The Musicarta 'Greensleeves' Creative Piano Lesson Course | Bob Chappell | Skillshare

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The Musicarta 'Greensleeves' Creative Piano Lesson Course

teacher avatar Bob Chappell, Your Creative Keyboard Companion

Watch this class and thousands more

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

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

21 Lessons (2h 1m)
    • 1. Introducing the Greensleeves creative piano lesson course

      3:18
    • 2. GS1: Melody - intro

      1:14
    • 3. GS1: Melody

      14:09
    • 4. GS Arrangement development

      1:44
    • 5. GS2: Adding the chords

      19:29
    • 6. GS2 - Performance

      1:45
    • 7. GS3: Introducing broken chords

      10:33
    • 8. GS3 - Performance

      0:58
    • 9. The Basic Music-Making Position

      4:45
    • 10. GS4: Full broken-chords version

      7:40
    • 11. GS3 and 4 Performance

      1:47
    • 12. Performances - Lessons 2, 3 & 4

      3:18
    • 13. GS5: A crossed-hands version

      11:45
    • 14. GS5 - Performance

      2:07
    • 15. GS6: New chords

      15:34
    • 16. GS6 - Performance

      1:46
    • 17. GS7: Countermelody

      6:59
    • 18. GS7 - Performance

      1:45
    • 19. Performances - Lessons 5, 6 & 7

      5:22
    • 20. GS8: Concert Variations medley

      2:43
    • 21. GS8A: Concert Variations w. commentary

      2:45
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About This Class

The Musicarta 'Greensleeves' creative piano lesson course is designed to get an arrangement of this beautiful, timeless melody into your repertoire quickly and easily.

Greensleeves is a good choice for a stand-alone 'from scratch' project like this, not only because it's a beautiful tune that everyone knows - and being able to play one of those is always a good idea! - but also because learning Greensleeves is relatively easy, for two reasons.

First, there are only seven different bars of music in the whole piece; and

Second, all these notes bar one can be found using one simple hand position that anyone can grasp in minutes.

The course is designed to encourage all comers. The Musicarta approach insists that you come away from every lesson with a complete performance – even if it's just being able to play the tune in Lesson One.

Each new version you learn builds on the one before, teaching you a whole raft of useful creative music theory along the way.

You don't need to be able to play the piano already or read music to learn Greensleeves with Musicarta. The video resources ensure anyone can learn, at their own pace.

All the music, and how to practice it, is demonstrated as well as being shown on a virtual keyboard with colour-coded keys.

Lapsed learners and adult re-starters taking up the piano again will also find Musicarta's Greensleeves ideal for easing back into playing without opening those dusty beginner's books again!

Most of all, the Greensleeves lessons are genuinely creative. As the arrangement evolves, learners understand how a tune with chord symbols can be played in a host of different ways.

Practical, useable music theory and arrangement techniques give the learner options for their own evolving arrangement and open the door on a lifetime of creative music-making.

Performance development

The Greensleeves creative Piano lesson course is divided into eight main lessons.

In Greensleeves Lesson One, you learn to play the melody on its own (with the right fingers!) as a secure basis for your performance going forward.

In Lesson Two, you add simple three-note chords (triads) in the left hand. There are only five chords, and all you need to know to play them is the names of the white keys.

In Lesson Three, you give these left hand chords the 'broken chord' treatment, but just in the first half of the bar, to give you plenty of time to change hand position.

In Lesson Four, you extend the broken chord pattern over the whole bar - a beautiful intermediate performance.

Lesson Five sees you crossing the hands and playing the melody in the bass (below the chords). Looks great and doubles the performance minutes you get out of learning the piece!

In Lesson Six, you learn 'inversions' in the left hand - different arrangements of the three notes of a chord - and some 'added note' chords. A different inversion might sound better at a particular point in a piece - or just to introduce some variety.

Lesson Seven introduces a harmonising 'counter-melody' in the bass, and some quicker textures in the broken chords.

Lesson Eight offers a 'concert arrangement' drawing on all the techniques you've learned in the build-up. You can use all these techniques, or just keep it simple (for now!)

The eight 'levels' are demonstrated in the course 'Arrangement evolution' video and pointed out in the commentary version of the 'Concert Variations' final performance.

Meet Your Teacher

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Bob Chappell

Your Creative Keyboard Companion

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Transcripts

1. Introducing the Greensleeves creative piano lesson course: I'm Bob Chapel, a k a. Mr Music Carter, here to introduce the music Arctic Green Sleeve SYRIZA video piano lessons that will get you playing a beautiful arrangement of this lovely tune from scratch. Just eight lessons. My Green Steve's Well, this is a stand alone project designed to get a lovely piece of music into your actual quickly, easily deficient green Sees is a good choice because it's a beautiful tune that everyone knows, and it's easy to learn for two reasons. Firstly, there are only seven bars of music in the entire piece. All the grayed out areas seeing the illustration repeats. Secondly, although Notes bar worm that you need to play, it can be found using music artists, basing music making and position which anyone can grasp it. Seconds. My music ought to that. Well, One advantage of the music Carter approach is that you almost come away from a lesson with a complete befalls, even if it's only being able to play. The tube is in less. Each new version you learn builds on the one before teaching you a whole raft of useful created music. Serial Way, whose music answer screen sleeps. Four. I'll complete beginning. You don't need to be able to play the piano. All ready to go in, Create Seems with MUSIC Carter Video Resource is ensured. Everyone can learn at their own pace by the first lesson. Free to see if you agree, that's the learners, and Restart is taking up the piano again. We'll find music artist green sleeves ideal for getting back into playing without opening those dusty beginners books again. Classical pupils will appreciate music. Artists help becoming more creative musicians able to see the music in the keyboard on play by air without the notes. Naderi desire amply provided for to all the music on how to practice it is demonstrated in the videos, which you can slow down on the video platforms on is shown on the media piano Virtual keep with lighting up, color coded keeps with a bit of patients in application you can't fail to. So what's in the course? Music? Arctic Green Sleeve course consists of eight videos explaining and demonstrating the lesson material in depth. Web pages also host any written teaching material on the music. A love which is down. So please go ahead and try the first free lesson. If nothing else, you'll be able to play the chewed by the end. Thanks for watching. See you on those. 2. GS1: Melody - intro: Hello and welcome to the first lesson in music artist Greensleeves created piano course. As you could imagine, the first lesson is all about learning the tune with your right hand. That's all you'd be doing in this module. I'm sure you'll find plenty of resources for readers and non readers alike. First of all, there's the main teaching video, which you'll find on all platforms and also some downloadable resources for you, including handy flashcards to help you learn to name the white piano keys. If you don't know those already, do you spend some time doing that? Even if you are just a little hazy and don't quite remember, there's nothing more frustrating than knowing how to how to make accord but not being able to find the note. Did you build it home? The other thing you need to know, of course, is the numbering of the fingers. We number the fingers in piano playing one for the thumbs that 2345 That's really all you need to know to get started, so I'll leave you now and chat later at the end of the lesson. Good luck and have fun 3. GS1: Melody: the first hand position for learning the green sleeves. Melody is like this. Some is on a the little finger stretches up to enough shop. And if you let your handful naturally, you'll find that your three middle fingers have slotted up in and around this group of two black keys like that. So then you play one to me for and you put your hands up here among the key so that you could reach this f sharp because the next thing you will do is play 543 that spread your hand out and come down A being a Jew like that. But, uh, you close your hand up again and play 234 to Are you going to play that again? But with finger three. So you hop from here. You ended up on a sub. You could 234 to 3 to 34 to 3 and you've done that so you'll be able to reach down to e here on play JB first line of music again. Starting position a f sharp melody. You see if show e again practice playing that line of music just the right hand melody along with me as I played the melody and the courts. - The second line of music starts just the same from here. It is different from the sea. We go to G o. But it's important that we end up on a thumb on this. A. So from your G, you're going to play 2343 miss out, finger to and put the third on A because we're going to take these two fingers and put them over onto these black keys to finish the phrase off. So you're on thinking one on the G. Find that on position and play. 23431 missing out finger to 2343 World three to any key for the A Anything for the A doesn't matter. The reason you're bothering to do that is so that you don't end up having to play firm on it on of Blackie. Very awkward. Not where you want to do so, to avoid that way, base out, finger to and use the some on the A so that we have three and two on these factories. So the second night of music starts the same as the first line. A carriage difference. Playing just a tune. 321234 Free world 3234 Or anything you like about a more time. The whole second line 32 different from here for 313234 or anything you like Play just the second line along with me. Uh, now let's have the 1st 2 lines together to play The first half of Greek sleeps so on that. Say you always does something with the fingers. You change fingers. 23 Hey, this out to finger again? 23 full 31 second Half of the piece. 93 We start. We're going to reach up and put finger five on G fight five s Shop on upon finger to deed. Now get come down a G chord 21 on Be a two over onto G which again? 212 g 212 in the hand spreads out again to watch me. 34533234 to you Take these notes again before, but not with these fingers you come down on ended up on things to bond. Regularize is itself a place 23 familiar music different fingers. The last line of music comes down from the G, the top just the same way as the line of music we just learned on ends on to that. This is the part of the music where we want to the Thurman A so that we could put the fingers over for the Black Keys. Come down from G. We'll put the someone a straight away eso practice with me from G in the top 5 to 1 to thumb underway, uh, World's with me with the courts Someone drawn a three over on jean shop Just playing the melody 212 some under, uh, second half of the piece I'll play the chords, Hugh, Just play the melody along with me Uh, last time five g Practice the melody all the way through with the first performance. Just the right hand. - Is that performance again? 4. GS Arrangement development: you start by learning the melody thoroughly, figuring that's going to make it possible to play along the arrangements as they develop. When you start adding block chords, just one except here you need to play to anyone on you. Start breaking up the left hand chords just the half of the bottle to stop continuously, because you're going to need to hear any. You could play any of these versions hands crossed. Here I am playing the original left hand chords off the meat and rolling them to make them more interesting. Here I'm developing left hand chords with inversion, new voicings and changes whose new court allow me to harbor knows the June with accountability in the base, and I can fill in the gaps for the civic wavy texture if I wish. 5. GS2: Adding the chords: So we meet again at the start of lesson to, which tells me you've signed up for the course. Thank you very much. I'm honored Music Carter will not let you down. So in this lesson, you learn how to find cords. Using music artist, basic music, making position, so much music you can play using this hand position. But for now, we're going to learn just the left hand chords. Five is all we need to play Greensleeves on. Four of those are all white key court, so it really couldn't be a lot easier. You'll be like in this one playing along with my 200 performances. You be playing just the cords to start with. Don't be tempted to skip this important step. You do yourself such a favor by learning the courts thoroughly because when you put the hands together, any weakness in either hand and the whole thing falls apart as you will find out. Possibly it was ever thus and will ever be so. Then, when he comes to adding the manatee, I'm going to ask you to go off, revise the melody so that you're sure that you know it and you can get the right fingers on the right notes so that you have all fingers to play it all the way through. And only then will you put the hands together and only then in short sections, remember that it is very tempting to stop practicing and try to start performing far to suit. But if things fall apart, you go back to practice hands separately, and then you put the hands together only in little fragments, and you build a little fragments together into lines. You are the lines together into the harp's, and you have the hearts together to make the whole piece. Remember, of course, that there are only seven bars of different music in the whole piece. So don't skip any steps to use all the resources you've got, and I'll speak to you at the other end. Good luck and have fun to add the cords to green sleeves. We need to be sure that we know the names of four white piano keys. Very well. They are these festival, the two white keys inside the Group of three Blackie's those to those RG on a Acela's Those two. We need the two white keys, which are just inside these groups of two Blackie's those two, they are e on's CEO. So the four white keys we need to know the names are very well. Oh, e g a and see your find those on, then count them off, Up and down the piano like this. E g a c coming down. Make sure that you've got those fix in your mind. We're going to find the left hand chords for green sleeves using the row of letters you see above the line of music. These are called chord symbols. A m g a M E m. The M stands for minus that. The cords we need are a minor G a minor and e minor. Now these are nice cause defined because if you put your little finger of the left hand on the note named in the courts simple for example a on you spread your fingers out. Five fingers, five keys and you play fingers. Five. Did you play when you miss when you play? When you miss one and you play, then you will have in this case an a minor chord. So just using the core symbol in putting the little finger on the note that's named in the court symbol. You get on a minor chord. The next chord up is a G chord, so we move the little finger to G. Same thing. Five fingers, five notes. Play one miss one play with Miss One plane on We Get It. G doesn't have an end behind it, so it's not a minor chord. It's a major chord. You haven't had to do anything to make this cord major, and you don't have to do anything to thank this court a minor because they're both white key chords. The next chord in our sequence is back to a minor and then down to E minor. So little finger on E play, where miss One play, we're missing a one e minor. And that's also on all white key chord, so you don't have to do anything to make it minor. So the four chords we need for our first line of music are a minor Jeanne, a minor e minor, a white key Coors note. A g A. Now let's start putting the melody and the cords together. Refresh your memory about the first phrase of the melody goes like this and you see from the music that the court comes with a second. Note the finger to on an a minor chord. Find the a minor chord. Put them together just that. Next, the melody plays with the G chord and the G chord cars. With that on hand comes back to normal position in the right hand and you play eyes. The A minor chord. Remember, you swap finger to two fingers. Three. On that way, go down to the E minor court. Prepare the e minor chord ready for is coming with the be in the right and finger fall. Let's put the 1st 2 chords together. The a minor on G. Here we go, e get going on next to courts we need are a line and e minor. That's down 1/4. 1234 June 3. Finger to on a 234 to 3. Looking at the second line of music, we see that the 1st 2 bars are exactly the same as the 1st 2 bars of the first line of music. In other words, a minor G. Now something different happens. The court symbols the second half of the second line of music are a minor and then something called E. But we know that if we put our little finger on E and just use white keys, we get any minor chord are. But there's no em behind the so it's not minor. It's major on. In order to changes e minor chord into any major chord, we have to put a finger three near on the G sharp to give ourselves on the major chord. There's no indication after the e chord symbol that it's a major chord, because Major is the default, and you have to ask for a minor by putting em after it. So the courts for the second line of music follow me a minor G major, a minor e major on a minor. No, again a minor G now twice as quickly a minor e major to a minor. So the 1st 2 bars you've already played remind yourself what the right hand does here for 31 you miss out the second finger, remember, the cords for that bit will be a minor e major from Figure two again, just the second half again. So the whole of the second line again major. Yeah. Okay. If you look carefully at the second half of green sleeves, you see the ticks exactly the same as the first half. Apart from the first chord in each line, which is a C chord. Now we know the rule for finding a court from the court. Simple. You put your little finger on the note named in the courts it bullets to see you Lay your fingers out, one finger perky and you play every other finger that is You play when you miss when you play. When you miss when you play with. So it's fingers 53 in one And there's a c chord. This is where you reach up to the G in the right hand. They start together now down to G 212 It's knew that again. G C again. See don t g e o Next line is the Sabres the second half of the first line a minor d minor and up to see all the way up to see little finger on C This hands covering a C chord as well. You notice some under on the A and here we are a minor e major on a mine. So playing along with the second half of the piece, prepare the sea down to E minor to see everything. It tries his fast now a minor e major. Just a little note here. Look at the pattern that the roots make the roots of the course. The route is the name note of the quarters that it's that it's the note that's in the court . Simply goes, they go C g a. The second half the beast. See A If you're memorize that little shape, you won't have so much difficulty finding where your hands supposed to go. C g a c g e a e See down TG one No today. Wonderful Teoh Way to see quickly. Your next challenge is to player version of Greensleeves with two chords in each bar, apart from the next to the last bar in each half where you play an a minor in the same it laws be two of the same chords like this a minor twice, twice. This is where you to go to the same major to see uh, you can try rolling those courts as well. By rolling. I mean, instead of playing all three notes. Together, you play them one after another from the bottom to the top. The thumb comes on the beat, so it's the thumb. It comes with the right and melody. Note takes a bit of practice, but it's like strumming a guitar. It's like strumming the piano with the election. It's a nice effect. It's worth the trouble. So how was that great hands together? Version. So much more empowering, isn't it to play the piano from the knowledge of how the music's put together rather than just following the notes? This is just the start, however, before looking ahead, Can't solid eight consolidate, Consolidate practice again tomorrow? What you thought you learned today? Speed rehearse those courts. Revise the melody right hand on its own. Look for any little delays, which indicate you're not 100% sure of the notes of the fingering and enjoy practicing. What was it? The man said $10,000. Perhaps not $10,000 from the low green sleeves, but if you can't enjoy practicing and be kind to yourself, don't touch and scold yourself. If you make a mistake, grab hold of that mistake. Find out what it is and Why Then go back to that section and unlearn it. Replace it with the correct version. Next up. Broken chords It's really no exaggeration to say that if you can play broken chord in the left hand Onda melody in the right, you could play the piano. You can play any court any to like that, practically. And I'm not talking about just classical music or traditional music like Greensleeves talking about pop music, too. Jazz chords in the left hand, solo in the right jazz. But anyway, we're getting ahead of ourselves. I'll see you at the sort of lesson. Three. Keep practicing. Thanks for learning with music, Carter on Bye for now. 6. GS2 - Performance: Uh uh. 7. GS3: Introducing broken chords: the last version of Greensleeves that we learned was the one with two left hand chords in the bar like this. A money court twice G major twice a month again. Now what we're going to do next is we're going to break the left hand cord up and in each bar we're going to play just four notes covering the a minor chord. We're going to play the bottom note. The middle noted the top note on the bottom note again in the bar, and we're going to go to the G chord. We go to do the same. There will play the bottom notes, middle notes, the top noted. The bottom on that will fit with the music like this Don't play just yet. Just watch What a middle top. Bottom bottom Middle doctor. Water to a minor bottom, Middle top bottom down to E minor bottom, middle top. Just the 1st 4 bars of the music. Just the first life. Something else happens in the second line. So with me now you cover the left hand a minor chord. There it is. Instead of playing the notes all together, you're going to play with me now Bottom middle top bottom. Now go to the G Chord on play bottom middle top bottom Back to the a minor chord and played out a middle dog Bottom down to the E Manticore to play bottom middle Don't remember that your little finger goes on the name note of the court So little finger is on a for a minor G for G major A minor Bottom middle T For now you're going to play along as I play both the cords on the melody You're going to play just the left hand, so be ready with the left hand for a minor. Are you ready? Here we go. What a middle tar G major bottom Middle Back to a minor. What a middle toe! Bottom down to E minor. What a middle bottom pulls there. How did that go? One more time than with me? Ready? A my record. Bottom middle top Bottom G Major bottom, Middle off a mining Gold bottom Middle top Bottom E minor court What a middle! Now continuously. Just those 1st 4 bars. Just the first line of music Ready, G Beija Teoh again. Straight away. A minor G major bottom, Middle back to a minor to e minor bottom middle toe. Back to a mind just the 1st 4 bars. Way right to a minor again. Bottom middle top Bottom G major to a minor bottom middle bottom E minor. You need to be able to do that before we go into the next line of music. Now, when you come to put the melody together with this new left hand like this, you may find you could just do it all well and good. Or you might find it's a bit more complicated. Either way, it's a good idea to be clear in your head, whether just your right hand planes or just your left hand plays or both hands play together. And when we look at this version of Greensleeves, we find that most of the music how's this pattern right together, left together, together, right together, left together, together, right together, left together, together, right together, left together together. And if you have any difficulty with that at all, it's a good idea just to forget about the notes for a little while and practice topping the rhythm. And that's what we're going to practice now so you can see from the bumped up musical example. What we need to do is we need to tap right then together, then left and together on together again. Like this, right together, left together, together, right together, left together, together, right together, left together to get right together. Left together together, right together, together together, right together, together together, right together, together together, right together. Teoh. Right together way. When it comes to the second line of this version, the only part that's any more challenging is this bit here. The bar where the left hand placed six Cuevas through a minor on the major like that, the right on plays together, left right together, together, left right together, together right together. This part together left right together, together, left right together. And as always, when there's a rhythmic difficulty, it's a good idea to tap the rhythm first. And that's what we're going to do now. We'll top the rhythm you tap along and then you play along to the tapping afterwards, right, right together, left, right together, together, left right together, together, left, left together, right, right together, Left right together, together, left right, together, together, left left together. Theo way. As we've noted before, the second half of the piece only has one new bar of music, and that's the bar of C major at the start of each line. So that will involve you playing this from that. Everything else is the same. Just a C major on the G major again. And you now have all the material you need to play this version of Greensleeves. Here's the performance, - uh 8. GS3 - Performance: 9. The Basic Music-Making Position: you learn green sleeves a lot more easily if you take a minute to realize how much of the piece is playing in What music articles. The basic music making position. Now the basic music making position takes five fingers. It covers five piano keys and the bottom note of the five you cover is the note named in the court. Simple. So above the first part of music, you see a minor a m A. Is the letter named in the cord simple. And there is a lowest note of the five that you covered. Same rule for this hat. Five fingers, five keys. Lowest finger on the name wrote the root of the court. A. So you see two unused white keys between the hands and the significant fingers, or the significant tones that you play on the bottom one in each hand. Middle one of the top work B, M and T B M and T. I call this the basic music making position because you're guaranteed to get a nice sound. If you play all those six, which isn't the case. If rings up when you have three notes between the hands, then you get that well, that no does nice is that this is the basic music making position. So if we look, we can see that the first bar of Greek sleeves is going to use mainly these notes. Middle between noted top note. There's a little escape note there on the next bar, says G. So we move so that the little finger of each hand is on a G on. We can play top middle bottom on a little run back up to the middle note and here, third bar a minor. We just have the middle note on the bottom notes on a little outside note and e minor top middle bottom. Back to the A minor position. Bottom Middle. Joining the top on outside note on De Jean. Middle bottom Middle Little to bottom on an E major, which involves as using Blackie G shop. It'll middle. A minor of the right and three notes. Third line of the music. See, we've got the little finger on sea and we're going to play the bottom, the middle new top one or a play one Miss one. Play with Mr Play one chord, same in the right hand, talking with the top running down to the top note of G tar middle bottom. And it's just the same as the first half of the music is the middle off, a minor part of the body and e minor Tom Middle butter will way back up to see top note in the right hand called in the left top out of middle G major top middle bottom end up to the middle, a minor middle noting the right and mid autumn E major Middle middle. A minor note. So the positions are a minor basic music making position. A minor e minor, a minor g a minor on E major on a mine. Second half see all the way down to G one step to a minor down a force to e might away have to see down to G on, then more quickly a my on e major on a minor. So realizing how much of the music is produced from the basic music making position is going to increase the speed of which you learned to play the piece 10. GS4: Full broken-chords version: The most complicated bar of that last version of green sleeps was this one where the left hand plays six graves in the bar. The rhythm waas together left right together, together left right together Now we spend some time learning that rhythm And in the next version of Greensleeves, we're going to learn the left hand is going to pay six Cuevas in every bar like this a minor G major one and two Which means it's in the second half of every bar. We're going to have that together left right together, rhythm like this Here it comes together left right together on again, together left again together left right together together left right together together left right together together left right together together left right together Now try playing just the first bar. We're just together left right together So is that at the top Together left right together together left right together Going on the G major bar riches together left right together there together left right together One more time together left together going on together left right together going on comes together left right together on again, Together left Try together the bar you know from last version together, left right, together, together, left together, together, together. Let's do that at that speed again with me by the A mind about together together together Just that bar again. More time going on g major together together together together, together together. The second half of Greensleeves is, as you know, just the same as the first heart. Apart from the C major bars at the start of the lines up here, that makes the fingering a bit different. Uh, left right, together, together, left, right, together, together, left right together you begin to see major together, left right together, some under together, left together together, together together. Are there any difficulties in the left hand playing constantly? Let's have a look. The left hand. A minor twice G major twice a minor twice. I've got to reach down Teoh een on. Then you put the five right next to the sea. O g major is a minor e major A mine. Uh, so the problems that might be when you have to reach down from the third in a minor to the and then coming back up a little finger goes right next to this up second half. There's another octave leap in the left hand G down to G. Just next door is another are active in the left hand down. Teoh, Watch what happens here. We finished playing the E minor. We now want to play a C Manticore. Those notes way finished on some here. It's actually not hard to put the little finger over practice, that movement remembering, fingering in the right and the thunder together. 11. GS3 and 4 Performance: way. 12. Performances - Lessons 2, 3 & 4: way. 13. GS5: A crossed-hands version: I think it was the second version of Green seats who played, which had two left hand chords of the ball. Uh, will this new version starts just like that? Apart from the fact that the left hand cord comes one Cueva later, Like this. 123123123123123123123123 All right. And if you look at the performance, watch the performance or read the music. You'll see that the hands never played together. Right? Right. That's right. Right, right, right, right, right, right, right, right, right, right, right. I left first type. Right, Right, right, right, right, right, right, right. I right. Right, right. Good. Second type. Right, Right, right, right, right, right, right, right, right, right, right. I right. Right, right, right, right. Third type. Right. Left, Right, right, right. Left, right, left, Right, right, right, right, right, right, right, right, right, right, right, right, right, right, right, right. Fourth type. Right. Right, right, right, right. Left, right, right, right, right, right. Uh, other things you can do to make this version sound nice. Our role. The left hand court. Instead of playing a chord altogether, you're to roll it from bottom to top. It's just if it does that fairly quickly, the thumb comes on the beach. 123123 Teoh, 31231231 Teoh. Another idea is to make the left hand chords as long as possible. That is. Don't play them as only Cuevas, even if that's how they're written. Leave them down as long as you can, until you have to pick him up to do the next court. Uh, perfect that the cords are exactly the same. They, uh, just rehearsing quickly. A minor G a minor, A minor G a minor E major C G C g. I went through those now in the hands crossed section. The hands play exactly the same notes, but they're crossed on the left hand will play the tune down here, play the tune down here. Just one hand to see if their area difficulties. You have to turn your wrist a little like this, and you have to keep your hand fairly flat so the other hand can come over here. We go from the bottom, fingering, uh, up to five on G 2123 4 to 1, up to 5 to 1 to thumb under on a uh uh, Now I play with right hand under, which means the right hand is playing the melody and it's fairly flat. The left hand comes over and it's fairly high and plays the chords from above. So now one thing that does Fox some pupils is the fact that when you're playing hands cross like this, the hands do seem to collide a little bit here. So, for example, I'm just playing my on my right. Who wants to be our thumb on a before this left town's gone away. So yes, they are touch. Nothing wrong with that. Same Here comes right up here very close quarters. The melody note I want is this note here in the middle off the e minor chord. So my left hand my writers go to go underneath right underneath my left. It's there on my left hand cord is here, so I don't, uh last the corn is still holding. My right hand's come under here to play this maliti note, so don't be afraid of having your hands at very close quarters. They never actually have to both fit in to a note like that. One hands always further up on the other hands full. Further back this hands up here and this hand might be here, so they're never actually going to get stuck or compute or get jammed, which some pupils think. Now you'll notice that this version is a medley. We're doing this up in the normal position a lot. And then it's right hand under right now and playing the tune in the base and settle the way through. And then the hands unravel again. But to finish off they just play the second half from the sea. God, smooth, uh 14. GS5 - Performance: 15. GS6: New chords: to start with, I'm going to play you a simplified version of the first couple of bars of the second half of the module performance, where the hands have come back into a more ordinary position. I'm going to simplify the court. So instead of them being broken up as they are in the actual performance, I'm going to play them as block chords on the first beat of the bar. Here we go. Just that one more time. Now, looking at the first full bar we see above it just one chord, simple, a minor. But we see two course that one on that one on. If I have done my work properly, which in this case I have those are both a minor chords. If I asked you to go off and find me an a minor chord with your left hand, I hope you would burn out. Put the little finger on a spread the fingers out, one finger per piano key on playing me the bottom. Note the middle note at the top note. Play with this one. Play where miss One play one and say there's an a minor chord and you would be right so the notes oven a minor called a scene, and this is a play one miss one play one miss one play one chord and in music theory, that's called a Triad. Three notes in route position. Root position, meaning that the name note is at the bottom. But this a note see note and e note. Don't have to be in that order. The bottom note could come up to the top, and then you would have what is now called the first inversion because the court has turned itself upside down in the ways in Virgin itself, route to the bottom to root out the top. And that was the first inversion cord where the a, the sea and the EU are arranged with the top. See Miss Run E Miss Miss play the A for a minor first inversion where the name notes is the top note of the court. So we have a minor room position. First, uh, now is easy to recognize. Root position chords admit music because they're either all line notes like the a minor chord A is a lineup season line note on the E is a light note or they're all space notes like, for example, the e minor chord in the second bar space space space. But first inversion cords. Because the notes aren't all the same, distance apart is the inversion again, The route going from the bottom to the top aren't all the same line note or space note collection. We've got a line note. C and a line note. Eat out of our a minor chord. But this guy, because he's got to miss notes here. I za space note. So we've got to line notes among his face in it. And when at the start of the second barrel, we see it G called simple G being the note below. A. If we take that shake down one key, we've now got a G chord, but a first inversion cool with two spaceships and alignment. That's how you recognize them in written music. So our new version so far simplified, is we've arrived at the G first inversion court marriages G the name note at the top. But in this bar above this bar, we see two chord symbols. We didn't have that before. We had just g for the whole body, but now we've got GMD Minor way. Want any minor court? There are free through the bar. If you look at the written music, you'll see that the cord for the left hand isn't all space note called, which should tell you that the bottom note is the root. In other words, you can take a little finger down to eat and do your play. One. Miss one play when miss one. Play with drink and you will have the even recorders written. Going on a minor in this next bar is on all line. Note. Chord. So it's going to be a play when Miss One player miss one play one called correct? Yes. Now what is this? This is a totally new thing, which you haven't seen before. This is a chord with an added toe with an added a note. It's an a minor chord, but it says a minor six, which means in this case you would count up from the age of find what Sixes Using a is one not 012345 and then Plus what? Well, I have to tell you just straight out that six. If the whole tone above the five so five and two semi tones to get the six. There it is that is an A minus six. It's an a minor chord with an added F shop, but the eshop doesn't have to be the top. In fact, here it's down below on. You don't have to play all the chord tones. In fact, you miss out the A hear you play that court with one hand, so it's an a minor chord, but the bottom note goes down to N F shop. Going on to the next bar. We see an e minor course symbol, but with two chords in the bar. And if we look at the 1st 1 we see is a mix of lineups and space notes. It's got to space nips and ally note above it, which means it's the line note on its own at the top, which is the root e. And in fact, we see what we have in this bar is the opposite of what we had in the first part. We've got a first inversion called Going Down to an All Space note E minor chords. First inversion is un emerging itself, working away, going down. Let's play all the cords we know so far. Just the left hand with me. A minor in virgin bottom number comes up to the top A at the top. One note to the left G court, down to any minor chord you'd recognize anywhere to an a minor court, right? No bottom note goes down to an F sharp. You might have to re finger for two on C on any minor first inversion on any minor root position. Let's do that again. Put the melody in very slowly condition. Left. First inversion down to an E minor position. A manga root position F sharp with the bottom of that cord is a minus six. Even first inversion position again G first inversion G at the top down T minor root position. A minor root position goes down to the shop e minor first inversion e minor root position. As for the second line of music, let's just look at the cords. They are a minor root position. First inversion just the same as before. Take it. One note to their for the G on down to any minor root position has something different in this next part. We've also got two chords on a minor and then this for e major and that the company is this part of the melody. Well, what's that for any major chord? What's missing out of it sounds very bold, like a threadbare carpets. What's missing out of it is the third that sounds more like an E major court. Where's the third God? It's in the melody. So that's any major chord. What have we got here? That we've got four notes? Yes, indeed we have. We got to ease E and well, let's scrap that show. We just for the time being, so we can see more clearly. Take that away. There are three different. They're all different notes. What do we know is any major chord Drop that for now. It's like an e minor chord with G Sharp on the court. We just abandoned the same notes, but both the bottom it's have come up to the top on if we did it. One by one, you say is a root position is first inversion, but no came up to the top and here comes up to a top again. You get a second inversion called, but it's split between two hands and we've got a double D. So there's your major. That's those two balls left fingers, 5 to 1 second line of music. Uh oh. As for the second half of the music, it's the same as the first half of the music, but you find the C major court, which is the same as in all the other variations we played so far. G major first division E minor reposition minus six position. Serial position. Just just inversion. Demand a root position position. New voicing of the major court. So here's a practice version with block chords of that arrangement for you to play along with and study. - As for the differences between the two variations in this cigarette performance in the first half, where the right and displaying the melody in the base, the left hand cord comes off the beat on Craver, too. It's rolled. I just noticed another difference as well. In the second bar, the G major bar, the second bar, the left hand plays to G cords. There's the a minor chord on the first inversion. In the second bombing, first inversion Jean Booth hands get this way. Do you play little differences heat. The listener interested? Did you know? So that's something to look out for. In the first version, you've got left hand a minor chords, first inversion and first inversion en route position in the second half, when the hands have come back into the normal position. The left hand cord comes on the first Cueva of the bar. But the court is split up in this rhythm, and that's really all there is to it. Way don't have to play the full version. Only one go. They would use just parts for the first half, a second off for your own Justus resources so that you can play any freely on enjoy doing. 16. GS6 - Performance: 17. GS7: Countermelody: the counter melody is a secondary melody, usually below the main melody, which harmonizes well with it and makes the music more interesting. And if you're going to look for the note, which harmonize as well, 1/3 is probably your best bet, and the name of Third, that is three gives the number of note names involved. For example, a to see is the third, ABC and thirds move nicely and sweetly around together. If you tried to do with Full thing, wouldn't sound a tool. Nice, either with AFIS, Elissa said, is a good bet. But that's not in the basis it that's not in the left hand. So it has to take it down and on good So far. Whoa, that doesn't let's see you. All we've got has the 10th 1/3 less adoptive attempts. 123456789 10 Attempts. Third, that's what I do in the counter melody version. Another good way of finding counter melody notes is to walk between the roots of the court , for example, G doubting. Similarly, the A down to the F shop of the A minus six uh, way that's not actually used in my I don't use that. But you could. I've not done anything here because just walking intense isn't gonna work. I could use a tests 30 upside, but I haven't used it. No. The left hand. When we get to the sea, you've really gotta play a C court. But your thirds will be. These tents will be these on. It will be a shame not to users. So you play the sea court. That's how I do it. When I get to here, it's the same thing. It's just big study. See how the notes go together. See how the notes that sound good together derive your own arrangements of things. You'll notice that the left under company mint has become busier as well. In this version, we've moved into semi quavers. You saw this in the second left hand accompaniment of the new cords variation. We had 2312313 is doing one and two and three all the time. But with the counter melody worked in it looks complicated, but all I'm really saying is the count ability on then it Any space between the counter melody turns. I feel that with Philip, but he didn't do Dio and I have a little rest at the end. As you can hear. No Cueva. Three pauses to keep that you catch your breath. But you could do the counter melody without filling all the semi Cuevas slots just using. And that is they say it's all there is to it. 18. GS7 - Performance: - uh 19. Performances - Lessons 5, 6 & 7: Uh uh. 20. GS8: Concert Variations medley: - okay ? 21. GS8A: Concert Variations w. commentary: the arrangement starts with just two left hand towards the end of less than two. Every position awards that is with name note carry on like that for two lines of the music until bar eight. Then the courts have broken up bottom. It'll top bottom four notes for bar broken called texture from Lesson three is one part of the continuous lesson for second quarter displaced ability. Hands cross in the base. Left hand placed developed court from Lesson six Left hand counties be a tear, the empty just half the music of this in the hands and cross for two nights of accountability. Left hand is dispersing just phase 1 to 1 and two three arrangement finishes with just starting back with two a bit of for no room for accountability, simplifying them, slowing to the final.