The Beat and Rhythm Workbook: The Snake Dance Syncopation Challenge | Bob Chappell | Skillshare

The Beat and Rhythm Workbook: The Snake Dance Syncopation Challenge

Bob Chappell, Your Creative Keyboard Companion

The Beat and Rhythm Workbook: The Snake Dance Syncopation Challenge

Bob Chappell, Your Creative Keyboard Companion

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17 Lessons (1h 52m)
    • 1. The Beat and Rhythm Workbook - Introduction

    • 2. Snake Dance - Build-up One

    • 3. Snake Dance - Build-up Two

    • 4. Snake Dance - Build-up Three

    • 5. Snake Dance - Build-up Four

    • 6. Snake Dance - Crossed Hands

    • 7. Snake Dance - Longer Rhythmic Patterns

    • 8. Snake Dance - More Rhythmic Patterns

    • 9. Snake Dance - More Rhythmic Patterns

    • 10. Snake Dance - Flapping Fifths 1

    • 11. Snake Dance - Flapping Fifths 2

    • 12. Snake Dance - Flapping Fifths 3

    • 13. Snake Dance - Harmonising

    • 14. Snake Dance - Advanced Arrangements

    • 15. Snake Dance - Ornaments

    • 16. Snake Dance - Medleys 1

    • 17. Snake Dance - Medleys 2

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About This Class

The Snake Dance Syncopation Challenge is the first module in the Beat and Rhythm Workbook - the methodical way to fast-track your keyboard rhythm and syncopation skills.

Please watch the Beat and Rhythm Workbook introductory video first for an overview of the course, then dive into the first four Snake Dance 'build-up' videos.

After that, you can carry on with the Snake Dance variations as well as sampling the other three modules - Syncopation and Anticipation Tenths, Swinging Hanon and Rhythmic Pentatonic Scales - for a variety of rhythm-and-syncopation coaching.

There is a pdf download containing the music of the version and variations you work through - but this is not the course! The real course work is enjoying and sparkling rhythms and exploring creative freedom in your daily keyboard workouts!

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Bob Chappell

Your Creative Keyboard Companion


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Music Creative Simple Piano

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1. The Beat and Rhythm Workbook - Introduction: Hi there, Hope Chapel for music, outer hair. Now I think we can all agree that most popular music has a strong rhythmic component. And the modern styles keyboard player needs well-developed beating rhythm skills just to keep up. Sadly, many people subconsciously believe that when it comes to syncopation and advanced rhythms, you've either got it or you haven't. Well, that's just not true. What has been lacking on methodical approach to improving or rhythm skills. The music R2P rhythm workbook, as for full progressive lesson series, that will give you absolutely the best chance to get over the hump and master professional level 200 syncopation and rhythms. Our usual way I've tried to get difficult rhythms, namely just trying again and again, is unscientific, inefficient and frustrating with the right learning material. Anybody could be much better syncopation than they ever thought possible. And musicality has gone all out to make sure you get all the help. You deserve that material and sympathetic coaching right from the start. What's essentially good learning material is to build up to the complicated thing gradually. And that's of course, is what the music art upbeat and rhythm workbook makes quite sure happens that you get the basics down and build up from there. And you learn the right way to approach complicated rhythms for yourself. Not once, not twice, but four times over with different material. So you don't get bored. You've always got something different to practice or brush-up on or get better apps. And to ensure you have no trouble putting the productive hours in. And let's be honest, I can't eat muscle memory skill. This is what you need to do. So then what have we got? First? The snake does that tightness, novelty piano teachers hate, but everyone can do a silly downstream. It's fun. And it's the basis in the music art and beaten with a workbook for the whole Raf to big and bold two-handed rhythmic patterns to get you started. Patterns which transfer wholesale to a broad sweep of pop genres. Next up, syncopation and anticipation. Ted's very poppy might not be the style of music you're looking to. The rhythm skills involved a bit more micro. The sine terms will never be out of debt. Talk about practicing the piano and sooner or later you're talking about Hawaii. I was 150 year-old piano exercises which just well lie down and die. Because of course, they work at a very efficient way to train your fingers. Why not train your rhythm skills at the same time just as an authority? Third, she also progressing rhythmic patterns fit into master in an easy, stationary five finger position first, that's really itself would be sufficient. But here you apply them to the hands-on exercises, which are also demons for anyone can get them. And with a quick listen to the examples. Your daily finger warm-up is doubled its functionality, mostly rhythmic pentatonic scales. Everybody will tell you the good players of all London scanners. And that's not about passing exams. It's about getting up and down your people, that variety of kings. But popular music is based more often than not, on the five-note pentatonic scales, which have an effect, no wrong notes. That rather practice tells them while we're about it. How about swearing in subcu, jazz blues rhythms? So for you, six minor pentatonic scale is explained a demonstrated with entry-level practice roles and a progressive series, jazz blues rhythms to play the game. It really is music of the shelf. So join the beach in rhythm workbook, fast-track. Don't be defeated by ineffective trial and error efforts. The bees in rhythm workbook levels the playing field with ONE TAP structured learning material guarantee to take everybody forward further and faster than they ever thought possible. See you on the course. 2. Snake Dance - Build-up One: Hi and welcome to this first snake down sped up module. Download the less Notes. Launched his first performance, which is what you are going to learn to play. And tried to play along just yet. If you can, of course be my guest, but you don't have to. Now the lesson notes to help, we're going to learn to play the melody just the right-hand, using the finger numbers for our key. March the demonstration video. Then using the lesson notes fingering diagram, practice until you can play the melody. So here's our D minor position, D up to a. We're going to play the snake dance melody by finger numbers like this. 123123523112312352312345555234444431231235 to three. Well, so we hope you've managed to play the melody right through my independent practice though. So work through this fingering difficulties video, which shows you how to make your line one type performance more secure. Exercises for line tag. What the difficult part is, I've 23. So we're going to practice that overshadowed by 231231231. And voltage in the phrase. You should be able to repeat any bit of that, for example. Or. And here's a mini practice video from line three. Line three has the same pattern twice and it's this sickle shape. First from figure three, then from figure two. See the pattern that are five of the top note many people only want to play for. There are 12345. There are 12345123451234 or five genes. Then a two places in line three and moving on where you have to skip notes and swap directions. They are this mid, causes difficulty sometimes. So we're practicing that 54235 are tunes. We buy B23 and the next one is 43243124312. So we're going to practice fine for 234 and so on, 234124312. And then we stitch them together. Finds are tunes really for us. A run 1054234312542342 on two big bad, bad, bad, then. Good. Now putting it all together and play along just the right-hand ability with this practice speed performance. Now to put the left-hand did just to say no child away, sort of following the teaching video, playing along the second time. To start adding the left-hand note, you need to find this hand position. The right-hand is where it was when you were playing the melody. And the left-hand peppers, the same named notes. That is D up to a. Pretty Tony plays the top and the bottom by d and a little to note chord we call an interval a fifth, 12345. The fifth note up here, incidentally, the fingers are the other way around five. And that's what you see in the music. They play together. Every four beats of the right-hand. We're going to be playing this first simple arrangement by numbers. Now you see that the left-hand pair of nodes 51 doesn't come with the first two notes. It comes with a third note in the right-hand, which is incidentally also for third finger. I'm going to talk you through the first performance telling you which right hand fingers, the left-hand notes play with. You will hear accounted for clicks. I'm going to sell paying on the last rock my right-hand gum. He went three. Then one garden with three young, then with one. Calvinists read 313. Then with one, with per bed found though last run the ball, the last row and with 31 and with three young then with one. So the left-hand comes with fingers, 3131. At the end of the second, I kept referring to 3131. And it comes with the first finger and the last space finger, then the first fourth right-hand finger, and then the last right-hand fourth finger. And with three, and then with one and then three. And then with one. Mission again, you can try playing along if you wish to read 31. And with three year, then with one, comes with three. With three year, then with one. When the first BY burn the wrong, then the burner all around learning one with 31 and with three young then live. Well. Couple of things to note, the left-hand interval stays down as long as it can. It doesn't play. It stays down all the time until you have to lift it up to play the next time. Up-down, up-down, up-down. Now this snake down Series is Beach and rhythm cookbook. So again, to isolate and rehearse just the rhythm now to warm us up for letting much more complex rhythms later. Indulge me. Yeah, simplicity itself. I'll leave you with the first bell, that performance. You'll want this pretty well nailed down before you go onto module two. Okay. 3. Snake Dance - Build-up Two: Hello again, and here we are in module two of the snake Don's buildup. In this module, you break up the left-hand fifth and white elites playing bottom, top, bottom, top, bottom, top. This can be more difficult than it sounds. So we approached in two stages. First, in sections only what we call the gappy left-hand version. Then continuous. Watch this gappy left-hand performance video first and you'll see what I mean. So that's what we're building up to the next video chat. That was the first slide. First phrase. The first phase is like this. See how the phrase as it little to note, run-up before the main beat. This nose to nose. The left-hand stops with spin, gets three in the right-hand with the bottom note. Also top. So partial phi one, phi one. And here's our usual topic video. Introducing music art is super productive. Together left, right, or TLR4 analysis. Ride, ride together together together. Right, right together, lead together, left together, right, right together together, together, right, right together, together, together. Check your understanding with the diagrams in the lesson notes are on the web page. Now you might be just what your learning style likes. Next up, first-line second phrase. The second phrase is simpler rhythm wise, because once the left-hand turns in R3, which together together, all the top together together together to get the, to get the ride, ride together together. Again, that thing. And that's again. Now what you've guessed. The whole line one together. Practice until bleach free. Until line three. There's only one phrase here, repeated the phrases in line three and line that too, but with an extra right on the end. Right? Right together together, together together together, right? Right, right together together, together, together together. Right? Now you should in theory, be able to play the first-stage demonstration video. You'll five-note left hand, bottom, top, bottom, top, bottom. Patented comes in with the third note of every right-hand phrase. All lie, as we've been calling it. Now let's tackle filling the gaps and making the left-hand continuous. Here's the teaching video that explains how for the live been typed lines. What do you have to do next is to fill the gaps in the left-hand part to give a continuous and bottom, top bottom topic of events. The only part that's new is what happens between the phrase. Here's what happened before between the phrases 1212. Now here's what you want to do. Now, instead, together, net together together. The phrase together, left together together, together, together together. So the only new material that you have to play is net together, together, then a phrase. So that's what we practice. Top, bottom, top, margin. Left together, together together. John Barton, Tom barter. That together, together, together. It doesn't need to be in time. You play. Top, bottom, top, bottom, where the right-hand run up. Can we get on the left-hand finger or bottom note? And you progress? They would continuous left-hand practice carrying him in the right hand and the right base anytime. Now the same method applied to the line three phrases practicing, they're not so obvious in-between the phrases. In line three, the right-hand rather, from finger 33 to o, also come in with the bottom note just like before. So alternate interior, easy when both men coping phrases. Then but the whole line together. Next up is a continuous tapping then playing exercise for the whole version. It's highly recommended that you work on this until you couldn't anticipate the sections as they come up and stay with it all the way through. And here's the sample performers with a continuous rocking left-hand again. 4. Snake Dance - Build-up Three: The next version in the build-up to rid of harmonic variety by introducing a GMO is sound in line three. Only the left-hand does anything different. We simplify things by going back to block fifths, both notes playing together in the left-hand. Watch this performance and listen carefully for the new material. We go straight into the first teaching video. It's useful to revert to simple block fifths in the left-hand, initially. Left hand. Those out from the a to the B flat, then back again. Low. There's often tried to avoid putting their fingers up between the black keys, but he's not wrong to do so. Quite the opposite. In fact, it's a habit you want to encourage. Let your left hand move up towards the back of the keys so that your left thumb can slip easily onto the B flat. Otherwise you have to twist your wrist yesterday to get the thumb up onto the new note. That's not countable. So lead you and move up there. It's okay to play D here with the little finger writer. Between the black keys. You show that you know where you play the new note. Take an aerial view. The left-hand thumb goes up to the higher note for the middle half of line three only. It's down, up, up, down. And make sure that you understand from the music and from the audio that the thumb goes up to the higher note, for the middle half of the line only. It's down. Then it stays up. The thumb is on the a, then it goes out to the B flat and the middle of the line. And it comes back down at the end. Now move on to breaking up the left-hand pair of notes, incorporating the B-flat. Your next job is to break up the left-hand face and practice the line continuously. Here's what the left-hand will do. It's down, it's out, it stays up, it goes back down. Notice how you're letting your fake hands and go towards the back of the keys. And you need to pay the B flat that our government down continuously and onto the end. Now for the new line three into the previous continuous left-hand version for the final module performance. It's a very nice fashion. 5. Snake Dance - Build-up Four: This last stage in the snake does build up is the most challenging. Wash the performance video so you know what your goal is. All that happens is that we're left-hand little finger at the bar. Doesn't play. Watch this quick demo. In the last stage of this Nate dance burned down the left-hand, uncountably many changes from continuous to syncopated. Like this. Continuous. Syncopated, continuous. So think about all that happens is one left-hand little finger in the bar doesn't play. You used to have 1212 and instead we have the syncopated one. Why? And when? And when. We're going to simplify things by diverting temporarily to the gappy left-hand version on tapping that together left, right pattern first, follow along. This means that the tapping pattern for the very first phrase and the performance is now this. Ry, Ryan together, right? Never together. Why write together? Right? Level together, right, right together, lab, right, never together. Why write together led by lead together. Right, right together, left, right, left together, right, right together, left, right, left together. At the same procedure for the second line, one type phrase. Now tap and practice the second phrase with the new left-hand. It's this right, right together and together, right? To get it together. Right? Right. Gathered together, right together together. Right? Right together, together. Together together, right? Right together. Together, right together together, right? Right together. Do, do, do, do, do, do. Now to fill the gaps. This is where what you have to play sometimes doesn't feel right. Which is why we look closely at those together, left, right, or TOR analysis. Used to discretely ride together together. Together, together, right, together to get down, put the other left-hand side note back in, and practice repeating continuously. Right together to get them right together, to get them right together together. You might as well practice the run apps for the wines three in the same way. So that's lines 124 done. All linemen types. Now for line three, by the left-hand incorporates the B flat black key from the previous version. In line three that are right-hand notes on every beat. So you're tapping baton, is this right? Together together together, together together together. Write together together together, together together together. Right? To get it again and again. To gather together, again. Right together, together, together, together, together. And continuously. And again to the end. And that's it. You've done it. Actually is you'll find all snake downs build up version, shows off to your friends and relatives stuff on social media and make it your springboard to total rhythmic mastery by getting access to the music out of beaten rhythm cookbook. Under drip feed of progressive rhythm challenges. You'll love beaches. 6. Snake Dance - Crossed Hands: Right now that we've got our basic version together, we can start playing with it. Play with crossed hands gives you a whole set of off the shelf snake dance variations and looks good. First though, we need to pick up the speed. A default. Here are three buildup versions is a slightly smarter pace. First we have the left-hand block intervals, including the B-flat, then with the left-hand rocking continuous. And then the final buildup version left-hand with one skip note. Rounds at the music on the video. Just for the texture to see which version you're playing. Hop on board with the for it. Remember, the right-hand comes in almost full. When you can keep up with that video. Swap your hands round right-hand, Dr. cavalry, exactly the same notes. Laca, we say it place. Your left hand is where your right-hand was at. Your right hand is where your left-hand box. Then practice playing the three buildup version with the hands crossed. Stay exactly the same dose as before, but in the new place. Next, unwind to hackers and put them back to the normal position. Then leaving your left-hand where it is, bushel, right-hand under an alter. The next group of d2, eight notes down. You call this eight VB. I'll tabu bossa, meeting an octave lower, lowest note. It's an octave lower than before. And play the buildup again. You will need to Lenovo or even shuffled to the left of it to get Yohanan's cuff comfortably onto the keys. Might be bit of a strange at first. They are, then you can use a chorus of how does crossed that anytime to make instant bed lives of any version. All bang for your buck. In fact, we'll be doing just that. Now go on to lose that rhythmic variations. 7. Snake Dance - Longer Rhythmic Patterns: So far we've limited ourselves to rhythmic left-hand patterns. You more than one bar in length, all left-hand bars in the same rhythm. But there's no reason why our left-hand rhythmic patterns can't stretch over two or more bars. Here's when basic option, just watch and scan the lesson notes the first time through. The performance starts out with the left-hand setting the scene for the demonstration that the 2-bar rhythm tap the first line patterns strengths from propped up MS. But in line three, something new happens. The second left-hand beam gets anticipated, driven forward across the bottom, and we end up with a two beat left-hand panel. The performance has a postscript to which quotes the crotchet minium drop shaped pattern from more left-hand rhythms. Listen to the performance again to identify what all those things cut. And then play yourself. The free play, just one bar of that curved crop chip minium drop ship pattern followed by a bar's rest, we again have a legitimate new 2-bar rhythmic pattern. It reaches, just watch first time with the lesson notes. Watch again and tried to tap a lot on your desktop. Focus on your desktop until you're comfortable with all the combinations of left and right hand rhythms then work on your own performance. Now here's a method that uses both patterns and the crossed hands. You can hear some harmonic development there too. In line three of the crossed hands version. Because there was a major chord symbols at the telltale C sharps tried to just pick it up from the video. More harmonic development in the coming modules. But next, left-hand off the beat. 8. Snake Dance - More Rhythmic Patterns: Different combinations of left-hand meanings as half notes. I'm crotchets. Quarter notes are an easy way to develop new rhythmic freedoms. Here's a minions only performance. Just watch. You'll see immediately that we spice things up a bit by starting an octave down both hands and playing the left-hand fifths alternately above and below the melody. Well, if needed, tap the minimum only performance rhythm. Do it anyway. You can always mess around at the back of the class if it's super easy for you. That are together left-right tapping diagrams in the notes for your offscreen edutainment. Now play the left-hand minions version. Within crotchet, crotchet, another combination. Here's your target performance. Now for some desktop drumming, not so optional this time, even if you can easily do it, everything builds on what goes before going through the motions. With attention and commitment to the highest standards at all times, of course, does make you a better player. Then a tomb Chopping patterns. The whole first line and the third line type. You tap the pattern is twice, then play twice. You'll hear the for it. That's when you get ready to tap or to play. It's continuous. So keep your wits about you. Work through that video until you understand the plan and get toppled, play along all clustering. Then play your minimum crunching crotchet version as convincingly as you can. Crotchet minium drop. The last combination. This is the same left-hand rhythm as the basic end of buildup performance, but with the left-hand fist throughout. So it feels quite different. The tamping video wants you to tap the linemen pattern twice, then played twice with blackface in the left hand and play again twice when the rocking left-hand, which has just the same as your modules for final buildup version. And the same with the melody line three jive, then playing onto the end. Yeah. Now, can you play the snake, Dem say any and all of those three left-hand rhythms, ROM memory. Try making a mentally with one rhythm followed by a hands crossed version of another rhythm. Creative vistas that open before you. Next, some left hand off the beat variations. 9. Snake Dance - More Rhythmic Patterns: State downs variations, flapping, fist, pump. The first. Another way of getting some rhythm into your left-hand accompaniment is to hold either the little finger all the way down and flap the other one off the beat was just demonstration video. So left-hand little finger homes down for two bars. Enough time for that S 10 thousand to flap four times off the beat, as in the last module. You might like to do it at a desktop rehearsing. We'll just go ahead and give it a go. Here's the video again for encouragement. If you were listening carefully, you might have heard some extra notes in the right hand. There was a third, nicer. They're there in the music, but consider them optional until you get this flapping trick right? The second flapping option is to hold the left-hand firm download flap, little finger. This is what you'll get. Give it a go. I'm afraid it doesn't feel nearly as natural. Do you notice how the left-hand deviate from the pattern at the end with a three bar phrase, does to help make a better ending. Rotation in the wrist is a crucial component in piano technique. Here's the version that focuses on rotation by alternating the left-hand, bottom, top, top, bottom. This can make your risk-taker bit. So go easy. To finish. Play cross ten versions of all three variations. Then sketcher plan for a two corners medley. All flapping fifths options in the next lesson. 10. Snake Dance - Flapping Fifths 1: Flapping fists. Part the Second. We're starting this session with the staggered fest variation from the left-hand off the beat. Listen. Pause the video for a reminder. No hands crossed this time. Before you go on, watch this ultra relaxed version showing the left-handed rotation movement. Make sure there's always some of that. Turning a door knob movement in your left wrist. As you work up to the first video speed. Listen to your playing carefully. You and you alone are responsible for producing a nice, clean performance. The focus in this lesson though, is to work on your stamina and speed. Just like an athlete. It's important to push your comfort envelope a bit. Not least because a lot of these rhythms, I counter planes only rarely take off at a certain speed. Here's an up to speed performance at the previous version. That's what you're looking for. Snap that flapping fist down like your winning domino. More difficult is to alternate left-hand, up, down, down, up staggered fish. But in these snapped quavers, this two should go a little or a lot faster than the demo version. Like this. Perhaps. Something to work up to a little at a time, but inexorably. Here's a medley version combining the two directions. Watch, taking mental note of the overall design. It's an exercise in concentration. Suddenly, I lost track of the up-down alternation in the right-hand down to second half. Did you spot that? Next step? Lap hysteresis Thomas, flapping quasars. 11. Snake Dance - Flapping Fifths 2: State downs variations, flapping fists are the first. Another way of getting some rhythm into your left-hand accompaniment is the old, either the little finger, all the thumbs down and flat the other one off the beat. Watch this demonstration video. The left-hand little finger homes down for two bombs. Enough time for the last 10 thousand to flap four times off the beat, as in the last module. You might like to do it as a desktop rehearsing. We'll just go ahead and give it a go. Here's the video again. Put encouragement. If you were listening carefully, you might have heard some extra notes in the right hand. There was a third, nicer. Now they're in the music, but consider them optional until you get this flapping trip right. The second flapping option is to hold the left-hand firm download flap that little finger. This is what you get. Give it a go. I'm afraid it doesn't feel nearly as natural. Do you notice how the left-hand deviate from the pattern at the end with a three bar phrase, does to help make a better ending. Rotation in the wrist is a crucial component in piano technique. Here's the version that focuses on rotation by alternating the left-hand, bottom, top, top, bottom. This can make your risk-taker bit. So go easy. To finish. Play cross ten versions of all three variations and sketch a plan for a two corners medley. All flapping fifths options in the next lesson. 12. Snake Dance - Flapping Fifths 3: Laughing fifths part the third, flapping quavers. We've already brought in quavers to make the left-hand rhythms more exciting and challenging. Here are some more with quaver rhythmic options. Watch the demonstration video. You'll hear the left-hand little finger held down and the flapping thumb playing a combination of crotchets and quavers, quarter notes and eighth notes. The video performance has an intro where the left-hand demonstrates the rhythm. Pushing some desktop jabbing practice with the left-hand playing just a thumb quaver rhythm. Along with this topic video. Okay. When working on your performance, if you pay attention in detail to the third line, there will be anything in the arrangement you can't play. Here's a slow bow practice video to copy. How are you getting some of those right-hand harmonizing notes in yet tricky. It's like flapping, but within the right-hand to treat as optional, don't be put off. Using only the second of those stubborn quavers gives a Latin phrase. That's up to speed performance by the way, to inspire you. You will of course, practice much more slowly and build up to that speed over time. Here's the tapping video at the first slide to get the left-right Analysis. Note that the music for the left-handed combines versions 23, which we have the done yet the rhythms the same. Use this slide-show video to help you master. The third line you do is really just played over and over. Now an optional version three. Note that this section contains some wildcard paternal from further on in the course. If you take, you take so befuddled as you accessibly, just skip it. Combining the lessee beat with the fifth root fifth left-hand from harmonizing with thirds coming up gives us this variation. Practice lines reusing this slow demo. Notice the C sharp in the left hand, a bit of a break from the D all the time. And we are entering into harmonizing the snake dots up next. 13. Snake Dance - Harmonising: Snake downs variations, homogenizing the snake down. Any melody harmonized as well with 36 or ten. We start with thirds, which in this first version are under the melody in the right-hand. Here's a nice slow demo. A proper teaching video follows. Now here's a teaching video that will take you through this version. This node dense Modi with 3123131234131231312341, optional 213123131234. Frankly, you're not likely to just get the fingering for the third unless you're fairly experienced. So here's a standalone drill for the third and the new left-handed company, but there are three possible fingerings on offer. Little drilled for the third gen D minor. The first option for the C Sharpie would be slide their hand up and play. The second option, the sundown and play 3242. And the left hand for the surge arrangement. Root fifth, fifth, root, fifth, fifth, fifth. X-height to practice your third Zoloft to get both notes played together and properly valid. Here's an up to speed scrolling MS version of The Third harmonization. Now, harmonizing with 6106 turns upside down, inverted. A tenth or a third plus normative. Harmonizing in six, we will have now six step work for the next bit. So instead we use tenths, which is a third plus an octave. Back to six. Here's an up to speed scrolling MS performance. So some variations for you to work out at your own pace. The advantage is that you know the basic material very well. Now go on to try and separate the snake downs diarrhea arrangements. 14. Snake Dance - Advanced Arrangements: Snake downs variations, advanced arrangements. These arrangements incorporate both held left-hand notes from the little finger and harmonization with 3610. Technically they're intermediate level, at least. Players with little or no previous piano experience will have difficulty. If that's the case with you, I'd recommend you skip forward one video lesson to ornaments, which you can add to all your version. The first arrangement is the 610, how urbanization from the last module. But with the left-hand flat. The top left-hand note, the one that harmonizes with the melody is hell. Now, here's a word zoe view at the start at play. There's a bit of variation lines for these things to happen. And the ending also is slightly different. The second arrangement is across hemispheres. This would make a good second half to a Begley was what are the other two versions in this module? Don't expect to get these variations first time through. Unless of course you do. The nice thing about variations is that you have continuity as you work through, ticking them off. So its approach. Meanwhile, let's work up some ornaments to decorate our melody. 15. Snake Dance - Ornaments: Snake data's variations, ornaments. Every pop styles keyboard player has a selection of well rehearsed ornaments or grace snoop figures to decorated melody with the snake downs melody with its oriental flavor is an ideal place to start building your collection. Here's the performance, which for demonstration purposes has ornaments on nearly every far more than you'd ever actually used in a performance. The idea is that you'll pick a few you like to stop and practice though. Even with the music had normal playing speed, it's not easy to see what's going on. So here's a slow motion performance figure. You might find this worm's eye view video useful too. Pick one or two automates at a time and start working on them and try to get them all into your performance at work. Here's an ornamented with Serge performance. The performance has an introduction, grace notes and novelty AND ALL elements you can incorporate into your own variation. Next up, some related MEDLINE using versions you've already worked through. 16. Snake Dance - Medleys 1: Snake does performance medalist page what? Once you've got some different accompanimental rhythms in cross handed playing under your belt. You can put together medley performances like if it's been awhile, get your basics back into shape. But this fast-track buildup, See if you can just play along from coal. And on we get coming up his medley, what? Our e-commerce introduction first, the first half is minium crunchy crutches for more rhythm. The second half is across, hadn't final version buildup, but the left hand little figure makes a point of staying down for the whole bar. Some fly. And have a go. If you don't get it in mono, 2-3 goes, do the sensible thing and rehearsed the rhythm separately. That a bitmaps for lying one Phrases 12, the old first-line, line type three. Tap them on your desktop for practice anyway, this is a beat rhythm workbook. After all. Make sure to steal at ending. I would hope you're making up novelty endings for audio versions of manganese by now. Here's mentally to, again, have a reconnaissance look through first. It's left hand off the beat. Plus a hulls crossed version where the left hand makes it to bow off the beat pattern. Be sure to get that Dow topic. But do, do, do, do, do, do, do, do. When you've got seats, try throwing in some staggered phase. How many is enough? Where will they go? Musical decisions, composing. Another page, embed these coming up. 17. Snake Dance - Medleys 2: Like dance performance medalist, page, too. Late nouns mentally three. Have a look and listen. I take my own suggestion and puts them staggered physically and mentally too. So I'm feeling of deja vu here are actually the left-hand in line three of the second crosstown half is supposed to be staggered, bottom, top, top, bottom, et cetera. But the pattern gets lost somewhere along the line. And you hear what they've done is mentally fall. First half is crotchet, minimum crotchet from more rhythms. The second hands crossed half features a very long-held little finger. By the way, I'm a bit disappointed in myself using that same mode ending for the endless time. Please improve on it for me. And that concludes the snake down section of the beaten rhythm cookbook. I hope you're picking up the ball and running with it. And making improvising arrangements are scheduled feature of your daily, creates a routine.