The Fundamentals of Piano Playing Part 3 | Elvire Boelee | Skillshare

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The Fundamentals of Piano Playing Part 3

teacher avatar Elvire Boelee, Pianist

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

7 Lessons (57m)
    • 1. Introduction

    • 2. Lesson 1, Sharps and Flats

    • 3. Lesson 2, Dotted Notes

    • 4. Lesson 3, Rests part 1

    • 5. Lesson 3, Rests part 2

    • 6. Lesson 4, Articulation and Dynamics

    • 7. Lesson 5, Shostakovich's 2nd Waltz

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About This Class

I'm picking up right where I left off with the Fundamentals of Piano Playing Part 2. In the FoPP Pt 2, we've learned to read notes, and remember to keep practicing them every day! In this course our goal is to play the arrangement I made of Shostakovich's 2nd Waltz. 

The arrangements I made for this course can be found in the Project section as attachments. I think the course will be more easy to follow if you're behind your piano and you print out the arrangement beforehand and watch the course with the sheet music on the piano and your laptop next to it trying to participate immediately and pausing the course whenever necessary. (but completely up to you of course).

So like I said, in this course we're going to learn everything necessary to play our arrangement in the final lesson of this course. This includes :

- Sharps and flats (the black keys of the piano)  

- Rests

- Moving your hand and stretching out your fingers

- Training your note reading 

- Articulation and Dynamics

As promised also here a link to some great etudes that you can practiced to get a better feeling for the keyboard, to train your note reading and to improve your technique. Also, you'll get to understand what fingering is natural in piano playing as the fingering that is written is excellent.

Note: * Please let me know if any of the links aren't working properly!

1: Czerny Etude de Mechanisme, Op. 849:,_Carl-Etudes_de_Mechanisme_Op_849_Peters_7765_scan.pdf 

2: Czerny The five finges, 24 practice pieces, Op. 777:

3: Czerny 100 practice pieces, Op. 139,_Carl-100_Uebungsstuecke_Op_139_Peters_6983-84_scan.pdf

4. LemoineEtudes Enfantines, Op 37:,_Op._37_(piano).pdf 

PS. Did you know that on the website you can find any score from any composer without copyright (they have to have died more than 75 years ago) for free? 10's of thousands of free scores, Beethoven, Mozart sonata's Chopin's Nocturnes, you can find literally any copyright free score there!

Also this is a series that I like:

Because it encourages students to move their hands, and also gives clear signs when you have to move your hand, and other tips, making it a great method to work through independently. Just make sure you're actually ordering the 'gold star performance' version, not the normal lesson book.

-- Prior knowledge is required for this course, if you've watched the Fundamentals of Piano Part 1 and 2 you'll be able to follow along. Otherwise, if you're already able to read notes, and have a knowledge of basic rhythm (time signatures, quarter, half and whole notes) you'll also be able to follow this course. If not, why not start at the beginning with my course: the Fundamentals of Piano Playing Part 1?

Meet Your Teacher

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Elvire Boelee



I started playing piano at the age of 6 and basically I've never stopped. I started winning prizes in competitions at just 11 years old, and at 19 I started studying at the Prins Claus Conservatory in Groningen (the Netherlands). I received my Bachelor degree in Classical Piano, and I've been teaching at the Music School Kunst&Coo (Art&Co) since January 2014. There I'm teaching piano to a little over 30 students of all ages and levels. It's from my students that most of my ideas for my Skillshare courses come. 

I've been drawing since I can remember. After choosing the Conservatory over Art school, art has been a little on hold, but I've recently started up my dream of trying to improve my art skills so that I'm able to depict all the stories and images music gives me.&... See full profile

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1. Introduction: hi and welcome to the fundamentals of piano playing part free. I'm available. I'm a Dutch concert pianist and teacher. This is part three in the series, The Fundamentals of PM thing You Part one. We've been learning the name of the keys, some important musical turns and some basic rhythm. In Part two, we've learned how to read the notes off the left hand and how to read adults of the right hand, and I'm counting on you to keep on practicing those everyday reading notes is a very important step in learning how to play piano. Now, in Part three, we're going to take it a step further, and we're going to learn a lot of new things. Our goal will be, at the end of the lesson, to be able to play. The arrangement I made of Shostakovich is second vault. We're going to learn a lot of new things in this course. First, we're going to learn about sharps and flats, which means we're going to explore the Black Keys. We're going to learn about rests. We're going to learn about articulation and dynamic, and we're going to further train your note reading skills and practice moving your hands and stretching out your hands on the piano. Now, I've made to arrangements in this course and you can find those in the project section of this course. I think it would be easier to follow along. And also more fun if you print these out before watching the course and watch the course with printed scores behind the piano, trying immediately to apply what I'm telling you in this course also, I would love to see you play any of the arrangements I made in this course or one of the pieces. I suggest Brexit in the class description. Love to see you play fuel free to upload a link of your plane. Your camera shy. Just make it of your hands and uploaded to the project section. Not only can I enjoy seeing you play, I can also give you any helpful tips to help you improve your plane. Okay, Well, I hope you have a lot of fun with this course. And if you have any questions, please feel free to let me know I'll help you out and over again. 2. Lesson 1, Sharps and Flats: Until now, we've only been exploring the white case. Now we're going to take a look at the black case. You have two different signs for the Black Keys. The first is the flat, and the second is the sharp. They can appear in a piece in two different ways. They can appear in a bar, as you see here and here. Or they could appear at the beginning of every system. Like you see here and here when they appear in a bar there called an accidental. When they appear in a bar there only fallowed in that bar In the next bar, the note returns to its natural state. There also only valid in that specific note in that specific active. So in this case, you see a B flat in this bar, all the bees on this active RB flats. However, if there were to be a b an octave lower, it would be a natural be. If the composer wanted to make the octave lower. Also a B flat. He would have to write another flat sign in front of it. However, if the B flat is in front of every system, as you see here is valid for all bars through the whole peace and all octaves. For now, we're going to explore further the accident ALS, meaning the flats and sharps in the bar itself. So let's explore what the flat and the sharp sign. Duke. Whenever you see a flat sign, it means you have to go half a tone to the left. So in order for us to fully understand the flats and sharps, let's explore what are half whole tones on the panel. Piano consists of half and whole tones, and the best way to explain this to you is just to show you. So between the sea and this Blackie, this is half a tall between the black he here and the D is also 1/2 tone. That means that between the sea and the D is a whole tone consists of 1/2 tone and one more have toe. So between the d. This Blackie is 1/2 tone for in between this black here and the is also half toe. That means that this between the date of the is one whole tone, you could also hear a difference in sound. The half tone sounds different than the whole tone. You can hear that the whole tone sounds more friendly and open, and the half tone sounds more sad, and it's a little bit more difficult to listen to. We called the whole tone a major second and the half tone a minor second. So don't worry. Later on will explain more off major and minor. I just wanted to mention it for you. OK, so now we've done the C and the D and the D and the E and they both have black. He's in between. But as you see when we come now at the E and the F, you can see that there is no black key in between here. And that means that this is 1/2 tone. Do you see the sea and the D is a whole tone because there is a black team between. This is 1/2 and this is one more half which together makes one hole. The same goes for the D and the E. This is 1/2 tone. This is 1/2 toll. Together they make one hole. But here the black he is lacking, which means that this between the E and the F is 1/2 tone and and if you listen, it actually has the same minor sound as the other half tones doesn't sound similar to the whole tones, so this is 1/2 tone, and the other place that this half tone between the white Keys comes is between the beach and the sea. As you see between all, the other keys are black. He's which means all the other distances are exactly whole tones, with their half tones in between. So the B and the sea is the other place where you have 1/2 tone between two white keys. You see the B and the sea 1/2 tone without a Blackie, so I hope you understand. Hole in half tones a bit better, and you'll notice that I don't call the Black Keys by name, yet I just call them Black. He's and we're going to learn their names in a minute. But first we're going to explore what we should do when we see a flat sign in front of a note. So I already mentioned that when you see a flat sign, you go half a step to the left. So now we know What half steps mean? That means that if you see a G, for example, with a flat in front of it, you'll go half a step to the left. Now, if you'd like to test yourself, just put the video on pause and figure out what key to press. If you see a flat sign in front of the G, remember, you have to go half a tone to the left. So if you go half a step to the left from the G, you'll go to this lucky over here because this is a gene. Half a turn to the left will be disc E. Also, you won't call this a G anymore. Your call it a G flat. Now let's do the same thing. For example, with the B, you see a B with a flat in front of it. You first find a be on the panel, and then you will go half a step to the which is this Blackie over here? This'd is no longer called the B, but it's not called a B flat. Remember that this is always a two step process. Very often, my students immediately want to find the flat instead of first finding the correct note, and this always leads to mistakes, so make sure that you do it in two steps. First you find a note on the piano, and then you add the sharp or flat. Okay, now let's take a final example for the flats, and this is going to be a tricky one, because what if there's a flat in front of the sea? Well, in that case, let's find the sea on the piano. In that case, you go half a step to the left. But remember that we had two places on the keyboard where there's 1/2 tone between two white keys, and that was E and the F and B in the sea. Exactly this place where there's no black he's in between. That means that if we see a flat sign in front of the sea, we have to go half a step to the left. And that means that we're going to play the B. You won't be calling it a C, but you won't be calling it a B. Either is called now a C flat. Now, of course, the question that ever student asks is why on earth would you write a C flat if you actually are paying a B? Well, as you know in any language you have grammar rules and music is no exception to this. For now, you can consider this as one of those grammar rules. It's not just important for you to know why a composer would write a see flats instead of a B. It's just important to read all flats and sharps because you're going to use these Sharps and flats nonstop. Great way to breakfast. Reading Sharps and Flats is with the app that I've mentioned in my previous course, the fundamentals of piano playing Part two. It's called note works, and they have levels in which you can practice Occidental's. Now that we've explored the flats a little bit, it's time to move on to the Sharps. When you see a sharp in front of a note, you have to go half step to the right. So if you see, for example, in F with a sharp in front, if it first remember to find the F like I did just now and then we move up half step. It's no longer called enough. It's now called an f sharp. Let's try it out now with a few different notes. A G sharp. For example, Let's try to find a G sharp on the piano. So a g sharp you first find a G and remember, with Sharps will go half a step to the right, which means we'll be playing this note. The G sharp. Okay, now let's take a look at the be sharp exactly between the B and the sea. Remember, there's no black key, so the half tone to the right of the bees, actually the sea. But remember, in this case we're not calling it a C. We're calling it a B sharp, which is a very important rule that composers use in their compositions. In a lot of the music that you will be playing, you will see such things as B, Sharps or C flats. Now, at this point, some of you might have realized that a B flat, remember to the left of the B I's is actually the same as in a sharp A. To the right is exactly the same note, but this again can be considered the same grammar rule. So in some cases, a composer should is obliged to use a B flat, and some cases he will be or she will be obliged to use in a sharp Well, that's it for this lesson. We've learned that the piano consists of half and whole tones, and we've also learned where to find them on the piano. We've learned that a flat sign means to play the note half a tone to the left, and we've learned that a sharp sign means to bathe a note half a step to the right. We're ready now to continue to our next lesson, which will be about dotted notes. 3. Lesson 2, Dotted Notes: in this lesson, we're going to explore the dotted note. And specifically the dotted half note, which lasts three beats since we're playing balls, is in this course and vaults is almost always have a 34 time signature. Of course, it's time to learn the note that actually lasts three beats. Until now, we've had notes that last one beat two beats and four beats. But now I'm going to show you the no to the last three beats. So there's no specific note that last three beats is more of an addition to the half. Note. The half no lasts two beats with the addition to it. It will last three beats. So in order to explain this to you, I'll introduce to you the daughter, not the dots. Next to an old signifies an extension. The DOT can be next to any note. Whether it's 1/4 note, 1/2 note Ah, whole note were any of the other notes that will be exploring in future courses? The function of the dot is that it extends the note with half of its original value. I know this sounds very complicated. Would once I give you an example you understand, it's really quite simple. So let's take the half note as an example. The original value off half note is two beats. We put a dot next to it. It extends the node with half of its original value. Now its original value is to extended with half of two. That means you will extend it with one beat no in total two plus 13 We have our note that last three beats the dotted half note last three beats because the DOT extends the node by half of its value. Now let's see if you understood the principle. So let's try it out now with a whole note. A whole note. Last four beats. We put a dot next to it. That means that it's extended by half of its original value. That means half of four is to two plus 46 A dotted whole note is six beats. Now let's make it a bit more difficult. Let's add adult to 1/4 note. Adult. Next to 1/4 note means that it extends the note with half of its original value to acquire . Noticed one beat half of one is 1/2. That means that a dotted quarter note is 1.5 beats. And to answer your question, yes, it is possible to count half a beat. However, since we won't be using any daughter quarter notes in this course, I'll not be showing you yet how to count. And but you can look forward to that in future courses. So we've learned in this lesson that a dot next to a note extends the note with half of its value. That means that 1/2 note with a dot a dotted half note if three beats a dotted whole note is six beats. An adult quarter note is 1.5 feet. That's it for this lesson in the next lesson will be learning about rests. 4. Lesson 3, Rests part 1: in this lesson. We're going to talk about arrests now, just like there are quarter notes, half notes and whole notes. There are also quarter rests, half wrists and whole rest. Quarter rest looks like this. And just like the quarter note lasts, one beat half rest looks like this. And just like the half note lasts to be the whole rest looks like this. And just like the whole note lasts for B. Now, if you're not remembering the quarter half and whole notes so well, feel free to check out the fundamentals of piano playing. Part one. Lesson four Rhythm where I explain all of the notes and they're durations. So the word rest obviously means that you have to do nothing. So silence for as many beats as the rest is if you see 1/4 rest, one beat of silence. If you see 1/2 rest, two beats of silence and if you see a whole rest, four beats of silence or sometimes whole rests are used to indicate that the whole bar should be arrest. So if the bar his three beats and you see a whole rest, it means that for this whole bar all the three beats, you will be silent. Okay, So here I made a little arrangements. And since I felt well since is kind of the theme of this course, I made arrangements of a false a famous falls by Strauss and I made this little arrangement just to practice your rest rating skills. So let's go through the piece together and Ah, and take a look at some of the rests that are passing by. So let me take you first through my process off studying a new piece. I always make sure to check the time signature, and in this case, there's no fingering written now for the little arrangement that I've put in the attachment I have written fingering for you. But I just wanted to show you how I go through that kind of thing, because that's something you will be doing later on yourself as well. Okay, so I pick ah hem to start with this case, I'll be starting with the left hand will be seeing if you're flexing your notes that you should be. And if you wire, you know that our first note over here is a seat. Now, since I'm going so I'm checking a few nose further since I'm going to have to go to the G. I know that I can't start to see on my first finger, for example, because I know I'll be happen to go further upwards. Ah, starting with the one is obviously not a very efficient thing to do. So if I start with 1/5 finger, I'll be able to very easily play the E and the G that are following on the next bar. Oh, I see a few bars further. I see the same executive roles. So I'm thinking that if I start on the fifth finger on the seed, it will be a very efficient fingering. Okay, so I'm gonna write that down And then just to be very clear, I like to write ah, lot of fingering so that it can help me read and study the music faster. Let's forge a little reminder here for ourselves very often. When students right fingering they think all I'll remember. I did 531 here, so I'll remember to do it there. But my advice would be to write it anyway. In the meantime, before you come to this bar so many things will have happened, you'll be counting. You'll be studying the rests. You'll be playing other notes with your right hand. By the time that you get to this place again, so many things will have happened that you were probably forget what smart fingering you figured out in the first place. So my advice and I do that for myself always. Mr Right, As much as possible, you're going to be busy with writing fingering for a while. So better make it just do it good immediately at once. And don't don't try to expect too much that you remember, because when everything comes together and you do, you can't well, you play both hands and everything. It's quite difficult to remember everything. Okay, so we're gonna under the same thing in the right hand, going to check out the first note, and that isn't this case is a Jeep. I'm going to look a little further because one bar after this year, we're going to play me. I'm gonna look a little further because there's not many notes. So we're going to blame our eighth. You see an F and a few bars Leijer again on A and an F. I need to write a fingering that would make it comfortable for me to play all of these notes. Let me experiment a little bit with that. Now it might become clear to you that there's actually many options. For now. I'm going to write four to and another time for three. Still Dutch. I could play 53 finished dolls in a 54 over here. Okay, so of course you could write different fingering. You could do a different, but this would be something that would be comfortable are feeling nice for me. So that's that's what I'm going to do. And, of course, feel free to experiment. But most important things that you think it out, that you make a little strategy, as you see that I'm doing now because it's very important. First of all, to know where you're going, you start this beast. You don't know that you're going towards to see it. That really needs to be in your mind. It needs to be in your head that you are not sticking on this year, you're moving upwards on the piano and then you're moving down again. Eso you really need to look through that peace and plan the best way of the most comfortable way for yourself. To do that, that's that's one point. You really need to have a vision of where you're going and how is most comfortable and efficient for you to go there, which fingering to use. The second option is it is very important that you write on your fingering because you need to be consistent in your fingering. So the whole point of practicing is repeating something enough so that it becomes part of you so that you repeated enough that it stays in your head. And if you repeated with a different fingering every time that doesn't count of repetition . It consists something new. Every time you do a new fingering, you're not building on what you've practiced before. You're making a new peace you're making for in your mind. It's a new piece because you're fingering isn't the same. So practicing always needs to be done with the same fingering. Otherwise, the whole idea of practicing was gone. So if you have the feeling like that you're practicing isn't so effective. Take a look at if you're using the fingering even if you know what fingering to use. And second of all, if you're using every time the same fingering. Okay, so enough about that. Let's take a look at the first, uh, system because we've written all of fingering. Now it's time to take a look at the arrests and try to pay. We have a 34 time signature. So that means that we have three beats in every bar. Now, remember I said that these rests our water arrests and they last one beat. Okay, so we have to be its of rest here before what they are first, not which is a C on the left hand, which will be playing with our fifth finger. And on the right hand in the G cliff, you see a whole rest. Remember? I said, whole wrists are four beats, but they're also used, as we see now to indicate that the whole bar should be rest. So the right hand here has nothing to do for three beats. And if we look one bar further again, we see a whole rest. Which means that two bars after each other has the right hand is remaining sided. So for six speeds in total. Okay, let's give that a try. Now we're going to play the 1st 2 measures, so the 1st 2 ah beats arrest. So count doles out loud or in your head. 123 Okay, let's stop here For now. That was the first to bars, and we read the quarter wrists and the whole wrists. And as you see that, rests are pretty easy to do. It's pretty easy to do nothing pots, but the attention that when both hands are in play you release are your hands on time. If there's arrest, if there's a rest, don't keep on playing the note. I'll name you an example, because in Bar three is going to be exactly this example. Make sure that exactly in the same time you're playing the G on the right hand with the fourth finger, make sure that you lift at the exact moment you are left. Hand your first finger from the G. Yes, let's take a look at this bar in detail now, so we have the third bar. The right hand starts with 2/4 arrests and then starts on the third beat with a G and the left hand has the 1st 2 beats when right hand has rest, has a G and actually has rests on the third beat executive when the right hand starts. So that needs to be timed very precisely. And I would say that that would be the thing to pay attention on when you're playing rests to make sure that they're always timed perfectly when both hands are in play. Okay, let's give that a try. No, we're going to play the 1st 3 bars. Remember to always count out loud or in yourself these 1st 2 beats. So 12 123 So exactly 123 you lift, make sure that you don't hold it while your right hand is playing, because that means you'll be ignoring that rest. 5. Lesson 3, Rests part 2: okay, and let's take a look at the next bar. First Beat were playing a G, the second be distressed and the third beat will be playing an e with the second finger. Okay, so let's give it a go now again from the start, because it's really great to practice many times a Z many times as possible. Repetition ists is really great. Let's start again. Remember to count the 1st 2 rests 12 three, one Teoh and lift one to lift onto. Okay, so I added the first Ah, be just the the next part as well. To remember to count out here, would you lift exactly on the second beach? And as I forgot to mention, we're seeing on the left hand the whole bar of rest again. Which means that in this case it was pretty easy to do nothing. Okay, let's take a look at the next bar because here we see not to quarter rests. But actually, if you remember from just a little before, it looks very similar to the whole rest. But it's not. It's the half rest as you see the difference between the hole in the half dressed. He's the half arrested, some top of the third line, and the whole rest lies under the fourth line. So they're close. Ah, and there similar looking. But they're a little different now. Why would I write here 1/2 rest and not to quarter? And also, as I have done previously in this case, I've done it for readability, and there's times that composers would do this. I find it more easy to read to quarter arrests because you count that really has to separate beats more easily. So I like the idea here because it's a vaults and you really need to get that 123 in your in your playing. I like to write to separate. But since this is the end of the bar, and I don't have to rests before I have to play this third beat, I put 1/2 rest and composers do play a little bit. It's not obliged to write 1/2 rest. You can also write to quarter arrests, is not obliged to write your quarter rest. I could have just as easily put 1/2 rest here. I find it's just more readable, being as it is, evolves in those 1st 2 bees are very important to be felt. So I did that because I I found it to be more clear. Composers could choose for this as well, sometimes just important that you get to use to reading both. Okay, so let's finish up this system. We have 1/2 rest over here, and once more instead of 1/2 arrested for 2/4 rests here. But which of course, means the same thing. We have to rests. Remember to lift the the right hand. Remember to lift it on the second beat and remember one more bit of rest and then the left hand starting the third beat. We're playing the exact same notes as in the 1st 3 bars, as you see. So let's do that all from the start now, with all the correct counting arrests, making sure to use the correct fingering and lifting on time. So let's try to get that done. 12312 lift 21212 And this one remember to lift it exactly like we did in the third fire on this time Exactly. On the third beat exactly on the same woman that right and starts playing. We're lifting our left hand and you see how I marked it here for myself to make it more clear where actually, I did that for you. But feel free to mark those kinds of things for yourself. You know, just take a pencil right in your score, make things a little bit more visible. I would always advise that. Don't expect that you do everything without any kind of help. Well, I suggest that you take a look exactly like this, Maybe first system like we're doing now. And I'll also include a blank copy, actually, without any fingering, maybe you can try to make some fingering for yourself. That would be a really great exercise, but if you don't feel up to that yet and that's also completely okay, Donald, the file that I have with the fingering already written and that said I just wanted to point you to a few places where we're going toe stretch or move our hands. So I'm going to point those out to you, so you know, you don't get surprised by them. Okay, Let's take a look at the left hand in Bar nine and 10. So remember we started here with, like, kind of a small hand, right? Every finger is on one, um, key. And of course, that's like a kind of basic position that's used often. But as I tell my students, we have 88 keys and we're going to have to move around the spread our fingers because we're not going to stay only in one place forever. So here I am, Bar nine and 10 comes the opportunity to exactly stretch our fingers because we're going to play a B, A D and an A. The only way to catch them is to spread your fingers. So I'm going to use 531 again. So the same fingering. But obviously you seeing my pink is instead of on the sea. It's stretched right, my third fingers on the G in my first fingers on the A. So we get two and lift. You can immediately practice that without the right hand that you time this rest exactly to be lifted on the third beat. Okay, so let's see that one more time. This was the first position that we were in, and this is the second. Okay, so there's nothing like fixed positions. You don't have to learn positions by hard or whatever. You just have to get a feeling off how it's comfortable to catch notes. So, for example, we could also be doing this just to name an example with 54 for my hand. That's very uncomfortable. So 53 for five to for examples, also uncomfortable. So 531 is really the best solution to this. That's kind of what we do with piano playing, and the more difficult to piece has become. Obviously, the more things you need to figure out is we're reading the notes, and we're figuring out the best way for our hands to catch those notes comfortably. And, um and yes. So let's go to the next part where we're having some stretching going on. We're continuing over here and then 15 16 17 and 18 and 19. We're having the stretching, often active. So inactive is a C, and then an octave higher is another. See, that's an octave, so it's the reach of eight notes. So 12345678 That's what's an octave these eight notes pointing you to the same note. But an octave higher, as they say. Okay, so in these bars, we're going to play see in jeans and an octave higher seat, and I find it most comfortable too good at with five 321 So let's try that out from Bar 17 . Remember, we have 1/2 rest over here, so that's two beats. 123123 Lift on the third beat. Okay? And we have that repeated, and that's pretty much it for the stretching in the in the left hand. And as you see, there's nothing going on with positions is really just reading the notes and figuring out of smart, efficient and comfortable way to get those notes. And that's why writing fingering is so important. Let's take a look at the right hand. We're here with our fingering. 15 16 17 Okay, and a few bars later, 18 1919 and 20. We're going to have to play the sea. And as you see this sea is over here. That we need to play on our hand is over here, so we're going to have to move that means, and I find it comfortable to to catch this with the fifth finger and then the G with the second finger, so on and one later, we're going to catch it with. And now now comes an important part again. 2122 345 and six. Because we're over here. Right? But we need to play these notes. So once again, right, we're wanting to have the whole hand. Actually, we want to the left. So we're going to jump jump from here to here, and then we have 13 and five on the right place again. Okay, that's it for now, except for the last note to stretch the last notes for the right hands we're here against. So if you take a look with me in 31 32 we're over here a g. And to play the sea, we have to stretch the thumb a little bit. And I'm pretty sure that you would have gotten that. But, you know, just in case, So the thumb is already way. Obviously have to stretch it out of it to catch this. See? Let's take a look at the left hand. We were here with her fifth finger on the d. We're needing to catch the G and the sea. So I would propose you move your whole hand to the left, just one key, and then 15 Well, I hope these middle tips were useful. They'll go through the whole piece yourself, remember to practice and to start in a slow temple. If you have any questions about fingering in my previous course, I mentioned that if you want to get a good feeling for fingering, it's a smart idea to practise many a choose. And I put a list there off attitudes and also linked to the scores that you can. Donald, I would I would highly recommend Turney forgetting developing a really great feeling off what is comfortable and natural for your fingers. I'll link them here in this course is Well, it's really great to keep on practicing those those things. Hey, let me play. This one's through for you in a nice and calm temple so you can check everything and, you know, feel free to rewatch it any time. Okay, I'm gonna count the 1st 2 quarter notes. So you get the temple? Yeah. Here it comes. Just a minute. I just updated something. I played it once through for myself, and I made a little adjustment. Ah, but I already uploaded this updated version in the project section. So if you printed it out and you're following along with that, you already have the correct version. Okay, so I'm going to play it in a nice and easy tempo so you can even practice along if you like , And I will count the 2/4 notes for you. So here it comes. 12 Thank you. Thank you. Oh, uh oh. Huh? Huh. Uh, okay. So I hope you have a lot of fun with his models. In the next lesson, we're going to learn about articulation and dynamics, and then we're going to take a look at this arrangement again, but this time, we're going to focus on articulation and dynamics. 6. Lesson 4, Articulation and Dynamics: in this lesson, we're going to talk about articulation and dynamics. Let's start with articulation. Articulation is a bit difficult to explain in words, but if I would try, I would say that it's the way you pronounce your notes, especially one connecting notes to each other. This is, of course, a very abstract explanation, but I promise it will become much more clear in a minute when I show you there are quite many different kinds of articulation. But in this lesson, we're going to focus on the two most common. The gateau and staccato in piano playing league Otto is by far the most used and the most natural articulation for your head. Some people already by instinct, approached the keyboard with the leg Otto articulation. But just in case you're not one of them, I'll explain it to you. Llegado is the connecting of notes, which means that you lift your finger from the key of your current note in perfect unison with pushing down the key of the next No, which means that if I pushed on this key, I lifted in exactly the same timing as I would pressed on the next. In that way, you get a smooth connection. So how do you recognize when to play leg? Otto Llegado is indicated by a slur, as we can see here in our score here, I made the same arrangement as in the previous lesson, but this time I added articulation and dynamics. Here we see the sign, the slur that indicates Nagato. That means that we have to play this passage. The gateau. Oh, connecting the notes. And as you can see, of course, we can't connect repeated notes to see and another see there has to be a gap in between the two most common mistakes made by students are overlapping notes and lifting too early. Overlapping notes means that you keep your finger on the key while simultaneously playing the next one. You see that I lifted the sea too late, and that caused a brief, overlapping period where you heard the C and the D A. The same time. Work on being always alert with your ears. Listen, if you have a perfectly gotta or if your notes are overlapping slightly and make sure that your fingers are always active often this is a sense of not hearing of listening property and lazy fingers. Your fingers need to be active, precise and have a good timing. That's the perfect leg. Otto. You hear a smooth connection. There's no gap, but there's also no overlap Brings me to the second problem, which is lifting too early. If you lift too early, you create a gap between the notes. If you find yourself lifting too early, it's probably because you're trying to go too fast too soon before your fingers understand the league Otto movement so slow down. Practice slowly every day until it becomes a natural, smooth movement. Now try to go faster and see if the problem is fixed. And generally my advice is, especially with new things that you're learning, practice it very slowly so you can try to be precise with the new movement or the new articulation or the new sounds or the new notes. It's a slow practice, guarantees more precision and patience is not your friend. So we've learned about the first, most common articulation, the second very common articulation in staccato, which I've written for you in this far in the right hand. So we have a leg Otto beginning in the left hand and then we have a staccato accompaniment in the right hand You can do is indicated with this little dot, which can be under or on top of a note, whether it's under or on top of a note. It's not very interesting, but I know some of my students really want to know all the details. So I'll tell you when the stem of the notice upwards, the staccato is under the note. And if the stem of the noticed downwards the staccato will be up on the no. So, as I said, it's not really necessary that you know that. But just in case it confused you now, you know it just switches when the stem switches. So, in a way, staccato is the opposite of Lo Gatto. Instead of connecting the notes smoothly without a gap, you actually separate the notes from each other by playing the notes very short. Now this usually leads to some confusion with my students, because when you play a no shorter, they automatically assume that you will have to prove the notes faster as well. So when I say make that old short, they also speed up the connection of the notes in this way. But staccato has no effect on your temple. No articulation, for that matter, has any effect on your temple. Tempo is always a separate, stable thing, but with a stick got Donald. Part of the notes and duration is silence. So if I would play a skill leg, Otto and I would want to play that scale staccato in the same temple. That means that even though the duration of the Notre Shorter Temple doesn't change, part of the note's duration now will be just silence. If you play an awfully gotto, the note will sound for the whole of the note's duration. But if you play an oldster cattle part of that duration of the note to silence, so as you see in both cases, articulation has no impact on your temple. Let's play the first system off this piece with the correct articulation. So we're starting with a leg Otto in the left hand, 12 and then in the same tempo. We move on to the staccato in the right hand. They got to again, etcetera. Okay, now let's move on to the second topic of this lesson, which is dynamics. Dynamics is how loud or soft, you play dynamics are indicated by letters, and those letters are short for Italian words for loud and soft and everything in between. Let's look at a few common dynamics that I have used in this arrangement. The F that we're seeing here is short for fortune, and it means loud. The P, which we're seeing directly at the beginning, is short for piano, and it means soft. The MF, which we're seeing, is the first dynamic marking short for mezzo fortune, and it means literally half loud, which of course, is very abstract. But I like to look at it as a nice open sound. Not too loud not to solve, but a nice speaking voice for music. Some people describe it as an average sound, but I like more to consider it like you would use your normal speaking voice. 40. I would consider more like speaking with a raised voice and piano. I would consider more like whispering when you see a dynamic marking. Generally, it lasts until you see another dynamic marking, so this mezzo forte would last until you see the next marking now, because I made this arrangement, I like to be very clear for you. The first time I marked met so forth every time because I didn't want you to get confused or influenced by the piano that I marked here. Generally, the right and the left hand often have different dynamics, so if I see him, it's referred to under here to indicate the left hand. It would still be influencing the left hand over here, even though usually composers don't use dynamics that precisely. They also assume that you'll have your own feeling about the peace in your own interpretation and your own creativity as faras dynamics. And on that note, let me elaborate a little bit more about dynamics. Try not to take dynamics to literally when you see an F for 40 which means loud. Don't take it in a way that every note should be very loud. When you're speaking in a loud voice, you still have the natural cadence of speech, meaning that your voice do goes up and down. It's not that suddenly when you're speaking with a raised voice, every word becomes the same dynamic. Every note is the same days. A bill never because that was some really odd is the same for music for two doesn't mean play everything as loud as possible and lose in natural cadence of music. No, you still have to make music. It means that the general dynamic and the general atmosphere is 40. It's loud dynamics has as much to do with atmosphere as with actual loveless and softness. Always considering your piece. What kind of character with the sound be, for example, for two Sound is always richer in character. It's more an outpour display of expression, a piano sound. It could be, for example, more mysterious. Uh, and it's definitely more inward expression of your feelings. So those are things to keep in mind with dynamics. Don't take them to literally as a day, civil level. Don't try to play every note in a certain loudness. No, just think more in the general idea. A mess. A forger would be a speaking voice. A piano would be a whisper and try to still make music. Always making music is number one. Try to do something that you find beautiful, so make sure that you never just play loud or 40. For the sake of playing loud. Always make sure that you like the way you're playing, Make sure that you have a beautiful sound. Make sure that not all your notes are the same volume that they have, that they go up and down like natural speech. So those are some things to keep in mind with dynamics. There are a few more dynamic signs and varieties which will be exploring in our next course the fundamentals of piano playing part for. But now it's time to start the arrangement. I made off Shostakovich's second balls in the next lesson. 7. Lesson 5, Shostakovich's 2nd Waltz: welcome to the last lesson off this course in this lesson, we're going to explore the arrangement I made of the second vaults by Shostakovich. Okay, so according to everything we've learned in this course, you will be able to play it by yourself. But I'll just walk you through the arrangements so that we can check it out together. So as you can see, we're starting with our left hands. And we see there are three beats in every bar by looking always at the upper number. In the beginning, you can see how Maney beats there are in a bar, and we also see that it starts out with four bars of dotted half notes. Now, if you remember in this course, you've learned that the dotted half note is three beats because the dot next to the node extends the note with half its value. Since 1/2 note is to beats, adult extended with one beat its three beats in total. So here we start the peace with our left hand with are dotted half notes that last three beats and we start in the piano dynamics. So after the fourth bar, our right hand joints we play this in a metaphor. The dynamics, which is like an average, open kind of sound. And as you see the slur indicates that we have to play this leg, Otto. Now there's one more thing about articulation that I would like to mention. Often articulation is indicated, but also often articulation isn't indicate. And because Leganza is a very natural articulation for the hand, I usually assume that if the articulation isn't indicated, I would usually play like cattle. Of course, the more experience you have, the better you will be able to make such a decision. But for now, I would definitely advise that you do what is comfortable for your hands. So in this case, even though there's no slur indicated in the left hand, I would still choose to play this leg, Otto. So let's try to see how the first system would sell. Uh huh. Okay, so until here now, in the second system, we also see something new that we've learned in this course. We see the flat sign over here in front of the B, and we see the sharp sign over here in front of the sea. Now, remember, if you see a flat sign. It means go half a tone to the left, in this case, the flat Sinus in front of the B, which means first, let's find the be on the keyboard, and then let's go half a tone to the left. So if you don't remember anymore, what half a tone Waas feel free to check out the first video of this course, which is a ball, sharps and flats, and now to the sharp. Whenever you see a sharp sign, it means go half a tone to the right. In this case, the sharp is in front of the Sea Central C, to be exact. Let's first find the central seats over here and let's go half a tone to the right, which is the she sharp. And over here we also see something new that we've learned in this course. We see 1/4 rest, which means the first bead will be silenced in the right hand starts on the second beat in this bar. Now let's take a look at the last system of this page. Over here, we see dots under the notes. These dots, remember, are different than when they're next to the note. When they're next to a note, they extend the note's duration. But when they're under or on top of a note, they indicate that the notice to be played staccato, which means to be played short. Remember, it has no effect on the temple. So let me play that for you once from here from or 28. Okay. Okay. So I hope you have a lot of fun with this arrangement. If you're struggling to read the notes, I would absolutely advise that you practice with my favorite note app. The APP called note works. It helps you practice reading all kinds of notes. Make sure not to get stuck on the same level, but try to go up every time and challenge yourself. And one more thing to add in the second and 1/3 system. I've written the fingering in a way that you'll be crossing your fingers. You can see here my son goes under my second finger. In that way, I cross my fingers, but I can still play llegado. I don't believe any gaps. The same goes for here. Inbar, 21. As you see, I crossed my third finger over my thumb. This helps me put my hand, uh, more to the left without interrupting my leg, Otto, without losing the connection between the notes. So once more for you from bar 21 once more. So I crossed my third finger over my thumb. I'll play this arrangement once for you completely through, so you can see how it sounds. And I hope you have a lot of fun with it. 123 Uh