here, it was by far my best seller. And now, since I haven't the new equipment, I just kind of wanted to give it an update as well as give you guys practice examples so you guys can kind of get up and running quicker. Now, I can promise you, by the end of this course, you guys will be able to improvise on a piano. And what that means is being able to discrete, you know, melodies and loops on the fly. Because as a beat maker, that's key, right? But I can only get you so far. And what I mean by that is it is up to you to practice, Okay, so I can reveal the information of what is required as a beat maker behind this piano. But it is up to you to practice because the the whole key behind improvisation on a piano is muscle memory. You have to know what notes your long to play at what time you know, with what chords, so that you can, you know, literally just sit here play the keys and improvise and just create something beautiful on the fly. Okay, So as we proceed, wrote this course, You guys gonna learn how to play the piano as a beat maker again? This was my best selling course for the first version, but now we're the new updated with all the new gear. I really, really excited. We have tons of stuff to cover, so, you know, I've broken it down pretty similar to the first version of this course, But I'm just gonna go Maurin depth again with higher quality here. We're gonna talk about, like the differences between beat makers and classical piano players. And why, If you're trying to learn the classical wrote, you're doing it wrong as a beat maker because, you know, that's there's a lot of similarities. I guess we're playing a piano, you know, the notes of the same. The cords are the same. The timing, for the most part, is like the same. All that stuff is very, very similar. But in a sense of how we use the piano as a tool to create melodies is a lot different. We're gonna talk about you know how a piano works. When you actually look at this piano, What do you looking at? What's important to know? Is it beat maker? OK, you know, such as like the notes. OC does keys and scales. Um, you know, we talked about like your hand, and like, the numbering of your hand and we break down chords we talk about, you know, even further keys and scales further. You know, we actually break down a major and a minor scale revealing to you how this stuff works. Um, I teach you how to kind of make practicing fun, how to set yourself up so that it's more enjoyable because really practicing is never fun. But if you can kind of make it a little bit more fun, you will find yourself practicing more and again building that muscle memory, and then we kind of get into a section of, like, learning and interaction. So I break down. Ah, concept. And then I'm going to give you guys an example to practice on. Okay? We have ah, couple videos of that stuff so that you guys can really, you know, take the time out. You know, after you don't watching that one video you can actually try the technique. Practice it. And again when you take this course, it isn't something you know, just what they don't just watch it in one day, Come back to this course and just keep, you know, listening to what I'm telling you so that you can learn this piano again from a beat makers perspective. So you can learn improvisation. It's really, really amazing One to learn it. Ah, just a little background on myself. I actually took, um so when I was really, really young, I took some piano lessons, Okay? But it taught me how to read sheet music, and that was so I found it so boring. Okay, um, and as a beat maker, it's like that has helped me a little bit. And I say that because now I'm able to understand, like, the notes, you know, in a sense of c d. E f g. You know, all that stuff like I understand that a little bit more than maybe just someone just coming into music production with no music history at all. But in all honesty, it really kind of more just taught me how to count beats and stay in time as well as the notes. But as far as that, that's honestly as much as I learned. So in my later years I got into music production and I was able to kind of, you know, if you find so far, if you hit the white notes, you'll be able to start playing some kind of chords. Unico, It sounds good, but as soon as you start trying to add in the Black Keys, you're gonna be like I'm confused. I don't know how I can add these in, and this is where keys and scales come in, and that's where I'll break it down for you into the course. It's really, really eye opening, and once it's revealed to you, it's just like, Whoa, okay, now you It's kind of like that stepping stone. Okay, so down my street there was actually a lady where I took about two or three lessons when I was older, was probably producing for about two or three years, and she revealed to me just how chords and keys and scales and stuff worked, and I was like, Oh, well, now I know what notes in a chord, them allowed to play, and it's like now I know what I can play. And it's a huge difference. Because when you go to make that beat, knowing the notes were allowed to play now it's just a matter of, um, just creating a melody. Okay, so it's not so much about trying to find out what notes allowed to play, because you now you already know the notes throughout to play. Now it's just a matter of trying to find a melody over top of whatever is going on. Trust me, it's a huge game changer as you proceed. Okay, so again, that's kind, like the learning and interaction section about county beats, practicing scales, inversions. He's really, really powerful things to learn and practice that you guys could just flow on this piano. Ah, and then we actually get into a section of actually learning how to play the piano when you're making beats. Okay, so for example, I talk about you know how to just use at the right hand how to just use it the left hand. How toe use them together. Okay, because again, by the end of this course, you will be able to play with both hands improvisation. I'm not saying that you're going to be amazing, cause that's up to you for muscle memory to practice. But you'll learn from a beat makers perspective. Like I'm talking inside a FL studio. We're gonna be building like a little drum loop. All start adding this piano over top of it, and you guys will actually see how we add this piano into the be and how we can kind of add stuff in for a groove, make it sound a little bit fresher for the for the listener. So it's just not so static and, you know, blocky feeling. Okay, so that that's actually gonna be a pretty big section about learning how to actually play the piano to make beats. Okay, you know, we talk about different chords, timings and rhythms again. How do you like your right hand how to use your left hand, how to use them both together? And then we kind of just reflect on, you know, the things that we've learned in just just different kind of tricks you can use? Ah, for that. And then finally, you know, again, I just talked to you about how to practice efficiently how to make yourself one of practice . And it's just all about setting yourself up in the right way so you can enjoy practicing. Okay, so if you guys want to learn the piano from a beat makers perspective, my first course has been like my best seller has been amazing. Now, with all this new gear, as you can see when I hit keys have set it up like this. Ah, once we get into FL Studio, I'll break all this stuff down for you. You guys will be amazed if you're new to music production and your warning to learn the piano. I'm telling you, I promise you you guys will learn how to improvise on a piano. It's the biggest thing is a beat maker. But again, I can only get you so far. Okay, I can I can teach you the knowledge, but you're gonna have to practice. But trust me, once is, once this is revealed to you, music production becomes a lot easier. And then it's just a matter of finding the right melody rather than trying to figure out even how the piano works. Okay, so that sounds interesting. You guys can enroll we'll talk to you guys inside the course so that you guys can learn how to improvise on the piano from a beat makers perspective, not a classical piano player's perspective. 2. 1-1 - Presenting My Skills and Qualifications: OK in this video. I just want to give you guys just a little idea of my own skills on how I play the piano going forward. What you guys can expect to achieve if you guys actually practice and apply what I'm telling you again. It's all about muscle memory, but from you taking the course, you guys, we're going to gain the knowledge of what's required to build that muscle memory. But then it is really up to you. So again, this is not to kind of show off or anything. It's just to show my skills going forward into this course of what to expect. I want to teach you guys the piano to play as a beat maker. OK, so here we Oh, wait, we'll change it up. But as a beat maker, you know, we're more focused on loops. So when I say that, you know, you gotta be thinking about court progressions and how you're kind of driving that emotion home, you know, for example, so you know, Drum Loop could easily go over top of that. So Okay, so that's just a little example of me playing the piano. I want to get you guys up to speed to be at that level eventually. But by applying this knowledge, which I'll teach you throughout the course, you guys will be able to, But you have to put in the work. Okay, That's only concern. But I promise I can guarantee you guys will be improvising with both hands by the end of this course. Um, but it will take time to get to this level. Just let you know. I've been probably been playing the piano for probably about 78 years with improvisation. Okay, just to give you a reference point when I first started, you know, again, it was just kind of learning, slowly understanding, You know how the keys and all the scales and what notes I'm allowed to play how it all worked, which is cool. Ah, but it was just a matter of constantly keep practicing, that getting comfortable in the keys and then being able just to flow All that was improvised. You know, I didn't know what I was gonna play. I just started playing because I knew the notes. I was allowed to play within my key and scale. Okay, so, you know, keep watching. Let's get into the course. Let's teach you piano from a beat makers Perspective 3. 1-2 - Beatmakers vs. Classical Piano Players: OK in this video, I want to talk to you about the difference between beat makers and classical piano players . Okay, so I'll be using Blue for beat makers and then this kind of, ah, pinkish color for classical piano players. So, as a beat maker, what does you know? Go to think, like, what are our goals And when you're first starting up. You know, you may not really be aware of this stuff, but what I discovered over my years is as a beat maker, our goal is improvisation. Okay? And so what that means is sorry. What that means is being able to play the piano on the fly without thinking. Okay, so, like, in other words, is not like you're reading sheet music. Okay, So for example, or put like a line and we have, you know, sheet music. You know, this is class school. Ah, piano playing. So, sheet music. This is, you know, sitting at the actual piano. Ah, looking at a piece of paper, telling you what notes to play. How long to hold that note down? Ah, you know, timings and all that different stuff. Okay. So, as a beat maker, our goal is improvisation. Now you can be, you know, classical piano player and improvise. But as a beat maker, this is a key element. Cave. You know, you have your drum loop going on. You have a baseline. You have it, You have a piano. Now you want to add a guitar over top of it. Well, you don't have sheet music toe work off of you gotta improvise. So you know how to use How do you approach that? Okay, again, this is to do with knowing the key and the scale so that you know what notes you allowed to play. And then it's just a matter of trying to find a melody that suits the song. Okay. Eso In addition to improvisation, Ah, Weah's beat makers are always looking for catchy loops. Okay, so we're looking for that loop, which is on repeat from the beginning to the end of the song. For the most part now, not every single instrument is going to be playing from the beginning to the end of the song, but some instruments might be, you know, typically in your production, you know, let's say, had seven instruments now how it works is usually there is gonna be like that one or two instruments which are the fundamental core to that song. You know, the rhythm the notes played, that is the song That's the melody. Now, the other of you know, instruments that you have, they may only come in at certain times. You know, whether that is to help kind of build up like the course or even once it hits the chorus. You know, you have all your instruments going on. Um, and one little thing might be a little off topic, but you'll notice as you start to proceed as a producer. Some melodies. Okay, so some loops hold their own better than others. Okay, so some loops. You're always gonna need some type of supporting layer. And so what that means is, you know, let's say you had a piano. You have, like, some plucked sounds. You have a pad now, maybe like the pad by itself is really powerful. And you can play it by itself with the drum loop, and it sounds like a full song. Ah, but then now you remove the pad. You added, like those old pluck sounds. Now, maybe the drum loop in the plucks. It's like it just feels that something is missing. So you'll discover over your years that you, you know, some loops can hold their own their powerful some loops. Need some type of supporting layer. Okay, little, little off topic. But in addition, you know, as a beat maker, you have to be thinking this way. Ah, we don't need sheet music. Okay, so I'm just gonna put an X here in blue because it's a beat maker. We don't need sheet music. Ah, classical piano player? Well, yeah, like, you know, all this stuff relates to a classical piano player improvisation, and you don't catch you loop depending on their situation. Ok, a za beat maker. I guess this relates to both, but it's muscle memory, okay? And so what that means is being able to sit down at a piano, you put your hands on the piano, and now you know what notes Love to play. Um, you know, it's just kind of second nature, you know, because you put the time in to practice, You know, you're not getting stuck, you know, especially when you read sheet music. Many times there's that one part of the song where people get stuck, okay? And you have to keep practice thing that section until you finally break through and it becomes natural to you. Um, but with improvisation, you know, I usually suggest that it's nice sticking into, like, one key and scale. The reason I say that is because with our music production programs, we can transpose, and I'll explain this further on. But it's just literally a matter of sitting at your piano, you know, knowing that one key that one scale constantly practicing it. Now it's become second nature, you know, muscle memory, right muscle memory. And now it's, you know, you know that key and scale off by heart. You're able to sit there, you're able to flow. You're able to hit whatever notes. Okay, a classical piano player there, more practicing again like that one piece of music and they're building the Muslim memory in a sense of trying to remember what notes come next. Because, you know, as the reading, they're just using as a reference. But they should have already practiced. You know that peace, however many times, for however long toe like they know that song and then when you look at the sheet music, it's just kind of a reminder, you know, whereas us as a beat maker, we don't have anything to reference off of. So you're literally sitting there, you're gonna be making this beat. So again, you have, like, that. Baseline that piano. Ah, but now, since you know your key and scale off by heart now you can literally just sit there and whether that is just plain with the right hand or both hands or whatever, you know, the notes were allowed to play and you've built muscle memory. Okay, again, I just want to right here. So I'm just gonna rate easily transpose K. Now, this is a really amazing thing. Ah, with music production and a computer, Okay, because within music, there's many different keys and scales. Okay, So what that means is there's tons of different keys and scales the memorize K, which takes a lot of time, and as a beat maker, there's so many different elements to making music. Okay, So for example, you know you may never use a microphone to record because everything is I t b in the box case. So you open up your music production program. You open up some plug ins like a piano plug in or ah, you know, serum Our silence one. These are popular V ST's third party V ST's, but the different steps to music production he's like, You know, you record. Okay, you actually make the be inside your music program again with those v ST's there's like the mixing stage. There's the mastering stage, right? So each of these sections, and then against it even that doesn't the sound design stage, and you'll discover that sound design is a totally different aspect to music production than even composing a song. Okay, they're two totally different skills. And so what I'm trying to say is you don't need to be learning every key and scale when you're first starting up. Sure, it's interesting to look into to understand, you know, just kind of generally how it works, but you don't need to learn every king scale. And the reason why I say that is because your time is more valuable to spend in the other aspects of music production. Okay, again, making the B is only one aspect of that process. To make the beat And then there's that the mixing, which you know if you want to learn it, you don't have to. Ah, but you know, if you want to be a self sufficient of one man show in a sense of make the B mix it and be able to master it, you're gonna need your time to learn and study these different aspects of music production . Okay, so what I'm trying to say is, if you're trying to learn all the keys and scales, I personally feel that you're wasting your time nowadays that we have a music production program to transposed for us case. So transposing means that if I'm in one key in scale, for example, that's a C major. I can easily transpose to a different key such as G. You know, Major or something like that. Okay, so it takes a little bit of time, but it's easily doable. And it's a lot quicker than memorizing all these keys and scales. Okay, So by learning one key and scale, you can build up muscle memory, you can start improvising easier. And if you really, really need to, which it isn't too often, you can transpose into a different key and scale if need be. Okay. Ah, the last thing I want to, um, talk about is it's just called repetition, okay? And this goes pretty much hand in hand with catchy loops. But as a beat maker, it's really, really important that you train your ear toe, understand what is catchy, Okay, because the thing is, that loop is playing repetitive Lee for however long this song is okay. And you always gotta be thinking from a listener's perspective when you hit play, you know? So after the loop is created, you hit play. That loop is going over and over and over. And the thing is, you know, maybe in the first minute or two after you've created that loopy like, Oh, that sounds really, really catchy, You know, within five minutes goes 10 minutes goes, you start trying to add other instruments over top, and you realize that first loop you like, you know what? It was catchy. Now it just sounds annoying. And this is something where you will discover over the years of what's catchy and what isn't. And it takes time, okay? And it's also subjective, right? Because you know the style of your music might be different if someone else is. What you find enjoyable to listen to is gonna be different in somebody else, right? Like that's That's opinion based. But for the most part, you need to train your ear toe what is catchy and what isn't and what you can listen to for the long term. Okay, sometimes that loop that, you know, maybe you only want to play at certain sections of the song bringing in once in a while because it's maybe too overbearing, but it's OK for a little bit. Okay, these are all just things to think about. So I just kind of wanted to talk about just a little bit about beat makers versus classical piano players. Now again, we both use a piano. We both play the same notes, the same chords, the timing, you know, 1234 would take advantage of, you know, the off beat like Syncopation and being creative and stuff like that. But the mindset and the approach to using that piano as a tool to make your B is a lot different. Okay, because one of the biggest problems that students have always said to me is like OK, so you know, I've laid down like my first loop, but then it gets stock like I don't know where to go. I don't know how to approach it. And again, it's all because of you don't know a key and a scale. And what that means is just what notes you're allowed to play. And then what chords we like to play because those cords have to have the same notes. I'll break it down once we get into it. It's not as intense is what you think. There is some learning involved. Don't get me wrong, but again do taking this course you guys can easily come back and watch the video over again. Um, but again, if you're trying to learn as a classical piano player, you're just going to cause stress for yourself again. We have very, very similar things about us. You used the exact same instrument, but our approach to the end result is a lot different. Okay? And you want to learn the piano from, you know, as a beat maker, and that's what I am going to teach you going forward 4. 2-1 - Piano General Overview: OK in this video. I want to talk to you. Just a boat. The piano. Just a general overview. I know when you first start up, it can be very overwhelming. You know, just looking at a piano. But a piano just repeats. Okay, so it actually has 12 notes. Those 12 notes just repeat over and over. And every time thes notes repeat, it's what's called an octo. So, for example, if we're here at a four, if we go, eh, five now, OK, you can see that these, you know, I'm up one octave, and if I go lower, you can see I'm down an octave. And from a music production standpoint, in terms of mixing and mastering, it's actually double infrequency when you go higher. So, for example, a four here is actually 440 hertz. And if we go higher up to a 5 880 hertz and if we go Teoh a three is actually 220 hertz. Okay, just to kind of little little cool fun fact. But at its simplest terms, a piano has 12 notes and repeats over and over, and it's what's called an octave now looking further at the piano, you can see that we have three black notes. Two black notes, three black notes, two black notes, 32 So it just repeats over and over. Okay, so for example, from C to see, that's one active, you know, deed deeds. One active. You have 12 notes this repeat over and over. And that way it doesn't feel so overwhelming and so confusing because it's like, OK, well, now you just have to learn the 1st 12 notes. And what I mean by that is so, you know, if you go from, see here. So 123456789 10 11 and 12 are on the be here, and it goes to the next. See? Okay, So I started. Let's see, we ended at sea. Okay, So from see, to be within including the black notes, it's just 12 notes, and it just repeats over and over now to even get more simple. Once you learn about a key in a scale, you're only actually allowed to play seven notes, okay. And depending on this key and scale, it shows you what notes your log to play, which is why I say it's nice to learn one key and scale, maybe two off by heart so that you could just kind of play them. Um, but now, instead of knowing 12 notes now, you only need to know seven notes. So as you start to flow over the piano, it just makes it a lot easier. Okay, so in her next video, I'm just gonna talk about the notes a little bit more in depth. Um, this is something that which you will have to memorize. Okay, It will take time, but there are only 12 notes. Okay, so it's not too intense, and it just goes up the alphabet. Okay, so talk to you about that in the next video. 5. 2-2 - Piano Note Names: OK, in this video, we're gonna be talking about the notes on the piano here. Now, this is something which you will have to memorize. Okay, but again, it's not too intense because there's only 12 notes and it just kind of follows the alphabet when to go to the black notes. It's other a sharp. It can also be a flat. We're not gonna get into that argument. You know, this is all that's to do with the more technical stuff. Like it is something that there's something called the Circle of Fifths. And it's just to show, like if you have a major scale, what's the opposite minor scale? Because a cool little fun fact is, every major skill actually has an opposite minor scale. Break that down for you once we get into, like the major and minor scale stuff. Ah, but right now we're just learning about the notes. So there's 12 notes. You will have to memorize them something people do when they're first. Starting up is you can put like your masking tape. You can put tape on each key, and you could just right on the masking tape in that way, you know you will know the keys, but you yourself have to learn the notes. Okay, There's 12 notes and I will just walk you through them. OK, so ah, we're gonna start from a three here. Okay? So if we go a and then you go a sharp we will be we'll see. C sharp de d sharp E f f sharp G g sharp A. That was one octave case. We went from A to a and there's 12 notes in between there again. Once we get to that, he and the scale, you'll see that we only have seven notes to play, which makes it a lot easier to memorize. Once you understand those seven notes, then you can start flowing and makes it awesome. But really, that's all there is to say about notes. I just want to create this video just for a little bit further. Clarification you again. You can do the masking tape. That's a great way to start learning. Eventually, you will want to take that masking tape off, though, so that you can, you know, flow on a piano when to understand it. It's just it's know as intense is what it looks like. Okay, so there's 12 notes. The district Pete in what's called an octave. Okay, 6. 2-3 - Using Octaves as a Beatmaker: OK, in this video, we're gonna be talking about octaves a little bit further. Just, you know, some more clarification for you. And since I now have this keyboard above, you could see me hitting the notes, right? I found something really, really interesting with FL Studio. So now that we have midi Okay, so Midi creates a standard for these developers to follow. You know, I'm talking music production programmes and talking like the maker of the actual keyboard. There's a specifications which thes creators, thes developers, thes companies follow. And so I believe that middle C is like midi notes 60. Okay, um but if we look here in FL studio, So for example, if I'm hitting, see here. So the keyboard above is telling me that I'm playing C five, but in FL Studio, it's telling me it's C six. So at the end of the day, yes, that for me, I was confused with this. I ended up looking it up like I typed into Google fl Studio Middle C right, and there was, like, tons of forum posts about middle C being in the wrong spot. Their argument waas as long as it's the right tuning and that that note in the MIDI specifications, I guess, is like No. 60 that we're all good and it's just I just kind of find it kind of weird, cause it's just like I don't understand why they would have to do that. And I've been producing with FL Studio for, like 10 11 years now, and I just discovered that there like an octave up. But in terms of the actual note that no is the same, so that's confusing. But that's just the way it is. So going further on into this course, if I'm hitting like C five up here on the Keys K but then in FL Studio, if I'm just an octave up, that's just fl studio, okay, sounds a little bit confusing, but don't worry about it. Everything will still make sense going on into the course. But I'm just explaining this to you now, so that when we get to the actual kind of making the beat, you start proceeding. You know, guys like chords and and stuff like that, that if I'm an octave higher NFL studio versus what it's showing on the keys on the top of the screen that's what it is. Okay, so just a little bit of a clarification on an octave. Okay, so if we're looking at, like, the top of the screen here, So we have C four to C five. That is just one octave. Okay, Um, and from a music production standpoint, where doctors of really, really powerful is where you can make instruments fit inside of your mix. Okay, So, for example, if you are playing down here like C four k for playing all these notes Now, if you keep adding in mawr and more instruments using these notes within this octave range , these are all similar frequencies, so you can kind of get clashing. So as you start to make your beat, you kind of want to think about. Okay, well, you know, I have a lot of instruments within this, you know, from C four to let's say, C five ish area. Okay, Now you want to be thinking, Well, my next instrument, maybe Let's play it up a little bit higher, okay? And in terms of mixing, it's really gonna help your instruments stand out without having to do really, really intense processing with e que and heavy compression to really get those instruments to stand out. Okay, so again, I'm going to keep throwing music production tips at U two wrote this course because again, when we beat makers are playing this piano, you have to be thinking in terms of making the whole beat. So again, we have Siri here. If we go up in octave, okay, it's just double in frequency. We went lower. It's just half the frequency again when you're creating your melodies, you know? Yes, you can be having lost two instruments, you know, all like within this area. That's fine. Ah, but you want to be thinking about the high end, the middle on the low end as your start as your song starts to grow as you start to Adam or instruments, trust me, it's gonna be a lot easier Come mixed time when you're selecting your sounds, you also want to be thinking about Are these frequencies clashing? Uh, and what I mean by clashing is just, you know is are they kind of fighting for that space within music production. You can kind of get creative. Let's just like open up in eq you here, You know So, for example, on like, let's say this is like the piano. And then I'll just open up another IKI on the on the same insert. Okay, So to keep this simple the top when that say, is the piano, the bottom one is the guitar. So we're talking about, um, a five, which is 880 hurts. So let's say on our piano, um, it's kind of fighting with the guitar in that space, so this is kind of duck it out just a little bit. Now. What you can do is so I'm about 650 Hertz. Let's keep this simple. Go 6 50 Okay, so 650 hertz, I've reduced it by a boa decibel. You know, let's just say to decibel scale keep it simple. That's the nice thing with third party plug ins. You kind of type stuff in sometimes. So what I'm gonna do here on the guitar, for example, on this create a band and let's just put it to 6 50 Okay, because that's what this one is. And now let's just say we boosted by two decibels and then you know you want to make you like the Q. Kind of like the same. Whatever. This is a general idea. Make don't follow it to a T, but these air techniques that you can do to help create space. Okay, so let's just keep this simple. So again, the top one here was the piano, the bottom one Waas um, the Qatar. And if we again are playing, you know, in the same space, that's the same notes for each instrument. Maybe on the piano. We just kind of ducked it out a little bit, but then we boosted some frequencies there. Now, maybe on the piano we want to kind of boost around this. Just say a 4.5 k 4.5 k So it's 4500 and then you don't boosted by boat 1.5 again, you can create another band. Here, go 4.5 k and you just kind of reduced it a little bit. Okay, so what that is doing is it's just creating space for those two instruments. Now, I don't do this all the time. In no honesty, this is kind of an extreme example of getting these instruments to stand out. But this is a technique if instruments are clashing. So what could be happening? Is that pianos playing? And you don't imagine that the drum loops going on with baseline. Everything sounds really, really good. Now we add in the guitar and then all of a sudden it's like, Well, where to the piano go, you know, so it can mask frequencies. You know, they can kind of clash. And that's just because of, um, audio. When you have a sine wave and then you have a sine wave flipped and they played at the same time, they can actually cancel each other. Oh, okay. Um, it's just to do with, like, masking and cancellation and stuff, and it doesn't happen all the time. I'm just telling you this stuff because as you start to proceed as a B maker, you got to be thinking this way for clarity in your mixes, you know? And so I know this video is about octaves, but again, an octave just repeats, Okay, when if you go higher or lower in octave, it's just higher or lower in frequencies. Higher, lower pitch. And when you're creating your instruments in your melodies, in your loops, you just got to be thinking. Do you have a lot of instruments in this area? And if you do well, maybe try playing up here for your next instrument or down here for your next instrument and just see how that goes for you. Okay? You may find that your mixes start to have a lot more clarity. There's not. There's not as much like kind of clashing going on. It might be a game changer for you. Okay, so that's octaves. It's just hire a lower in frequency. It's the exact same note, just double or half in frequency if you went up or down an octave. 7. 2-4 - How Keys and Scales Work [Overview]: Okay, Now I'm gonna reveal keys and scales to you just briefly, further on rocks. You're going to get into a real K key and scale and break it down way more in depth and will reveal to you how they actually work. But for now, you know, I usually like to kind of that you see it first, let it soak in, and then we kind of get into the meat later on, and it makes a lot easier to understand. So in this video, we're gonna be talking about keys and scales. General overview again. There's 12 notes on your piano, OK? And then when you go to the next octave, it's the same 12 notes. They just repeat. Okay, But when you choose a key and a scale, you only have seven notes that you can play with. Okay? And once you know the notes that you can play with, it's a game changer. It's really, really awesome. Okay, so this is a tool that I like to use. It's very, very easy to understand what's going on with your piano. OK, so here this route, this is the key. Okay, That's what they use as the key, So to keep it simple, let's do see and then you have to click scale and go major. And in order to get this tool, just type into Google Piano Scale helper. OK, you know there's a couple of different ones online. Just click one of them and it'll be a similar kind of layout due to this. So as you can see if we go to the C major scale, it's no highlighting any of the black notes. Okay, so there's only actually white notes. I'll explain that further. Let's go to ah c minor now, though, so go see minor. You can see that now. These are the notes that are in C minor. Let's just count them. OK, so we have 1234567 And you're gonna be like Well, what about this one? That's the next octave. Okay, so that would be eight. But that's the next octave. So we only actually have seven notes inside that active that we complete with for C minor and personally, you'll see that as we proceed, I actually liked to come all the way down to the bottom. I like to select, actually, Pierre minor. This is what I like to play with and actually see pure minor is actually my favorite scale to play. It's what I've memorized is what I flow with. I just like the sound of it. It's just what I have come to play over my years. And I will, um, break that down for you in the minor section. Okay, so we're gonna recovering us a major scale and a minor scale way more in depth. Okay, so let's just click d and we're gonna go, major. Okay. So again, if we just count the notes here, these are the seven notes that were allowed to play in this scale of D major. Now, again, this is D as well as this is D. So we're not gonna be counting this one, because that's the active up. So go. One, 23456 seven. Those are the notes you're allowed to play in this scale of d major. And once this once this is actually revealed to you. You're gonna be like, OK, I'm getting it. And now that you know, the notes were allowed to play, just imagine how much easier it is to create a melody because I remember for me when I first started up. Um, you know, this is kind of going a little bit ahead of ourselves, but I was able to play the white notes. Fine. Okay. You know, the white notes were always I was able to play the weight notes because watch this. We go to see Major, What do you see in C Major? There's no black notes. There's only white notes. Let's count them so from sea to sea. But we're not gonna be counting this seat cause that's the octave up. So 123456 and seven So when I was first starting up and I was hitting the white notes and I was like Forever reason I can always play the white notes and they sound fine. You know, like, you know, if I was playing chords or whatever I was playing in C. Major, I didn't know it. So whenever I would try to be creative, you know, creative and add in these bock notes, it's like, Well, this is the problem, because I was making my beat in C Major without realizing I was in C Major, which has no black notes. Okay, Once we get further on into it, I'll break this down further. But I just want to, you know, explain my story for when I started. You know why? It was just always felt so confusing. And once that was revealed to how this worked, it was just like, Oh, it was just like it was just a matter of really knowing the notes I was allowed to play. Now it's just a matter of finding that melody for that song, which is hard. Don't get me wrong like that is still ah, huge part of being a good producer is knowing how to create that melody, knowing how to create something catchy And even once you create a loop, you know, how can you process it further with effects like reverb and delay and side chain compression and, you know, really emphasize it for a grooving melody like that. That's it. That's it. Different aspect to even the music production. But the core fundamental of foundation of that song was first of all, knowing what notes here allowed to play to actually create that melody. So once you know the notes now you can start being more creative and trying to find a melody because, you know, the notes that are gonna work. If you start trying to play the other notes, you'll instantly here. It's out of tune, and this is gonna be the game changer for you. Okay, so now that you know a key and a scale so you can you have to pick a key and a scale you're given seven notes, these air, the notes that you're allowed to play. Now you can start improvising. Okay, but let me go further. It will. I will reveal to you mawr how you can start improvising and being more creative, because again, now you know the notes you like to play. Now I will reveal to you how you can kind of play them and be more creative with them. 8. 2-5 - Your Hand's Numbering: in this video, I'm gonna be talking to you about your hands numbering. OK, so each hand is the same. Just kind of goes the opposite direction. So let's just look at, like the left hand. Okay? So how it works is you have, you know, five fingers Say your thumb is kind of like a finger. OK, so how it goes is your thumb is your one. Your indexes, your to your middle finger is your three. Your ring finger is your four, and your pinky is your five. Bring in the right hand, so I'll do it like this. Your thumbs are your one, your index fingers Okay, are your to your middle fingers are your threes your ring fingers are your fours and your pinkies are your fives. Okay, Now, going further when I speak to you, I'll be saying you know your one which is your thumb and your three, which is your middle finger. Okay, it would just give you a little bit more insight because as you start to proceed with the piano having you know decently, proper hand positioning is right. It's quite crucial so that you can actually start flowing on a piano. OK, you know, if you're going to be going up two octaves or if you're gonna be going down and it's just nice to know, what is that kind of the proper hand positioning? And when I talk to you in terms of numbers on your fingers, it's quicker. Okay, so this one more time your thumb is your one. Your index finger is your to your middle finger is your three. Your ring finger is your four, and your pinky is your five. OK, so that's it. That's just your hand numbering. Just gonna make it easier going further on. 9. 2-6 - How Chords Work: Major and Minor: in this video. I want to talk to you about cords, best hand practices, records, you know, How do you properly play them? What is accord as well as I want to talk to you just a little bit about Like the beat, making in a sense of your left and right hand and what I usually find works best for me. Okay, so a cord is when we play three or more notes. So when you play three or more notes, that is accord can. How you should be playing this cord is with your thumb, which is your one? Your middle finger, which is just three. And then your pinkie, which is your five. Ok, now how you know a major toe. A minor chord is just how maney notes are in between your first, which is your thumb and in your middle finger, which is your three. Okay, So in the case of this c major chord, you can see that there's actually 123 notes in between our first, which is a thumb and our middle finger, which is our three. So 12 and three. So this is a major court. We have three notes in between her first and her third. Ah, minor chord is only two notes. Okay, So instead of her three being here on the e sofa, play that court again with our three from E, it would go to D shirt. So this is a minor court is going to notes in between our first which the thumb and our middle finger, which is our three. Okay, so one, too. So we go back to a major. We have 123 rectum Minor when they have 12 Okay, so that's yes, and its most simplest terms. A major court has three notes in between your first switches, your thumb and your three, which is their middle finger. Ah, minor chord has only two notes between your one and your three. So let's hop over to the special. You know, virtual piano here. This is a such an awesome tool. Okay, so again, we have these different columns. So I previously talked to you about Ah, you know, a major scale on these air. The seven notes you're not to play with in C major and all these notes go together. That'll sound good if you start playing the black notes. It's gonna sound weird. It's gonna set on a tune. However, if you look here, we have the cords column. So if you click the courts, call them. You can actually play around with the C major C minor. You can get more intense. Let's just keep it simple. OK, so we're going to playing on the sea, major here. So as you can see, how Maney notes are between our first, which is a thumb get and are three, which which is a middle finger. Okay, so you could see 12 and three. There's three notes in between the first and the third, which means that this is a major chord, C major. So it makes sense. K three notes is major. Two notes is minor. So from the one so one to these two notes in between, which means our middle finger are three goes on the d sharp. Okay, just for clarification. Some people will call this like an e flat. So flat is when you go to the left. Sharp is when you go to the right case. So this is d going to the right would be d sharp. This is e going to the left is e flat. Now again, that's more advanced than how I want to take this course. We're just gonna call them Sharps. It's gonna be the easiest way to understand it. At the end of the day is still at the same note. It's just different terminology when you get into deeper music theory. But that's it. That's how cords work. OK, so you play it with your one, which is your thumb, your three, which is your middle finger and then your five, which is their finke. Okay, that is a court case called like a triad. Now, let's just talk just quickly a boat playing with the left and right hand. Now, in my experience, if I was gonna play a chord with with the left hand many times I don't put play like the middle note. I find that when I played the middle, no, in the left hand, sometimes you can kind of clog up the mix, make it sound a little bit extra muddy, unnecessary. I usually find I just play the two outside notes. Okay. So, for example, from going putting a court here. Good on lower. So you can see a moment playing the outside notes on the left hand. Don't worry. We'll get into that stuff once, you know, once we're ready. Okay. We haven't even talked really about a key and a scale in depth yet, but that's kind of what I find when I play the chortling that, like the left hand, will play like, you know, just like the outside court side note to that court. So really, you know, it would be like this. You could see all six notes. 123456 Right, So the middle on the left hand. So the three on your left hand, I don't play that I just play the outside's most of the time. You know, it all depends on the sound, but if I was working like a piano many times, I find, you know, just the two upside notes, a pretty powerful and then on the right hand, I just kind of bounce around within that chord. Um, we'll even talk about inversions later. It's just the same chord. It's the same notes, but there's different inversions off that chord. It's pretty cool, really, really powerful stuff will cover that when we get into it So quick. Recap Accord is three or more notes. You play it with your one, which is your thumb, your middle finger, which is your three in your pinkie, which is your 50 K C. Major has three notes early. A major court has three notes in between 1 to 3. Ah, Minor has two notes 12 And with that, you know, the biggest thing is always understanding the basics of the topic. OK, that's the basics going forward into this course and with music production in general, that stuff will always stay the same. That's why it's really, really important. Always learned the basics. The fundamentals doesn't matter what industry you're in, as long as you well know the basics. When you go to the advanced concepts, if things are kind of getting confusing, you can always come back to the basics. And you're like, OK, I see where this kind of all relates by understanding what accord is the difference in the difference between major and minor. You guys are good to go. So that's all the cord is. Don't get hung up on, you know, more advanced cords and stuff right now. Honestly, when I make my beats, I don't even play like the more advanced quarters. Like the sevenths and stuff like that. I usually keep it pretty simple. For me. It's all about finding the powerful melodies, okay? 10. 2-7 - C Major Scale Breakdown: all right. In this video, we're actually going to be breaking down a key and a scale revealing what notes are in that key and scale as well as what chords your log to play. I'll do this with C Major. The reason why see Major is so easy to understand is because it's only white notes. So as we start looking at the cords, we're going to see what courts we have. Are those cords major and minor? And then in her next video, we're going to be looking at a minor scale instead which, as in some black notes, and then you'll be able to see at a more advanced level how this, you know, again, how the basics, how the principles still relate, even tomb or advanced concepts. And then, you know, depending on the key and scale you choose for your own productions, that's totally up to you. Ah, but I'm just gonna pass on one easy one to understand a one a little bit more advanced. Okay, So again, type into Google Piano Scale helper. There's tons of websites which have this, you know, little, I guess virtual piano, which breaks all the stuff down for you. So just click scale and see, Major, this is what we're going to be covering. So again, let's just count the notes that we have available to us in C major. So we have one, 23456 and seven. Okay, so is actually seven notes that were allowed to play. Now, if we're gonna wanna play chords with these seven notes, we have to know what cords Is it a major or a minor within this scale of C major? Okay, so I'll break it down as we proceed. So, for example, in the scale a C major, do we have a C major chord or a C minor court? Now it's going to be C major because we're in the C major scale. So let's just start with C. Okay, So again, this route is the key. So we selected. See? Now, let's check out the core. Okay, So if we go to a C minor chord what we know that there is no blacks in this scale of C major. Therefore, it has to be a c major chord. Okay, So, again, since there's no blacks in the scale of C major, we cannot have a C minor chord because we can't have that black again. There's two notes in between the first and the third. We go to a C major chord, and as you can see, there's only white notes. There's three notes. 123 That means that it's a major chord within the scale of C major K. Now, just because you're in a major scale doesn't mean all the cores air major. Okay, so let's go to the next. No. OK, it's going to be D. So if we look at de here just from our knowledge so far, which I've told you about Accord, the difference and the difference between a major and a minor chord is just how many notes or between the first and the third majors. Three notes my nurses to notes between the first and the third, right? So let's just count with our most right here. Okay, so we're gonna have from D. So let's just count. So if we have 123 that means that our middle finger are threes in a play here on the f sharp because this is f Well, we cannot have a black in this scale of C major, right? So which means that we actually have to have a D minor chord. So we go to D 12 That means our middle finger or three would actually play on the F, which is a white note. So, for example, D one to our middle finger is playing on the F Let's go to D. Let's go to minor chord. And if we play our d on our thumb right, then go one to our middle finger is only two notes, which means that middle fingers playing on the F and then our pinky is playing on the A. Now our pinky doesn't ever change with the major and minor from your one. Okay, so 123456 And then it's the seventh note. Okay, for come here to a C major again. So 1234567 So your pinky always plays seven notes away from your first. Now, that isn't usually the one that causes the confusion, because for the most part, if you couldn't even look at my hand here, your pinky usually plays where it feels most natural for that cord case, you know, you put your hand on, you know, on the piano it's like a you kind of know that, like the pinkies and playing there, you're like the D. It just kind of goes up. It just feels most natural. But just for clarification, it's just seven notes from that one, which is your thumb, which is where your pinky plays. But when we go from major to minor, so if you go to see so major to minor, he could see that the pinky and the thumb they stay in the same spot. It's just the three, the middle finger, which is changing. Okay, so again, let's go to C major scale. Let's look at the D. Okay, so again, 123 If we were to put our middle finger on the F, which would be a major chord so d major again, you can see it on the on the F sharp. Well, we can't play blacks in the scale of C major. That means that we have to be playing a D minor chord in the scale of C major. Okay, this is why I'm saying it's nice to memorize one key and scale, and then it just makes it really, really easy to just improvise on a piano because you already know the notes, the cords that you're allowed to play. Okay, One thing I want to mention about C Major before we proceeded for further is C major is actually the hardest scale to play. And the reason why I say that is because since there's no black notes in C Major, it's really, really hard to know where I am on the piano. So, you know, let's say I was playing and imagine, like, you know, I look around whatever, just play the piano. You know, a lot of people do that as he started playing with emotion and stuff right with C major, It's like, How are you supposed to know where you are on a piano? And that's the nice thing was adding black notes in so choosing a key in a scale which have black notes because I can feel so, for example, if we go to like a C and in this school like pure minor, right, you can see that these are the notes I'm allowed to play and again octave octave thes notes stay the same. It's just higher or lower in pitch. But I know the notes I'm allowed to play. You know, when this this right now is like C minor, right? So I could just kind of stay in that scale of C minor. Okay, So the reason why I say that is because I personally would not suggest to you to pick C Major Ford your key and scale that you want to memorize and learn. I would suggest having, you know, I really, like, see pure minor. You know, lots of blacks, lots of whites. I know exactly where. You know. Once it's memorized, I know where my hands are on the keys. Really easy to know where I'm flowing and where I'm going again. We're gonna go back to see Major again. Where am I am on a keyboard. But for learning purposes, it makes it really, really easy because now we're going to go to the e, Okay. And again, I told you that there's only white notes in the scale of C major. So which means that when you pick a cord, that means that our cord can only have white notes. We can't have black notes in there. Okay, So with that said, Let's go to E. So with the theory we know, let's count. So if there's three notes, then it's major. If those two notes, it's minor. So from E here. So 123 we're gonna play the next note. So right here. If it was major way would actually be playing the G sharp. Okay, this is G. This is G sharp. What we can black notes. That means we actually have an e minor chord in this scale of C major. So again, so from me. So 12 that means our middle finger are three is playing on the G K. Now let's just test out the theory. So we're gonna go to e minor chord. You can see that is on. Lee White notes. There's e g and B. Okay, so from E, we have 12 There's only two notes. It goes to the G. Okay, so everything that I've been telling you so far starting to line up right again once you understand this once you can memorize it when she could flow with it. It really starts to make sense. Really. You know, it's just like it. It's really really cool. It's really, really powerful stuff. Let's go to f K. We will speed it up a little bit. Just so it's just not so slow. Okay, so now we're gonna goto f again with the theory. So 123 We'll look at this. We actually have an f major chord. So again, this is f 12 and three are middle finger are threes playing on the A. And then again, our pinky will be over here on the seat again. It's just seven notes from the thumb to the pinky. So let's just check o f here. So fickle f we gold miner, you can see that. 12 There's two notes in between there. We can't have black notes. In the scale of C major, we're gonna go to Major case. This is an f major chord. Ah, and we're playing only white notes. We're good to go. So it's f a Neff. Major court is in the scale of C major. This check O g k. Which is this one or here. So we're gonna go, um, c major. So from G again, we're just gonna user most here. So 123 Okay, Well, we have another major chord in this scale of C major. So we go to G. So 123 It's a G major court. Okay, If it was only two 12 that means that our middle finger are three is playing, uh, the a sharp here, which means, you know, we can't have black notes, so let's go to G. We're gonna goto, major. Okay, so we're on G. So only white notes. We're good to go If we're gonna go minor again, that black note is in there. We can't be playing g minor in this scale of C major. Okay, so let's continue on to a here. Okay, So right here we're a solutions count. So from a za 123 if we're going to be playing an a major chord in the scale of C major, we cannot, because our three will be playing on the sea sharp. Okay, so which means we're actually playing in a minor. So counted again. This is a one to our middle finger is playing the c k. That are three is playing on the sea. So we're going to go to a We're gonna go to minor. Okay, so on Lee White notes. That means that we're playing an a minor chord in the scale of C major. Let's just check out that major K. So, as you can see from a so 123 there's three notes in between our first and our third. So everything's lining up here. Now here's where it gets really, really tricky. And it was really confusing for me in the beginning. So there's something called the leading tone, and it changes from a major to a minor scale. So in a major scale, it's actually the very, very last note, which is be okay. Um, now, in minor scale is actually the second note And why I say this is because the leading tone, which is in this case of B, is we cannot be playing just like a normal B chord in the scale of C Major. And what I mean by that is let's just check it. Okay, so this confused me for many years, and it was also because of this tool that I'm showing you, you know, with my most right here. Um, let me break it down for you. Okay, so let's just check out be. Let's just apply the theory we've re talked about. Okay, so this is be right here. So do we have a major or a minor chord? I'll tell you right now, we don't have either in this scale of c major. Very, very confusing. Okay, so let's just count here from Be OK, so this is be right here. Okay, so we go. 123 Okay, well, we can't have a b major chord cause we are Middle Finger will be playing on the d sharp here, so that means you must have a b minor chord. Right? So let's do it again. Here's B 12 That means their middle finger is playing on the d here, so that should be good. Right? But let's just check our pinky here Now, in the other chords, we don't need to check her pinkie, because all that stuff always works. Okay, Like I told you in Major, it's the last note this. You know, the seventh note B is called the leading tone. All make us about separate video for that in a moment. And then in minor, there is the second note. Okay, Don't worry. I'll break it down for you. So right now we figured out that we should be having a B minor chord, Cabe just by counting, right? So one, too. So is this be 12? That means their middle finger should be playing the deep. We should be good to go. But again, from our thumb to our pinky. So from R one to r five, we should have seven notes in between there for our pinky to play. So if we count that so here is be right. So one, 234560 where you going? Onto the black for seven. Well, it's like I don't get it. It's like we can't have black notes in the scale of C major. But if watch this if we go to be, we go to major. Okay. Well, like I just showed, like I just showed you. So here's b 123 Well, we can't have you know d sharp. So is Okay. Well, let's go to minor. Okay. Well, here's B. Here's d, right, because those air good now, But it is the pinky. And as you can see from each one, it doesn't change. So it's actually what's called diminished, and what happens is your pinkie actually comes down one. And this is what's called a diminished chord. And what confused me for many years is because this little piece of program I do not believe has a diminished chord. And that's what confused me for many, many years. One day I was watching a YouTube video about this, and then the guy was saying Diminished. I was just like what I was after all these years of not understanding this cause, you know, I always just avoided B and even to date, in all honesty, I really just avoid be as accord now in terms of a note you know I will use as a note, but as a cord, I just avoid it because it makes music production more difficult than what it needs to be. So for the most part, I really only use six chords, uh, within this scale, because again, within the scale we have seven notes were allowed to play. That means that we have seven chords that were allowed to play, but because in a major scale again, this is goes See Major, come back up here. Here, see major. So this be right here. If we go to like you get like the B chord, the minor and the major, you can see that you know the pinkies always on the black. But we cannot have black notes because we're in the scale of C major. So again this pinky comes down, you're five, comes down. So you're actually playing like it's called a be diminished chord, and I just avoid it. I just find it's the easiest thing to do as a music producer. And when I make this separate video of the article about a leading tone, you'll even read that a lot of people just avoid it because it's just it's just too hard to work with. It's really hard to add into your music production to make it sound good. So you're six other chords. There's tons of possibilities for you to create amazing music out of trust me. You know, I'm not just saying that just to kind of blow it off. It's You have 123456 Okay, again, this is the leading tones is B and then this is just the octave up. This is see, And this is C. So from here down, you know, And then I get it. Repeats octave up, octave up our Arctic down or whatever that's, you know, tons toe work with. Okay, So that c major, that's a huge eye opener for you. Okay, so we'll run through it quickly one more time. So inside a C major, there's on Lee white notes, which means that our cords have tohave white notes. Whether that be the court is a major or a minor chord, it doesn't matter. It just has toe have white notes, which is the reason why the be here has to be what's called, um, a be diminished court. And what that means is that your five comes down one OK, which means that you would actually playing on the be the D and the f. Okay, I'll break this down again once we get toe a minor chord. Because if we look quickly, though, so here is See your scale. I like to go to pure minor. Okay, you can see that the D here presents the same problem. Okay, Um, right now it might just be a little bit over your head. You even just looking at this. In a sense of now we have black and white notes and stuff like that, but in a minor scale. It's the second note, which gives this problem. So when I play C minor, which is what I like to play, I avoid the D for cord. Okay, but in terms of playing it, you know, a part of the melody. I used D often, but as a cord, I just avoid it because again, like, I'll show you in the article even, you know, very sought after musicians and Penis and stuff. They have been quoted saying that they just avoid it just because again, it's really hard to add into your music, make it sound good and stuff like that. So see, Major, only white notes really easy to understand. I would not suggest it for your key and scale to pick for you as a producer because again you can always transpose. That's why I suggest picking one key and scale to practice. Ah, the reason is because you cannot feel where you are on a piano. It makes it really hard for improvisation purposes. So I like to, you know, select a scale in my case. I go see pure minor, have lots of whites, lots of blacks. I know exactly where I am on a piano. Um, and it's just really, really awesome, Okay? 11. 2-8 - Diminished Chord [Leading-Tone]: all right in this video, I want to give us just a little bit more clarification in terms of this diminished triad, which is Accord, Uh, it's very, very confusing. And things with music theory in general is it's very, very complex, you know, depending on how advanced you want to take music theory. Now, on that piano scale helper there was, you know, the major scale, which was C major. All white notes There's also like, the minor scale. But then I scrolled down and I selected Pierre Minor. Right now, this stuff may relate or may not relate, depending on what scale you use. But typically for myself, I've always liked to play in just the major scale. And then i o is that to go to the pure minor, which I believe that they here are calling a natural minor. Um, so as you can see right here, it says natural minor scales. I'll break this down for you in a second. So I just typed into Google diminished chord Wikipedia. I came here. Okay, I want to read this for you because it will give you just a little bit more clarification into what I'm talking to you about. Okay. So again, if you guys are choosing a different scale, this may not fully relate to you, but I was telling you, it's called, like a leading tone on. As you can see, it's leading torture and stuff right here. So let me just read it through. Might give you some more clarification. And if it doesn't, it's OK. Just remember that Major is the seventh note where this diminished court has to come into play because again, there's no black notes in the scale of C major. So therefore, on that B chord, we had to bring that f sharp down in a minor scale. It's the second note. Okay, so let's just read it through. Okay, so in major scales, a diminished triad, which is which is just the cord occurs on Lee on the seventh scale degree. Okay, so a degree is actually a note will be covering that after our next key and scale video, I'll be walking through a minor key and scale, which introduces black notes just to give you some clarification. Okay, so a degree is a note. Okay, so it's saying on the seventh note, So in a major scale On the seventh note, this diminished tryout occurs is what it's saying. For instance, in the Key of C o K. C major, this is a be diminished triad. So it was B D. And instead of playing on that f sharp, it brought it down to F. So since the child is built on the seventh scale degree, it is also called a leading tone triad. Okay, you can read more into that again. Music three gets very, very advanced, and it can go as advances. You really want to take it? People go to school. College, University to study music theory As a beat maker, you do not need to know that information on breaking this stuff down. Um, just so you have an understanding of in the in the case of a major scale that seventh. No, you just want to be careful. When it comes to the cord, you can use it. You want to be very, very careful with it. I never use it because I just find it. It's just awkward to work with. I'll read something for you in a second, which will give you some more clarification. Now let's go to the minor scale which talks about this Here. Here. It's the second note. Okay, so on the other hand, in natural minor scales, which I'm pretty sure is that pure miner, The one I scroll down to select. And I didn't go minor. I went Pierre minor. So on the other hand, in natural minor scales, the diminished try it occurs on the second scale degree. So again, second note. So in the key of C minor, this is the d diminished. Try it. Okay, So close. D f and then you see how this is flat here. Okay, So instead of playing a hero, you're actually bringing it back one? Because in the in the scale of C minor, pure minor. Ah, there is no a Okay, don't worry. We'll cover that in a moment. Okay, so this try it is consequently called the Super Tonic diminished. Try out. Okay. Again. He can get intense. I just want to break down that in a major scale. It's the seventh note. The last note. Uh, Bush king cause you some troubles in a minor scale. Pure minor. It's the second note. Wish King Be a little bit weird as accord. I'm not saying as a note, because, you know, that note is within other chords, right? Like if you're gonna play the cord, B is inside that chord in the scale of C major. Okay. But I'm talking that if you're actually gonna play B A b chord, it has to be the be diminished, and that's where it's a little little bit weird. Now I want to read you one more thing. It's in the leading tone section on Wikipedia. This will be talking about the leading tone. Just give you some clarification of it's not just me saying this to you. Okay? So the sub tonic leading tone chord is founded upon the seven. The leading tone of the major key and is a diminished court. Okay, so we've talked about that. Uh, the sub tonic chord K sub tank is the leading tone is a very much neglected by many composers and possibly a little overworked by others. It's occasional use gives character and dignity to a composition. On the whole, the court has a poor reputation. Its history in brief, seems to be much of used on little used. So there you go. Right. So What I'm telling you is, in my opinion, I just avoid it. And I'd rather focus on those six other notes. Six other chords. Well, I use all the seven notes, but I only use this six courts just to avoid that. Okay, you guys can try it out. But just in my experience, it's this B in the case of C major, now again, if you're gonna change your key and scale if it's, you know, if you're staying in major, it's always gonna be that seventh notes. So, for example, it doesn't matter if it's just see major. Okay, so in C major, it's the B. It's the seventh note, But if you want to work a D major So in this case, so here's d. So from diesel 1234567 So, in the case of D Major, this is actually see sharp. Okay, so the C Sharp is the one that's going to kind of give you the problems with the diminished chord. So I just really want to stress that because when I first started, this was a confusing area for me and again in Major. It's the last note I guess the leading tone. Okay. And in a minor appear minor. It's just the second note. Okay, so that's just some information for you guys to carry forward so that as you proceed, I still use the six other courts. Um, and I use all seven notes I just avoid. Ah, that one note. In the case of Major seventh, and in the case of Minor, it's the second, okay? 12. 2-9 - C Minor Scale Breakdown: Okay, continuing forward. Now we're gonna be jumping into a minor scale. Now we're gonna have both white and black notes, is going to get a little bit more advanced. But now this information will translate to any key and scale. Okay? And you could be using a tool like this. The virtual piano chords here, uh, to see what key and scale you want to play in your beat again. It's really important that you do choose a key and scale before you actually make that beat so that you know what notes you're allowed to play with in that song. And then that also dictates the cords you're allowed to play. So, like I was saying, my favorite scale that I have used for many years, I don't even know how I started to like it So much is just see pure minor. Okay, again, this is, like that natural minor. And as you can see, these are the notes that we have available to us within C minor. So let's just walk through it just the same way I'm gonna explain the same. The difference between Major and Minor is just two notes or three notes. So again. Majors. Three notes in between. The first and third miner is two notes between the first and the third. That's your thumb in your middle finger. So let's just go through it. You know, I know this is a little bit dry, but it's important for you to follow and watch it so that if you want to pick your own in key over here and scale, then this will relate. Now, for the most part within our Western culture, you know, the type of music that we all listen to on the radio and stuff. It's mostly in LA like major and minor, just to give you a reference point. Okay, um, you can try and play the stuff, but I personally would just stick to either major or minor. You're gonna get great results by doing that. So it's pure minor or major appear. You guys can try the minor. I was just always I just always found major and pure minder. Sounded better. Okay, so let's just go through see here. Ok, so as you can see here, these are all the notes within the scale of C. Pure minor. I'm just gonna call it C minor now just to keep it simple. Okay, so we have C d d sharp f g g sharp, a sharp and then back to see So as you can see, this is see right here. This is also see right here. So in the case of C minor, we're gonna have a C minor court. Makes sense. Right. So, uh, just to confirm, though. So from C So 123 Okay, well, then, that would mean that our middle finger are three would have to play on the e. Well, that's, you know, that's a major court. So let's goto c minor. As you can see, we have two notes in between the first and the third. Um, this is of C minor chord within the scale of Ah, see minor. Now, as a reference point, we want to go back checking the scale to see the notes, because, see, when we're talking about C major, it's a lot easier understand? Cause it's only white notes. So when you check the courts, it's only white notes, Whereas when we go to this scale, we really gotta pay attention to the notes we have available to us. So in our case we have. See, we have D shirt and we have G. Let's go back to the court. We have C d Sharp G. Okay, so let's go to D two D now. Okay, So, again, like I told you, in a minor scale, it's the second note, which makes the weird cord is like the diminished. Okay, in a major is the seventh, which is diminished. And let me break that down for you. Okay, so in this case, it's D. Now, if we follow what I've said so from here are five are pinky. Should be playing seven notes over from our one our thumb. Okay, so let's just count. So 123456 seven. Well, we don't have a in the scale of C minor again in a minor scale. It's the second note which gives you that diminished. So we have to actually bump this back one. So we're gonna be playing on the G sharp. Now we have to figure out our replaying, um you know, where is their middle finger going to go? And we could just follow that by following what I've told you about a major and minor so from here. So we got 123 We do not have the major. So which means that our middle finger is playing the F. So in the scale a C minor, we have a de diminished chord, which is D f. And then we have the g sharp. Now, again, I can't share that with you, because in cords, this does not have the diminished. Okay? And again, when I was first starting up, that was the confusing thing for me. Okay, So, again, if you don't understand that, go back to the C Major. A video as well as the previous video from this one. But like the leading tone and night, the diminished chords and stuff, Um, I guess I just really want to stress it. So you understand that. Okay, um so by me saying that if I was going to be playing chords I play like the seat XY court. Um, de sharp F g g sharp in a shirt. Okay. I don't play the D court. However, I do use as a know if, um, you know, kind of playing around like that. Let's go to the next note. Now. OK, now, now, it starts to get easier. Okay. Sober on D sharp. So let's discount. So 123 Okay, so, yes, we're gonna have a major d sharp chord gay. And that's because this f sharp is not in this scale of C minor. So again, if I count too So 12 that means our middle finger are three. Will replaying the f sharp? This is f sharp. We don't have that note in the scale of C minor. Therefore, we're going toe, have, um, a de sharp major chord. So let's go d sharp and major. Okay. So as you can see, we have D shirt G and a shirt. Okay, let's go. To see pure minor, we have d sharp g and then a sharp. So let's count that one more time. So from here, So 123 r three is playing on the G. Okay, let's keep working their way again. You guys can just keep referencing this video over and over for confirmation. So here is the F. So let's discount from here. So 123 we do not have a major f chord. It's gonna be a minor f. So we're gonna go f minor. Okay, because we have the f. We have the g sharp and we have the sea. If we go to major, you can see that we do not have the A Ok, so let's go to Ah see, Pure minor would, you know, have that a Okay. So again f g sharp See? Okay, let's move on to G. So if we count from G So 123 What? We do not have the B in the scale of C minor. That means that we have a G minor chord. Sophie. Gogi, we go minor. As you can see, we have G. We have a sharp and we have the d. If we count it, be 123 you know. So since we don't have to be so see pure minor, we don't have the be okay, Let's just look at the g minor. Do you g major, though? Okay, so g minor. We have the a sharp on the major every plane to be, but we do not have to be in C minor. Okay, We're gonna go to the G sharp, so discount over. So 123 Okay, so in this case, we do have, um, a g sharp major chord. So if you go to G sharp and is it gets easy asses g sharp slash a flat. Now, again, I don't want to go into that in this course, but it's the same note. It just depends on I guess how you're looking at it. I think it's to do with, like, the circle of fists, and that's just to do with each. Each scale has an opposite. So each major scale has an opposite minor scale. Each minor scale has an opposite major scale. And I'll break that down for you in a separate video. Just to share that with you is a cool thing. I learned over the years. Okay, let's just finish this off, though. So we're on g sharp. We're going to go to ah g major. OK, so, as you can see, we have the g sharp. We have the sea, and we have the d sharp. So these are the notes that are within a C minor. So we're gonna go back to see we're gonna click pure minor. And as you can see, we have the G sharp. We do have the see and We also have the d sharp, so I know it's not highlighted over here. I think you can also click a button down here. It says, let's scales cover keyboard. But as you can see, this is what an octave is. So we have d sharp right here. This is also D sharp. Okay, so we have the g sharp. We have the C and the D Sharp. And if recounts a 123 that is a G sharp major court we're gonna finish off with are very, very last one again. We're in a minor scale. So seventh note isn't like in Major, where the seventh is diminished. It just it is what it is. Case. So it is either a major or a minor chord. So from a sharp flashes count, So 123 Okay, so if we're gonna play on the D, which we have, then it's a a sharp major court. So we're gonna come here, we're going to scroll onto a sharp, and we have ah, the major court case. So we have the A sharp we have the d, and we also have the f k. And just to confirm we don't have that C sharp. So we're gonna scroll up here and there you go. So we have, um the a sharp We have the d and we have the f. Okay, so But you understanding this, you can apply it to any scale. Now it is what it is. You just pick a key, and you other pick, um, it's up to you. You can go like, major or minor. I personally like to go pure minor, and then you can select what you want. Um, again, over my years, I've just, like, see ah, see, pure minor. But you guys confined. What you are happy with some common ones is a d d major or G major and G minor stuff like that. Um, you can even look at some of your favorite songs, see what they're played in and kind of get an idea of how you want to pursue this. But I would recommend for you to pick one key. One scale, maybe maybe learned like one major and then one minor. And by doing that, you will know what keys and what chords your log to play. And then it's up to you to build this muscle memory. Now, don't worry. We are gonna move forward. I'm gonna break down. See, Major? Okay, Like actually playing it with you, because again, it's just all wait notes. So when we actually get into making a beat and stuff like that, you can just translate this mawr to, like, you know, a c minor scale or something. And, you know, once you get acquainted to the notes that you're allowed to play, it is just about the muscle memory. But I'm gonna break it down and see, Major, because that will allow you to improvise and start playing on a keyboard. And then I do want you on your own toe, pick a he and a scale so that you can improve. Trust me is a huge difference. If you play C major in the beginning, it's whatever because, you know, you're just trying to figure out how the all the stuff works. But once you start advancing, trust me like you know, for speed and you know, for being ableto go up and down the scales and etcetera, etcetera. You want some black notes in there with your white notes? It's just gonna make your life a lot easier. So that's just a run down on the sea. Pure minor scale. Um, hopefully it's eye opening for you so that, you know, for whatever key and scale you're gonna pick, Ah, we're gonna jump into note names which are called degrees just for clarity. I just want to let you guys know that I do not speak this way. Like in a sense of I don't speak music theory. Um or, you know, like for example, if I was going to meet up with a musician and they're very, very, you know, their language is very good in music, you know? They know, like the tonic and the sub tonic and all these different words. I don't really think of music that way. I think of music like this just like I've shown you. You know, you pick a key, you pick a scale. He know the notes were allowed to play learning, and now you'll be able to improvise K because it is beat maker, you know, I mean, you really don't need to know that knowledge if you want to learn it, that's totally cool. But like I said, as a beat maker, there's many different stages that we need to know to make our beat. You know, we have the beat creation stage, which is where the piano is so fundamental, right? And then you have the mixing stage. Mixing takes years to learn. You know how to use a Q compressor. You know how to listen for things, how to test on and then to get into mastering at a whole different world to like in each of these industries, you can spend years and years and years of reading and studying and practicing, right? So that's why I say that it's nice to learn one key and scale so that you can move on. You know, now you really know how to play the piano. Now you know how to make that be. Now go and learn how to improve your like the sound of your beat, you know, So that kick drum hits hard and you know it sounds nice and full and that it sounds like a commercially released product. OK, okay, so let's move on to note names 13. 2-10 - Note Name Degrees: all right in this video. I want to talk to you about the note names, okay? And they're what's called degrees. Okay, so I'll scroll up here, just search degree music. I'm just here on Wikipedia. Just gives a little breakdown of it. So when we talk like C d e f g A B. So these are the actual, like pitches. Okay, so if you go from, like, you know, a four to a five, those are always the same. Okay, you know, that's that's pitch. But when we choose a scale Ah, we talk about like, degrees in a sense of what is the first note of that scale? So, in the case of C major will see is the first know of that scale. But if you go to, like, a different scale, you know, it's the first know of that scale eyes how they, you know, I guess, used these terms to describe it. Okay, So, for example, this sub tonic, I believe if we scroll on here quickly, you get this little chart here. So if you can see sub tonic, you can see in the natural scale. So we're gonna be focusing on the leading tone. In the case of Major, if you were in minor than its I call it the sub tonic. Whatever. So what I'm trying to say is, if we come back up here to this, you can see the sub tonic and leading tone. So we're only gonna choose one of these as I'm explaining this to you. So let's just look at the piano. And if we talk about C major so C is the tonic D is the super tonic. E is the median f is the sub dominant. G is the dominant. A is a sub median and then the leading tone is B. That's the one that's been giving us trouble with, like, the diminished and stuff in the case of Major. And then I would go back to the tonic, which is just an octave. Higher solutions scroll through this chart here and we'll look at this now, this is kind of cool because ah, you can see right here in Major C major, right? So C is tonic d super tonic, you know? So you guys can just see You know what? I'm showing you right here. And then you know what the next see is that is a tonic and it's the next the next active. Now again, like I'm saying, I don't speak this way If I was going to be talking to you Ah, I just find like I'm not I don't speak music that way. When I go to make a beat, I think about key. I think about scale, and then I think about let's make the B like, really like I really think about what notes are available to me and what chords are available to me. And then now it's about finding the rhythm. You don't make that drum loop at some chords over top. How can I make this flow? How can I get the emotion that I'm wanting out of that beat? You guys can study music theory forever like it's so intense. Like I said, people go to college universities. They study for years, years and years and years, and it's very, very intense, depending on how intense you want to get with it. But I've just figured over the years being a beat maker. Yeah, it's cool. This knowledge is there, but you guys can go listen to my beats. And if you like my beats. It's like I don't think about this at all. I'm only including this just so you're aware of it, You know, in case you search a question into the forums or, you know, maybe someone asks you, you know a question or if you start going to studios, you know, many times like the reason why they have these think this terminology is just so people can relate and communicate, you know? So, you know, if you're in the scale of, you know, a minor and they'll say, Oh, you know, is that the media Inter, whatever. You know, the median right here again. I don't speak this way. I'm just doing it just for kind of clarity and just letting you be aware of it. I just think about key scale, and then let's make the beat kind of thing, OK? 14. 2-11 - Circle of Fifths and Fun Facts: OK in this video, I want to break down the circle of fifths as well as some other things that will help, you know, kind of solidify this section about how a piano works. Okay, now, I just want to say that a lot of this information is you know, it's nice to know, but as a beat maker, you truly do not need it to flow, to improvise, to create your beats. Um, it is kind of extra knowledge, you know, kind of fund, fax. And I'm sure some people really do use this stuff to help their music. But for me, personally, I've never found it useful. In my later years, I start to look into a little bit more just because, you know, I started to get a better understanding. But everything I've taught you so far in this course is what you really need to know. To improvise and beat maker and improve your beats. K. You just need to learn a key, a scale, and actually start practicing. Ah, in order to improvise and make your beats better. But I just want to talk about this for completeness. Okay, So I told you that every single major scale actually has an opposite minor scale. Okay, so if you look here, this is what's called the circle of fists. Okay, we look up here, it's, you know, c major. So the opposite of C major is a minor. Now, if we talk about C major, it only has white notes, right? But a minor also has only white notes. And I can bring up the question like, Are you actually playing in the scale of C Major or are you playing in the scale of a minor ? And you know, so it's just interesting. So how this a circle of fifths circle works is at the very, very top. There's no black notes case, there's no sharps and there's no flats as you work your way to the right. This is what's called the circle of fists. When you work, your way to the left is actually called the circle of force, which is right here, okay. And to the right is the sharps and to the left is the flats. So when we were talking about on the keyboard here, and, you know, I was just saying for the black notes were just calling him Sharps just to keep it simple at the end of the day is still like the same note. I just kept it simple. OK, but if you really want to get super technical when you work your way to the left. So, for example, F Major has one flat. If you go to G major, it has one sharp D major has two Sharps case. So what that means is that you're adding and two black notes, three black notes. Okay. And that's just how this circle of fist kind of works. And in addition, it also shows the relative you know, the opposite minor of that major. Okay, so it's the exact same notes. It's just the minor version of that scale. Okay, so again, you know, it just kind of like a little bit of a fun fact. So let's just read through this a little bit. There's some kind of cool fund points to, you know, to learn by reading this. So, in music theory, the circle of fifths to the right or the circle of force to the left is the relationship among the 12 tones of the chromatic scale, their corresponding key signatures and the associated major and minor keys. Okay, So in other words, these are all just, you know, the notes, you know. So if you look here on the piano, we have 12 notes. That's all these 12 notes. It shows the relation between that major. So, for example, see, Major and its opposite is a minor. It only has white notes. Okay, so see, Major has only white notes. A minor has only white notes for go to G. Major has only one sharp. We go to e. Um, you know, e minor. It only has one sharp. Okay, so I'm just gonna scroll down here, and we're going to read a little bit further into this. There's some interesting things I want to show with you because I was just reading through this eso at the top of the circle. The key of C major has no sharps or flats. Case was starting at the very, very peak K. Ah, proceeding clockwise is you know, that's the fifths. Moving counterclockwise gives the circle of force Okay now. Ah, cool. Fun. Fact is, typically the circle of fists left to the right of the circle is used for analysis of classical music. Where is the circle of forces used in the analysis of jazz music? Now, one thing I wanted to share with you guys was this chart. Okay, so this is do like this. So, as you can see, this is how this scales work. Okay? So even though I broke down, you know how to find it out yourself. Ah, with think the virtual. You know, piano Helper, This actually tells you what cord is in each scale. Okay, so I just typed into Google Wikipedia circle of fists. And this chart is there. So in case you are interested in just you just want to know what chords are within that scale. This is what they are. Okay, uh, but again, you will have to make sure that you are following what notes are within that scale. So, for example, you know a d minor chord. Um, you have to figure out what notes are in d minor. And, for example, if I just pull up the keyboard here, So if we just look at like a you know, a d minor chord again? I told you that a minor chord only has two notes between your first which is a thumb in your third, which is your middle finger. Okay, so if you just look at that so if we could just figure out a divine accord from the knowledge that I passed on to you So we have D k. So we have 12 and then are three our middle finger plays the F and then our pinky are five plays the A. OK, so that's just a little walk through of that's pretty handy stuff. Now, as we scroll down here, I want to talk about fifths. Okay, so I'm just going to do this so that we can read it, and then we'll bring everything back on screen. So in lay terms, so you know to keep it simple. So a simple way to see the musical interval known as 1/5 is by looking at the piano keyboard and starting at any key counting seven keys to the right case. We include both black and white, not including the first note to get to the next note on the circle shown above K. So I'll break that down for you in a second. So on that circle of fifths, every single letter is actually 1/5 away. So it went from C to G D. I'll break that down for you. Ah, Before we get into that, it talks about half steps. Okay, so within the industry, you, you know, within music theory. Ah, you'll see something called half steps and whole steps. Okay, Now, again by me showing you that virtual, You know, Court Helper. That's the information that you really need to know is a beat maker. But just for again for clarity of this course on to kind of wrap up this section Eso ah, half step is when you go, you know, note by note. So, for example, if legal from sea to sea sharp, this is 1/2 step. But when you go to a full note, for example, from C to D, this is called a whole step, okay? And so what it's saying is, 7/2 steps, okay is a perfect fifth. So, for example, from C to G. O. K. And that is where your five your pinky would be playing okay, and again if we just council from C. So we have 123456 and seven, and that is where your five your pinky plays and I'll read this for you because it breaks it down really, really easily. Easily. Okay, so 7/2 steps, which is, you know, from sea to sea sharp. Okay. So again, a whole step would be from C to D. So you're actually skipping, uh, sharp? Okay. S 0 7/2 steps again. That's from 1234567 Ah, The distance from the first to the eighth Key on a piano is a perfect fifth, and it's called perfect because it is neither major nor minor, but applies to both major and minor scales and chords. Okay, So again, when we play a core Okay, what's happening between a major and a minor? The middle finger? The three is the one that's changing, but these notes C and G are not changing. Okay, so that's why they're calling it a perfect because it doesn't relate to let the major and minor. It's always going to be playing that fifth, OK, And then they say it's 1/5 because although it is a distance of seven semi tones, which is 1/2 step on a keyboard, it spans five adjacent notes in the major minor scale case. So again, from sees a 1234 and five and that's where that perfect fifth comes into play. Now, that's all I want to show you on this article, but I just want to finish it off by actually looking at the image here and talking about just the notes. Okay, So again, if we talk about the circle of fists, so from C to G. K, that is a perfect fifth, and is he could see the next note is a G, which is that perfect fifth from? See if you go from G to D and if you just count over, okay. If I bring everything up again, Okay. So if we go from G right here, okay? And I'm just gonna count over seven notes, and that's gonna be 1/5. A perfect fifth from G. Okay, so here's G, and we have 123456 now, seven K. That is a perfect fifth, which is the next note. Okay. And that's just how this works again. You know, as you're just listening. In my opinion, it's just kind of fun, fax, but it doesn't really teach you how to improvise on that piano or how to use this information to make your beats better and how to create these melodies over top of your beats, Right? So let's pretty much everything I wanted to cover. Just you know, what's this circle of fists? So you have your major. You have your relative minor gin. See, Major has only white notes. A minor only has white notes. When you work your way to the right, it's the circus. The circle of fist, when you work your way to the left is the circle of force. Ah, semi tones is just like, you know, when you actually go no half. So from sea to sea sharp, that's ASEM. That's 1/2 step when you go, you know, from C to D. That is a whole step. So again, even from, you know, E to F, that is 1/2 step. Where is that? It's like a whole step, okay? And that's pretty much, you know, I think that clarifies a lot of this stuff, you know, kind of like the kind of more fun facts behind the piano. But from what I've already taught you, that's what you need to know. OK, so just to wrap up this section, that is Ah, the circle of fifths. Um, you know, just kind of cool stuff to know because, you know, you'll hear about a lot within the industry. And is it useful? Sure, it has its place, but to make beats, is it useful? I don't know, I Maybe I'll leave it up to you. In my opinion, I think I'm gonna say no. Okay, let's keep moving on. 15. 3-1 - Making Practice Fun on a Piano: All right, now we're going to get into actually, you know, studying yourself up to start playing the piano a bit. So we can actually relate this information so that you guys could start improvising and practicing. Now I want to share with you a trick that I've discovered over the years, which has made my practicing a lot more fun. And it's simply just adding, like, effects on so like reverb. And if you want delay and stuff like that and the reason why I say that is because when you go to play a piano and as a Susie local the notes, it's very, very dry sounding. And so what I mean by that is you push the note, you liko, the sound stops right. And I found over the years that when a tail continues so you hit a note and the tail continues that it gives you mawr improvisation. It gives you mawr creativeness. It also makes it sound better and just more enjoyable to listen to into play. And you're able just to be, you know, just get more into it. So I use FL studio. Um, but if you use a certain music program just apply this and you guys be able to get awesome results. If you guys are only practicing on a real piano, just take advantage of the sustain pedal. So the sustain pedal just allows that note to continue on. Um, really, when you use a sustained pedal, when you press the cords down, you're supposed to let go of the pedal and then push the pedal down. And then as soon as you're going to let go to go to another court, you're still holding on the pedal so that the notes overlap right and then assumes you go to push down the new cords, you lift your foot up, OK? And then you push the cores down so it happens really fast. And the reason why you don't want to hold down that sustain pedal in the real world is because all the notes kind of overlap and it gets kind of muddy. But when you're first starting up, honestly, take advantage of the of the sustain, pedal it as that tail that length, and it just makes it some fuller, more enjoyable to play. It's just what I've discovered over the years. It's really help me in the case of FL Studio. What we're gonna do is I'm gonna right click here now. However, you have your generators set up a generator, just a plug in its ah, in an instrument. I have mine in Ah, instruments. And here is fl keys. Okay, so right off the bat, I just have my midi keyboards set up and a nurse. You set up your midi keyboard. You guys had his head f 10 and once you midi keyboard is plugged in, turned on. You should see it here on the inputs. You simply click it, you can enable it right here. And then if there is a template for it, select that. And that just allows you to use like, your transport buttons, which is like the stop the play in the record and stuff like that. Okay, so now we have FL keys open. Now, if article play my keys, you know, it's kind of quiet. And the biggest thing is that it's really, really is what's called sensitive, like you have to push quite hard in order to hear it. So this Norbert here the sense knob sensitivity. I bring this up pretty much all the way down. And now when I play the keys, Okay, so now it's loud. You can maybe dial it back a little bit. So you have a little bit of humanistic flavor in there, just a little bit more, Okay? And now you can just kind of play around with this stuff if you want to be creative off like, but for the time being, I like it as it is. Let's just say And as you can see, there's also like the release here. This is like the same thing is like that sustain pedal. So the press a key. You see how it goes longer? A short. It's short longer, not just longer. So it just sounds fuller. Okay, if it's all way back, listen, it doesn't sound too bad. I just have found that over the years when there's tail, it helps. Now, the next thing we're gonna do I'm just gonna close the full keys here. I'm clicking on it. Escape. I'm gonna wrote it to a mixer insert, and we're gonna apply effects on. Okay, So in the case of fl studio, I have it highlighted The shortcut. I'm just gonna click on an empty insert you guys compress control and l k. And the cool thing is the color and the label follows Ah, but without the shortcut. So if it's highlighted, you guys can just right click on any free insert Go channel routing and you guys will see ah wrote selected channels to this truck. That's all you do. So when I play a note, you can see that I have. You know, it started to insert seven. So here's insert 77 So what? What we're gonna do is we're gonna add a reverb on here. Now, if you're more advanced, I recommend setting up sends. That's what these things are. And it just allows you to automatically just, like add reverb and delay on. Just listen, so maybe too aggressive. But I'm gonna not do that. I just want to share that. If you're more advanced, do it that way. If you're just starting out, do it this way. K. So we're cooking on seven. We're going to our inserts. Okay, so there's, like, our effects here. You can add up to 10 effects. We're going, Teoh, go select And however you have yours organized. I've organize, organize my in a certain way. Go reverb and I just use the fruity reverb two. Okay, What you gonna do here is you are going to the wet right click over set. It just puts it to 100%. The decay is how long the tail is. Is gonna be way too aggressive. Okay? It's not too bad. I'll dial it back a little bit. Pre delay. This is pretty cool. So the problem with river sometimes is when you play a note and there's no pre delay, the river can kind of get masked. So if you add some pre delay in, it plays, you know, So if you look at the top or so you can't see the top left, but it has 41 milliseconds of delay. So when I press a note, there's 41 milliseconds. Therefore, the reverb is a little bit more audible because it delays and then it plays. So if you listen, go down an octave castle, Okay. So as we listen to that, um, just listen for how full it sounds right now if I take away the reverb just by disabling it now sounds not bad. But at the river bond no way more enjoyable. Right? And you can affect this river however you want. Like sometimes cutting a little bit like the low so doesn't sound so muddy opening up like the highs dampness kind of clamps down on like the river you can open it up, so it's just not so aggressive You can dial back the dry so there's more reverb happening. You guys gonna apply lots of effects on here? So, for example, we're gonna add some we'll go dynamics we'll just use, like, the fruity limiter. So this is like a limiter and a compressor. Compressions. Pretty cool. It just helps glue things together. I don't want to go into it into this. Ah, this course. But so I'm just gonna go until it enables. So audio has to go over the threshold. Virtue enable will bring back up the dry. We'll put the attack more. Okay, so let's this morning time. So? So I just want to share that with you. It's a really, really powerful trick, So use any no instrument you want doesn't have to be fl keys. I'm just doing that cause it's a stock plug in. I'm also using the free river to because its stock plugging. I actually like the for the river to a lot. Um, and you guys can just mess around with it. How everyone? I just wrote it to an insert, and then we added the reverb on to it directly. You guys can even, like, add like, sends on and, ah, you know, be creative that way. All right, So let you listen one more time with the effects on versus them off and just here for, like, the difference, the fullness and the impact. So without the effects, time looks more intense than what it is. I'm telling you like I'm by no means an amazing piano player. But I've practiced. I've gotten to the point where I could just improvise, create loops and make beats just on the fly and by you listening to what I'm telling you. And if you apply the knowledge and keep practising, don't worry. I'll show you how to practice here soon. I just set myself up this way with the piano with some effects. It just makes it way more enjoyable. Trust me. Okay, so let's get into some kind of learning and interaction. We're going to start with some counting of beats, you know, causes a beat maker that's really key to stay in rhythm and stuff like that, Um, and then we'll kind of proceed from there. 16. 4-1 - Counting Beats as a Beatmaker: OK, in this video, we're gonna be talking about how to count beasts as a beat maker. Okay, so for the most part, it's pretty simple. So some people do have some troubles staying in time. Ah, they may understand the concept of 1234 But when it comes to different tempos and different rhythms, this stuff, you know, it can get a little tricky. So I want to break down different ways of how you can kind of count beats as well as different tools you could be using to practice this. Okay, so I'm just going to bring this temple down a little bit about 1 40 fruits, like, let's say 1 15 Okay, Now, a really, really good one is the Metrodome. This is the tried and true you could right. Click it and you can actually select different sounds inside fl studio. Okay, so right now we're just like the tick of hit play. Ah, after naval it. Here we go. Okay. So I think your classic Metrodome maybe a little bit fast. And when you are a classical piano player, this is what you typically practice too often. And you know we can change it to, like, pretty intense. Okay, the tick is the default when I like that. Okay, so the Metrodome school, but from a beat makers perspective, I've kind of more catered towards creating a drum loop and practicing off the drum loop. And right now, we're just gonna be talking about counting beats. But later, when we actually practice over this, you know, whatever you're going to be using to count with, I like to practice in like, a real world setting, like, you know, a Metrodome school. But wouldn't you rather practice over a drum loop where a real song is? Actually, you know, the instruments were played over a drum loop, so that's kind of my mindset. So we're just gonna, um, inside fl studio in the browser here if you just open up FL studio for your first time. Uh, there's packs, and you have all your different sounds. Here's your like kicks. Okay, so maybe we'll select this kick right here. Um, and I just put on every single beat, so I'm gonna right click and go fill each four steps, so are gonna turn off the Metrodome. So here's this little quick 1234 drum loops. So here's one way to council 1234 OK, but if I were to kind of switch up this drum loop a little bit still, try and count. 1234 over. It's a 12341234 Okay, you can kind of throw you off a little bit now. What if we make it so that two and three are not on beat? Let's just try us a 12341234 Okay, So, again, when we are counting, beats is beat makers in our western culture. And I say that because for the most part, the music we listen to on the radio from our favorite artists is mostly in what's called 44 time. Okay, I don't want to get too much into it, but what it means is literally. All you have to do is count. 1234 Okay, Now, that doesn't mean you're sounds have to be on one, 23 and four. It just means that you have to count beats. 1234 You can still place your sounds wherever, uh, you know, you could do things to make them still in time and stuff just like I showed you. You know, even though these weren't on beat, you know, it wasn't on the two and the three, um, I was still able to count 1234 And it's still kept that musical rhythm. Okay, so that's one way to count. Beats just 1234 Super, super simple. Ah, when we get into actually like car keys 1234 can kind of sound a little bit static sometimes. Like don't get me wrong There's a time and a place for all these techniques. Um, Another way. How you could be counting beats is let's get a different sound here. I'm gonna go for Ah, hi. How? Okay, so we use this classic 808 sound And I'm just going to cut the out a little bill Make it so you can see fully K. So it is going to cut the out just still detail the trim all the way full to just let the tail isn't so long case. So when it was like, this kind of little long, so I'm just gonna cut that tail a little bit, something like that. So now you can count one and two and three and four and one, and it just repeat scared. And so what I'm gonna do isn't gonna put the And so it's the off beat. So one and two and three and occur certain over case. So we have one and two and three and four. And okay. And as you start to build your drum loops or instruments, these are places where you could be putting your sounds for them is on a little bit fuller . Let's just listen to the drum. The caso one and two and three and four and one and two and three and four and and again, Doesn't matter what the tempo is. If we slow, bro. Wastler's a one and two and three and four and one, and case Otis repeats over and over. Okay, let's put that back up to Mr Say 100. What? I want good enough. Okay, Now, the next one I'll introduce you to is like one and ah, two and three and four, and, uh OK, so this is a concept that kind of create. Over the years, he's called safe spots it kind of relates to what I'm trying to get here. I don't wanna go too much into it, but I have written a book on Amazon about it's called safe spots. There's also, of course, teaching you, you know, say spots. And it's all about where you can place your sounds to make good drum loops and stay in time and stuff. Ah, but so this is what's called on. Be a call on B. Okay, this is what's called offbeat. Okay, Now it's just add, um, like a snare. Okay, so I'm just gonna put that on the two in the four. I'm gonna hold on. Holt and the up arrow. I usually like that. My kick snare and then percussion. More percussion limits below. Um, now we're gonna be talking about the in betweens case, so I talked to you about 1234 Super easy to understand. Next, we have one and two and three and four. And okay, also, easy to understand. Now we're going to get into one and two and a three and a fore end up. So this is what I call the in betweens. So I'm just going to get some percussion here. Let's just see. Ah, we'll have this cow bell in this class can. So we have the on B 123 four. Okay, we have the off beat. It's just in, but it's halfway in between the beat. Get So this is one. This is two. We're going halfway halfway halfway in halfway. Okay, so that's your offbeat. Now we have. What's left is I call these the in betweens kid. So I call this one a and this one's B A, B a, B A and B. It just repeats K. So for the most part, as long as you can understand one beat So we have on be off B. I call this a and call it Be A's trickier to work with bees a lot easier to work with, OK, and I'll keep breaking this down even a little bit more in depth. Okay, so each of these is what's called 1/16 note. So when we're talking about that 44 time, so that means that you need 4/4 beats to make one bar. OK, I don't wanna go too intense with it, but what that means is each of these are 16th there. 16 there. That means that this is one bar. Now, since each of these are 1/16 note, if you add two of them together, you get an eighth. Okay, so 16th plus 1/16 isn't eighth. So in other words, 8th 8th 8th 8th 8/8 8th and eighth. Now, if I go above it, so on beat off, beat on. Be off. Be okay. You get the idea All you will click it in the So what I'm trying to say is this is the one and ah two and ah, right here. Okay, so you know, like one and ah, two and a three and four. And, uh, now I know when I say one and up I'm not including the A case when we go like the a in the B for these in betweens again, it's just a concept I've created called safe spot. So we have the on B. We have the off beat. We have the A and the B so that warmer times we have on beat off beat A and B and the A and the B are what I call in betweens. Ace trick you to work with. He's a lot easier to work with. OK, and one thing all share this further before we move on. His swing is, is a tool you can use to help nudge notes automatically. It helps add just a little bit of more humanistic flavor to your music. And swing actually adjusts thes eighth notes. Okay, so each one's the 16th. We had to 16. You get eights and that's what you're in. Betweens are your A and B and swing would be adjusting your eighth notes. Okay, so that's just a little breakdown of kind of how to count beats of 12341 and two entry and four or one and a two and a three and a four. Um, let's just listen to actually, we're gonna remove these. That's what we have. Okay, here's the cow bell. We'll add it on like the B. We'll have this one like the A. And then we had this one, like on both on the beers. OK, so let's just leave it there. Let's quickly hop into the piano roll just for completeness of this video and this just talk about cords, Okay, so we have a lot of effects on sometimes too many effects isn't good when you're really actually making the beat. Because, you know, things like reverb in stuff can kind of clog up a mix, but they sound beautiful. They sound awesome if you use them in the right way. I'm not telling you not to use them. I'm just saying that you have to be careful how much you use, because again, it can take up space in the mix. So if we referenced back to ah, see, Major, um, I'm just gonna play some courts for you now, one of my favorite chord progressions and see Major is C g a and then f. Okay, Now, again, you can reference back to, um, the scale Helper, the piano scale helper. But first of all, so it is C major. Okay. And then let's see if we have g. So 123 So else of G Major, we had a so one too. So a minor. And then we have f 123 f major. So what I'm gonna do is just kind of tap with it and just listen. Listen, how powerful this court progression is and this is the difference by choosing a good court progression. And again, it's all to do with the emotion you're wanting to get out of your song. If we listen now, I'm not great at playing and counting at the same time. So I'm good to actually click some stuff in, and I'm just gonna fast forward it and I'll break this down for you. Okay, So what I've done is I've just creatives, um, a little melody here using C major G Major a minor. And then f major came in the scale of C major again, some of this. Okay, now, I played it in two different rhythms, K. So for the first is what you call to bars, and I'll break that down for you in a second. I played at 1234 and in the next two bars, I went one is actually what's called Syncopation, and I'll ah break that down for you. Ah, in a moment here. Okay, So I'm just gonna put the fo keys in here, and then I'm going to hit the minus of my number pad us also select, you know, different patterns through this way. And I was gonna add this drum loop in with our piano. I'm gonna double click here. Okay. Brings us to our piano roll. Hold on, control. Right click. Now we can see Oliver notes K. So as you can see the first few notes Where 1234 And as you listen, it could sound a little bit rigid sounding cake. You know, there's not much really movement going on in the track, but there's a time and a place for it can the next part of the song, I used what is called Syncopation. So instead of playing it here and here, I actually removed one beat, and I put it halfway in between them. Okay, so if we listen to this, I'm gonna go Song Lord, let's just bring the temple down a little bit. So we listen on our drum loops. Let's take these. Oh, turn down this a little bit. Okay, let's go back to our PM role. So as you can hear, you know, it sounds a little bit rigid when it gets to hear as a little bit more groove, We spice it up a bit a little faster. Okay? So I'm just trying to share with you just different ways. How you can place thes notes. Okay, so there's there's two things I want you to listen for. So first of all, you know, this isn't sound bad. Um, again, it all depends on the context. It depends on the sound you've chosen. But when it goes to the Syncopation, since our actual piano is not playing on the to for the three, um, when it plays on the to like, that's where the snare hits. Okay, same here. This snare hits right here. But then so are snare hits on the two, which is right here and then also on the four. So on the two, you could really hear that sneer kind of hit you a little bit harder. So what I'm gonna do is lets remove this one bullet on control and shift highlighting both Just hitting. Delete. How many? This one and this one gonna bring him over halfway. So now these air, actually, what's called Syncopation? I'll break this down further in a moment. OK? So as you can hear, you know, it just has a little bit more groove. So now if we go back, okay, I'm gonna put it on every single beat. Okay, so I'm going to take this one and this one gonna bring him over holding shifting click and duplicates. Okay. So, listen, when it's on every single beat, it doesn't sound the same way. Now, if we had a baseline, if we had different Mel that he's going on, it might, okay, but just in terms of what I'm trying to show you, you know, I'm just showing you different ways to count beats. So this is a sound to musical. In addition, if we turn off all the effects, right, Okay. So just a quick recap on what we discussed in this video. To keep it simple. We covered 1234 So 1234 If you look up here, you know we have numbers. So this is a bar gay in 44 time. That's one bar. Now you're on to the next bar when you talk about you know, when you hear about rappers saying, Oh, I spit 16 bars and stuff like that. It's just 16 of these k Now, I talked to you about what's called Syncopation and Syncopation is a really, really powerful tool. Okay, um It just is off beat and its powerful because it kind of surprises your listener. It gives them just a little bit of variety to listen to. Silence is of really powerful technique in music if you use it in the right way. Um, in my opinion, when it was on every single be it just says it kind of sounds amateur. When it sounds more like this, it kind of sounds like you know what? You're doing a little bit more Now, don't get me wrong. This is know how I make my beats. Um, but just to kind of break down, just kind of counting beats a little bit for you. Um, And then as we proceed, we'll get into, you know, playing with the left and right hand and how you can kind of start moving forward, okay? 17. 4-2 - Practicing Scales and Hand Positioning: Okay, So in this video, I'm gonna introduce you guys to practicing scales. Practicing scales is actually amazing. Ah, practicing technique to teach your mind and your hands where you are on a keyboard. Okay. It allows you to go up and down a keyboard very, very fast again. Building like that. Muscle memory goes up speed and the key word. I want you to realize there is practicing your scale, okay? Or scales. So again for talking C major, you're only hitting the notes inside a C major, which is seven notes. And it's easy because it's only the white notes. But if you're talking about a different scale like C minor, where has it the black notes, you know, then you're gonna have to be hitting those notes up and down the scale. And like I'm saying, it's great to for muscle memory, knowing what notes is good for speed. Let's you know, let's your hand and you want to do this with both hands, like you can do them at the same time. That's play pretty advanced, but I would say Do one hand at a time, like even for me. I just do one handed a time, But you want to make sure you do with the left hand as well. Is that the right hand? And how it works is user 12 and three. So your thumb index and middle finger and how it works is you place your thumb, your index or middle, and then your thumb actually goes under your hand to the next note. Okay? And then when you work your way back, you would go like middle Finger Index thumb, and then your middle finger comes over. Okay? So let me give you guys just a little example. Some going thumb index middle thumb index middle. Okay. And as you get better now, I'm gonna work your way down. So I am middle finger Index thumb, middle Finger index thumb. And as you proceed, you will get faster and faster and faster practice with, like, the left hand. So again, middle finger index thumb. It's kind of hard to talk to the same time, but I'm just putting my middle finger over my thumb and that's it. And then, you know, when I work my way back So thumb index middle thumb, okay. And it's just good. Just a train your hand get you acquainted on the keyboard. Now, it may be a little bit too soon to practice this for yourself like and what I mean by that is at near the end of this course, you know, you're gonna understand the cords you're gonna understand. You know how to play some chords and, uh, with your right and left hand No tricks and techniques and how to actually practice an improvised cave. But these scales again help understanding where you are on the keyboard helps with speed and stuff. So I'll give you an example by playing the c minor scale up and down because it has black notes in OK. And in the case of C minor, uh, there's the one note which is a little tricky to put my thumb to, so I will actually use it. My four for that. But I'll again put my thumb under, and I'll show that with you. So if I go see Dee Dee Sharp and then I'm on to f g g sharp, I use my four now because get like my thumb is really tricky to get upto this a sharp single, a sharp and then I just put my thumb to see and work my way. And then the same thing all the way again. Something you want to practice. It gets your hands acquainted. It gets you remembering what notes are in that scale. Um, it's just a practicing technique. It's helped me over the years, you know, practice with the right hand practice with your left hand, and that's just one technique that you guys come practice with. 18. 4-3 - Using Inversions as a Beatmaker: in this video, I'm going to introduce you to something called Inversions. So when we talk about inversions, there is two inversions per a per court. Okay, so there's, like, the root position. First aversion, second version, then I believe it just goes back to the route. OK, so for example, if we're talking about C major, if I just play it here, So that's see, Major. But as you can see, we have C, E and G, but we also have a C rate up here. So what would happen if I don't play this seat? But I plan. See? Okay. And how you'd want to do that is you want to play with your thumb, your index finger here, and then your pinky this'll is the only time where you're going to be using, like, your index for the cords at this basic level, Okay. And then the next one. So again, we have e down here, and we also have, um, e appear. Okay, So what you want to do is, instead of playing down here, then you go back to your, um g c and E. And you use like your thumb, your three and your five. Okay, so you're one. You're three and five. So explain that one more time. Okay, so this is like the root position. So it's C, e and G way Have the sea appear. So now you go to the next one. Now you have the e appear. Okay, so we're gonna stop playing down here. Now you're gonna go back to your normal hand position of 13 and five. Then you go back to the room. Now, this is really, really powerful to practice, and I'll show you how I do it. So if you like Route first inversion second inversion groups and working way back down And you can even try and do, like, a rhythm with its like 123123123 And then, you know, you kind of do stuff like that once you start getting into different chords such as, like, no try with c minor. Okay, so that's what you call an inversion in Virgin's really, really powerful. Because, like I told you, when you're making your beat and let's say you know, you used all the same chords in this area now instead of maybe playing it like this for this instrument. Let's say use the first inversion, Okay? And what it allows you to do is it just allows you to get a bit of a higher sound or lower sound and make it a little bit easier for mixing or just give it to. It is a different flavor to your music, because the thing is you're still hitting the same notes. You just playing them in different pitches. Okay, so instead of playing C C four here and then now C five appear so you can play like this where you play like this, OK, it's still the same chord. It's just a different inversion of that cord. It's extremely powerful. Okay, now with the left hand, you want to be careful. And I say that because in the low end is you know, the left hand is considered kind of your low end, I guess. In music production, I say that because the left hand typically is like the low end, you know, like your baseline. Or if you're going to play the piano right, so is big and lower, big and big and full compared to your high end. You know you're right, You're right side. Right now. You want to be careful with inversions with the left hand. But in the case of C major thistles, like the root note of this court, OK? And like I mentioned to you on the left hand many times, I don't like to play this middle note, uh, music production just for clarity within my music. But if I'm gonna be doing an inversion, Okay, what's happening is C is no longer that fundamental baseline. No, because you know, that's the baseline. And once you start, you know, if I had a baseline and if I had other instruments and on the piano on the left hand if I used an inversion now you're not playing. See, at the very base note you're now playing like E. Or it could be like G as like that base? No. Even though you're playing a C chord. So inversions in the left hand I typically kind of stay away from but in the right hand it's fair game, and it's totally powerful stuff. Okay, again, this is all to do with clashing in the low end of mixing when you have that baseline and it's playing see, But then you go to play a G. You can kind of get weird clashing sometimes Now, when all the time you can experiment and play around with it. But in my experience over the years, that's what's kind of happened. So, um, that's inversions again, from a producer's standpoint, they're really powerful because it gives us the option to kind of just go a little bit higher or is a little bit lower in the frequency space, right? So for playing here, instead of playing this, you know, the sea go appear instead. And now we can kind of, you know, push it up a little bit and maybe help it stand. Oh, in the mix a little bit better to repeat that one more time. So on the first, you know, in the root position you have your one you're three and your five in the second inversion. You want to be using your 12 and five. Okay, back to the second inversion. You're gonna be using your 13 and five again. Then you go back to reposition. Okay. On your way down boom. That first aversion using the to your index kip Amazingly powerful stuff tryingto huge game changer when she actually go to compose your beats 19. 4-4 - Arpeggios: Manual and Automatic: OK, in this video, I'm gonna introduce you guys to arpeggios. Arpeggios are amazing. They're extremely powerful. And I believe it's what's called like a broken chord. So instead of playing the nose all at once, you play them individually. Okay? You could even go like so you can see I'm playing. See, e g back up to the sea. Okay. And as you would go from, you know, one cord to the next court, you conduce this and our pages of super super powerful. I'll show you how to automatically set this up inside of FL Studio in case you're interested very, very powerful stuff. But to follow that C major G major a minor and F major progression. Let's just do with an arpeggio. So and it would just repeat over and over again. Now, arpeggios could get very, very intense with different rhythms and, you know, stuff like that. But that's just the look. Basic concept of arpeggios. Okay, so inside fl studio, I want to share with you how to set up an automatic arpeggio. Okay, so right now for just press the keys, that's the way it sounds. If you click on keys, you can click. Um, the year it here, you know, like the wrench. And now here is the Arpege intersection. Okay, so if I hold on these courts, it's just what's called, like a block court. Okay, if you press the up or the down, this is just the different ways that goes. So instead of going like up, you can make it go down. Okay. So, for example, I have it enabled. Ah, hold on the court. It does it automatically. So, for example, different versions. Now, you know, you could play around with this and, you know, fiddle around and get different sounds out of it. So, for example, we can increase the range. So instead of just doing this would go up one octave are often say so pretty powerful, right? And again, you can change up like the, um you know the direction. Just look in the top left of fl studio here we have our page a direction up, down, up, down, and gets sick on a bounce. And then sticky. So we'll try this. You have a gate. This is just cuts off. How long the notice. Okay. So again really, really powerful stuff. I am just sharing this with you just because it's an arpeggio. It's a part of the piano. Super, Super powerful, especially for beats. I typically using arpeggio for that filling touch in the song. So once I have, like the melody, all kind of made it. I'm just kind of looking for it. That last sound. Whatever you set up in arpeggio, you can put, like, delay and stuff on it again these air sends. So you know, it probably is just different effects on, and you can get really, really cool arpeggio sounds so you know, sounds a little weird, but if you bring back the range a little bit travel time so and you could just like the timing, the timing might be a little bit aggressive. So so one way too fast. I want to go slower so well prompt. I gate. Let's actually hear the melody a little bit will make it a little faster, so you can. So that's arpeggios extremely powerful. It's just a matter of playing the notes individually rather than all at the same time. Um, when you do it manually, you have total control. On what notes wanna play even if you want to add a different note, which isn't in that cord. You can totally do that stuff. That's how little I like. Trance music is made with, like, these arpeggios and stuff like that. So super, super powerful stuff that is arpeggios, okay? 20. 4-5 - More Advanced Chords: all right. In this video, I want to introduce you to different types of courts. So it doesn't just have to be like a major and a minor chord. So if we come here to see Okay, we're gonna scroll down. We have suss to and suss for Okay. Now what this is is if we're gonna play see major again, we have one, 23 So we'll play the notes. That's a C major. We have 123 notes in between. Okay? Now what suss to is is to the left. Okay, So instead of playing the e u actually play C and D together at this and the G get and then instead of playing says to you could place us four so again instead of playing the e u play the f. Okay, so it's, like, pretty powerful stuff right now. Again, I'm just showing you on c major. You know, if we go down to like G major now, if you go to a different court like the SE C minor may have like the black in there. So again, suss to would be that the d and says four where again, like the after again. We don't have the e in the scale of this e in the scale of C minor. So if I played out for you, for example, Okay. And then you know, if you want to get intense, you can call it the inversion. Okay, so this is where these melodies can kind of start coming in a little bit, and even as you can hear there, I was just kind of playing around like they own. That was just total improvisation, but I kind of heard like a little melody that kind of sounded more like of a trap ish kind of rhythm. I'm not big with trap music and only trap music, but it was kind of a trap, melody. But that's how you can kind of use, um, suss to and this us for So for example, if we go to see here, we go to suss to can So you can see it's the sea, the D and the G. We're gonna suss four. You'll see. It's the F Now the last advanced corn will talk to your boat is 1/7. I honestly never used seventh chords. Sometimes they sound powerful. Sometimes they sound a little bit weird. I've found over the years my beats. Um it all depends how you use them and the approach you're taking with them. I do use this us to incest for quite a lot. Now, I just want to introduce you to, you know, just a C major seventh. OK, so as you can see, we still have the see. We still have the e. We still have the G. But what's happening is we're actually playing that be in there. Okay, So instead of playing it with your 13 and five, you would have to kind of, you know, I'm just playing with my one to my three and my five, but it might experience Just over the years, I've always just kind of found found sevenths to kind of have a little bit of an off pitch in my music. Um, feel free to use them. They're very, very common. I have just more rather play the majors the miners says to suss for I usually find those are, you know, very, very safe cords and begin in the major staying with the seventh, the minor staying away from that second chord. But there you go. That's us to suss for I really like those. I introduced you to seventh again. Just use this piano chord helper. It's It's amazing, right? Just click whatever key you're in. And they were like, You know, if you want to see Major or like a D major seventh, you know, it just shows you the notes. But again, I've always just kind of found sevens to be a little bit weird. Ah, but I use just like the major in the minors. And again, you could only use the scale of the cord. You know, if it's a d major or D minor Onley if it's actually within that scale. Okay, so it always comes back to this again. I'll tell you again and again as long as you learn the fundamentals, the basics. As soon as things start to get more advanced, you start to get confused, come back to the basics and be like, OK, well, you understand the basics extremely well to start picking things up really easy. Okay, so that's the more advanced courts for you guys to practice super powerful stuff 21. 5-1 - How to Use Chords to Make Beats: OK in this video, I want to talk to you about how to actually use thes chords within your beat. Okay, So when we talked about counting beats, you know, was 12341 and two and three and four or one ended two and a three and a four. Okay, just to give you an example, now we use cords. It's what you call per progressions. Okay. And typically, I like to use about 4 to 8 cords. Okay? Anything more than that, it starts to get kind of two complex. On. The thing is what you'll notice in music production is it's all about repetition. Okay, So, like, that's the goal you want to be able to create. Ah, court progression, which is the emotion that you're wanting to achieve. And then you could always build other melodies and stuff over top. But the main court progression is typically like the heart of the song. OK, whether you want to be aggressive, sad, whatever. Okay. So how it usually works is when you go to actually use these cords. If we bring up the piano roll here, So as you could see right here, you know, I just have I'm going to remove these, okay? And this would make it a lot easier to understand. So the easiest way to do a court progression is just like this. So this would be like what you call power chords. OK? You know, you just hold down the cord. You know, it s up here, case, you just hold on those notes, and then you go and you change that progression. Okay, so it would be like from C soc major. Then it goes on to G major a minor, and then it goes down to F major. Okay, So, as you can see, after four beats, we change the cord. And then once we're done at F major, it would literally just loop back around. And that is the progression for our song. For example, if you want to start putting a baseline, you know, you could just in the case of fl Studio, what you can do is you could literally just, like, highlight your bottom. No and, ah, hold on, shift and click, and we just bring it down. Okay? So if we listen to just the piano, Okay, let's bring it a little bit lower. Okay, let's get this. You know, getting sound like a bait. More of more of that. The base at the body. Okay. You hear that? Body right? Sounds really powerful. But again, so 123412341234 Okay, so that is one way to be, You know, placing your cords k. Just 1234 Change the cord. 1234 Now, if you want to be a little bit creative When I said 4 to 8 cords, I usually don't use eight cords. I usually use four chords. And what I'll do is I'm just gonna highlight this. A cool shortcut. NFL studio is now that it's highlighted, you can press control and be it moves all these notes to the next bars. OK, so as you can see here now, we have all these notes Now, typically the last two bars. I will change up these courts. Okay. So for example, we went from ah, see Major G Major, a minor in F major. So instead of it just repeating over and over and some songs that's good, you know, suits that song. And that's just the way it is. But sometimes that chord progression repeating over and over can become boring. And as a producer, you always want to be thinking from your listeners standpoint, You want to keep it fresh. Okay, so in order to switch this up, let's just maybe, like, delete these. Okay, So if we go back to the scale a c major, we know that we could only use white notes case. So now it's just a matter of finding, um, court progression that we like. So if I just, uh, enable the keyboard here, and so what I'll do is so we won't see Major G Major a minor f Major Theun on our second time around. You know, you could even get into inversions and stuff like that, you know, take it to that level or whatever, but let's just go from you know, see, Major g minor are Sergey major again, and then maybe s and then back to G Major. That sounds onto battle case. So again, this is something that you just gonna have to kind of play with. But you can record you don't hit record hit play and stuff like that. But many times when I'm working on a court progression, many times all literally. Just play off my keyboard, okay? And you'll be able to see me. Just click it in. OK? And then, you know I'm gonna be playing g major again. So instead of clicking it in, I would do the shortcut like this. Highlight. Hold on. Shift click. Bring it over. Okay. As you start to proceed, you know, these air, the tricks that make you better at music production, it speeds you up. Now, this allows me to be more creative and other aspects instead of wasting time, you know, clicking stuff in. So let's just listen to this through, and you kind of get a general sense of what I'm saying that, you know, for the first four bars gave of our loop, it's just the c g a f. Okay. And then on the second part of loop, So the next four bars I go, C g f g. Okay. Again, this is still in this scale a c major. I have just chosen different chords just to spice it up a little bit. So Well, just listen just to the court progression. So here we go Okay, now, here we go. So not just look over and over. Now. One thing you'll notice there when I clicked in those notes that the velocities are all the same and it sounded a little bit weird. So listen from here. Okay, listen to these notes. You can see that the velocities are all different because I, you know, I played them. Listen to this note. It's louder, is kind of more aggressive. It sounds static, sounds digital. And that's something you want to be careful of with digital music. Production is, it's sounding like like computer music. Okay, Even though it's made on a computer, you could still make it some really musical. So it's just it play here. Listen to this court for here. It's louder. It's just kind of hits you. So NFL Studio. You can just hold on. Ault in the scroll wheel is kind of like you don't do something like this. You can even take it to the next level and get to know nudging and stuff like that, holding a shift and you can nudge notes for a more humanist, humanistic flavor because, you know, in real life, no one's ever hitting the notes perfectly on time is always a little bit of delay. Let's just listen to that a little bit with the drum loop, OK? And now you're gonna gonna hear the progression with the drum. Open up the piano roll and you'll hear when it loops around case. So after we're done, the eighth bar, it comes back around. I was playing minor in there. So here I'm only playing in C major, and it all sounds good. I just want to share that with you that, you know, I was just kind of playing around in C. Major. We know that we're only allowed to play white notes. Therefore, all the notes for the most part kind of flowed. It was just a matter of kind of finding a melody which would work. So I just wanted to let you be aware of that. So when I'm working with cords, many times, they use four courts, you know? So that's usually half the battle of the song. What? How do I want to approach this song? What is the kind of feel I'm wanting out of the song? And then once they find my court progression with my drum loop. That is That's, like half the battle of the song. Okay, so I've kind of got the emotion. Now it's just a matter of what other instruments do I add in? How do we arrange the song for the intro? Diverse. The chorus, like, you know, those are all just different steps. But this right here, this is, like the main fundamental. And then just to spice it up for your listeners sake, even for your sake, cause you're gonna be listening to this song over and over again. Um, you know, I spiced up these last two chords in the last two bars, Um, of this loop. OK, so I'm going to stop this video here. I'm going to continue on with different note placement a little bit within your chords within your court progression. I want to introduce you to, um, kind of more different timings and rhythms, um, Syncopation and kind of changing chords up and stuff like that. So we'll continue on in the next video 22. 5-2 - Adding Spice to Chord Progressions (Syncopation): okay. In the last video we left off right here where we had our courts care four chords. And then in the last two bars, we just changed up the court scale. Just to give our listeners is too fresh perspective on the song, you know, just gives their ears is the fresh Listen, So this right here, you know, it could be kind of considered very, very static, and it could make your music sound very like 1234 you know, is very, very predictable. Now you can get creative and where you're placing your chords like, for example, you don't have to play on the, you know, the beginning of each bar. And what I mean by that is like, let's say we take this quarter here and maybe roll carry this court over. Okay, so let's just listen to that. So watch if we do this again and we will put this one over case so we're just kind of cheating it over a little bit. Way can also, I believe, do it the other way, too. So I'm not going to take this cordon will make them late, and actually, what will put it halfway through. Well, do something like this, and maybe we will, you know, See, this is where you can just kind of play around with chords and, you know, the timings. And, ah, we'll start from here. So I just clicked, and, as you can see, appear in the top. Um, you know where I click It actually puts it on like the actual playlist. So let's play it from five. You can feel it. This thing over here feels more energetic over here. I don't like it. So, you see, it kind of feels delayed so we can just repeat what we've done. So I'm gonna bring this back to here. We're going to do this. I will also put this here, and we'll put this on unbeaten and then the same thing. So on the fourth beat, we're just gonna kind of, you know, come over a little bit. Okay? So we're gonna play from here one more time, you know? So just like the groove, you know, if you got a baseline going on, but still like, you know, the courts sound is still a little bit robotic and stuff like that. So what we can do to kind of spice set up is you can just, you know, play chords that tap. So, for example, let us do something like this, and we just have him in, um maybe will only do it for these ones. Okay, so let's just try this. We're gonna leave the other chords as long, and then we're just gonna tap just, you know, the first bar. Okay, So waken do here is we could do what's called Syncopation. So I'll do something like this and we'll listen here so we'll play it from back here. So, Theo So for the for the one. So the very, very beginning of the loop, I will, um, just making do, like, this is what is called Syncopation. Okay, So what I'm doing is it just kind of playing halfway in between? So as you can see, if we zoom in closer Ah, the spaces in between. So if we've certainly the one here, So we have 1234 Okay, then in between 1234 So it's evenly spaced. And this, you know, is still gonna be in time and rhythm. Okay. Okay. So as you can see the way home kind of programming. This it still sounds pretty computer music ish rates so sounds pretty robotic and static again. We can start adjusting that when more melodies and more instruments start getting added in . These are just things that you can apply into your music to give your chord progressions just a little bit more variety, little more spice rather than just be like, you know, 1234 And it just so predictable. So I'm just going to actually delete that. And so this is what's called Syncopation. Okay, so, for example, if I display a note like this on every single beat Okay, so it's literally sounds like this 12341234 I know Is this the same note? But just bear with me, OK, so now what you can do is what's called Syncopation, and it's off beat. But it gives your music just a little bit more variety than just that. 1234 Again. There's a time and a place for all these different techniques. I just wanna reveal them to you so that you could be creative behind it. So what I'm gonna do is I'm going. I'm just going to remove this one. I'm gonna bring this one back here, and as you can see, 123 and four, Right. Uh, zoom in a little more sexy. OK, so 1234 Then we hear 1234 So it's evenly spaced. Well, listen to this K. We go back. 123412 34 Okay, so now here. Okay. You know, even if we played it with courts, it's the same thing, you know. I know it's a little bit of knowing to listen to that. A single note. But this is what you call Syncopation, and you can be, You know, as you actually do your court progressions, you can place records like this. You can place them on the 1234 You could do it. Just like how I showed you. So you know, imagine this is like the first bar on the second bar. Now it's on. It's on the 123 and and four. Right. So he really likes Syncopation. But these 1st 3 and then the second bar would be like 1234 And again, you don't even have to do that. You know, like depending on the track. You know, assuming just are adding in your drum loop. Different melodies. Um, you know, other instruments can kind of fill in the spaces to, so it doesn't just have to be this piano, which is taking place of this spot. It could be a different sound which is adding in to add fullness there. Okay, so going forward into this course, I'm just going to remove the second part of the loop here where I've changed up the last two chords and it's gonna hit Delete. I'll just make this all the same. Hold on, control. Right. Click make a big and I'm just going to keep it simple so that as we start to progress, I'm gonna teach you. You know how to use your right hand. I'm gonna teach you how to use your left hand that I'm also gonna teach you how to use them both together. And this will just allow us to have something easy to work off of. So again, this is ah see, Major. Okay, it is g major. It is a minor. And then it is f major. So That's the chord progression we're gonna be working with. It's a very, very uplifting, very, very powerful court progression. Okay, In her next video, we're gonna be talking about how to use the right hand and how to create, you know, powerful melodies and really start improvising. Okay, We're gonna start with the right hand. We're gonna work into the left hand, and then we're gonna learn how to play them both at the same time. 23. 5-3 - Playing with the Right Hand: all right. In this video, you're going to start learning improvisation. Okay, You're gonna learn about the right hand first. Okay, So the right hand, the way you got to think about your right hand is typically it's more about kind of the melodies. Is kind of adding, you know, just kind of the catchy stuff up. You know, in the top end, we're talking about the left hand. It's more like, kind of like the progression. Like the rhythm. The left hand has already kind of established the emotion. The right hand is just, you know, kind of enhancing. It was like the melody. Okay, So when we talk about the right hand and in terms of practicing, what I want you to do is I want you to create a drum loop. Okay? Again. You can create. You know of you can you can just use it. The Metrodome. I personally like to have a drum loop. So just like this, you know that's great. It's super simple. It gives you a rhythm toe work off of It. Doesn't have to be 1234 You know, you can make it however you want, you know? Okay, you know, however you want to approach it, but to keep it simple, I'm just gonna put it. 1234 Okay, kind of keep it like a dance track, then on the actual piano. You know, we've already set up our like effects, you know? So on here again. So this is going to make our piano playing over top off the strum, Luke, be a lot more enjoyable. So when I hit play here, um, we're just gonna kind of play around. Um, I will play over top of this court progression, which we've already laid here in a moment. Ah, but I'll just play in c minor just cause, like, that's what I'm comfortable with. And I'll just kind of play around. You consider me hitting the notes up top here just to kind of give you an idea. Okay, so I'm just gonna hit play here again. I know that these notes are within the scale of C minor. Therefore, when I hit them, I know they all go together. So so way. Okay, So just to give you an idea there, So now if I play that and see major, now, you know it's gonna sound a little bit different because it's just different notes that were within that scale. So I will play. See, Major? Okay, so way. Okay, so now at this moment is just kind of like, Well, how, like, where am I going to go with that? So this is the reason why when I'm building my beat, That's why I like to create a chord progression. Okay, so I create a court progression. And now, since we have this hit play, so so I want to win this song Castle. So now we have a right hand. So how you can approach using a right hand is you can see if we're using our left hand to play this chord progression again. Usually. Like I told you, I like to remove the middle note. Okay? It just sounds a lot cleaner. Okay, When it comes to the mixing stage now, in order to play the right hand, what you could be doing is so since playing the C chord here. Okay, I'm playing. See? So, yes, you could be playing, you know, See, Major, But you can be playing other chords over top off. See, they doesn't just have to B. C C. Major. Because if it is, you know, that's kind of boring, like, well, it depends in the context of the song. You know, it can sound really, really powerful. But if you feel like that's all you can do they, for example, it goes from, like, you know, see Major G Major a minor f major. Like, if you feel that when you're hitting F on the low end that you have to be playing the same chord, you don't have to. Okay, Um So, for example, if I play C and G major appear so Okay, so now when it comes to playing the right hand over this progression, there's many different ways how you can start using this right hand. You know, you could start tapping 1234 Right. But you can also be taking advantage of that suss to that suss four. Okay, So again, if you look at the keys up top here, uh, here's this major here is the suss to Okay, so but the d and then we go the suss four. And you know you can you can you play like the different versions of it. Okay, So, for example, I'm gonna hit play. I'm gonna let the court progression go and I'll share with you. You know how I would kind of start improvising with the right hand trying toe? You know, we already have a court progression. This is kind of like the emotion of the song. We already know that C g A and F is a really uplifting court progression, as we've already heard. Now we want to try and create a melody over top of it and, you know, yes, I'm going to maybe stay within C g A and F But then maybe you can kind of Brancheau maybe get creative. It would be like, Hey, that sounds pretty cool. Um, you know, that's just how things happen, you know? So here we go. Let's just try and also hit Play a here, so C g so as you can see there what I was doing with my right hand, I was just playing the octave. So seed on low C up high, okay? And I just want, like, you know, just kind of playing around with it like that. Uh, I'll play this again, will play around with, like, a suss to us four. See how it goes. Thesis. Arpege Always doing right. So So remember, the arpeggio is accord, but not played at the same time, right? So I'm playing the notes individually. So instead of playing the block cord, other norm is kind of like a power accord, which is just like, Boom, and you just hold it, you know? And then you let the next chord. That's kind of a power cord. The arpeggio is just kind of like the tapping of the notes. The and I'm just staying in C g A and F. Okay, And so when I actually go to improvise with, I'm just gonna play with C minor because again, that's just what I'm comfortable with. That's where I can kind of create more improvisation again. See, Major, I find very difficult because there's no black notes. Like, as I start to play, it's like it's is easy to kind of other notes that the wrong note or whatever. So when I go to play with improvisation, so I typically play with, like, you know, the hands on the outside. Okay, we'll get more of the left handed or next video, and then in the right hand. So, for example, so I wasn't doing anything special there. So there's two things which made that powerful. First of all, it was the chord progression, which was powerful. Second of all, is the reverb on the piano. Trust me. So if I come to the keys here and we turn off the effects what, do the same thing? Okay. At the sex back on, you're like, Whoa. Okay, So when I go with my right hand again, there's many different approaches you can take. You know, you can just kind of play it together. So I'm playing the left hand the same time with the right hand. Okay, um, if I were to actually hold on my left hand. Now, this is why I was telling you it's nice to practice scales. Watch. I can go up and down really nicely. So for example, all this play quickly here, so scale. Okay, so that's why it's really nice to be able to know how to go up and down again. I didn't learn that in one day. I didn't learn in a week. It took time to kind of, you know, or you could just be doing simple power chords. So, for example, or if we go to see Major here, which is what we've been following so that c g a and F so never go back to see and get on the left hand. I'm just playing those outside notes. Okay. So hopeful. That helps you with your right hand. You know, again, you could be like the power chords. You could do that. The tapping you can do different versions of chords. You know, you could be playing different cores over different left hand notes just as long as the notes are within this scale. And so, as you have probably realized, each video here is getting closer and closer to realizing. Okay, I'm started to kind of see how this all goes together in the next video. Talking about the left hand left hand is by far the hardest one. For me, it was the hardest one to understand. How can I do stuff with it? You know, instead of just playing here and then here, then here, right? It was like it was How do we actually use the left hand how to be? Be creative with it. That's why I'm gonna show you in the next video. And then after the left hand video I'm gonna share with you had put both hands K. 24. 5-4 - Playing with the Left Hand: all right in this video, we're talking about the left hand again. The left hand is the rhythm. It's like the emotion. It's the drive. It's the chord progression. Um, and it really is the foundation to the song. It's like It's like what? You know. What are you trying to drive home behind your songs? You know, rhythm. Okay. And like I was saying when I first started, you know, playing piano, I was able to kind of play a chord. And I was able to kind of bounce from with the right hand, you know, on. But I felt that that's all I was able to do was only able to just play the block chords. It was just like Okay, well, I want to be able to do more with the left hand. And you know what? I did a lot of research and a lot of practicing. And, you know, I found some really powerful things that you could be doing with the left hand, which I'll share with you in this video. So the 1st 1 more talk about is the single note baseline. Okay, so this is the one that we've been doing all along. It's just, you know, playing that note and it goes on. OK, so for example, E was just playing just the single baseline. Okay, now I'll share something cool with you. So if I just hit record here and it just in the pattern put the Metro Norman hit play 234 So 1234123412341234 I did that just sort of have to click it in. So control and Q. And I'll just make the actual piano smaller here. Okay, so here's the cool thing you could be doing with the left hand. Now, sometimes I do, you know, play my notes in. But being a music producer being, you know, having the ability with the most to click things in Ah, it's really, really powerful to be able to know how to click things in, like, what are common patterns that you could be using with your left hand or even your right hand and stuff? So what you could be doing is right here you can just play the note again. OK, so, for example, like this and to keep it simple got a highly all of them would bring him back about here. And, um, I could just highly them all again. Bring him all over, and we're gonna make a small Okay, so this is a pretty powerful one. Many times you don't have to have it the same note. You can actually put it to a different note. Okay, We'll play with that in a minute. But if we just listen to this with this the drum loop, OK, here is kind of pretty powerful right now. Let's be a little bit creative. So with again, imagine this is our left hand playing the piano. Begin. I'm only sharing this with you because we can, You know, with music production, we have the ability to click things in. The whole point of a midi keyboard with music production is just to be able to get the rough idea in from your mind to your keys into your computer. Many times, my end melody is kind of close to the way I played it. But sometimes I just go and click something initially. Whoa! Okay, cool. Right. And begin Music producers like that's just what? That's just the way it is. So it's all about getting that idea into the computer. And then you use the most edit. Okay, So with that said, I'm gonna, um, kind of go down. We'll bring yourself back up, and then we'll play. Maybe see here and you will play g here. OK, so it's just listen to see how it kind of flows. Okay, so, you know, I'm just kind of rushing through this, but for your song, for your progression, you want to be selecting a note which really has impact that song. But in the case of your song, you know, maybe you want may bring this up here a little bit. Maybe you want to add in other notes. So, for example, we go like maybe de see and then on me back to back to the a sharp or something. So listen to that. Let's go down and get a lower soothe. Next one I want to share with you is the off beat with the left hand. This is really, really powerful if you're creating, like, baselines and stuff like that. And just as really, really nice constant rhythm. Okay. So to keep this simple, I am just going, Teoh, We're gonna keep these the same. Okay, So what I mean by that is, as you can see, Ah, the first chord plays on 123 But it doesn't play in the four. So we change up the court progression. Same here. We change of the court progression. Okay, this will make it really easy when I highlight thes. Just gonna hold on shift click care. And since they're highlighted, I'm just gonna press control on the down arrow. Just brings it down an octave, okay? And what I'm gonna do is I'm just gonna put it on the off beat. So I'm just gonna bring this all the way over, just like so We'll also have a these and put him like this, and we're just gonna highlight them. Hold on, shift and click. And as you can see, I'm just putting him on lengthy off beat, so I don't need any more for sea or for a summer is gonna highlight Ah g here and the f I'm just gonna finish it off. So one more. Okay, so if we listen to this high like this now, if I bring it down an octave, okay? maybe two octaves. Okay. So again, that's what that would be that with the left hand. Now, in order to play it like that, I really wouldn't for playing the piano. I don't really play the piano like this. This is more of a music production for rhythm for a dance track. Okay. And as you can see here, you know, some of these air pretty quiet. So when I highlight them, uh, you could see that there. Quiet. So I'm gonna hold on Ault and the scroll wheel to spring up a little bit. Okay? Now, to build off of this, it doesn't think you know, you don't have to just be following, see which this is. See, you don't be following like G. You know, this is G right. You don't have to just be following that. So, for example, we could be adding in, Like I said, that last note you can change up that note. So, for example, we go to a here, right? So maybe he won't go to, um maybe like the e. Okay, so bring it up to here again. These notes have to be white because we're playing in the scale of c major. So let's just listen from here. But we can even add notes in. So, for example, from here to here, Theo. Okay, so that was just like the off beat, you know, you can even have it on beat to it doesn't have to be on the off beat the off be just as the really special rhythm. And the reason why that's really powerful is because where does your kick drum hit your kick? Drum hits on the one The two, the three and the four. When you play a baseline like this, you're Lohan doesn't clashes much because you're kick drum plays and then your baseline plays in the jump, please. Your baseline plays pretty powerful. You could also be using side chain compression. You know, for example, if you just had, like, your base like that again, this is the piano. No, imagine we were actually like a baseline because you're getting like, you're low income clash and it's really important that your low end is nice and tight. Otherwise, your whole track with some really weak so you can be playing off beat where this is powerful because it leaves room for that kick drum. Not much clashing going on or you can play it on beat, you know, just like so you know, you just you want to drag him all over. So if it is how highly Tamal, for example, would be, like, you know, on beat. So we'll move on to the next one here. Ah, the next one is tapping with the left hand. Okay, so now I'm just gonna tap with the left hand with ease cords, you'll hear. It's pretty powerful. I'm just gonna keep tapping. Okay, So for example, another thing that you could be doing with the left hand Pretty powerful stuff. In addition to the tapping instead of the tapping, you can literally just hold down the notes. So instead of just doing doing that, they like the single note you just play the actual court. So, for example, but so that was pretty simple. But, you know, just sharing that these air, this, the different things that you could be doing, The last one I want to share with you is the RPG with the left hand. Now, this one's a little bit tricky, especially when you're playing with with the right hand. But you Eventually you will want to learn this because I'll just go off topic, play both hands here quickly and we'll play and c minor because that's what I'm comfortable with. Eso, for example. The arpeggio is like this. So like Okay, so what I'm doing there is I'm playing the sea and it's where your index finger. So you're too where feels comfortable And in this case is G. Okay, so from C to G to see Okay, so I'm staying in C because, as you can see are very very first note is C and then it goes down to G goes to a and then it goes toe s So what I'm gonna be doing is going C g c. And it is rocked my way back. So I go down to G and then now so g d g go up to a And now I'm just playing the e without so down to s. So that is like the arpeggio, and it's really, really awesome. Now, as you start to advance, it doesn't just have to be like you can actually add in more notes to So for example Okay, you can kind of start to kind of doing stuff like that as you start to progress. But many times, like with the left hand, If I was going to be playing both house together, I'm just gonna play in C minor. So again, I'm just with the left hand. Is that arpeggio? It looks more intense than what it is. And now that you see that you're like, OK, so try that. Okay, with the left hand C g c g e d g e a on then, um S C s Okay. And then now, if I were to do that in our core progression, So I'm gonna go up one octave with my right hand. Otherwise, I'm gonna clash here because it would be like, right? It's like they're my thumbs there together. So I'm just gonna go up one. So, for example, now for the arpeggio, just just like I share with you this one. Now I can do that manually. Record it, or you could just do it. NFL studio. So, for example, I'm going to duplicate the keys here. Okay. And on the these keys, I'm going to make this one be the arpeggio, OK? So as you can see, I'm just going to enable it here. Maybe. Ah, we'll see. Like, here for now. Ah, three time. Let's make a little bit faster. So open. Okay, So what I'm gonna do is we are just gonna highlight this, actually. Sorry. Uh, from here, I can go control C and Control V. So I'm pacing it in. I'm just going to remove the middle note because I don't like that with the low end. Um, by all means, you guys can It's just something I've discovered over the years. I just find it makes my beats a little bit cleaner sounding. I'm just gonna bring this down an octave. They are. Pigeon would be too fast. Case. So if I slowed down now, let's just say we keep in that middle. Know it might make the arpeggios on a little bit cooler. Spice it up. You don't give a different up down que school faster. Sorry. I guess just the other way. It's faster, too fast. So go one step volume on it a little bit. Maybe. Let's not put it to insert seven, because that's where the effects are. Okay. So really, really powerful stuff. And that's the left hand again. That's the progression. That's the rhythm. That's what's driving home the emotion. Okay, so those is just some things that you could be doing with the left hand, just like the single note. Sorry, We're actually like the normal piano. So this is a single No, you could also go Boom, boom, boom, boom, boom. And then, you know, just kind of tap it before you go down to the next note. There's, like, the power cords. There's, like, the off beat. I find that pretty hard to play like you. No one would be like 1234 or one and to end. So when it goes one and on the end is when you're actually playing that left hand note, I find that really, really hard to do, which is why it is clicked it in to share it with you. Or you could just be doing the left hand. This one is probably the most powerful one that you're gonna learn from me is just, you know, the c g c g d g a e a and then f c f really, really powerful. In the next video, I'm gonna break down the left and the right hand together so you guys can start improvising and get moving. Okay, 25. 5-5 - Playing Both Hands Together: OK, in this video, we're going to talk about how to use the left and the right hand together. Okay, So over your years, you'll start to deal with the flow again. In my early years, you know, like I was saying, I was able to kind of play the left hand, and I would be able to bounce around with the right hand, But I wasn't able to blend them together. And, you know, it was always at the left hand, which I was struggling with, Okay, at the left hand, I just could not get to, you know, just to flow how I wanted. And I just didn't know how to. So I'm just gonna pass some things onto you, which I have discovered over my years of playing the piano, which have helped me out again from a beat makers perspective to add fullness to my tracks and just to kind of create a nice melody. So the most simple one is when we're gonna be playing, you know? So once you found your court progression, Okay. So in our case, we're playing See Major G major, A minor and F major. Okay, so with that said, with the left hand you're gonna be playing. See, you're playing G. You're gonna be playing a and you could be playing f. Okay, That one is, you know, by far the easiest one with your left hand. Okay, But it is something that you need to practice. You know, Don't think it's easy if you're just starting. Okay. So what I want you to practice is with your left hand. I want you just to follow the route. Know of that court. So again, see Major G major, A minor f major k. So with your left hand, that means you could be playing. See, you're playing G. Were you playing a And you're gonna be playing f. And I just want you to that over and over again. And trust me, you guys will start toe, learn and understand how to play this piano. It's gonna be great. Um, but you guys is that will have to keep practicing that trust be. You know, at first it's like, Ok, I got it, I got it, But keep going. Keep going. Keep going. And then, like I was sharing with you before I like to pick 4 to 8 cords again. I say eight cords because it's four chords. I duplicate those four chords over and then, like the last two chords, you can switch up. So, for example, we're gonna switch it up now, so see G in another F back to G a and then s then see and then G and then f Okay, you can hear how the court progression is different the next time around. Um, OK, so that's when I want you guys to practice with and then went. You got that down. You could now start adding the upper on the left hand. Okay, So instead of just playing, you know, just like the root note, you know, the c g a f. You can play it with the left and you know, the upper, So okay, and they want you to do that with both the left and right hand together. So it be like, you know, c g. You know, a f and goes c g f g gay. And until you really start getting your hands acquainted and knowing the positioning, you know, because you just want to keep practicing that, and then once you understand that, try and find a different chord progression. Now, once you get that just by, you know, playing the actual notes and holding and holding them down, try tapping. Okay? Tapping is really, really powerful Wave to again create like that emotion. So, for example, if I tap it now, Yes. Okay. So, as you can see, I'm starting to build you up and, you know, try it. Start with just, you know, the single note trying the upper try the taps and getting to go. 12341234 I did a different counting there. I did, like one. It just sounds different. Just a different, you know, rhythm now Really, really powerful One is actually using your left thumb for rhythm. Okay, So, for example, if I play this court, you can actually keep playing your left thumb as a rhythm. So, for example, Blake. Okay, so again, I'm just kind of rushing through that, but how it works is you just want to use your thumb for that little extra rhythm here and there. You can play it once in a while. If I were to play that, you know, in C minor, I'm a little more comfortable in that. So, for example, let's go back to C minor. C major now, and try the uppers. No, again with our thumb. So So how I was fooling with that is I was playing the cord, and then I would start with the G, and I would kind of work my way up into the right hands. So if you like, you can see it seems more difficult than what it is, but it's not that difficult. The last one I want you to try is playing with the left and the right hand without arpeggio . Okay, so we're going to work our way down so again. Okay. Just like I showed you with the left hand. All repeat the notes for you again, so that c g c a g d g a e a f c f and so on a right hand, we're just gonna be playing. See, Major G Major, a major, a minor. And then s major. Okay, so this one will take you some time to learn, but when you start learning it, it's a game changer. OK, so I'll play that for you. So it's like, Okay, you kind of see how I added in all the different things I was talking to both. So I added some arpeggio. I started tapping a little bit. I started improvising with the right hand because we know we're only allowed white notes right on Lee, Wait. Notes are allowed. Um, so hopeful. That kind of gives you some insight. In our next video, I'm gonna teach you how to play one of my songs, both the left and right hand together, and that will give you a little bit more insight to how I've actually applied these techniques into a real world practice. Okay, so everything I've told you, everything I've shared with you, these are the actual no practices that I do as a producer. Again, The left hand has been the trickiest toe learn. Let's get into the next video where you guys are gonna learn how to play one of my songs on the piano 26. 5-6 - Learning a Song on Piano: - all right. In this video, you guys gonna be learning how to play this song? Giving in is giving up. This is the same song I used in the previous course. Ah, but I feel it's just really, really good to learn. You know how to implement both the left and the right hand together for the right hand. There's not too much going on. It's just more just kind of single notes, which is cool with the left hand. We're gonna be using the arpeggio. Okay, so I get to decide for tons and tons of fullness and just making this song. So I'm really, really beautiful. So I'll play it for you first, and they will break down each part separately and then we'll try and play it together. Okay, so it goes like this. Okay, so that's how it's gonna go now. It may look more complicated and what it really is, but it's not too bad. So the song is actually in the key of C minor. So if you want to look at you know what notes are available to you, just check out that piano a scale helper, go to see pure minor and I'll show you the notes, but how it works is were playing. See? Okay, we're gonna start on the CME address doing the arpeggio. So it was C g C number go down to G Sharp or playing G sharp playing d sharp or playing g sharp again. Okay, so again, just that arpeggio. And then we're gonna go to our next note, which is D sharp, a sharp and then d sharp again. Okay. And then we hop up to a sharp. So I play the a sharp I play the f a play the a sharp and then when I come down, actually include the G and then the f case it goes or something like that. Um, once they start playing it, it'll make more sense now with the right hand. So for the first no, it's this d sharp goes okay, so I'll break it down for you. So close. D sharp. It goes to the a sharp because the D shirt and then what I'll do is I'll go down to G. Okay. So g f and n back to D. So I play it both together. You'll be able to see the notes on the top of the screen here, and it will make it a little bit easier. Okay, so I'm playing C and D sharp together, but I'm holding down the d sharp. Okay, So when I go to that next court progression, I press, um, de sharp again when I change to new to the next chord. So, for example Okay. So okay, so played together again. So the left hand is just your pidio okay, So hopefully just kind of gets a little bit insight to that. Now again, with the right hand, just follow the notes here. So we're d sharp. And then when I come down here, I play the G and the F together on the upper. Okay, so let's just cover the left hand woman time. So on the left hand, go see, goes down to G shirt on, and then I will speak in this a sharp within their so free listed that Okay, So close. And then when I go to the next chord, I play that d sharp again. McKay so Okay, so try that. Oh, see how it works for you again. This is actually from one of my songs, is called giving is giving up its kind of a little dance track. And I just found that this was a really good, uh song toe learn for you so that you're learning both the left hand and the right hand. There's not much going on, you know, in terms of the right hand. No, it's just, you know, just like that. And the left hand really is. You know what's driving this song? It's that arpeggio. What I'm gonna do is I'm actually going to get out of, like, the chorus, and I'm just gonna put it into the verse and the verse was in. The song is pretty much just not using the right hand very much. But the chorus would be using the right hand. - Okay , so what? I'm doing that but the right hand arm or just kind of improvising how to play just kind of single notes over top of the arpeggio. Now you'll discover that it really kind of stretches like your brain in a sense of being able to play both hands together, especially with the arpeggio, because, you know, it's a little bit trickier. It's not just like playing like a cord like okay, But when I have the arpeggio, it's that you have to stay in time, and that's where it's really, really tricky. It again, that's that's like were that The classical piano player is constantly practicing their pianos that they can get the perfect timing. So when they performed like a concert or whatever, you know they're prepared. Whereas for us beat makers, you know you can record things separately. You can record the left hand separately. You can record the right hand separately, and you could just simply edit them within your music program. So, you know, that's where I'm saying that it's just important to know the techniques that are available to you. You want to know you know what notes were allowed to play. If you want to improvise on a piano, you know it helps getting that idea into the program. Then you can edit it up with your with your most okay, So in her next video, I'm gonna break down some or kind of courts for you just to kind of play around with and just get an idea of how I improvise on a piano, OK, 27. 5-7 - How to Find Powerful Chord Progressions: OK in this video, I'm gonna break down how I improvise on a piano. You know, Imagine. I'm just, you know, sit down. You know, for the first time, like the day I'm gonna play the piano, you know, just to kind of get some practice in. And this is how I would approach it. So when I think about making beats and the piano, I'm always trying to create a loop which is going to work with in music production. Okay, because you know, like I'm saying, if you're a classical piano player, you could be playing music in a certain way, but it doesn't really create a catchy loop in a sense of being able to put that drum loop behind it, making it sound like, you know, really engaging like that chord progression is driving. Okay, So as a producer, I'm always trying to find ah, powerful chord progression. Okay. And again, within your key and scale, that means that you actually have six chords that you can work with again. I don't really use that leading tone. One in the case of Major is the seventh, and in case of the minor is the second note chord. Okay, so those cords, I don't deal with them. So again, I work with six chords Cave. And within those six chords, I'm always trying to find different patterns to different rhythms. Um, and then as you start to progress, you'll be able to add, you know, your right hand over it. So the biggest thing is trying to find a chord progression with the left hand. And when I go to do this, So, for example, if I play, this is just a c minor chord. Okay? So, um, like, always think I don't play them, you know? So if we look up top here, I don't like playing the middle. Okay, So instead of playing it down here, what I'll do is many times will play it up here instead. Okay, so it'll make it mixing a lot better. It creates more of a melody. Okay, but in addition to that, I might kind of layer this with a different note. So, for example, it might be like, you know, these two, okay. Or it could be like these two. Okay, again, it's just kind of layering. And then what we'll do is on the right hand I'll just kind of bounce around. Okay. Again. I know these notes are within the scale of C minor, but if you want to see Major, only white notes K. So it play. You know, like, I know that all the way. Notes like, in place. It would be like, Okay, I'm just literally just hitting notes within C minor or sort of c major there, but to go back to see minor. Okay, so I'm always thinking about, ah, solid chord progression. And when I hit these cords, I am typically playing at least one note within that chord progression. Um, there are times where I'm playing a different chord with a different chord. It's still in the same scale, but for the most part, when I'm just kind of fiddling around, I know I'm safe playing at least one of the notes within that chord. Okay, Like I'm like, I was saying right here. This is a C minor chord. Instead of playing the D shirt, I'll play it up here. And then again, I just kind of layer okay, Just kind of stuff like this. So what I'll try to do is you don't all go from chord to chord and I'll just kind of play around with just different chords within this scale Defined different progressions. So let me give you an example. Okay? I don't want it to go over your head in the sense of local that seems way too advanced. But by you understanding a key and a scale. Now you will be able to play the different chords within that scale. And I usually choose for courts K So, for example, if you like and you could see, like, I'm not really hitting too many notes case. So in that case was playing C minor. I went down to G and I played, as you can see in G, what is in g a case? Let's just see, it isn't a major, a minor G chord. So So So we play this. Okay, so we have one too. So it's a G minor court. OK, so I was playing c minor, right? Because it would be like this, right? It's moving up here Way went to the G minor, which would be here, but I just play here. Okay. So, c minor, g minor. And then I went back up. Teoh the d sharp again, you know, So I could I could have played like this, see? But I you know, since I'm playing the d sharp here, played here, so just layered it. And then I went to the A shirt and that's through a shirt and the F and, you know, within there you could play like the D because that's it. Or again, I could play any notes within C minor so many times I like to stick to like this d sharp. It's a pretty powerful note within this scale. So, for example, and as you can see on the right hand, I'm just playing the same note for the most part, which is within those courts. K so C minor G minor G sharp. And I just played the D shirt, the D sharp, and then I actually went to the d sharp on. Then I went down to the A shirt and then when I went back around again, I didn't play the G sharp. Okay, so, for example, today a seed, it is not as intense. What you think with the left hand? I was just playing kind of those power chords. Boom, boom, boom boom And I played it over and over again. And with the right hand, you noticed. So now let's change up little chord progression years try and find something new. So as I'm playing the piano, I try to play one chord progression, assumes that kind of find a groove. And I kind of like it. And I kind of get a little bit of board, you know, getting a little bored of it. I'll try to hop Teoh again. My goal is always to find a new court progression. And the thing is, when you when I do my court progression, you know, play here, you can go lower where you could even go up. So it all depends on how you want to flow. Many times I find the court progression a little more powerful when it goes lower, but you can kind of bounce around. So if I go see in the negative G sharp, right, I have two options. I can either go up or go lower. Okay? Because this is the same chord. Okay, So, like this or be like this, So I just have a choice. When I went here again, I can either go up to the G sharp, where I can go down to the to the d sharp. Okay, so again, that's just like the active. And that's just know when you are playing the piano, what approach do you want to take and even, you know, on one part of the loop, you can go down low, and then on the next part of the loop, you can play it an octave up. Okay, so sometimes you don't want to look a lot like a lot of like the tapping the tappings really, really powerful, Especially when you have a lot of river bomb. So, for example, But okay, now let's try and add in. Some different courts can. So now here's a kind of cool trick. Just because you're playing in this scale of Mikey C minor doesn't mean I have to start on c. K. I can actually start on a different note, but still be playing in the key of C minor. So, for example, that start on G sharp. Okay, So, for example, - so on the left hand, you know, I'm just kind of driving those chords, so I'm still playing the same chords within the scale of C minor. I'm just mixing up when they're playing. So in this case, I was just playing g sharp. I went to D Sharp. I went to, um I kind of mixed around with c kazoos, and then I went to HR cat. So, um, here we go. So and as you start to progress, you'll start to learn. You know, where you kind of ad in your right hand. Your right hand is a lot easier than your left hand. The left hand really is finding that pattern, that emotion, that rhythm, and the right hand just helps Emphasize that you know that melody that you know that just to drive it. Okay, so let's just try me find one more melody. Um, so so far I've just been kind of more playing, you know, tapping cords. And again, I find that really, really powerful, especially to kind of practice different chords. So if I was just gonna be by myself, I would do something stuff like this all the time. Just like you. No plane, different inversions of courts. So, for example, again, this is this is see, But this is also a C minor. This is also C minor. Back to the root position. Okay. So as in playing many times, it's like inversion. So I'm just trying to play as many kind of different chords as I can. And I'm just kind of, you know, playing around with different versions, trying to put my fingers in different spots. Okay, so again, I know the keys. I'm allowed to play in the scale of C minor. Therefore, I'm able to get away with that. If I was gonna do this and see, Major, you know, just be like like this. So So as you can see, you know, it seems more intense than what it is with the left hand. I was just doing, you know, the arpeggio makes it sound folder with the right hand. You know, it was just you know what I was playing? I was just playing the white notes. See, Major White? No, it's really, really hard to play c minor since we have the black notes like you can't even see when I'm playing. It's just, you know, I don't make many mistakes. I'm able to know where my hands are. And again, you know, I was playing like you know, C minor here. I want to like this cord. Like there's good. Sometimes I don't even know what the court is. I just know the notes. I'm allowed to play within C minor. Okay, so this is also a really cool technique is actually to go up the scale in courts. So, for example, on playing c sharp and then here I'm actually playing the a the a sharp court. But I'm just Instead of playing down here, I'm actually moving it up here, so it's actually first inversion of it. So here and then I go up to the D shirt, go to the F K. Go to the G, go to the G sharp, go to the A shirt, go to the C minor. Okay, So the same thing with XY Major, you can do this, but again, it doesn't give you that hand movement, that flexibility, because it's just kind of like, Hey, you know, there's not much to it. But when you go to something like, you know what I'm talking any key and scale, which has the blacks. He doesn't have to be C minor. I just go see minor cause I like it. But as you can see, you know what? And try and work my way down. See, it even got me a little bit and, you know, you want practices practice that would think you're right. And left hand. It really helps. Trust me, that's something that really will bend your mind. And the thing is, watch as they play this. So I'm just gonna play, you know, I'll play the court progression with my left hand with my right hand. I'm gonna kind of bounce around to these different chords, just like you saw me going up and down the scale. So Okay, one of the one I try to do is with my both left and right hand. I try to play notes that, like, the same time. So, for example, Okay. So as you can see, I'm actually, whenever the left hand hits a No, the right hand hits a note. So this is sometimes cool to kind of create a nice layering effect, But again, I'm just improvising. I don't know what I'm hitting. I'm just making sure I'm hitting the same notes within the scale of C minor and therefore it's all gonna blend so that right there. I'm just playing the F. So, as you can see, so f actually has this g sharp, but I'm playing the g sharp up here. So then I go to the G. I went to the g sharp. Then I went to the A shirt. Now see, in the a sharp, You know, you can pee play in the half here. You keep playing the d or you playing the today show, right? Because this is the corporate here, so actually have the ability to play all three of these notes up higher, kid. And it's just up to you, you know, And each note does have a different emotion. So, for example, it sounds like this or could sound like this or like this on. And it really does have a different effect on how you wanting to close that loop. So, for example, if we go, I'll play the D. Okay, Now let's play the F the next time. Here's the S. So the f almost is like and he's in a closing, whereas the d kind of closed it. D s de s. Now I'm gonna try and throw in the a sharp There Okay. Okay. Hope for that gives you a little insight to how I practice on this piano. The biggest thing is finding a court progression. Okay, I remember when I was for starting up. I was just always trying to find different quarter progressions. Uh, it's the biggest thing. That's the emotion of the song. What? You're trying to drive home, and then you want to, you know, once you play the cord trying and provides it with left hand, You know, if you want to stay in C major when you're first starting, that's totally cool, you know, because you can start kind of building that muscle memory of, you know? So it's all about the timing, right? So I play the cord now you gotta change the court, So change the chord, change the court. Okay, So finding different chord progressions in your left hand start playing around with the right hand. You know, you can tap the notes you can also like, play the cord so together. And then after you played accordion kind of play around. So Okay, so let's move on to the next video. 28. 5-8 - Composing a Beat from Scratch: all right. I'm just here through you guys. A little bonus video here. Okay. So because I told you, you know, we're gonna be making, like, a little drum loop. Builds a melodies and stuff over top of it. And I just want to share that process with you so that you can actually relate in a really rural practice as a beat maker using the piano, OK, finding a court progression, we're gonna creep me one or two melodies on. Also creates a little drum loop with you too. So what does remove this stuff? Um, I'll remove this piano, which is Ah, that was the arpeggio one and all these sounds we are going to delete, so I just go ahead and elite hit. Okay, so when you open up FL studio for, like, you know the first time, um, you know, and you don't have any sounds, Whatever. You're just learning. Fl studio. Here's your packs right here, OK? And you have all your gift. Different sounds k for me personally, I actually have my sounds up here. Okay. And so, um, in my sounds, I just, you know, have third party sounds typically are just higher quality. They give you more variety. Exclusive audio is one of my favorite sound design companies, and I'm just going to select some sounds in here. Okay, so we'll select like various kick etc. That's pretty cool. Well, over the temple, just a little bit. I usually get a couple drums. They're kind of cool for, ah, layering. And recently that. Okay, so the three kicks, let's get some collapse collapse air. Pretty cool toe layer up. OK, so there's a snare. There's not a snare. Get to clubs. Okay, I'm just gonna kind of cut the tail on that a little bit if I can. There you go. So the length I'll just cut it a bit more. I just want, like, the clap. That's pretty good. Careful with that scare. So for our drums Moresco kick. Okay, kick. I don't know. What was it like this with the clap? Okay, so let's do this for now. We'll listen to it. Just the pattern. Okay, So right now I'm at 108 beats per minute. I will do it like this that you can see the screen a little bit better once we actually start playing the piano. All add the keys back in. Um, let's lower that temple a bit. Let's go. Like, you know, 1993. I'm gonna increase the swing swing helps. Just add just a little bit of more organic flavor into your music. Um, okay, lower. That temple is a little bit more. Okay. And this one big hit, most plate once in a while. Maybe just with one can, which turned out just a little bit. Okay, that sounds not bad. Now, with the stairs, May times that it's like toe, layer them up. So we go. Okay. We have always Oops. Turning down. It's a little bit. Okay, let's just get ah, high hat here. What is that woman? Woman. Hi, Hat here. Drag it in there, Halina old and the up arrow. I want this. Had to be just a little bit faster. Now, this other hat, I'm just gonna kind of fill it And maybe honestly, the off beat the off beats. Pretty powerful. Just to take it was a little bit further. Gonna right click here. We're gonna go to the piano roll. Um, just going to do this, okay? And so what? You could do is You can just kind of just like your velocity is a little bit, and it just helps. Ah, just give a little bit more bounce and stuff, too, Like your music cause again or creating digital music. And the thing is, it's gonna repeat forever and forever. And, um, you know, it just it could just sound really, really robotic. Okay, so we have this turned us a little bit, maybe, you know, just a couple of percussion elements. So go drums. Okay. I'm just gonna stroll down here. It's dragging at the bottom. One more drama. Cool. Okay, so do something like this. A warmer sound. This turned down volume is a very, very powerful thing. When something is too loud, sometimes it can sound out of place when it's just tucked in the right. You know, the right volume. It really, really helps. Okay, so this is going to be a little drum loop. Now, let's go to our keys, and you can see all the notes. Perfect. Okay, So the first thing I'm thinking is I'm just gonna hit play their final chord progression. That's my You know, my main goal behind my music production is What is the emotion I'm trying to achieve out of this song? Okay, so right now I'm highlighted on keys and was gonna hit play within the pattern, and I'm just gonna find something I like. So here we go. So as you can hear there, the silence. Right. So I played it. I stopped playing. But since we have this tale, okay, kind of fills over, overlaps that drum loop, lets the drum loop kind of, you know, little listener, hear the drum move a bit. And then, boom, you hit him back with some more courts, but as you could see there, you know, I'm just trying to find a chord progression, and many times, that's the hardest part. Once you find that court progression, you're like, OK, OK, not now. Use their building. So let's just record something just to kind of start moving here and was gonna add the drum loop in here. I'm just gonna go to ah, new pattern. And I'm just going to hit record Garceau mood and we will play case so he really? Okay, let's stop. And I'm just going to do this and we open it up. You guys were able to see it. So I personally like to Kwan ties my stuff. And I will walk this through with you because, you know, if your if your producer, you want to see this stuff, this is the stuff where you get stock, right? So I hit control. Thank you. Kwan ties is ok up here. If you go at it, you can see, um, Serbian tools. Yes. So here's quick quantities controlling Q. So I like to Kwan ties, and then I'll actually edit my notes afterwards. K. So what I'm gonna do is just kind of zoom in here, and I'm literally just gonna follow these notes. Um, I'll make it a little bit smaller so you could see everything. I'm just gonna follow the notes. So I'm gonna hit play with the drum loop. We're gonna see our any notes at a place K, And you know, if the length or different that's that's fine, Sometimes it just makes your music sound a little bit more natural. Okay, you know, more like, more like the human flavor in there. So delicious thing. So this, you know, it might maybe we'll we will add, you know, one long no, or too long notes or something. Maybe on Sorry. Sometimes you can also hold on Ault. And you can kind of adjust it how you want. So you know, because if you don't hold on, Ault, you're kind of stuck to what's called the snap. And up here you can adjust a different snap, but it's kind of annoying to do that. So sometimes it's nice If you want to just extend that length just a little bit, make it sound. It's a little bit you know exactly how you want. So this would be good way . Have a good starting base. So I'm gonna hit escape here. I'm gonna right click. Let's go Clone. Okay, so I'm gonna take this same piano, and now we're gonna play a melody up top. Okay, so I'm just gonna leave it like this. And what I mean is, you can cfl keys Number two here is being voted to seven. And I want that so I could get the effects. Once the actual song starts to grow and stuff. I do like to separate each sound into its own mixer inserts. You have total flexibility of that sound. Get exactly how you like, But the cool thing with FL Studio is it has what's called ghost notes. So I'm going to right click, go to the piano roll. Okay. If you come up here, you go to I think it's view. Um, maybe helpers case we got helpers. You see ghost channels. Okay. You want to enable this and what it does is it allows you to see the same notes within the same pattern. Uh, you know, and that's powerful because I could see the court progression so I can see I started on g sharp. I went Teoh d sharp. Then I went to a sharp that I want to see. Okay. And then over here, we went to G sharp. We went to D sharp again. Then we went to, um so it was the same progression. Okay, Sometimes I mix it up, but in this case, I didn't. So what that means is when I start to my melody, you know, I just want to keep that in mind, so I can kind of, you know, try and creates a melody over top of it. Okay, so I was gonna hit play. We're gonna listen to the court progression. We're trying to find a melody over top of this. What we've laid down again since we're in the key of C minor. I know I'm allowed to play the same notes. And again it's That's the game changer. If I didn't know the notes, it's like, Well, you know, it's your really your you're literally just doing, like trial and air. Where is right now? It is still a kind of trial and air, but it's like your percentage. You know, your potential to get a good melody is significantly increased because, you know, this sounds are all your All the notes are going to sound good. It's just a matter of finding what suits that song. So let's hit, play crate a little melody, - clothe And again it's just trying to find a melody that you like. Now here's a kind of cool trick. Ah, inside of fl studio. I'm just gonna go to a new pattern here. Uh, if you play the melody and you're like, Oh, I really like that, how do I get it back? You go to tools, you go to a dump score log and you go like last two minutes as you can see, thes air All the melodies that I wish is playing eso I'm just going to delete that, though. We are going to go here, I'm going to go record, okay? And I'm just a pattern of three. There's nothing in this pattern, and I'm just going to record something here. Okay, Um I'm not sure what, but will create us a little bit of a melody. So hit record play 234 So try that again. So I stopped it. Press control Z start again. So Okay. So again, the beauty of midi. You know, your music program just got control, right? Click go to get a pattern. Sometimes it's nice to put that the Metrodome on for some good hit control in Q. Okay, so I'm gonna move this over like this, so I know it was duplicated. Um, but I know that I want to play it fast like that. Um, it may just kind of be like this. That might sound not bad. Okay, so now I'm going to listen to that in context of the actual song. Ah, here it is. Okay, So here's the whole song together. Kind of like it like this again. Just trying to find just the melody that works for you. I'll just create warmer melody with you guys. So I'm gonna insert here's instruments now. You know, instead of fl Studio you guys were using three times oscillator. It's kind of a powerful tool. Um, you know, there's lots of different effects. I'm just going to use South one. It's just a popular third party V S T. It's quite affordable. It's like, you know, it's and it's an industry standard. It's been around for many years, and they are constantly updating it. So it's not like it's going out of date. It's still it's still around. Um, also, I have tons of free banks for free download. You guys could just searched these names, and you just get him for free. Download. Um, so scope in October or ah, different sounds. OK, let me just add, he's in here and we will create a little melody over top of it. I don't know what I'm gonna play, but we're just gonna kind of play around in the key of C minor knowing that those notes a flow with what's going on. So hit play that sounds pretty powerful. Now, how I can do this is again I'm gonna hit the plastic or a new pattern. And let's say I like that sort of tools. Dump, score, log Last two minutes. And also, I don't want to go silent or no. Yeah, I don't wanna go. Sounds. So we're gonna go, just like the last year. And I think it was around here, So I started on things. No. And this snow. So it was like that. So I'm gonna take this melody right here. Hit, hit, controlling ex. Gonna press delete, Deletes everything. Press control, right click. It brings you right back to the beginning. Press control of the It'll taste it. And we're just gonna drag this over. Okay, Now he's gonna press controlling cute to Kwan ties. And, um well, just listen, because I need to delete this, and but we'll just see what happens. Um, let's add this into the actual pattern now. Okay, so here we go. So it's a little bit too quickly. Went to to try this. I'm gonna delete this and bring this over again. You know, this stuff takes time to kind of get it The way you want. Is there something? Here's the bit weird that goes like so one. Okay, so it's two of these. So do this. Bring us down. Okay, so, you know, I would want to kind of adjust in here a little bit, but you guys kind of get you know what? I'm trying to get across to you that now that I know the key in the scale, it's just literally finding the melodies that work for that song. Okay, It's a huge game changer, so that's just kind of my process. As you could see, in the very, very beginning, my whole goal was trying to find a chord progression. Okay, so you know, now some people work by finding court progression. Making stability is then added their drum loop or you it make your drum first. I typically find, you know, sometimes it's nice, created that drama first, because then you have something to play against. And then you don't want to found that first melody, whatever. I start to add in more instruments. And it was just a matter of playing the same notes within the same scale, and that's it. Okay, so hope that helps you gives you a little insight, Teoh. You know how to make like a beat with these new, you know, with your new knowledge of how to improvise with the key and scale again, pick one key, pick one scale practice and learn. It's the only way which you guys to be able to improvise just like you saw me do. It's like I was just hitting notes because I know the notes I'm allowed to play and because I constantly do practice the piano. OK, let's just listen to overtime. Turned out a little bit crispy, kind of building up the song a little bit, you know, man, over here. Oops, piano way. Take out the cord. It says you can see we're building a song And as you know, I created different sections of that song. So, you know, as you could see, you know, we have just these different melodies. These were like our chord progression, right? This is like our kind of melody. And this was just kind of the chorus which really pushed it home and again, like I was mentioning in the beginning of this course, you know, I was talking about some layers can hold their own, and some layers can some. There's always did like a supportive layer. In this case, this synth it's pretty aggressive. Therefore, you know, I think it only sound good in the course in the case of this song that we're building because it's just such an aggressive sound, which is kind of pushing the climax of that chorus, you know, to full emotion. Then in the course, and then they just like the verse, you know, just kind of slows down. Weighed in the melody, right? And ed in this. Okay, Okay. So again, hope for that gives you some insight to building your beat with your new knowledge. I'll talk to you guys in the next video. 29. 6-1 - Conclusion: Recap Playing Piano as a Beatmaker: All right. So this is gonna be our closing conclusion video. I'm just gonna going to give you guys just a little recap as well as tips to practice effectively on the piano. So I just want you guys to reflect on some this information learned. So don't forget about silence. Silence is an amazingly powerful tool in music production, which a lot of people overlook. Right? Everyone so focused on playing the notes that they kind of forget to, um, you know, stop right. Like, let the listener kind of feel the Russian a sense of like, Oh, all the notes stopped. What's gonna happen? You know, something's gonna change. Also. Boom. You hit him with the course or something or ah, even that the timing of your notes, you know, So sometimes when you stop playing, it allows the other notes of other instruments or other. You know, you're percussion elements, your drums or collapse. It allows those standard. Okay, so timing is something that's very, very important is something that you always want to practice. Um, and silence is a big part of that. OK, again, it's just something just always think about like does your song some too busy. If it does, maybe slow it down a little bit. Okay. So silence is really, really powerful. Um, now I want you guys to think about your court progressions. Okay? So for me, the chord progression is the foundation of the song. You know, once I build my drum loop, what I'm looking for is the chord progression. What? I'm wanting to go with that song. Many times, I kind of have a general idea of, like, a I want to create a dance track or okay, I want to create more of a hip hop ish track or right. So when I go to set myself up, you know, right away I'm setting like my tempo. Okay. You know, that's just kind of when that drum loop is built with the tempo set. You know, that kind of dictates the genre kind of wanting to create. Okay, then the biggest thing is you figuring out that chord progression, you know, it really is so important, because if you don't have that solid foundation, you know of your chord progression don't really know where to go now. Once you actually have your court progression, you have to think about now, your melodies. Okay, so in the higher end, it doesn't really matter too much. You just have to make sure that your notes are within the same scale you can really get away with, you know, playing similar keys within that scale, whether they are notes within those chords or they're not. Um, but when the low end in the low end, you do want to make sure that you're playing, Ah, the same notes as the chord progression. Okay, So, for example, if we come here to fo studio and if we open up our school science one and we're just gonna find a base case, I have no basis in this preset pack, we will get a bank. Ah, factory and we'll go like this. So momentum. So here's the based on. Okay, So I'm just gonna right click on the piano roll. Now, if I were to play a different note here, OK, you know, if if I'm not playing the court progression, you'll hear that it just sounds really, really were great would be like, Okay, so it sounds horrible, But as soon as you put that court progression, go down an octave Let's listen with the drum loop, OK? The first way I'd have to tweak that baseline to get it. To where? You know, I like where it sounds for that song. You know, again, it all takes time. But why you knowing the notes that you want to play? It's a huge difference. Okay, So again, just think about that court progression. What's the emotion? You're trying to get out of that song now I want to talk a little bit about, you know, practicing. Okay, So, um, when you're practicing, if you're just starting up, play that chord with the left hand. Okay, So for example, um, I'm just on the baseline here, so if I do this so with the left hand, you don't play that chord with the right hand. You know, you could play the courts to again that c major g major, a minor s major. Okay? And you guys can constantly keep practicing that, And I'm telling you, you know, when you're first starting up, it does kind of stretch your mind a little bit. And once you kind of started getting that, then you can kind of mix it up a little bit. in a sense of I'm just happy with the right hand with I'm playing that same chord. But instead of playing it like a cord just during the arpeggio, Okay, So as you can see, these are things that you have to practice in order for you to get better sticking inside a C major. And even with these cords again the C major g major, a minor and the F major, I do feel that that is a good starting point when you're first starting up as you start to advance trying to find new court progressions within C major and then when you're ready, go to a scale with black notes k eventually. Like I was telling you, you want to pick a key and a scale that has both white and black notes makes it way easier to know where you are on the piano, OK? And really, that's pretty much all I have to tell you about the piano and how to improvise case so I can only get you so far, it really is up to you to practice. Um, if you guys have any questions or anything, you guys can always reach out to me. My email is high, so H I at its gratuitous dot com, and I'll always respond back to you with any questions you have about any of my music production courses or music production in general or anything to do with the piano. So I hope you guys enjoyed the course again. Reach out. If you have any questions I'd really, really appreciate. You guys would leave a review and I'll talk to you guys in my next course.