Learn Piano in 45 Days (part 2)

1. Intro: Hey, guys, Welcome to learn piano in 45 days. Part two. If you haven't taken part one, don't take part to go back to do part one. If you have booked part one, it totally works for part two where you can download it in pdf, you're learned all kinds of new things. All kinds of new rhythms, new courts, new hand positions. You're gonna learn some blues, Moz, Art. What pedals do on the piano? A lot. Lot more. I hope you enjoy this class. 2. Lesson5, Day 1: Hello, students. And welcome to a lesson. Five Day five, we're gonna be looking at understanding to four and 34 times we're gonna be looking at understanding eight notes, rests and notes in the G position. This lesson is a really big breakout lesson, because before we've been stuck in 44 time and we've been stuck in this sea hand position where we're just playing C, D, E, f and G even both hands. But now we're gonna break out. We're gonna learn some new notes, some new types of notes and some new time signatures. Let's get started. This is pretty easy to understand. This is as you can see, 44 time right here. And there's four beats in this measure. There's one plus two plus three four. This measure down here in the left hand has a three count note and one kind out. So three plus one is for so that's pretty easy to understand. Every single measure adds up to 44 Well, guess what to four is. Here's a couple of measures of 24 This first measure right here has 1/2 note, which has, you know, his two counts. Same thing for the left hand. And this measure right over here has 1/4 note. Plus another court note one plus one equals two. This means that every single measure into four can add up to two counts. And finally, we have 34 over here in the trouble clef. We have a dotted half note, which equals three counts. And here in the base cliff, we have 3/4 notes, which equal toe one count. He's each okay, very, very easy and understand. And in our songs this week, we're gonna play a waltz, which, of course, is 34 time. And we're going to play hot cross buns, which is in 24 time. All right, let's keep going to scroll down here a little bit Now. We've talked about whole notes before, By the way, we're back in 44 time for this example. Ah, whole note. His four counts and we snow. It's one big round circle. Ah, half notice, two counts. 1/4 note is one. So here we look at these eight notes in this measure, and what do we see? These are notes that kind of looked like the quarter notes. Don't think the quarter notes. Air filled in and they have this beam up here. But the eighth notes, Look at this. I've got this extra little flag at the top right where my cursor is pointing over. That's what makes them eighth notes. Now here it's very important not to get confused. An eighth note does not get an eighth of account. It gets half of account. The reason it's called eight. Let's let's just remember our basic fractions here. Ah, Hole is four. So therefore half is to so therefore, quarters one and therefore eight is 1/2. So always remember, there's a difference between what we call the note and the count value that it gets. That may be confusing to some people, but that's just something you have to accept. That's just how music works. Okay, lets go down. One more example. And when I play the song hot cross buns, you're really gonna understand this better. But I'm going to show you how we would count eighth notes because we can count quarter notes. Just 1234 But now we're in ah, half of account. So how is this actually going to work? Well, we see here, We're gonna go one A to a What does the A mean? I'm going to say that the A stands for and so usually when you count eight knows you're gonna count one and to and okay, I'm stand this notice that these notes on the A come in between beats. This is what happens when we make notes that are even smaller than the basic beat. We have to come up with a new way of counting it. Okay, in this measure, right here, we have one. And and then this count would be count, too, because it's 1/4 note. This is count three, and and this is count four. Here. We have similar examples in 34 in a to 41 and two held overthrew count three. And this is one and two. And now you may wonder, why do I have these numbers right here in parentheses? Why do I have this number over here? Parentheses. Well, now, remember when we every single half note, such as in this case over here gets two counts. Okay, so I hit this half note own count three, and then hold it through account for that's a total of two counts, isn't it? So the count four is silent. You're not gonna be hitting a note on count four. And over here in this 34 measure, you're gonna have one and two. You hold this note through count three, okay? And I know this may seem a little theoretical right now, but once we get the hot cross buns and I start counting along, everything will make a lot more sense. Next thing we're gonna look at understanding rests. Obviously there's times in music where you play a note and there's times of music where you stop playing for a second or for, you know, more amount of time. Whenever you stop playing, you're not do anything that's just called resting. I think that's pretty simple. Here we have an example of a whole rest and 1/2 rest. Let's look at this measure here. Down here in the bass clef. You see this little symbol right here? It looks like an upside down hat. That means you rest the entire measure. You don't do anything that whole measure. So for four counts, you just don't play anything up here in the bass clef. I mean in the trouble class, You have 1/2 note, which gets two counts, and then look at this list. Looks like kind of a right side up hat. It looks pretty much like this one, but just a little bit different. So half rest is Same thing is guess what? 1/2 note. That's pretty simple. So you're gonna arrest for two counts. So you would play this note for 12 and then you would rest for one to Okay. Now look at this. Next measure. Here. Here we are, in 34 time notice. Beat one is on this quarter. Note C two comes right here. And look at this. Little symbol looks totally different. This is called the quarter rest. Meaning you rest for one count. Just like if you were gonna play 1/4 note, you would play for one count. Well, here you just rest for one count. And finally, in this measure, we have an example of an eighth rest appear. And down here, this is 24 times. So this would be one and to, And then you would rest on the last eight beat. And of course, an eighth rest gets the same number of counts is an eighth note. It gets half account. Okay. Final thing we want to look at are some new notes. We're gonna learn some new notes now and in your next lesson, you're going to see where these notes are on the piano. Pretty soon you're gonna play a song in this new G position, and you may want to just kind of, um, say this last picture here in your lesson. When you start writing in the names of the notes for the songs, you're gonna play here, we see this is the note G. That's the note G. You've seen that before. You've had the G before in all your songs. The note after that is going to be a Then be then see and then de And this is what's kind of need notices this see down here in the left hand, this sea in the left hand was once your middle C. But now you're gonna play it with your left hand. I know this may be confusing cause you're just looking at a picture of notes. Don't worry. In the next lesson, I'm going to show you exactly how to get into this position, learn these new notes. Over here, we have two chords that air because they're gonna be with us in all of our songs. In the G position one is the D major court. Now notice right here. This note over here is G. The D major court has an f sharp. That's right below G. I know this is the first sharp you've ever had that's gonna be explained very well in the next lesson. And finally over here, we've got our g major chord with our g r b and R d and appear a g a b energy. Okay, so go back. Review some of this. This is a lot in one lesson, but don't worry. In the next lesson, we're gonna really see how this works visually. And then in the next two lessons, we're gonna learn to play two new songs in this new position, and we're gonna play songs into four and 44 Okay, thanks. And I'll see you in the day to 3. Lesson 5, Day 2: okay. Today, we're gonna look at the new position called the G position. This is less than five day two. We know this position. C d E f G. Okay. We had her one on sea on our five Anssi. Now we're gonna take this and move this up to G. Notice your one is on G and your five his own. Gee, let me just show you that again. Here, see? Position. Here's the G position. Okay, You can do this little trick. Just exchange the one for the five works in the left hand to Okay, so now we've got one on G two on a three on B four on C and five D for the right hand and then left hand five on G four on a free on B two on sea and one on deem. Okay, let's do a quick little quiz. We're just gonna deal with the right hand. First, I'm going to call out and out, and I want you to play it if you need to stop the video. Paul's video. That's fine with me. Take this kind of slow. I'd like you to play me in a in the right hand. That is what you should have played. I'd like you to play me a C in the right hand. That is what she should have played. I'd like you to play me a G in the right hand. I'd like you to play me a deep. Okay, so get to know the notes really well. In right hand. Don't have to count up. Just know these notes. We've learned the notes in the first part of this class. Now, here we are, left hanji position. Gonna do the same thing. I'd like you to play me a B. If you play me that note, you are correct. I'd like you to play me a D. And that is correct. I'd like you to play me and a uh, I'd like you to play me a G. OK, continue. Do that on your own if you're kind of still confused about some of the notes, But otherwise, let's get our hands back up here in this G position in every position, you're going to find that there's gonna be some chords were going to do. The first court we're gonna learn is called the G major chord. Start with the left hand the G major core just like the c major chord Skip. So you're gonna play g Skip Up to be and skip up to D So the total court is this more time G, b and D Let's play it all together. Okay? Same thing what we did before with C major chord. Just skipping with our five r three and r one. Now look up at the right hand. Same process g be and d played all together. Then you put it together. Play them with both hands. It's RG major court. Now, remember, in our C position, we went from C E g to be FG. So what do we do? We took the thumb down one that would supply this to this business. Look at the right hand first, Here's G B D. The next chord is our d major chord, but starting on f sharp, we go f sharp. Hey, Andy, look at that again. G major court. Uh, and remember that sharps go up. So this is the first black note we're going to be playing. This is F. This is f sharp. So G f sharp, A and e I keep my other fingers here. I just move this. I angle in towards the piano when I move this way, that's called moving in. Okay, look, this left hand DBT Now we're gonna move these two fingers now we're gonna be the a down and the f sharp down g b d t f short a de I suggest right now you learn both those hands. Both those courts go back and forth, go back to that point in the video, do that a few times, and then finally what's doing? Both together. Gvt in both hands over to have sharp 80. Just exactly like this. Back to G B D. What I would do is get to the point where you could go back and forth, back and forth bag and four without looking at your hand at all. Okay, so get this new position down. These give these quart sound. I'll see you in less than five. Day three. We're gonna play hot cross buns 4. Lesson 5, Day 3: you guys Here we are on lesson five. Day three, we're going to be playing the song Hot cross buns. And remember in your last lesson you learned about this G position. Remember your last lesson. You're about the G major court D major court, court F sharp A and D version. And hopefully, at this point, you go back and forth back. And so we've also got a right hand up here. We know the G position. Right hand. Hopefully you have written in most of the notes to this song. Very simple song. You'll know if you make a mistake. Hopefully, you know that this is the A on and this is the and this whole song has three notes in the right hand to be and the A G. Okay, let me play the whole song. Both hands. I'm gonna break it down. Uh, okay, let's look at just that First line replaces his first line. The 1st 4 measures. Did you notice something in this 1st 4 measures? The 1st 2 measures, they're the same. Has the next two measures fairly easy. First line. We just keep this G chord going in the right hands. Just going down Starting three on the okay. As you get more technically proficient with this song, what I want you to do is be able to count to two on those half notes. For example. 1212 Okay, Fairly simple. First line. The second line is a little bit more complicated. First of all, we've got some court switching. I'm going to start the second line, measure five. So you really have to be fluid at this. Able to do that without looking at your hands, You know? What about the challenges in the right hand? Well, first of all, we've got thes eighth notes. You learn that in your video how to count? Those were gonna count those one and two. And second measure one end two and one to notice. The right hand goes back to what it's been doing with this. Okay, so let's put this together. Measure 51 and to end next measure one end to and in this last part, the same as before. But look at left hand. I'm gonna throw in that extra cord on, get back to the G major court, okay? This is definitely the harder one of the two lines. So let's get that down. Basically first, you know, depending on your proficiency, maybe start with left hand first, then go to right hand. Or maybe start right hand. Then goto left hand. Build up the speed. Start learning how to count with it. Remember that you're in 24 time signature. So every measure, if you're counting, is gonna add up to two, for example, to 212121 and two men one end to end, 1 to 1 to. So let's say you can play it basically like that. Maybe there's a few hesitations. Maybe don't play it quite that fast. What can you do to make this more interesting? Well, here's one thing you could do. What did I do there? Hopefully, you kind of felt that maybe that sounds like a march. Well, it kind of was, I'm taking the court and dividing it instead of playing this. I'm doing this G BT when I get to the other cord, so it's kind of a March style way of playing it. That's one way of doing it. Kind of makes it hop along a little bit better. That's one thing you could do. Another possibility is called the Rolled Court. Instead of playing the court like this, all the notes or once we do this, try that. I go bottom to middle to top. I hold all three down where this on on the other court. So when we put it together, it sounds like harp or guitar. Maybe try that. That's a possibility. So many different possibilities for Guess what you could do mixed up. Let's throw enrolled Maar style roll on, then straight block courts. Okay, so this teaches you the basics of playing a song in the G position. I'll see you in the next lesson. Lesson five Day four. 5. Lesson 5, Day 4: Hello, Suits. Welcome to less than five. Day four were playing the song Waltz in this lesson. Hopefully you did pretty good with hot cross buns in the last lesson. Let me play you this song all the way through that I'm gonna give you some tips. Here it is, both hands. Okay, let's talk about some issues in the right hand. The right hand is going to stay right in this position. Let me the first line. Just right hand notice what I did in measure three. That a He's only gonna be held for two counts and then the rest after that is one count. OK, so don't do this. Don't do that. We don't want to hold for three counts on the A. We wanna have a rest in between the A and the D playing encounter. Remember all of these notes, except for the A get free counts. They're dotted. Half notes, except for the A, which is 1/2 note. Here we go. 123123123123 So remember on free, that's when you're gonna do your off. Now let's add the left hand to it. Hopefully At this point, you're pretty good at going between here and here. From the G major chord to the F sharp and G chord, you go back and for pretty easy, let's put both hands together. 12312312 off three. Remember, I'm gonna take my left hand on count. Three as well. One more time. This first line 31 2312 off 123 Okay, I would try to get both hands on that line first, because in the next line we have a whole new challenge. Now, in this next line, the melody is going to be in your left hand. Not so common on the piano, usually on the piano. The right hand's gonna be playing the higher notes. That's just the ergonomics of the instrument. And the left hand plays the chords. But every once in a while they'll put the melody in the left hand. Okay, so let's look at left hand on the second line. Serving and measure five, 23123123123 one more time. 123123123! 123 hopefully wrote J B C B. Now, when we add the right hand, we're doing the same course we did before. G Chord G chord and then over to way have sharp a D court and then back to the G court. Let's put it together slowly, but 23123123123 One thing you really want to strive for in this hand is you wanna bring out the melody. Now that happens online. One. But usually when you play nuts that are higher, they they're brought out mawr. The ear hears them. Or so when you play this the second line make this hand a little bit louder, this handle bit softer, like so those of you with electronic keyboards. This is going to be harder to do. It really is harder to have that dynamic range on a Elektronik keyboard, and that depends on the quality of the electronic keyboard. Those of you with acoustic pianos, it's gonna be farm or easy toe play expressively. Okay, so get that line down Paul's, rewind this video, whatever you want to do, then maybe if this gets easy for you, maybe you could play a little bit of a different style. Here, check this out. Here's the first line. Instead of playing like this, you could do this. Check out my left hand. What am I doing? Just doing Walt style. Just like before you had Marchman for however you want to do it, you can go. 123123123 Now, in this third measure, I would ignore the rest. If you're gonna do that, just ignore the rest in the left hand. So in other words, not this That sounds awkward. Just keep going left hand. But take the right hand off search like this. Let's apply this to the next line. Let's waltz style right here. That works. Since you want to have amore kind of conclusion, you may not want to waltz style The final chord. You may want to something like this in the last line Roll it war. Look another possibility for last line. Uh, at an extra measure played the G chord in both hands. All of those air possible for you. If you get the basics of this down, then try them or advanced Walt style. Okay, review this and I'll see you in less than five 6. Lesson 5, Day 5: case to tear er in less than five day five. In our previous lessons, we looked enjoy the world. We wanted you to figure that out by here. And I'm going to go over the answers to this first part, and then I'm gonna turn the camera away where you can't see me playing the piano, We're gonna figure out the last part. Okay, so for this first port, you should have had this starting on the high sea, then going straight down be a g f e d. Remember, this is written in your book. I'm going too fast. Just look in that book. So the first Linus, see b a g f e d. Okay, look. A line to enjoy the world, you should have g on, then a another a be another b and then the high C This is the line that kind of gradually went up and up and up and had some repeating it. So this is G a baby. See? Now here's the next two lines. The next two lines are identical. It is. I see high C e a g one more time. I see high C b a g f e So remember Line three in line for are exactly the same. And then the fifth line starts on E. And we do a whole bunch of these e f j. So we did a total of five keys. E b f g. Okay, so check back on what you did. Check your work. See how much you got wrong. See what you got right? If you had trouble with direction, you may want to just review that on piano, going up and down and what it sounds like. Maybe you missed a note here. There. Some people will typically maybe think there were only four. He's in that last line. Don't think it's this. Actually, there's five. That's a common mistake. Okay, so you've got some blank spaces and some hint notes for the next part. Let's look at this next part, and I am going to turn the camera away, all right? You can no longer see me playing, but you can hear me. We're starting on the next line. It starts on F and listen to it. Okay? Okay. That line. One more time. Starting on f. Thank you. Take a few seconds. Pause the video of necessary remember what we've talked about. Music could go up, down or stay the same. Okay, Looking at the next line. Starting on E, listen to the direction. Here we go. Continue one more time. That line starting on. He This is the next to last line notice on this. There is a big jump between here, This one up here. We can hear that jump than the rest of it. It's probably okay. Here's the final line of the song. Just four notes, as you can tell, starting on f bad. More time. Okay, So go back. Review those three lines and you're gonna get your answers in your book. No cheating. Don't look ahead until you have given this a good effort. I'll see you in the next lesson. 7. Lesson 6, Day 1: Hello, students, and welcome to less and six Day One. We're gonna play some other songs in the G position throughout this lesson. But first we have to learn about some new rhythms. We're gonna learn about what a key signature is, and we're gonna learn a new chord. So here is your theory lesson for the week. It's get started. Here we have what I call or what is called the dotted quarter note. And I remember a while back you had the dotted half note and a dotted half note got three counts because 1/2 note normally got two counts. But then you divide that two counts into one account and two plus one was three. This works on the same principle. Noticed. This looks like 1/4 note. Quarter note gets one count. What's half of one is 1/2 so one plus 1/2 would be one and 1/2 counts. Okay, this is a little bit harder to count another notes, because basically, you're gonna have some things coming in between beats. Let's look over here and you're going to see this exact rhythm when you play the song deck the halls Noticed this count gets 1.5 This eighth note gets half. So 1.5 plus 1/2 is equal to two. And then this gets account and that gets account. So all this adds up to four. OK, so when I'm playing this, there's two different ways of counting, and I'm going to show you here an example in the trouble clef. And then over here, I'm going to show you an example in the bass clef. The first way I'm going to subdivide, I'm gonna count one and two and three four Now, why would I do this? The best way is to think about this in terms of maybe cooking. If you have a recipe that calls for 1.5 cups of water, there's three ways you can fulfill the requirements of that recipe. You could have a full cup of water, and then I had 1/2 cup of water, right? Or you could just take 3/2 cups and pour them in, and then that would fulfill it. Here's the best way of thinking about this. When I subdivide, I'm gonna think about each little half of the count. It's gonna be like filling up that recipe with 3/2 cups of water. So I'm gonna think one and two, I think one and two, that's 1/2 plus 1/2 plus 1/2. And then there's eight. Know owt Note over here. Remember, we count eight notes by saying the word, and I just have the word. I mean, the letter A instead of an So I would count one and two and 34 These are just quarter notes . So that's just gets one full count. Okay? That's what I call the subdividing way of counting this rhythm, and you're gonna be able to play this rhythm, Okay, Because you've heard the song deck the halls a 1,000,000 times. Now, let's look over here at this way of counting, okay? Here. This is kind of this is not subdividing. What I'm gonna do is I'm gonna count the beats one to, and then I'm gonna acknowledge that this eight note comes in between beat three me and beat to. So this would be, you know, the example. You go back to the analogy of the cooking thing. This would be like, you know, not using a bunch of half cups but using regular cups of water regular whole cups of water . So think one, two and three for notice. I don't tap every single eighth beat. I don't subdivide the beat 2/8 notes. I just acknowledge that this note right here comes in between beat too, and in between beat three. But in either way, you count. What you've got to look at is this. This note right here is 1.5 counts. The following note is 1/2 count. 1.5 is three times as big has ah, half. Okay, so make sure that this note right here is three times as long has the following that. Okay, now it's looking down here. Few other concepts. You've probably heard of music being in a key or in a key signature. I don't want to get in to that too much right now, but what I want to point out right here, and you're too next to songs. You're gonna have one sharp at the very beginning. You see this one sharp right here. You see that one sharp right there? That means that all efs are now transformed into f sharps. So whenever you see an F in the trouble clef or the bass clef. It is now an f sharp. That's what this thing does. Putting this one sharp at the beginning of the line transforms every single F into an f sharp. And that's considered putting music in a different key. I'm gonna explain that a little bit. Mawr later on. I don't want to get bogged down to too many details right now. Okay, But just remember, in the next few songs, you're gonna always play f sharps no matter what some people ask, does it have to be the f That's right on this line here, for example. No, it does not. It does not have to be that when it could be any f in the bass clef. You may not know that this the note right up here on this line is an F. But this sharp right here in the trouble clef applies to every single F in the trouble clef is now transformed into an F sharp final thing we want to look at. In our last lesson. We learned our G chord and we learned our d chord, which was f sharp A and D Now, we're gonna look at this court right here, which is your C chord, your G, your C and your E. I'm going to show you how to play that in the next lesson. This is gonna be the first lesson where you get to play three chords throughout the lesson . You're going to play your G chord, your D accord and your C chord. And remember and our previous lessons where we had two different versions of the G chord you could play the G chord bt G or G B D applies to the sea court. Here. Here, We're playing G on the bottom. See in the middle, Andy on top. Okay. All right. This is our theory for the week. Key signatures, the new chord and the dotted quarter Note. In the next lesson, we're gonna learn this G c e court in a different way to play courts 8. Lesson 6, Day 2: Okay, this is less than six. We're on day two and we're gonna focus on a whole new chord here in your last song, you learned the G major court and the F sharp and G chord. And you want to go back and forth back on form when you played your songs there and the right hand you learned this going to this? Let's go back to her left hand. We're gonna tackle another chord. This one consists of G. C and my five Longin my to on scene in my one on Now you may remember this. Remember, when you play this chord now you're playing Gene E So it's basically the same court. What we call this is a different inversion or different version of the court. So instead of putting see on the bottom, we put g on the bottom, see in the middle and then e on the top. You may wonder why we do this. We'll think about if Europe, in this position a lot easier to go to here, going to go all the way up to see or no, you can't see this, but all the way down to see okay, so we simply go from here to here g c and e on the right hand. It would be like this gvt and then GC way would move these two fingers five and three fingers up to here and then back to here. So be able to go from this court and left hand to this court back to this court, back to this court, to this. Memorize that and be able to do that. Well, the C major inversion. That's a technical theory term for it. Would we do GC and eat? Okay. Now we're going to get into a little bit of classical music in less than six, specifically some Mozart. And here's an option you're gonna have with this cordon with some of the other courts. Normally, we've been playing by blood and also played a waltz style. We've also played march or we've also rolled the courts. Right. Well, here's another option. Look at this. Just do this on the new court. We just learned instead of this Let's do this. Did you see what I did? I broke the court down into individual nuts. I go instead of Jeezy Neil. And once I go genes e e c me do that. Real slow genes. E e see. So on a middle top. Middle top. Can you do this on the other court? Sure. You can't. Same pattern here on the G chord. Do it again. Look at this one. You could do on this one too. Okay, so this is optional. I know those of you who are new to piano. There's gonna be pretty hard. Maybe you're coming back to piano. Maybe you've got the block chords down. Some of the other variations are pretty easy. So go ahead, try it, etcetera, etcetera. We call that and Alberti Base, and we're gonna learn that. And we're gonna use that when we play our Mozart piece later in this lesson. Okay, Please give this down and I'll see you in Day three. 9. Lesson 6, Day 3: Hello, students. And welcome toe less and six day three today we're gonna play deck the halls. Very famous Christmas song. You all know. Now you may think this is kind of short for deck the halls. Well, don't worry. In the next lesson, you're going to get to play the rest of the song. So you're gonna get to play the whole song. Let me just show you what we're gonna do. Both hands were up in this G position. Should be real familiar with this position by now. Gonna go real slow. Here we go. All right, let's go. Over the right hand. Were in our familiar G position and fairly easy on the first line. We start on the high d have the notes marked if you need to. Hopefully you're getting to the point where a lot of these notes are getting more and more familiar. You don't need to mark all the notes, but if you do, that's fine. So here we are beginning. I also noticed this first measure we go straight down, then up on skip down, starting in next line and measure three, starting to own a Now. Look at this. Look at this last measure. This is something you've never done before. Here's one on G two on F Sharp on back to one on G. Now you may see Why don't you just do this? What? You could do that. But there's two big problems. First of all, if you're new to piano, that's a real hard technique. The other problem is this. Listen to it played the right way. Do you understand how smooth and connected that sounds? But this way, Way that sounds bouncy. That sounds choppy. Now there are times in piano and music. We do want to sound balancing kind of choppier. We call that playing staccato, But not in this case. We really wanna make this sound smooth and connected. Okay, one more time. The whole right hand. This time I'm going toe practice counting with you and our new concept in this lesson is the dotted quarter note, which is 1.5 counts. We explain this in our day one video lesson on reading music. So I'm gonna count this for you and show you how we count these eighth notes and this dotted quarter Note. Here we go. Whoa! And free for 1231 and two, and 34 and 1212 or 1234 a little bit slower. One, two and 312341 and two and free on four. And 1234 I notice in these dotted quarter notes the coordinates with the dot on the side. When you're counting, you wanna go one two. Because, remember, it goes from beet one to the first half of the next beat. Because it's one Anna half counts, right? So 12 and three for in both cases there, followed by an eighth note, which gets half account. Okay, one more time. Counting it all the way through. One, two, and 34123 Here, these eight notes in the next measure one and two and three and four and 12 free. You four stop. Be sure all these eight notes, for example, a measure three are twice as fast Has the quarter notes that came before? The good news about this song is even if you're kind of slow accounting Even if this is completely new to you, you're gonna do okay, because guess what? You've heard Deck the Halls millions of times before. That's why I use in this book a lot of familiar songs that people know That way. You kind of learn counting by doing and by hearing rather than you know, physically having to count everything. So don't feel the need to always have to count. If you want to count along first couple of times, that's fine. If you want, just play it by ear. Hey, that's great, too. Now let's look at her left hand here. We've got RG court in RG position. Did left hand the whole way through one more time. You're less familiar with this court here. Remember to do the fingering that I described in the last video. So here's 531 Make sure you go to 5 to 1. You should be pretty familiar at this one. That should be pretty easy at this point, but this one that might be a little bit harder. You may have to practice that a bit more. Let's put hands together, gonna do it really slow and counting. Here we go. One, two and 3 to 3 for next part one and two and three four and 123 four. That's too hard. Break it down into two measures each. One, two and 3 to 3. Wait, pause a second. Get those two measures down, and then the next one one and two and three and 134 stuff. So gradually put the hands together. This is more challenging were in less than six. Now we're gonna get a little bit more challenging. Hopefully, this motion is really fluid. Hopefully you're getting really familiar with the G position and the notes in the G position. So continue to play this. Do your best on this, and in day four we get to play a little Mozart. 10. Lesson 6, Day 4: Hello, students. And welcome to lesson six, Day four. And this lesson, we actually get to play some Mozart. So not bad. You're in your second half of the class and you're playing the classics already. And I guess I should be honest with you. This is a little bit of a simplified version of a classical piece, but it's really not that far off. You are really playing a classical work. Okay? I want you to look at the sheet music you have before you. You may think, Wow, this is 16 measures long. This is such a long song. But I want you to notice something. Look it line one, and then look at line three. Just look at those two. They're the same thing. So the good news is, if you learn line one and line two, you already know line three, and then you just have to learn line for up in my G position. I'm gonna play the whole song that we're gonna walk through you through some difficulties, and then I'm going to show you a live it fancier away a little bit more Mozart. E way of playing this. Here we go. Real slow. No, does. This is what you just played a cycle ago? All right? Okay, so let's look at just line one for now. Here's the right hand, remember? And 34 tall. Time one, two and 312312 and 31 23 Notice all these dotted quarters. I'm giving 1.5 counts too. So I think What? Two and 312312 and 312 Free. Now the left hand. You should be able to put this really easily together. You got your cord? You've got your f sharp. A g chord. Let's go for it. Real slow. One, two and three to 3212 free. Let's look at line two now. 12312312 Freight And 123 Notice. On the right hand, you're just going up to repeat the same note. I want to repeat the same note. Europe to be three and 123 Okay. Fairly simple rhythms here. Just got this one new court way. Start lying to with this G c e chord. Here we go to three. Change chords change in the end This is one of the measures that has a core change within the measure, not just 1/4 this whole matter. Okay, so slow that one down. I think at this point you're familiar with the right hand notes, and the left hand chords may take you a little time to get this. But this shouldn't be too bad. Look at Line three. I don't even need to go over Line three because you've already done it in line one. There's no point in playing that one again for you, so let's look at the final line. Starting in measure 13. Here's the right hand. Goes up, goes up, goes down right back down. Hold for three G two a B count to 312312 three. What is a little bit tricky in the fourth line, starting a measure 13 is the left hand. So many core changes G g G c back to G. You may wanna plot practice that a few times. Just your left hand. So putting it together Uh uh, Okay. Go through each line on this, remember? Do the first line in the second line. Then the fourth line, the last line be skipping around. But here's an optional way to do this. If you want to do something a bit more fancy, a little bit more advanced. And this is really how Mozart does his music. This is very characteristic of Mozart Gonna play the first line. The regular way thing is the way that's written. Now, remember this Alberti bass I described in a couple of videos ago? Okay, that is a little bit tough. Let me just show you the first measure. Look at the left hand. Real slow. Remember, I'm turning the left hand in tow. All eighth notes now. So let's do some math here in music this first be is 1.5 counts or free eight notes. This sea is 1/8 note. The last B is 28 So we put it together Free thin. These come together thing these come together. Okay, here's measure to e get this 148 minutes. Because remember, this is two counts is gonna be twice as big. It comes together. A here's next measure gonna give it three. This'll gets to gets four. Another way of this is think about the ratio between right hand and left hand, for example, the first note gets three. I call it three toe one. So there's 3121 on, then 2 to 1 the next, 14 to 1, next to the 11214 to 1 experiment with that, that's your first line. This is going to be a lot harder if you don't want to do this. If this is just too taxing for you, you can play it the block court style. You could also do the waltz style if you want. Okay, let's look at the next line. Alberti bass style. Starting a Measure five. Now this last one is a little bit harder to do because you're going to switch to another court. I would just do this play that one has a block. You don't really have a time on the last B because it's just one beat to do all this on. Have time for that, so just play. It has a block. If it's 1/4 note court. So again, measure five. I'm going to talk about in terms of 4 to 12 to one, etcetera. Here's the 1st 1 23412 This is going before 123412123111234 Block. Okay, if you need to pause and practice just that line sometimes we watch this part. Go over a bunch of times if you need to. Now the next line measure nine. No point in going over that because it's the same thing, isn't it? So let's look that measure 13 0 what's the hard part? Left hand? All these changes. So what could you do? Well, you could do this. Log, block, cord. I would block the last chord to give it kind of a since the finality. Since that. Your conclusion. So let's try this with right hand. 234 Blood to three. Block one to free four blood. More time. Okay, so break this piece down the most. This is by far the most challenging piece you've had so far. And I'll see you in Day five 11. Lesson 6, Day 5: Hello, Suits. Welcome to lessen six day five, and we're gonna look at a very special part of the piano. Thes are the pedals. As you could tell, this is my right foot. Some of you may have peddled some of you may not. I am coming to you hear from a grand piano, which has three pedals. We have one on the right, which is called the sustained or damper pedal the middle, which is called the sauce to Newdow Pedal. And the one on the left, which is called the soft pedal. I just want to demonstrate what these three pedals can do if you have all three. If you have one pedal, maybe you haven't Elektronik keyboard. Or maybe you have an attachment pedal. Most likely you have the damper or sustain pedal. This pedal right here on the right is by far the most frequently used pedal of the mall. I'm going to show you very quickly what it does. I pushed down this pedal now appear with my hands. I'm gonna place him does. You can't see this because you can't see my hands. But what I'm showing you is it? Once I push this pedal down. It holds down every single note. That's why it's called the sustaining pedal. It just makes sense. It's very useful. If you want to go from one chord and then connected to another court, watch my foot notice. I go up and then I go down with my pedal. So the sustain pedal is used in any peace. Where there, where there's a lot of leaps where we just wanna have that sustained sound. You know, you've only got two hands. You've only got 10 fingers. You can only hold so many keys down at once. It really makes things sound more flowing and more connected. It's not useful on every single piece. There's plenty of pieces that don't require pedal, but it's very useful on a lot of this middle pedal, this ostinato. I bet you could have a career in piano and hardly ever used the sauce to new. What the sauce to Newdow pedal does is it holds one note down, For example, I noticed that notes being held down, but all the notes that come after it, those notes did not hold down. I can only think about maybe three or four classical pieces that really required the sauce to Newdow pedal I wouldn't spend much time on. This is very rare, you know. Like I said, the big difference is that holds the first note you play down, but the notes that you play after that it doesn't hold out, so I wouldn't even really pay much attention this one. If you have a piano with only two pedals, you would have the damper or the sustained and the soft pedal, and it kind of makes the note softer. It's that simple. Here it is, without soft pedal with soft pedal. Do you see the tone? Not only does the volume change, but the tone changes these air very rare on really cheap Elektronik keyboards, but very common will almost always on any grand or upright piano. And if you could look inside a pan if you have a grand piano when you press this down, what you'll notice is when you hit Ah, note versus with it on. I mean, without it on that note, you're only hearing one out of the three strings is kind of difficult. If you've never seen the inside of piano poor. If you're really curious about this, I would go and look at the inside of a grand piano. You'll notice on a lot of keys. Ah, hammer hits three strings. But I put this guy down. It only hits one of the three. So before the basic course was over, I really wanted to show you what these pedals do. Feel free to experiment with this in some of my later videos. My more advanced videos, I really explain how to pedal. And there are markings for pedal on music as well. Hope you enjoy this. Maybe play some of your songs. Add some pedal experiment with it. Best to pedal with the core changes, and I'll see you in lessons. 12. Lesson 7, Day 1: Hello, students. And welcome to lessen seven day one. This is our theory component. As usual, we're gonna cover three topics. First, let's get started by learning some new notes in the G position. We've learned G A, B, C and D. Now we're gonna learn three new notes you're gonna need these for deck the halls first. This is our high e. Remember that the D was on this line right here. So the e is on the space above it and thats gonna be right above that D on the piano. And next we have the high f sharp And I remember every single F in this is going to be an f sharp. We've talked about that because of the key signature. And here's some examples of some f sharps. We've got 2/4 notes, 1/2 note and then finally we look at the high G, these air all right above the line. Okay, So remember Hii's on the space. If Sharp is on the line, G is right above the lines here and learn three new notes. So in this deck, the hall song, you're going to start breaking out of this basic five finger position going to start expanding the hand. We're gonna look at some new techniques to do that, but otherwise this is pretty simple. In the left hand, you're gonna have the same three chords the G chord, which is G B D, the C Chord GC and the D Chord F Sharp, A and D. And I go over those in all the playing videos in the next few lessons. Now we've learned about F Sharp and now it's time to really explain to you what all the Sharps are and how all the flats work to begin with. Let's just realize that every single black key on your piano and by now you've realized there's five of them. Have two names, a sharp name on a flat name, and I have them all listed here. This, for example, C. Sharp is the same thing. Is D flat now. Noticed the logical pattern here, see, and deer right next to each other. D's one above, Um, see, so think about it This way, See, goes up to see Sharp de goes down to D flat, but they're the exact same note. So defined the sharp note you start on note and then go up in the next video. I show you this. I show you each one on the piano. I know this may be difficult to just kind of conceive visually, but we continue this pattern D sharp is the same thing as e flat. Okay, the next two notes in F for both white notes. But look, the F sharp is the same thing is G flat. You may be wondering why doesn't this f sharp right here? Why doesn't have a sharp symbol bite Now, remember, it doesn't have to, because every single thing in this key that we're playing in every single F is an f sharp. Then we have g sharp and a flat. And finally, we have a sharp and B flat. And in music, we're going to see from time to time a black notes gonna be called a sharp. From time to time, it's gonna be called a flat. You just have to know, But with you definitely have to know both. Okay. Now, for a very, very, very important ruling Music. I call this the accidental rule. There are times when composers change their mind about what note should be flat and what note should be sharp. And whenever they do this, you know if they stick a flat by something or sharp by something in the middle of a measure or at the beginning of a measure, this is called putting in an accidental. I know that doesn't make sense because he and composers obviously intentionally doing it. It's an old joke in music, but nonetheless, that's what it's called accidental. Let's look at this measure right here. Notice that we're still in this key, that saying every single F is an f sharp Well, we've got to be. Then the composer says, Play this be has a b flat, but this be and this be our also gonna be be flats. However, these notes over here are going to go back to be Now why does this occur? Because from now on, once he makes it be flat, all the bees in that measure on this line, just the ones on this line are gonna become B flats. But once we cross the measure line, it goes back to being be. Now, on this example here. What happens if he wants to go back and forth? Well, he starts off with B. Then he says B flat. And then he says, Look at this symbol. This is called Be natural. He's changing it back to a regular B. Okay, let's just kind of doing exercise. I'm going to go over this in the jazzy song We Have a Little Blues. We're gonna have an example of this, but I'd like to show you maybe just a little example how you can figure this out. Let's say the note was G. I put a G right there, Composer says. Oh, I want the next G two b g flat. The next G is also G flat, But here's the deal. Once we cross his measure line, it's regular G. Okay, now let's do this was pretend composer Once the first F to B F Sharp. He doesn't have to write a shirt. Buy it. Why? Because it already says sharp. Here, every single F is an F sharp. Then the composer says, Oh, I want to change this next note to regular F or f natural. Then he puts the natural signed by it. The next note would also be f natural, because remember, this changes it throughout the measure. But then we cross that measure line and it goes back to being sure. Let's do one more example to make sure we understand this. We can erase a few things here. There we go. Were erased. Okay, let's say he wrote a C. We remember this from our C position. It's now a regular seat, right? Because it doesn't say c sharp. It just says F sharp here. He's going to make the next one sharp, and the next one is sharp, but we crossed the line. The measure line This next measure, it's going to be see natural. Then if he wants to make it sharp again, he has to do this. What happens if he wants to go back to natural? See natural in this measure? Well, he just has to do this. This is a very, very complicated rule. Happens all the time in music, and this happens all the time with piano students world where they kind of forget that he made something note, you know, a sharper flat in a measure and they'll and they'll forget. Well, I was supposed to play this one sharp. No, for example, they may look at this one and forget that he made it sharp. Happens all the time, especially with younger students, were even more advanced students, especially. There's a lot of notes of the pieces can get really, really complicated. Okay, that is our theory lesson for this week. And I'll see you in the next lesson where I'm gonna show you where all the sharps are in. Flats are on the piano. 13. Lesson 7, day 2 : Hello Soon's welcome. Toe less and seven were on day two and we're going to talk about the Sharps and the flats or the black keys on the piano. Hopefully you've watched your day. One video. You've understand the theory of the Sharps and the flats. Now we're gonna look at it and apply it to the actual keyboard. Okay, notice we have 12345 black notes. You have a three pattern here, a two pattern. Here it continues 3 to 3 to you probably already knows that when you look at the piano. Now, I'm gonna explain that every black note has two different names. One is a sharp name and one is a flattening. Sharp means go up. So we know this notice. See, when we go up, we are on C sharp. This notice D So we go up, it's d sharp. Then we haven't e we have an f. This is f sharp. This is G. This is G shark and then this is a And then this is a Sure. So if somebody says play this sharp, all you have to do is think about the name of the note and then go up. Okay. Can you find me a d sharp? Try to find it. Find the d, then go up. Hopefully, this is what you picked. Look, now can you play me a g sharp? Hopefully, this is what you picked a c sharp. And hopefully this is what you pick. Okay. Fairly simple to find that if you've got a good command of your notes, finding the Sharps is pretty easy. But like I said, every single black key, all five of them also have a flat name. And you have to know both. In some forms of music, it's gonna be referred to as a flat, sometimes a sharp. That's just how music is. There's nothing I can do about that. Some people often ask me, Why do we have both? That's just how music developed over time. So to find a flat note, we find a note, for example, deep. And then we go two d flat or we find E. And we go to e flat E f G. So this is G flat. This is a flat, and this is B flat call out of flat. And what you find it So what you do is You find it out, and then you just go down to the black note next to it. So can you find me an e flat? So we would find the e. So that is e flat. Find me the G flat. Here's the G. So this is G. Find me the B flat. Here's your be. And here's your be fine. So in the coming weeks, coming days get more acquainted with that. I always start off with just learning the white Keys first. Then we start getting into the black notes because you're gonna have to know those as well . I'll see you in day three when we start playing a blues piece. 14. Lesson 7, day 3: que student? Here we are on lesson seven, Day three. This is our first jazz blues e piece. It's only four measures long getting it you into this a mode of playing. And we're gonna have to do a lot of thinking of this piece because there's a lot of flats. There's also some natural. So remember what I talked about in day one when I talked about the accidental rule and how flats work? We just play this whole piece for you go to left hand, then really going to go into the right hand, cause right hand, we really have to think about. Okay, here's the whole song. Okay, Quick piece, Short piece. But it sounds a little jazzy. It's something different than what you've been doing. It was Look at her left hand winner G position, Of course. So we've got our G chord. We go to this inversion Psi Corps GC a little bit harder. Switch over here. We're gonna have to go over to here and go ever a and e back to your original core g b d. One more time just left hands or here's your gpd switches to here. 5 to 1 for GC. Any move over this is gonna be the hardest move five green and one f sharp 80 and then back to GPT. Okay, Now let's look at right hand. Gonna go measure by measure. Really, really getting to death on this. We start in this G position g the first notice. Be the next note B Flat way one about this next note It doesn't have flat on it, but it's going toe Continue to be, ah, flat because the flats at once it continues being flat. So it's to be to be flats then what's this symbol? It goes back to be natural and then up to the So that's how he can change his mind. He being the composer in the middle of a song We simply do this way Put the flan on it thin back to natural and then up to see So here's our next measure. We start on C The next noticed be the next noticed B flat. The next notes A So what I have to do to play this A I move my thumb up so I do this. Another possibility is this I wouldn't recommend this too much. Is is kind of hard if you're just starting off piano, but you may do this. Did you see what I did? I just slipped over. Were flipped from the B flat today. I slid off the B flat today as probably the best word for it. So that's possible. You retain more of the original position if you do this. But if that's too hard, then just do it this way. Okay? Let me just do the 1st 2 measures I work on just those two measures. Just right hand all by itself. Don't put him together yet. Looking at measure number three, we're on the than to seize. Then be flat again to be natural up to d and then another be natural, cause the last one was be natural and then last measures the gene. Here's this measure in slow motion. Okay, I would practice those two measures. All right, once you get the notes in the right hand down, you've got a good command of the notes. You've got good fingering. Here's something you may want to do. Notice. When I played this first measure, did you see what I did? Almost 2/8 notes on those to be flights. I went. I didn't play them evenly. Did I? I didn't go. No, that's called even eighth notes and swing and blues. Sometimes you want to do swinging eight those which is like this. One, 234 That's how you want to count it back and work. What? 234 Next measure one Teoh, then, uh, notice. I'm making the 1st 8 note long The second short. You can think of that third measure this week. Long, short, long, short, Long short. Long shirt to three four. Okay, I would Onley do those swing and rhythms once you're done with the actual notes. Don't be doing it when you're just starting off trying to learn the nets, okay? When we're timing, could play the whole thing all the way through with the swing rhythms Change court over here for this court. Okay, be working on this song left hand fairly easy. I would definitely right in some of the notes in the right hand, depending on where you are at on that. And I'll see you on Day four 15. Lesson 7, day 4 : Hello, students. It's lesson seven. Day four were on deck the halls. The second part After we're done with this, you'll be able to play the whole song. So let's get going. I'm going to show you the whole thing. They were going to go part by part. Okay, First things first. Left hand is what you've had before. You restoring this f sharp a d chord. There's another one. G b d Another gpd. Next measure another gvt that up to G C over here to F sharp 80 and another f sharp. A D. These are all cords you've had before. Hopefully, you've got these three basic chords. The G B D the f sharp, a d and the G C in the left hand. All down. Pretty good. But now, right here, I'm gonna go measure by measure. Let's talk about all the notes in the right hand. We're gonna go pretty high, so I want to make sure you know all these notes. We start on a to B thing to see today. Next measure. Be see de A next minute, B c sharp de e f sharp. Okay, Final measure f sharp. A damn right Now, if you don't have the notes written in or if you have a marin in, then make sure and check that these were the notes you have for those four measures. Okay? Now let's talk about the technique and right hand on this first line. We start off in RG position, we start to on a next measure three on B. Now look here. I have to move my hand to one on B two on C sharp. Turn under. Tow one on D. Keep going up, then I go back down. We've got two new techniques here. First of all, I just pick that hand up and then second technique, I go under. No. So I don't do this, but I go under turn under 21 on D. Keep going up, then I take it down. Okay, I would practice just that right hand on that top line over and over again. Make sure you're doing all those fingers and all those notes. Once you get that right hand down, put it together slowly with the left hand. Here's first measure. Next measures. Wish that G chord. Next measure. Move. Turn under. There's your psi corps than going down. That's by far the hardest thing you've had to do in this course. So if you have to rewind this, go back and do this over and over. Now let's look at the second line. Here's the good news. The second line. I don't think I need to go over that. You've already done that before. But the last part of the second line, this is what we do. We stretch up to five on E and it's be a look at what I do. I go over to G. So the last two measures E g A. C B. They flip over to the chief, put it with our left hand chords. All of these courts we've had before, okay, And the good news is, once you're done with this part, you just get the music to the first part. Play the first part, play the second part. You could play the entire song deck the halls, go slowly on this do hand separate practices is hard, but you will get it. I'll see you in Day five 16. Lesson 7, day 5 : hello and welcome to lessen seven Day five for we're doing an ear song. My country tis of thee patriotic favorite and has usual with your songs. I give you the first noted every line. Next week I'm going to give you all the answers. You're gonna get to figure out the courts of this song next week, so don't look ahead. Try to figure this out by year, but I've got it written in actual music notation for next week. Okay, let's start with line one. We're starting on the G. One thing I want to let you know is that every single F in this piece is an f sharp. So no regular efs, all of sharp. Otherwise all of the notes or white keynotes Here we go. First line starting on G one more time. Okay, try figure that one out. Remember, music can only go up down or stay the same. Pause this video if you need to. Moving on to line two. We're starting on this being, and here we go one more time. Line to, by the way, lying to in line one or a little bit similar. I'm gonna give you Let that hint. Looking at line three. Starting on a one more time. Line three. Next line you go up to this high D one more time. This line starting a Heidi. This is lying for next line serving on the high sea. This is lying. Five. The last line of this page one more time. Okay, Turning page. Here's the last two lines of this song. This line starts online. Own note B. This is the hardest one. Think about your direction. Starting on B final line of the song Starting on this high E Here we go. And one more time Starting on the high e Okay, if this is tough for you pauses video as much as possible. Go back and listen to each line When you think you've got the answers maybe play it yourself all the way through And then listen to me Play it all the way through. So here it is. My country tis of thee all the way through. No. Okay, so what you figured out should sound just like that. The answers are going to be in your study guide in less than eight 17. Lesson 8, Day 1: Hello, students, and welcome to less an eight day one. In this lesson, we're going to go a whole new direction. We're gonna learn all about how to play from a fake book. A fake book is also called a lead sheet, and this is basically a different way, kind of a more modern way of writing music for piano and for other instruments. Very, very popular. You may have heard of the term fake book before, and we're going to start exploring that. Let's just kind of get started. Shows some examples here. This thes 1st 2 lines here would show you Ah, hypothetical song written in fake book style. Now notice you don't have a bass clef. All you have is a trouble Chlef and you have notes in the trouble Chlef, of course. And then above the trouble class, you have letters like C and G and D and etcetera, etcetera. Those letters are simply chord symbols. So, for example, in this first measure of the song right here, it's telling you in the right hand to play G g g g. But in the left hand you're playing this. See, for the C major chord. Okay, in this measure right here. You're playing two notes. You're playing the right hand g and then D and you're playing Ah, a G major court right here and a D major court right here. So you would play a G major chord right with this note. A D major court. Right with this. Now, in this measure, you're playing a C major court here and then an f over here. But now the question is this note right here this note right here, um, you're going to still play the C major court. You may wonder why that is. There is no court simple above it. Here's the rule. When you play a chord when you place a court simple right here, it's in effect until the composer changes it. So the C major court goes with this goes with this goes with this, But it does not go with this one, because it is, of course, is the F court. So the court stays in effect until the composer changes. Now, here on this line, we've got some tricky stuff. This is f in it goes slash. See? Now what exactly does that mean? Does that mean you could play either cord and no, not at all. I have the explanation right here. You're gonna play the F major chord, but you're gonna play, see on the bottom. So you're gonna play see f and A in that order. And in case you haven't had this court before, we're going to see how that court is done in our next lesson. And then this court here g slash b. We're gonna play RG court, but we're gonna put be on the bottom. So we're gonna have be de and G. That's the court we're gonna play. We've already played that court actually, in several of our previous songs There's several questions with fake books. First of all, where on the piano Should I play the court? The answer is, is always play the court below the right hand Since the right hand is playing the melody we want the listener to hear the melody So the right hand's gonna be playing the melody words written and the left hand chords You want to play somewhere below Now you could maybe play I'm quite a bit below it Or maybe just right below it. It doesn't really sound good on your piano to play chords really, really, really low on the piano. You've probably already noticed that second question. How often should I play the cord? At least once a measure. Let's say you have a court symbol that's in effect for two or three measures. People ask, Can you just hold that core down? Not a good idea, because whenever you play a note on the piano, what starts to happen it starts to deteriorate, starts to go away. Now there's some keyboards that are an exception to this, but normally a piano is kind of a dying instrument. In terms of its tone, you press a button down your present key down, he starts going away. So you want to play that chord at least once a measure. It really helps reinforce the rhythm a lot better. Third question. What if the composer doesn't want a chord in the left hand? Answer. He or she will write in C or no court. We're going to see that in our next lesson. We're also going to see our next lesson. If they start the song off and they have no court symbol, guess what it means. You're going to start the song off with No Cord. You're not gonna play a chord until he says to play it. Second of all, what style should I play? The core that's up to you. We've learned several different styles of playing chords. We've learned about Alberti bass. We've learned about March style Walt style rolled cord block style. It's really up to you in your personal taste, and that's what's really nice about fake book playing. And whenever you go to a piano bar or any sort of club and you see a pianist, normally if they have music, they're gonna have these lead sheets or these fake books. And that's simply because it allows the pianist to play in a much more improvisatory style . Jazz musicians only use fake books. Jazz musicians rarely playthings from a full piano score with both forklift and bass clef. And over the past few years in my teaching, I've noticed that some students really love fake but playing. They love fake book playing because it allows them to really expressed themselves, and they play with different chords in different ways. Um, you know, they just lucky kind of the expository element of there are some people who would like to have every single thing written out for them, and they don't do too well with fake but playing. So this really gives you a chance to kind of see what you like. Do you like the freedom that fake book playing offers or do you not? And we're gonna focus this entirely on this in this lesson, and we're gonna learn more and more about cords, which is useful no matter what style of music you play. And in the next lesson, Not the next day, but the next lesson. Lesson nine. We're gonna learn a song both ways, and you can tell what you really like to do. So on our next day, we're gonna look at oh, when the saints go marching in, which is a song we've played before So it's not gonna be too hard for us But we're going to consider it in this fake book style. And I'm gonna have all that written out and all the courts written out for you. All right. See you in Day two. 18. Lesson 8, Day 2: students and welcome to lessen. Eight day to today, we're gonna be revisiting an old favorite. Oh, when the saints go marching in and we're going to play it in a fake book style. So hopefully you wash that first video on fake book style music reading and you know how this works. Okay, I'm gonna play the melody for you the right hand this you should also be familiar with you've done this before. Um, and I think less and four. All right, here we go, Melody all the way. You've done this before. You know this. Well, easy, Melody. You remember your seat position now I'm gonna play with the cords in this fake book style. You've done this from a music reading perspective. You've done this from a trouble clef bass clef perspective. Now you have to look at this on Lee, looking at the trouble clef and the court symbols. Kind of a different style of reading. And also has you'll see a different style of play. No. The first question we have to ask ourselves is, what cord do we play? And I'm just gonna go line by line. Measure by measure, The first measure C E f. You don't see a court symbol now, do you? So guess what that means. You don't play a court at all. No core, just nothing but right hand. But on this measure, the the C chord is in effect. And in the next measure, the sea chords in effect. Same thing for this measure and this measure C cords and effect see courts still in effect . But wait, we get here. G slash b. Let's explain g slash b. You've learned in some previous songs that the G major court is G, B and D. Right, But this is what this means when we say g slash b The first letter g means G major court. It means those three notes g b d. But the slash B means you put the be on the bottom d in the middle on the G on the top. So it's an inversion of the cord, so that measure you play that inversion, then the next two notes No cord thing to see Major C Major still in effect, see majors in effect right here. But nook, we've got an f slash C corps. What is F major core means it means and see you may not be familiar with this one. Don't worry in the next two videos, and the next lesson, we're gonna talk about this court a lot, but it means F a C. But there's a slash. So we put the sea on the bottom, the F in the middle and the A on top. So that measure starts with C Chord F A, C or C F A. In this case, then you have an Encino court C major chord on and then to an f slash C and then Teoh c major court. So notice that next the last measure you have C f slash c and then back to see. So that shows you that the melody line is independent of the courts. You can play the chords in the middle of the measure you could be holding down and out on, play two different chords and then go back to the other. They're in completely different universes, the court simple and the melody line. So hopefully that answers the question of what chord you play. But another question is, How often do you play that court? Let's look at the beginning now, Look what I dio. I want to play the court at least once a measure. If I don't, this happens. The court fades away. Now that's gonna depend on what kind of piano you have, what kind of keyboards you have. But if you just hold notes down on a piano, they eventually just fade into nothing. So I want to play court at least once a measure. But that doesn't mean that I have to play it on the first beat of measure. I could do this. I could wait to the second. I could do this. There's all sorts of possibilities. You're free to do that. So you want a court at least once a measure, but it doesn't have to be on the first beat. The other issue is this. Besides, what chord or how often do we play? How what style do we play the court in? Do we have to play? It is a big block. No, we could do this. Remember those rolled chords I talked about in previous videos? I could do this. That March style couldn't all sorts of possibilities. I could mix it up way more than just 1/4 measures way, so many possibilities. And that's the joy of fake book or lead sheet reading. So hopefully this right hand will be easy for you. You've played this song before. It wasn't that long ago. And the left hand, you know, most of the cords, but you just got to get them from in this new style, playing OK and speaking. Of course, in this next to lessons, we're gonna talk about the 12 different major chords and the 12 different minor chords. Believe me, in the next two lessons, you're gonna learn 24 new courts. I'll see you then. 19. Lesson 8, Day 3: Okay, students, welcome to less than eight, and we're on Day three, we're gonna learn how to play every single major cord. I'm gonna show you how to do this by thinking of the cords in terms of groups. So, for example, we've learned this court before the C major way. Just put it all down. By the way, I'm just gonna do this my right hand. But you could do the same with your left hand if you want to do that too. So see, e g, you've also learned this court before G be and deep. I'm gonna show you another court here. We've just been getting into F a A and C so C e j d f a c E o. Now just visually just looking at those cords. What do they all have in common? Well, one thing they all have in common is their all white keys. E g all white GpD all white f a c all white. So think C and G those air. You're all white key group of three courts. Pretty easy. I think you know some of these already. Anyway, let's continue just looking at the piano. Visually, there's also three chords that have a white notam bottom, the black knight in the middle and a white known on top. And I call that D E A. So here's the D chord notice D F sharp and a the next one's the e chord e sure and be so white, black, white And then finally the a major court a c sharp. And so I think d e a. Those air. You're white, black, white. Remember, the courts always skip. So skip, Skip, Skip, that's skipping the notes or skipping knows I'm always using my one my three of my five to play these courts. So we got the white Note Group C F G. The white black White group, which is a now this little bit harder. Look, think about the opposite of white, black, white. Let's think black, white, black. The 1st 1 is D flat F and a flat. They move back a little bit so you can see the next one is E flat. The middle one's white, so it's G top ones B flat, flat E flat. And the final one is a flat, a flat C flat, e flat, uh, a flat. So thank DEA there too, but just think d flat e flat a flat. Rather there is a d e a. So to review. Here's the white, white, black, white, black, white, black I get it, I'm going too fast. Just slow down. Go back. No, these cords, visually rather than memorizing a bunch of notes. Just remember, there's different types of color combinations. Remember, you're always skipping now. Final group is what I call the miscellaneous group because it really doesn't fit into any color pattern. And these you just have to know the 1st 1 of these is what I call the all black note chord , which is f sharp, a sharp on C sharp. Or you could think g flat B flat delight. This is a good review of the names of the Sharps and the flats. So this one is the first miscellaneous one. The 2nd 1 is the B flat major chord, which is B flat D. And the 3rd 1 is be major, which is d sharp. And after so getting the miscellaneous groups f sharp or G flat B flat and then, uh, be major. Okay, what I would try to do this has your practicing has your learning. Maybe take a group a day and just trying to memorize one group. So maybe memorized all white and one day maybe memorized the white, black, white in another, etcetera, etcetera. Or maybe just take two chords a day. In no time you will be able to learn all the major courts. And has we've been working on fake book style playing. If you're interested in that, that's all. Court symbol for left hand. So a lot of piano courses teach nothing but courts. I'm not somebody who does that. I like to teach a lot of different styles, but I see the usefulness of learning courts and learning Facebook reading. And in the next day, we're gonna learn a trick toe, learn 12 mork warts. 20. Lesson 8, Day 4: welcome to less than eight day four. Hopefully been practicing your cords and I'm gonna show you a trick to make a major court into a minor court. Let me just play some minor chords because we haven't done a whole lot with this. But you notice that major chords like this is for this sound Majestic. They sound upbeat that they sound happy. Now listen to a few minor chords. Don't try to play. Just listen. How do they sound? Different? Some of you may say they sound sadder Any more depressing, but minor chords. Even though they sound sad, they sound a bit depressing there. Used a lot music because music. What does it do? It evokes mood. It evokes emotion. And sometimes you don't always want a happy emotion. Sometimes you want set and tragedy. Oh, okay. So you may think Oh, no, I'm gonna have to learn 12 more chords. This is just too hard. Not necessarily. This is why it's gonna be really easy looking back on our some of our courses. Looking back at our C major chord. Uh, now I'm gonna turn this in one simple step to a minor court. Did you see what I did. I took the middle note when I went down 1/2 step. When you go down one note that's right next to it. That's called going down 1/2 step. So I go from C major two c minor in one easy step. I don't even have to change the finger numbers. Let's do this on to some other courts. Here's E flat major. I take the middle note like I did before. I go down 1/2 step on There's your E flat minor. It even has basically the same name. You just switch the word minor with Major. Let's take another chord. Let's take a major. I take the middle note. I go down, I'm on a minor and let's just do one. Let's do be flat. Here's B flat Major, I take the middle. Now I go down 1/2 Step on. Now I've got B flat minor. So has your learning your four groups of chords experiment with this, maybe take a group and play a major and then play the minor. This is very, very simple to do. We just take that middle note, taking down 1/2 step and it better sound sad. Okay, I'll see you in the next listen 21. Lesson 8, Day 5: Philistines. Welcome to less than eight Day five and your previous lesson You were supposed to figure out the melody to my country Tis of thee. I've got it all written out there for you. Hopefully, you were able to figure this out without looking at the notes. I'm just gonna play that melody. Then I'm going to show you some chords. And then this time I'm gonna turn the camera way and you're gonna listen to me, Play the chords and melody, and I want you to You see if you can use your ear and play those cords, figure out those cords by year. A component of their training is also figuring out what chord sound like by year. Let's just go over the melody in the first line I have G g A f sharp continuing B B C B A g Next line a g f short G continuing de de de de CB Next line. Si, si, si si. A continuing be C B A g B C d. Final line E c B. By the way. I don't really care what fingers you use from for this song. When it comes to hear songs We just want you figuring out stuff by year, figuring out the notes by year. Okay, make sure you have all those notes in your melody. Make sure that's what you figured out. Now I'm going to go over some chords we're gonna have and you notice on this sheet music. There's a line, a blank line. That's where I want you to fill in the name of the court. Here, your choices. First chord is your G chord. You've done this before. This is the first court choice. So if you think it's that court that geek, or do you just want to write the letter G, the next option is D. Major court slash f sharps Remember D majors, this slash slash f Sharp means f sharp here A and e eso. That's another option. Another option is c slash g. So G's on the bottom season. The middle he's on top and the final option is a minor. Now what I have in your book, I have a M. That's the code for a minor. There's kind of a notation code to this. A minor is a C and E. Hopefully with those last two videos, you have a pretty good understanding of major and minor chords. But just to review, you have in this song G chord de slash f sharp c slash G uh, and then a minor or a M. So I'm gonna do is I'm gonna turn the camera away. You can no longer see me playing at all. You just see the top of the keyboard. I'm going to go just through the cords first and see if you can figure out by ear. Then I'm going to do chords and melodies. So the first chord is this one. Do it one more time. This is the court in the next measure. This is the court and third measure. Now, remember this same court that I'm playing in the third measure will still be ineffective. Measure for Okay, let's go to measure five. This is the first quart of measure five way go to another chord and still another chord. Eso three chords In that measure, let me do that. Measure 51 more time. Since there's three quarts, here's the 1st 1 Next one. Next one and here's measure or six same court is in effect for measure seven. Same courted effect from Measure eight and then we have two chords rapidly in a row. Here's the 1st 1 back to this one. Here's Measure nine goes to this court. It's still in the fact that we change quickly just like we did before to this one and into this one back to this one. It stays in the fact now, last two measures three chords in our own measure. 13. This one last chord is this one. I know that's going pretty fast, but remember, you've got that rewind button rewind and listen to this over and over again I'm gonna play the whole song Real slow melody and courts So if you think you've got the course down Do you think you got the melody down? Just try to play along with me at home I'm gonna go super slow The good thing about cords is in since you know that sunk so well You heard this all your life You're gonna know if you make a mistake. So don't cheat. In the next lesson, I give away the answers. I'll see you in that lesson night 22. Lesson 9, Day 1: blow students and welcome to left nine day one Looking at you new theoretical concepts. We always want to start with theory. And let's turn our attention to this. Look over here. You noticed there the flat right there in their lap right there. Remember when we played deck the halls and homes in those in that G position? All the F's were turned into f sharp because there was one sharp. Now, when we see one black in the key signature, this refers to be flat. You may remember that this note right here on this line is be that b flat right there. So no matter what, when you see a B, you're going to play it Be what? Okay, let's do a little note naming exercise for just his first line because we play the song in this lesson, we're gonna get to play amazing race. You're gonna play notes that were in the sea position and that were in the G position. So we really have to think about all the notes we've heard so far in this class of this first note. If you get see, you're right. That's what these units are. We're going to about a one below it G. Now here's our new note. It is be flat. Remember, all of them are being flat A and your see right here. We're back down to D, and this is so if you're a little confused, go back and look at the notes we've had in our previous songs. I really encourage you now, depending on your level of confidence to start thinking about not writing in every note, maybe just right into a few of the notes. I don't know what kind of music reading background you have before, but if you had some before where you if you just started with this class and you're really turned to know this, just get to the point where you can look at a note. You don't have to think about it. You're gonna know what it is. I would look at our second concept. This is a concept of triple it. We've learned before that eight notes these notes right here they get 1/2 of account that we count them like this one and to and however there's a different kind of a notice over here. These air called Triple A eight note. How do you know these triplets looking that number three right there? And right there, these triplet eight notes get 1/3 of a cow and they're counted like this one. Let to let another way of counting. This is one Lawley to Lally. Whatever works for you is fine with me. But here's what we have to remember. Eight Note Triplet, get 1/3 of account. These guys over here, Regulations get 1/2. Remember, 1/2 is a bigger than 1/3. So when we're counting this, we're gonna go one and two and three for one bullet to bullet and notice. These went by a little bit faster. The knee. And that's because this is 1/3 of account, these 1/2 of a game. Don't forget three of these add up to one count. That's why this was one bullet. And then this was the beginning of the two to pull a lever one and two. Hey, we're gonna see this when we get to date for we're going to Amazing grace half triple. These are very, very easy to feel very easy to count. But remember, if you've got a piece that has eight note triplets and then regular eight notes that a trip . Let's go a little bit faster because they're only 1/3 of account and 1/3 is small. Smaller than 1/2. I know. That's a lot of math here. Don't worry. We're gonna show you in a day for how to count final theory concept. We wanna learn. We've learned a lot about Ford, but all the court we've had so far major cores in the minor court on Lee had three notes. But now we're gonna learn something cold. The seventh quarters from types of seven courts. This one is denoted like this, you see, and seven court, and you can have a deep seven chord in a seven. And this song We're just gonna mess with C seven court. So look down here. I've written out all the notes in the Peace Corps notice you're gonna have four notes. Now you're gonna play see e n g. Just like your regular c major chord. But you're gonna add on this B flat. This explains wife called C seven. Think about your alphabet D e f g a B flat. That's seven letters. The beef. Why did seven letters up from C I explaining that left wide in the court. Listen, why? It's gonna be B flat and not regular B. Now you can play this seventh Corps two ways you can play like this. I've got all the cords on top of it. I mean, all the notes on top of each other, C e g b flat. Remember what we've been doing so far? We've been doing different versions, of course. So in this song, an amazing grace. You want to play E g b flat and C, and I'm gonna show you why and are coming up lesson. Remember how some of the song that's been easier to do this verdict of the court, rather than another version accorded all have to do with where your hands are And how can we minimize the motions of our hands? Okay, so go back, review your notes from some of your earlier song review some of your cords, and in the next lesson, I'm gonna show you the main cords we're gonna use in this long. We're gonna use F B c. And then we do the jazz version of Amazing Grace. We're gonna do this. See? 74 Okay, I'll see you in the next 23. Lesson 9, Day 2: Okay, guys, here we are in lesson nine. On day two, we played a lot of songs in a lot there from positions. We've been in this sea position. We've been in this G position. Now, in this last lesson, when we play Amazing Grace, we're gonna be in this position called the F position. So our five is on F four on G three on a to own B flat and one on C. Okay, so let's look at some of the cords were going to play in this position because, remember, in C major, we believe this court of this court in discord and then in g position, this court, this court, this court, Well, there's certain chords that go with the position f or the key of F. And I'd like to show you this. The 1st 1 is just the regular F court f and C, and hopefully you recognize this has F major court, one of the three all white courts. This is pretty easy. 53 and one. The next court we're gonna have is R c major chord, but it's slash e. So remember the c chord to C, E and G, but what a slash mean? It means you put e on the bottom. So therefore G is going to be in the middle and C is gonna be on top. So is the same thing is a c chord, but it's just a different version or music. We call these inversions f we go to the c slash e. Okay, Next court is a M, which means don't forget a minor, but it's slash e So hopefully you remember from your study of chords at a miners these three notes a, c and E But I remember slash e You put the e on the bottom so therefore the A will be here and the sea will be here. Okay, so to review, we've got the f chord c slash e a minor slash You see how easy it is to go to this one. By the way, this a You could play with two or you could play with three. Whatever one you find. Easiest final chord is B flat, which hopefully you remember his beef. Latvian F world played appear B flat D and F, but it's also a slash court F on the bottom B flat in the middle on top. Okay, so here's to review. Do this two more times. Try to play along. I'm going too fast. Just keep rewinding and keep doing this over and over again. C slash E A minor slashing and B flat slash. Okay, so this is our third hand position. This is why this course really gives us a great overview of piano playing. You learn all your cords, you learn three positions. And once you learn to three positions, you'll find it's not that difficult to learn Maurin Mawr hand positions and build on that. I'll see you in the next lesson where we're going to start getting into Amazing Grace. 24. Lesson 9, Day 3: que starts. Here we are on lesson nine. Day three, we're going to be playing Amazing Grace. I hope by now you've gone through. You've figured out the notes in the right hand. I'm gonna play the whole thing in right hand, show you some possible finger rings and then I'm gonna show you how to get it to go with these new cords you've learned. And again, this is fake book style. So you're not gonna have to read a bass clef. You're just gonna be reading the cord symbol. So don't forget the rules off fake but playing. Okay, The beginning. My first notice. See my second of his f I go as high as a So because of that, I'm gonna put a one here on this. See a three on the F and five when the A I'm not gonna be like this because then I can't reach the A. I'm gonna be like this. Let me just play this first part of Amazing Grace. More time. Just that first part. Now notice when I did these last units, the D. C. I do two here and one here, so there's two kind of dangles all right Next phrases is starting at the end of measure for Let me show you this part right here. Starting at the end of 41235 to 3 to five. Now I've got to go higher. I'm gonna put a two on this G that enables me to get up to the high. See, Just like that One more time. Two on G five on High C And here's next part thing is pretty easy because I just keep my hands in this five finger position. The now, the next part I move my hand down. Now why can I move the hand down? Well, because you can make a movement. You can make a jump if it's in a place where the singer would breathe. For example, I think this is a song that is meant to be sung. The singer would breathe air so you can have a little bit of a Paul's and then go down here . Last part, By the way, notice how this last part he's just like the first part. So to recap, we start in this position e I know I'm playing way too fast. I'm just trying to give you know, for you the next part. Move up. We stay in the position way. Move back down. But make sure you're too is on D final part. Okay, so review that right hand. Get that right hand down. Remember the first part. Last part are the same. Hopefully, this point, you're good at reading notes and writing notes in you. Maybe you're even start to memorize what some of these notes in the right hand look like. So you don't have to put so much work into the right hand. I would like to play it with the left hand course that don't forget. We've got to play at least one court. A measure. Also, don't forget. The first note has no court symbol, so there's no court on that very first note. Okay, - So what's the big problem when we play this piece? Well, the big problem we're gonna have is this overlap between the hands. Now, could you take a left hand plate down on Octavia? Could you play the right hand up a doctor? You could do that, but let's just kind of take this challenge of playing the hands so close together. Here's what I do the very beginning. Look at this E. But I have another way. I could do it. I could do it like this. Did you see what I did there? I played the sea with my left hand on, then added the right hand in the next measure continuing. Here's another problem. We've got this D that's also a part of the court. So what could I do? I could do like this. I could share the No. Or I could do this. I could just let the left hand player because you're still going to hear the melody. Watch this the way that left hand you steer helps you still hear the melody? No, she Then way here the hands go further apart. They're far apart now. They're going to get back together. Same approach. You could do this or this. You know what you'll have to do, though. You'll have to momentarily let that d go. Keep F board. Okay, so this is a hard task. It's a new positions, new chords, a lot of new things. Try to practice the right hand first, hopefully have the left hand corporate or crushing down already because we talked about that on Day two. If not, take a little bit more time. As far as other styles are concerned, you could do stuff like this. You could do the role cord. I would not recommend this. The waltz style. I mean, it just doesn't sound good on a him like this. Okay, so continue work on this. And in next day, we're gonna play the same song, but just a little bit jazzier. 25. Lesson 9, Day 4: Okay, I see It's lesson nine day for and we're back on Amazing Grace. Hopefully you've mastered the last version of Amazing Grace. Now we're gonna make it sound a little bit more jazzy with the triplet rhythm. I explained the theory of the triplet rhythm in that first video lesson. Now let's see it in practice that you consume in your sheet music. All of those triplets have the little free thing above it. We have three nights in a row, each one getting 1/3 of account. This is how it works. I'll play the whole song right hand. It's very similar in terms of notes and fingering, but just that rhythm just adds a few notes to it. Let me show you Triple triple that next race triple thing, you move over. Move. This is like before triple triple, Triple that. So all we're doing with a lot of these is we're just adding one note, you know, for example, when we did the regular way way, here we go trip. So we're just adding that G right there. Or instead of going this, we're doing triple it. Okay, so once you get the basics of this down. It's not that hard to guess. Kind of jazz it up with ease, fancy or triplet rhythms. Now let's talk about the left hand. We got the basic court structure. We've still got this cord. Still got this cord. Still got this court. But instead of playing C chord, we're gonna add this B flat because don't forget the seventh chord and how that works. E g, b flat and C So we add this note right here the b flat. Remember? I explained about the seventh chords in this day one of less and nine because remember, C seven core to see e g and B flat. But now here we're going to do an inversion. We're gonna go E g b flat and c So let's see how this works together. The very beginning of this. Let's not do the seven. Let's just do this court. We've been doing the E g c. It sounds OK, doesn't it doesn't really sound wrong to use just the regular see court, but I think you'd agree this add some spice. Here it is again. See, that B flat just adds I don't know what you call it kind of twang to it, kind of a jazz element to it. Seventh courts are very common in jazz and blues, far more common than just regular major courts. So that just kind of jazz is it up a little bit? So let's go from beginning just like before way. Jazz it up with the Seventh Chord Way. Do what we just did before. This is like before jazz it up. There were better options here, or just all kinds of ways. Not bad. You know, this is a new way of playing it. It kind of gives you some variations to it. If you wanted to play this like in a church setting or you want to accompany a solo wish, you could do one verse the regular way in the next verse the other way. That's the beauty of fake book playing and playing from cords. I'm not opposed to teaching people how to read the left hand. I think that's great, but I also want people to understand core structure. I want people to be able to look at a lead sheet and play something creatively. Okay, so be working on this. Be able to play this song both ways is by far the hardest song. I mean, we're towards the end of the course here, and we're going to finish up the course in Day five. We're gonna play for you the cords to my country, Tis of thee. So be checking on that. 26. Lesson 9, Day 5: guys, here we are on our final day day five of less and nine There's gonna be pretty easy one. I'm just gonna play what you should have written down. You should have written the correct courts. Hopefully you're looking at the sheet music. Now you've got it right in front of you. And let's just see how we did. You should have your G court here than our D slash f sharp RG court, which carries over to the next measure that measure five. You have your A minor de slash f sharp ended back to jail and the G carries through to the next one and do the next one. Then we have this quick eighth note are c slash G two or G back to our C slash G and measure night continues. The next one is G, then to quickly to d f sharp stays on G Final two measures c slash two d slash after and enter ji It should sound like this next measure. Keep the G, keep the G here, but he's quickly switch. Keep the C slash she switch. Okay, So check out your work on that. Try to even play hands together. Don't worry so much about fingering. This was an ear exercise. Thank you for taking this class and police check outs of my other classes under my name.