Piano Rhythms Vol.3: Bossa Nova Style | Ilse Lozoya | Skillshare

Piano Rhythms Vol.3: Bossa Nova Style

Ilse Lozoya, Music teacher and Online Educator

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19 Lessons (1h 26m)
    • 1. Introduction

      1:39
    • 2. How does this course work?

      6:31
    • 3. Preparatory Exercise Left Hand C Major

      7:14
    • 4. Preparatory Exercise Left Hand G Major

      5:36
    • 5. Preparatory Exercise Left Hand D Major

      4:30
    • 6. C Major IIm7 V7 Imaj7 Harmonic Progression

      4:28
    • 7. G Major IIm7 V7 Imaj7 Harmonic Progression

      3:33
    • 8. D major Harmonic Progression IIm7 V7 Imaj7

      3:09
    • 9. Comping #1 Right Hand

      4:28
    • 10. Comping #1 Both Hands

      6:13
    • 11. Comping #2 Right Hand

      4:05
    • 12. Comping #2 Both Hands

      6:05
    • 13. Comping #3 Right Hand

      3:44
    • 14. Comping #3 Both hands

      6:25
    • 15. Tip #1

      4:15
    • 16. Tip #2

      4:26
    • 17. Tip #3

      3:14
    • 18. Tip #4

      5:38
    • 19. Congratulations!!

      0:53

About This Class

Do you like Brazilian music? Are you a Bossa Nova fan?

 Then this course is for you!!

 This course is aimed specially for beginners,  piano students who wish to learn different genres and to be able to play accompaniments on the piano, particularly this course is focused on Bossa Nova.

 In this course you will learn easy to follow accompaniments or compings based on a rhythmical pattern which is characteristic of Bossa Nova.

This course will teach you how to use the popular harmonic progression IIm7 V7 Imaj7 , which is typical in latin and jazz genres.

 This course includes:

  •   100% practical tutorial videos with the explanation of the rhythmical patterns and how to play them with both hands.

  •   Explanation and analysis of the accompaniment  for a more comprehensive learning.

  •   Downloadable audios with Bossa Nova drum backing tracks.

  •   Downloadable PDF with the accompaniments so you can work without an internet connection. 

    Also, if you have any questions, you can communicate with the instructor through a message or in the forum of questions of the course, so you are not alone in your path of piano learning. 

Enroll in this class today and start having so much fun while you learn the basics of this Bossa Nova Style!!

More Piano Rhythms classes?

        Piano Rhythms Vol.1 : Rock and Roll  https://skl.sh/2CTdkBq

        Piano Rhythms Vol.2: Ballad Style https://skl.sh/2qmKSR1

        Piano Rhythms Vol.3: Bossa Nova (Brazilian rhythm) https://skl.sh/2Fz6Rib

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Transcripts

1. Introduction: did you like bossa nova? Would you like to be able to play other piano? Bossa nova? Our companions? Well, this glass is for you. Maybe you think that it's so difficult on off course. Mastering any Generac takes time and discipline, but does not mean that you cannot start practicing a learning in a very kind of basic way, but effective weight piano companions. Well, welcome to this class during the right place. If you want to learn to flake Bossa nova. My name is also so. I'm a pianist music teacher, and I'm currently teaching more than 60 glasses in sculpture and I love to share this class with you. I am going to teach you through 100% practical videos how to play the basic. I compare mints from this precedent. Jenna, you will see practical media's I'm going to give you see Oracle explanations. If you want to go further and understand what you are playing well, I'm going to share with you that and you can download PDF and you can down over the drum backing tracks so you can really practice making sure that you are practicing this correctly and getting into the mood off this beautiful genera so enrolled in this class today. And while you are in the class, if you have any question, you can't really ask me. So you are not alone in this journey. Your learning journey. Thank you for letting me be part of your musical learning and enrolled in this class today . I can't wait to see your inquest. 2. How does this course work?: how does this course work? I want to give you some recommendations, how to practice and how to use all the content in this course because it is really important to know how this course structure So you can really take the most off this course and really improve your practice Well, first, we are going to learn how to play basic comping or our companions from the bossa nova style . So there is this basic rhythmical pattern that you need to learn. So there's, ah, special BU tutorial where I'm going to show you how to play the left hand. This is very crucial, very important to take the I needed time to master. I understand, and you can watch the video several times if you need to, so you can really understand this and practices and know how to apply this in any court. So after that, I'm going to give you some camping's so but pay attention. I recorded a video tutorial where I show you how to play the right hand or each comping. And then there's another video with both hands. Why I didn't record the left hand. It is because if you fall of the basic rhythmical pattern with your left hand, it's going to be really, really easy to just fall of the other camping, so it is important. So that's why I didn't record a video for the left hand on each comping. Then you have this downloadable. Pdf. This is important that in each section I'm going to show you comping number one, for example, and then you can download the pdf. The situation here is that it's kind of redundant and maybe will be to extensive if I shoot a video on how to play the patterns on each court, so and on one of the things of discourses that you need to be able to apply this by yourself. So I you can download the pdf with the harmony progression that we are using in the course , which is the Harmony operation to 51 very common bossa nova and jazz style. And we're going to learn this in three keys, see, Major G major and the major. But and the media editorials are on C major, so you need to work by by yourself on the rest of the keys, and you can download the pdf where I'm showing you how to well, and the pdf shows you the music, the written music, how to practice with the court's off See Major G Major and the major. So I really recommend you to go over each court and practice each court of the progression so you can really play this more foot fluently. This is very important. Then you can download a backing track this back in track. It's a all the file. What is the drums track in Boston? Nova style. This is important. You you may saying that Well, maybe you don't need this because your keyboard houses, um, this drum so you can set drums. I'm playing any style, which is that it's your case. Amazing. Excellent. Maybe you don't need this all the files, but the reality is that sometimes not all the students have this. So if you are a student that, um, doesn't know how to use your key war or maybe you have an acoustic piano, Or maybe do you don't have both a nova drums on your keyboard? Well, you can download the drums but backing tracks, and I said the other files and different speed so you can really really go at your own pace , using me to go very fast. But if you are capable to play faster, you can just using another the other other track. Emphasize this. You can work off line. You can practice when the PDF and the older files. If you don't have Internet connection, that's to ratify. You can still practice so and this is really important to understand, so so you can take the most of this course. I'm going to still give you many tips how to practice this A components deer in the video tutorials. But on I recorded some videos specifically to give you some tips on how to improve your practice and take the most of the scores. How to play this a little bit easier or a little bit more difficult if you feel like you are capable too well. But something really important that I would like you have mentioned this before, but I really will Attitudes said this very clear. If you have any questions, please let me know you are not alone in your journey. Even that this oldest videos off course have been previously recorded and you can access with this type of online courses. You can have access to all the videos many times in any time. But, uh, do you can have contact with the instructor in this case? Me. And you can send me your questions. And if you need anything, any recommendations, how to practice? Not only from this course, but about your piano, daily practice or something like that. Please let me know It will be. I will. I will be a pleasure. I was very happy to help you. You can send me your questions through message or post them and on the discussion board. So please let me know. How can I get help you and thank you. Thank you for every part of your journey. I really hope that you can find all these videos very helpful and have so much from practicing. This bossa nova rhythm is off course. It takes time. And this is not a course about how to play bulls in a way one hour because you need to be capable to practice. Be consistent in Texas takes time. If you really want to master any general. So, uh, take your time and enjoy all this exercises 3. Preparatory Exercise Left Hand C Major: in this video, I'm going to show you how to play your left hand. Using this preparation, we are working with this typical harmony progression that easy use in. In this case, we are talking about C Major were used in D minor, G major and then see Major and we are working, which is ah, desperation, which is the second than the fifth and then the first court off the scale. So what? Which is important besides the understanding off the rhythmical, the basic, basic, all rhythmical figure in this course which is a the doctor quarter note, then an H note and then repeating the same the same pattern. Well, while we're going to practice is be able to play the first note off the court and then the fifth note off the court in this case because I am working with C Major with the King the key off. See, Major, I am going to begin playing the minor, so I need to be able to play without really any problem. The basic note off the court in this case, the fundamental court. I'm sorry, the fundamental note which is the and then the fifth, which is A. So I need to be able to move playing d and A without any problem on Then, from that, I am going to move to the G court. In this case, I need to plead to be able to play G and then d the G note and the denote. But you may think that if I am working with this pattern, I can go to, uh on, then moving just place in my hand right here on playing J and the But we're going to what we're going to do. We are going to play with the closer note. In this case, the closest note is G this G and then going to this. The note. So I am going to first play D and a just the D minor court. I am saying the methadone and 60 bits per minute. So it's a very easy to follow speed, and we're going to do. I'm going to count to four is going to be one and two and three and four and one end to end three m four off course. Take your time to analyze this Ramaker figure, but I'm going to play this first. The fundamental note off the court, then the fifth note from one and two and three and four and one in two. Entry and four again one and two. Entry and four. And then, if I follow the pattern that is written right here and they match, you can see that in the second measure in the Beat three and four. I am going to playing age notes, so it's going to be I'm sorry, quarter notes. So it's going to sound like this. 1234 and one and two and three and four and one and two and three and four again. One more time tree and four and one and two and three m four and one and two and three and four, and then I'm going to move to G. This is the G court you made your court, so it's going to be playing this G and one in two entry on fourth and one and two and three and four. So as you can see from playing, if I am playing the minor, I am playing the and A then what? I moved to G Major. I'm going to begin with the fundamental note from the court and then this is the root of the court. Then I'm going to play the fifth, so I really need to be able to play, not Onley off course. The the keys are we are seeing in this course we are not going to analyze all the tears because it will take. I was really a lot of time, but you need to be able to just move working with the route of the court and the fifth note off the court in any key, actually. So we're going to do I'm going to play this pattern off two measures they're going to play the mind or than G major. And then I finish with C Major. In this case, the route is C major. I'm sorry, the C note and then the G note. So I want to use to the methadone once, and then I'm going to show you how it sounds. With the backing track, the Bush turn our back on track one to three and four and one to end. Three M four in 12 and three. M 40 major one and two and three and four and one and two and three M foresee Major one and two and three and four and one and two and three and four now. How it's going to sound with the Boston Our back in track. It's a little bit slow, but remember that you need to understand how it works before playing faster is going to be and going to set. In this case. Pay attention. I am setting the Metrodome so you can see the bell. You can listen to the bell the same times at the metronome three M four and one and two and three and four and one and two and three m 40 May your Guan and to entry M four and one and two N three and foresee Major one and two and three and four and Juan and two and three and four. How it sounds if I said this fast, this is 100 beats per minute. It sounds more like, you know, of course, but we always need to play this very, very slow before its casing. The speed one or into account. 123412 and dreaming. 4123 Major C. Major and that waas this rhythmical pattern, using only my left hand with the sea major key. Remember D minor than G major and then see Major 4. Preparatory Exercise Left Hand G Major: we have practiced. Now this what I just called proprietary exercise. But we practice previously working with the seat major key. And now we're going to practice the left hand using G major. So we're working with the G major key. Remember, take your time and go over the theory Calgary Mikel Explanation in the score so you can have a deeper understanding off how the oldest exercises work and how you can play the sexual in and a key because we are going to cover all the keys. But you need to be able to understand this so you can just transpose it to the rest of the keys. And if we're working with G major So the harmonic progression is going to be a minor than the major and we finish with the first court off the key, which is G major. So when we worked with a minor, we're going to we need to play the route off the court, which is the A note and then e, which is the fifth. So we're working with A and E. Then we are going to move to the major. In this case, this is the the route off the court and the fifth note, which is a So we need to play in A and E when we worked with a minor than the major, the A and then we finished with the major. So this G and 50 which is the we really need to be able to think quickly and move. Use in the root and the fifth note off each court in this pattern. So what I'm going to do, I am going to put the metronome 60 bits per minute. It's a very easy to follow speed, but if you need to play, this is lower. Please do it. You can really understand what I am playing, so I'm going to begin with the A minor and remember that you are using this to measures pattern. So it's going to be I'm going to count to four, 123 and four in 12 and three and four and one Jude and Tree and 41 more time tree and for a 12 and e. Okay, now I am going to play the major. So if I go to the fifth court in this case the major, it's going to sound like this And 12 and three now fourth and one and two and three and four. Then when I what? I'm going to do this one more time. The major, 23 and four and one and threw and threw them forth. And one and two and three and four. Then I am going to play G major. Three M four in one and through pantry, now four and one and two and three m four. Do you need to be play to be able to play this batter each court separately? Then do you can play this to get together? This is important, so practice as many times as you think you need. Now I am going to play this the whole progression. So I am playing two measures off a minor than D major and finishing with the major. So 12 tree M four and one and two and three and four and one and juke and three m for the major. One and two and drink and fourth in one and two and treat M 40 major one and two and three and four, one and two, and treat and thought how this does it sound This is the bossa nova backing. Track the drums. So you want to said this a little bit faster. 70 beats per minute. You want to count to four. 1234 and one Jew, then three and four and 12 and three and 40. Major wants to then drink on fourth and 12 and three and 40. Major wants to entry, and four and 12 men treat M four. So how If I play this faster, how is going to sound? 1234? And this is how the basic rhythmical pattern works and sounds. If I working with the G major key, remember, take your time, play each court separately and they play, then play the whole progression, as I just did. 5. Preparatory Exercise Left Hand D Major: Now let's practice this preparatory exercise with my left hand working with the rent a cop base, the Ramaker pattern that I'm going to use my left hand. But now I am going to war with the D major key. So if you follow this well, that the major harmony preparation that we're going to use is going to have a minor than a major and then d major. So if I begin, would e minor the e minor court has e as its root and then be as the fifth note off the court. So I need to war with E and being. Then I moved to a major, so it has a as its root and then e as the 50 note of the court. So a and e on. Then I moved to D Major, which is the first court off the key. And I am going to war with the assert, its root and a wood as a 50 note off the court. The end s so first I'm going to play this two measures rhythmical pattern with my email is the main R D minor only with left hand. So it's going to sound. It's going to sound like this. 1234 and 12 and drinking and forth and 12 and three and four. They're going to play this one more time Tree and four in 12 and three, now four and 12 and three and four. Now I'm going to play a major A and E 12 tree for N 12 and three and four and 12 and three m fourth now the major tree and four and 12 and three and four and one Jew and Greek and four If you practice as you When you start to really practicing this a lot, it becomes easier. The next key. That's a fact. So just keep practicing this and you will see that really becomes really much easier through time. So I'm going to play this. The true measures fatter, which each court so beginning with a minor. 1234 12 and dreaming four and 12 and 3 a.m. For a major fun drew and three and four friend one Judah and three and for the major 12 and three and four, and one truth and three m. four. Now I want to play with the Metrodome. And but the rhythmical, the drums, the backing track here. So you can listen how it sounds. I'm going to play this three m four in 12 and three now more. 12 Entry em for a major. 12 and three and four and 12 and three, m 40 major 12 entering them for in 123 and four. So one last time playing this colored faster so you can listen how it sounds. 1234 to drink and more. And this is how this rhythmical pattern works. My left hand using and the personnel were camping on the major. 6. C Major IIm7 V7 Imaj7 Harmonic Progression: I am going to show you which is the voicing off this harmony progression that we are going to use in this course off course. It does not mean that. Do you need to play this harmonic like this always And without it, you cannot play Bozano A. But it is very common to find this how maney progression. Using four notes courts in this genera. So I really recommend you. It's not that difficult. Just take your time. If you are not familiar with this type of courts, go on, take a look to the theory can lesson where I am explaining you the voicing. By this I mean how the notes are are going to be played so you can understand this better. Okay, we are going to begin with C Major. This is a C major scale. I am going to play the core that appears in the second note off. The scale in this case is D minor. But because I'm going to play for notes scored, well, it's going to be D f A. C. So I'm going to play this actually with my finger number four. You can use number tree depends on your hand, but it's totally fine if you play 1245 This is the minor seventh. So the minor seventh, this'd is the f A c. So this is the position because this is the order. Where does notes appeared? If I check the scale so there's going to be the minor seven, then I am going to play G seventh. This is G seven, but pay attention on the poison because this is not the real position. Actually, this is G B being f s. So it's actually the second inversion off this court. So the f g b on this is the fifth court off the scale. So I am playing the second the f a c d minor seven. Then I am playing G seven, the F g b, and then I'm going to play the first court, which is a key, and I'm going to play it as C major seventh like this. See ni G. Me, but something that can help you to understand and play this easier. I employees in D s a c on. Then I am holding this d and F and they Yeah, I am playing. Then I'm just moving my fingers and playing G M B right here because the n f are the common not notes between the minor, seventh and G seventh. So when I play in this, I am going. I'm wanting to see Major Seventh, and from this I am just going to move this to lower notes and I'm going to play seeing and me because GM be right. Here are common notes between G Seventh and see made your seventh that a few things that you can do. You can practice with your left hand if you want. You can play arpeggios. You can do many things so you can even create your own routine so you can practice this court's. But it is really, really recommendable to master this and voicing before you start playing the other Arkham payments that I am going to teach you in this course so you can really prepare to play those rhythmical patterns better. So this is D minor seven g seven and then C major seventh, and this is a 251 and this is a boy Sing that we're going to use Working would see the key off seat major 7. G Major IIm7 V7 Imaj7 Harmonic Progression: in this video, I am going to show you how to play this harmonic progression that we learn probably using the key of C Major. But now we are going to use the G major key. So this is that G major scale, Aziz, you can see this is scale has, if sharp. So if I play any court and I have to play, if it's going to be the sharp key in this case, we are playing the second court off the scale, which is going to be a is going to be a minor, but I am adding the seventh, so it's going to be a minor seventh. This is a court, and this is voicing that we are going to use in this progression a c e g a c e g a minor seventh and you can play this. You know, several times you can use finger number three or number four and you can play this and our ass in our Pedro. Then I'm going to play the fifth court off. The scale in this case is the major seventh, and it's going to be the major by going to play this as the second version a C mean F A Z. You can see I am playing right here f sharp, but pay attention. I do not have really large fingers. My hand is not really big. It's small hand and it's kind of a regular hand. But my fingers are not Were you that long? So I do not have any problem playing the F sharp or the black key using my finger number five. But if you're you are a really a taller person with longer fingers. You can play with Finger number four here and there's no problem. And actually but I am going to use number five because it's really, really suits to my type of hand that I have. So this is the May the seventh and then I'm going to play the first note of the key. In this case. It is the first court G made your seventh again. I am using finger number five. So the second court from the scale is going to be a minor seventh right here. 50 The major seven on the 1st 1 G major, seventh Hey minor 7 37 G made your seventh. Take your time. You can't play with your left hand aside Showed you when we practice the c major key. But you can, you know, practices several times s so you can see on find this very e c to move and play so you can really concentrate. And the replicant figures a rhythmical patterns and the sequence off the courts as you are going to play. So this is askew can away. You can see this is the G major progression harmony operations. So take your time. Don't play too fast. 8. D major Harmonic Progression IIm7 V7 Imaj7: I am going to teach you in this video how to play the harmony perversion. But now, using that the major key we are war king with in this case assisting Major Going to play this one more time If I play the No, the court that appears in the second note is going to be e minor. I am going to add 1/4 note years. There's going to be for note scored and it's going to be me E minor, seventh e minor seven. You can use finger number three or four. As you wish. Eat minus seven E g b. This'd is the position You can play something like this so you can't reinforced the notes that you are going to play. And then we're moving to the fifth court of the scale in this case G seventh. No, I'm sorry. 1/7 eso is going to be a C sharp e N g. But we are working with the second inversion e g a C s o. The voicing that we're using is minor. Seven. This is a reposition, then 1/7 with the second ambition. And then I am going to play the major seventh in this case, the F sharp A and C shop you can't play. This is ass and arpeggio. Second court e minor, seventh, fifth chords 1/7 the major seventh, which is the first court of the key practice this several time times. You can actually sounds pretty fun to play at, like I just it you can play both hands at the same time, But first, take your time. If you play this Assad Love court, then you can listen how it's going to be. Then you complain as an arpeggio, while note after the other, so you can reinforce visually and listening, and then you can play the rest off the courts. So take your time, go at your own pace, practices several time so you can really focus on the rhythmical pattern. And not now, without thinking in that moment the notes off the court you can you need to be able to play this automatically, just thinking about seeing which court this and playing it so practices many, many times 9. Comping #1 Right Hand : we're going to practice the company number one in this Boston. Nava, Of course what I am going to do. Well, I'm going to show you how to play with the right hand following the rhythmic of figures that the camping number one has. And it's absolutely important to take your time and go over the previous lessons where you need to learn how to play the proper voicing off this harmony progressions that we're using in this course. This is very important. And take your time to analyze all the rhythmical figures. So you can really follow my recommendations in this moment. Eve, you skip one off the previous steps, which is, you know, take your time to go over all the rhythmical figures and the voicing. This may be a little bit difficult if you do no need to go over those lessons. That's excellent. Just keep going. But if you think that this is too difficult for you, go to the previous lessons. Okay? Why are we going to do if we see the rhythmical figures? I have 2/4 notes, so I'm going to play right now. I'm playing C major. So this is that the minor seventh court and I'm going to play 2/4 notes, so I'm beats, want and to I'm going to do one to. Then I'm going to play at the second part of the beach, So tree M for n So this is a matter unum at 70. So I am going to play the first measure off this camping. 1234 123 and four. Want to this one more time? 34123 and four Again. 123 and four. If you think this is this is difficult. You can clap you can do to tree four and 123 and four, 123 and four. But if you have practice voicing, three can go dearest Love to play with the piano with the court. Okay, now the second measure it has, you need to play a doctor quarter note. So it's going to be one and two and three AM fourth. So I have a dotted quarter note. Then at Beat Tree and four, I have 2/4 notes, so it's going to be one into and 3 a.m. 41234 one into entry and 41 into entry and four, one and two entry. And for now, the whole pattern. I'm going to play this a little bit slower, only 60 bits per minute. So is going to be 123412 Nutri M. Four and one and two. Entry and four again. 12 tree M floor and one and two and Dream. And for if I said the Metro, I'm here. But the Britney Coke, the backing, the backing track of the drums. If I'm saying the drums is about Boston office style and I am using 80 beats per minutes is going to sound like this. I want to count four. 1234123 and four and one and two, Entry and for again, 123 and 4th 1 into entry and four. Take your time. Don't play too fast, count as I am doing this so you can really understand this previous previously Take your time. Go very slow. If you think it's necessary for you to play its lower, please do it before trying to play both hands. So practice this the road times and into next medium, or to show you how to play both hands at the same time. 10. Comping #1 Both Hands : Now let's practice how to play this company Number one in Boston of a style now playing both hands at the same time. I'm a really recommend you to go over the preparatory exercise and we're working with C Major. And in this case, you really need to be able to play the basic rhythmical pattern that we are going to use in this comp inks. So we're going to do this. Our review. I'm going to count to 4123 and four and 12 Entry and 412 and three and four. Remember, we are working with the route off the court and the fifth note off the court. So we are working with the minor in this case because we are working with a C major tone, the C major key, that preparation is going to be the minor seven g seven and then C major seventh. So what I'm going to do? Well, I am going to play right here. Look, the 1st 2 beats in the first measure, it's going to be 12 and three ng 12 and tree them four. Oh, so just follow which notes you need to play. Ah, especially at the same time, in this case, in the beats number one and at the end. And second part of beat number four, so is going to be one and two and 3 a.m. four and one and two and 34 and I'm going to set. This is the Metrodome at 70 bits. Berman actually going to play this slower. It's going to be a 55. I'm going to count to four 12 three m four and one and two and three and four and one and two and dreaming for end. Okay, now the second measure, the second measure is going to be pay attention because in the 1st 2 weeks is going to be one and to end. So we need to hold here one and two and be careful at the beginning off the beat. Number two because you need to wait until the second part so you can play right here the fifth. So it's going to be one in two and three m 411 into in three and four. This is a metre non 55 bits per minute, 12 tree and four and one into in three m 41 and two in three m four. I want to play the two measures tree and floor and one and two in dream four and one and two and three and four for more time to three, four, one and two and three and four and one and two and three and four. No, we do. But you know what? Draw missile, though. Tree and four n one and two and three and four and one and two and three m four Going to play this a little bit faster. This going to be 80 beats per minute. 123412 entry and four and one again. 12 of entry and four in one and two and three and four. Now I'm going to play the whole progression. Please take your time and go over each court. I'm not going to do this in the video. Is going is going to take me a long time, but please go and practice this room. Icka figures each hand separately than then try to do this, but I'm going to show you so you can see how it sounds. So I'm going to play two measures and the minor seven and two measures and the G seven and then two measures and see major seven. 1234 12 and tree him for in one into entry and for G 123 and four. Want into entry M 41 23 and 412 and three and four. This is a very basic but very characteristic comping from the bus. Boston. All this time I'm going to play this only one more time. 120 bits permanent. So you can really see how you you can play this if you start increasing the speed, but always played very, very slow. I'm going to play this without counting each beat because it's going to be kind of fast one . I'm going to only counter for 1234 Jean she and this is how it sounds. Eve, you play faster, This comping number one in the bustle nova style 11. Comping #2 Right Hand : in this video, I am going to show you how to play the comping number two. We're working with the bossa nova style, and it's really important for you to take your time and Ella analyze all the rhythmical figures that we are going to play. You need to be able to play without really thinking which court are playing. I mean, we are using the minor seventh than G seven and then see my major seven because we are working with this harmonic progression. But I am not telling you. Actually, Ah, the notes of the courts is really important for you to go over this Laissus where I am analyzed in this voicing that we're going to use in this course. So I'm working with the minor seventh. And as you can see, the first measure of this comping has first has 1/4 note. So in the beat number two, he has, ah, a arrest and then in an H note. So he's going to be one and two. And so when I say and it's where I need to play the eight note so it's going to be one and two and 3 a.m. four So beat number. Tree. No playing because he has a rest. And then beat number four. I play again. 1/4 notes. Who is going to be one in two and three and four one and two and three and four. This is a measure known. 70 beats per minute. 123412 and three and 412 Entry M four. I'm going to play this one more time, actually. Ah, 55 bits per minute so you can understand is better tree and floor and one and two and three and 41 and two and tree and forth. The second measure this company has First it has a arrest then on H note 1/4 note. I'm sorry. So it's arrest than 1/4 note then. And beat number 23 and four. I have a rest and then an h notice. Really? Actually, this absolute off movement to this comping. So it's going to be beats number one to 341 and two and 341 and true. And three and four. And so be number one. No playing because I have arrest. So now I'm going to play the two measures one and two and three and four and one and two, entry and 41 and two and three in floor. And I want to play this one more time. 34 and one and two and three and 41 and two and three and four end, and that is the right hand off the second camping. So now I want to set the men from other with faster so you can have an idea how it sounds. 123412 Entry and 412 Entry in four one more time. 123412 entry and 412 and three and four. Take your time Played this very slowly. Understanding what? What note? You're going to play up thinking about ever make out figures and in the next video, going to show you how to play this, using both hands at the same time. 12. Comping #2 Both Hands : in this video, I am going to show you how to play the camping number two now playing both hands at the same time. If you have practiced, will the proprietary exercise where I show you how to play the left hand? You really won't have any problem because actually, the radical figure that we are going to play with the left hand in this comping. It's easier actually than that exercise. What I'm going to do. I am going to play the route off the court on eight, notes a dotted quarter. Note. I'm sorry than an eighth note and then at beat number Tree and four. I just cold there and I stay there two beats. So it's going to be one and two and three and four and that's it. So to tree four and one and two entry and 412 and 3 a.m. Four. And this is actually the rhythmical figure that I want to play with my left hand. Now we're going to play both hands at the same time. What we need to really think about ISS in which beat we are going to play both hands at the same time after you have practiced this separated many times. So now we can concentrate in playing both hands at the same time. We need to play at the beat number one, then at the second part of the beat, number 21 and two and three name for actually, the big number three is going to be mine left hand. Then number four. My right here. I showed you at the beginning that with the right hand in the second beat, you have a rest and then on h note. But actually, it's not that important. You can stay there playing. I mean, you can be created with this. You can play a staccato on all this different type off touch, and that's totally fine. So how it's going to be, I'm going to play the first measure only one and two and three and four and one and two and three and 41 more time to 341 and two and drink and 41 and two and drinking. And for now, the second measure that I'm going to play, it's going to be Ah, The second measure is going to be bit number one and pay attention because in the second beat I am going to play second and then right here, who is going to be one and two and treating this important one in two entry on beat number 23 and four. I am playing this, so I'm going to play this true. 341 and two and three and four and one more time to three for one and two Entry M four and again one and two and dream them for end. Now I want to play two measures one to tree four and one and two and drink, and for one and two and three and four. Then actually the this ending that I'm using at the end off the second measure where I keep playing here eight notes at a lot of movement, so it sounds pretty cool. Actually, I'm going to play now. Uses the bossa nova style, hear the drums from the key war. I'm going to set the Metrodome at 80 beats per minute. 123412 entry and 412 entry and four Want to play this one more time so you can have an idea how it sounds If I play this faster. 123412 Entry. And for one Teoh entry in four. Now, how sounds if I play this much faster, Actually, I'm setting the speed at while 100 on 10 beats per minutes. 1234 Going to play the minor seven. Then two measures off G seven and I finished with C major seven. Remember that I am about to show you each. The idea is that you need to be able to apply this patterns to any court. I showed you, the boy saying in the and the previous lessons. So you just need to be able to despite yourself, but always playing each course, apparently many times understanding the rhythmical figures. 1234123 and 412 And and this is how the second comping sounds, remember? Always do not play fast, go at your own pace and really start playing really, really slow separated hands and then step by step. Increase the speed 13. Comping #3 Right Hand : in this video, we're going to practice a camping number three in this Bosa Nova course. Well, what I want to show you. Actually, if you have analyzed this by now, well, you can see that the company number three it's kind of similar to number one, but we adding something different at the end off the first measure, which is going to out really much movement. It's going to feel I like the style of the mode of this general and what we're going to do it? Well, The first measure has 1/4 note. Rest at the beginning. Self first beat, no plane and then second beating. Going to play 1/4 note. Then I have a rest. An eighth note. I rest on an age. No. So it's going to be something like this. I need to be aware, and I really recommend you to count. Always allowed, especially the signature. You can understand what you are doing. One, 234123 and four and 123 and four. And so I did this twice. So it's one to 1/4 note, then three and four, and so I am counting three and four. And when I say and that's where I am playing, that's when I am playing with my right hand. So I'm going to play this one more time and using the Metrodome at 70 beats per minute. I'm going to count. Want 234123 and four again. 1234 and and the second measure. It's exactly the same down the first company. So it's going to be a rest. H No Friess. Then at the middle, off the first beat, I'm going to play this doctor. Eight. Note for note. Quarter note. I'm sorry and then beats three on for another 2/4 notes. So it's going to be like this. Three for one and two and 34 again. 341 and two and 34 again. One into entry. And four. I'm going to play this the whole two measures that slow work of this once so you can really follow me. One too. Three and four and 12341 and two and three for one last time at this speed three and four and 1234 and Juan and to and Dream and four now I am good too, said the Metro Non at 17. But I am using the bossa nova style here at the keyboard so you can have an idea how it can sound if I play pastor. 123412341 10 2 and a dream and for one last time, want to three in 41 2 and dream them for So that was 70 beats per minute. The drums, the bus, another drums. So take your time. Don't play too fast In the next video, I am going to show you how to play both hands at the same time. 14. Comping #3 Both hands : Now I am going to show you how to play this comping number three, the bossa nova style play both hands at the same time as I mentioned before this clumping. It's very similar to company number one, but we are adding something different at the end off the first measure. So what I'm going to do? Well, first here, the rhythmical pattern that I'm going to use here is really not difficult. It's going to sound like this. 123 for one and two and 3 a.m. 41 and two and dream m for very similar to the second. Actually, it is the the second measure off the basic pattern that we are going to use and we learn previously. But I'm just repeating this. So the first measure is a little bit different. So what are you going to do now? After you have practice your right hand several times what I'm going to do? Well, we need to really think where and in which part I need to be able hands at the same time. This is important. And the first measure I am never going to play at the same time. Both hands So I am alternating them. And the first measure? I'm sorry. The first beats right here and the second beat. I am alternating this. So it is going to be one to and dream one and two and three beats Triomphe, or I'm going to be alternating tree for em. Here is a part. What? I told you this at a much more more movement and sounds pretty cool. Actually, when you play this faster, so how it sounds, I'm going to said the Metrodome. This is 60 bits per minute. 123 M four, one and two and three and four and one more time. Three M four. One and two and three. M four again one and two and 3 a.m. Four. And now the second measure. It's actually the same that the first camping. So it's going to be one and two and 3 a.m. Four. So pay attention. Because exactly where the second beat begins. No playing. I mean, I just need to hold what I played previously. So it's going to be one in two and 34 How thus this sound 60 bits per minute, one and two entry and four and one and two and three now four beats three and four, both hands at the same time, I'm going to play this one more time. One and two. Entry and floor and one and two and 34 again one and two and three and four. Now I'm going to play the whole comping. Two measures one and two entry and four and one and two in Dream for in one in two and three and four. Summertime three. M four and 12 and 34 That one into entry and four Start Now let's played with this with bustin over drums. 23 and 412 Entry M four and one and two and dream them for So now let's see how it sounds faster. I'm going to said this at 80 123412 Entry em foreign one into entry and for one more time, 12 entry and 4th 1 into and dream and forth. Now I am going to play the whole progression. So I'm going to play this the minor seven, then G seven and then C major seventh off course you need to practice is courts. Apparently, you can follow the charts that that this course has so you can have a deeper understanding off what you need to play. So I'm going to play this 80 beats per minute. 123 and 412 g seven. Now what? I am going to play this much faster so you can have an idea how this will work with sound faster. What I'm going to do when I play old, this eight notes and at the end of going to add some staccato us, you can see so it's going to be a little bit shorter, but always following the rhythmical pattern. 12 tree for one G C. May your 71 more time so as you can as you can listen. That sounds pretty cool, actually. And at the end of the first measure, this ah way of alternate here, the hand sounds pretty cool Sounds of Boston of our rhythm, feeling or mood. So take your time, don't play too fast and always practice the combination off court said. You want to play separated first 15. Tip #1: I'm going to give you a tip so you can really start preparing not only with the preparatory exercises that I showed you, but another exercise. I will say it's a technical exercise, Um, where you can't prepare and phase that rhythmical issues that you may have. Ah, when your apple in Bosa Nova And the thing is that sometimes we are not going to play a two beginning off each beat. So it's like a Syncopation, actually, and I'm going to play right at the middle off each beat. If I am playing a H note, rest. And then the eighth note is going to sound like this Juan in two n three. And so my recombination is just start playing all the cords and actually with with your left hand, I'm going to show you how you can do this. Actually, you can play the court. It's a good idea to play the course here as well and played at ah like if you were playing always eight notes like one end to entry and for in when I say and that's exactly where I am playing so in the moment and going to set the Metrodome this is 50 beats per minute and what I'm going to doing going to count to four and I'm going to be playing at the and part off each beat one and two n three m four and one into entry m four and and I can't keep doing this, but you can place the cat on, then relax. Your your hand is very important and you can move to the rest off the voicing off the harmony correction that we're playing. So I am playing this using the C T tree M floor and one into entreat four and G salon and two n 34 and one and two Entry M for And the other way is just to play right here, beat number one and then play here What I just mentioned, he's going to be like this tree and floor in one. Then you entry them floor and one, then two in something like this. On the other way, it's deposit actually do. You can play three m floor and run and to end three m four and one and two and three m four . And this exercise really is really, really going to help you to deal with this rhythmical difficulties that you may have when you work with the Boston Oba patterns. So it is my recommendation. You can also clap if you count aloud when you say an want an and you say and you can clap like this, too. Tree l four and one end to entry M for And like this Blake very slowly, said the metron on at your own pace. Don't play really faster, play slow several times and then start increasing the speed. It's very important, so you can really feel confident when you are playing, and you can really control what you are playing. If you start playing too fast, you're going to start having this takes, and that is going to ah, developed that is going to produce you a way of playing that it's not going to be accurate . And that's not correct. Really need to go over perfection than speed. So this is my recommendation to master this. Prepared yourself to deal with this with Michael Difficulties 16. Tip #2: I want to share with you another TP on how to prepare and practice. All this course is this tip is dedicated not to divert nickel pattern, but for playing the courts. Sometimes we are used to play only three notes courts like this and even those you can keep doing that. But this general, this type of music has most of the time four notes courts and I really recommend you to practice the court not only with the right hand but with the left hand. In this course, I am sharing with you this calm pings where the left hand is playing in the route off the court and the fifth note off the court. But it is important to be able to play the whole quarter. Would you left hand too? So my recommendation is always play on relaxed. You can move a little bit your hands like this avoid lame stretching your fingers. So there's something like this however you can do is two can play at the same time on. Then you can play this assignar pho. By this I mean one note after the other like this. What is going to How is this going to help you. Well, you are going to be if you are watching unity, do not need to read anything. You are going to really reinforce each court on the voicing that we're using in this course . And I really recommend you this with any new court, not only when you are playing both on over, if you want to just go over all the courts. Well, this is my recommendation. And when you play one after the other, you are reinforcing because you are listening. The sound off the notes you are watching here and you are in your mind sane D f A. C ask part off the court. So it is really, really useful to play like this. And I recommend you something important. When you play a center patriot. Don't hold your fingers just one after the other and release the finger from pressing the keys. So, in that way you are going to feel very relaxed and after have play this assignar Pedro maybe a couple of times one hand after the other. Then you can play this again as a block court like this and always relax and you can do it . Then you can go down if you want. Like this. That is really, really going to help you to relax and watch goal over all the notes off the court, Going to give you an example. I am using the Metrodome 62 bits per minute. Not true fast. You can use the myth room if you want, and if noted, you don't want to. That's okay, too. And with this exercise, of course. So I want to play this the minor 74 times and then tries. Then maybe a whole note four beats there, saying then I can't go to the next position in this case a d seven. Thanks or I can play going backwards like this on then I can go through the next court. This is really going to help you to play and with a much more confidence when you go directly to play a piece. All these exercises are designed to prepare yourself to play the courts and the rhythmical patterns so you can add and change. I mean creative and learn more corn pinks without struggling with the basics off this General 17. Tip #3: Sometimes when we start practicing old, you may be at this point, you can feel a little bit overwhelmed if you think that you really need to play, Um, four notes courts off the time. Well, in this year in red, this is style, the person of a style. The most recommendable, of course, is to play at least four notes courts. But what happens if you are just beginning and you don't want to start playing like this? But you do want to start practicing old patterns and rhythmical figures that we are learning in the scores what my recommendation is to start with three notes courts do. You can go over the lesson where all the the notes and explanation that I'm keeping you about this but here I'm going to show you in a practical way. Well, instead of playing, I am working with the C major key instead of playing the second court off, the key is D minor. So instead of playing the minor seventh, which is the core that I have playing in this all these videos, I am just going to play D minor. Off course. The sound is different, but it's a good idea to practice like this. So just play the minor. And then instead of playing G seven like would it before? Well, Jordan, you can play this even that it's a for notes court. It's not that difficult. You can play the minor seven then right here G seven and this voicing on then right here to just play C and e n g notice right here. So it's kind of easier, right? Diviner g seven and C made you So it's going to sound OK is going to be like Theun G off course is not the same like playing this court's, But instead of that, you can play this and it's going to be good. Actually, even if you don't want to play G seven, well, you can begin with with the G major court only, so it will sounds. OK, I'm going to show you how it sounds. So this is a bus on a lifestyle here and you see 80 beats per minute. 1234 Now she made your only even without the seven. Now seem a you off course is much better and complete to play the other way. But it can begin with this. Don't feel bad, go at your own pace and this is a very good beginning 18. Tip #4: this recommendation. This tip is really if you want to go out of it further on the work that you are doing with courts. If you begin with three notes courts that perfectly fine, most off the well. I mean all the camping's I am that I am teaching you this course. I am showing you how to play and I'm always using for notes courts. And in this case, if I am working in the Sea Key, well, see major key. I am using the minor seven as a second note off the second court of the key. Then I am using G seventh and finishing would see major seven. But my recommendation, if you want to play a little bit more advanced, is to play instead off playing the four note scores. You can go further and play through the minor with the ninth right here with the 19 off the court. And of course I explaining this to you with more details on the lesson dedicated to learn this progression. But I'm showing you this in a very practical way. How is it Ah sound And how is it working? Well, this is the minor seventh. What happens if I instead of playing see I go there and I play the e note. What is going to happen being f A c E. This is the minor night in this case. So what I'm going to suggest you is to play because we are playing the root of the fifth right here. You can play the note, the court here, but without the route. So it's going to be F A, C and E. And the route is going to be played right here so I can play like this on it. Sounds pretty nice in this way. And then instead of playing G seven, I am recommending you to play with a 13 note right here. So it's going to be G. But with the 13th in this case, I'm going to explain this because this boys and can sound like a bit complicated again. If I am playing right here, this is the minor ninth, and I am going to move this note instead of playing the C. I am going to play the be. So it's going to be like this. And this is the G 13 in south. Pretty cool, thank you. Moved to the this'll G. Sounds nice on. Instead of playing C major seventh, you're going to place a major ninth right here. So what? I'm playing C E g B B. This is a night off the court and its major seven Major. I'm sorry because right, here's a major seventh. So is D. C. Seeing E g b. The is a seat. Made your mind. OK, but what about that? This'll Boise. This is the 13 and can be a little bit confusing. So I want to explaining this to you. You can see it visually. I'm going to play it right here. So the G is going to be the route. I can play it right here. This is the route. This is the first note of the court. The third is right here. Be the 50 note it's necessary. But if I am playing right here on the left hand is going to be playing the fifth note. So it's not going to be missed. Then the seventh. Right here the ninth. It's going to be here a and the 11th. We are not playing it. And then we are playing the 13 right here. Eso It's kind of complex court, but it sounds pretty good. So if you can take a look to the theoretical overview that I'm doing and just try to play like this imitating what I'm doing that will work to us. Well, so this is my recommendation. Go out a bit further and play the ninth off the courts. As I am showing you, This is a pretty nice voicing and that really helps you to sounds. Ah, better. I'm going to give you just a quick example. This is the person of a beat and going to play here. 100 beats per minute. And I'm going to play the whole corporation. Just any comping, but using 22 measures for court beginning with D minor, Ninth 12 tree four A. So you can see it really sounds more complete. But this is more advanced options. So this is my advice. If you can go a little bit if ordered 19. Congratulations!!: Congratulations. You are now at the end off this sculpture class. Thank you for letting me share with you about the beauty off, whether music, piano or education. Thank you. My name is Jill Salo's. Oye. Again. Thank you for being part of this class in this community. Gives You want to check out the rest of my classes to just go to the next? Plaster is recommendable for this one that you have just finished. We'll check out description off this class, you will find all the links there. You have any questions, please? You know, I will be very happy to hear about your comments and your suggestions off this class. And you want to know which glasses recommendable for you now was just let me know and I was very happy to help counter to lay just and I can't wait to see your in another class