Learn Piano! Play Songs, Chords, Scales and Learn About Music Theory, 20000+ Piano Students!

1. Virtual Piano Teacher Course: welcome to the pre release of the virtual piano teacher course. Roid hair on skill share. The 1st 3 chapters are available, providing you with 20 hours off piano instructions. In this course, I'm going to teach you all you need to know about playing the piano, whether you're just starting out or have them playing for a little while, I'm going to take your skills to the next level for discussed courts skills, modes, intervals are Pagis but also have, like a different piano styles like classical, contemporary Latin raggy, pop and rock. And on top of that, I will teach you all you need to know about reading sheet music time signatures had to use your piano pedals on, even had to stretch your fingers before playing a pianist. So go ahead on which the 1st 3 chapters. Right now, the final chapter will be available before the end of April. And by the way, if you don't have a premium skill share account yet, I can give you 60 days free. Simply had over to pgm piano dot com slash skill share, and you'll be able to enjoy this course on your free trial. Still here I thought you would have enrolled in the course already. Well, let me tell you a little bit about myself. My name is Mark from PJM Piano. Now, I've been teaching PNM for over 10 years. I started out on YouTube where I now have over 35 million views and 270,000 people following me. Then I came here to skill share with a couple of courses totalling over 5000 students right now. So how about you join the club lonesome piano and get started right now? 2. Welcome! (Watch First): I'm glad to see that you decided to enroll in the virtual piano teacher courts. I call this the living room Piano Course as well, because it's basically me right here in my living room, teaching you piano skills. I want to give you a quick idea of how this course is built up on how you should approach this course. So first of all, there's going to be four chapters right now. Does three chapters up because you're watching the pre release? You should see these chapters and the episodes in the chapters as individual piano lessons . Most of these lessons say, between half on hour and hours so you can see these episodes as if you were to actually g o out to your piano teacher and sit there for an hour and learn some things. Now the great thing is that you get to decide when you want to learn to play the piano and how long you on the lessons to be. However, I've structure them in a way that I think are useful to you. Therefore, I advice you to which the lessons in a single sitting don't cut them up too much because that way they're most beneficial to you. You're more than welcome to watch a lesson every day or even two lessons per day. But I've basically structure this so that if you do three or four lessons per week that you're going to get good results. If you're a quick learner, you're more than welcome to watch an episode every single day. Keep him under. This course can very well be done as a standalone thing. You can simply complete the entire course and one go before doing something else. But it's also super beneficial if you practice some piano in the meantime, so maybe there's a couple of cool songs that you want to learn. You can actually start on those which an episode of mine, then play a little bit of your song on Watch another episode of money that will also be songs in this course that you can play as well. I think they're very beautiful and very beneficial for you to play. So which the lessons off these songs that I'm explaining to you and you have some really good places to start? This course has been built up in the different chapters and every lesson will carry a lesson indicator like the one I'm demonstrating right now in the top right corner, showing any chapter, the episode and also the topic off the episode. We have a D for description. T for theory. P for practice and hate for homework. Yes, sometimes I will give you some homework, and usually you can find this in the resource files. There are resource files that belong to this course. I haven't uploaded them to skill share because sometimes it's difficult for people to navigate this website so you can simply download them for free on PDM piano. That com slash resource is if you ever have any questions, or if you notice any errors in this course, keep in mind we are in the pre release. So it's still possible that some little things aren't working yet. You can always send an email to PMP, an offense, a gmail dot com. Any questions, any announcements, any comments? Please send me a message and I'll be happy to work things out with you. That something you're doing on the stand of this, something that's going wrong somewhere, Sami and email there. I check it every single day and I'll make sure to reach out to you. It's very helpful to me if you mentioned that you are on skill share and enrolled in this course because I get loads of emails and it makes me prioritize your email above others that are just freeloading on YouTube. For now, I hope that you will enjoy learning from this course as much as I'd it, making it have lots of fun, learned a lot. I remember to always keep playing. 3. Ep 1.1 Piano Note Names: Welcome to the living room. Piano lesson 1.1. This is the very first lesson of the course. And I'm going to tell you if you need to which this lesson why it's useful to which this lesson and who can actually skip this lesson in this'll Essen. I'm going to be talking about two main things. First of all, the layout of the piano, white and black keys, the gaps that are in there. Why does it look the way it looks? And also some additional stuff that you need to know if you have never played the piano before. On the second thing we're gonna teaches, I'm going to teach you the names of all of the notes. Now, if you have a lot of piano experience, you may you go like, Well, I already know all the notes. So let's move on to the next lesson. Yes, maybe you can. But there's actually quite a lot of node names, so we have the regular notes. We have sharps and flats, but we also have double sharps and double flats. We have things like an e sharp or an F flat. See flat. Be sharp. You may not know about that. Also, if you have a lot of piano experience but you use the dory me facility does system which this entire lesson It is very important that you get used to a B C D e f because we're going to be using that throughout the entire course. If you have no idea what I'm talking about Great. This is absolutely the lesson for you to watch. Nowhere is I will take you by the hand and I will teach you every single thing that you have to know. So just take it easy. For now, what's most important for you to know is that this entire course will be using the alphabetical system. This means a, B, C, D, E, f and G, and we will not be using Jeremy facility dough. So if you're used to Jeremy facility dough, which is entire lesson and make sure you learn all of these notes. What's also very important to know is that after this lesson, I will assume that you know all the note names. If there are difficult names that I'm going to teach you right now, are will, of course, help you out later in the course, but all of the basic node names, I expect you to know them after this lessons. If you decide to skip this lesson that is entirely up to you, I would advise you to which threw it anyway. However, as I said before, if you've been doing a lot of piano already, you probably know all of the notes here and there you can simply Skipper had to the theory bed or maybe to the homework bit just to check and make sure that you actually know everything that's required before moving on to the next lesson. For now, let's sort out with the layout of the piano. And then the note names, including all these weird node names, will begin in the theory bit was still in the description right now. A case. As you can see already. I'm actually changing for the camera angle for whichever purpose we have, making sure that you can see everything you need to see. So this is a piano. If you've never seen one before, this is a digital piano on a keyboard, has very thin white keys. These ones are quite thick. Okay, so that's a difference. You can identify between a keyboard and a piano. One of the things that you immediately notices that there's white and black keys on the white keys are a little bit more wide. Okay, I hear wide the width of the keys on the Black Keys orbit more narrow, and we can also see that the amount of Blackie's is different than the amount of white keys in the steam stretch. Several would look from here until here, for instance, we can count 123456789 wide keys and only 123456 black. He's so there's more white keys than black. He's on the PN it. Before we go any further, I want you to had over to the resource files off this course. So before we're moving on, I wanted to go to www dot pg and piano dot com slash resource is a cape, and I want you to download resource number one. It's a pdf free download, of course. Hey, could simply open that on your computer and then print it out. Okay, What you can see there is this pdf file that is currently showing in thes screen on. As you can see, we have pianos there, but the Black Keys aren't actually black, they're empty. And I did this on purpose in this resource file because you can actually write stuff in the empty notes. And therefore, it's very easy for you to write note names this we're gonna do later, or little dots or color it in, or whatever is needed later in this course. So make sure to Danet Resource file number one if for some reason you cannot Danley that because you're witching on an iPhone or an iPad or you don't have a printer or whatever, you're more than welcome to simply draw your own variation. But I would advise you to leave the Black Keys empty. So for now, what I want you to do is if you have your resource file, I want to have a look on. I want you to basically let me shift the camera a little bit. I want you to find an area like this area right here. Okay, This area is repeating quite a lot on the piano. I will zoom out a bit and you'll be able to see that a case of from here. Dude, you did it It until here. And them from here Until here on the same goes from here until here. Okay, so these this area repeats a lot. How can identify it? You see two black notes and three black notes, two black notes and three black notes, etcetera. So you take the wide note on the left off the two black notes, and then you take the wide note on the right off the three black notes, and we end up with this position right here. I will show you that in the screen on. I want you to color it in, as I did on the screen. Right now, a case is simply take your time, and when you're done, you're seeing a bit of keys over here that are colored, whichever calling you use and some keys over here. And we also left 12 keys in the middle. Okay, 12 keys that we left. And it's want 234567 white keys and 12345 Blackie's. These are the only keys there are on the piano. However, it's repeating quite a lot of times. Okay, but this is basically the section we're going to focus on as soon as we move into the theory bed. So now that you have this done, you'll probably see that there's a couple of notes here that are colored in. There's a couple of notes over there that are colored in, and you will remain with these notes right here, two black notes and three black nodes and want 234567 wide notes should still be empty, and the rest should be collard in now. Wanted to keep in mind that What do you have? 61 keys on the piano or 88 like mine or even 45? There's so many pianos of different amount of keys. That's fine. But on every piano we can actually find this'll. It'll area off to black. Keys are three Blackie's under five white keys. So now is that we have this done. I want to invite you to have a look at your own piano if you have a piano in front of you right now or at the other pianos that the resource file and see if you can find a different areas. If you colored in the area in the middle, and I want you to find an area in the left and if you call it in area on the left. I wanted to find an area in the middle or on right. And if you follow colored in an area on the right, do that. So basically, you have three different parts of the piano lighting up, so in your resource, filed as many different pianos. And I want you to take the top three and basically collar out a lot of this stuff so that these notes remain. Your piano resource file will now probably look something like this so you can see that the same area is basically lighting up, but its place on different parts of the piano. There's something I wanted to get used to that we have different places where he can play the piano. So you may be wondering, OK, we have this area right here. We have this area right here. Why is there so money off the same areas? Well, basically, if you listen, the notes are actually the same, but they get higher as they go to the left. So listen, thistles. The same note this is also the same note. This'll is also the same note things a swell. Okay. Now, if you haven't played piano before or any other instrument you being go like eyes. That really the same note? Yes, it is, but it's a little bit higher. Okay, the sound is a little bit hard. So as we move from the left side of the piano towards the right, notes will actually get higher in pitch. Listen, Aziz, removed from the right side of the piano to the left. No schedule lower. Uh huh. Okay. However, these notes are the same. On these nights or the same, they're just positioned on a different spot off the piano. So now that you have your resource file looking like this, we're actually going to zoom in on just one little bit off the piano, right? Okay. Says you can see I additive. My videos say that there's a very clear area where we're focusing on and you have the same thing e a resource file. Or you can look at your piano and find the same area. Right now, it's time to figure out what these notes are called. So I play these notes this sounds very familiar to you, Probably right as these nodes all have names. Now the names are alphabetical and their reach from a through G. So we have a, B, C, D, E, f and G, and you may expect that the first node is called a So we have a B c D e f g. But that is unfortunately not the case. It will make it very easy because this note over here is actually called C. So we saw right here C d E f g. And now we do not go to hate or age. We go to a way have to be. Now you may wonder, what is it? What does it sound like? It did and finish well, because I haven't played Ah fine on her right there. Okay, so this again is a c. Ok, you can see this. Two black notes. The white note on the left of the black is called the C on the same road here to black nodes. Wide note on the black. On the left of the black is court see, So C d E f g a B c d e f g etcetera So this time. What you can do is take a new piano and you can color in all of the black notes. Okay? So that you actually have this view that we have right now and then what I want to do is I want to find the two black notes that are together. There's also three black notes somewhere. But I want you to find that too, And simply place a C on top off that, uh, wide note on the left of the two blacks. And then we're going to follow the alphabetical order, so D e f and G okay, fizzle alphabetical. We would start right here a B, C D E f g, and we can simply continue. So your resource file should now look something like this Simply enter C d e f g a B C D. Etcetera. So if we have a look at the piano again C d E f g A B c. So these are the most basic node names because there's just a single letter, right? C d E f g a B. They're all single letters from the alphabet. And as you can see, we have seven letters. Okay, the Giza seventh letter of the alphabet. Starting on a, we would have a B C D E f G, and that's seven letters in total. Now, with all of the other note names, they're going to be based on these seven letters. In the beginning, it may be difficult for you to remember which of these notes has which name because, well, there's just a lot of things going on. A lot of blacks, a lot of whites, and in the beginning it can be tricky. What some people do is they put stickers on the piano and I would definitely not do that. Okay, Please don't do that. If you really want to do that, only put stickers on the sea a case to remove all of the letters and only put seekers on the sea. So here, here, here and here. But to be honest, you don't really need it. If you don't use any sicker Zettel and just watch the piano and keep watching this course, you will learn these nodes in one maximum two days on. You'll be fine. Okay, said a white node names. The most interesting thing about that to me, is that where it's most of the music way. Start on the sea right here and that walk up. It's actually not the A, but this is this. See? Okay, that's just how it is. It's something that you're going to have to learn and remember, but it's only seven notes and they're in the order of the alphabet. So as soon as you find one note doesn't matter which one. Let's say this one, and you figure out that it's an F that you can just keep on going af g always remember toe after a G go to a A B C D E f g a b c etcetera and you can just keep on county. Okay, so again, in the beginning of this may be a little bit tricky to you, but eventually you will be able to learn all of these notes. These are a nose for the White Keys. Now, wanna have a look at the notes for the Black Keys? Don't worry into practice bid and in the home where bit I will repeat all of this. If you don't remember it entirely right now, that is fine. But I do want to move on to the Black Keys because otherwise we will stay here too long. So where the white Keys have their own name? C D E F G A B C. The Black Keys do not carry a single name or their own name. Blackie's are always being referred to as either being on the left of a white key are on the right of a white key. You could also say above a wide key or below a white keep. But if we talk above or below, we again have to keep him. Might that whole Piana getting lower piano getting harder things. So then hire will be to the right again and lower would be to the left side. The pitch goes hard to the right and everything is basically up. Rides higher down, left lower. So there, for every Blackie has two names higher San White or lower than white to the right of a white key or to the left of a white. So let's start with the names that are basically saying Hey, things black. He is on the right off this white. Say this black. He is on the right off the sea. Okay, You can see that? Because if we're on the C, I have to go to the right, right here. But in order to end up on this Blackie, right hit on the piano, I move from this. See one step up to the right on an upon this note. Okay. Whenever we have to go up or to the right or higher, we call that a sharp and we indicate that with a hashtag. Okay, so if you know that you want to name this key right here the black heat, Fisk E then you can say, Look, it's a C, but it's not really a C. It's the black he on the right of the seat. Okay, so I always saw that with C because I want to refer from seat and then I use this sharp sign. The hashtag so therefore, this black He is called a c sharp because we have to move up C c sharp. We can do the same with D. Okay, so this black key will be on the right of a deep. We have to go up from D in order together. D go up said D sharp de de Shop a que, um and then for the e. That's not really a black No. Right here. Look, e There's no black note, so we don't have that on. And then we move on to f. Look, there is a black note on the right of F. So thistle right here is going to be called F I'm Let's see this also black net on the right of G g black known on the right of G say that's gonna be called G something and then a Have them right here. The A Okay, so F g a f sharp G shop a shop. Okay, putting Listen, therefore the black notes. If you want to refer to them as being on the right of a white key, it's C sharp D shop, half shop, G shop and Asia. So now we have a total of normal letters off seven. Okay, 1234567 Notes C d E f g A b and we also have five sharps. Okay, so Sharps five in total. That's 12. And guess what? When we looked at that thing, you hopefully still have the resource file and you're look of this area you have want 23456789 10 11 12 notes. So now we already have a way to indicate all off the notes. Unfortunately, we're not gonna leave it at that, okay? We are actually going to have to refer to the black notes in different ways as well. So let me explain that to you right now. So instead of indicating and note as being all the right or higher than a wide key, we can also say that it's on the left or lower than a white, so that if I want to start here again with this black note, it's on the right of the sea. But it's on the left of the D. Okay, so there from gonna write down D this black note. It's on the right off the D. But it's on the left of the East and I can write down E. If I just say D and E, you're gonna think that I'm referring to thes wide notes right here, so that's not possible. So I have to indicate it again. So we call those nodes are flat, so we have a sharp to go up on a flat to go down sharp to the right, flat to the left. Okay, so a flat. And you basically indicate that with her, It's not really a B, but a candle. Looks like a little B. I said put that on the left right here. Okay. Say, this note is on the left of the D. And therefore, I call it a D flat at this notice on the left of the east. I call it an E flat on the left of the F. I don't really have a node right there. Okay, so I'm gonna move on on the left of the G. There's a black note against its That's gonna be a G on the left of the A. There's gonna be a black node, so that will be in a and on the left of the B. There's going to be a black note, right? Him. So we add the little signed to it. Okay. And now we have d d flat, e e flat, G, G flat a a flat on B B flat. So if we do that on the piano D d flat, e e flat, G g flat a a flat, B B flat let's zoom in a little bit a case and now resumed in before we get into the practice around, which is gonna be the next thing I want to quickly run through all of the notes that we learned so far. We learned seven white keys C D E F G A B, and we also learned five Blackie's C sharp D sharp, af sharp, G sharp and a shop. But we also learned five different names for black Keys, D flat, E, flat, G flat, a flat and B flat. Now, I want you to know that at this moment I did not expect you to remember all of these notes . It's quite a lot of information that we're going through right here. But I do want you to actually remember the wide notes. Okay, so please make sure that you notice white notes if you can't remember them yet. That's okay. We solve the practice under homework to go for this lesson. But at the end of the lesson, I want you to at least remember the name of the white notes. And if the black notes are a little rough, that's so cable will figure that out later. But make sure that at the end of the lesson, you know the White Nets. Okay, so let's run through the more more time C D E f g A b and then ending up on C because that sounds nicer. So C D E f g a b see? And then c sharp d shop after shop g sharp, a sharp or D flat, a flat G flat, a flat on beef. Now you may be wondering, but Mark, why do we have sharps and flats? I mean, why not just call it sharps and leave it at that or call it flats? We will get to that actually in not the next lesson, with the lesson after that, which is called skills. And then I will explain to you exactly while we have two different ways of describing those notes. But for now, I want to show you the child board on actually write down all of the knows that we've done so far and show you a little bit of an issue that we have. So we started out with the regular notes, see, de e f g a and be. Then we added the Sharps see de f g and a sharp. And then we did the flats D e g a on dboey. Now you can see my problem. We're missing a note here and here and here and here. Okay, that's four notes that are missing. So the question is, do these notes not exist? Ordered us simply not list them. A lot of people that really know about these notes on K people have only been playing for a bid or people have not replayed any classical music or, you know, because most of the times songs either have these notes on a few sharps or these notes on a few flats. But what you don't often see is these gaps that we have right here. Okay, so let me draw them in. That would be e sharp and also be sharp. Okay, cause the's ones were still missing and here were missing f so af flat and we're missing CIA's. Well, so see flat. So we haven't really discussed them yet. That is something weird about these notes. I'm going to zoom in on the piano right now, show you what it is. So the weird thing about these notes let me Quickly. Show you them once more. See flat e sharp, eh? Flat and be shop. The weird thing about these notes is that all of the other Sharps are black notes C sharp, D sharp, f sharp, g sharp and a shop. And same goes for the flats. However, the sea flat, the f flat, the e sharp and be shop our white notes. So that's Sorber playing the see if you have your piano with you on. Otherwise, look at the diagram from your resource file or simply look at the video on the rule for flat is to G 01 note to the left. So we saw right here on C and we go 10 to the left. But that's no black note right here. Okay, so we cannot play See flat right here because there's no black note. Instead, we will simply end up on business. You may say Mark, but just a while ago, you call that a B. That is correct. I did. But just as the black notes have multiple names, so have some of the wide notes. So see, half accepted the left see flat. The same goes for F okay, If we have a flat, we have to go half a step to the left. That's no black note right here. So we'll simply and upon this note, we usually call this note and e. But it can also be an F flat. So f a flat C C flat. The happened the shops. We have e sharp and be shop that we still haven't talked about yet. So we saw it on be what we have to do for Sharper's move half a node up or to the right again. There's no black note. So we will end up on this and it right here say this is a B shop. Be be shop normally recall this notice, See, But in some take In some cases, the note is being referred to as a be sharp. And we will see that unless on 1.3 saying we could do for E so we hav e in order to move up e sharp. Okay, move up. One note. That's no black note right here. E sharp is right here. Normally recall this af but sometimes is being referred to as e shop and how we can start again C sharp d shop e shop after shop G shop, a shop on DBI shop. You can hear that. It sounds quite nice. Okay, now, pretty flats week. Indeed. The same. So we have D flat, E flat, a flat G flat, a flat B flat and C flat. Okay, that sounds very weird. That is because that's not a skill. We will talk about that a little bit more unless some 1.3 21 months in total C D E f g A B at seven c sharp d shop e shop after shop, tea shop a shop, be shop that's another seven and D flat E flat. A flat G flat, a flat B flat C flat is the final seven for a combination of 21. Newt's says. I said in the beginning of this lesson, there's actually 35 node names and we've only learned 21. So am I gonna bother you with the other 14 note number of this moment? Okay, it's not important yet. We will get to that a little bit later, but I want to simply give a little hint of what that could be. But you don't really have to do anything with this. Okay, so a sharp simply means that we're going to move to the right. Okay, so we have a note right here. We moved to the right on a flat means that we moved to the left. Now the final notes that you can find or what we call double Sharps or double flats. So if you see this sign sharp on another shop, we actually have to move to the right twice. You can also sometimes see double flat, and then we have to move to the left twice. We're not going to dive into this right now because it's too much. You've already learned 21 notes and it's quite a lot. So now we're going to practice these 21 notes as Andy double shops in the double flats. We will do another day. Okay, so don't worry about that for now, but I just wanted to include it and tell you that they do actually exist. So if somebody is talking about e double sharp, they're not talking nonsense. That note actually exists, and sometimes we do have to call it that as well. But we'll get into why way later in the course because it's not important for right now. So let's focus on the 21 notes that we just learned on. I'm going to give you some homework. After that, you have to complete before moving on to the next lis. Okay, so forth this practice bit. What I want to do is, if you have a piano, I want you to play along at your piano. If you don't have a piano, I want you to either just watch the video. Or, if you've been able to print at the resource file, I want you to again draw away the rest of the piano and on this side and that side on the left and the right, so that you're left over with just 12 notes. Okay, seven wide notes again and five blacks. I want you to start on, see if you remember that. So there's two black notes here. There's one right note. That's where I wanted to start and then ending here so I will demonstrate that in the screen right now. That's what I wanted to look like. If you're working on the resource file and if you're working on a piano I want you to keep in mind this area, OK? So don't focus on this stuff. Doesn't matter. Just focus on this area, Saoul color of that in as well right now. So this is the practice area right now I'm going to give you a little bit of tests and we're going to practice your skill. So what I want to do simply follow along. I'm going to press some notes and I want you to name which note that is and we're gonna sort simply, but playing the white notes, I'm gonna play some notes and you've to tell me which note it is. So say that out loud on then I will. After that, I will reveal which noted. Actually, it's OK, so don't wait too long. And just so you know, these are normal notes. So we're looking for a B, C, D E f or G. None of the sharps. None of the flats were just doing the regular notes right now. And whenever we're doing sharps or flats, I will tell you. OK, so don't worry about that for now. Let's just do the normal names. A, B, C, D E f or G is the correct answer. What is the name off this note right here. The name is See if you said see your correct. What about this one? We're looking for F Ah, The name of this note is D. Uh, but this is an A, uh, but this is a G e sea whips G. How? By this one, it's be so this is quite easy, but now we're going to spice it up a bit. I'm going to play two notes at the same time, and I want you to call both notes. I want you to name both nuts. The physicist D on G E on a see on a her back to D on g again. You know, Suzanne atthe on B. Okay. So you can notice that if you have to name two notes, it's a little bit more tricky. Now I'm going to get rid of these blurred things on the side. So now we have the whole PN Italy cat on. See how you do notice. It's a little bit harder right now. See, on eight. Ah, de on a ah, be on e. Okay, Now what I'm gonna do is I'm going to use the entire piece of the piano from here until, let's see, Where can I go on until here now, Until here. Okay. So now it's gonna be even harder because we're moving away from this structure. See if you can actually find it out. Now, what am I playing here? A on death? What am I playing now, De And another d e on c be on g a case. If you find this more difficult, I can totally imagine it's quite hard now that we're jumping across the piano all of a sudden. Okay, I'm gonna do a couple more, and then I want to move into the Sharps and the flats. So how about this? It's see on E. Um, Let's see. Oh, my God. I hope you you'll be able to manage this a g Andi, if you got that. Very good. Well, Dona E on g. Okay, if you've been able to get this well done, okay, this is not easy. And if you haven't been able to Gethers, that's absolutely fine in the homework. But I will tell you how I can practice some more. You can award back if you didn't manage to get all of them. But but well done. If you did this, and I'm going to play a couple of different notes and whatever is he noticed that I'm playing. I want you to give me an answer that is sharp. So a sharp be sharp. C sharp d sharp, Be sharp. F sharp, g sharp. Okay, Whatever it is, the answer is always gonna be a sharp. So we're gonna do 10 examples here, and then we're gonna do 10 flats as well. So that's all right Here. This is an f sharp, uh, D sharp. Uh, a shop. Uh oh, my God. It's e shop. Ah, see, shop, uh, f shop here. I'm just joking. This is another sharp. Okay, so I just wanted to test you there for a little bit, so there's not a sharp, but this one is What is this one G show? Ah, again, is shop be shop? Uh, D e Shaw. Okay, so I hope you found a couple of them. Um, if you did Well done. If she didn't, that's okay. Okay. These sharps and flats are really quite difficult to learn in the beginning, but you will be able to get them quite soon, it's and I'm going to point out a couple of more nodes on whichever Notre Pour Night is going to be a flat. So it could be a flat B flat C flat D flat, e flat, F flat or G flat, which ever knowed I'm playing. It's gonna be one of thes, so let me know. Uh, this is a flat, uh, e flat, Uh, G flat. Ah, see, Flat de Flats. Okay, let's see. I'll do four more a flat. Ah, B flat. Uh, f flat de flat, G flat. I hope that you managed to get a lot of thes if you didn't. That's okay. Mainly focus on the white. What? C d e f g a B c. Ok, that's the most important bit. Thes Sharps and flats will follow naturally later. So now we're going to do a fun little game. I'm going to call out any note and this could be any of the 21 nodes, so it's gonna be the reverse instead of me playing in it and you having to tell me which one it is. I'm going to call it out and you have to play it on. I just want you If you're if you're behind the piano, just play along with me on if you're no thank simply pointed out or your resource file. Let's start with the regular notes and then we'll make it a little bit more interesting later on. So I want to play an A. That's finding a, uh this is the A. Okay, So as of now, I'm just going to be calling out the notes, and then I'll give you 3 to 4 seconds to find it, And then I will play it, and I will call out the next one E ah g ah See, a de ah be g ah e ah. See? Ah, uh uh F uh g de ah, be okay. Now what I'm going to do is I'm going to include sharps and flats. I'm going to call it N e r. D 21 notes that we just learned that you're going to have to play that. So I give you a little bit more time in the beginning, and then I will go quicker and quicker as we're moving on. Okay. I hope you're ready. We're gonna do 50 notes, right Now I'm going to give you five seconds between each note. In the beginning, that will drop to about 432 and 11 is going to be extremely quick. Man, if you're able to keep up with that, I would be so impressed. But I But I really wouldn't expect it. And that's okay. But with the five seconds, I hope that you will. So here we go. Are you ready? Let's start right now. I want you to play D g sharp A e flat. Uh, be de shop Ah g See flat a flat de shop. Uh, see, uh, f flat. Ah, of sharp. Ah e ah b flat. See shop. Ah, uh, a ah, a flat. Ah, I've sharp Ah de, uh, b flats. See flat G Shaw F ah d flat. Ah, g flat. Ah e flat. Ah, see flat a shop de shop. Uh, g ah di ah a e flat, uh, have short be shop. Uh, e shop a flat g flat d flat d shop. Have shop be half g shop e see de shop a flat G flat, e g flat, d flat, a flat be shop e shop a flat G flat on D. Wow. I hope you did. Okay, this is very hard to do right now. Let's move into the homework bit. Okay. So I hope you did very well with the practice bid. I can imagine that this being your first piano lesson, it may have gone quite hard on how much do understand that in the beginning, Everything that's new, It takes a little bit of time to learn, So don't worry about it too much. If this weren't really quick, I only expect you to remember the wide notes on if, for whatever reason, you're able to remember a few of the Sharps or flats Super, super good. But if you only know the white notes in fact, if you only know one white note, let's say this one right here, think and figure out the rest of the notes and because, you know, know that sharps and flats are going up and down. You actually, you were able to figure out every single note on the piano, right? So if you only know one note if you want to remember one note, you're able to figure out the arrest I can imagine again. that this one pretty quickly. I also want to keep in mind that we have loads and lates to learn. I promise you that I would teach you the same or more than a private piano teacher will teach you in a year. Andi, I only have 40 50 lessons to do that. So I have to kinda hurry up. These are video less. So you're always more than welcome to rewind and which it again of at any moment you have issues. You forgot something. You want to go back? Always mortar. Welcome, Teoh. Go back to your video and watch it again. Or which pieces of it again. For instance, this practice bit that we just did. It's very easily to find that duty to pee that was in the screen right now. Changed to age for homework, right? So right now we're in the most favorite department, the most favorite section off the lesson, the homework. Nobody likes city homework, but I tried to make it fun and cool for you. So if you go to resource file number two, you will find this file that's on the screen right now. You will see that all of the knows that we just learned around there. You can also see dotted line. What I want to do is want to print this resource file and caught along the lines on what you end up with is 21 need little cards with the note names on that they can actually shuffle them and you can put them on your piano. Or you can take a little ball and put them in Simply draw one out, and then you have to play that on the piano and see if you can find it. Okay, A 4. Ep 1.2 Learn Your First Piano Song: Welcome to Living Room Piano Lesson 1.2. I hope you learned everything in the previous lesson. If you don't let me quickly sum up what we did, we learned the names off. 21 notes on the piano, all of the regular names of the Sharps on the flats. This lesson is going to be in a little different if you don't have the node names yet. That's okay if you have trouble to remember them, it will get better and better every time. You which one of these videos. I also hope that you're able to keep up witching, at least one of thes videos every week. But if you can do couple more, maybe 23 or four a week, that will be really awesome. It's your time. It's your piano level. It's all up to you. So if you have some time, if you have a Sunday off or whatever, maybe which two lessons you know, just to get things flowing a bit more quickly, or you can take some time to review a lesson that you would sit in the past. In this lesson, though, I'm going to teach. You had to play sea mist. It's a song, it's really cool. I'm going to played for you first, and then I will teach you how to play this song. The reason I want to teach you to play a song already is because it's fun to get sort of with things on. This is a bit of a classical kind of sounding song, but it's actually really beautiful, relatively easy to play, and this will get you sort of playing. The nice thing about this song is that, though, to begin our song, who actually play the left and the right hand on the piano, and you don't have to really play them at the same time that much so it's not very difficult yet We play left, right, left, right, and you will hear that it's really noise. And my goal is that at the end of the lesson, you're able to play this song maybe slowly, maybe a little bit quicker, depending on how soon you pick it up. The main challenge will probably be to remember what to play, but hopefully you'll be able to do that. So I'm gonna play at first. You don't need to which the pianist I'm gonna leave the camera right there. Just listen to this song. And the main point of this video is so that you learn to move your fingers in the correct way on. It's not really about learning that song, but that's just a little bonus for you, said the end of this video. Maybe you can play this song for your friends and family on. They'll be surprised what you've been able to do here. We g o c missed. Okay, so that was See, Miss, I hope you enjoyed listening to that right now. It's time for you to learn to play this song. So we're going to zoom in on the piano a little bit and I'm going to demonstrate to you how are playing that song off course I'm gonna break it up into little pieces so you don't have to learn the whole thing in one Go. Let's have a liger. The first piece right now. So before we're getting in toothy nitty gritty of having to play this song, it's very important that where you yesterday learned the name of the notes C e. Etcetera. We also need to know where we're navigating on the piano. Ok, that's quite a lot of notes still left over there. And then there's also almost falling quite a lot of nodes over there. So where are we on the piano? Your right hand is going to be on this. See? And we call this the middle C because it's located in the middle of the piano. Okay, depending on which piano you have. How many keys? There are that key? Maybe in a different spot. So what I wanted to do as I wanted to locate a couple off sees that are in the middle and listen. And I listen to which see, you're playing because we want to find this'll. Sand. Okay, this is the one we want and your left hand is going to soared on. Okay, so that's a sorting position. Thies to seize right here now wants to have a look at the left hand first, and we're going to play three notes. The scene the on the G. Hey, we're not going. Play them at the same time. We're gonna play them one on its higher okay like that. You can play them like this where you can play them by holding. We're going to be using the pedal of the piano as well. So right here, one of them. The roid paddle, if you have multiple, is the sustain pedal, and you're going to use that to make the notes sound longer, But we will learn a little bit more about that later on. So you don't have to worry about that now. If you're having trouble to use the pedal or you don't know how that makes a whole lot of sense. So with you, the notes are gonna be sounding a bit more a bit more like that. Okay, that it's OK, because if you don't have to use the pedal yet, there's no other way around it. But if you do press the pedal, it's going to sign a bit more life. It's OK, so if you want to start to use the pedal already, basically, we're gonna play in these little on. What you do is you simply you press the pedal before you have a piece so oppressive a play and now release it and then a press it again on day, release it and a press it again, Okay like that so you can experiment with that a little bit ready if you want. But mainly I want to focus on what our hands are doing. Not so much the feet. Okay. So if it sounds like this, I'm happy with that us. We're going to solve with the left as I sat. So you play scene? We're going to do that three times in a row, so wait a bit. Wait a bit. I'm relating. You could also go slower like that. Okay, Practice that a couple of times if you need Teoh. But keep in mind that when we played this song, there's gonna be a break. So you play Wait a little bit. Wait a little bit like that, Okay? And it's gonna be like this. 12345612345623456 Okay, that's how we're going to count. That right hand is going to sort all this note with the thumb and we're going to play this little thing. Okay, That's what we're going to play. So we saw it on the sea on then we played D e g. Okay. Says c d g ny. The way this fits in the counting is gonna be 1234 56 Okay, so 23456 like that. Okay, let's slow that down a little bit. 123456 13456 So what we actually do is we played this ones, and then we move the thumb from the sea to the B. But these fingers are going to say the same. So the first time it see 3456 Now we move to be 123456 says isn't or a bed. 34 56123456 C Wait, wait D e g Wait, wait D e g. And now we're moving to B flat. Okay, so, like that now is the cool bit. We're going, Teoh, Combine left and right. So let me move the camera a little bit more Here. There we go. We're now going to combine left and right. You know that we have this. 123456 Remember? Left was 123456123456123456 Remember that? Actually, let me move it a little bit more. Here we go. Remember that. So 123456123456123456 So left is being played on one to and three. The right hand is being played. 123456 So you play left on 12 and three and right on. 145 and six. This means that left and right of being played together on the first notes of together on Ethan left. Okay, so we'll be together. Left. Left, Right, right, right. Okay. Said together. Left left. Roids. Reut Roids. Okay, so do this. Slowly. A couple of times we can go very slowly beginning. That's fine. Play them together. Left, left, right, Rides, rods. Do that again. Together. Left, left, right, rides. Right. Let's it accounting. Three, 456 three, 456 The right hand is playing Azzam moving TB. So let's give that a gay. So we're gonna play the same and left because left keeps on repeating the same and ride. We're gonna change to this. Be so let's go. Slowly. Three, 456 Now change. Righted to the B. And then we did the same. 123 456 Back to the beginning. So together, left, Left, right, right, right together. Left, Left, Right, right, right. If that's going too quick for you. That zoot. A little bit slower together. Left, left. Roids! Roids! Roids! Together! Left left! Roids! Roids, Right. I'm playing this without a paddle right now. By the way, just so you knew. Okay, so once more, Together, left, left. Okay, now we went up to the B flat, remember? So right, it's starting here. There, on there. Okay, So I left a similar play the same. And now we played the B flat, so play them together, left left. So let's get old way up to there. Go to B flat life. Okay, Let's see that one more time, Very slowly, and then I'll do one more time. A little bit quicker and, son, even quicker. See if you can keep up now, if at any moment you cannot play that quick without making on the sake, slow it down, okay? It's better to slow it down and practice it gently. Slowly. Speed will come. The most common sleek said people want to go too quick, too fast. They will learn the wrong way. And then it's very hard to get it out later. Hey, there's one song that I learned to play all the way in the beginning of my piano career, and I mess it up the way I practice it. And up to this day I'm having issues to play that song correctly because my fingers are used to the way I played it. So Rod a go slow here we get slow a little bit faster and then a little bit faster. Okay, Now let's go a little bit faster like that, and even a little bit faster. Now, we've reached an interesting part of the song, because up until here, the right hands just playing okay on the left hand is playing the same the whole time. But now, after playing this B flat, Roy has moved to a Okay, So a g f instead of the e G that we have been doing okay, a G say this is like this together. Left left, roid, roid ride with the system ourselves. Still the same B flat, E g. Okay. Said the left hand is playing this for three times of the road. Hannah's moon C B B flat. Okay, those are the three times that we play. So let's do that one more time again. We end up right here. Okay, so So let's combine that once more are playing, it's slowly and then a little bit quicker. And then we will actually change the left hand so far. Okay, so here we go slowly. Law, Is that a little bit quicker that we get a que se? Now? What's gonna happen? Let me play the next piece, and then when dissected live it. So you come here. Okay, so the left hand is doing three different kind of things right now. We play this. Okay, Leftist plane, flood C D. Okay, so let's see, Is that a couple of times to get used to it like thousands. Okay, slower like that. I want you to keep in mind that when I'm playing this as a camera between my face and my hand, and I have to sit back from the piano a little bit further than I usually do. I'm also trying to make sure that I play in a way that you can see. So sometimes I will be holding my hand back a little bit further than I would usually do. So do not pay too much attention to how my hand is positioned. Okay, Don't focus on that too much. But you can look at where my fingers are touching the notes like I'm trying to play with correct fingers as much as I can. Um, also have very small hands. Says sometimes it may be easier for you to play it in a different way, but this is how I like to play it. Suit a C. See. And this is the same principles in beginning here. 12345612345612345612345623456 3456 Okay, the right hand was coming in here from a G f way. We're not going to play E d C E D c e. Okay, so this will be wanting 34561234561 Okay, you may already be noticing that when I play my left hand separately on my right hand the song sounds completely different as wanna play them together. And this has to do with the fact that when you play them together, you get searching courts that are being played, and you don't need to know anything about that for now. But if you're practicing yourself, do you think signs a little bit weird? Um, it sounds different when he plays it or whatever. Maybe this has to do with the fact that when you play these notes separately when you play your hands separately, the song sounds different on that makes a whole lot of sense. OK, so again, Reuters coming in here on then. Basically, we land here on E way came from here. War T three, 456123 456123456123 Okay, that's why we are right now. So now is the tricky bit. Before the left hand was playing the same thing. But now the left hand is changing. So let's take it nice and easy and see how you get leftists starting on this half and Roy is sorting on the e. Okay, one of the things that you may have noticed is that the latter is playing the sea. And then the right hand wants to play this. See as well. So make sure that your thumb gets out of the way in time or you're right handed some. Okay? So 12345612 three, 456123 Now, even though the left hand is changing here, the right hand stays in the same area. Okay, so maybe right now it's advisable to have more attention on your left hand than only right . Because the right hand is saying in the same grip on the same notes the whole time. Threat this area. So one more time, slowly and then all speed it up a little bit. And then we will connect Piece number one and peace number two very slowly. Speed that up A little bit of swell. So Okay. Like that. Little bit quicker. If you're having issues to play this keep her mind. This'll is one of the first piano songs you're most likely learning. If not the first on you do not have to go as quick as the video is going like. Hey, I'm explaining this But if there's any part where you go, okay, I want to pause the video. I want to practice a little bit more. You can always pause the video. They can always rewind a little bit. Go back to a part where we're going before, so don't worry about that. For now, let's combine these two parts very slowly. Try and play along. But if you can't watch me play it as I'm pulls the video, that's right. Just self a couple of times. And then if you manage super good, if you do manage, simply move back into the video a little bit and watch it again and pause it and tried until you get it. OK, I would really like you to get this part on before we move on to the next part. Here we go super slow and then I'll do it a little bit quicker. Uh, this'll was the play through until where we are right now, slow and then a little bit quicker on you can keep your own pace. You really do not have to go anywhere near as quick as I'm going. You can take it easy, but try to can't 3636 ever. It's helpful to you if it is not helpful, don't count and just play. We're almost done with the first part of this song. So let's finish it up. We ended up right here. Okay, so now is the right hand is going to play D C. Okay, so these same as where we moved from way from the flights all the way over here. OK, we went a whole different course. We're doing the same, Teoh. So let's put that at the end of what we've been playing so far. So here. Okay, D c let me do that one more time. A little bit slow with So you can actually play along here? We dio just like that. Okay? And now we have to finish off this section playing fits. Okay. You cannot see the left hands. I'm gonna change the camera bid. There we get. So left was here on d A. They are going to jump down to G B D only have to play that once. And the road is going to play Jean a d still thes same pattern. 123456 And here it's 123456 So let's combine these like sounds, OK? It's a lesson. The whole bid that we did so far. Okay, if you still wanna practice small, little bits, pause the video right now and then I'm going to play through the whole bit that we did so far. Okay, so what? It just did as I play this twice one time slowly, one time, a little bit quicker on what you actually may have noticed is that that's how did songs actually going? You play this first bid two times. Okay. Off course. You don't play that different paces. You can if you want to. If you want to get used to it, place slowly and down a little bit quicker. But normally when you play this song, it's going to be one pace. Okay? Whatever. Something like that, depending on how quick you want to go and you play this whole first section that we just learned in one. Get medical thing is, there's one variation in the song. So we're going to teach you that in a bit. And then all you have to do is end up with the end of this song. OK? this little ending up right there. Okay, So if you know how to play everything we did so far, if you're doing a good job than congratulations because you've already nailed probably 70% of the song, okay? Because the next part is just a little variation, but the idea is gonna be the same. 1234561 etcetera. So you're already you see that? We're just going to change the specific notes you're playing. Okay, So have a little break, get a glass of water, pause the video, and then come back to learn the variation that's happening in this song. And then eventually the ending as well. We have about 15 minutes left in this lesson of this practice bid. Before I'm going to show you the homework for Thetis. Less good. So I hope you have a clear mind. I hope you take some order limit of a break. I did so as well. Even though you're not able to see that in the video. Actually took a little break is really important, guys. Sometimes when you're playing the piano, you may be frustrated to learn something, or it's just not going your way, and then what you should do is take a five or 10 minute break. It's really not working out then. Sometimes you take a full day break. Okay, bottom. It's very important when things are not going the way you want them to do if you keep on going your muscle memory, especially on playing piano. But it's also with different parts of life, of course, but especially one playing the piano. Your fingers will learn the wrong thing. The muscle memory will store the wrong movement in your fingers. So if you're stressed on it's not working at and keep on making the same mistake, you're either playing too quick or it did not take a break at the moment. Ways should take it. If you realize that, just stop. Take that break little water, little toilet break, or maybe even just wait a whole day before you try to get That's okay. So now we're going to put in this bit that I really like. I'm gonna played first so you can listen and see it a little bit. Uh, what is basically happening is always start with the same thing. Okay, up until here. But now instead of playing the G. We're going to the after make a dramatic Okay, you hear that? And then we start a new section right here on the G, so simply run down your fingers. Okay? 123456 On. We started a new section right here. Yeah, like that. Okay, Okay. Let's have a look at this, But start with left. You play G B flat, D G B, flat D flat, half a C and F A flat. See? Okay. Said quite an interesting bit. And it's again the same thing. 1234563456 345623456 Now, if you're not used to playing the piano, this may be hard for you to remember in a couple of lessons will be very easy for you to remember, because we're just playing some really recognizable patterns in the left hand. But you don't recognize them yet, and that's okay. So take your time to learn this Play along with me. Jean B Flat deep for fun. Six gene beef. Let's d flat 45 six c four. Fun six a flood C four 56 one more time slowly without me talking through it. Okay, Roid. As I said, it's coming in here and now we're just going to play this. Okay, So as soon as that G is being played, af e f g f e f g f e f g So that's three times already. And now just play death. Okay, so G 234561234561234561234 You only play that for Let's do one more time. Oh, okay. Now the moment of through. Let's combine them. Okay? I'm going to combine them relatively quickly right now, but then all slowed down. But I just want to show you one time how it combines. Okay, so we start right here. Let's do that. 34561234561234561234563 Okay. Like that. Okay, so let's do their very slowly and then a little bit quicker after that, so you can play along on again. If this doesn't work these things in the left hand. Maybe a little bit tricky for you in the beginning. OK, so just take it easy with yourself. Us? Well, you're doing a very good job even watching this, so just stick in there and you'll be fine. Okay? We're gonna do it slowly and then a little bit quicker, - Okay ? Just like that. I don't worry. At the end of this lesson, I'm going to play through this whole song very slowly, so you'll be able to have a look at how it all fits to get her then. But I guess you have a pretty good idea already. You play the first bid, and then after having done that two times way, move on here. Okay, so let's continue one right here and now what? We're doing the right hand You already knew. Okay, so you already know that on ending a pride that the left hand is a little bit different in the sense that we used to play F a c a C d. Remember this. Okay, that little bit right there. Right now, the left hand is gonna play d d flat and some back t because it's just the left hand that is changing before we were here, See a flu, etc. And now it's starting already on the of a on way moved down GPT. Okay, so this bit let's start right here. This is what he transition happens and now like that. Okay, so one more time. Slowly, uh, And again, this whole piece is 12345123446461234565612345 At said ironic keeps on going like that. Okay, so let's do this whole bit that we just did very slowly. And then we will finish up this song because that's all there is left to it. So here we go. Let's do it slow. Ah, - so what we do right now in a song, we we finish right here. We're going to do the first. But again until there and now what we're going to do four times with the left A Okay, that's with left. And now with right c g. So you do this right after each other. 123456 on. Now we're gonna have to move. So let's move the camera a little bit. Here we go. So I was going right here. Move over. Cross over, my left hand. Wider look So cool if you do that. Okay. So C a g c a g And now here you cannot even see that on the camera anymore. Damn, there's going really high right here. It's for a finish up. So here, finishing up like this. OK, so how do you do that once more. C A G c A g A. Do that two more times. A c A g c A g cross the left hand over. Do see a G 90 right hand on. Now it's up to you. You can play that high, seek with your left hand. And now this is cool. You're going to play C G, C and T at the same time to finish if you can do that, Okay. Like that. And that's the interest. So I'm going to play this entire song for you right now, Relatively slowly on. Do you can see if you can play along? You can just use it as an instruction, Kanda. And then we move on to the homework, which, for this lesson is not going to be that much, so make sure to stick around on listen and Luke higher. Play that song and then stick around 40. Homework. We like another two minutes and that we're don't with the lesson for today. - Uh , okay. Great. I really hope you enjoy this less and so forth. This was the practice bit. Right now let's get into the homework. We didn't really do any theory in this lesson, per se, but it's gonna be a lot of thought in the next one, so don't worry about that. The homework. Well, the homework for this lesson is quite obvious. I want you to practice this song, and you don't have to be able to play it perfect. You don't have to be able to play it up to speed. What I wanted to do is I want you to see how far you can get. See if you when you play this slowly, if you're able to get used to do want 23456 won t 3456 Want to if you can get used to that kind of thing because basically, the whole song is in that 123456 kind of set up, right. See if you can get you sit down and have a little bit of fun. Make sure to which this lesson again if you're having trouble or scroll back to a part where you're having trouble with Maybe the, uh, the new section. Okay, so we saw it with the first section. We had to repeat that. And then we played the the next section, which is a little bit more tricky, maybe, than the 1st 1 So make sure to check that out for now. Wanna thank you for watching. Thank you for keeping up with the course in the next lesson, we're going to discuss scales. This is very, very, very important. So make sure to which that lesson they're going to learn. Ah, lot. And there's going to be whole of ah ha moments, you know, like, Oh, now I get it. That's going to be in the next lesson. Lesson 1.3 of this living room. PN Accor's for now. Get some rest trying to play this the next time you're behind the piano and I will see you in the next one 5. Ep 1.3 Piano Major Scales: how you work into a lesson 1.3 in the living room piano course. In this lesson, I'm gonna be teaching you about the major skills. This is one of the most important things understand when playing the piano. If you don't have a clue about this, it's gonna be very hard to progress through high level. So what I did when I started to play the piano as around 17 and all I did was learning song , song songs and just playing, playing, playing. And there's nothing wrong with that. Okay, that's cool. It's way better than just learning boring music theory or really stupid simple songs. But eventually, if you want to take that next step, you are gonna have to learn something about music theory. Like in this case skills say, that's what we're going to do right now. And before I tell you a little bit more, let me just remind you that the whole idea of this cause is that every lesson is a little block on if you which the whole lesson in one go in one sitting, that will be most beneficial to you because I structured these lessons so that if you start , you may have some questions, but then at the end of the lesson, hopefully, all of the questions are answered. So, yes, these lessons are acquired a long 45 minutes to an hour. But it really helps you if you sit down, find a moment every week or maybe twice per week where you go. Okay, I'm gonna ward to this and higher lesson on that actually really helps you in the learning process. So for now, what about these skills? So, have you ever been singing this song in your head or just out loud? So let's say same bad. But it feels just a little bit bigger now and then your look of that song because you wanted to. You know, if your article song I'll look it up and then you hear the person singing Same bad, but it feels just a little bit big. And now, where to go, who like Why is that different? Right. So does people ago. Same bad. But it feels just a little bit bigger now, and they have same bad, but it feels just a little bit bigger. And now same bad, but it feels just a little bit bigger. And now same bat. But it feels just a little bit bigger now. Now which one is correct? How? First of all, I'm sorry you had to sit through that. But apart from that, which one is correct? They pretty much all sound okay Right there. Like, maybe it's that one. Maybe. Is that one okay? They all sound horrible cause I'm singing them. But apart from that Ah, I think is that once if I translate that to piano, let's see what happens. So is that one correct or uh or is that one correct? They all sound right. They all sound like That's how to song supposed to go, so has a possible While the short answer is I'm playing these songs and I was saying, these songs in different keys and keys are based on skills. So that's what we're going to learn today. Three different major skills, how you can identify them, how you can figure them out, and eventually later on. In this course, you don't have to her hip hate that at all. But we're actually going to learn how to take a song that's written in a surgeon key or a certain scale and transformed that to another scale so we can actually change the song. This is very helpful. Let's say that you want to play the piano and somebody is singing Andi. It's a girl instead of a guy and the song was written for a guy on DSO. The girl has issues because if she sings at the same key that the guy who wrote the song was originally singing in its are gonna be too low for like, so member board feels just, you know it's way to Lower is gonna be way too high for her cause she picks another octave higher. So we confound Do is go like OK, well, let's write that song down a little bit or let's appreciate up a little bit, but not a whole chunk. Okay, so that's just one of the things that you can do when you know your skills. We're gonna do that later on. In the course right now, we're going to start by learning all of the major skills. Okay, so we're in a theory bit again today. There is going to be a practice bid as well, but it will be a little bit later on. Let's start with the theory. The first thing I would like you to do is to head over to your resource files on PGM piano have come slash Resource is on. You conducted file number three and I will show it in a screen right now on what you will see is you see three pianos on dumb and you see that you can actually at the name off this skill that you're writing down you can at the notes that air in the scale on and you can also color in stuff in the piano. So what I want to do for this lesson is print this file six times if possible. Um, if you don't have a printer or if you watching this on mobile, you cannot landed it or whatever. That's absolutely fine. You can simply draw piano yourself drawn empty piano yourself. You may not want to do that 18 times. Those so see what you're doing right there. But ideally, you can print the resource foil if you don't want to write a long. It's absolutely finance was just a tool that will help you to understand there's a little bit better But if you say Look, I'm sitting in the train on the marching, this on my way to work or to school. No problem. You can follow this without the resource file. A swell, but it will help you a little bit more cool. So I'm gonna demonstrate to you what I want you to do. So the whole idea of a key or a skill is to basically indicate which notes are allowed to be played on which notes aren't in a certain song. So as you still remember, hopefully from the previous lessons let me it rotate that camera bit. If we looked at this area right here, we have 12 notes. If we play all 12 of them, that's not going to work in a song. Generally speaking, and for now we're going to stick to that as well. We will only have seven notes in one song. This may be quite a relief to you, because having only seven notes in there, it's actually really nice because it makes it a lot easier. You don't have to pick from 12. You only have to pick from seven. So as you will also remember, we had 21 node names in the lesson about node names. So you may think. But now you're talking about 12. Yes, so we have 12 keys. So once more 12 keys. 123456789 10 11 12. But we have 21 names because a lot of these keys have double names. There's only three keys that don't have a double double name up until now. Okay, So if this is a bit confusing to you right now, don't worry. It will become easier and you will get all of this soft later. So for now, we have 12 notes As I sat. You're only allowed to play seven in a song, which means we're going to play seven notes. Now we're going to remove five notes. Okay, so there's five notes that we're not playing in every song. That seven is that we are playing and there's a total of 12. The first thing you have to realize is that when we talk about skills, major skills, every node has to be in this skill once, and it can never be in that twice. So you may go like but, dude, you were just talking about that. We leave five notes out. Yes. So now I'm only talking about the letters. So the letters that we have or a be C D E f on a G on all of these letters have to be in every scale once, and they're not alighting twice. Now. There's one exception. When we're going to draw these skills on a resource file, you will note that below the piano does eight spots. Okay, that's eight spots. And that's because when we practice our skills, we always end up on the same note as where we start. So that note isn't really part of this skill. It's just more than we want to have the same and in the same beginning. So if this was the a major skill, for instance, I would simply add another A at the end so that when we play it way can finish up on a on starting on a. Otherwise it would sound like this. There you go. Come on, play the final mood. Oh, yes, there were. Okay, so therefore we always have the same note at the end, as in the beginning, when we write down our scales on our resource file. So what I want to do is on the resourceful. You have the piano, right? And then you have here scale name, blah, blah, blah, blah. And then you have the notes that are in this skill. So the first thing I wanted to do is to pick the 1st 7 pianos. Okay. And so you have to. So you take three sheets of paper, and on the first piano, you you write a major. Okay, That doesn't fit. So what, you right there is a major. Okay, on the 2nd 1 you're going to write the second piano you're going to write, be Major, and you're going to continue this all the way until G major. So there's gonna be seven. PM is that we use right now. Um, 1st 1 is a major, and you're right it all the way until G major, every piano gets their own skill. So what I want to do now is leave the piano empty. We're not going to use that yet. We're just going to row down thes notes below the piano. Now, if you followed along, you have seven pianos where you put a name in Now skill name. Okay, a major Be major C major etcetera. What I wanted to do is when you have these eight notes that you can enter underneath your piano on the first position off the first piano, I want to put a on on the last position. I want you to put a as well okay on. This is off course for the P. Anyway, you wrote down a major skill. Now, for the next one, I want you to write down B on B. Okay. I would like to continue this process for all of the pianos. So for the images skill you have A and A for to be a major school, you have BMB, etcetera. OK, let me show you an example of what that would look like right now. So the first piano is a major skills. Second piano, Be major skill. Third piano, see major skill. We have the first letters filled in and now what I want to do and keep him on. We're just starting to enter these scales, so they're not going to be complete yet, But these are the correct steps to follow. Okay, What I wanted to do is I want you to take some time to fill up the entire scale on all of these pianos. How are you going to do that with alphabetical order? So, a major, you're going to write B C D E f g. And then you already have the A for B. You're simply if you look at the alphabetical order up top, they're going to start with C. So, like that. Okay. So B C d E f g a b. We could do this for a C d e f g A B C. Ok. And I want to do this for all of the seven. PM is that we're doing right now on the resource file. So at the end, you will have a different letter sorting, but the order will always be alphabetical. Okay, So I hope he paused the video. If you haven't done so to do that now and finish up your resource file. So now we have a bit of a problem. The only skill there's actually correct on your resource foil right now is the C major scale C d E f g A B c. On If we have a look at the piano that makes sense. Listen. Okay, now any of the other skills for instance, the a major skill that you have written down like that a b c D e f g A If I would play that , Okay, that's a weird sign, because we want all of the major skills to sound like this. Okay, so that's a little bit wit. We eventually want to work towards this pot where C sounds like this on a sounds like this . OK, so this means that there's gonna be a couple of black notes that we will have to introduce in these scales. So what I want to do for now, as I want you to have a look at your piano in de em in the resource file. And I want you to call her in the C major skill already on the piano because that one is correct. So what I would do is I would simply put little dots if you have the piano right here. So if you have the piano right there, you simply put little dots on all of the notes that you have to play. Okay. And you only do this from sea to sea. k c d e f g ABC. I will show you that nd resource file right now. So now the question is, if C major is correct, why are all of the other ones wrong? In order to explain this, you want to have a look of the piano right here. So all of these notes, we have 12 notes. They're all a distance apart that we call half a note. So you want to not walk here on the white bit? You want to put your finger here and then walk this way so that you're going to reach every single note. Okay. And then here, if I walk here, it sounds a lot different. No, when I walk there. OK, so when I do this, I'm playing what we call half notes all the time. So it doesn't matter if you go from white to black or from black to white or hear from white too white every time when you hear the next note is half a note. So 1/2 note and I would like to abbreviate that with an h. Okay, half again. It doesn't matter if we go from white to white from white to black from black to white. But if he played to half notes, we got a whole note, of course, from head to hear us half from head to hair is also half so that for from here to here is a whole note. Okay, so whenever you skip a note, we're talking about a whole note, So C D is a whole note because we're skipping this note right here. D t e is a whole note because we're skipping this note right here. Even they would lose the same as Roy. Here, Look, this distance is exactly the same as here and here, but because there's no note in the middle, we're not skipping. And so this is only half a note. It's a pay attention to that. Very important from here to here with skip a note. Hold it way, Skipper. Node. So this is a whole note, and here we don't scrip a note. So it's half a whole node. We use w. So now we're going to build a pattern for that C major scale. Okay, so if we have a look, as I said, really play Weidner. Okay, so we have to figure out what the steps are. So, as I said from here to here because was skipping a note, we play a whole note. Okay, so write down a w. So now one from C to D. Now, I want to go from G to E because I have to play the void Notes for C major. Okay, so from DT, I'm skipping a note. So again Ah, whole note, it's a little crooked, but anyway, Sanoma, we eat right side that see whole note d whole note. E Now I have to move to F because I'm saying on a white notes, you know, this is only half a note, so we're going to write down half a note. Okay, So for a night of the C major skill, start here. Whole node whole move on, then. Hoffer, note there's distance right here. Now we have to move on to the G because we say on white notes. So there's a black note in between. That's a node in between. So it's a whole note to write that down whole note, and we can already see that it's gonna be the same for a And for because there's black notes in between so we can write those down as well. And now all we have to do is go back to see sir on B Go to see there's no note in between. So that's half a note. Okay, so now we have this pattern. W w h W W W h On this pattern is the pattern for to see major skill. Now we have a lot of major skills. Were going to do 17 in this bit of the course. So if every major skill would have a different parent, that's going to be such a ball breaker. Okay, so I can already tell you that that is not the case. This code. This pattern works for every major skill you can simply start on any note. Let's zoom out a little bit. You can simply start on any note. Let's say C and then add a whole note. So we end up on D at a whole notes. So we end up on me at 1/2 node, so we end up on 1/2 etcetera, and we can do that, and we will always end up on the major skill. So you may be wondering, but Mark We already have all of these skills because when I saw it on A, I add a whole notes so and upon be at a whole notes that end up on C, etcetera, etcetera. But let's have a look at the piano to see if that's actually correct. So when I saw it on a have to play a whole note. So Skip one really be That's correct. And now I have to play a whole note against a skip. Wait, there's no no to skip here. So actually have to skip this node right here on. I won't end up on here. Okay, So ABC is not correct because we're ending up on a black note, not on the sea. It's a D Flat or C Sharp, Sen. How we're going to take these seven skills that you already entered, and again the C major scale is correct. We're going to figure out the correct skills for all of the other ones. So let's put that on the board on. We will do this together and enter all of the correct skills. So before we're going to write down all of these skills on the board, I want you to take your resource file the ones you're working on, you're probably working on three pages by now. And I wanted to put that code W w h w w wh on top off that page. The reason I didn't print them on that as because we're going to use these pages later on for different types of skills and different types of exercises. So I didn't want to put that on there because we sometimes may use a different code, but I wanted to put WGBH www page on there. Right now, I also want to give you a little idea off why these skills are useful, because right now we're going to invest a lot of time to figure them out. Um, and the whole idea is that these skills are going to tell you when you play a song which notes, you can play on which night you don't have to think about which notes you can ignore. So let's say a major. If you know that a song is written in a major than you already know which note you don't have to play on, which notes you can focus on how that's going to be super helpful later. So for now, what we're gonna do this, we're gonna figure out a major and be major together, and then you're going to fill out D E F and G major yourself. And then later on, I will check that to see if they actually managed to do that. So for now, let's figure out a and B major and thank you can do the it'll once yourself, and we will check that out later. Okay, So if you have a ligature resource file, you will have a and be major with the ending notes, and you're already put in all the notes in between as well. Okay, So with all of the notes filled in, it will look like this and this is already correct. You have the correct notes there, but we do have to decide is a note. Let's say to see is a justice See? Is it a c sharp or is it Ah, see flat? Okay, that's very important to figure that at now. One thing you can be sure off is that the first note and the last note the A and the B in this case are going to be correct. OK, so for a major, it's just on a for B major, it's just a beat. The name of the skill is always going to be the first note in your skill. And this note is always just the name of the skills. So a major is going to be a We also have a sharp major. So then differs note would be a sharp Okay, I heard that makes sense. So right now we're going for a major on be major. So these notes are correct already. And now we're simply going to walk on the piano, okay? And we're going to solve with a major so a now we have to take a whole step. So we skip one note and we play beat. Okay, so be is correct. I'm going to circle that in a bit, and then we have to take a whole step again. So skip one node, which is this on Move up here. Okay, so a B on this note right here, the question is always Is this the D flat or the sea shop? As that's why we already filled this in to help us out? Look, it has to be a seat. So the B is correct. As I said, Onda, See, is this black note Roy here this'll snow. So I have to make name it. See sharp. OK, because if it's a flat, it would be d flat. But that's not possible, because the next night I have to use his see And that's why I like to fill them in like this. So C Sharp is the next nude in my a major skill. So what we did is we did a whole note. We sorted here whole new whole note and now we have to do half note. Remember whole whole half. Okay, so we did started here. Whole mode. Whole note. Now we have to do harf in it. So just the next note, it's gonna be this one with a d. OK, so moving here, which is the next It is the d. So that's correct. And I could simply I feel like the d right that cool. So now moving on. I'm on d. I just did My half note said I have to do a whole note. Someone d skipper, No, play the next. Okay, so the next one is E. That's there, So that's convenient. Okay. And now we have to move on. We have to do know the whole note. So from E. I have to skip a note and then play this one right here. No, this note, as you know, hopefully is either enough shop or a G flat. So we have to see. Is it af sharper? G flat? Ah, it says half. So I have to make this into an f sharp Sinai's. This one is correct as well. Sanoma laugh shop right here. And I have to do another hall note. Okay, so a skipper, No play. Another note now is this is going to be a flat or G sharp. Let's have a look. The only option left his G. So we have a g sharp. And now we have all of the notes in Let's check of this. Correct A B C sharp D E f sharp, G sharp and a Let's listen, See Shop half shop g sharp on a That is correct. So now do we have this? You can actually draw them to piano. Okay, So you have this c sharp, a shop and g sharp. Please draw that in the piano so color and the dots for a B C sharp D e f sharp G shop on a put a little dot like with the rat pan or some color in that file. So you actually have that visually as well as literally, you know, alphabetically written down there. Okay, let's do the same with be major and then I want you to You already have C major done. So then I want to move on with D E F and G and do them by yourself. And then I'm going to check that for you to make sure that you have the correct answers. So be way have to solve with the whole notes a skipper note. We're gonna end up on this and it right here. This can be d flat or see shop. Let's see what we have. We have to make a c So see shop Now we have to do and not a whole note some on c sharp. I have to skip a newt other. This note is the next. Ok, now tell you a little secret. We already know it has to be a sharp because this one is a shop so we're usually going to stick to look sharp, sharp, sharp hair is gonna be the same. So the next one is going to be sharp as well. I never have to pick between sharp and flat. From now on, it's going to be sharp, So B c Sharp d shop. So I did a whole note on the whole note. Now I have to do 1/2 note. Some on D sharp on. Have to do 1/2 note. Some simply gonna do one on. I'll end up on e half. No. Done. Now, after 23 whole notes. Okay. Let's see if we can remember this to speed things up a bit. So eat. Going to skip a note f sharp? Because we know it has to be a sharp skipper. Note G sharp. Because we don't have to be a shop skipper. Node A sharp. Okay, whole note. Whole note. Whole note. Sharp, sharp, Sharp. Okay, so for be major B C sharp D sharp, e f sharp, G shop a shop, Be which basically means that we have five. Blackie's in there. Listen, Okay, that sounds correct. So right now we have a b and see So three skills done already, please. Right now move to your resource foil on finish D Major E Major F Major and G. Major pause the video and one. Sure, don, I want you to put in Sharps, but it could also be flats. Okay, so be careful. It could also be flats. Andi, make sure to finish that. Using the WWF page www page Right now, we're heading into the practice bid. This is your protectors for these scales. So check that out right now. See if you can find all of these skills and then pause the video because as soon as you're back, I'm going to reveal these skills to you. Okay? So don't worry. A blood, the image on purpose, just in case you're still watching. And you haven't figured out your skills yet, but I'm going to reveal the 1st 1 the D major skill in three seconds. Say 321 And this is the skills I want you to check. If this is correct, if this is what you actually have on your resource file D e and then we go to F sharp, G A, B, C shop and D. Okay, so make sure you have that. And then the 2nd 1 I'm going to reveal that in 321 e we have half sharp on G shop A, B, C, sharp and D sharp and eats. I hope you got that Correct as well. Make sure like we're doing the whole ah, hole and 1/2 note. Whole whole whole half. Okay, The next one, the F major skill. I'm gonna reveal that in three seconds. 321 like af g a b flat. Okay, there's a B flat. If you had a sharp, you have two A's. Okay, f g a. That's where we want to have f g A B flat, C D E f. And then the final one g major revealing that in three seconds, three to one g a b c D e f sharp. There's only one shop in here and it's the f sharp. So I hope you had these skills written down correctly. We're gonna be toying quite a lot with skills in this course. If you didn't, don't worry, it's not the easiest thing to do, but make sure that you actually have your resource files printed and then roid the correct skills in there. And you can also draw little dots in your piano. So you see exactly which notes are in there. So right now we a resource file, you should have your scale name and then the correct notes written down Okay, below two piano. And also those notes represented with a little dot or little acts or something in your piano seek actually, visually See it now. I'm also going to give you a little bit of homework right now. What I want to do is to take the other resource files that you still have empty, and I want you to put in the C Sharp is a D sharp F sharp G shop and a sharp major skills. So you're going to start on C sharp. You're gonna anil see sharpening. Gonna do exactly the same. So you're going to write d E f g a B C sharp. And now you have to figure out if there's any notes right here. No one has a sharp in the beginning. OK, these notes will also get sharps if they get anything most likely. OK, so you're not going to see c sharp e flat whatever, Right? So it's most likely gonna be Sharps, so C sharp d sharp f sharp G shop on a sharp. Please put them on your resource file right now. C sharp in the beginning. See, sharpen the end on Philip all of the other notes. You can do that right now and then for your homework. I want you to figure out exactly we which of these notes have sharps and on which are just the normal notes. And I want you to do the same thing for flats. Okay, so we're gonna have d flat, e flat, G flat, a flat, Andi b flat say there's 10 skills and totals that I want you to do on your own without me. And then later on in this video, I will come back and check them with you and see if you actually managed to do them correctly. So go ahead and do that right now. As soon as this video resumes, I will have the answers for you. You're of course, free to don't do anything and simply wait for me to tell you the answers. But if you actually want to learn to do this self use that W W h w w wh formula and you'll be able to figure this stuff out in no time. And it's so helpful if you do this yourself if you allow me to do all the work than you're just not learning anything, Okay? So do it right now. Pause the video, and by the time you'll be back, I'll have the answers for you. Okay, so I hope you had a good time figuring thes out if you haven't done so already. I've blurred the board just to be sure on, I will be revealing Thesis e shop Major skill in three seconds. 123 Here we go. So you C Sharp major skill is relatively easy in the fact that every node carries a sharp. So we have C sharp d Sharpie sharp f sharp, g sharp, a sharp, be sharp and c sharp. So I hope you managed to figure that out again If you didn't. This is quite advanced stuff, So don't beat yourself over the head with it. Let's move on to the D shop. Major skill. And I was a little bit naughty. This skill is a bit tricky, so if you had trouble figuring out this skill. Have a look. Right now we have d shop E shop and then an AF with across okay. Or an axe. And that's something that I didn't tell you yet. I hinted towards it in the note name lesson that we can have something as a double sharp. So if you had d sharp e shop and then an f with to sharps, that was correct. But we also noted by simply putting a little axe sideways so that you knew Well, actually, it's not sideways is just our little acts so that you know that it's a double shop. Okay, so d sharp e sharp have double shop g sharp, a sharp, be sharp, see with an axe again. So that's a seat double shop and then d shop. So I'm sorry that I didn't tell you this before, but I wanted to see if you were able to figure it out by yourself. If you did. So congratulations. If you didn't. I mean, I really did not expect that you did. OK, so if you haven't done so, then still a very good job on you for figuring out the other notes. Let's have a look at the F sharp major scale, so we have half sharp g sharp, a sharp B That's the only regular note as an C sharp D shop, the shop and shop hope you got that as an G shop. So it's G sharp, a sharp be sharp C sharp d sharp e sharp and then an f double sharp again. So we have to cross. Okay. And then for a shop, it's a sharp be sharp, see double sharp. So again an ax or across as an D shop e sharp af double sharp, G double sharp and finishing up with a shop. So now let's have a look at how you did with the flats. I'm very curious to see what you did with the flats. So again, I have blood the answers because maybe you weren't ready yet. But I am going to reveal the D flat major skill in three to one. Here we get. So the flats are in general a lot nicer to work with than the Sharps. When it comes to skills, because, as you can see, right hit, we don't have any doubles yet, so d flat e flat G flat a flat on B flat as an F and C or just regular notes. Okay, so D flat E flat F G flat a flat B flat, C D flat. Let's have a look at e flat major. Also hear a lot more clean than its broader assisted a D sharp major. So e flat F G a flat, B flat, C, D and e flat. Let's have a look at G flat Major This'll one. Everything is a flat except for the F so G flat a flat B flat, C flat, G flat, E flat, F G flint. Let's check out a flop major a flat B flat, see D flat, e flat, F G a flint and them B flat major B flat, C d E flat. The E flat is the only other note that has been flattened as an average e and a so I hope that you did quite all right. In this'll lesson. I know it's a lot of information, especially the first time, and you may mainly think Dude, I know knows so many's skills, but what do I have to do with that? What is the use of it well, we're going to figure that out quite soon. That's a lot of stuff that we're going to do with this information. Basically, if you think about it, most of the course will revolve around this. So make sure that if you made a mistake, take a little break an hour or two, maybe a day and then the scales that you did not manage to filling correctly, try them again. You can print the resource file us many times. You wonder you can always change the name of these scale because the files are empty, right? You can put your only So, let's say, the D flat major skill, the F sharp on the A sharp If you did not manage to get them correctly, simply put them on a resource file and try again. Maybe tomorrow. We're now going to move on to Lesson 1.4, where we're going to actually play these skills with the correct finger position, which is really important. And there's also daily skill practice exercise in of adolescents if you want to practice your skills, which is something that you should be doing if you wanna become really good at playing the piano. It's one of these things that you just have to do. You don't have to do it super often, but it's good to do it now and then than the next lesson is absolutely gonna be worth your while. It will be mainly a practical lesson, Whereas this one was mainly theoretically based, right, That lesson is really going to involve the piano's. If you can make sure you have a piano with you at the moment you're watching that lesson. I want to thank you so much for watching this for. If you enjoy this course, you can leave a review, takes you about 30 seconds and really helps me on also other students to find this course. And it helps them because you can actually tell them what you thought of the course on. Like I said, it's a 32nd thing you can do, so make sure to leave a positive review. If you like this course, if you have any questions, you can always reach out to me at PGM Piano fans at gmail dot com For now, let's move into lesson 1.4 6. Ep 1.4 Play Bach on Piano: Welcome to living Room Piano Lesson 1.4. We're going to do something completely new, completely fresh so that these skills that we did yesterday have some time to rest. If you don't really understand the meaning of the scales or what they do or how you can use them, that's exactly where I want you to be. So you're doing a good job. You don't have to understand it yet. All I did yesterday was tell you hate. There's something called Scales on the's order nodes that are in them. So that's all you know, Perfect. If you cannot remember all of the notes and the skills also perfect, you don't have to. Okay, it would be really cool if you can remember earthy, See major skill. But it's relatively easy to play anyway, because we're just playing those white notes, so leave the skills for what they are right now, we're going to learn to play a song on the piano, and it's actually a musical Peas by Barg. It's called Prelude in C Major. On is one of my most favorite songs to teach people that are just starting out to play the piano. Why? Because It's beautiful, It's relatively easy to play, and it's not one of those boring songs of most people. Start out with one playing the piano When you play this'll, let's say you're waiting at your plane and you're in the airport lounge and you see a piano . You could sit down and play this. How cool would that be if you've only been playing piano for a couple of days, so I'll play a little bit first and then I'll tell you exactly how to play it. - Okay , so that's kind of what a science like there's different ways to play. You can play it very in her, but I like to always give it a bit of swing, maybe a little bit too much for your liking. But you know, like I play this song differently every time I play the rhythm and the flow of this song differently every time I play it, depending on my mood, depending on one on a plate like but that's prelude in C by Barg. So I'm gonna teach you how to play this song, and there's two things I wanted to do. First of all, I want you to print resource file number four. I think it's a number four on, um, the second thing I want to do is I want you to print it, but don't really look at it too much yet. Okay? You can look at it. That's fine. But it won't really make that much sense to you yet. So here we go. Pause the video print e file, and I will see you in a second. Okay, So the cool thing about this song is that it's buildup in exactly the same way the entire song will be played exactly the same way. So what I'm going to do right now as I'm going to show you one example. The 1st 1 and then we can actually apply that That pattern that I'm gonna teach you right now, we can apply that to the whole bunch of notes that you will find on your resource file. Okay, so here's how gets we have the middle. See? Right here. Remember we talked about that. Unless someone 0.1. So you have them the whole piano. When you bring that your fingers together, you end up right here on the middle C. You can also simply listen to the sound on find this'll see on European. Okay. Now what are we gonna play? The left hand in this song will always played two notes on the left hand Simply place those two and then stops And the royal am plays the three and then repeats. The three said this is what the licks like left is gonna play see on e thes two notes right here. Like Isis. See now the other thing is we always play up the pianos. So whenever you see notes for this song, I s e c. And you don't have to play, you know, playing EEC. You're playing C E because we're playing up the P s S c and then e like that. Okay, the right handle them. Follow with G c E o k thes three notes right here. G c on. Okay, So what we get is left, left and then, right? Right, right. Okay. Like that. You heard this repetition in the song Your to do do, do, do do do do so you might think that we simply But that sounds different, right? Says that's what we're doing. We're going to play left ones sues and then Roy is gonna be played twice like that. Okay, Okay. So left, Left. Right, right, right, right, right. Right. So the notes now our c e g c e g c So we can actually write that down on the child board? I guess so. Let's have a look at the child board. We have a column right here. Everything on the left is going to be for the left hand. So I said, we have to play see on gun E, right? C n e. And then right is gonna play G see e and simply repeat that G see, be save a play. This line it see e g c e g c e for play that here you will get. I agree. Okay. Like that. I'm playing this without the pedal, by the way, Um, but when you played this song, you can, of course, use the pedal. But again, we haven't really been over the pedal yet, so don't worry about that too much. If that is something that you're not able to do, I will cover hard to use the pedal later on now. And this somewhere playing this full line two times so all of the lines that I'm gonna make her on the board. All of the lines that are on your resource file number four have to be played two times. Okay, so say this whole pattern will sign like this. See? And then we saw it again. See any GC GC? Okay, so one of the lines will be G C g c g c g c like that. Now, you may be wondering what's the next line? Good question. Okay, I'm going to do four here on the board on Ben Ill will refer to the resource while from now on, okay? Cause you basically you will get the point, but that will play through the entire song. Okay? Just to make sure that we get it. So don't worry about that for now. Just keep him with you. We started out with C E g c G c A Play that two times now we're gonna do c d a D f A f c A f D. So let's write that down on the board. Said, Well, b c d a de ath a de f and that's the second line on your resource file. Okay, so so far we have this. And by the way, you can go really slow on this. Moving to the next one b d g d f g d. Okay, so let's put that on the board. So be de g de. Okay, so you notice that this and this only defense war note it's the A that night turn into the g de f. Okay, So up until now we have this and now we're simply going to revert to the first line. But we're not repeating this whole section in case they were playing the same as in the first line, but no repeating the section. So I'm going to actually write that down again. Ce g c e. Okay, so there you go. This is the first bit of bog. I'm gonna zoom in on the piano a little bit and now want you to really take out that resource file. If you're not able to print it, please copy it down yourself by writing it on a piece of paper. But by now, you should get familiar with the whole printing. By the way, if you want to print these resource files on, you have issues to print them. I would suggest you download all of the resource files at once, okay? And just go to print shop or a copy shop and print all of them right there. Okay, Then you have all of the files. 40 course, you can even bundle them together. I may even make a workbook for this whole course, and then you will simply be able to download workbook. Pdf, But I don't know that yet. Depends on how it goes. And if I can accurately estimate how many copies you need off each resource file. But if that's the case, then you'll be able to download the whole workbook in one. Go simply click that and then download it. If you don't hear me talk about that in later lessons or you go to the resource page and the workbook isn't there. Then I decided that a workbook was not the easiest way to do. And it will be better for you to to download them separately. Cool. So for now, let's have a look of the resource file, and we're going to really start cracking now on learning this whole song. So let's repeat what we have done. So far. See e g c e g c. That's the 1st 1 And by the way, I'm playing without a pedal now, because little boys, you know, you get this on when I go slow, you know, you get that kind of droning, So I'm going to do without a pedal just for explanation sense, So it will sound a little bit choppy, but that's OK. So see, Jean C A c. That's the 1st 1 we did. Then after that, we went to see d a d f a d f Then we went to be d d d f g d And now we're back at C E C C. So now we're moving into the next one. The left hand is saying the same as you can see your resource file, see? But the right hand is going here. You can almost not see that on the camera right here says C E. As the right hand is going a e a okay like that. Now the left hand is going back to see D on the right hand is dropping down half shop a D have sharp a d. Okay, B d g g g g G hard to pronounce B c and now we drop down here. E g c Geez. Okay. Someone expecting you to remember all of those. That's why we have the resource foil. But let's go over this bit and I'm well connected to the previous bit. Okay, so it will sound like this on. By the way, if you're wondering if you go like dude, I can never remember all of this. That's absolutely fine. At the end of this lesson. For the homework bit, I have put in a video that it's playing through the entire song slowly. It's a digital video. We call that midi Andi. I find that the most easy way to display song and you'll be able to play that in different speeds. Okay, so I have to pre selected speeds. One is at 25% of the actual speed, and Warner's at 50%. So if you sort out we're going very slow on, you can easily play along with that. Pause it, rewind if you have to, and then if you manage to do that, you can eventually skill opportunity 50% speed one and play. Along with that, this song will take you a little bit of time to practice. Okay, that's absolutely fine. I wanted to teach you it right now, which is normally way too soon. Like you're probably on your fourth day of learning to play the piano. I would never, ever data to expect someone who's only been trying to play the piano for so for such a short period of time to be able to learn this song. But it's something you can work towards. So maybe in a week's time, or maybe in two weeks time you will be able to play this. Okay, so it's not something that I expect you to learn today. But it's something that I want you to take along with you to give practice to learn all these notes on, um, yeah, with the homework bed. If you practice this song a couple of times a week, that would be absolutely great. And you will be making really good process progress, so they'll be. So for now, I want to play 31st 2 sections that I explain to you. Okay, we have done eight ruse. So far, So hot . Okay. What happened here is for some reason, I decided to look up my camera screen instead of my hand and I got completely zoned out. This is a bit of ah, meditative song. I have to be honest and sometimes I don't know. I got a little bit zone now. I'm sorry about that. Lost repetition. So even I make mistakes and I think it takes a lot people. So don't worry about that. This'll happens. So don't be too hard on yourself. OK, so these are the first aid rose seven Rose, played by me and then me zoning out in the eighth. Rose, I'm sorry about that. For now. Let's move on to the next Through the left hand was on C. I'm actually going to just the camera a little bit like maybe maybe over here B C's with the left hand play lost. We're now moving to a scene on the right hand was playing E g C. And we're still stuck on a GC for now. OK, so we came from here. Only left is adjusting like that. Okay, so a c e g c. Then left is going to go quite a Louis o D A. On now Reuters playing something that eyes A bit of a weird san decayed D f sharp and see so like that they can't says So far Now left is going to G M B. Okay, Right, Will play now left is going to G B Flat on road is going T e g c shop like that. Okay, so that's another four. Let's keep it at that for an hour. So we were starting here. A c e g c a d f sharp c g b flat E G c. Okay, again looking the resource file. So let's play these four and thank connect them to the previous four Rosa's Well, okay, now let's connect them to the previous four rows, so we get some kind of continuity going on. So we're not sorting at the beginning. I'm starting at the fifth rule right now, which is CEO a. - Okay , cool. So now we're already 12 lines in. Hey, she ligature resource file. The 1st 12 lines have been played, so now we're moving on with the left hand. We came from G on B flat right here and now we move on to Evan A by the way, if you want to take a break at any time. Please do so OK, I divided it in four lines a piece, because to me, that makes a little sense. Andi, I would've voice you too. If you want to take a break, take a break between any of thes four lines. Okay? You don't have to which this video in one sitting. I definitely do not expect you to learn this song in one sitting, but I want to play through that entire song together with you so that you get an idea of what the whole song sounds like. You know, when we play all of these parts together and then you can choose to either use your resource file to which this lesson again or to which the video at the end of this lesson, that will actually take you 30 entire song. But this is just a bit that I think if you follow this section right here, it will be very helpful for you to see which keys were playing. How my fingers are laid out. Andi, basically, just to help you learn this song. But it doesn't mean that you have to Which dozens higher lesson in one sitting doesn't mean that, you know, they like to take a toilet break or whatever. Do that if you need to. Okay, so we were a g b flat. And how the left handers moon to f A on the right hand. De de. Okay, now the left hand is going to have a flat. This is what I mean with you can really learn all of your notes here because there's so many notes in their wrote Half a flat right now. Way went from F A D a. D right here and now we're on E g see. Moving on right here. F a c. Okay. Like that. These are not a four lines. I would definitely advise you to take a little break after we've done this section. Okay, so let me play through all of the's without a paddle, so you can just see where we're playing. And then I will play the previous four lines on this on these four lines altogether. See? See how blend So without the pedal, the's are the four lines that we're doing right now. I want to drop back another four lines. I did before the left hand is going to be on A and C as the royal hand is gonna be on e g and C. So let's do it from there a case of right now we're halfway through the lines. If you want to take a break, I would've voice you to do that right now. Have a little water break, stand up, walk around a little bit. Stretch, do some yoga. I don't know. Whatever it is you like to do, have a little break and then we will be back with the next 16 lines when you come back. And then after that, we have the ending of this song, which is going to be a little bit interesting for you. And if that's going to be too hard, I totally on the sand bottom. If you actually take that bit slew than I think, you should be able to do that on. If you don't want to do that, I will give you an alternate ending so you can still and this song in a very cool way. For now. Take a break and I will see you in a a que back from the water break toilet break. Whatever you did, I have that by now you're realizing that this is not a song that you will learn in an hour or whatever. Like I said in the beginning of this lesson, I want you to rather take your time in the next couple of lessons were going to do a lot of theory stuff that is really important. But if you're just watching the theory lessons, this can get a little bit boring now and then, depending on how much actually want us or playing, or if you have a bit more patients to lay the groundwork first. That's why I made this lesson so you can actually have something to do while switching the theory lessons so you can watch the next theory lesson first. If you say Okay, look, I've got enough for now. I've got these 1st 16 lines and one of practice on that. Just skip ahead to the theory lesson and then revisit this lesson later. Or you can say, you know what? I'm going to finish out this lesson and then we'll which left some 1.5 and then we'll come back to this lesson to practice some more of this song and then we'll which 1.6? And then again, I come back to this lesson. Okay, so that's entirely up to you. But for now, I want to move on to the next lines. So we finished right here. Okay. On a CF. So now we're moving Teoh de off, but the Roy home remains the same. Now we're going to make a big move. Okay, so I have to move the camera little bit again. So we're here? Nah. Removed, G. Okay. So from D F G D. Okay, so like this moving to see e g. C. Okay, so and now we're gonna do C g say this whole piece like this, like this. Okay, okay. And now we're gonna do something very interesting to Okay, so this is octave distance. We will get to that in the later last somebody on. If you having issues to play that don't try to play it from the top. Okay, I have relatively small hands. And look, my thumb isn't straight, okay? A lot of people try to like, that's hard. So what I do is I dropped my hand down so that it actually rotates. Look of our remove the fingers on when I play it. Look, my thumb is very much near the edge of my pinky as well. Okay, Some only barely missing out on the other nose like that. Okay, so leave this part of the hand. Relax on. I just play my pinky and my my my thumb is really hitting on the side right here on the side of the thumb. Pinky is okay. So okay, offshore, See c e flat. So we get from F f A c e like that. They came a flood. Okay, so like this right here and now we're gonna get G. Check your resource foil G. I say this bit like that and again, Take it easy. Okay? If this is one off your first piano lessons ever, this is quite intense. OK? But again, I like this song as a beginner song because it's a beautiful song to play. It's relatively easy because we go left. Left, right, right, right, right, right, right. Okay. But to remember, this song is not the easiest thing in the world. Which is why I gave you the resource file. So you can easily play along with that, Pete, that on your piano in front of you. You can actually watch that on. Believe it or not, this song will be remembered by your hands, not by your heads in which by your hands they were Remember it for you in the muscle memory that lives in your hands. Okay, so don't worry about it too much for now. If you having fun to play this song, keep on playing it. If you get bored with it. If you don't like it, you don't have to play it. Okay? I only one just to play songs that you like and love so that you have the most motivation to practice on them. We have eight more lines to go and then we will finish up this song And then at the end off this lesson, I will show you that play through that I've been talking about all the time. It becomes time to finally have a look at that. So g Jean is the next on the right hand is going to go for way. Have this'll area right now. I left will sail g d But Roy is gonna move. Teoh, now left is gonna do something a bit funny. So from G Teoh flat. Okay. G e flat can also played it with some if you like that better. Okay. G e flat a c shop like that. Okay, so this area left handers on the G the whole time. So, uh, depending on how you want to play that Okay, So right hand GC. Okay, getting right there. And then the final four lines before we get into the ending left and goes back Teoh again. But Roy hand is going Teoh. Okay, left. I'm moving down to G D on Roy. Ah, a little bit of repetition. Write G d g B f on the left hand way Cannot see that anymore. Let's move the camera, but left hand moving to see Octa. Okay, so two seats. Okay, Right. Okay. So we were coming from here g e like that. Okay, so now we're getting into the ending. And if you don't want to do the ending up with an alternative ending in the resource file as well on it goes like this, say we will right here, Right? Can I want to end up like this? Okay, there's the alternative ending. So what? We're basically doing is we're putting on two extra bits C C. Which were already playing right here. So you can just keep your hands in the same position. And I moved Teoh See on, then finish. Just hold that. Okay, so that's the old turn of the vending. Now, the original ending, it's gonna be different. So we were coming here. Now pay attention. Left is gonna g o Duthie season Reuters. Okay, have may look a little bit scary for you in the beginning. It's not super duper heart. So left seat on, Especially if you played slow. Roid is gonna play f a C c c a f a f d. It's not easy either. Okay, so it's it's not Super Harbor. Not super easy like this. So especially if you're playing the song slowly. This should be manageable. You play like this, But if you go quick, if you're playing the whole some quick, I can imagine that this is where you would struggle. If you have issues, do that with one hand. There's a short cut. You can use your left so you get this left left, right. You go over with your left hand, come back to place a d. Ah, like that. So take it easy on that look atyou resource file at which notes to play. I will play this ending very slowly in a bit, so don't worry. For now, I just want to show you the full ending. So left C b right is gonna get g d E e d on We're ending abroad here. Hey, left us playing CC and Reuters playing e g. So this ending is quite intense. Let's do it very slowly and see how you get. So I'll do it two times with the variations for the left hand with playing the left hand, and then the right will play the rest or with using the left hand to play the ending. Okay, very slowly. Here we go in, - and Okay, so which variation you're gonna pick? That's up to you. For now, let's dive into the homework bit. Okay. Says I've tried to make clear throughout his entire lesson This is not the easiest song in the world. But it is a really nice begin a song. We have 32 lines and then that ending. Okay, that ending is too much for you, which I can totally understand. You can end up with the alternative ending that I gave you. And you will find that in the resource file at the end. Okay. Now, what I want to do for your homework is have a lick of the video that will follow up next. Okay, it's in this video file. Okay, So you do not have to move to different file. Just keep on watching. And I will start that in a bit. And it will slowly play through the entire song very slowly. Hands under time. After that, that will run again. It will play through the song slowly. Okay. So you can use that to play along with it. You can use your resource file and your homework is that you should have fun with this song . If you don't like this song, if you simply want to play something else, I don't play it. But if you do like it on, if you want to have fun with that, I want practice to play this. Even if it's very slowly, that doesn't matter. You want to sort slow, So even if you go slow, I want you to practice the song a little bit if you have fun doing so and then you can move on to let some 1.51 point 61.7. And in the meantime, so you witch a lesson. You play a little bit of this, you know, way. If you if you would get bored with the theory aspects off this course, you can always fall back to playing this song. However, the theory aspects are very important. It will build your foundation and knowledge about playing the piano, and it will really help you later on to play things easier because you will recognize patterns on. It's just very important that you do so do whatever you want to do, but make sure that you drop back to this song because this will be the final song that will be told in Chapter one. The rest is going to be different kind of practices, different kind of theory bits. So if you want to play something during this period, is the song to go for? This is the song I would recommend. It can also play, Seem is that we learned unless on 1.2 so alternating thes two songs will give you a really nice are Go ahead. A really nice start. So do that. Enjoyed the video That a sorting in 10 seconds. Watch it and learn from it and then move on to lesson 1.5. Uh huh. Yeah, E uh, yeah. Way, - Way . - Yeah , Yeah. Uh uh, Yeah, - yeah . 7. Ep 1.5 Major & Minor Piano Chords: hi and welcome to lesson 1.5 of the living room piano course. I hope you enjoyed learning that song in the previous lesson. Maybe also working on that. That will be absolutely fantastic. I definitely do not expect you to learn that in just one hour because there's a lot of different structures of notes that you have to remember. So in this lesson, I'm actually going to teach you something that may help you with remembering all of those notes on the thing we're going to discuss in this lesson are quartz. So if you don't know what a court is, quarter simply a combination of notes that we packaged together and we give it a name, and it also has a certain sound. So usually courts are 34 or five notes and their package together into a court. Today we're going to learn 24 chords, 12 major chords and 12 minor courts, and I will teach you how you can find these cords, how they're structured on. Basically, these are the most important courts because the major and the minor chords are records that we see most often in modern day music. So having said that we need to make a distinction between the major and the minor, and we will do that right now. And in the next lesson, I will also continue to talk about cords and then I will teach you which courts to be found in a major scale and also which other courts that we have. That may be useful, so we'll teach you how to do those as well. So if you have never done anything with courts yet, or you're simply know that advance with them. Just which this lesson, anyway, because I'm going to teach you some really nice tips and tricks to remember your quartz Onda. That's just great. So let's have a look right now. So the court that I would like to start with is the C major chord on its played right here . So there's a couple of things that we're going to discuss the name of the court wides called Pat and how you can identify them, right? So first of all, this is a C major chord. Andi, it consists, as you can see out of a scene E on a G. Okay, so let's put those on the board and then we'll have a little talk about that. Okay? See, e G. Now this is a C major chord because I say that it is a C major court. But apart from that, you may not know why. So the first indication that it's a C major chord is because if we look on the left, we see a C. This is the name off the court, and it's also the tonic node in the court. OK, so this one is, in this case, the name off the court, and then we can make a little step towards the next note and towards the next mint. Okay, In a later lesson, I will explain to you exactly what these notes are cause they have their own names as well , but for an hour just going to focus on the steps. So it's very important to understand when you want to make these steps, is that you have the name of the court actually on the left. Okay, so it's on the left right now on the screen. But it's also on the left on the piano because if we change them around a little bit, I could, for instance, play E C G. We still have the same notes. This means that it's still see major court, but now the years at the bottom, These are the left. So now you may think that it is an e court because of this? No, but that's not true. OK, Combination of the court, the little package that will make it that's identifiable. 40 name. That's what the structure is all about, says C E N g. Have to be in there. Sen. It's a C major chord. If there's any other note in there, or if there's a note missing, it will be a different court. But now how do we find the cord? See at the bottom fan the on the G, the closest this is possible with the sea at the bottom of the piano to bottom meaning on the left. Okay, because it gets lower on this side and higher on this side. So tonic node. See the name of the court. Then we go to the E. On. We can already see that there's three notes, three keys that are not being played. Eso were basically skipping three notes before playing the next, so I'm going to write that hair underneath. My first step. Three notes. Okay. Um, let's see. So we have C one t three to be skipped. We end up on me on how the next night was G. Right? So it is actually two notes that I'm skipping right here. So I'm skipping three. Other than to Okay, that's great. And I can make a game, or I can make a long part about this life. What do you think? Will it apply to all the other courts? But let's make a long story short. Okay? Whenever we have the name of the court on the left, we take three steps and then another two we will end up with the configuration of a major court. So all of the 12 major courts that we're going to discuss today will have this configuration. They will all start with the name that tonic on the left. And then we'll take three saps to find a middle note and another two to find the note on the right. OK, so let me quickly demonstrate what happens when you get a wrong. So, for instance, right here. Okay. Now ease at the bottom. There's two in the middle and then four. Okay says that's a different combination. 90 quarters still the same. But the tonic, the actual name of the court is not at the bottom anymore. It's at the top. So that's why the combination doesn't work. OK, so let's say that you want to retrieve Accord on. I'm playing this right now. This is not an e court, because look the ears of the bottom. 1234123 So that does not match up with our three to pattern that we want to find. Okay, several play this. It's not on any major court. 123 4123 Say that's wrong. So then I take my c sharp down. Place it here. Now let's see if we have a major chord. Now it's a little bit hard to see like this. So that's two in the middle and then four. So this is also not the court, right? This is not the major court. While at least this'll not gonna be the tonic. So I take this a down and I put it here Still the same notes. Remember E a. C sharp c sharp, a a C sharp d. Not as three notes in between and two. Let's see. Ah, that's correct. OK, so this court, even though the he was at the bottom, is actually a C shop and eat. So don't be mistaken. Don't be mistaken that any Cordy play like versus this is automatically going to be denote that's on Earth. Um, okay, that's not always the case. Sometimes you have to figure out how it works. Don't worry too much about that for now, though, but I just wanted to to tell you that. So having said that, what we what we can do is we can either find cords by playing them on the piano and then figuring them out. And then we can have that. It's a major court with combination. Three in between, two in between, or we can start with a given note. Doesn't matter which one, and we can figure out what the court is, which notes are in the court. And again, If you didn't understand how I got to this, a major court right here, don't worry, OK, we'll get to that later. So for now we have got to stick through this rule of having three notes in between and then to Okay, let's write down the notes A beat, See? De e half and g. And now we want to figure out the quartz, the major courts to all of these nets. Okay, so how do we do it very easily. Start on a way. Can 123 notes in between we take the next one. Okay, Now, this note is a C sharp or a D flat. Okay, We'll get to that later. But for now, that's right down c sharp. Now, this note is a c sharp. So 123 the next one a C shop. And then we have to take 12 steps to end abroad. Here on the e. So a c sharp e is the a major court. We can do the same for B 123 this'll one is the next once a DIY shop. Ah, Now I have to take another two. The That's the next one. Okay, so f sharp. We already know. See, right, Because I told you that in the beginning, it's c e n g three in the middle and van to says see e and G what I want you to do now is a wanted to complete these. The last four by yourself. And then I won't show you what the results are when you come back. So complete them. And that won't get to that. A case as always. I blood I the answers to make sure that you're not looking yet if you haven't gotten the results yet. But, um, I hope you're ready now because I'm going to reveal all of them at once. So for D major, we start on D with three in the middle half sharp to in the middle A Okay, So deep left shop and a for E. Major, Let's start here. Three in the middle, G shop on two in the middle. Be okay. Image for F three in the middle of a two in the middle. C okay, on for G 123 Want to gvt. Okay, so once more, a c sharp e b d shop f shop See, e g d f sharp A e g shall be f a c and G b d. Now. Why are these courts useful? Well, in every skill off seven notes, there's going to be seven quarts. Seven course. You complain in that skill that will sound brought a nicely with them usually okay, and there's a lot of different stuff that we can do with that, and I will talk about that later. But this is one of the things you could do with the court's. Another thing is that songs are usually build up out of courts, save a play, a bunch of random courts. I got a song just but playing four quarts in a row, and we'll get to that later as well. Courts are useful because if you know your cords, you can easily identify stuff. You can make it easy to figure out what foundation to lay in which scale. And for instance, if you have a look at yesterday's song, remember this. Okay, look, right here we have our C major court. Um, then we had C d a d f, which is something different. But then we moved on to B D g d f. And look right here we have the ingredients he has. The order is different, but we have the ingredients four a g major court. Okay, so you can see cords everywhere in songs there. They're always somewhere to be found. That's what courts are useful. We're going to do a whole bunch of things with quartz on them is just something that you have to learn that will make it so much easier for you to play almost anything. So we just had the regular notes on A, B, C, D, E, f and G. And now we're going to do the Sharps on the cool thing is that four chords we can actually , we can actually pair them to their brothers and sisters. Okay, so these sharps are, of course, black notes. So the seashore, we compare them to D flat these sharp to ah e flint f sharp to G flat, G sharp to a flat and a sharp to be flood. Okay, there is one important keys on the piano are going to be the same, but the notes are gonna be different. Okay? Because in order to Roy die in C sharp, you have to sort with C sharp. But in order to write down the flat, you have to start with the flat. Okay. Say that 40 flat chords will have little flats in them on the sharp chords will have sharps and them, but the notes are the same. So allow me to demonstrate that C sharp right here. 123 notes in between half Ah 12 notes in between. Now what do we call this note? This is a C sharp. So therefore, this is not on a flat, but it's a g shock. OK, because we're playing a sharp court right now. She c sharp f on G shop. Okay, Agreed. Now we can do exactly the same court for D flat. So now if this was D flat, it's not C sharp anymore. 123 in the middle. Still half want to in the middle. But now with this candle B g sharp because when the flat so d flat. Okay, so for now, I'm going to keep the Sharps because why not? It's a little bit easier to do that because I already wrote down the 1st 1 but yeah, you can basically do the same thing in flats. Okay, so for D sharp 123 in the middle ending abroad here. I want to in the middle, ending up right here. Not technically speaking. This would not be a Jeep, and we're going to get into that a little bit later. But, um but for now, let's just leave it at that. Okay? So what I want you to do is I want you to figure out the rest of the three quarts, and then I want you to write down D the flats as well. Okay, so I'm going to cut the video, and then when you come back, we will have 10 courts were five sharp courts and five flat courts on the board. Okay. Says always I have blurred the board for you. Andi, I'm gonna reveal withy notes in four seconds. So if you don't want to see that pulls the video now, because I'm gonna reveal it right now. So for the left hand side, we have the Sharps right now. It doesn't matter if it's left or right, guys. Okay, I put it on the board like this because it's just nice. Okay, so see shop C sharp, major. It's gonna be C sharp. F g show was that we have d shop G A shop f sharp major is f sharp. A sharp C sharp, G sharp major is G sharp c D shop. A sharp major is a sharp D and F. Now, I have to tell you right now that these air simplified names because all of the regular nodes could actually change later. Okay, What? I'm gonna teach you had to write them down properly, but the keys are correct anyway. Okay, so you do actually have to play these keys, But it's just a matter of maybe writing them down in a little bit of a different notation. Meaning that, for instance, g sharp, This would not be a C, but it would be a B sharp d sharp. Okay, but we're going into that later, so don't worry about that for now. Then on the other side, we have d flat, e, flat, G, flat, a flat and B flat. So d flat after a flat e flat, G B flat, G flat, B, flat D flat, a flat, C e flat, and then be flat D and F for the flat courts. I hope you got that. Correct. For now, what I want to do is headed to resource file number five and you will see 12 pianos in which you can fill at these courts. So you're going to write the court name, then you're going to write the actual description off the courts. So for C sharp and the flat, you have to write them both and that I want you to color in the correct keys on the piano. OK, so I'll show you demonstration of that right now. I filled in the first court, which is C major Andi. Um, I basically put the node cge and colored in the keys on the piano. Okay, so on top off your resourceful number five, I want you to write down major courts, as I've did as well, in this example. So, major courts. Why? Because we're going to do different kind of quartz. We're going to five chords, minor chord suss chords. So I want you to keep track of these and make your own little chord book. So make them nice and write them down carefully on. Do you have a really nice book or little booklet with courts at the end of this course? Okay, so for now, ride them down. Pause the video. Andi, I will see you back to do the minor courts, which is gonna be the last topic of this lesson. Because otherwise it will be a little bit too much. Okay, So as I've said before, major chords, I have, ah, three to set up minor courts. Minor courts have a to three set up, so it's a little bit different if you have a look at the piano. We have seen Major right here. See, e g three in the middle to and it's major, but also Sands Major. How can it sound major? Well, this'll is a minor chord. It sounds a lot mawr sad because sometimes sound intimidating or dramatic. Okay, Majors like a My God, something changed in the atmosphere. Okay, s so as you can see, we had three in the middle of two. And now we have to in the middle right here and let me take thes two over so you can see we have 123 in the middle, right? Him And this makes sense because the top and bottom notes stayed the same. It's only the middle note that's changing from major to minor major this'll. It'll change from three in the middle and to Tiuna middle on three. Okay, so we're going to do three courts right now. C b flat on. Let's do f minor. Okay? The minor courts. So I had to figure them out, See 12 in the middle. They were ending up on this note right here. The e flat. Okay, there's only two in the middle from E flat. I'm gonna count 123 on, then, because we have to have three in the middle way down upon g. Okay for B flat, starting where it hit 12 in the middle way and upon D flat. 123 to skip and we end up on f. Okay, f 12 in the middle, ending up on a flat, three in the middle, ending up on c. OK, so see if Lagi be fled the F on EVC, Actually, quite a nice, sir little sounding tune, isn't it? Kind of like that. So there's Ah, another nine courts left for you to find. I want you to print resource file five once more. Andi. Now on the top, you're gonna put minor courts, OK? Minor chords. It is C minor, for instance, B flat and affray. Word did them. But it may be noise if you. Actually, she actually used to structure that. I put on the on the recess file number five. So fill in these chords on. Then I will see you after that because we're gonna actually have to do some practice and then some homework. So here we get. So I just had to pd aboard Vertical because there were too many courts. But these are all of the minor chords. Let me draw little distinction right here, okay? Between the sharps and the flats. So a CE for a Mona B D F shop for beam ana C e flat g d f A e g b f a flat C g B flat D Please check if you go them correctly and then seashore PG Shop D Shop of Shop, a shop after shop, a C shop G sharp B D shop and a sharp C sharp and F for the sharps moving on to deflate e a flat e flat G, flat beef, land G flat, a D flat, a flat, B E flat and B flat D flat F If you have all of these courts in, I want to start to play a couple of these courts on the piano on Dumb. It's very good to do this, to get used to these chords and playing them, and we're gonna play them with roid hand only for now. A lot of people that play keyboard play all these courts in the left hand. But when you play piano, you hardly ever do that. You're mainly playing something different in the left hand, especially in the beginning. So we're going to sort out but playing these courts in the right hand and see what happens that let's get into to practice bit right now. In case I told you that we weren't going to do his song anymore and seems that I'm already lying right now because we're gonna do a little bit of a song. But it's not really it's not actually song. It's more just a bit of a progression. So please forgive me for that, but I think it's fun to do this. Okay, so we have a couple of courts roid here on First of all, want to identify, have a liquor that's pause the video and see which ones are major on which ones are a minor . Okay, if you have a Look at that. Pause the video right now. So this one s c major. They're all in rue position. Where got to that later. But see, Major, a minor is the only minor chord half major on G major. Okay, so c a f g we have those notes here. A swell, because that's what we're gonna play in left. So let me zoom in on the piano and show you what we're going to play. Okay, so first of all, this is the middle c Andi. Okay. Hand coordination for the courts is a little bit. It's one of those things that I don't really like to teach a specific way to play the court , that some technical ways that you can play the chords. You know, some people like to play from middle finger pinky, but also have a little bit smaller hands. Maybe then some other piano players. So it differs. So if you play bigger chords, you know, like then maybe the grip changes a swell. So what I would say is make sure that whatever you play for now feels comfortable to your hand. Having set that when I was sort of play courts, especially when I had to change pretty quickly, I found it difficult. Okay, I find it difficult to find these correct grips. Sue, try out What? What feels natural. So you were comes natural to you. If I would tell you to play these three notes, how would you play them? Which you played him with? Your from point to figure a middle finger? Or maybe ring? Or maybe you were played him like this illness. I played him differently. Dependent on on which song? Um, playing. So it all depends, But for now, you can just do what feels natural. And for left, we are actually going to take this neutral grip former being see other than points. It will be on be middle finger will be on a ring on G Pinky. Hey, when I play this, um, actually playing what's on the board? Okay. There were so for Right C on G. Okay. E c f a c on g b d. Okay, so see e g a c f a c on g b Now play them at the same time and played on with me right here . See, e g. Now we're going to move over now the grip is actually the same. Okay, So what do you play like this or like this? That doesn't matter. I usually played like this because people can see quite a lot better on the camera. So let me do that for now. But basically, we take this grip over like there's one road in between. We play the same right here. Okay, So moved to a C F A c. And then these three notes that are left here, let's play them was G meeting. OK, so C g they see f a c on gvt. Let me slow that down for you a little bit. Uh, now it helps. If you actually place your fingers on the court. First on, then play it. Of course. So if you let go and then go up, move. So get into the position first. If you use the pedal, you don't have to hold the notes. Was the pedal hold'em like this? Okay, but if you don't want to use the pedal yet, just play them. You will hear a little gap in the sound in the middle. But that's OK Now we're gonna play that left hand again. Ah, uh, play along with me or see a on G. And now we're gonna combine left and right. So who Very spooky. Play them at the same time. So to thumb here on, see Jean the right hand. Play them at the same time. Okay, Now the left hand is still in the right positions. All you have to do is move your right and then play them in the same time. Right here on. Right. Um right here, let me take this neutral grip so you can actually see lot better here. Move to a guys on G. Okay, Now we're going to try something cool. So if this one too quick for you, you can keep on practicing. There's a little bit. You can also do them reverse. So start on. Go back half a on C. G. Uh, okay. See? Compresses it both ways. Ran. So what I was doing now is I was sorting on G and then went to have A and C like a of course, playing the courts along with that. So now what I want to do is if you feel comfortable with that, or if you just want to try something new is to play left first and then play right after that. Okay, So, like that, you can do it slower on. I'm taking this open grip again. Uh uh. On. You really don't have to guess quick as I'm going right now. I didn't expect that off. You on. I see if you can kind of get a little bit of a slower Ah, uh, like that you can practice. There's a little bit of swell. And then if you want to even make it cooler, scale it up by going like this. OK, so we play the court playing left, right? Right, right, left, right, right. So Ah, you can make variations as you see fit. So your homework for this lesson is to fool around with this song a little bit. You complain that this order, you complain in this order and you can just have a telephone. So you how it's going and get used to the grip of the courts. Now, these courts are all relatively easy because your hand is flat on the piano like it's all white notes. Right? But what I also want to do for the pretty homework is to take your resource file number five, and to actually run through all of the cords that are on there and played him on the piano . You don't have to be able to play them very well, but I want you to, you know, figure out how these courts are being played. Um, you know, just try and figure out all of these words that we have been doing and and and run through them a couple of times. Okay, So homework for this time practice the 24 chords because when we played him on the piano, it doesn't matter if it's it's d flat of C sharp. Okay, said, practicing 12 major chords and 12 blind accords with your right hand to be able to play them. And if you want in the left hand, you can play the same note as the bottom note of the off the right hand. So if you're playing F A C F major, your left hand is going to play an F note. And if you would do B flat minor your left. I was going to play a B flat. Okay, so whichever note you're doing in the left hand, you don't have to take into account the minor. Okay, Just play that note. So, for instance, here, this is my Norris. Well, a c e. But the left hand is just playing in a okay, so you don't have to worry about that at all. Just take your 12 major chords and you're 12 minor chords and run through them a couple of times with the right hand so that you kind of start to begin to feel what it's like to play these course in your right hand on again. In the beginning, this is going to be a little bit tricky, cause you're not used to it yet. But eventually you will get more and more familiar with it. So have a go at that. I will see you in the next one, which is gonna be lesson 1.6. And there were going to but these courts into skills or were actually going to figure out which courts live in which skills. So we're gonna do that unless someone 0.6 for now. Do your homework on. I will see their 8. Ep 1.6 Chords in Major Piano Scales: welcome to let some 1.6 of the living room piano course and less on 1.5. The previous lesson We talked about courts and a lesson 1.3. We talks about scales and this last one we're going to merge these two together and figure out which courts reside in which scales because they're actually connected. And we're going to solve a little bit of the puzzle, actually put it together a little bit in this lesson. So I hope you enjoy that. Before we can do that, we have to talk about something that's called Inversions because I want to make sure that you get that straight before we move on with the rest of this lesson. So I'm going to start with that first. I hinted towards that a little bit in the previous lesson, but if you didn't really catch that fatso came going to explain that very clearly first. So you know exactly what inversions are when we talk about quartz and then we're going to look at these scales and see which cords belong to which skills. So before starting with all of that, I want to thank you so much for watching so four, This course takes a lot of time to make. It takes more than one day to produce one episode. So you can imagine how long it took me to create this entire cause. And watching through it is basically a way of honoring me for doing that. So I want to thank you so much for doing that and also chose that you're really interested and learning to play the piano. I know that when you're starting out with something, the motivation is really high. And then once you proceed, maybe boy now or maybe in a couple of lessons you think I have to set aside an hour to do this every time and motivation may drop, let me tell you that every hour span in this course is going to give you so much bang for your buck at the end of the road. OK, every lesson that you're watching is gonna teach you so much in term of foundation and later on in this course in terms of actually being able to play all kind of different songs and the best thing you can do for yourselves too invested time now and learn things properly so later when you can enjoy for years and years to come. So be smart Keeper watching this course, even when sometimes she didn't feel like it or you're not motivated, make sure to keep setting aside an hour at least every week. So do you get through the course. And if there's one week or two weeks where you simply don't have the time, we cannot watch trying catch up in a week after that. I promise you that by the time you're finished with this course, you will be amazed by what you learned on what you can play. I've heard so many people telling me this with previous courses that I've done what I like . Wow, I never imagined I could play this much in three months or in five months or six months to keep at it. I know that sometimes it's hard. You're learning a lot. You're doing a great job on If things don't seem to fit together yet, Ed, will more and more start to do so. OK, sorting at the beginning. There's a lot of loose ends that I need to tie together to make sure that you get a grasp of what we're doing here that you actually see the whole picture. I notice that what I'm trying to teach you and tell you right now all belongs together. Toe one big story, that is your piano journey. So basically what I'm trying to say is I'm very proud of you making it so far, and I really wish for you to continue this journey and this course into the further and deeper lessons were going to be learning so much more. Let's dive right into the inversions. So what are inversions when I talk about courts? Well, I want to explain this to you with the C major court. The C major chord that we did consists out of C E on G, and basically there's a couple of things that you have to note here. So, first of all, any C major chord the hassle BSC there has to be an e, and there has to be a G. If there's any other note in this court, it's no longer a C major court. Also, if there's any lesson these notes, it's also no longer a C major chord. However, if I add another E and another see that doesn't matter. It will still be a C major court, so I can add as many seas ease or Jesus I want and I will be fine. If I add any other note, it will change. But now what do the inversions mean? Well, we have to look not only at the notes that are in there, that's fine. That determines the name of the court. But the inversion is talking about two things. The order of the court, which in this case is alphabetical. Luke. We could write a be see D E f G. Okay, so the order is basically alphabetical. If I give you an example of accord, that's not alphabetical. For instance, if I would ride E c g, this would no longer be alphabetical, okay, because after f, which comes after e comes G. But that G is actually written over that. Okay, So what's very important when we talk about quartz and inversions, even though the example that I drew here, e. C. G. Is still a c major court, it's not one of these standard inversions. There's only three standard inversions, and the rules are the notes have to be alphabetical on. They can only occur once. Okay, So if I wanted to create a standard inversion, I can only create my court. My notes wants So what does this mean? Well, let me show you this way. I think that's very clear. See, of these courts as building blocks. OK, we have C e g. What I could do so I could move this, see to the end. So then we get this. This is still a C major chord, Luke. Conditions see, e g. No other notes are there, so it's still see major court. It's also still alphabetical. Look, e f g abc. That still makes sense. Okay? And there are also no double. So this is also one of these standard ways to put this cord. And then we, of course, have 1/3 option to do that, which is G c E o k. Again. All three notes Are there no doubles and it's alphabetical. G after GM piano, we get a B c d e. Now you may think Yeah, but Mork, we can keep on going forever. Well, let's give that a go. If we look at this last option, it see e g again, which is the same as this. OK, so this one doesn't count. It's it's already the same as that, so we're not going to use that at all. Therefore, the rule is, if that's three notes in a chord, there's only three possible variations that we can make. How do we call these? Because there's actually names for these. Well, this one, the very 1st 1 we call root position, root position. Okay, this one we call first inversion on this one we call second inversion. So how does that work? Well, is sort on route. And then in order to get the two first what you have to do, she have to take the note that's on the left and added to the top. And then in order to get from first to second, you have to take the notes that's on the left and added to the top, as I've done right here. Okay, let's have a look at the piano and see what that looks like. Eso Let's say I'm here in the piano, see each e on. I want to do an inversion. So first of all, see, e g as we can see right here is the root position. Okay. C e N g. I'll tell you a little bit more about that later. So root position now, in order to get to first inversion, I always have to start on the left and release that note and simply added on the top. Okay, so e g c. In order to get to second inversion are released. This lowest note on add it on the top guy. So now we have. And then in order to get to root position again, I release the bottom and I'm going to the top right there, and I'm back. Teoh, See, e g, which is the same a c e g over here. Okay, so now you may begin to wonder how don't know which one is the root position, because here it looks very clear. But how don't know which ones to reposition when I've just When I got three notes G, c and E, how do I put them in the root position? How do I know which one is the first version or the second inversion of the reposition? Well, it's very easy. The name off the court, which in this case is C major always has to be on the left. Okay. See, Major is the name of the court. If I write it here, it's no longer on the left and Olson on here. Okay, So the note has to be lowest, which is to the left, on the piano on the laughed, the one we start with. The name of the node has to begin in the court. Whichever way you want to remember it. That's fine. As long as she's start with the note off the court on the left. That's your room position. Which means that even playing a C major chord, I have to start with Sam left, then the rest of the core. Okay. Have a plane after major court I have to solve with have on the left on. Then play the rest of the court. Have a play B flat, major. I have to solve with foot. Okay, now, this is not just for major courts visits for any any any court that you will learn which ever court you're going to learn. If it's, you know, one of these doesn't matter. Major. 7/4. You're gonna have to sort again on the sea and then the rest. Okay, so let me show you a couple of examples on the board. Now, if you just get a random amount of notes on, hopefully you know that they're going to be in a major court, for instance. Right? If you just get a random amount of notes on, how can you actually figure out which cords they are? So let's do a little bit of an exercise. With that, I'll give you a few random notes. Okay, so these belong together. Andi, let's do the's belong together. Will the the's ones on bond. That's through sharp. Um, how about so what I want to do as a wanted to figure out These are all major chords, by the way. And I want you to figure out which court it is. Okay, because obviously, it's not always gonna be the first letter. It could be. I rode them randomly, but I want you to figure out which courts thes are. Now. Let me give you a little tip on how to do that. You're simply going to take these notes and fool around on the piano a little bit if you don't. If your piano with you you can take one of the resource files with a piano in there, and you need to search for that pattern that we did in the previous lesson. Which is the three and two. Okay, three in between. Into in between. If the court is in the wrong position, there won't be three and two notes in between. Say if to shuffle the notes around so you can put them in alphabetical order first, and then shuffle them around. Or you're gonna show for the Moran first, Whatever is quickest for you. And you need to get that Petr three notes in between than two nodes in between. Because if you don't have that pattern, it's simply not right. So you could have four notes in between in there three or four in two, like all kind of weird combinations. But we're only looking for three notes in between, then two in between. If you have that, then you will know they will simply have to look on the left of the court and you'll see the name of the court. Okay, so do that right now. Pause the video and then I will give you the answers. Okay, so Welcome back. Not much has changed on the board. I'm now going to give you the answers. So what I do whenever I'm doing this, let me show you the piano. I'm looking for the notes that are being described. So if we look up, we see a d f Sharps. I'm simply going to play and and f Shaw. Okay, playing that right now. Now I have to figure out if this three notes in between and two note as four on three. So this is obviously not the correct position. So then what I can do is I simply release the lower one. Hold the other two. And this was an ace after plane A here play that I on top. Let's see this. 1231 This is actually the correct court. Okay, so three in between two in between. I looked to my left on I noticed that I'm playing a d. So therefore, the D has to be only left, so let me change that. It's gonna be D now. It has to be alphabetical. The other notes were f sharp on a silver go D e a. F is the next one half shop on a okay. And now this court is a root position. So have a d major court not be flat aven d Let's play that. So maybe it's in reposition already are. Man, I can't even reach that. That's already good giveaway this'll quarters. Probably not a reposition B flat af andi The closest D But I can get towards this out, but I have to walk up, so this is definitely not good. I can already see that as a D in the middle has I'm gonna simply bring that in. So now I have these three notes that I'm playing and looked as three in between and two, So we're already solved it. So basically, what happened here is that the f A and the D were switched around, so let me simply fix that de on. Okay, so right here we have a B flat major court. Let's have a look at the other one cf they for in between and then three. So this is not the correct position. I simply release my bottom one added on the top three in the middle to in the middle. That's correct, though. The note on the left is half. So let me fix that is getting messy. Here we go. F a see. So we have an F court. I'm sorry. By the way, the the lowest one was g sharp. Be sharp and d sharp. I messed that up a little bit, but I fixed that in the video. Hopefully. So? So you probably searched G shop on B B, but b sharp on Zandi shop. So 123 12 Okay, that's already in the right position. So it's a G sharp court. Okay, so now we have all of these courts in the Rue position D major B flat major after Major and G sharp major. So that's how the inversions work. Whenever we're gonna work with courts from now on, unless I tell you otherwise So, especially in this video, we are going to be working with courts in their route positions and make sure to always remember that the courts have to be a reposition. Otherwise, whatever I tell you may not work. Sorry, guys. I messed up a little bit. I forgot to tell you to damage the resource file. Okay, so there's something written on the board that I cannot show you yet. You will see later in the video. But for now you have to download resource file number six, which allows you to right down the court's very easily, depending on the skill. So you will see an overview of the skill you can write down any skill that you want and then their spaces to write out the full court. And after that, you can write the name of the court. So make sure to download resource file number six right now printed at least once if you can. And then you can right along on that file, because it makes it so much easier to do the rest. Good. So now that you hopefully haven't understanding of how these inversions work and why they're important, because if we put something in the wrong inversion, the D quarters, so going to be correct. But it doesn't really work in a way of three in the middle to in the middle, and you will see later on that you may be confused with which court are actually dealing with, because if it's not a room position, you don't know in C E. G. C. Major. If you're dealing with any quarter G quarter a c chord. Okay, So eventually, with time, you will get to know almost all of these courts off by hearts. If you see FC A, you know that you're dealing with an F chord even though it's in the wrong inversion. Okay, before now, in the beginning is very important that you always work towards your room position. So you know for sure that you're dealing with a certain chord. Because whenever you see a note on the left doesn't mean that it's necessarily that court. It could be in an inversion. Okay, I will always try and keep track off telling you this, and especially in the beginning of this course and this chapter and then the next after that, maybe will be a little bit more cheeky and leaving that out in order to train you. But don't worry about it. For now, I will always tell you have 1/4 in rue position or not. But for this lesson, we're just going to work with root position courts. So now we're gonna have a look at the C major scale, and we're going to figure out exactly which courts reside in that skill. So all we have to do in order to figure this out is right down the C major skill. See, de a f g a andi be okay. Now we simply have to write down all of these courts. But there's a route we can only use notes that are in the skill. So in this case, if you want to write a court, let's say the D chord and the D chord consists out of d f A for minor on D f sharp A for major If you remember that from the previous lesson, we don't have enough shop, so we don't have a choice. We have to ride the mine. According that. So, in order to write these quarters actually really easy, right? We're always skipping a note. So see, Major is going to be C e g d is gonna be d skipping a note f skipping a note A so d f a, um is gonna be eat G B f skipping and a skipping and at sea g skipping a note, be skipping a note d a skipping and notes See skipping a note e a c e be skipping de skipping f b d f. Now, the only problem is that we can never ride down courts that have notes that don't live in this scale. Otherwise, the court would not be part of the scale. So, for instance, if I want to make let's say this CSC shop, I cannot do that because there's no c sharp in my original scale. Okay, so this one too quick for you basically all I did waas I I skipped a note. Okay, so, see, I didn't use the d. I want to eat sea eat f I didn't use. I went to G. Okay. Another way of looking at it is C d e f g A B C D e f g A B c D e f g A B because we just keep on continuing. It's relatively easy. So now we want to know which kind of chords these are. So let's have a look at the piano. So let's start with C E. G. We already know that, of course, but let's have a little look. All right here, see e g three in the middle and two in the middle like a So that is a major court. Let's put Major Now, let's have a look at D F A. C. If that's also Major Norris signs a bit different. That's two in the middle and then three. So that's actually a minor chord. It's not a major chord. Okay, be careful. So we already know that in the C major skill, there's one major and one minor court. Okay, let's let's figure out E so e g b Who to in the middle on three. So again, Minor chord F A c. Let's figure that one own three event to okay says that one is major. Let's continue on with G B D three on two in the middle. So also major a CE two and three said, That's minor on What is it? BDF Okay, B D f Oh, that sounds weird. That's too. And to since his major or minor. Actually, it's neither. Okay, this is what we call a diminished court, so we will go over that later with some different kind of quartz. But diminished has the structure off to in the middle and two in the middle. So not three to not to three, but two and two. So if we have a look at a full C major scale. Right here. We see that the C major sir consists off a major court, a minor court, a minor court, a major court, a major court, a minor court and a diminished court. Okay, so three majors on three miners on the diminished court. Now, what I want to know is if we take another skill, if we could see the same kind of pattern because up until now we've seen similar patterns, right? Every major court as a three and a two in the middle. Every minor chord has a two and a three animal. And every major skill has the Hallmark Hall and half note. Hold on, hold on home on half Note. So we see a lot of patterns. Let's see if there's also resemblance with another scale. Says that for Leslie T E major scale. Okay, Right here. E f g A B c on deep. Now let's not forget Teoh. Pretty correct. Sharps in there. Ok, the images skill is gonna have sharps. So if we have a look at the piano thistles and images skill. Okay, Whole mode. Whole node. Hoff note. Whole note whole note. Whole note. Half note of short G sharp, A B C sharp, D sharp. Okay, so let me put that in e half shop G shop and then see shop and d shop. So now what I want to do is I want you to figure out which cords live in the e major skill . Okay, this is not an easy thing to do necessarily, but I think you can do it on. I also want you to write down of its major or minor. And if there's a diminished quarter case of this new core that you kind of learned a little bit with the two to structure and pace said to and to let's see if you can find them are put the 22 on here for the diminished. Okay, so again, I wanted advice. Should take the years similar approach that I did hear simply start writing down the route of the skill. Um, there. So I sort of see over there d e f g a b, and then we end up will see again. Or by simply skipping a note. And they're writing a note skipping Notre writing in it. That's all up to you to see different approaches. You can pick which one you want to do. Okay, so I've written the answers, and I hope you've done the same. I'm going. Teoh, show you the answers in about three seconds. If you don't want to see them, stop the video now and finish your answers first. And then I'm going to show you my answers. So here we go one to three. Okay, so there's a couple of things I want you to notice. First of all, I did not put my Sharps in yet. Okay? I wanted to leave that and tell you a little bit about that, but the letters are already in there. So again, how did I do this? If I write down any scale, it's super easy for me to find accords. So I go to the name of my court in this case E. I skipped a note. Our right to note. OK, G. So that's why I rode G. Then I skip the note and I write a note b Ever go to a I do the same. I skipper note. I write a note, I skip a note. A writer note a c eat. That's how I figure out my courts The easiest weight. Now I still have to make sure that it's correct. So for every half that I see here, I have to sharp it. So this one has to be sharp and this one has to be sharpened. This well on van G sharp right here. So all of the G's there we go. A It's fine. Be is fine. See, Has to be sharp. So I do this later, right? Because it makes it so much easier for me and then d d shop. So now we have all of the courts. Correct. OK, so an e major, we will find e g sharp B after up a c sharp d shall be d sharp, a c sharp, e b d sharp f sharp, C sharp, e g shop and D sharp a sharp and a. Now let's see which cords thes actually are all the piano. I guess what I want to do is I want to make sure that all of the notes that you wrote down on your resource file what do you use the same one and corrected it, or whether you, maybe you got everything right. That would be super cool. Or if you didn't just make sure to write down all of these notes. Okay, So one more time, make sure that all of this and this cord is written down correctly, cause then I don't have to move back up to the board every time. Okay, so the first chord that I'm playing his e g sharp and beat. Okay, that has three in the middle and two in the middle. So that's obviously going to be major. So let me put that on the board. Okay? The next one is half sharp right here. A and C shop. That's two in the middle. And then three said that one is minor. And then we have G sharp B on D shop with the same story to in the middle and then three. So this one is also minor. Okay, now, this would be falling of the camera. So let's move over here. A C shop on E as three in the middle and fan too. So this one is a major on order by B D sharp have shop. There's three in the middle, and then to also major and Now we're moving on to see Shop E on G show to the middle and three. So this one is obviously minor. And then the final one d sharp f sharp on a Okay, right here. Fast to in the middle and then another two. So again, this one has diminished. So now if we have a look at the board, we can see something very interesting. Okay, we have to skills see, Major and e Major. On between these skills, we have major court, a minor court, a minor court, a major court, a major court, a minor chord on a diminished court For every major scale. All of the cords are going to be the same in the way that every first chord in the skills gonna be major. Then the next one will be minor. The next one will be minor, and the next one will be major, major, minor on diminished. Now I don't mean when I say the first chord. Well, that's a good question. And we're going to be talking about that quite a lot when we do core progressions. And later on, you know, I'm going to show you some really cool stuff with that. But for now, we're already want to give you the idea a little bit because I may use it sooner than I think so. Whenever we have a major scale or any skill for that matter, the first note in the skill. So this is an e major scale, right? And this is a C major skill. So D c will be the first note in the skill and they're ready. Eat so we can say one to three for 56 and seven. Okay, so first note is no one second note, a 2/3 noted three. But also the first court is the one court second chord to court Third chords, three chord, fourth chord, four chord, etcetera. And the same goes over there. Okay, so we used this quite a lot to indicate which court is being used in a core progression. You don't have to remember anything of that right now, but I just wanted to quickly pointed out since the cords were aligned so nicely. Okay, so you can already see that the one court in C major starts with C and one court and images starts with E se. That's completely different. it's not dependent on which notes are in the court. It's dependent on the position of the court in the scale. But about that mawr later. So don't worry about it. For now, that's something else that you do need to worry about. Sanada. We've done the C major skill on the e major skill off course. I want to get anti the homework bit right now, which is gonna be figuring out the rest of the notes. But I want to give you the answers at the end of this video already, so you don't have to move onto the next one and I have to start that with homework. Okay, I'm going to give you the homework first and then please do this for me. Paul's the video. Pause the video. And don't look at the answers before you try this yourself. This is a little bit of a hassle in the beginning, but if you actually work through this exercise, they're going to learn so much already by doing it, you probably only have two dude ones. Apart from that, I want you to make sure that if you do get the answers at the end, okay? what you've tried it yourself or what do you do? Decide to skip. Don't do it. But make sure that all of the courts that you eventually keeping your word Boukary euro area resource file. Make sure that those are correct. OK, so you can always use a pencil and a little bit of a razor. But make sure that the eventual notes that are in your resource follower in your workbook are correct. What I want to do is for every major skill that we talked about figure out the chords that Aaron it. Okay, we already did. See Andi. Oh, wait, I'm doing it the wrong way. Era We did see and e So you need to do D E f g am be yourself. But now, keep in mind, We also did see shop. We also did C sharp d shop of sharp G shop in a sharp and B flats. Now, I want you to do all of these 15 skills by yourself. This is quite a lot off work, Okay? But it doesn't have to take you that long. I already showed you too little tricks as to how to quickly fill out all of these skills. What I do want to tell you for the C Sharp and the D flat, all the courts again are gonna have the same keys on the piano. But the notes will be different. Okay? Of course, any flat court will only have flats in them. And any sharp court were only half sharps in them. OK, now what I want to do what on what I'm at least going to do when I tell you these courts is to use If, for instance, one of these scales? I think d sharp out of my head has a double sharpen it. Remember that little axe, right? One of these I want to use that. End the court. Okay. Remember, you're only allowed to use notes that are in these skill. So, for instance, a flat major, we have a flat B flat, C D flat, e flat, F and G. Now, if you end up on, for instance, it is not right here to d flat. You're not allowed to write c sharp. You have to use D flat. Ok? Because we're in the a flat major scale. When I look at D sharp, for instance, I would have d sharp, but that my next court would be an e sharp court. The cake is among D sharp escape. A whole note. I end up on e sharp. Okay. And then the next one eyes a whole step again. I would end up on f double sharp. Okay, so therefore, technically, it's an have double sharp court that's in there. Okay. So you can them for yourself. These thought if you want to make this a g minor court or an F double sharp, minor chord, that's up to you. But technically, it would have to be an at double sharp. Okay, so keep in mind, the first name is always going to be major. And then it will be minor, Minor, major, major, minor and diminished. Diminished is to in the middle and two in the middle. Major is three in the middle and two in the middle. And minor is to in the middle and three middle. Okay, So what I'm going to do is I'm going to write, um, major and martyr decodes. I'm going to write that on here, just to be sure. And then you can pause the video on that screen. So you actually have that in front of you just in case you wanna check and I will ride the order. Okay. So let me do that right now. Okay? So ALOF your skills with the courts are gonna have major minor, Minor, Major, major minor on Diminished on. Here is the code, of course. 32 to 3 to 33223223 and two to this will take you quite a little bit of time. But it will give you so much experience. I want you to really do this. Make sure you have enough of the resource file number six. So you can actually fill all of these out or in or however you want to call that and complete all of these skills. So you have all of them nicely together. Do that right now, and I will see you back after that with the answers. But here already answers for the D major skill after major skill and G major skill. Now keep her mind. As of this moment, I I take it that you've already written down all of these skills. So I'm going to be revealing all of these skills right after each other. So as soon as I humbler this one, all of the other ones are going to be visible rather rapidly. Okay, I'll just read out. The court's quickly said that you can see if you got them right. D major skill. D e f sharp, G A B and C sharp. Of course, in that skill as Andy, courts will be D major E minor after minor G major, a major B minor. And then, of course, C sharp diminished. Okay, Same goes here after major skill with just a B flat. Okay, so check had the court, see if you got them right. Make sure that all of the bees are flattened and then g major scale with the f sharp to pay attention to all of the courts right here. And make sure that all of the AFS are actually sharp. Okay, right now we're moving on to the A major skill. The be major skill and the C sharp major scale. Okay, so here we have the answers for a major, be made your in C sharp, major. So the main thing you want to pay attention to here is that you write your skill out correctly. So did you actually know which notes to sharpen and which notes to flatten if there is a flat on the skill? Okay, so, for instance, a major right here we have a a B c sharps and make sure that all of the seas are actually carrying a sharp de er naked K nd so that's correct. Have sharp G shop, make sure that all of them are sharpened. And then we will always see that little jump from A to C two e s a c e. Check. If you got everything right over there, that's really cool. C sharp. We have Sharp's on all of the notes. Okay, so that's super interesting to me. Let's have a look. Make sure that you write it down correctly, and then we're going to continue. Okay, So heady ounces, fourth e d. Shop major skill. Remember, that one is a real pain in the neck because we have a double shop and a double shop. We also the af sharp major skin. The G sharp major skill what I want to pay most attention to in the aftershock. Major skill. The one in the middle. We do not have a sharp on the be OK, so all of the bees are naked. All of the other notes have sharps. Okay, the one on the right. All of the notes have sharps except for the F. We have an axe which means double sharp. Okay, then on the left de shop major skill has the AF with an ax and a c with an ex because it's a double shop. So all of the notes carry a single sharp but the AF and the sea carry even a double sharp, so make sure to put that in. I know these the sharp skills are really a pain in the butt because almost every notice sharpen and it's just really annoying. But if you want to complete your music theory, make sure to add the's right now we're going to move on to the A sharp D flat and e flat major skills to more boards to go. And then we're done only the end, the A shop, and then the rest of them are gonna be flats. And they're so much easier than the Sharps. Luckily, so right now on the left, looking at one of the most annoying scales on their comparing courts. So the a sharp major skill a sharp, be sharp see double sharp d sharp a shop after Bashar bogey double sharp het So friends is the court down below? Here we call that a G double sharp court. It's not used very often. It's a G double sharp, diminished chord, which is basically the same structure of the of the A diminished court, if that makes any sense. Okay, this quite advanced stuff already, But I just wanted to make sure that you have all of the cords in, um, 40 major skills before we move on. And then later on, I will teach you how to along them. You don't have to worry about that for now. Just check to make sure if you have them correctly for the A shop major skill, we need to have an ax or basically a double sharp on the sea. The F anti Jeep. If they were finally moving into the flats so d flat on e flat major skills right here. So D flat e flat, af g Flavell a B flat and C carrying through throughout the entire skill and an e flat F g a flat B flat c d three art on the e flat Major skills. Let's finish up with the Final Three skills. G flat, a flood in B flat. Major Andi. Then we will move on to the next lesson. We're going to be talking about how to play these chords on. 9. Ep 1.7 Piano Chord Progressions: welcome to let some 1.7 in the living room piano course unless the 1.3 we did skills. Unless on 1.5 I told you about chords on the lesson 1.6 the previous lesson. We actually merged of those two. So we figured out which cords are part off. Which skills which courts can you fit in a certain major skill? In this lesson, we're going to do a couple of things. I want to teach you about court progressions. I want to teach your hand to play courts in your right hand and combine it with stuff that you can play in your left hand and also want to take a look at five chords. This is a new type of court family that you don't know yet, so you can actually print the resource foil 40 quarts again. I do not remember off my heart which one that is. But it will show in the screen right now, so make sure to print that once so you can fill in the five courts. So those are the three topics of this'll Essen. Let's start out with the five courts, then I will teach you would core progressions are, and then we will have a look at what we can actually play, how we can play these chords on, maybe play through a couple of songs to give you an idea of what that's going to be like. So this lesson is quite important. Make sure to watch it, especially if you don't know what five courts are or what core progressions are. This is very important to learn on. We will be using the knowledge of this lesson thread the rest of the course. For now, let's start off with five courts. So actually, hopefully remember from lesson 1.5. If I have a look at the C major scale, for instance, and I want to take a look at the courts that belong half Ah, we will see that C E g. Okay, remember this? So when we have C e G, that's a major chord because we have three notes in between and 32 on def. We want to make this into a minor court. Remember, We go see ive flat G. Now, the main important thing I want you to pay attention to is that the sea and the G are the same in major and minor. Okay, that's because this G is 1/5 and we'll get into that later when we talk about the intervals . Onda see is of course, the first on I don't want to talk about the yet because I want to do that in the interval Lessen. The main important thing is that the sea of the G or the same and that's the same when we play here. The minor court or theme, major chord off D. Okay, the D and the A are the same. Therefore, when we're going to have a look at our five courts and a little bit, I want you to remember this little story about the fifth being the same, whether it's major or minor. So what I'm gonna do is I'm going to simply write at thes courts by putting E g and then here af a g be f a c Okay, as you hopefully still remember from previous lesson with the C major scale. All of the courts, of course, use the notes from the major skills. So there's no flats and no sharps there. That's absolutely fine, but I want to keep in mind that if we use a different major skill to begin with that there could maybe be a sharp, you know, like let's say there's ah sharp on the f okay, on may be a shop on the sea, so that would change things a little bit. So always make sure to use the correct courts. However, what doesn't matter. And that's the most important thing for now if we put in a major or minor court, because this metal note is the only thing that would change if we go from major to minor. Okay, as a couple of minor courts here, D e on a okay, never want to go to Major, I would have to sharpen this one of this one and this one. Now there's a reason that it doesn't really matter, because we're actually for our five chords. Keep in mind this for five courts only. We're going to erase that entire middle row off notes, and now we're simply going to copy the roof notes. That's charity. First note. So see de e of G I a. Andi be Now there's one thing that you still have to do if you want to completely five courts, and that is that you have to keep in mind that the last chord pdf, was not major. It was also not minor. It was diminished. And that means that we had two and two notes in between, which is four. And that's not going to be enough. Okay? Therefore, this one always has to go half a note up. Now we have 25 courts in place. So what I want to do is I want you to take your resource file again. I'm sorry. I forgot that number, but it will be popping in the screen once more. Print that resource file. And now I want you to complete all of the five courts. So for all of the for all of the normal courts, right here and then also for a sharps and flats if you want to do that. But it's not really necessary for now. But at least complete these five courts so that I can prove my camera on the piano in case I take it that you wrote down the five courts. I'm not going back up to the board right now. If you didn't simply which back a little bit. The first quarter's gonna be C J and sees you can already notice that. Let me put my fingers out of the way that these notes are quite far apart. Where a C major chord eyes right here on again. Don't watch of my grip, Okay? Because I'm just I'm getting these fingers out of the way so you can see better See, e g with three in the middle and to this group is way bigger. OK, I would normally play it relaxed like this with my hand here. So 123456 notes in the middle. And then 1234 Okay, very important. 6666 etcetera. For four for four in the middle. Okay, let's see if that actually works for all of the courts. So the next one is a deep again. 123456 in the middle and four e b six and four f cf. Also six and four g d. B Also six and four a a. And now we come up to this law score that I was talking about. Look, B d f is the diminished court that we play normally in our C major skill, but that's going to be weird here. So we actually moved to Afshar. Okay, Right here. So if we do of these courts like this, Okay, so even 35 court isn't actually part of the C major skill. Thebe five chord iss B f sharp beat. Okay, so you have to give that a mind because we need to have 123456 in the middle and then four . And otherwise, who would have five in the middle and five and we don't want that. Okay, so therefore the code, the little signature thing you need for any five chord is six in the middle and then 4646464 all the way. Okay, So what I want to do is I want you to complete resourceful number five. That's the correct number. Um, by simply writing down all of these and also these sharp and flat courts again, You know, the sharper and flat chord will have these same keys on the piano. So for instance, this one right here we may call it C sharp, C sharp and otherwise is D flat, flat Okay, So keep track of these signature six in between and them for, and I wanted to finish that whole document, and then we will continue on because I have to talk a little bit more about these five courts later on. So, analogy noted, five court, we're going to use that later. Let's first focus on something that has called a court progression. Now, what is the core progression? Basically, all we're doing is we're taken. Accord, Let's say C major, a minor half major on G major. A core progression means that we're going to start right here As I'm play the next one. The next one, the next one. And what's gonna happen as soon as you're here, You're moving back up and start again. Okay? Okay. So every time you end up on the bottom, you're going to sort of the top again. So this core progression would go as follows. See, e g a ce. Now I can choose to either go up, but they will be quite high. I'm going to drop it instead F a c on g b D. So if I want to play through this core progression, we're going to get okay, and I can just keep him playing that now. Ah, lot of the core progressions consists out of four courts if they don't consist out of four quarts, most of them consists out of four steps that are being played now. Sometimes these courts are being played for two counts. Sometimes it's being played for four cats. Usually the total is gonna either be 16 or eight. Okay, usually not always, but usually So, for instance, in this case, let's say that it's 22 two and two counts here. It's 444 and four kinds. Let me show you an example of that. So this would be one, 21 to to to Okay, that's all there is to it. It's not that hard. So 212 to to this can also mean that you play this court two times. So to team Teoh to if we have the four kinds we could. Francisco one, 34 and one, 34 and 34 and 234 But you can also go 12 three, four and one 34 c, three three so we can play multiple things. We could also go 12 34 one, three, four 123 for one to three. And there's all kind of variations possible. So something like this is also possible for 112 You will not really often see that. I just wanted to make an example. Say, for instance, here three four, So all kind of things are possible. It's also possible that you leave one of the court's out in case of this one doesn't do anything at all. And maybe the middle cord is being played twice a slung. So the middle chords being played four times and the end on the beginning is being played two times 234 If you think when does that happen? Well, for is, is with this song in case you think what is going on there? Well, it's actually a four 84 but it's the same kind of principle. 123412345678 and 1234 Okay said, That's one of these examples. That's possible. And it's still core progression, even though there's three courts in there instead of the more usual four chords. So there's all kind of examples possible. You can have 56 cords as examples with eight cores, but mostly most of the time you will only see four or maybe three or six courts that that will be most common, usually sometimes to just going back and forth. That happens a little bit, but most lead will be four chords or three quarts, and one of them will be played twice. A slow says. That's a core progression, not want to have a look at. How do we actually play these courts on What can we do with that? So whenever I play quartz, when I just played quartz hemorrhoid hand on something else on my left, we'll talk about that in a bit. I usually do that when I want to sing along with the soul, okay? Or somebody else's singing along. You can imagine that when you actually play those lyrics, okay, thoughts. It's hard for somebody to sing along. Eso I would run a play okay, or even though our something like this OK, so if you want to make a background layer, if you're playing in a band, if somebody is singing, then that's what we want to do, and that's what I'm going to teach you right now. So how do we do that? Let's take the song of core play. Why not? It's quite fun. So, um, we're gonna play une flat court, followed by a B flat chord and then on half court. Okay, so the first thing I'm gonna do is in my left hand. We're gonna play a flat B flat enough. I also have to ride out the court order was I don't know what I'm playing here. So e flat g b flat, which makes that a major court decadas three in the middle of them, too. B flat, d flat on deaf on half a flood. Andi seat. So let's have a look of the piano. Here we go. So we hav e flat G b flat, which is the major court three in the middle onto flat D flat enough. That's two in the middle and three half a flat. See? OK, this means that what we're playing is e flat major, we don't have to put anything b flat minor. So we put a little M and F. Meyer. Okay. It doesn't really matter for the left hand, so let's just play this for now. And that will add more softer the left hand and the right. Okay, So learning another song. I keep breaking my promises that we would only do a few songs here, but it's just helpful to illustrate. So I'm gonna play here with my right hand, and I'm gonna put on E flood in my left so the lights go out on the flat. You flip major left handers on the flat, right? And displaying the E flat. Major court left hand moves down to B flat. Right hand B flat deflator left. Okay, So can be saved. Now we have to play this court again. Tides that I tried and now way have to jump back even further. So left hand half on, right, half a flood. See, I tried to swim against Okay, so if I do that, lights go out and be saved Tides that I tried to swim, guest, Let's go on. And I can't be saved Tights that I tried to swim again. Okay, excuses singing. But it's helpful to illustrate. Right now we have a little bit of a problem. Okay, this sounds quite high. Okay, So the first thing I want to do is I want to adapt this court. Remember the inversions we talked about in the previous lesson? So I don't like the e flat G B flat. It's too high. Also, when I play, it's in a different inversion anyway, so I'm gonna work that down. So there's already signs better, but this is still hot. Okay, I'm gonna work that down. Even so, what I'm doing, I'm releasing the B flat on I'm adding that on the bottom of the court. So now we have B flat, e flat G instead of e flat GP foot B flat. He fled G, and then I'm releasing the G on adding that on the bottom of the court against. And now we have GP flat thistle is the sound a like right now? Eso I take my board, I wipe e flat G b flat, even though it's still near flat. Major chord. I wanted to start on G B flat e flat. Okay, so the second quarter, Let's see what we think about that. So now that I rewrote my quarters here, right, g be flooded. So the lights, This one, it's higher than this one and I feel that the lights, the lights go out and I can't be saved. I feel that saved is a liberal lower. So it would be weird to have that. I haven't talked, so I'm actually gonna put that on the bottom. Okay, so now we have to adapt our B flat minor court. And since the next court also has the on the bottom, I think we should be fine there. But let's just double check. So now we have this Sounds pretty good to me. Okay, so let's give this a go. Combining it with the right hand. Now, the camera can move a bit because what we actually did is this used to be the highest new, But now this is the highest note. So we actually have actually compressed these song, okay? And that's always nice to do. Gives it a nicer side. So that's a pretty cool Send lights go on and I can't be saved it. I said I try to swim. OK, so that's okay. Apart from the singing and bought the sound of the piano signing. Pretty. So now basically, we're just playing. Courts were playing according the right hand on a single note in the left hand, and it's already sounding pretty good. But now what I like to do is I like to pronounce my left hand a little bit more. So I'm going to actually play what we call active when we play these same note twice at the same time, basically, or, you know, one after each other like this in the left hand. Uh, we get a bit of a more pronounced feeling to it, a bit of more pronounced sound, so I could do that here, and you cannot save it. Of course I'm playing a second half thing is the higher one. That's the level one. Okay, Sometimes I decide that maybe that's too low said that I would leave it off. So then we dio because maybe you find that too intense. That's possible. So now we've already built this out. Then you control and play along with this. That's absolutely fine. See how you go soon rplan e flat. Any flabby, flabby flip f f in the left hand, and we solve our court that we already inverted a little bit to something that takes up less of the rules, say of the piano and signs a bit more smart. So that's noise. That's a good start. Now we may wanna add a little bit of a pattern to the right hand because clocks by Coldplay has a very distinct pattern. So let's see what that could be. While in the case of clocks, it's actually quite easy. We're simply going to play the court all the way down, starting at the top like that. Okay, we're gonna be there for eight times. 12345678 like that. Okay, slowly. Uh, like that Okay Than moving onto the next one. Your fingers here are already in the right position, so we can that that's what we're playing. D flat B flat, deflect, deflect, deflect Beef way. Start here on that. We're going like that now because we always play this B flat court twice as long as the other ones we have to go again, has certain songs where you play through. Okay, so we go like this. 3456789 10 11 12 13 14 15 16. But that would sound like this, but that's all we're doing here. We're going. Ah, upon still here, which is eight. And now we go back and we played as if it is a new court s way. Simply go back. Okay, so it's 12345678 Go back to 12345678 So, now final court, Same idea. Great. You may have issues to play things as quickly as I'm doing, and that's absolutely fine. But I want you to understand that the theory behind it is that all we basically did has Lund three courts. The e flat. Yes, it's in a bit of an inversion because we used to play that hair. But it's an aversion B flat, minor and f minor, not it. You need to play these three quarts. We added a note in the left hand and made it sound a lot cooler. Okay, we also decided the core progression was gonna b e plant flat, minor, minor once again On on. By doing that, essentially, we already know how to play this song because we can just the last school world and I call saved Tides that I tried to swim. OK, making it easy like that now we can decide to do this. Just take. I think you flat right here thinks kind of signed that. We hear. So we have to do split with the courts three times before moving on to the next one. Okay? And then basically, you already know how to play clocks. Now, you can imagine that maybe you have a little bit of issues to do this now, because it's maybe your first time that you're playing this kind of set up in your hands. But can you imagine that if you actually get used to lay this court's on inverting them really quickly, which, luckily, I've been able to do You can basically play almost any song, as long as you know the core progression. Okay, so that's going to go very quick. Now, with more experience, you will notice that a pattern like this will be easily to identify. For instance, with someone like you from Adele right here, I believe here. I haven't really practices or whatever, but basically, we're just playing four quarts that you're and then applying a pattern. So forget these notes. Something like that. Okay, I don't remember exactly, but the idea is you know. Four quarts, you know, D pattern. And you can play that song instantly and everybody goes, Wow, you're so good at playing the piano. No, I just learned quartz on. I added a little thing in my left hand, which is adding a note in my left right here. I don't see note again on here on all of a sudden, I can play a song. Okay, so if we actually focus on this pattern a bit more, it would be cool to use the left hand to give that three like that kind of sand. So what I'm gonna do is I'm gonna play my left hand. You can do this either with a single over playing these articles, Okay? These double notes that were playing let me move the camera a little bit. And I'm just going to compound these out. So we get like that. So basically all we did right now is we took a cord sorting half. We invited it this way, took a second ward and inverted it through this court. We apply the pattern way out of the left hand lane, The note of the court. I mean, it was really easy right. We have an e flat core to be flat quarter than f court. And guess what left on this planet. You flub, you flood enough. So now already we're playing a song the ingredients are so easy to find. Soon as you know, the courts and I will teach you how to do that many different ways later on in this course a swell, A soon as you know, these courts on the pattern game over. I mean, you can just play this song. Okay? If the octave thing is getting a little bit difficult for you, just play a single note, okay? Slowly played the left out three times. Now it is when I'm playing that. Okay, so let me put that on the board before I'm going to do that. Let me show you one more thing. If we actually turn these into five chords, what do you think would happen? I think that would be quite cool. So we learned these five courts in the beginning, remember? Six in between. In them, four in between. So we can give it a bit more groans by you Hear that? Uh, that's like a little bit of a nasty sound. So you get okay, give it a bit more of a grunt. So, like, I think this will be a bit too much, huh? Yeah, that's a bit too much. So maybe this is not the song to do that with, but I just wanted to show you that you can actually do that. Okay, if you would want to do that with the five quarts that maybe it would be nice or to put in , like, something like this. Is that okay? Yeah, something like this. So I will talk a lot more about that later. That's not really the point of this lesson, but I just wanted to show you that we can actually make five courts out of the left hand and play that along with the right hand with our cords for this song, especially on the FCF. It's giving it a bit too much ground. So what I did is I basically played F c at the end. Okay? So you can always adapt these. This is probably a little bit overwhelming to you right now. Don't worry. I'm giving. This is an introduction. I did not feel that you have to understand everything that's going on right now. But I wanted to show you that by taking cords, putting them in the right inversion and then adding a left hand. Whether that's as basic as just playing the notes of the courts of e flat B flat F, that's fine. You'll have that song. Okay, so that's core progressions. That's what I wanted to tell you about core progressions. I want to tell you one more little thing about this specific song when we talk about matching left and right. Okay, so we have left right here and right right here. The right hand. The pattern that we were playing was e flat B flat, G E flat, B flat, G E flat, B flat. Okay, so if I put that on the child board like that, Okay. We want the last hand to play during the e flat like a said a laughed Hannis coming in during the e flat. In this case, we only left him to play now because it is the first, the fourth on the seventh. Note off that thing. Their case. If you go to Rio, you want to go 123456781234 Okay, so 12345678 33 456 23 456 etcetera. OK, so that's when you want that left hand to kick in 2345 Waited the next. 1238 Every time on the one. The four on these seven. Okay, So 12345 67 eight like that, we played during 14 and seven. Now, with every song, this can be different. But because this song is basically you hear that three thing going on t like that, that's when you play that left. So we're gonna be talking way more about that. We will talk about rhythm. We will talk about chord songs a lot in this course, But this is basically the idea of one of the things that you can do if you want to play along with somebody, and then if you if you want to make something really nice out of it, you can just like I don't know, I'm just making something up. You can play along with that Somebody would be singing, you know, you can lay a really nice. Bad of soft music against that being against that singing. If you're playing in a band, you could do something like that on. That's going to be really cool. So there will be much more about that later. So I need to tell you one more thing about core progressions. Okay, Sometimes you hear you played a 1/4 4th quarter, five court water people talking back. Well, this song, for instance, way play e flat, major. Because I wanna write these nodes down E flat major, and then we play a p E flat minor. So B flat D flat and 1/2. And then we played after minor, right half a flat. See, What I'm gonna do is I'm gonna get rid of the double notes, so be flat has already been mentioned before and after, as well. And now I'm left over with seven notes. I can put them in an order alphabetical a flat B flat, C and K. Let's get rid of those d flat e flat Earth on G. Okay, so now I have all of the notes that are in the songs. I can simply play that which happens to be in a flat major skill. Sometimes when you do this and you get all of the notes from the courts, you don't get that lucky. Okay, cause I ended up on a flat. That was just a little bit of luck. Sometimes you could, for instance, have a D flat skills, so they have to figure that out a little bit. But that's something for a different lesson. For now. I want you to pay attention to the actual notes in the A flat major skill. So there's three cores of a playing right were playing e flat. We're playing e flat. We're playing B flat minor, our playing after minor. Okay, so what I want you to notice is when I put the numbers in this skill off the notes that are in these skill, what we're basically saying is, if we playing e flat major chord with starting on this court right here, So that's the five chord. Okay, It's the fifth court in these skill. Then we went to be flat, so we played it to court, and we have to play B flat again so again and to court. And then we play the off court So we place six. So the core progression is a flat major scale. And then cords 52 to 6. So if I take this code, I can take any other key. Let's say E major, for instance. And I can simply right out that key. Eat F G A B C deep number them. 1234567 And, of course, add my Sharps. Ah, right here and my miners, because otherwise we might get in trouble. Okay, I take the five chord, which is B. I take the to court, which is F sharp. Minor. Take the to court again, have sharp minor C 5 to 2, and then I take the six court C sharp. Minor. Okay. Remember how, before we had e flat, B flat, minor and F minor? Okay, so here is Well, the 1st 1 is major and the second to our minor. Okay, So D courts are gonna sound like this, which is very weird now because we're used to not a sign part, but Okay, let's see. Okay. So what does it sound weird? Well, in the previous bit, what we did is we actually took a different inversion so B is b d shop, have shop, we put d highest No back. And then the other notice. Well, so right now we're gonna have to play de shop half sharp and be okay in order to make it sound right. I remember that the final court we didn't do anything with, so c sharp e g shop. We didn't do anything with an actual minor. We went back. One stamp. So after all, miners have sharp a c sharp of mistaken. Yeah, that's correct. So does C Sharp is going to move one stamp back. See shop. I've sharp a So now we play these chords. We're still using the 52 to 6 progression. So we used to have a sign like this. And now it's going to sound different now is going to sound like this. Ooh, that sounds weird, right? So Okay, now I've I apply the pattern weirdly enough way Have Coldplay clocks in a different key. Okay, listen, it's the same, but it's just in a different key. So that's why the courts progression is handy. Sometimes people want to play in a different key. You can simply take that core progression and take that along with you to a different key on. I know this one a little bit quick. We're going over transposing which is what I just did way more in depth later in the course . So don't worry about that for now. But I wanted to show that as an example, once you have the core progression, it could also be a 1445 It could be a 16 to 4. I don't know. It could be all kind of different combinations. Right? But once you have that core progression, you know exactly what you have to play. And then if you would change a key, even you can simply take three different courts out of that. So once more, what's important? For instance, if we're in the C major key, which by now hopefully you know C d e f g a b, we would call this the one court 234567 Always keep a minder. This one is Marner. This one is minor. This one is Marner, and this one is diminished. The case. If you're going to do anything with that, make sure you take along the minor as Well, okay, So, for instance, a 1635 chord would be see a mourner e minor Andi G, for instance, as an example. So 40 homework. I've got a really easy exercise What I wanted to do as I want to say this song that we played before see a minor F and G Remember this? I wanted to take that song and I wanted to figure out what the court progression is. And I will also that in the next lesson 10. Ep 1.8 Piano Intervals & Transposing: welcome to Lesson 1.8 in the living room, Pienaar Course. In this lesson, I'm going to again combined some of the knowledge and skills that we learnt in less than 1.3 about the skills on. That's a 1.5 about the court, because today we're going to look at intervals, inversions and transposing, and if you don't know what that means, that's absolutely fine. I'm going to teach you all of that stuff. In this lesson, transposing is a bit of a more advanced skill, and the reason I want to do that in this lesson anyway is because I want you to really get the knowledge and the understanding of how things are actually working. It doesn't mean that I expect you to be able to transpose any song after this video or after his lesson. But I want you to get a grasp of how all of these things fit together so you can see the entire picture of the puzzle when we're done with this course. This is a very important lesson yet again, because we're sorting to build towards these more advanced lessons in the later chapters, you may notice, or hopefully won't notice that I'm actually increasing the learning speed as we progress. 30 course on by doing FIS in the beginning, I'm going very slow. We take a full essence. You just explain all of the node names. And now we're starting to ramp up the pace a little bit because as you learn more as you gnome or you can actually take more new information or more complex ideas as we're moving along the course, so you may not notice that. And if you don't, that's exactly right, because that means you are progressing along with the course really quickly. But now, in this lesson, we're already doing three topics, whereas in the first lesson, we only did want So you will notice that the pace of the lessons is gonna be moving up. The more your love, the more you will learn any next lessons to come before I'm going to start this lesson. I still have to tell you the answer of the homework exercise yesterday, which was just a little small one. So the answer is actually really easy. I want I was looking for four numbers, right, which which courts are in there on In order to do that, you had to do to step. She had to figure out which scale thes cords belonged to. And then you actually had to write down the numbers, which is relatively easy. So I hope that you were able to figure out that it was a c major scale C D E f g a and B andi. Therefore, if we write down the numbers 123456 and seven and the core progression was see? So that's one a minor A is number six F, which was number four on G, which I erased to write this. So G number five. So the correct answer. 40 homework exercise off. The previous lesson is 1645 I hope you got there, roid. If you didn't, you will offer this lesson, okay, because this is what we're diving into. So the first topic of this lesson is intervals on intervals or maybe a little bit boring at this moment because you don't really need them for the kind of stuff that you will be able to play. But later on, it's going to be very important. So learned this anyway, After that I want to talk about transposing and inversions just a little bit more to make sure that you understand how that is working and why we do that. So, first of all, intervals basically and intervals just a measure of this since, for instance, between this on this note, it could also be between this on this note. That's the first thing that it's doing. It's measuring distance. However, it's always measuring distance from the tonic note. So for us is in a C major scale, we start on C. And then, if I would, for instance, play af we're measuring the distance from C okay, you could technically also put in any notes of princes go b flat, and then you can put any other note. Let's say ever again and then measure the distance between these notes. But you have to be careful there because most of the time when people talk about intervals we're talking about, let's say we are in C major. We're talking about the intervals, the distances between the notes in a scale measure to the tonic. If you start to use another note on, maybe this one isn't the tonic and you're a scale. Or maybe you're just calling out a note, and there is no scale than the reference point starts to become unclear. So it's very important that you always know which distance you're measuring. Andi. Therefore, I wanna teach you in the beginning to measure distances in a skill. So let's bring you a little bit closer to the piano on Let's have a look of the distances, so we're going to be playing in the C major skill. Okay, right here on the notes. We have a C D e f g A B on DSI. Obviously these distances, when you teach when you learn them in the sea, my dear skill may seem very obvious because there's just only white notes laying next to each other. But when we take a different skill, which will do later on, then you will see that it's not as obvious as you may think. So when we start on C, we call this a first. Okay, this is the first end, the sea, my just skill. So let's write down to see my just skill See de e uh, G I and be, And let's also make sure that you can see that. Okay, so when we talk, see end to see my just skill, That is the first, because it's the first note in the skill. So I'm going to write that here now. This might seem super duper obvious, but we will get to why this is so important. Later, when I moved from SETI the next note D That's a second. Okay? Still very obvious. Si two e. We call that 1/3. So far. So good ride 1st 2nd foot. Now here we get F is the fourth. She is the fifth, 1/6 and B. It's the seventh. Okay, says so far fizzle seems very straightforward. Now I want to play on a different scale. So let's say the D major skill So D is the first. We know that the salt on D and now the second is going to be the right. Yes, that's correct. I can write that down e and 93rd is going to be at fried. No, it's not F. The third is now half shop. So how do I know if I have to go here or there? Well, that's a good question. So the third, all of a sudden is moving from a white knight over here. So you black note over that. Okay, Now I want to move on to the fourth. So we have 1st 2nd 3rd Where is the fourth gonna be? It's right there as the G 50 eyes. Gonna be a okay, Snakes is gonna be be on 97th is not gonna be this wide note over here. What is going to be this? C sharp? So where It's very obvious the progression of the notes in C major because we're just playing wide notes, right? 1st 2nd 3rd 4th 5th 6th 7th When we play in a different kind of skill, for instance, the D this is a bit harder. If I'm on sea on, I ask you to play. The seventh will be very easy for you, cause you can just count and play that seventh ever more deep. And I ask you to play the seventh. Uh, that's a little bit harder, right? So now you have to really think and figure which note is the seventh. Or maybe ask you to play the fourth. Is it going to be this one or this one of, you know, it's a little bit harder to guess. Tomate where it's gonna be if I saw it on Dina, ask you to play the 13th. Exactly. You get my point. Right? So on C, you could Just for the 13th you could go. 123456789 10 11 12 13. But on D you can't go on 234 that that doesn't work. You have to go. 123456789 10 11 12 13. Okay, in order to end up on that note, which is off camera, but that's fine. Andi is still relatively easy skill to play with. Only two Sharps in it. Okay, so this hopefully tells you that playing the first on the second and the fourth and 1/5 it's not always as easy sever. Ask you be flat. What is the sixth in this skill? You probably have no idea. You really have to calculate that. But now we have to learn how we're going to calculate that. And of course, this is following the skills, so that's absolutely fine. But let me show you the rules. So there's a very basic set of rules in order to, um, to identify these intervals, and we will be moving up to higher intervals later in the lesson. Siri's uh oh, what did I do? I put 56th 1/6 seventh, and I also want to go up to an eighth. Okay, but we will go higher later on the Siri's as well. We will go all the way up to her 13th probably say is What I want to note is in order to decide which notice the first or a second or 1/3 we have to count the noted sell for sorting on. So we're no moving on to the next one. Differences when I did the courts and until it does three in between, two in between. We're not counting the actual note. When we do this kind of thing, we are counting the actual note. So the first we have to make zero steps from that first note. So this means if I started seeing a C major skill in order to find you first, I simply played the same note. I know that sounds very stupid because it's very trivial and obvious, but that's the rule you make zero steps. In order to find a second, you make two steps, which basically just means start. Here you go. 12 In order to find this second, in order to make the third, you're gonna take forceps. It's store here. 1234 to end up on the third. To find the fourth, you have to make five steps so we can already see that this is a little bit weird. 0 to 4. You would expect six. But we're going to five. Vince. That and that has to do with the weight that the major skills, for instance, are built up so forth. We take five steps we saw here. 12345 In order to go to fifth, we take seven steps we saw here. 1234567 saith e g would be 1/5 In order to go to the sixth. We need to take nine steps in order to get to seventh. We're gonna take 11 steps on eight. The eighth. It's gonna be 12 steps said Let me check that out. 123456789 from CTO A. That's a six. And then 1/7. 123456789 10 11 will be the seventh on donates. It's 12. So it's very important to remember from this lesson is that we call this an octave. Okay, A knocked. It is very important because you're basically playing two of the same notes. You don't have to play them at the same time that that's the interval that we're playing. Okay, we're going to be doing that quite a lot in the left hand when combining the courts and all that kind of somebody active is really important. It also signifies that you sometimes hear somebody saying our Let's saying that an octave higher, right? So somebody is singing and it's Islas Judah knocked of higher, okay and do Roy that So that's Ah, that's a really important to understand something else that's important. Some of these steps are what we call a perfect step, So give them a P. The first is a perfect step. The fourth is a perfect step. The fifth is a perfect step, and the eighth is a perfect stop and has a very, very complicated explanation ist avoid. This is I won't bore you with that, Okay, because it's it's very boring and there's a lot of math involved, and we have to go into the herds of the notes and like, it's just a very long story. But what this basically means is that there's no variations off these notes, so the first will always be the first to fourth will always be the fourth. The fifth will always be the fifth on the eighth will always be the eighth, however. These ones the second, the third does sixth and 1/7 can be divided in a major or a minor variant. So Friends is the third. If a play see and I go to the third, I end up on eat. But that's a major third. If it would play a minor third, I would end up on the flat. Okay, so let's do that as well. If we have a major second, we take two steps. If we have a minor second, rarely take one step. If we have a major third would take forceps. If we have a minor third, we take three steps. If we have a major sixth, we take nine steps and for a minor, we will take eight steps and for 1/7 we take 11. And for a minor, we take 10. This means that for instance, the sixth I saw it'll see I take nine. Turned up a major. Okay, I only take eight toe end up on minor. I said this is the Monitor. Sixth interval when measured from See Okay, right here. Minor third interval because only 123 steps. So that's important to realize if somebody is talking about 1/3. Are you talking about the major or the minor? Third, if somebody is talking about the seventh, are talking about the major or the minor Seventh and we'll get into that a little bit later . A swell when we were talking about Major and minor seven courts. You know, there's a lot of stuff that's going on there as well, and you can also see it in the minor court that we already that we already noticed C. G. Is a major court right. C E and G is a C major chord and C E flat on G is a C minor chord way will actually notice that the distance between the middle note is either three for the minor or 44 The major step eso You can already see how that kind of connects, right? That so far there to remember and start writing a resource file number seven already. Is that 40 inversions first, second, third, fourth, fifth, six and seventh. We have a perfect on the perfect. That's of the eighth. And then we have major minor for the other ones. Okay, so therefore zero steps. Um one. No, wait. Let me write it the other way. Two or one step four or three steps. Always five steps. Always seven steps nine or AIDS stamps. 11 or 10 steps. And this one will always be 12 steps. Now, we noticed something interesting right here. We basically have every number covered except the six step number. Okay, so you have 0123456 is the one we haven't covered. 789 10 11 on 12 cities. Sixth stop. We'll cover that in a different lesson. That's going to be in the next chapter when we're going to get into a little bit more advanced intervals. But for now, I want you to realize that these are all of the intervals you have to remember for now, perfect intervals right here on the 8th 4th 5th and first and then major or minor intervals both possible on second and 3rd 6th and seventh. Okay, so remember that it helps if you can at least remember this one as well. The fifth, which is seven steps that comes in very handy. 40 next lessons to come. For now, I want to move on to inversions and transposing and these are two completely different things. But I want Teoh want to take them together in this lesson and actually explain you a little bit more about that to make sure that you're on the sun. Exactly what's going on there? Okay, so want to talk about transposing first and then inversions? And then we're gonna do inversions after having transposed something. That's why I want to combine them together. Basically, what this means is we're going to take anything. It can be a skill. It can be accord. It can be a malady. It can be a baseline. It doesn't matter what it is, and we're going to change something. We're going to transpose of this thing, So I'm gonna start off easy And then I'm going to make it a little bit harder in the next one and then turns posing Really difficult stuff will do that in later chapters, so you don't have to worry about that for now. But I just want to teach you the basics of transposing so you understand what's going on. So the first thing you have to understand is that transposing is basically taking something that's in a key, Let's say the C major key, because that's the one that we're focusing on all the time. We're gonna take this easy. We're gonna basically transpose from a C major key to a different kind of key again key and skill is kind of the same thing. But whenever you talk about you say, Ah, Phat Song is being played in the a major key, which basically means are that song is being played using the a major skill. So the whole idea right here is that ever play this Ah, play these C major scale, right? And never want to move this sound to the F major scale. I want to get this in order to do this thing, this sound all I have to do is I have to write the notes off the F major skill that hopefully I know like that. Okay, So not cause simply play c g on and f g a flat B flat c on what you notice. Is that a kind of signs of same? But it also sounds different. And what's important is that the whatever the distances from this note do that nude is also going to be the distance from this note to that note. Okay, so this distance is being respected all the time. Let's check that for a moment, shall we? So we sort all see and we want to go to F. Okay, so I'm just gonna candy steps or now see 2345 SAB's to end up on F five steps de 23 45 to end upon g E won t 345 On this goes on and on and on. If I transpose this whatever I'm playing here two different key correctly. The amount of stops between these keys will always be the same. So now let's make it a little bit more interesting and transpose the song that we played see eight g a see e f a. See Andi G be de in order to transpose this song, and I'm going to do this one together with you and then I'll give you want to do yourself OK, But in order to transpose this song to a different key, we have to figure out the differences between those keys. This song has been written in a certain key, so we have to figure out which key it's been written in first, and then we have to decide which key we wanna write it to. Obviously, this example is still easy, but I'll make it a bit more difficult later. First last city easy variant in order to figure out the skill or we have to do is we have to look for different notes, says See e g or different a. C. We already have that. So I want to raise that e. We already have that as well. F that wants new C e g A f a. I already have that. See, I already have that G. I already have that B deep. The ideal situation that I want to end up with is to leave seven. Note. Seven. It's only sometimes when you do this, you only have six of five notes, and then it makes a bit more difficult. But right now we have seven words. So that works. The next step will have to do is I have to put these in alphabetical order. So a B c de e f g I always advise you in the beginning to start on a so whichever Noja have it could be a flat e flat D flat on G flat. I don't know, but always put these nodes starting on a and now we have to figure out which skill visits. So first of all, you can just play this. You noticed him. That's not a major skill. Could be different kind of skill because we are gonna look into different skills later on. But for now, we're just focusing on major skills. So we have to put this in a major school. There's three ways to go about this. If you memorized all of the major skills that you can easily see which scale this is, that's the first way to easiest one. Of course, if you happen to memorize all those skills, the other ways to simply play it on thin. If that's not correct, you're going to remove the first note and put it on the end and start on the next one. Remove the note and put it on the end. Ah, that sounds correct. And you wait for that. Um, you wait for that sound that you recognize to be a major skill. The third option, which is probably the best option to go about it. It's it's simply noticed how many notes are in between these notes. I'm going to go to a And then I noticed that it's a whole note between I am be some gonna pooed. These little thing is here whole mode. Then from BTC, it's 1/2 note from CTO. It's a whole note from D to E. It's a whole note from A to F. It's 1/2 note from after G. It's Ah, whole note. And then, of course, I have to rewrite the A at the end. If I would wanna figure out this whole thing on. This is also a whole note. Now the pattern we are looking for is W W H W W w H o k. Right here. We already have that pattern, but it's different. It's W h W w h w w say that doesn't make any sense. So we have to make sure that we definitely saw it on a W. But the next one has to be w as well. Okay, we start on a W. But the next one is hate. So remove this and put that on the end. OK, But be here. A to B is a whole mode as well. Okay, so now we start on page that's also not correct. So were removed. The be here. We have to put the sea on the end. B to C is half nude W w h w w w h w w h w w w h. Now we have the major scale with these notes. Okay, so this is also an approach that you can do. It really depends if you feel that your clothes, if you feel that you're close to it, then you can just played a couple of times. I move the note to the end until you have it, but basically there's no other way about it. If you do not recognize that skill immediately, then you will have to shuffle the notes around. But what I always advise you to do, You know, it takes maybe a little bit longer in some examples. But in most examples, it's going to be so much quicker if you have a random amount of notes. Um, let's say this right here. Put them in alphabetical order first. That's so important. OK, put them in alphabetical order first and then simply. So we put this in alphabetical order A B C D E f g, and then simply put these notes to the end. Okay, until you end up on the key that you want to play because if you're starting to do something like this, g f a c like this will be a disaster. Okay, you will not be able to figure this out. Step number one. Find the key. Step number two. It's find the new key. Okay, the new keep seven number three is find the distances steps seven on before as Trans pose, we find the key. Now we have to find a new key. Well, I wanted to ride. There's an f major, so I already have the new key with me right here, so this step is done, this step is done. Now I have to figure out these steps in order to figure out these steps. It's super easy. You're going to go from a C major skill to and after major skills. I'm simply measuring the distance between CNF subtle. See 12345 steps. The distance is five. I'm going to apply five to every single note in my soul. Okay, so this step is the hardest, usually figuring out which key the songs in Sometimes if you don't know which key you have to go to, that can be pretty rough. A swell. But we will figure that I'd later in this course and then step number three super easy you got from sea to average five steps. She grew from seed Ejide. Seven steps like you will figure this out in 10 seconds. And as sub number 40 actual work, we're going to do all of these notes plus five steps and we will end upon new courts. Medical thing is every double node you can do the same. You need to figure it out once so already figured I'd see five steps is going to be F But there's a C Hera's well, so that's gonna be f and as a see here a swell. So that's gonna be f now I have to figure out e So you plus five steps. +12345 Okay, is a so every e will be in a a Okay, you can do this off by hard, or you can make a little list. Next one is G 12345 and upon. See, So every G has to become a C. The next one I encounter is a So that will be d So every a I see will be a d Ah, we did see with that e f every f will become a B flat. What is only 1/2 every B Every be will become an e on every d will become a G. Okay, so here are new courts e remember, this is supposed to sound like this. So listen, way to check something as well. This was a major court, remember, Major court, major court. And this one is a minor court. So d f A Is that a minor court as well? Two in the middle for in the middle. Yes, that's a minor quarters. Well, that's a good indication that we did most of this stuff, right. Okay, so let's play through and I do the same for us. Okay, Very nice. So, another way to do this, This step, you'll have to do the same. But in order to figure out these steps, you don't have to count every single mode. What you do is you write your scale, let you begin with or your key that you begin with you simply start writing the other skill below it. And then you have these solution to every note like this. So what I want you to do right now by yourself is to redo these steps, transpose this song so wanted to transpose see e g a ce Ah, I see. And g b d and I wanted to transpose it to three different keys. The first key I wanted to transpose it to is the B flat major key. The second key I wanted to transpose it to is the e major key. And the final one is the G sharp major. A key. Okay, so all of these cords I want you to write them in three different keys on. You'll end up with that song. So I've added a resource file eight for you to do this. That will make it a little bit easier. So have a look at resource file eight. You already have these courts filled in right there. So that saves you a little bit of time. And then I simply wanted to transform them to these keys and see what happens. So when you're back, all of the answers for you, So make sure to not cheat on fill it out first. And then Luca, Beyonce is once you're back. Okay? So welcome back. I hope you have the answers by now. I will reveal them in three seconds to one. Here we get. So this is the original one. Now what I want you to do is I'm going over all of these, and then I want to play all of these as well, if you can. Okay, So what we're going to do is we're going to play this note The first note C a f g in the left hand, and we play that song. If that's too hard for you, you can also just play the courts in your oId hands or play the notes like this. Now, let's do that over here and see what happens. So be flat D and F G B flat, D E flat, G B flat and F A C. If we combine that way, get this. Okay, So want you to pulls the video for a little bit? See if you have these. Correct. First of all, but apart from that play, there's a little bit. So play that court and play that court. Where do you have to put your fingers? How are you going to play that? Okay, if you can use your left hand. Uh, okay. For E Major, we have different courts. We have E g sharp, B C sharp, E g shop a C sharp E on bdf show case of playing those courts and just see if you can pulls this video. Play these courts for yourself. E major C sharp minor. A. Be okay on this. We were playing in a different key and I the final one g sharp major. That one was a little bit annoying because, as in ah, double sharp in that as well. Gee, sharp be sharp d sharps Let's see already. Yeah, let's do it right here. Okay, be sharp. Remember, we have to go half in it up from B. So that's what we would normally call a C e sharp g sharp Be sharp e sharp. We have to go half fill it up So we end up on what we normally call now g sharp. And then again that be sharp. This'll ok Cie shop the shop g sharp again. The sharp being one note up from me as on the sharp after double sharp a shop d sharp f half in it up half in it up double sharp, right? Thescore is probably the most difficult wants to read and play for you because of that. Yeah, Onda This'll okay, let's give that a go right hand. Okay, Generally play them yourself like that. Okay, so have a little go at this. We can simplify them by turning this af simply into a g. Andi from the e sharp into an f k. Makes it a little bit more playable for you in the B sharp and to a see if you like that better if not, rewind a little bit and take the original courts. So G sharp. C d shop f g shop c g sharp and have a little fun with this pulls a video and that we're going to continue on with inversions and transposing Wilmore song. Fourth e homework. So 40 inversions. I just want to refresh your memory a little bit. Remember that I drew the boxes right here. See E on G. Okay. And then I went here E g c on G c. Ok, that's the story by the inversions. We have the root position because the C major court has a c on the left right here as the rest follows on the right. Then as soon as I move that see over, I get my first inversion, remember? And then when I moved the next note the e to the end, I get my second inversion, And if I would do that again, I get my 30 version. But when I only have three notes in my court, we simply go back to route positioning it. So in order to quickly identify these courts for root position, if we're dealing with a major court and you do have to know that you're dealing with a major chord. The notes in between are gonna be three to If you're dealing with a minor chord he notes in between are gonna be 23 Okay, If you're dealing with the first inversion or with the second inversion is going to be different So let's have a look see e g c major and reposition three in the middle of an to If I move my c up top I have to in the middle And then four OK, so that's an indication off a major chord being played in first inversion. Okay, so 32 24 And then 1234 and three. Okay, so, four, three the total, interestingly enough, is 56 and seven notes in the middle. So the court gets broader as she go to the second inversion. Okay, Right here. We're only covering five white notes. 123456 White notes 123456 But thus more black notes in the middle thing here. Okay, 40 minor chord. Two in the middle. And then three. If I'm going to invert that e flat, G c. I have three in the middle now and then four, three in the middle and four and then four in the middle. And to so notice how this is the other way. Ransom to 4423443 2332 So all of this is like, it makes a lot of sense. When you think about it, the's ones and these ones belong to each other. And these ones or opposites as well. Okay, so now I want you to keep this in mind. 3223 24344342 Maybe not the easiest thing to remember. So maybe you write that down before our raise it pause a video. Now, if you want to write this down, I got won't be a bully. L just I'll just raise this bit right here. So I want to figure out from the song we just played whether these courts are in route position in first inversion or in second inversion. Okay, some playing these courts, see, e g. I have three in the middle and cheap, so that's a root position like this, a C E two in the middle and three that's also root position court, but it's a minor, so it's in rude, but it's a minor chord. Okay, so let's give it a miner's. If there's nothing I see three in the middle of an 232 as root major gvg three in the middle on to also rude major Sooner and so we have root major. Rude, minor, rude, major. Rude minor. Okay, this means if I were to transpose the song, which we just did, we would also end up in route position all the time. Okay, Now I want to have a look at the song that we played in the previous lesson. Clocks by Coldplay. Remember, Let's figure out which courts these are and in which, um, inversion they are. So we have g be e. We have af be de and we have f A C, but we also have some flats. So this one has a flat, this one as a flat. This one has a flat years on. This one has a flat. Okay, so now let's figure out if there major or minor and aru position or or a first version or second version so g b e flat. It's two in the middle and then 1234 Let's see. 24322334 to 4. So it's major and it's in first inversion. Remember, this is route. This is first of is a second. 24 Let two on four. So, major first inversion, um, first inversion on the major court said enough to put, um, from minor. Okay, remember, we always put that little am just on the minor chords, but on the major courts, we don't have to indicate that because we presume that it's gonna be a magical have B flat G flat 1234 in the middle and then to let's see 32 to 443 23342 Okay, so minor. And it's in the second version second inversion and in some minor chord after a flood C two and then 332 to 4432 and then three. So it's also minor chord, but it's in the root position. So right here we have a couple of different variations. We have a first inversion court, a second inversion cord on a route position cord, a major court of minor chord and a minor chord. So now we're going to transpose these. Write this down if you haven't done so already. Otherwise rewind a little bit and this will be your homework. I want you to transpose thes and there's gonna be quite an interesting challenge. So remember, transposing stab number one. Find the original key from the original song stab number to find the key to which you want to transpose. I'm going to give that to you. So that will help. I want you to put this an f major. I want you to put it in. Um, let's see and see, Major. And I want you to put this end D sharp, major. OK, so these are the keys. Stab number three. Identify the equal steps. So identify step and then step number four transposed baby. The reason I wanted to transpose this is not that it's a skill that you already need to have at this moment. It's quite advanced to do this. However, it gives you so much practice with the courts and with the skills that I just find it to be very good practice. OK, The idea is that we can simply take a song that sounds like this. And I suppose it I make it signed. Cool in another key. Okay, so that's what I want you to do for your homework. You take the original key from this. You know how to do that by name. And you put it in three different keys. So I want to see three quarts in the correct inversion. OK, very important. I want to see three quarts in the correct inversion. Okay, so now I hope that you transposed this song. Or at least you know, the bit of the song they were playing because I'm going to show you the answers in three seconds if you're ready. Three, 21 OK, we have the a flat major key. That was the original one right here. We have the f key over here. The sea key over here. See Major and G sharp major over hair. So let's quickly go over the answers. We had the e flat, major court B, flat, minor chord and F minor court right here. We're going to move to a C major chord. E g c um g minor chord, G B flood D and D montecor d f a Then we have B d. G for C 80 Evan, a CEO, as. The reason that these courts may be different than you have them is because it didn't write them a reposition. I rode the many inversions that we actually need to have. The second version, the first inversion and the root position. OK, so if you're courts look different but the notes are the same thing is still did a good job because you figured out the right course. So BTG 80 f A c e and then for D sharp. I know it's a little bit of an annoying key to work in. Let me make these axes a little bit clearer right there. See double shop e shop, a shop, be shop the shop G shop on be shop D shop of double show. So let me quickly play through these answers right now. 1st 1 Okay, that was the 1st 1 Nice. This one right here. Let's see eso you notice. How does Song is still clocks by Coldplay, but it signs a lot different. That's why we transpose on D C. Major scale again clocks by Coldplay. But it sounds a little different and now D shop Major right here. Right here. Okay, so this was the homework for this lesson. Right? Now let's move on to lesson 1.9 where I'm gonna teach you all about song structures, and we're also going to learn another song because I know. 11. Ep 1.9 Music Theory: Song Structures : woken. See lesson 1.9 in the living room PN in courts In this lesson, we're going to do something a little bit different. We're going to have a look at the song structure. So that's first Cora's Bridge pre chorus intro Outro What does it all mean? And why do we need to know that if we want to play us has actually quite a lot of reasons that you want to know how these songs buildup mainly. It's gonna make it so much easier for you to play that song. And also you will be less stress because you know exactly what's coming up. So in this lesson, I'm gonna teach you a song. And in the meantime, teach you have that song has built up because I find that to be most effective for this particular lesson, we're going to learn how to play someone like you by Adele on the piano, and I'm gonna teach you an easy and a little bit more advanced version at the same time. So depending on your level, if you're just starting out, you know you can take it easy, and then if you want to build that out later, you can do so as well. The version I'm gonna be teaching you is not the version where we're playing the lyrics. So what's actually being sang by Adele is not going to be played on the piano, were playing the background layer again or get into playing melody lines and lyrics later in this course. But if you, for instance, have a friend who likes to sing or if you want to sing to two song yourself, this version is gonna be amazing to play in the background so that whoever is going to be singing has music to sing to. So that's what we're gonna be doing in this'll lesson. But mainly it's not about learning to play this song. It's about on the Stanley structure of songs and why it is important on the sand. So I had this convention fit you into playing piano mawr easily and learning songs quicker and understanding them better. So the terms that we were going to be using in this lesson are going to be intro verse, pre chorus, chorus bridge, Andi out True, all songs are built up with elements off this structure, but not all songs carry all of these animal elements, so that's songs that don't have an interim immediately. Start with the verse, or that could be a song where you have an interest. But then you get to the chorus, but there's no pre Cora's it'll and then after the course you have of us Cora's verse chorus on New a trick it's possible that you have Aversa Corazon, a bridge, but no outro. Um, it's also possible that there's no bridge. It'll no pre currents or it could be a pre corazon, a corazon, a bridge. So all kind of combinations that you can think off are possible. But today we're going to have a look at someone like you by Adele to see which of these elements can be found in that song. And then we will analyze where those elements are so you can take a look at resource file number mine already. If you can believe that Onda, we will see the lyrics off Adele's someone like you right there that you can ride along with me as I make notations because I have my own copy Freud here. Okay, you don't have to be able to read that yet. I will zoom in on that a little bit later. But we're actually going to make different marks on the lyrics off someone like you by Adele in order to show you which of the elements are in this song and where they are in this. So going to do that later. For now, we have to start by learning a bit of this song. So first of all, when we listen to someone like you by Dow, the singing doesn't immediately start. And this is a good indication that there is something that we call interest. I'm going to teach you how to play this in True right now. Therefore, we have to play something in our left hand and something in a right hand, and I will sign like this. Okay, so that's what we're going to play. I'm gonna zoom in on the piano a little bit in the second, so don't worry about that for now, but I want to write down the notes first. So first of all, this song is being built up out of a couple of quarts of a downplayed the pattern. We're going to get this on, then. This right here on brought him. Okay, So basically, these are the 1st 1 is a major and you play that in rue position. So you get a C sharp on e the 2nd 1 a c sharp minor, but you play it in an inversion, so you get G shop c sharp e. As you can see, all that's changing as one note, so these two will say the same. We will see that in a bit when I zoom in on my right hand. Then we're going to five court. All of a sudden have shop, see shop, half shop, but this quarter's base often after minor. In case you can basically think of the A added in there as well. But we're just not playing that because of the way that the piano is playing. And then we finish up with the D cor, but it's inverted again, so we have a de f shop. Therefore, if we have a look at all of these newts, we can basically assume that let's write them all down here. A, um is there be? No, there's no be so we don't know about the B yet. See shop de e f Shop on G shop. Okay, We would have to know what the B is, but I think this is an a major Keogh, right s. So if we were to play a B, it would probably be a regular. Be OK, So if I place this in the right hand will sound like this. Uh ah. Not to worry again. I will zoom in later. Okay, so that's fine. Now for left, we're playing this which is a and e g sharp and e half shop and see shop on then for I don't know which reason they decided to do d a d at the end. OK, but we can simply turn that into D A for now. Okay, Sanada, zoom in on the piano. Little bit and Sue were playing. And then we'll get into these structure of the song so we have to play a in left and then a c sharp e. And there's a pattern that we can play. Okay, so a play left just once and then right. I'm gonna play things pattern for four times on. What I do is I simply play a C sharp e c shop. And then I saw it again a C sharp e c shop. So you could say 12341234 etcetera, etcetera. And that will sound like this. So instead of being an infinite loop, a seashore PC shop, a seashell PC shop, you know there's actually a sense because in reality we're playing this a see shop e see shop, and then we stop. However, the composes decided to do this four times. Okay, so you get a C shop shop and you could stop or you can start again a C sharp D C shop. And if you do that four times, you get this song like that, we can employ this pattern. So we take the first note, the second note, the third note, and then we go back to the second note for warm repetition, and we can take that entire pattern for all of the four courts. That's why it's so smart to learn courts, because otherwise she would have to learn a seizure piece each of a SEAsia PC's C sharp. And now we just learned one pattern, which is 123 to 1232 I can write. There's above here as Well, one, two and three. So per quarter and a player. 12321232 If you get to the next 11232 If you get it next. 112321232 etcetera. You're gonna play this 1232 pattern for all of the courts for four times. Or if you find that annoying, you could just play the court rules. Okay. Doesn't matter for this lesson, adult. Because even if you play the courts like this, I heard that George settled down that you found a girl on George. Happy now? OK, you can still put these lyrics on top. It's on a plate, of course. Simply like this. Or at that pattern. I didn't care about that. Okay, so anyway, let's run through these notes. So a c sharp E g sharp, C sharp e half sharp, C sharp, F sharp and ADF shop. Okay, right here is a C shop, then right here. G shop. See Sharpie with an f sharp c sharp have shop. That's a five chord look. When I remove my fingers five court and then 80 f sharp right here thes. I heard that George settled down. That Jew found a girl on your married? No. Now every ad, The left hand in there. A swell. Let's have a look at left right here. A and e. Okay. A G shop E f sharp. C sharp. D a So e g sharp e have sharp c sharp. Remember, your right hand is gonna be here case. So you have to be capital to play that have sharp, because then you're gonna collide your phones, see shop, and then if you can de a d or you can simply play d a right here. Okay, So I heard that your saddled down that you find a girl on your married now that you found a girl, not find a girl. Of course. So combining thes you would get this. I heard Thatcher settled down. Thought you I found a girl on your married. If that's too hard for you to combine, you can also just use one finger on left. I thought you settled down fat. You found a girl on dure married. So then you're gonna go a tea shop, have short deep, not playing this. The funny thing is, we start with this when she's not singing yet, Okay? And then the second time it comes around, she's sort singing. But the node so really change were playing the same thing. So when we have a look of the actual lyrics of the song, we have to start above their with an intro right here it as an intro because the piano is playing. But she's not singing yet. Okay, the intro is going to be this right here. A major C sharp minor F sharp minor on D major. Okay, those are the courts that we're playing during the intro. But these courts are also being played during this part right here. Okay, All of this part are the same courts, and this is what we call the verse. The verse is the bit of the song that's giving you some contacts as to what's going on on. It tends to change every time. Okay, so every time we see diverse, the lyrics will probably be different. Sometimes the courts that are being played on the way to courts being played changes well. But in this song, mainly, the words are different, so diverse and the intro have these same quartz eso We could simply play through that. I heard that you're settled down. Thatcher found a girl on George married. Now I heard that your dreams came true. Guess she gave you things I didn't give to you. And then again, old friend, why are you so shy and like you back or hide from the lines? And now we're going to turn into different part right here. So now, after we have this area off the verse, we get this. I hate to turn our part of the blue uninvited, but I could and so you away. And it may seem that the, um, piece of the piano is different, but it's actually not true. However, the cords do change. We're changing to an e major chord f sharp, minor chord, and then a d chord. Okay, so let me show you how that goes. So we got this. I hate to turn are part of one invited, but I could and say away good and fight it. I'd have to see my face and that you'd be reminded that former it is on. Then we would get into the next bit. Okay, Now this bit right? Here is what we call the chorus. Okay, Never mind off. Find someone like you. Have a little bit more spacers. So let me write chorus. So what's basically happening is that we have the intruder. Then the courts say the same. Thrive the verse and then we have a little bit of a change of courts. However, the last two courts right here are the same. Hera's well, so it's it's not a massive change. It's a little bit of a change, but it's no supermassive change. So what's happening here? Is this the pre chorus? It's basically announcing that chorus It's telling you. Ah, by the way, guys, the verses over I'm gonna sing a little bit right now. Get ready because we're gonna drop the beat as aware right here. Okay, So thistle is where the chorus kicks in. This is where the whole crowd is gonna break. Lose. This is what we've been building towards Sort of easy. We're gonna announce like, make everybody ready. Here we go. Here we go. Get ready. And that boom fats or the crowd breaks lose. I accidentally road the wrong chords, guys. Okay, so d cor progression is going to be a major e major after shop minor and deep. That is something interesting going on here. We have to mine accords. Here we have 11 accord here, and we have one minor chord here. But here there's two major courts to major chords and hit us three major courts. Okay, so you have to pay attention to that. However, what's also interesting is that we can make of this whole chorus by taking courts from here and here. Luke E after minor D. It's right here. E Ascherman er de So we're simply sealing the first court of the intro placing that I'm from and create a whole new core progression that's still going to sound kind of familiar to these Saw a titty crowd because the course that we use are not new to their ears. We have introduced people to the a chord in the intro, and now we're gonna put that here. So what we get right here is I think, this kind of stuff right here on a really pops so you can choose to play that in the court so you can still, But we noticed something interesting right here. OK if we have a listen and how long the courts are actually running. What's actually happening right now is that we're not playing. There's 1232 that we had over here for four times. We're just playing it for two times here, look to my right hand and slow that down Eyes is to repetitions and already switched to second quarter way. Now we still have this 1232 repetition if we want. But the cortisone repeated two times. Or if you play the full court, only two counts record. Whereas in the beginning you have four cans. You okay? 34 etcetera, etcetera. So what? We notice similar courts as in the intro and and the pre chorus. Obviously, Precor is enhancing that chorus, But the the way we can these courts now only playing to, um can spur court. But we repeated more off to Never mind. I'll find someone like you. That's how we repeat the whole core progression right here we start a new one right here. I wish nothing but the best for you too. Don't forget me. I bag. I'll remember you sad. Sometimes it hurt. It lost in love, but sometimes it hurts instead Teoh and that we go again. So we basically play our core progression five times right here. While we only played it three times right here and here. I hate to turn a part of the war uninvited, but I couldn't say away could find it right. We played one's here and one's here. So the amount of times that we play our core progression we played once in the intro three times in diverse. We only play it twice here and then we played five times here. But the speed is times, too, because we're only taking, ah, two counts per court. So right now what we notice is that this song has already built a part of four of the elements in Traverse pre chorus chorus. Was that helpful? Because if you realize that the interim divers have these same core progression and then the pre chorus is different and the course is basically built on that it will be super duper easy to remember this song. So there's a little bit of a tale at the end right here, which means that we play that d chord four times, okay and then we get into this area right here. But playing that deke ord four times were kind of preparing ourselves that we're now moving to a four time, uh, thinking again. Okay, so right here it's times four eyed. Here it's times four. What? Harrods times four. Get my blue pen right here. It's times for right here. We went completely nuts and we went to times, too. But now we have to chilled Andi crowd to go to the second verse. So we came here. Sometimes it lasts in love, but sometimes it hurts. And now what we do is we play that d chord again. As I said, the little hooky on its super smart because it it's basically playing the d cor times for only the last line would do this and it gets people the idea like, let's take a breath. And now we can relax into this one. If you want to play along with that, obviously the cords, even the one I use is G sharp B and e. Okay. And then f sharp c sharp f sharp for F sharp minor Athan ADF. Sharper get OK, but don't worry, I'll put it on um, I'll put it on the board later on. But just in case you're playing long now and then 40 chorus A c sharp E g sharp B F sharp CF shop a stir opposition. A sharp ADF. Okay, but again, Dome aerial. Put it on the board later. We're mainly looking at the song structure. Right? Next. You know how the time flowers Only yesterday was a time of our lives. We were born and raised in a summer haze, bound by the surprise off our glory days. As you notice right here, we only have time to play around twice. Okay, so let's do that. Let's see what happens. You know how the time flies? Only yesterday off our lives we were raised in summer surprise. Three days. Okay, I haven't played this song for retainers. Like if I screwed up. I'm sorry about that. I'm just trying to read this and played a correct courts at the same time right now. So we only come around two times, and then we get this. Look, I hate to turn up out of the blue uninvited, and the funny thing is that it's a pre Cory's on, so it's blue again. Courts are the same again. Play that times four. And the notes are the and the lyrics are exactly these same. Okay, so we're playing around two times here. I hate to turn up out of the blue uninvited, but I couldn't say where can afford it. Same. Him said, That's gonna be the same. Now we get the koras, and that's the same as well. However, we still play that times two. Now we only play four lines. Luke, that was 1/5 phone right hand. And guess what? This is an announcement of the next bit. I'll get to that really stored Lee. And now we get nothing compares. No memories or regrets and steaks there. Man way. Continue on right there. Okay, so interestingly enough, E after minor D. That's the same as in the pre chorus roid here. But now we're going to go a little bit wild by adding a new court that we haven't heard yet . Be minor, then retracting to a de on ending up on e. OK, so it makes the whole thing different. Let's have look at the piano. Nothing compares. No worries or cares. Regrets. Salmon steaks, their memories made who have known how bidder. And now we're moving to B minor. Sweet. He'd and we play a like this. Okay, that's a bit of a thing. A seashell e right here, a c sharp. Instead of playing this, even do this one's just a little trick on right here for D and then ending up. Okay, so nothing compares. Know where reason? Cares. Regrets on stakes, their memories made Who Bidders He would taste on ending up right there. OK, it's not about learning this song again. I will tell you the courts, all of the courts, structurally at the end. But it's made about noticing that now we have changed an essential thing. So we sorted on intro, we went to reverse. Then we went to precursors. We did a chorus that's all normal. We went back to diverse pre chorus chorus Say this is the same, even the right here, um, replayed two times instead of three and four instead of five. The core progressions are the same. And then we move into the bridge, which is rare. It'll changes. Okay, so bridge right here. Super clear. Um, sheet right here. Okay, but that's okay. so on the bridge were on. Ah, yeah, it's It's a four and a two pattern because it changes on the last courts. I was sleeping a little bit. I thought this was verse three, but it was actually chorus on the choruses, repeating two times at the end. Okay, sorry about that. Four repetitions here and five repetitions there. And then after this, we end up with an out True, that's based on the chorus on a couple of different cords coming from that. So the song structure of Adele's Someone like You we saw with the intro that has the same corporate Russian as the verse moving through the pre chorus to announce that chorus physics using a combination off courts that are already in the core is on a course of stealing the A from the intra right that then we're going to Verse two, which is exactly the same core progression of courses verse, one precursors and chorus. And then we end up with the chorus twice, but not before playing that bridge. So if you want to play this song what you have to do, she have to learn the core progression of the verse the core progression of the pre chorus , the core progression of the chorus and the core progression of the bridge. So you have to learn four elements now. Luckily, all these courts are the same. It's just a different order on how we play that. So let me write that out for you. So if you want to learn to play this song, that's four corporate Russians that you need to learn the intro core progression that you will also find in the verses, By the way, Okay, right here. The pre chorus one, which is E. I've sharp minor on D. D. We have course also on a nerdy chorus, one which is the same as a pre chorus, but we added a in front. And then we have the bridge, which is the same as, um, the pre chorus. But we add B minor A de on e. So now here's the big trick. If you want to learn to play a song like this and you dies, sacked it like this and this, it's super easy. You're gonna sort. I'm not going to play this'll pattern okay, because there's just super annoying and have to talk. Three that I'm played at the same time. But let's say you want to play this song so somebody can sing to it. You're simply going to start by playing the interest. They play these courts and you know you have to play it only one. So here you go. Uh, then he or she's gonna start singing. I heard that you settle down and you go, OK, you know the thing I just played after play three more times. So I heard that you're settled down that you find a girl and you're very I heard that your dreams came true. Guess she gave you things I didn't give to you, old friend. Why are you so shy? Ain't like back from the light or hide from the light? Yep. So now we have this bid done. So what do we play now? The precursors to repetitions. Four counts. By the way, guys, the four kinds is on the d. So it was a big mistake. And write that before I went over that a bit too quickly by not explaining it correctly. So it's two counts for E two counts for extra money. Four kinds for D in cases sorry about that. I hate to turn up out of the blue uninvited, but I could and say you away. I couldn't fight it. You should see my face. And that you'd be reminded that for me, it isn't over. And now we get into the chorus. So we change core progression. Never mind. I'll find someone like okay like that. I wish nothing but the best fours Teoh don't for get. I'll remember. You said sometimes it lasts in love and sometimes it hurts. And they did again. Sometimes it lost in love sometimes Hirsen said. So now you've already played this'll just by playing off these three core progressions, I'm gonna teach you a little bit more about high to play that and different kind of patterns and later lessons. So don't worry about that too much, but I just want to show you how super easy it is. It's simply going to repeat that. So you're going back here blah, blah, blah, blah, blah. I hate to turn up out of the blue and avoided cruise, and then you end up on the bridge ago. Shit. I need to play a different corporate Grecian. Okay, Nothing compares no worries or cares, regrets and mistakes. They are memories made who have known how bidders food taste okay, and we go back to the chorus. Ever mind, I'll find someone like Okay, that's how easy it is to play a song when she know that they're different parts through the song and what the core progressions are. I picked this song on purpose because there's multiple, different core progressions, but you'll actually find that there's quite a lot of really popular songs. I there that only have one core progression. So you learn four courts and you can keep him playing that the whole time. It will never change as even songs like. For instance, river flows in you by your room A or never really beyond she by Ludovico Einaudi that used these same core progression the whole time, so you only have to learn four chords in order to learn a song like that, we will have a liquor that later in the course, when we take different songs as an example that only have one cor progression and we will be able to learn them really quickly as soon issue figure out how to play these courts. So what are arranged on the sound right now is that I have no exactly shown you yet how to figure out all of these chords and figure out the exact right inversion on all the Southern were playing. If this lesson is overwhelming to you, I want you to understand that my main goal of this lesson is just to indicate to you that we have different parts in a song and that these different parts can have different kind of core progressions. My my goal is not to teach you how to figure out which courts which inversions which progressions how maney progressions. That's not part of this lesson. This is just on introduction to the idea that we can have an intro of us. A pre core is a core is a bridge on an outer to his soul and had to define which quarts of being played when don't worry about that will have plenty of time to get over that later on . In this course. If you understand this basic concept and if you believe me when I say that by the end of this course, you will be able to take almost any song and figure out this stuff in around a minute or two. You can imagine how many songs you can play, especially if you want to play them this way. So did somebody can sing to them? You may sink to them yourself or somebody else can do that. Can you imagine how much fun you're gonna have doing that? So what I want to give you as a task for your homework as I want you to take two songs doesn't matter which ones. And I want you to try and figure out how many different parts that are in there So verses and choruses off course. If you're going to take a song like Bohemian Rhapsody Differences, that's gonna be a little bit mind boggling. So maybe take a song that's not as complicated as that. Okay, it would be really cool to take something like Hotel California or, you know, like just some more regular song with with a bit of A nor progression. It can also go online. Type in that song, and then type in core is verse on Google, for instance, see type Oto California Cora's verse, and they usually you will see an overview of how these songs are actually built up. When I'm going to teach you how to figure out quartz off these songs, I will also give you some really cool tools that will easily help you out by providing you with the different type of sections and usually verse and chorus and pre courses indicated right there. But not all the time. So I wanted to pick two. Or, if you can, three songs that we even better that you like that you knew and then figure out if there is an intruder. Okay, intra means music is starting, but the singing hasn't started yet. Or is it all starting at the same time? Do we start with a verse? So a thing that's actually changing, or do we saw with the core is the thing that's being repeated all the time. The thing that will come back, the thing that everybody remembers, Is there a bridge in there? Is there a part that doesn't really belong to? The rest of the song? Sounds completely different, but yet fits all together. I want you to die sack these songs and of course I can give you the answers to that because everybody's gonna pick different songs. But I want you to try that print I d lyrics and go about it like this. You do know, have to write down the courts. Okay, that's very important. I just want you to write down verse, chorus, verse. Precor scores Bridge. Whatever is in that song. Doesn't have an intern. Doesn't have a knack trick. Set your homework for today. For now, I want to thank you for watching. Let's move on to lesson 1.10. 12. Ep 1.10 Piano Finger Exercises: welcomes a lesson. 1.10 off the living room piano course. If you made it this far, I want to congratulate you. Did you know that out of everybody who purchases a book, less than 10% reached the first chapter of that book? It's the same with this course. You know, there's a lot of people were really excited and get sorted. And then later on, they just I don't have the motivation. As you know, stuff happening lives happening. So I want to thank you so much for same motive idea, because it's not just good for you. It's also good for me because I put a lot of time in making this course. So there's two lessons left before we have less than 1.12 and that's going to be your exam . Oh my God is gonna be an exam off the first chapter at the end of lesson 1.12 or I'm going to test. If you actually managed to remember everything that you need to remember from this course from the first chapter before moving into Chapter two in this lesson, we're going to focus on some finger exercises. I'm going Teoh talk about hand size on different types of hands that people have, and we're going to train those fingers. I also want to remind you that you can take this course any way you want to take it. So, as I said in the beginning, you can watch one less than a week watch a couple of lessons a week, but you're also free to do anything else in the meantime. So if you're watching this and in the meantime learning a song that's absolutely fine, you don't just have towards this and do this the whole week. Okay, so more than happy with you doing anything else in the meantime, learning a song or watching something else, however, this course is tortured, and I do advice to which a minimum off one if not two lessons per week. That's very important. For now. Let's dive into lesson 1.10 where we're going to do some finger exercises. There's two different things that I want to do. I want to go over some skill practice because this is something that is very important, that just sort to do that for your hand independence, that we're gonna play hands at the same time as, well. The other thing. I want to talk about it. Some practice for your left hand, single notes on octaves and practice for your right hand to do some courts. Since we're doing these can accord lessons right now in Chapter one, and we will also be continuing with that chapter to a little bit before moving on to playing arpeggios and melody lines later on in the courts. So let's live into these skills first, and then the second half of this lesson will be about octaves on courts. So the first thing I want to talk about our skills on, we're going to be focusing on a couple of scales right now. Well, the couple later, Any courses? Well, but the 1st 1 off course is going to be the C major skill. And this time it's very important that you write BC at the end of swell. Okay, so we have eight notes into right that this Well, that sounds like when I play with one finger. Okay, every will. Now we're going to actually play this with the full hand. So when you fight with one finger, it's relatively easy. It sounds broken off course, but it's relatively easy. Or play with one hand. We have an issue. These are eight notes and I only have five fingers. Okay, I guess you have to say so if if I would just play in order to place. So I'm going to zoom in on the piano a little bit and show you what's going on on how to fix this. So let's suppose I want to start here a middle C and I want to play. So here I get. But now I have to, you know, move on and play the rest. So that's actually a little technique that we can do to play. There's another Looks like this. Okay, on we call that the farm under. So what happens is we played the 1st 3 notes and they were going to play the rest of the notes here, ending up. Okay. What we're going to do is gonna be amazing. We have a hand. My hand looks funny on the thumb is what we're going to call one again. I'm not just making this up. We always there. There's in teaching piano to three, 45 Okay. 12345 So we're gonna play one to three, and then we're gonna play 1234 falling. That's how we're going to solve. So if we have a look at the piano again, remember Thelma's one and then we start kind of so 23 1234 Okay, 312345 The problem is, when I do like this, that there's always gonna be a bit of a difference in sound here, except if you really try. But usually when you try, the first song will sound like this thing. Okay, this'll one will be louder. So in order to prevent that, we're going to actually put the thumb, talk the thumb underneath. And this is what that looks like. I think like this. Now, I'm gonna say this at least 20 times in this video, So here's the first time. Go slow, go slower than you think. You have to go way slower. There's something that we call muscle memory that this means that if you learn something the wrong way, you're going to remember it the wrong way. It is better to play this 1000 times slowly before speeding up than to rush into it, you know, and do something like that. It's not gonna work. OK, so take it easier. Slow wish you have to go. If that's a quick you go slower. Now, the main thing you want to pay attention to is that the whole Is that the deep time between every notice? The same. So it doesn't sound like this, okay? Or or you want Oh, have a fixed like that. Okay. Also, the pressure on the note should be almost the same. So no, something like that. Try Teoh. Keep it like that. Okay? There's a couple of tricks that you can do. First of all, what a lot of people do is they really swivel their hand. So they go here, let me try. Let me try and do that like that. Okay. What they do is this. I thought these gaps between me and the F So what you want to actually do if I put my hand the other way round player thumb pointer on as you played that the thumb is already moving under. Said that by the time I'm on my phone, it's already there. Look, it's moving under. Already under on now. I'm already They're gonna share that from a different angle. It's already starting to move under. And now I'm already here. My hand. It's almost not moving at all. If you don't do that, you get this. Something like that. It's hard. Teoh actually get on there. But way plays that under we talking under already so that it's already there. Wait, let me know, talk and play the same time. Like that league. My farm is already exactly on the key word recipe. What? You have figured out a way back. So in order to go back, we have the same problem is going up because you only have five fingers s. So now we ran out of fingers. What? We're going to dio through the same thing we're going to swivel over like that. So, like this e wanted to practice these really slowly go up three times and keep in mind, I'm playing it relatively fast still because we're on video here and I don't want you to sit through an endless video. Okay, so do this three times, But if you go slow, is this That's fine moment. Okay, But we do three times up. Take a break. Do it again. Take a break, dude. Again. Now we get three times down like that. If they're feels good to you, you get up on Damn but do it slowly. I tried to make all of the notes the same length. Okay, so don't go do something like that, Theo. Okay? So you can practice this right now. You can also find different times to practice. Keep in mind I have that skill practice video in the course. At this moment, I cannot remember if I added etc. Lesson three or not. But if I did, it will be on the end. I think it's on the end right there. And if I didn't that I will end it on the end of this lesson. Okay? I'm sorry, but I simply cannot remember at this moment Let's move over to left for left. We have the same issue. I only have five fingers on my left hand. So let me put my hands on the board. I guess that's the biggest Some ever. Anyway, we have the same kind of deal going on with left, right? Right. So 12345 years away. now, this doesn't apply anymore. Okay, so we have to raise that. Let's see what it's gonna be like for left. So what's stored here? I already have five nights that I can play right on. Then I'm ending up on my phone. The difference is that with a right, you start on your phone s So you end up on your pinky. If I play the same with left, I end up on my phone. Basically, the idea to think about it is if I come back from right, that's the same as when I go up with left. Therefore, I do the exact opposite with left us A do with right. So for left, in order to go up, we play. 54321 321 Here we go. I want to practice this really slowly, a couple of times a bit softer. The problem with playing soft is that if you hasn't state, you can't really hear if you actually managed to play that correctly if you went forward or not, so want you to at least give it a little bit of eso. You can hear when you're going. We have this like this. And when we go back, we do the exact opposites we play. 123 of the phone goes under again. OK, but remember to move these farmers should be Oh, life. What I want to do is practice. There's a couple of times going three times up and three times down, Get up. And now I'm going to shoot the next thing that you can do. And I know how this kind of thing goes. I'm gonna show it to you and tell you to know Do it when you're not ready yet, and then you're gonna do it anyway. Okay. But I want to teach you thes practice exercises in this video, and I will leave it up to you to figure out what you need. So if this is still difficult for you to keep it, straits of your skill lady signs like that, Okay, it's not like that. Then I want to practice slowly until you're there if you want. And if you feel confident and you can play this very slowly, for instance, they can move up to this next exercise to, you know, change things up to change things up because it can get a little bit boring, right? But until you can at least slowly produce something like that, I really wanted to keep practicing that we're going to move onto the next thing. So how about if you want play to skills, right? If you have a look at the numbers again with the right first. So right now, pay attention to this hand. Right hand, left hand. Okay, That's a weird letter right away. Let me do that. Right. As before, Playing one, Teoh three. Let's do that. I have to talk with the thumb. Right? So I'm getting back to work now. This will be on Pinky, and there's no way for me to continue on. So I cannot ended on my pinky, right? 234 And now we get a massive fund talk because we have to get back to Walling because from here against, do not a scale. So I saw here 123 I go under. I'm not my ring finger. I will Zuma latest Don't worry. And it's set aflame with the pinky. I go under again and I finish it out in the last time. The last one I because I can also do three actors, of course. Four. The last woman do. I will actually end up my pink. Okay. Zooming in, starting on the thumb. Uh, settle plainly, Pinky. He Someone's gonna go under again. OK, so I'm already in my soul thin end up on my pinky right here. Okay, So let me do that one time with that. Breaks up until we can also get back on the first time is okay. You can just do the normal time. Okay, so that's the same. But now we have to pivot over and land on your ring finger. The farmers here on finishing up right there. Okay, so the way back is quite interesting because we saw it on the pinky. So it's a different story. Pinky Ring finger, middle finger pointer. Thumb as okay, move over to your middle finger pointer. Thumb on. Now you go ring finger so you don't go medal. You go ring. So you end up on your thumb exactly where you have to turning. Okay. So going up and down like that for the left hands. The beginning is easy because, you know, you can just walk. That is the same as the way back, but now we have to pivot over a landline or ring again. Way can end up right there. Is that when you go back, you play three notes this'll What would happen if you would end it? We're not gonna under. So we play from pointer middle ring, the thumb goes under, you play three. Okay, so look at my hand like that. If you're able to get to octus with right and left, maybe it's fun to play Booth hands at the same time way. Okay, remember, left starts in the pinky, right? Starts in the phone, therefore right. Makes a switch first, then laughs. And on the way back down, left first and then write. So, roid now the right hand of switching. So that's what I'm thinking about because my left hand can simply just finish out these fingers. Okay, so I'm thinking about right now, my right hand up until there can just same position. Ok, so join us to think about anything on. I can actually start to think about my left hand right here. Okay. Up until here, not my left hand has to swing back under again. My right hand can still play these two notes switches complete my left and can finish out right there. Said like this. Okay, try to keep that. The pain is the same. McKay Whether it's slow or quick, be smart. Don't go too quick. Make sure you practice it slowly. If you do lesson right at the same time and having issues, try to keep in mind that we're not really doing two things at the same time, we focus attention. All right. First, then on laughed. Then a left again. And then All right, so we go. Now we focus on right, showing this an over exaggeration. Okay, because normally would just like this. Okay, but right is swinging left is still playing normal now, right can play and leftist. Now I have to focus a left. But Reuters So playing normal on now, I have to focus on. So if you want, you can practice this a couple of times per day. It literally takes, like, one minute to go through it slowly. All right, woman. And slowly on, left on. Only if you're ready to do that. Woman. It is sticking by just playing. Well, maybe combined. So now I want to get into the second half of this lesson. We're going to talk about the doctors in the courts. But I also want to talk a little bit about a couple of things. First of all, these size of hands. People are talking about hands and are bigger. Hands are. And if they can stretch this for that, for whatever, all the time. Andi, In my opinion, there's two things that really matter. It's the width off your fingers, right? So how fat are your fingers, basically, or how muscular, whatever, basically, just how much how much fat there is on your hand. If you have a very stick finger and it doesn't fit in between these keys, for instance, off course is going to make playing piano a little bit harder could also just be the You have really huge hands right on. It simply doesn't. What we see a lot with people that are very good at playing the piano is that they have relatively thin and long fingers, and some people say it doesn't matter if you have big or small. Let's be honest. Okay, if we're trying to reach, for instance, this'll right here, which is not suit will get into a little bit. That's the most I can, like reach. My hand is fully stretched, and these fingers are simply not functioning anymore. If I would have a bigger hand, for instance, if my phone was this long on my pinky was that long, then I would probably be able to play this, you know? So, of course, the length off your fingers is gonna matter. However, sometimes longer fingers can be annoying as well. So since this is always a debate and the discussion to Time Boy measuring tape this morning , take its metal. But anyway, if I have a look at my middle finger, it's eight centimeters. Middle finger is eight centimeters on that IHS, let's say, or 3.14 inches. And if you work with inches, you should really stop that. It's really bad for your brain. But, yeah, hearing Europeans centimeters and kilos or pounds and inches that ever measure like from here to the to the base of my hand run ads 18 centimeters Okay said the whole hand is 18 centimeters. I won't go into that. Okay, on your home is your inches. We have seven issues. So Now, you know, that's the size of my hands. So you can measure your own hand, See if you have bigger or smaller hands than me on Now we know what. Like if I can play something if you should be able to play it as well. Okay, so we go that way, then that's something. Perhaps goodbye to warm up your hands, right? Sometimes it's called a winter. I tend to have very cool ends all the time. What I honestly do. And I don't know if this is like, ask your doctor. Okay? I don't know if this is medically advisable, so this is no medical advisers at your own risk. But instead of doing all this kind of weird stuff that you can do I saw this professional piano player who wears gloves all day, even inside to get his hands warm. I just make a little hand bath in the winter. Okay? I fill up my sink in the bathroom. I put some warm water in it. That's no hot, but like warm. Keep my hands in there for a little bit one or two minutes and my hands are nice and warm, and I notice that when my hands are really nice and warm, did I play so much better? It's so much easier then with these cold hands. So that's a tip as well. If you have small hands, these struggle to spread them. Then maybe you're playing with to call hands, maybe hands to call heart from that. There's also such a thing as stretching your fingers, right. We will get into some fingers, stretching exercises later on to the course as well. But for now, you just have to keep in mind that, as with everything new, there's a learning curve on your hands. May not be used to playing all kind of stuff, so just take it easy, okay? You will probably get more flexible in your fingers later. So having said that, I'm not wanna have a look again at what we play when we play courts as a background layer and I want to give you some exercises. Okay. So what? We're playing what I like to call cord songs when we're just playing chords. We have the left and the right hand. I told you this before. Little bit already that in the left hand, we're gonna be playing single notes octaves. And in the right hand, we're going to be playing chords. So let me quickly run through this again once more really quick, And then I'll give you the exercises that I wanted to do because that's the whole point. So for left, let's just stick with that basic, um, court progression that we did right now on them for a ride like this. So what I want to do for left is to start getting used to plain octaves. Okay, Remember that interval lesson? We're told you wouldn't Octa fours. So you played us the first note and the eighth note off a skill which happens to be the same note. Okay, we're gonna play that on the left hand, her playing the pinky and the thumb all shoot that in a bit. And in the right hand, you're gonna play chords. Now, you may say, Mark, we've already done. This is boring. Um, yes. I didn't really force you to play octaves in the left hand, but now really want to do this for his finger exercise and also in the right, and we're gonna play different inversions, and I'm gonna give you some tips on how to practice your different numbers. Okay, so it's stick along with me for now. So first of all, that left hat, as I said, we're gonna play with the pinky on the thumb. Well, you know, the size of my hand, you probably measured yours as well, so you can see that I can relatively easy play this. I could go one wider, and then one wider is gonna be my max. And I call that an octave plus two because little doctor +12 Okay, eso should be doable. Now. When I sorted out to play the piano, the doctor was a bit of a stretch, so my hand didn't get more relaxed. Now, one of the things that people tend to do let me turn them to come a little bit is that they want to play from up top. And then what happens is if they keep their fingers straight, is that they hit these notes right here. So what you want to do is you want to keep your hand a bit more low, Relax and you want a rotate your thumb out and then I just play play a chilling the rest of the hand are relaxed really noise and soft and gentle. Move to the interruptive. So what? I want to try and do as I wanted to play these corto a auto abort GOP. You could also go like this. OK, so you play the low one frozen thunder Topol you can also do, dear the way right, which doesn't really sound that noise. But it works. We can also go back. So we saw it on G like that Or go high way to times. I think we could get, uh, different kind of things We can go. Uh uh uh uh uh So want to try different patterns just like I'm doing right now and want to get used to that Then if you want, because you know I had to do that. You can transpose this whole thing half a note. We'll see like this So you can actually get used to playing doctors in the black notes as well. Okay, so have a little bit of fun with this. Then what I wanted to do is get back to the board, turn this into power or five courts, and give that a go as well. So you wait. Okay, wait. Okay. You can do all kind of things with about us. Well, now what a lot of people don't realize in the beginning is that this'll? I don't have to be holding this one. Some people I know. No, you can actually pivot on your point of finger notice. Gonna release. Okay. Uh, I thought it's a bit exaggerated you get so you can practice all these type of variations here. Wiles in the right hand, playing your your court seeking they only playing the top two. Uh, so you can experiment a little bit of that, Then what I want to do for the right hand were already used to playing these quartz and ruby position. OK, but what about the black? It sort about a C sharp Asia of shopping G shop. If you actually transpose that, the courts are going to be a little bit different. All right, so the grip is different. So you can't you see that playing this song and then what I wanted to do as I wanted to write down a couple of inversions and these can just be random inversions. So you could, for instance, go. Let's say one to root two. Okay, I'm just making something up. Right That said he first emerged for see it would be over here. So we start here and then I have to play second inversion for a which is gonna be there. OK, a minor first inversion second inversion Gonna have to play a root position for F and then a second inversion for G, which happens to be there. OK, so then I can play this right here. I can make different kind of example this. Well, so what I wanted to do is I want you to drums, pose this and c sharp. Okay, so we're going coughing it up. And I also wanted to do to a flat major and then see what happens. That's your homework for today. Andi, practice this practice your left hand. Do your operatives. If that's too easy, you put your fifth in the middle of swell on. I'll give you a couple of Paris to play, so one of them will be you. Play the the five chord in your left hand, and then you play the quarter. Your right hand. Okay? And this is great to practice your finger positions. You're the one that I wanted to do. Was to play left and then play right for a total of eight notes. So left, left, left, Right, right, right, right, right for right. You're just going to go up and down your court. People also do this in your inversions, Okay? Like that. And if you want different versions, that's also fine. Okay, let me put that on the board. Said home workers do this and C is c sharp on an a flat you control. Suppose these course yourself. You know, I had to do that. And I want you to practice the actives in all of these keys four octaves that you're going to get. And if that's too easy, you're going to switch to five courts. And then I also wanted to practice random inversions, your first inversion, your second inversion or your route position in your Reutimann forties cords and just practice a little bit. I will give you more specific ways to practice these courts later on. But for now, this is it. Have a lot of fun with it on. I will see you unless on 1.11 Uh ah. Oh, uh, 13. Ep 1.11 Time Signatures for Piano: woken Cillessen 1.11 in the living room Piano course. Wow, I cannot believe that we're here already. If you're still watching Congratulations. You're about to learn a whole bunch in this lesson because I want to talk to you about no notation. Note duration time, signatures, node length, all kind of different stuff in This'll Essen. Basically, we're not going to really take a look at sheet music, but I am going to show you had to write down notes and had to write down different cannon nodes. And then she music will deal with later on in a couple of lessons later on the course. So you don't have to worry about that for now. If you're interested in sheet music, that's great. Have a look at this first because it's really important that you honest and others our own to do some basic time signatures, some basic notation, So nothing too fancy yet. But it's really important that you learn this kind of stuff so that in this'll Essen, also, the next lesson is gonna be the test. Now, if you don't like tests or if you're afraid of that or whatever, that's absolutely foreign. Don't see it as a test seed as a summary of the Hoff Chapter one. It's also going to be the chance where you can figure out if you actually learned everything that you need to know in order to advance to Chapter two or if there's something that you need to get back to. Okay, it's very important that you knew if the salting missing, because as of chapter two, I'm going to continue as if you knew everything that I talked about in chapter. So if you're watching Chapter two, you go like, I feel that I didn't really understand this. Probably it has to do with the fact that you did online it right now in Chapter one. Therefore, I advice you to take the tests arm. It's a lot of fun to do. It will be really fun. We're gonna did different elements from the entire course on. You can just watch along with that test you can started and I want you to which the entire test in one go. And then at the end, I will give you the answers and I will tell you like, Hey, maybe you have look at Chapter six again or hey, maybe have a look at chapter three again if you didn't get this question right. Okay. So very important, seed. As a summary of the chapter. For now, I want to move into new notation time signatures. We're going to start by drawing some notes on the board and adding value to that Notre basically duration. So if you've done anything with music before, maybe music lessons at school or you're simply Google a picture of music notes, you have probably seen something like this'll, you know, like thistle. Or maybe even this, um, you may have seen, like, little flags on it or whatever. Possibly have seen something like this, you know, with four of these. And you may be wondering, what do they actually mean? Well, to put it simply, we have different type of notes. We have a full note. We have half a nude 1/4 note on eighth. Andi, sometimes a 16. It was a little bit further than that, but you're really not likely going to see anything smaller than that. So how do you draw these notes? Well, for one note, it just drawn open circle. Okay? Usually they look a little bit thicker. See if I can maybe like that. Okay. For half a nerd, you're going to draw a circle with a stick. Four corner note. You're going to draw a circle with the stick, but now you have to fill in the circle. Okay, so make it like that foreign eighth on 1/16. You're simply going to copy that quarter note, but now you're going to add one flag on two flags. Sometimes these flags are in different positions, you know, but you get the idea. If you see a note with two flags, it's a 1/16. If you see ah note with one flag, it's an eighth quarter note. Half note wholeness. Now there's something else that we can do. If we have this one note or does half note or it's quarter known, we can add a dot at the end. Okay, that doesn't really work. So if you add a dot, we're going to add 50% of the value of this note. So this is 1.5. This one would be a 3/4 note on this one will be are 3/8 of a note. Okay, so adding the dot Makes the note longer, not shorter. Sometimes you see this on you may be wondering with visits, because is it a flag? Is it? You know, just 1/4 note. It's definitely know the half or whole note. Right? So we call this beaming on. Basically, these are eighth notes. Okay, if you see double Beam. So, like this, those are 16th notes like that. Okay, so a couple of different notes. So let me put that into perspective for you. So now that you kind of know what I notice, you don't have to remember yet. We'll go over it a little bit. We have something that we call a measure. And let's say tothis measure represents one note. I don't look at where I draw these notes. Okay? I'm just gonna do this as, ah, demonstration. So I'm just going to draw on a couple of lines so one node could be a node without a stick . Right. That's one note. One note could also be 2/2 notes. We could also have four quarter nuts or eight eighth notes with a little flag. But let's just say that we're gonna write them like this, so I don't have to draw all these flags. So maybe like this, right? So this is all exactly the same. You can also decide to make a combination. So maybe you don't want tohave note here, but you want 2/4 notes and the value will be ah, half plus 1/4 plus 1/4 is still one. Okay, maybe you want 4/8 notes right here. Quarter plus 1/4 is 1/2 plus 4/8 is also half is one, so we can toy around without a little bit and we will get different note values. If you would, for instance, look at cheap music, you will most likely see some stuff here and a couple of numbers, right? And maybe some words and they'll see a bar and you'll see some notes, you know, like maybe here and there and maybe something over here and they'll see another line. And then you will maybe seeing note here on a note there. So now you may be wondering how many nodes go in a measure. So now you may be wondering, OK, but what is the measure? Well, the measure is this area right here between thes two lines That's what we call a measure, and when we put it in sheet music, you will see like this. But the measures are always there. No matter whether I write them down or not, there's always going to be a measure. So a measure crew differences be something like this'll. Let's see. Okay, and then we go to the next one like that, for instance. So it's very clear that the first measure science like this all right on the second measure sounds like this in this case, okay, there for the third measure on it doesn't mean that I have to write them down. The measures are always there. Okay, you can have the same. When we did that Coldplay song. That's one measure that's going over to measures. And then that's another measure. Most likely, you don't always have to switch measure when you switch courts. But with a lot of these pop songs, that's usually what happens. Sometimes they switch courts halfway 30 measure, but usually it's at the measure line. So when you want to know how many nodes there are in one measure, you simply have to calculate, so we have a coordinate rodeo, another quarter note plus half a note is one right here We have 1/4 note, plus half a note, but I put a dog. So we have to add another quarter because this is actually 3/4 of a note, and this is also one. Okay, so therefore, these measures are one note each. How do you know how long a measure is on? Doesn't really matter. Well, yes, it matters. How do you know how long they are by looking at the time signature? So now I want to talk a little bit about time signatures. There's different kind of time signatures that you can see things. Type of stuff is quite common, okay, and you can usually see that own sheep music. But even if there's no sheet music of a song, there will always be time signatures as well as measures. Measures are simply little boxes on the sheet music, for instance. And if they don't exist, if you don't have any sheet music than they still exist, okay, it's just that they're not written down. Every measure has a certain amount of notes in it. So, for instance, you could ever note here or in a couple of notes here. That's fine. Or maybe here and we could also have a few nights here. So the question is, what does this really have to do with the notes? Andy? Time signatures. Okay, I'm going to draw these lines a little bit longer to show you the measures more clearly. Okay? Because otherwise this there were. So basically, we have two numbers right here. The bottom number is indicating what type of note we're referring to with the top number the top numbers indicating how many of these notes are actually in a measure. So this is one measure on this is another measure. Okay, well, like that. Say, these are 2 to 4 measures. These are 234 measures on these two or 44 measures. Now, the bottom number is indicating what type of Newt and you can basically put a one of in front of that so you can already see that in all of these three measures, we're going to have quarter notes. When you look here, we see 1/2 note, half note, half now, half notes, half notes. So you may already think Mark, you just sat that the measures are gonna have quarter notes. Yes, that's correct. But I'm not talking about the type of notes that are in the measure. I'm talking about the duration of the measure. The duration of the measure is gonna be the top number times the bottom. So in this case, the duration of the measure is going to be too. Quarter notes, three Korda notes and four coordinates. Fats de duration off a single measure. This doesn't mean that they actually have to be coordinates in a measure. If we have a look at the total value two times 1/4 we need to end up with a total value of 1/2 per measure for these measures. Okay, here, three times 1/4. We need to end up with a total value off 3/4 for the entire measure. And here four times 1/4. We need to end up with one as a total value for the measure. So that's how you can kind of look at these time signatures. You can already exactly see how much the note length is per measure. So half a note. Let's see if that's correct. This is 1/2 note. There's only one note in the measure. Sodi total is 1/2 That's perfect. These are quarter nodes and there's two in the measure. So 1/4 plus 1/4 equals ah half. So therefore, this measure is also correct in the to four time signature because we need to have 1/2 amount of notes like we need 1/2 note per measure. You have 1/2 note. We have two times 1/4 note, so that's good. 3/4 per measure, while these are quarters said it's quite easy. 3/4. This one is 1/2 note and 1/4 note. So off plus 1/4 as also, 3/4. So that's also correct. And then here we have 2/2 nodes. Well, half plus 1/2 is one. And here we have 2/4 notes, so quarter plus 1/4 plus half note also equals one. Okay, so we see that these measures are all correct. We have the correct amount of node value, correct amount of no duration per measure we call this march time. We call this basically a worlds, and this is common time. Okay, I don't have to remember that, but it basically means that this one is going to be something like, Ah, where is this? One is more continuous and this one is like this. Okay. One of the things that's super important to remember is that though the top number indicates the amount of beats per measure, so here we have two beats per measure on the roll coordinates, there's two things that it doesn't indicate. It does not indicate what type of nodes we use in the measure. As you've seen before, we can use like Francis. We can use 1/2 note or we can use to corner notes. But that's up to us. We could use 4/8 notes or 8/16 notes. That's all fine or a combination of that. So does not indicate which type of notes we use in the measure. It also doesn't indicate if there's actually two beats that are being played like out loud . Okay, so, for instance, seven a to four. You would use 1/2 note. It would sound like this if we take the Metrodome, there's the two beats. One to want to want to want to. Boy, we're playing. This measure would sound like this. Okay, so we're not playing both beats. If I change this into 2/4 notes, I remember I'm repeating this measure. Okay, Now it sounds like this. OK? And if I would change this, for instance, into eighths, you would get this. Okay, so the thing it doesn't indicate is how Maney notes are being played in that measure and where they're actually being played on the beat or off the beat. Okay, that's always possible. Now that we have the Metron Ammon, we can also listen to the 34 surgery, for instance, girl like this, uh, there is a thing. You're strictly using the metro of your senior. But there's a thing that we call swing, and that's when you kind of go off a little bit. So you're not really going like that, But you're more okay, so you can kind of make it a little bit less robotic. Okay, lets life of 44 crew differences be so it's super important that the time signatures do not indicate the amount of notes that are being played in the measure. That all depends on which kind of notes air in there. And it also doesn't indicate where it's on the beat or not. It also does not indicate half fast. The song is being played. So, for instance, with the waltz if I change the tempo of the Metrodome, I'm still playing three notes and measure in this case, 3/4 notes barred. I'm playing them quicker because the beats per minute has changed. So if we have a look at, let's say the 44 and we have two measures, maybe these are our measures. We have to half nerds. Which adds up to one and 4/4 notes, which adds up to one this. Well, the's will take two beats each in case is going to be 12341234 OK, if we play that previous metronome tempo, let's see, at 80 beats per minute, we can actually calculate how many measures that will be. We have 80 beats per minute on our measures. Take four beats per measure means that we end up with 20 measures if we play for one minute . And this, if I repeated once, would sound like this. Hey, for instance, Now, keep in mind that these nodes are just notes. They're not being put on a on a sheet music thingy, so we don't really know which nodes they are yet. I'm just picking random notes on the piano. We'll get to that later in the sheet music lessons. Okay, so don't worry about that for now, but it's important to understand that the time signature does not indicate have fast. The song is being played because if I would change this into 180 beats per minute were still playing the same thing. It just goes a lot quicker, Okay said. That's really important on the sand. We have also something that's called the accent. So if we have the measure right here, let's say the 3/4 and we have 3/4 notes. The bead will fall right here, okay, on the 1st 1 So, for instance, Okay. With Billy Joel's piano man, you can clearly hear the the accent on this note. 123123 to 3 to three. Okay, that's what we get. If this wasn't a 44 it would sound more like this. So let's put that on the Metro gnome a little bit quicker, maybe. Ah, okay, so that's a 34 Now let's put it into 44 Okay, let's see what happens to this song. Now let's put it in a to four. Let's see what happens. Okay, says the BPM that the sites how fast the song goes on BPM in combination with the amount of beats per measure. How many measures you're playing through in a certain amount of time? So what I want you to remember from this lesson, this is a full note. This is 1/2 note. This is 1/4 note, and this is an eighth note. Okay, If we prove these together with a little beam, that's to aid notes, Okay? Said or not, Corner knows that eighth notes. The other thing I want you to remember is that with the time signature, the top on indicates how many beats there are per measure on the bottom. One indicates what type of notes, what type of notes are being played. For instance, if we would have a 68 we would have six beads, six beats off eight nodes in there. Okay, We would talk a bit more about the 68th when we get into more difficult time signatures later. But for now, just remember this how many beats per measure. What type of notes are these beads made off? And again, you don't really have to put quarter notes in here. You can also put, for instance, 1/2 note in there. So what I want you to do for your homework is to find a to four, a 34 and a 44 song. Okay, you could simply google them three c 23 slash four time signature and then maybe song or whatever you know, and you will find different songs, and I want you to listen to the 242234 and 2 to 44 And listen how these songs actually sound really different. And then, if you want as a bonus, you can look at a 54 song. See if you can find one of those. There's a really cool on either. I hope you will be able to find that for now. Let's move on to the next lesson, which is 1.12 and that's going to be your tests off Chapter one. I'm going to vacuum my piano because it's an absolute mess. There's a lot of child dust floating around here, so I will see you a lesson. 1.12. Lick up. 123 And if you want the fourth song with different time signatures and listen toe have very different and I will see you in less than 1.12. 14. Ep 1.12 Test your Piano Knowledge: welcome to lesson 1.12 of the living room piano course. This isn't so much as a lesson that's actually the test. However, in this video I'm going to give you the answers to all of the questions in the test. So it's very important that you would shit if you go to any of the questions wrong. I will direct you to the correct chapter from those videos so you know exactly what you have to. Which again, if you want to catch up on that. But basically this is a very important video off this course and especially of the chapter , because this is going to be the last video of Chapter What So, first of all, I want to employ you to make the entire test first before looking in the answers. I know it can be very enticing to lick the answers First. Professional really deep point of the test right then you may as well not did he test it'll so before we begin had every two pjm piano dot com slash resource is and find resource file number 10 which is the actual test off Chapter one. You can download that we have around 20 questions, I think 22 I want you to. If you can print it and not awards, you can open it on any D voice and just take a piece of paper and a pen and just ride the answers somewhere so you can continue the rest of the lesson. So print that first made the entire test. It takes about 60 minutes to do that. If you want to do properly, maybe a little bit less if you're quick on and then I want to see you back here because we're going to run through all the answers. I'm going to tell you all of the answers and also why that is the answer. Okay. Welcome back. I hope you filled out the entire test right now we're going to go through all of the answers I'm gonna tell you in which lessens the answers can be found as well. So if you maybe made a mistake and you want to look back of that, you can do that as well. But for now, let's start with a question on the one. They're here on my laptop, so I'm gonna have to look over there for a little bit, so I'll be reading the questions from my laptop and then giving your answers on the board of necessary. So the first question is, how many nodes can be found within a single active on the piano, and the tippers do not count any double notes if they might occur. Okay, The reason I put do not candy double notes is because have we taken octave on the piano? You could be mistaken that I was talking about this area right here on account. This note twice. So the correct answer for this question was 12 123456789 10 11 12 notes in one active on the piano. If you did count this one as well, the answer would be 13. And if you thought that I wanted to hear the amount of no names than you probably had, C D E f g A B and then also your c sharp d sharp F sharp C sharp, a sharp on D flat, G flat G flat, a flat B flat, which would come to total of 17. Okay, says 17 regular node names, which walls to get later, but Basically the answer I was looking for is 12 notes in the octave. So then I asked you to name these notes and keep in mind that some notes may have two names . I was basically looking for the regular name. So C D E f g am be another set before the sharps here and the flats bod if you wonder Hat and also put in a B sharp on the knee sharp as well as its C flat and the plat fats. Also final was definitely not expecting you to pretty double sharps in in a double flats. Okay, so 17 names see the FDA, M B C sharp D sharp after of G shop, a shop D flat, e flat, G flat, a flat B flat. And if you had them be sharp and e sharp and as well, eh, flat and see flat on. That would have come to a total of 21 names if you had those as well. So that's fine. Question number three given alternative name for the notes list that be lose. I'm going to ride those out. So wanted you to give me alternative names for these notes. Roid. Here What do I mean with that? So, for instance, a flat. It's this note over here. We can also call that a g sharp. So I would like you to answer G sharp right head. Have double shop f f shop at double sharp or a G so you could call it G. You could also have called it on a double flat. Okay, but you probably wouldn't have come up with that. But if you came up with that, that's also fine. See this note over here? If we go from B one note higher, we end upon be sharp. Okay, So that was the most logical answer. You could have also gone with a D double flat de shop. Ah, this note ever. Have we? I was looking for e flat soap. Yeah, that could have also gone for f double flat B. I was looking for C flat or a double shop e shop right here. We sometimes call that half as well. So you could have called that af b flat us looking for a shop. A flat. Is this android here? Each and then D double flat is here. Move to Ned's back and we end up on C. Okay, so you can see right here that C is be shop. Or it could be deep, double flat, or it can be see, So they have three names each, which we would have learned, um, in that episode. Okay, so there was question number three. All of the answers to these questions can be found in lesson 1.1 Are the note names Question number four? What's the difference between a scale and a court? So there's quite a lot of differences on. I gave you a little bit of space support something first of all, cord is a combination of Newt's that can be played at the same time or one at a time and is basically producing. One sound on the cord is meant to be played, you know, on its own, like it's it's it's a segment on Ditz can also be part of a corporate Grecian right on. The skill is basically providing as the structure the framework in which the song is being played. So if you rode down anything like a skill has the notes of a song and 1/4 only part of the scale, something like that It's kind of an answer that I was looking for or something like, um, quarters only made a part of three or four or five notes and the skills always made a part of seven nodes. Anything like that. Aziz, Long as you kind of get the idea. That accord is just a combination of knows that we're playing in a skill, actually, has all of these notes that were playing in the song OK, so it was a bit of a different difficult question Teoh to answer, but it basically wanted to trigger you and make sure that you have that correct named the notes in the following scales. Okay, So super important. We had three skills. We had e major. So I'm going to automatically start off with E. We had C sharp major, and then we had G flat major. Okay, so what I do is I simply go af g right there. Okay, so we have the notes. We can start on e on play that skill e f sharp G shop A B C sharp D shop and eat became so half shop G shop, see shop on D shop one more time and That's correct. See, Shop see, Shop is going to be C sharp d sharp. And then we have to play this note, Roy hair, which is normally enough, but we still have to go eat, So it's gonna be e shop. Okay, so here on I'm moving on shop G shop a shop, and then here, which is normally a C, but we don't have a C laugh. So in this case, it's a B shop. Okay, so basically all of the notes carry shop G flat Canada, same stories. So G flat a flat, B flat, and then here we have a C flat. I hope you have that D flat e flat. And now we have a regular f. Okay, so does this Just stays the same and ending up on G flat. OK, so these are the answers for question number five in major skill C sharp major skill, G flat, major skill. Then in question six, I asked you which skills belong to the notes list that balloon. OK, so the 1st 1 was C E flat, G D flat, F a flat and B flat on I kind ability a little bit by not putting them in order. Okay, so the first thing you want to do see D flat the flat. Ah f g a flat on b flat so you can put them in order from sea or starting at a depending on where you want to go. And then you're the one I like to just do it and see because you see shop C sharp d shop the shop after shop G shop a shop and only irregular Be OK, so let's start with the 1st 1 C d flat e flat f seek and starting playing on. See right here. That doesn't make any sense. OK, so you can continue upwards right here. No, right? Yeah. Okay. That's okay. A Until there. No, that's not it either said then after? Maybe no G right here. No. And then on this signs. Correct. So eventually we end up with this being on a flat major key. Okay, That's one of the ways to do it. You could have also looked for the whole nut whole note, half note thing. If that's your approach or what I like to do, because I happen to know a lot of these skills said just looking girl like I think it's on a flat, right? And then I just play that in one. Go and then I would have that. So now see shop the shop h a passion of Bishop Asia Be what scale is that? Um, it would be see shop if only this be was a b sharp. Right, So we have to go here. And the funny thing is, we're basically playing that G flat major key of the previous one g flat major scale. But now, because of all of the Sharps were not allowed to call that a g flat. So it's actually an af sharp major scale. Okay, so the correct answers to this question was a flat major skill and f sharp major skill. If you had any issues with these questions, I want you to have another look at less than 1.3 major skills. And there's also goes for question seven. If I would transpose a D flat major key three subs down which skilled and up with Well, let's start with the flat. Okay, let's figure that at right here. Okay? So d flat, e flat, F g flat, a flat, B flat on. See? Okay, that's a D flat, major. I wanted to transpose it. Three notes down three Subs downs air starting here. 123 So I would end up on a B flat. Major skill. Okay. And what I can do is I can simply transpose all of these notes. Three stabs down. Okay, on that will be e flat. 123 That's on a c. Say that's correct than F. That's correct. G flat said this actually in e flat. Have to put that on the flat. A flat f's correct as them b flat G is correct. And I see eso A's also corrects it technically, b flat should be correct. OK, so the answer should be the B flat, major key. And then I want you to write all of these notes there. So B flat, C D e flat, f g and A Okay, if you have that your correct. Otherwise, please have another look at Chapter three to learn more about skills. So then I asked the question, What is the reason that preloaded? See that solar We learned a lesson 1.4 ah, this presidency major by bark is so easy to play one to remember the notes on the answer to that. The answer I was looking for is because basically all of these notes are just courts, and we're just playing thes courts in a pattern that's being played the same way the entire song. Okay, so the entire song is you start at the bottom, you walk up and then repeat the right hand. Okay, so that's why it's relatively easy to play. Obviously, the end of the song dies sacks from that pattern. But the rest of the song is relatively easy to play because we play the entire same pattern . We just use different courts, um, to apply the pattern to question number nine. We talked about two types of chords in lesson 1.5 would are they he also a simple major and minor courts. I hope you got that right. And then I asked you in question Number 10. I want to give you an example of both types you mentioned in your answer to question nine. Great. There's always a little tricky because if you had question nine wrong than it's gonna be different. Difficult to do that. But, um, basically, I was looking for the major and minor. So major minor chords were looking for a C sharp and E That was a little joke of me. You'll see why in a bit Alvan d flat of shop and be so basically I was looking for on a major chord on an A minor chord. If you didn't get that, you can pause the video now in complete them again, just to be sure. But I hope that you actually got that. Okay, so let's do that. Um minor A c e major A c sharp A see shop af g shop for major C sharp E g shop for minor E g shop B for major E G B for minor. Here, listen. Major minor D flat af a flat for major D flat E a flat for minor. Okay. And this kind, of course, also be an f flat, right? If you want to be a bit more sopra precise, and then this can be any sharp. Okay, so that's kind of up to you. How you noted that f sharp a sharp c sharp for major have sharp a c sharp for minor right here. B D shop F shop for Major on B D F shop for minor right here. So these were the answers to question 10. I hope you get them right. And otherwise I want to have a look. I think was less than five. That we did about Quarts. Yes. Major minor chords. Lesson five. So please have a look, Roy. There. If you didn't get the correct answers that, then we're gonna be moving on to question 11. So for question 11 I wanted you to transpose three chords three steps up on a multitude to transpose three courts. Three subs down. So we had B flat D f I have to write that a bit small, Otherwise we will make it see e flat G andi half shop a shop, see shop. So these are gonna be transposed three notes up. Okay, three nights up, and then we have D A f of these will be transposed. Four notes down, so see flat ive flat G flat on a shop de f. Okay, so let's start here. B flat. 123 notes up. We end up on a d flat chord, See? 123 We were on a pawn on E flat chord and f sharp on upon a court. That is a couple of ways to go about it. You can count out every node or you can simply have a look. Is it a major quarter reminder court and then turned this into major mining? It doesn't matter how you do it. It will believe baby Correct. Let's just kind, um, for now, because it's quickest. Probably said D 123 will be F as an f on 23 will be a flat e flat. 123 will be G flat and then G 123 will be B flat. Okay, that's how we go. Three steps up and then we'll show you this So f sharp. A sharp C sharp is a major chord. So a major you can write it down like that as well. If you want to go quicker d a f we have to go. Four Subs time Eso we end up home b flat See flat is the be ok. Normally recall that a B now we call the C flat four Subs down. Isa G court, other than a shop way moved on to f sharp So what I did here is I kind of put you on the wrong idea. Maybe because D f would be played like this, but it's actually just a D minor court. If I would have written d f A. I was kind of trying to throw you off Freud there. Um, you could have written it in the same way. That's fine. So a f D flat. Okay, but basically, it's a B flat, monocle. See, flat E flat G. So E flat will become a be on G flat, would have the coming d de a shop on a F C show. Okay, so these are records from question 11. I hope you got them right. These are the answers right here. Please check him on if you didn't get them right again. Less of 1.5 is all about courts. So you can have a little liquor that again. My next question was questioned. 12. What type of chords gonna find in a major scale? Andi, I combine that with the question, How many courts are there and how many of each type? Okay, so the answer is how many? What type of courts are their thirst, major chords, minor chords and a diminished chord. And there's seven and total three, major, three minor and want diminished court. That's the answer for question 12. Question 13. Write down all of the cords to be found in the C sharp major skill. Just the name will be fine. Okay, Just the name will be fine. Means that we now have to identify whether these courts are major or minor. So your idea see shop majors skill first, you don't have to actually write out these chords. All I wanted was the name. Okay, so C sharp. Major scale, major chord, minor chord, minor chord. Major chord, major chord, minor chord diminished chord. This was the answer for Question 13. Question 14. To which major skills belong the courts in the core progression balloon. So it was one major scale in which you could put all of these courts. So let me write down these courts quickly, So f sharp. A c sharp e g shall be a C shop, e d f. Shop A Ah, yeah. Here. Okay. So, cortical song, in order to find the key or we have to do is eliminate doubles ash up a C shop, E g sharp B A. We've already got I said get rid of that one. We already got a C sharp. We already got an e de have shop. So these are the nodes we have to work with. Put them in order. Because sort on a or C shop. Doesn't really matter. So let's do a Does this mean that we're in a major skill? Yes, we got lucky. OK, we're on a major scale or on a major scale. Okay, so we happen to be lucky. Hopefully you got that as an answer. A major scale is the correct answer for question 14. Then I wanted you to write down a four core progression that fits in a D major skills. In order to do that, we put the D major scale on the board, and now we can start picking courts. So maybe I wanna pick this court, this court of this quarter in this court, so I simply start be and then maybe I go t e g on F shop. For instance, if you had different courts sense, absolutely fine, but this is how I would do it. And now I have to make my court with the notes that are in here. Okay, There's no other choice that I have, So b d f sharp, for instance, e g b. And I'm basically taking it that you were only going for major reminder courts G B D half shop A C shop. Maybe this sounds really weird. Let's have a go. Yeah, Yeah, it sounds pretty weird, but at least it's part of this structure. OK, okay, so it sounds really weird what I did, but this is just an example. If you have any of the other courts, that's also absolutely fine, as long as you made sure that the court only uses notes from their skills. So you were not allowed to put a d sharp inferences because we don't have a DIY shop. Okay, so only f sharp and C sharp and the other notes all had to be real natural nets the e g A M B. Now, I want you to write down this core progression that you use in question number 15 and in question number 16 I want you to write down this core progression using numbers only. So what? I wanted you to do is to put numbers below 1234567 And depending on which courts you used, I used these ones, so sort of with bees are sort of with number six. Then I went to number two. Then I went to number four on. Then I went to number three, which is exactly why my core progression really sounds bad, because this is not a really nice progression to plate. So no matter which progression you had, if you had a e g c sharp that you would have written down five to for seven or whatever, whatever you did, I want a four digit number right here indicating which quarter years you could have also gone back to the same courts. If you simply one d a d a. They would have had 151 for somehow wanted you to transpose this core progression that you made in a question 15 on questions. 17. I want you to transpose it to G shop major key. So in order to do that, let's get rid of this and let's get rid of the numbers. Okay on, let's ensure that Thea but the shop is still there. Okay, So basically, what we can do is we can put our minor signs with the courts, our guest that helps and then governor of the courts altogether on simply, write down the skill below Sergey Shop. Major key. Let's figure that out. That's the G sharp major key. So G shop a shop C B shops or see shop d shop e shop and of double shop. Okay, so it's a bit of a pain in the neck. But I want you to do this because you should also be able to transpose stuff to things that are annoying so we can go. 123456 steps up or we can go. 123456 laps down. It doesn't really matter at this moment, so let's go up. Why not? The courts that I have are e shop. And then I went to see Mona, which is now a sharp minor. So issue minor, a sharp minor. And then we went to G right? So we went, we would have gone to see sharp and then be sharp mind this was the first part of the question. Provide the names of the courts for my case. For my courts, that would have been each of minor HR minus C shop and be sharp. Minor. You can see right here the name of the courts that you would have used right here. So if you had d g a, then it would be g sharp. C sharp d shop that came. If you had your see shop diminished right now, you would even have a double sharp diminished. Whatever you used right here, you can see the correct answers, and then we have to write them out as well. So he shot minor right here on. We have to use notes from thing right here. Said the 1st 1 is g sharp. And then the next one is be shop. Okay, that's the shell minor. A sharp minor. Okay, so we have a sharp thin. The next one is C sharp on the show. Thank see shop a normal C sharp court right here. Okay. So right. Yeah, that would be e shop on G shop in my case. And then be sharp. Minor. Mina, that's d shop on af double shop. Okay, so these are the courts that I use and then we could also have G shop. Let's say use G shop, then you would have be shop on D shop ons. You could have also used de shop right here, which would have been de shop, have double shop on a shop. I don't suppose you used the diminished courts, right? So these were the courts of my progression. I would have wanted you to written them out like this. Of these were the other two courts that you use here. The answers g sharp, be sharp. D shop on D shop, have double shop and a sharp. Let's move on to the next question. If this wasn't clear to you, please have a look at less than 1.5. By the way, for the answers of this question, you can also look at 1.6 on a 1.8. Okay, So, basically, transposing and, um, courts and skills, Right? So now in the next question, question 18 and we're nearly at the end already. Question 18. We have to take these cords from questions 17 and transposed them. So whichever courts we had transpose them to D flat, major key. And we have to invert these courts say that the first court has a first inversion these second court as a reposition. The third court has a second inversion in the first at the fourth court has a first inversion. So let's first of all, put all of these in a D flat major key instead of the G sharp major key weather in right now. So I'm going to do this with a different type of transposing because the courts are here anyway, So the courts were looking for in my core progression was be flood the flood off E flat, G flat, B flat. Um g flabby flint D flat on f a flat. See? Right. Okay. Thes other courts I was looking for. And then if you put them in a D flat, major key Oh, right here we would have to check that said D flat e flat off G flat, a flat B flat and sees Correct. Yes, that's correct. So the D flat major key right here and the courts for my core progression, right, that if you had a different core progression for the previous question on a remember questions 17 then of course you had a different answer But these are the answers for more chord progressions. How I did it on. I heard that you managed to find your own answer this well, but this was quite that kind of an open question. So you could have different corporations moving on to question 19 where I asked you to name six basic song structure terms on the terms I was looking for his intro pre chorus, chorus, verse, bridge and outright. So I hope you had those. And then I asked you which of these elements are most likely to occur only once in a song. While the answers I was looking for us intro because usually an intro only happens once. How true. Andi, Also the bridge The bridge is 99.9% of this off. The songs that are either is only occurring once Purcell's of Interact True and Bridge when talking about time signatures would do top and bottom numbers indicate So, for instance, to four all right, the answer would have been. The top number indicates the amount of beats per measure, and the bottom number indicates, were typing notes in this case, quarter notes okay, and then question number 22. The final question I asked you to write in a to foreign in a 34 some type of measures. Some example measures. So let me show you that in a to four and the 34 Okay, So if you example measures right here half nude, it's equals 2/4 notes. We could have to co ordinates, okay? Or we could have 4/8 notes, for instance, like that for the 34 I was looking for maybe half note and according note Ah, half note with a dot or three quarter notes, for instance. Right, So if you had a couple of these answers, you would've been correct. I want to thank you so much for watching the entire chapter one right here in the living room piano course. I know that. I know that in the beginning, it can be quite annoying to have to learn so much stuff and not be playing that much at in Chapter two. We're going to do a lot more playing on. I'm also going to explain you, Mork canIs of So that it actually merges together, said that you start to understand why it's important to learn things like this on. Actually apply them in your playing for now, You've done a great job. You finished the entire chapter one. You'd only test and hopefully you had some really good results. I want to take a short break. Celebrate, you know, have fun. You're already 1/4 of the way they're on, you know, moving forward into Chapter 23 and four. It's only going to get way in way more exciting. As we sought to play more and more and more in thes lessons, we're gonna have different styles. Were going to do all kind of things. I want to quickly remind you to leave a review for this course, if you want to do so, it takes about 30 seconds, and it really helps me at. So give me a positive review here. Helps me out. It helps other students to find this cause on. If you find it helpful, it's very likely that somebody else finds it helpful. A swell again. Take a little break before heading into Chapter two. Revised some of the lessons in this chapter. If there's something that you were struggling with, maybe the courts, maybe the scales, Maybe this song structure have a look of that lesson again and see if you can fix that. If you're still working on a song from less than 1.2 or less in 1.4, you can continue to do so. Of course, even wearing Chapter two, that's absolutely fine. But for now, take a short break, and I really, really want to see you in Chapter two are going to be moving on to some intermediate piano skills and actually starting to play some really, really beautiful songs I see there. 15. Ep 2.1 Una Mattina Easy Piano: welcome to lessen 2.1 of the living room piano course. If you're watching this, you complete it. Chapter one. Congratulations. So much all that I hope you did okay on the test. Right now, we're going to amplify things a little bit in chapter to bring you to that next level. So this chapter is going to have a lot more of playing. There will be more advanced courts. We're gonna talk about reading sheet music, had to use the pedal arpeggios, had to sing and play at the same time. On basically, that's going to be a whole bunch of new stuff. We usually in this chapter, keep in mind that I presume that everything that I talked about in Chapter one it's not part of your knowledge. So that's something that you don't understand. Probably have to go back to Chapter one. But in general, I tend to be a nice guy, and I tend to help you out. So if there's something that I feel that I should repeat our will, of course, repeated an example being that in the next lesson we're going to look at a lot of different type records that you haven't seen before. But I will include major minor just to be sure that you know what we're talking about. So no reason to stress. Just relax on. You'll be all fine in Chapter two. This one is going to be at a little bit of a higher pace and Chapter one, because you already know quite a lot of stuff. But still, I will really take the time to make sure that you understand everything that you need to new again. We're going to be using resource files in this chapter on as far as I can. I will have added them to the work week. So make sure Teoh Arctic wrap your workbook again or have a look of the resource files for this chapter. I also hope that you realize by now that playing the piano is not an exact science. It's it's no mathematical. It's an art form. Okay, so it's kind of like acting, singing, drawing, painting. Making music is the same kind of thing, and it's really a nice way to express your feelings to unwind after a day of hard work or whatever. So this is something that I realized about two or three years ago that I wasn't doing enough. And it's definitely one of the things that I'm still not doing enough in my day to day life . But making music is really important in expressing yourself, whether it's making music or dancing or acting or something else. We all need a kind of art form. Teoh get closer to ourselves and express ourselves so really hope that you will keep going at this on. Keep doing this and also encourage other people to not necessarily piano. But try an instrument tried to play that so many people that tell me I'm not artistic. I'm not musical. Actually, if you're being honest, have you really tried before? Because when you grow up as a baby on you tried to slander, you fall down the first couple of times, you don't just say, Oh well, that's it for me. I'm just never gonna walk. They keep on trying and trying and trying, and it's the same with playing the piano. There's going to be moments where you think Damn, I'm really dislike of this. I'm really bad at this. But you know, you're just learning and trying and learning new things every day, and not every day is going to be better than the day before. But if you keep at at every month or every year, will be a lot better than the year before. So let's get cracking right now by learning, you know Matina by Ludovico Einaudi, which is a song. I'm going to play a little bit for you first on, but I won't get into that that stuff behind me on the board, you don't have to be able to read that. It's my reference point for this lesson. So don't worry about what's on the board too much. You can down a resource file 11 Teoh to read along with what we're playing as. This lesson is really nice, because we're going to learn to play a song. Ah, Bailly difficult and I did, which is beautiful music to begin with. I've adapted this version a little bit in the left hand. The right hand is, according to the original sheet music from his book, but I adapted the left hand a little bit to make sure that you are able to actually play it , because otherwise this would be quite difficult song to play. But by adapting that left hand, it's going to be a lot more easy to get into it and actually enjoy it. And it doesn't really change the quality of the song that much like people wouldn't even realize if they if they would listen to it, they wouldn't realize that you adopted your left hand. So why not do that? Let's get started with this beautiful song in lesson 2.1 off the living room piano course. - Okay , so I hope you're going to which along in the resource file number 11. You can see that we have changed the way that we know. Tate notes. Right now in this chapter of the course, we're going to learn how to reach eat music as well. I'm not the biggest fan of sheet music, but some people really want to learn it. And I do see the purposes here on there. Okay, so we will get on with that later. But for now, you have to realize that Onley resource file number 11 all the notes for the left hand will be written down on the bottom half off. Any measure on all the notes for the right hand will be written on the top half of the measure. It could also see that right here as an example, this would be left hand notes and this would be right hand notes because they're on the on the top half on the bottom half, right? The reason I don't use the exact same format as here is because I adapted the notes for this lesson. The bottom half is here Top harvest here. Notes that are above each other should be played at the same time, which we don't really have that much in this song. And then time goes by from left to write because they were reading from left to right. So you will see that in the resource file as you printed it on. We're simply going to start right here, but playing a section. So I'm going to play little section, and then I will teach you how to play that. Okay, so we're gonna sort here without the paddle. Of course. So what? We're basically doing the left hands playing be and some the right hand is gonna play E g B . You don't have to worry about the paddle too much because we're going to get and see that later in this chapter. Okay, But it will, of course, make a big difference. Once you deploy the pedal, it will sound less like this. It was signed, more like eyes. Going to sound way more beautiful anyway. But that doesn't matter for now. You can employ that pedal later, or you can already experiment with it a little bit. So left hand B c and then right hand E g B. That's how we saw it. So, Like that. Okay, then the left hand is simply going to play in a on right plays the A and it's going to be one at a time. So left, right, Right. And we repeat that a couple of times, four times to be exact and then left place again on right place, E b e. So we have like that. Okay, so B c and then a A for four times as an e b e at the end. Okay, then we're gonna finish up by doing this for another three times. Okay, So, like that, that's the first part that you have to play. And then if you look at the resource foil, you will be able to see that that actually continues. So that's the first bird and with the pedal. Okay, now what we're going to do is we're simply going to repeat this, so we do the exact same. Okay, so there's a second time. Apply it. By the way, keep him line. Thank you. Can go back to this lesson if you want. So if you want to advance in the rest of chapter two first, maybe which that paddle lesson first, that's absolutely fine. I do not expect you to learn this entire song and one sitting seeking simply learn a bit and then come back to the lesson later. If you want to do that as well, it can also reward different parts. So we did it two times right now B c E g b. And then we did the thinking. Okay, so now we're going to do that for 1/3 time. The right hand is going to say exactly the same. Except that for E b E Rin, I just playing e a e. Okay, so Roy is going to be like that. The left hand has changed a little bit when not just playing in anymore. We're now playing half 1/2 a half. So is starting right here, which is gonna be the same. And now it's gonna be f d a a e a f e a a e a f e a e soon life. That's okay. Thanks. Now is simply doing G g for left. Left is like that. Okay. Roy is still e a for the whole thing and e a e instead of e. V. So for this part, we have like that. I came putting these parts together. We have the first bid. Do that again. Things. But with the EFS like that, you don't have to go as quick as I do. Of course you can. Just Okay, sometimes I go a little bit quicker. Just speed of this lesson. So we did that. We did the first bit, and then we did it again, and then we went to the EFS. Okay, you can follow along with this in the resource file. Now we're going to go back to the first bed. Okay, so we did that. We did the first, but twice. Thandie, half back to the first bet. And now we're moving on to something else in the left hand we're going to do af a ath a which is the same. But now we play F a a and left and then e a and wrote I'm gonna show you how that works. So right here. Okay, so that's a lot of different is the first son of the left in place to notes. Now, normally, we used to play for instance af e a e and this bit so that's also four notes. Okay, but now we play f a e A. So the four notes are distributed on left on. Right. So this measure, this thing, he sounds like this. Okay, just a bit of a variation. And then we're dropping left to D. So maybe moved a camera little bit. Dean on. It's still a root. Okay, so for this one, slowly like thousands. Okay. I played a little bit different with my fingers. A little bit lower, so you can see it accordingly. OK, so this measure sounds like this like I just like that. So just to summarize, we sought it off here and then remember, that's why we sorted way did it again. Way went to the efs way said on E g B way went back to the beginning way went to Aba Gamma . We did this weird little thing where we played two notes in the left hand. Like here we go, like that way drop to D. C o like that. Okay. Says that's where we are right now. This will be a good moment to take a little break if you want to take a break and I'll play through this bit once. Relax with the pedal. - Okay , So what we do right now is we simply repeat ifthis very this very first thing that we did for one more time way, move into the next section. Okay, Right here. So that's quite cool. Let me adjust the camera a little bit, and then I will show you how to play that. So basically, we're still there's bit right here, But now, instead of going something like this, we actually play See having the left hand full of for G g, g and A. But you played as a block. Okay. In the original song, we play something like that. Okay, we keep way, do that. But for now, I want you to just get used to playing these five quarts in the left hand. Okay, Like this, but just playing your five court. So you're not going Teoh, okay? You don't have to do that. Okay? So B c e g b as we used to, boy. Now left time plays an f. I see so five court as the right hand is simply going to play in a on the e Said will be like this. Okay. Like that. I think you will probably have enough challenge to actually move your left hand from here to down here. Right? So notice what I'm doing. I'm playing B c. And now my right hand continues, but my right hand is already in the position that I can just play that. So it's BC na my right hand. As soon as I had the e, my left hand is soaring to travel down and finding thes notes because mama right finger is already in the right position. Okay, so, like this, if you do differently like this, you would all of a sudden have to I find that so like this. Like that. Okay. Okay. So we have a e is on the left arm place G teach and the writing plays be a B A B. So we have this like Okay. Okay. Then left in place. They before on right place. So we get this. Thank you. Slowly. Life right, continues B A B A b and we get the same right here. Now you played B B A c B a So that will sound like this. Okay, so we started right here, like thousands, right? Like that. Okay, so let me play through that one's with that, talking through it. I'll do that slowly on that will be moving on soon. Expect. Keep in mind. I want you to make use of the resource file. Okay? Some showing you the notes here. I'm going through it slowly. I'm showing you the notes. You can listen to the notes. You can also read the notes on the resource file. You need to combine these things in order to learn to play it. I do not expect you to which this video in one go. So pause the video. Look at your resource file. Or remember what I just played and figure it out, OK? It's very much possible that you would two or three minutes of this video and then practiced 10 minutes on your own. Okay, that's absolutely fine. I used to do it just like that when I was learning to play the piano. So remember, a little bit. Pause the video and practice that bit and then continue on for now. I'm going to play this slowly. Yeah. - Okay , so that was slowly with that little thing in the beginning. OK, so I hope you remember what we did. We played that first thing, then played the first thing again. Then we went to Albany O K G B way played the first thing. Wait, did the other thing with the Remember that with a double f and on D and sorry for raping this song. But if I go too slow, then you know this lesson will take forever because of the repetitions on doing. And then we did the first thing again. Yeah. Okay, now we're right here. That's exactly where we are. And I will be continuing on. Okay, Say moving on on. As for the good news, we are simply going to repeat this section. So we just play that and then we get way. Repeat this section. You know, here again. Okay, we stop here right now. We're going to play a section that we have not seen before. Okay, so this is going to be different. So let me play a little bit of that on that We will continue. Okay. So what we did right here is replayed this same kind of thing that we have been playing in the beginning. But now the left hand plays see that you're going to play G see? Okay. So you can just see this on the camera. The idea is the sign on you. Play C G C C G C for four times and 35th time. G C G playback. Teoh Like that. Okay, so you come back vaguely the same, but the notes changed the G b. Okay, so that's quite far apart for this song. We haven't seen that before, So here. Wait, Do exactly the same. So four repetitions. 5th 1 G B g. And now we do a 5th 1 is e as we know before and now We used to do this on stop there, but we're not going to do that. We're actually after this. We're not going to repeat it, but do e a at the end instead of BB. Okay, so here, a cases this section that I'm showing you right now in total like this, See g a on again. But now I'm not up to be so here like that. Keep in mind, you can look at the resource file number 11 to keep track of where we are. They don't need to watch Busan's higher video in one go. You could simply pulls it, practice a bit for yourself or come back later. You can even move onto the next episode of this course. Learn the rest of Chapter two first before completing the Centauri. A video that's absolutely farm with me. Okay, but I wanted to do this song because I think it's so beautiful and it's a lot of fun, too. Play and it's relatively easy. And with the resource file, you should be able to play this eventually. But take your time. It's really OK. Two words throughout the rest of the chapter before learning this entire someone would be great if you can. Which that lesson about peddling and maybe adding the paddle in this song as well. For now we did those repetitions. We ended up on E. And now we're moving on again to CGC. And now it's going to be E G B. Okay, so, again, that lost repetition right here. Now it will be a A on. We will stop off the three repetitions and do this. Okay. And 93 repetitions. Again like that. So this entire section after we did the whole, uh, okay off so that we started here on C, remember? So we went to G E O a on again. Now with e a. Okay. And keep in mind, I'm playing this without a pedal. I just want to play three read. I'm not trying to play this pretty or whatever CGC way went to E g b. And now we did a for three times. Okay, now we get into different part again. Left place, Ciba Roy Place. Easy now. Left moves G e o. And now we get a c a. Okay. And like that's so what? We do see See g d b and now a c A five times. And then for another three, uh, like this. So let me play that whole section that we did sue for. So after this, after we had that section, we're going through quite some notes. Let me plays out slowly for you. - Uh , on. That's where we are right now. It's really hard to play with a camera where your face normally is having to settle it, he decided was just so annoying about that on a side note. Anyway, we're now moving on f 1/2 a a at the right hand is game for E A. So right here and then we've gone to D E a d again. Okay, so this section right here f and then d waited a little bit a weighted, but again on coming here. Okay. Okay. So let me play through that for you, okay? And then we'll be continuing here again. So now we're doing is we're playing that same thing. Okay, up until there, you can also finish it up like this, and you're simply repeating that twice as you would have done previously. So now we're going to do to finish of that song after you prepare. That's twice as you're going, which we have basically seen before. Case of that half a the end. G repeating this and they're moving liquid dude again finishing the song up there. Okay, so what we do is we go half 1/2 a and then we did have a e a thing, son. Simply G b g. So we have seen this before, Okay? And then we do the irregular, weighty, normal way. And now we finish up with one final way. Half 1/2 a half A. So that's the same. And now, instead of going g g you simply g b and finishing up right there. So that's hija plate in emitting of our Ludovico Einaudi and an adapted way says that I have to guess what your level currently is, right? And I think that this is something that could really suit your level. That's really a lesson, a song that you can work on throughout the entire chapter two. So, as I said before, paused the video Go back, maybe had over two. Lesson two point to 2.32 point four. Moved back to this lesson and try that song again. Simply, Ash. You're moving on through chapter two. You can always come back to this lesson. Always come back to resource file. 11. Andi. Play this song a little bit on. I knew that in the beginning it's so overwhelming or so money notes and different variations. But eventually you will actually learn to play this on. It's a super cool song. It's really beautiful that maybe later on, I will make it a bit hard with the other left hand or otherwise. We could change to another Ludovico Einaudi song as well and play that in the original way the way it's supposed to. But we're probably only going to do that in Chapter three and moving on from there, because at this moment I don't want to stress you two mortar Don't wanna put too much pressure on you to play something that maybe you're not ready for yet. Taking baby saps. It's okay. Like just take your time. It do no have to learn to play the piano in a week. Okay? It's really fun if you can enjoy it on enjoy the learning process as well. For now, I want to move on to Lesson 2.2, in which we're going to have a look at all kind of different type of courts 16. Ep 2.2 Advanced Piano Chords: woken to lessen 2.2 in the living room Piano course. I hope you enjoyed lesson 2.1 while we learned to play the song. You know, Matina Ma, Ludovico Einaudi I know that maybe haven't learned the entire song yet. It's really beautiful on We did a bit of an adaption to make it easier for you So if you listen to that song by Ludovico Einaudi it may sound a little bit different but it will definitely sound like 95% similar because the adoptions that we made work small right now in this lesson, I want to focus on cords. I've mentioned a few chords before the major, the minor on the diminished when we're talking about skills because the last court was a diminished chord and then we've also had a look at five courts but in this'll s and I want to compliment your court knowledge are really diving in deep into a lot of these quartz that maybe are not that familiar when in use, and some of them are really familiar. So it's good for you to have some knowledge of how these courts actually work, but I want to advise you towards the entire lesson because we're going to be doing different practice exercises as well throughout this lesson. So let's have a look at some of the courts. So the first thing you have to keep in mind when learning chords is that basically all of the courts are part of a court family and the court families that we have been looking at for a major and minor. Okay, these ones are domain families that we've had a look at. Andre This'll was a major chord. This'll was a minor court, if you remember that. So all of the major chords on all of the minor courts have a certain way of being built up as we remember that major courts have three notes in between and then to the minor quarts of two notes in between and then three. But there's different type accords with different type of patterns, and I don't just want you to learn these courts of by hard. I want you to also get some feeling for these courts. So the next score that I want to talk about our five courts, we've talked about them a little bit already, but now Let's have a look at the signature and the parents. So, for instance, this one right here to see five chord We play C g on DSI on the amount of notes in the middle. 123456 and then four. Okay, six and four So we can find these courts everywhere. For instance, a flat K right here. A flooded field, a flat B flat B flat. That's 12 different courts like this as there always any type of court. We're going to practice playing these in a little bit. But for now, I also want to focus on Major seven chords minor seven chords on seven courts. Okay, so the cool thing about major seven quarts is that they stored like, a major quarters, so you can already write down three and two. What about me with that? Well, when we have a look at the piano if we, for instance, have a C major seven chord C major, are these notes right here on the three in the middle to middle CNG. So that's where we saw every major seven chord Will salt with a major court in the basis and keep in mind to keep that root note to give that tonic on the left side playthings and rue position when we do these lessons. Okay, In order to go to Major seven, we will play this note right here beyond topping at this really cool, jazzy sound, we have to add another three notes. Intimate. Okay, s O C g B. So we put three in the middle to in the middle three nim. It'll now for a minor seven chord. We're going to start off on a minor. Okay, so 23 let's have a look right here. But now we put two in the middle because we're gonna end up right here. Okay, so too in the middle. Want to three in the middle and then two in the middle. Right here. Let me demonstrate that a little bit differently. So right here, you can see I'm playing this note on this note, and there's only two in the middle like that. And then these seven courts are a little bit different because we actually start off with a major, a major court, three in the middle and two, and then we only did two s. So you get this kind of OK, that's a little bit different. It's a combination of the minus seven on the major seven. Three to to. So what I want to do is 45 chords. I want you to do a D flat, so give me a D flat. Five chord. I wanted to do a naff court. A shop on the sea flat? Yes. I want to see these in five courts. Then right here, Major. Seven. I want to see E Flint. I've shop a G major seven and a deep major seven. Okay, I would love to see a B flat on e half shop and last June a minus seven as well. And then for seven courts a D flat G shop be on an F flat. Seven. Okay, so that you filled all of them out on. I'm going to reveal the answers in 321 Here we go. So 45 chord I wanted to see six in the middle for in the middle's says sort of d flat will have developed a flood d flat for f fcf a shop right here. I wanted to see an e sharp. Ok, because we're not really playing an F hair. It's an e shop e half a note up e shop. Okay, so we should see any sharp right there and then see flat. Which was, of course, a little bit off a trick you didn't play to see you play to see flat, which were really cool, B, We've wanted G flat on DSI flat. This is model F sharp because this is a flat. Okay, so we cannot have a sharp in record. Technically, that should be a G float. Okay. For the major seven courts was simply starting off with those major courts the e flat major right here. And then we add three notes in the middle. So we end up on D E flat, G B flat D, um, for F sharp, major sort of shop, a shop, a shop, see shop, and then this is modern F. Because we already have Enough said this turns into any shop g 123 to skip. So we end up on F sharp right here. And for D DF shop is the major chord. We add 123 notes in the middle, ending up on C shop for the miners. Seven courts We want to start with the minor quarts of B flat on a play that in a minor and then add and then skipped two nudes and add that final note on the top for a minor start on a minor. Skipped two notes on at a D So e g b d have sharp minor right here f sharp a c sharp. And then we skipped two notes on we end up on eat on a moaner sort on a a c e skip to notes and and upon g for the seven courts we saw on a major courts a day plan of a flat. And now we skipped two notes. Abbey seven. Right in there. Okay. G shop we saw with the G sharp court. This'll is a b sharp. It's not a CIA case. Aji shall be sharp. D shop on fun, not the f of the f sharp. Okay, B D sharp f sharp right here, baby shop Have sharp skipping two notes and ending on a and then our flat a flat see flat. So are flat. A flat. See flat and son a D to completely seven. Okay, so these were a couple of new chords that you probably didn't new yet. We're going to do some inversions later on. So say sateen for that because you're gonna imagine that if I ask you for 1/3 inversion off the knife shop minus seven Chord that it's going to get a bit more tricky. So we'll do that later on in this lesson. For now, let's learn a few more chords safely. By now, you realize that's all of these patterns can be applied to the different top records. So if I take a major pattern to three ended two, I can simply put any letter in front of that F sharp e flat doesn't matter and that three to rule work on. It's the same for the other ones. Now we're going to learn a couple of different ones, so I want to talk about the suss to cord. He's suss four chord, the or commanded cord on the diminished court. So there's over four cores that we're going to be doing that suss to is this top 1/4 relied these courts a nice C, D and G. So what does that mean? We have one in the middle, and then four. Okay, so one in the middle on day four. Let's try that in a couple of places. Say freezes F sharp sauce to will be right here. F sharp, one in the middle, G sharp as I'm four in the middle, ending up right for a sauce. Forecourt. We do something different. This Isa suss forecourt. OK, this was too. This is for O k c F N G. Which means we have four in the middle and someone four in the middle and one So the sauce to on the sauce. Four courts. Okay, if I do that on E, for instance, right here on. Keep in mind for E, I have to actually go up to half sharp. B e f shall be because I need to put one in the middle. And then four I came on 30 sauce. Four chord is four in the middle, and then one play a B. So one of the middle and four is the code. So we're going to do a couple of these quartz afterwards or commanded courts. The psi augmented core destroyed. Here. It sounds a little bit weird. There's three in the middle and three in the middle on these courts can be used to change key and all that kind of stuff. But we'll get to that later. For now, G sharp. So we put 123 in the middle. 123 in the middle, right here. The G sharp augmented court on diminished is different than your manner because we have to in the middle and two. We already saw that when we're playing all of the court from the sea majors skill because we ended up on the diminished core right here, which was a be diminished two in the middle and two in the middle. If you do that with E flat, for instance, we're gonna end up right here to in the middle and two in the middle. So these already kouds that you're going to use in the next exercise. So let me draw the square, and then we're gonna do a couple of courts the sauce to discuss Ford or committed and diminish for this exercise. So the course that we're going to be doing is this us to hear the four of Andy augmented undiminished on. I would like to see a G sharp. So it's too. A beast. Us too a d flat suss to. So let's only do three here. Um, this This looks like a seven. That's supposed to be a 44 cities US four courts. Please give me an e Sharps us four Ah f sharp sauce for on a flat and then for augmented and diminished. I want to do four because they're a bit more important because these ones are relatively easy. So be sharp. Augmented f A shop on e flat on them for diminished g A de shop. Unless the beef lattice Well, okay, so please give me these courts on pause the video and then all shady answers. Okay, so I'm going to reveal the answers in a 3 to 1. So let me put the patterns here just to be sure for and one and then 33 on two, two piece us Teoh. Right here. B c shop after our beautiful chord than D flat says to a play d flat And then a skipper note a play D flat Skipper Node on four notes A flat D flood evil day flat. I accidentally wrote a sauce 4/4 so I had to change that d flat a flat, a flat sauce. Four courts e shop, which would normally be enough. But now it's Annie shop. 1234 To skip when upon a sharp and want to skip down upon Be right here F sharp. 1234 to skip play B and C sharp right here for the F sharp sauce. Four chord on a flat Defla. Lanie Flint. Okay, Orc mentored. We're owned. Teoh, be sharp, which is what we usually call. See right now. Be sharp. G sharp Right here. Okay. F a c sharp or basically playing with the augmented is a major court. And then we put the final note half in it up. Okay, said Francis a sharp. I can simply play in a shop major chord and put the Lawson and coughing it up. And I end up on ornamented a sharp court, A shop D and F Shop e flat. Same story e flat, major e flat G on. Now, instead of playing B flat, we're going to be I would get the e flat or commended court And then for diminished chords . It's the two too. So we play a minor chord But we moved atop known half a note down G B flat D flat A C e flat de sharp f sharp A. I accidentally did a D flat. I did this one, Okay, but it was supposed to be this one in B flat d flat, E C B flat D flat, E 40 final diminished court. So these are the sauce to diss us for or commanded and diminished courts. We're gonna have a look at a couple more chords. Hey, great Said as a few more quartz that I want an entity mix. I want you to keep in mind that these court you don't need to learn all of them off by heart. I also don't know all of them off by hard, but it's good to have an idea of had these courts directory structure so that if you're playing a song, especially later on when I'm going to show you some tricks to easily identify courts and songs, if you come across a weird cord like, for instance, a c savin be five chord. Um, so maybe maybe it wouldn't know what had to play this, and then it would be very nice if you could just play that court anyway and play the song that you like. So for now, I want to do the ad. Nine courts. I would also like to do six chords, major nine. Unless it an example that I did these seven b five chord. Okay, so these courts are a little bit more advanced. Let's have a look at the situation so foreign and nine, you're going to play something like this. Okay, which is you play a major chord right here. Three. Middle to middle. So that's the sword. And they're simply going to play in ninth. Known of that skill. So nine is gonna be a D in this case. Okay, so how many are in the middle? Well, 123456 Legs aren't usually when I play these courts on the piano. Not always, but usually what I do is I tend to play these quartz like this. Okay, so I put this one the d. So we have c e g d. I put that d in the middle, right? That's so we get C d e g. So, basically, it's ah, it's not really an inversion. It's more of Ah, yeah. You know, like it's more of a composition. It's more of a playing it together. What I also tend to do sometimes is to play CC in my left hand and then play e g d say that is the original inversion, as you can see right here the root position. But I played like this so that I play cc in the left on then the rest on top in the right because my hands are just really quite small. And this is just very difficult for me to play. Okay, So I have Teoh cheat a little bit and do something like that or put the D in there, which is actually something we do quite a lot because it makes the court sound really nice . Incoherent. OK, so originally 3 to 6 or the adaptation right here, which is one of the middle one in the middle to in the middle 112 So that's up to you. You can decide what you want to do. At least it's a four node courts to keep that amount, and then we move on to its six chord. So if we would to do if we were to do that and c we play see e g and A So we play the major chord, which is going to be three and two. And then we add the sixth note of the skill 123456 In this case, the A and it's gonna be one in the middle. Okay, so is three in the middle to in the middle, one in the middle, which is easy to remember because it's her six chord anyway. A k 32 and one than the major nine. It's different than the ad. Nine. Okay, City Major nine. The major nine keeps on counting, so we have C, E, G, B and D five notes being played at the same time. So we basically play a major seven chord, which is a major chord, right? So we saw with three to because it's a major quarter. We play that seventh as well. So not a three. And then we have to play. Not a note. The D. So we play two notes in the middle. Okay, right here. Very, very stretchy court to play basically a za se mazar the Ad nine court. But we played the seventh as well. And then a seven b five Chord. A 75 court is a really seven B five quarts is the seven flat five. So it's not a B. It's actually that little flat that we put you know, on top of a note, Roy here and what it basically does, we play an actual seven chord. So we play three to to which is the seven chord right here. But now we have to flat the five. So 25 is gonna be the five of the scale. So in the C major skill 12345 the G needs to be flattened. So we have C e g B flat for a regular seven chord. But now we have to flat the five on. That's not the fifth note here, but is a five of the scale. So 12345 It's the G. So what happens? Is this Okay, so we have three in the middle than only one right here is that we have another three in the middle. Okay, so the final pattern is going to be 31 three. Good San. Allah's a couple of these quartz in the square and on often that we're going to get busy with inversions in all of these courts to make sure that they sick in your mind. So So, no, this lesson has a lot of new information for you. I want to have, like, a resource file 12 way. You will see a list off a whole bunch of courts, even ones that we haven't done in this lesson with the same kind of build up. So you know exactly how to find these courts, and you can apply them to every single court. I've given an example of a C chord, but you can simply change that. You could simply interchange that, see, with any note and you will get the correct quarter K. But of course, make sure that you also ride all of the other notes with the pattern that should be applied . So check out resourceful number 12. We're gonna do one more square. I want you to figure out all of these courts that we're gonna ask you, and then we're gonna do inversions, which is going to make stuff really a bit more interesting. Case I've written the codes here for you for the at nine. I want to see a D shop. I want to see ah g Flat and I want to see an a chord for six. Cordes, I would love to see d flat f be shop on on e chord and then for major nine, please give me G shop F a on a C sharp court for seven before if we're going to do IV flat , have shop on a B flat court. Okay, so finish these first before continuing on, and then you have the answers right here. Okay, It's all revealed the answers in 321 Here we go. Not going to play all of these throughout because it's just too much for the ad nine. We have d shop G A Sharp and F. So I will play that one D shop g a shop, and then we're going to f. I cannot reach that. I'm going to put it in the middle there G flat, B, flat, D flat, and then a flat. I could reach that a little bit or simply plant right here as on a shop. See shop TMB or put it in the middle right here. Okay, than 46 chords d flat F A flat B flat. The F court is after a CD. Be shop E G A event E g sharp B C shop in case hope you got them, right. 30 major Niners five notes records say G sharp Be sharp. D shop f double sharp or a G if you have that. But we don't want to have the same letter twice an accord. So have double sharp and a shop of them for F. We have F A, C E and G A C shop E g sharp B See shop e g shall be shop d sharp. So I hope you had them. And then roid here 40 75 chords E flat, G A and D flat right here. Said it. Sound a little bit off. Ride the salad, but we're have shop a shop C and E right here. Okay, B flat, D f flat and a flat. Okay, so my flat is what we usually call E right here. Okay, so these are all of the courts that I wanted to teach you for now. In the resource, Father is a couple more so you can check them out on now. Want to do some inversions with these courts to make sure that they really stick in your mind? Okay, so after board vertically again, we're going to do root position. First inversion, second inversion, Aunt third inversion. Okay, so here I'm going to list a few courts. And then here I'm going to tell you which kind of inversions I want. So I want on a major chord. I want a C sharp, minor chord, etcetera, etcetera case. That's how to go to Melissa's. A major seizure. Minor, etcetera, seizure minor. We usually just put an M and K for minors, a major minor, and let me finish of this board. Okay, so the course that I want from you are a major C sharp minor B six e diminished half shops , us too b flat augmented D shops us for after major seven g flat minus seven e seven b major . Nine D at nine. A sharp seven b flat. A major first inversion C sharp minor reposition B 6/3 inversion. A diminished second inversion of shops US to first inversion B flat augmented rue position . DIY shops US for first inversion of shop F major seven third inversion G flat minus seven gave his a minus seven. Right here. Second inversion e flat seven reposition be major 9/3 inversion d at nine. First inversion eight sharp seven flat five In a second inversion. I will see you here in a bit with the else is good luck that case all of the answers hair eight A major in the first inversion because that's the whole trick. We have to put them in inversions. So see Sharpie and a for a major C sharp minor in the rue position. That one is easy, right? See? Shop eat and g sharp. So we've done those already like that than be six b six in the third inversion is going to be a shop d sharp on deaf. Okay, causes the foot causes the third inversion BD shop after shop A shop. What? We usually have a shop B D shop shop, 43rd inversion. He diminished E g on B flat, but we have to put it in a second. Inversion is going to be flat G right here. Okay, having done those as well and then we move on after shops is to have shops is to is normally right here, have sharp g sharp, see shop. But we have to put it in the first inversion so G sharp, c sharp, f sharp A B or commented in rue position B flat, augmented and reposition right here B flat D and G flat. Okay, having done those B flat D and G Flood so hope here that as well. So we end up with G shop a shop and deep Okay, I may let him stay there because I played d flats us for instead of the sharps us for Sergey shop a shop and deep then for F major seven. But in the third version is E f A c. So we have those Donna's well, e f and C for F major seven in the third inversion. And if you don't know how I get these, you play f a c e, which is your after major seven chord and then you simply invert that So you take the f from the bottom pitted on the top that your first inversion C e f Asia's second inversion e f a C is going to be your third inversion. Okay, I told you that unless in 1.5 I believe on the major minor courts. Or maybe after that at 1.6 and 1.7 G flat minus seven. We're gonna play D We're gonna play d flat, E g flat on a because we're in the second inversion e flat seven on route position, You flat G B flat on D flat. Yeah. Okay, so is thes are as well. And then we moved to be major nine in the third inversion. So no starting on B. Now, something weird is happening here because you see a sharp be so you may think that it's not the third inversion, but actually, the be major nine court is big d sharp, half sharp, then a shop and then see shop. Okay, so if we invert that once, twice and I three times, we're gonna end up with this core right here, which is a Shaw B C. Sharp D shop and shop. Okay. A shop B, C sharp D shop and shop, then d at nine f sharp a. D e. Because right here, because we have to be in the first inversion. Okay? Otherwise we will be here DF shop e but now in a shop a d e as any final court. A shop seven b five e g sharp a sharp Andi because we're in a second inversion. So that's it for this lesson. I knew there was a lot of stuff going on here. Many, many courts to be learned. And also with these inversions, it makes it a lot harder to figure out which quarters which court. So I again invite you to have, like a resourceful number 12. It's very important that you figure out according root position first before you start to invert its if you made some mistakes here. Don't worry. This is quite tricky stuff. But make sure that you realize that you always have to start in that room position before you start to adapt. Accord. Otherwise, this stuff will not work at all. On all city, parents don't work because if you put three in the middle one in the middle three in the middle, you may end up on a very different quart of your thought on a different note, right, so you don't want to do that, especially when you're inverted the cords, the patterns do not work anymore. For now, I want to thank you so much for watching this lesson. I hope to see you soon. And lesson 2.3. 17. Ep 2.3 Piano Pedals Explained: Hey, welcome to less than 2.3 of the living room piano cores in this'll s and I want to talk to you about something very important in playing the piano. The piano pedal there is different type of pianos. That's war pianos, grand pianos, digital pianist like this one, and has also keyboards on. All of them come with different top of pedals. But there's one paddle that they all have in common the sustain pedal, which is what most of this lesson is going to be about. I will also shortly talk about the other pedals to pedals or three pedals. I will tell you what these pedals do, and there's a difference between grand pianos and war pianos. So you may want to listen to those differences carefully as well as I don't know what kind of piano you have. So let's have a look at all the different Harper pedals on what they do. So the first thing I would love to do is to dive down onto the floor and show you the paddles that my piano has. But I'm not going to do that. At first of all, Let me explain a few things on the board. Andi tell you what to do if you don't have a panel with your piano, because that is also possible. So the first functionality that you can see is what we call on 1/4 there that we have the sauce tornado pedal. We have a practice pedal and we have a sustain. So you may already be wondering if there's four type of pedals, and the most pedals that you've seen on the piano is three. Where we're going wrong. Well, there's different type of pedals on the piano, as I said before, so not all pianos carry all of these pedals. Let me explain to you how that works. So first of all, grand piano OK, grand piano. We'll have a new nick order Sister Nido on a sustain pedal. Then we have a war piano or upright piano on. If it has to pedals, okay, it will have the on 1/4 on the sustain, and if it has three, it will also have the practice pedal in the middle. Usually some upright pianos mimic a sustenance panel, but most of the opera pianos have a practice paddle in the middle, and then we have digital pianos like mine, which I will give a hagia for high end digital piano when 1/4 saw Sinead O Sustain because it's actually mimicking two grand piano. The more affordable digital pianos, so regular digital piano will usually only come with one pedal, which will be the sustain. And then we will have a keyboard, which comes with zero pedals usually, And if you don't have any pedals, I would avoid you to get one. Okay, if you have a digital piano or a keyboard and don't have a pedal with that, get one and it's definitely worth it. I will cost you between probably 10 and $15. Okay, you could simply plug that in on the rear of the piano and and it's called us. The same pedal has also bit more expensive pedals for around 40 $50. They work a little bit better sometimes, but in general you can just get a $15 sustain pedal. Okay, so to sum of grand piano has unique order, sustenance and sustain war piano, Una quarter practice and sustain in most cases, sometimes it has a sustenance but usually practice paddle digital high end it will mimic the grand piano. A digital lower and piano only have Ah, sustained on a keyboard has no pedal or a sustain. Okay, so now we need to figure out would do these pedals do the most used pedal on the pedal. That's off most importance to use the sustain pedal. I'm going to leave that for later because the rest of the lesson will be about this the same pedal. So I want to do the other ones first. Okay. So unescorted that What does it mean? Well, I don't have a grand piano here, so I cannot show you. However, behind of all of these keys behind all of these keys on the piano on a grand P. M, you will find some snares, which is actually what makes these sound. On a modern grand pianos, we will find three snares behind each keys. Every time you had a key three snares that are hopefully the same will run the same are being hit and the sound is produced on older pianos. We used to only have two snares. Perky so 88 times. Suze 176 snares on the older pianos. 264 on the newer grand pianos. So what does that have to do with you in 1/4 pedal? Well, usually when we played the piano and you can hear that you have a certain sound when you're president, you in 1/4 pedal and I will show you that later with my piano would just listen to the sound. You can hear that it's a bit softer. Okay, it's a little bit hard to hear our mind. Digital piano. Maybe if I put the volume a little bit lower and go for pretty hard hit. And now with my left pedal in ah ah ah, you can hear that it's a little bit softer on a grand piano. You will hear that quite a lot better. Okay, because quote literally, you lose 30% of the sound when you only plate to snare, so it's gonna be a lot softer. You'll also notice that all of these keys move a little bit to the right because the hammer is actually still coming down. But instead of it coming down on three snares, So instead of the hammer hitting here, right, hitting all three scenarios now, it's only hitting these two. So it's coming down there and this snare is left untouched. Wise called Una Korda, it literally means one snare, because in the old days we would hit two snares when playing the piano. And when you present when 1/4 the it would get a lot softer cause we only hit one snare. This is the paddle. If you have a three pedal set up that you will find on the left that's your una Korda, You're not going to use that quite a lot in the first couple of years of you playing the piano. If you only have two pedals, you will still find it on the left. So that's the neck. Korda, paddle onto the sustenance. No pedal. This is the pedal. It are Sat that day, only find on high end digital pianos like mine on the grand pianos or on wall pianos, upright pianos that mimic grand pianos. Okay, if we have three paddles on the piano, it will be the middle one if we have to. This is the pedal that's being left out. So you have no more substantive pedal. Okay? What is the sustenance to peddle? Do if we take a look at the side and we see that hammer action going. Okay, There's a very bad drawing, but basically happens is when you hit a key over here. This hammer hits the snare, right? So you can hear the sandy hammer comes down to snare is being hit a hair Decide now. Normally, there's a damn proc Yushin on each snare. So what happens? Issue hit the snare on ASHA. Hit it. This damn precaution is being lifted up so that the snare can vibrate and the sound is noticeable. Listen, but as soon as I release, that cushion would drop down right here and now the sound stops. What happens when you press the Sustern Udo pedal is you can select certain keys. So let's say ah play C, e and G and as long as I hold them, you will hear them. But as soon as I like go, they're gone so I can actually hold them. Hold my substantive pedal and release my hand and you will still hurry them. Ok, so if I press the pedal first and then then it doesn't work. Whatever I press, I hold myself Sinead o and it will ring Now. Some people confuses with the sustain pedal that we're going to talk about in a little bit . What does the same pedal does is it lists the cushions for all of these snares on the piano . This means if I hold my sustain pedal, which is not my pedal in the middle, it's actually my pedal on the right. You will get the same kind of idea. Okay, you can still hear thes denies being played. However, any other nude, it's simply gonna be added on top of that because all of the cushions are lifted. The sustenance. It was only lifting the cushions off the notes that I'm playing so I could play these notes , hold them, and then play a couple of notes on top of that, whilst only the notes that I'm playing are being held. So looking at the piano, I'm playing employees. Holy my pedal. And now all of these notes are not terrible, except the ones that I held with the sustenance with the sustain, it was sound like this. Okay, so also, these notes are being sustained. So that's the difference on the system, you know, as a side you only find on grand pianos or high end digital one. So if you have one of those play along with that, this is one of the most complicated pedals to use. You're definitely not going to use that in your first couple of years of playing the piano . At least that's what I presume. You can also use them at the same time. So the sustain we're going to talk about that quite a bit. In this lesson. What it does is again from the side. We have these hammers and we have two cushions and as a sub before, as soon as you hit this the same pedal. All of the cushions are being lifted. So all of them are going up like this. Okay, which means that the snares can vibrate as much as they want and all of the snacks can vibrate. The sustain pedal is doing that for all of these snares on the piano in one time, the sustenance of is only doing it for the notes that you are hitting at the moment that you press the sustenance of pedal. So that's the main difference we were talking about, sustained a lot after this For now, let's have a look at the final pedal. The practice pedal the practice pedal. If you have a practice pedal, it's going to be found in the middle. A swell. Okay, so if there's three pedals, the practice pedal will be found in the middle. This one was still be doing. 1/4 pedal on this one will still be the sustained. Therefore, you can either have a practice or a sustenance, which you cannot have both on a piano. Because we don't have pianos with four pedals, only three at the most. These practice pedals. Would they do so basically dampens these sound of the piano quite a lot because there's an extra, Um, because, as usually there's a filled that's being laid between the hammers, so it simply doesn't hit that hard, or there's an extra dem protection. Okay, so from the front angle, if you have and here's my amazing drawing skills, if you have the three pedals right here. So let's say these are your three pedals like this, right? I hope this makes sense. A practice pedal can usually be locked into place by sliding into the left, so there's a little bit of a gap right here. It can slide that in. So you don't have to hold it the entire time that you're practicing. You can just slide that in and it will lock in on a kind of looks like this. Um, so the pedal is normally sitting here, you press it down and you slide it to the left. And then he peddles Stay in place here on all of the notes will be dampened. There will be, ah, sounding a lot softer when you play it. And your neighbors won't get angry when you play the piano. So these are the four paddles that we confined on the piano, usually pianos two or three. And if you have a digital piano, you will only have one panel. Usually on that will be your sustain. So what do you have? 32 or only one pedal. Locate the pedal that's most on the right off your piano. If you only have one is going to be that pedal. And that will be your sustain pedal, which is what we're going to be talking about. Roid. Now say this is what it's all about. This slain paddle. Basically, you can you can talk hours about this stuff where you can explain it in a couple of minutes , I'm gonna have to something in the middle. Take about 5 to 10 minutes to tell you everything you need to know about these sustain. So, first of all, I get a lot of questions from people. How should I use my pedal? Referring to the sustain? How should I use my pedal with this song? Harsher to use with this song hash. It is with that song in general in general, almost all of the songs that you're going to be playing in the first 3 to 5 years off your piano career. You're going to be using this the same pedal. Exactly. These same. There's a little bit of a difference between playing on a digital piano on dawn acoustic piano, because when you play non acoustic piano, these the same pedal is literally connected to a rock, which means that if you press it down, let's say Ah, 12% of the way. This is also going to move 12% right with the digital piano is just a bit of a wire, you know, and it gets plugged in somewhere, and it's It's usually saying either one or zero. So you have a hand up Sam pedal or 0%. Then there's pedals that go like a little bit in between there. But in general, I really get the idea. And then there's also companies that say that they're pedal. It's like as a real pedal feel. But in my opinion on acoustic piano, your pedal sends is going to be so much clearer than on a digital one, even on the high end. So keep that in mind if you're playing on the digital piano and then you move to maybe, um, acoustic piano and you notice the difference. This has to do with the mechanics of an acoustic piano versus the being digital of a digital piano. OK, so in general in general, we're going to be playing in the same way. But if you play on an acoustic piano, you have a little bit more lean way because you can. You can give it a little bit of paddling and give it a lot of paddle, and you can basically yeah, you have a bit more field to it, if you will. On the digital piano I usually press it all the way in or all the way up, and that's all that I'm doing. So how does it actually work? I'm going to move the cameras so that you can see both my arm. I pedals on my key a green towel underneath that so it doesn't scratch my floor. So as you can already see, that the lacquer has come off of this pedal because I use that the most theater to I barely ever use. Um, so, yeah, I can just press the pedal like this with my food, and I'm using my right foot. To do that, you can see how impressing the keys. Let's see, I'm going to actually, I'm going to do that here so that you can see my foot as well. So if I press the keys and release, the sound is gone. Okay, that makes sense. If I press the keys, then I press the pedal and a release he sounds the sound retains until I'll release my pedal on. The sound is gone. So you might think that press release gone press, press the pedal and then release is the way to go right? And it's gone. However, you can also press the pedal first, then press the keys on the effect will be the same. Now, why is this? It's because I sat those dampers. Well, of course, this is a digital effect mimicking of a piano. But usually those dampers are on the snare. If it comes off this American vibrate and the sound will stay there, OK, the sound will be noticeable all the time until the damper comes back on. If I remove the damper first and then start shaking the snare or if I shake the snare and then remove the damper, that doesn't matter. Okay, so notes pedal or paddle notes. Now, here's the thing. When you start to play the piano when you play piano song the first note that you're going to play technically, it doesn't matter what you played a note first on, then the pedal or where do you already have the pedal press in? Okay, but after that it does matter. So let me show you how that works. So for instance, I could play to courts C major and then followed by a minor. Okay, What I'm going to do is I'm going to hold my pedal in before I start playing the song. Okay? And I notice what happens. All of these notes are being held at the same time, right? Because I didn't switch my pedal. I could also play first and then the pedal on the 2nd 1 and it'll semblance. That makes perfect sense because I didn't release the pedal in between. Now I'm going to release my pedal in between the courts and pay attention to what happens. I'm going through Plato notes first, Then release the pedal and engage it again. Okay, some going to play notes, then press down the pedal. Then I'm going to play the other nodes and president of pedal again. So we get this. Here we go. Now we get the clean e minor court. We got a C major chord and then a clean sound off the e minor chord without getting this blend. OK, so we don't get this sign which we don't want. Okay, if you do, dear, the way around, if you would press the pedal first on that blade accord you would technically have to release and press the pedal first on, then play the court. But we get a gap in the sound. Listen to as I'm playing these cords. Listen to ASM playing these courts of press my pedal notes release press the pedal notes release. Okay, so that doesn't work too well. So basically what we're doing, what we're trying to do is, if we have a certain quarter them playing here, let's say C and I'm playing e minor here. If my pedal is up and down, Okay? I tried to have my pedal down the whole time until I get there. This is why my fingers switch and a release it very quick down again, and then I hold it down so there will be a little bit of overlap of see in this court. But you can bear to hear that. Listen, listen for us, and then we'll show you. Okay? You can hardly hear that. So now slow That damn pay attention to my food. I'll just do left. That's what happens. Okay, So quick. That's hard to depend Notice. So as I play it as my hand goes down, my foot comes up. What, On back down again to catch that note. If I don't do that and I remove my hand. First we get this. Oops. The note is gone because I didn't put my foot down quick enough. Okay, so here, Theo, Uh, on especially on acoustic piano, you're going to hear the would like to every time you had the pedal. So there's also gives a lot of feel when you listen to a recording, you can hear that pedal being slammed us. Well, that's really cool. Another thing that you can do is of course, if I'm not playing the pedal issue can see my feet are in there and I'm just by holding my fingers, then okay, so I don't even have to. I don't even have to use those paddles if I just keep the notes in. However, as soon as our release a note, you will hear that. That's very staccato. OK, that's very like that. But if there's ah, gap where I want to go from, let's say this cord to this court. But I can simply keep the notes in that I can kind of work around that with the pedal. So it's a combination of How long do I want to press the nodes? How am I going to use my pedal and sometimes a song, especially if you play a lot of notes very quickly. Okay? Or for instance, with Pirates of the Caribbean, you know that maybe too much noise and sometimes you may know, want to use the pedal because she wanted to sound You wanna descends to kind of Okay, that's also possible. So what I want to do is I want you to go back to the songs that we learned in a Matina, you know, and start to experiment with the pedal. As a general rule, whenever we switch accord, we're going to switch the pedal. Okay, So if there's another court over here, maybe a minor, we're going to moved to pedal up and down really quick at that court change. Because when we play the courts through one another, it's going to ring at someone going to sign that nights on a digital piano. You will get this. You know, this sound sooner than on acoustic, because actually, the the sound is being produced by a speaker and there's only one speaker. And in order for the speaker to create all of these different tones at the same time is going to give a very droning, You know, very This kind of sound is really not my eyes on acoustic piano. It will sound bad as well if you don't change the pedal at the correct time, but a lot less worse than on the on the on a digital piano. Because all of these snares are literally, you know, their little sources of sound. So they don't interfere with one another as much as we just have one speaker creating this out. So figure out what you want to do with the pedal if you want to use it or not. I suggested you start to implement that pedal as soon as you can and change at every chord . Okay, So, as an example with, you know, Matina, for instance, is this one. I would change my pedal. Okay, Now we're at the end and change it again. Change it here. Changed again. Change it again. Now, with the f a, you could actually change it Every time you know it. Canady pans on how your piano sounds, you hear Had this sorts to ring that starts to ring. So maybe maybe it's a nicer if you changed the pedal in between with, for instance, the, uh with this one. You change every time your left hand sorts. OK, so you're not just going Teoh? Hold that in and build that on top. I would change it every eight notes. So here change change every time. Basically, you want to change every measure or every major court change on. You will hear that when you're playing. So I have a lot of fun with that. Make sure to give that quite a lot of practice on these songs that we did before Seimas Prelude in C by bark. And also you know Matina on. I will see you in less than 2.4 where we're going to be talking about arpeggios. 18. Ep 2.4 Piano Arpeggios: welcome to lessen 2.4 of the living room piano course. Right now, we're going to discuss arpeggios. They may sound a little bit difficult, but actually it's really easy. It's really cool, and it's going to be one of the main thinks that's going to make your piano playing so much cooler, so much nicer. Let's have a look at what they are, how you can use them on. We're going to do some basic or pages in This'll Essen and later on in Chapter three, we're going to doom or advance or patches as well, so make sure to look at for that as well. Right now, we're going to do arpeggios on major chords. Minor course on five courts. So what isn't Our pageant arpeggio basically means broken chord. So gravel IQ at our main court that we know see Major technically ever played like this. That's already in arpeggio because it's broken all right, if I played along the nodes at the same time, we played in court together and like this, it's our paginated. It's It's broken, okay, court together. But generally, when people talk about arpeggios, we talk about extending that court so see e g is a court and we begin with And then in order to make turn it into an arpeggio, we would get See, e g. And maybe you're not a c. So you get something like that. So that's what would happen if I if I plain arpeggio in Muroi hand in a major court, we can also do that with a minor chord, for instance, also in the White Keys like this. So let me put that major minor We can also do with a five quart. Okay. And this is something that we see a lot in the left hand on. For instance, here f sharp c shop have shop, and we can also see combinations of that so you could continue on with a C shop f sharp. So now I'm basically this isn't arpeggio. Oops. That's a weird f sharp. Um, this is an arpeggio of f sharp minor. And this up until here is a broken chord off in F sharp. Five chord. And by combining them, we get f sharp minor. We get f sharp five after a minor on that sense like this. Okay, so all kind of different combinations possible I wanna have a look at the piano a little bit closer so we can see what's going on and how we can do that. Said the most Common or prejudice, in my opinion, are being played in the left hand, and we're not really playing a major quarter past there with four notes, but mainly just five courts that we already know. See GNC, for instance, for the C five could also play it here. Then what happens is we go back and forth on a plane arpeggio like this. That's one of the most common ways to play a broken corn, and it's a five chord. Okay, so if I would put that into a song, let's take our favorite corporate Russian off C A, F and G. And if I would play this arpeggio two times, Okay, I basically get a really nice layer off my left hand, a really nice foundation on which I can then build a right hand. So maybe, uh and I'm finishing it out with an arpeggio here. So what I want to do right now is a want you to take that core progression that I just did on. I want you to play along with me. Play those or pages, so C g c g a b a e f c I see g d g d If that goes too quick for you, you can also go back and forth for two times per five court. Okay, before changing a e a e a e f c f c f c f c on g d g d Do it again. Okay. I wanted to get used to playing this kind of stuff whilst playing according the right hand . So what we're going to be doing as we're going to take the nearest quarter, we can play for now, so UGC easily fits in here. Let me move the camera a little bit like this right here. E g c fits with the court. Okay. And then we can go to e A. C. And then when we're here, we can go T o f a c on d g b. Okay. You need to write that down probably. Right. So let me write that down on the board. So we're going to play C E c and left, followed by a e. A is not true. C g C A a f c f and G d g for left and then Reut e g c e a c breath a c and let zoo d g be OK soon. Please remember this or write it down as I will move to camera to the piano. No So left hand, let's sore there once more due to repetitions, you can also go slower. If you haven't done this before, just go slow and take it easy. You could use your pedal as you've learned in the previous lesson. No, it's a good way to practice up. Pedal us well, and now we're going to play that chord in a roid hand, OK? Did you see now I moved to e A c relatively easy. But if we combine the left hander pages with the roid hand courts and the pedal action, then all of a sudden you got quite a lot to think about. So maybe this is not the easiest thing in the world for you. So let's see how you're doing here. We get one more time. Uh, Okay. Now we're gonna do something interesting. We're gonna keep the left hand study on just the O is the right hand. So here we go. Maybe do it a little bit slower. Okay, So this is something you can practice with your pedal with your left hand on the right hand being setting on with the left hand, being study on the right and plain combined it too, if you want to try and make it hard for yourself. Very confusing. Okay, That's something. By the way, if this is going too quick for you, if you're still in one of the previous exercises, it probably means that you didn't pause the video. You're supposed to pause the video and do one of these exercises and their move on. OK, you're not supposed to, which is video one go, because you could do it in one sitting. But, I mean, which may explain one of these things. Pause the video and then practice it for yourself. Okay, so we did this. Okay, Now we're going to do deal. The way around the left hand is gonna set the pace and the Roy Hennis gonna play on top. Okay, so let's do that slowly, a little bit slower. And it isn't playing together on the bottom note on on the top note. Luke Here, On there. Yeah. Now, if this is going well for you, how about we do that the same time? Okay. Only if this is going well, this is too hard. Don't do it yet. It's not the easiest thing in the world. But if you need a bit of a challenge, you can do that. Then I want to do something else, Which is we're going to play, visit the left hands. So we play from bottom to top on, simply finish that out with right, OK, and slower. - And by the way, this is so your first couple of weeks of playing maybe in your case is goes like this, right? Just still searching. And that's absolutely fine. Okay, I'm just show you an example because you have to keep in mind that there's people who are just sorting at and those people have been playing for a little while, and this course is being watched by that entire group of people. So I tried to keep it in the middle. Ok, I'm not going super quick, you know, like that. But I'm also not going super duper slow so that if you're just starting out to play the piano and you come back to this lesson maybe a month from now or two months, you can actually enjoy the paisa swell, right? You don't go like Oh, my God. There's dude is going so slow, right? But doing that means that maybe right now you're intimidating modest speed that I play or by the exercises that I give you. I want to give you this course as something that you can use loyally. Now, if you're just starting out But also a year from now is say a I want to look at arpeggios again. I'm gonna watch that video again and then that the exercises are actually still making sense here, that they're still relevant. If you've been playing for 10 years and you're giving your own concert and your face is on every buzz in London, maybe this exercise is a little bit too easy for your right. But if you're just sorting out, you've been playing for maybe half a year. You think I should actually work on my our pledges again? That this video is still relevant because we do exercises that are, you know, that are really nice to get back to basics on Get back to their grip. On the other hand, if you're certainly begin or phase fan, don't be intimidated by this. In a few months time, this will be relatively easy for you. So now what we do. So we're going to combine that. We're going to combine it. We're going to walk down, Sue. Okay, which is something that we don't do that often. One playing piano, So sort of the top and play down. Let's do that slowly. Okay? You never this any exercises that you don't like, You can simply skip them and try them again. But I would advise you to try it at least a couple of times to see. Sometimes things feel really weird. But that's the purpose of the exercise, right? To make you do something that you have not done before. That maybe feels weird for you in the beginning, so that later on you can get used to that. So now what I want to do is I want oh, go up and down with two hands, right? We can also do that with one hand. But the idea here is to get some synergy and to get with two hands. Okay. Like that. Keep in mind that the amount of notes there were playing is 123456789 10 11. So if you go back and forth and you feel that, you know, like it's a little weird, like you want to go up until there, that makes perfect sense. Because that will be 24. Okay, so that's up to you. I'm going to just leave that anti. So there. We have time to move, but normally you would probably get this. Okay, so you play these two again so slowly. Okay? You come back and then you moved there. But we're gonna leave these two out so slowly. And I changed my pedal every time I'm back here at the starter. Nerd. Uh uh. And okay, so these are just some exercises to practice your arpeggios. We see things like in the Adele song. Someone like you Things is basically nor Pageau swell, right? We're playing a broken chord. Also in our pageant in the only court place song. So we're basically doing that a lot. But when we play melody lines, the arpeggios usually move to the left, etcetera, which is actually a song that we're going to be learning later on in this course as well. You see the arpeggio overextended right here, where we make a combination of a five chord and a minor chord like that arpeggio in the left hand. So it is different type of combinations possible even and beginning when we played Bach, there's an arpeggio in there as well. And you know, Matina also has a hidden arpeggio over five chord in here and we play this chord as well, which is basically let me see. Ah, Major seven chord with an extra being there as an arpeggio as well. So we see arpeggios a music all the time. I want to avoid you to practice that a little bit. Maybe practice this one a little bit. Now that you know more about the pedal and the arpeggios and why they could be useful, we're going to be doing so much more with our pledges in this course flat. If at this moment you're not too confident about them yet you will be very sick. So don't worry about that for now. Practice with that. Have some fun and I will see you. Unless in 2.5 19. Ep 2.5 Read Sheet Music for Piano: woken Cillessen 2.5 in the living room piano course and this last song, we're going to look at one of the most request that topics. One. Learning to play the piano. How to read. She means this will be the main lesson on this topic, because I'm going to include pretty much everything you need to know if you want to start to learn to read Shame Music. I want to make it very clear that I personally don't reach your music when playing the piano. So for me, there's a distinction between reading sheet music and deciphering she music, right? I decide for sheet music quite a lot when I want to learn to play a new song on def. There's a good version out there. What it will do is all printed sheet music, and then I will, you know, just right. Little scribbles here and there. Andi, I may predate of the piano and played a little bit, but to me personally, reading sheet music is when you can just give somebody a piece of sheet music pitted on the piano, and they can play it instantly. Okay, that's what reading sheet music means to me. You can read off off the sheet music. And just as if you were to read a big and tell these story when reading to people, you can actually read the sheet music and play it with your hands. Reading sheet music and being able to play it immediately on the piano is quite difficult to do personally for me because I like to play by ear. I don't do that addle, but sometimes if I can figure out a song by here, I would get the she music. I will write the notes down or I will look at it and play it, and then I will use it kind of to learn the song. But I never look at the sheet music when playing this song. There's a lot of people who do and who do you like it? And maybe you're going to be one of them. And there's some people who don't on. Do you know it's just not for them now, No matter if you eventually are going to be able. Teoh Rechy music as an you picked the song a pair you can play off of that. You will definitely need to learn how to decipher sheet music. You will need to learn what these little balls and six or mean on the paper and had to kind of interpret that if you want to be able to ever take a piece of sheet music and at least after a little while, be able to play Woods on there, so that's the way I use it. That's the minimum level that I want you to get used to during this course, and then, depending on your personal preference, you can actually use sheet music. Or you can use a court t cheat. Or you can just play off by hard, which is something that I like to do myself mainly. But I need to get you to understand the basics of sheet music, which is what I'm gonna do right now. In this lesson. One of the things that do want to bring to your attention is that there's some people that read of of sheet music, and they start to play very robotic. So maybe the owner, Matina Song, would sound like this because they're paying so much attention to the sheet music. So it's gonna be something like, uh on to me personally. It kind of loses the feel, you know, like it's just I want to have a little I want that to be a little bit more swing in it now Maybe I use a little bit too much swing. That's that's possible sometimes, you know, also with back like like this, like I just wanted. So I I really like it a bit more minutes. You know where there's a bit more feel to it. So I want to advise you that if you use sheet music to play, don't focus on the sheet too much. Okay, Don't be like, you know, like be human. Make it make it sensitive. Make it your own. Use the sheet music as a guideline, but don't just read off it and forget to add your own little bit of passion to it. So having said that, our thing now you're ready to start to learn the basics of sheet music. You understand that you shouldn't be a robot and just play off of it without adding any feel. You understand that it's very likely that in the beginning you're going to have trouble. Teoh read fluently and play at the same time, especially because we have to look at two hands, but that doing so can actually be developed with time and that it's not 100% necessary to do so, because I also don't do it. Michael Jackson couldn't read cheap music. There's a lot of artists that cannot read sheet music, but almost everybody will use it to. If you compose your own song to write it down. To not forget Ed or two sometimes figure out something that you're having trouble to hear off Overy cording. So even if you do play by ear, which is what my personal preferences reading sheet music is an absolute must. We're going to do that right now. So the first thing you may notice when you want to reach E music is that we have something that we call staff and is these little lines. Okay, so there's gonna be five lines like this, and then when we played a piano that can be one of them right, which will mean we were only play with one hand. Usually that can be, too, and the lower one will be for the left hand, or that can be three or even Mawr on. That usually means that these two, but it will be indicated most of the time. But these tool before the piano and this one will be for the vocals. Okay, say, if you see ah ah, piece of sheet music with three of these and then another three and then another three. Then you will realize that usually the one on the top is going to be for somebody singing, and that these two are the ones that you should pay attention to. It's also possible that that could be some strings up here, you know, or like, saxophone or whatever you want to figure out which ones are for you. That's the very most important thing to start with. By the way, if you're interested in sheet music, I have some sheet music available at PGM. Piano had come, and this is all she music. That is especially for piano with to Boris only except if I have ah, piano piece that you can play with four hands, something like that. But usually it's to Boris only on all of that. Cheap music is available in pdf, so I'm not really trying to shill my website here. to promote that. But just in case you want to look at some sheet music, I have it up there, but it isn't a paid member sections, so keep that in mind on at this moment of recording on my website, I have a lifetime access plan, which means that you purchase access once and then for address of your life, you will have access to all of the content. It is possible that by the time you're watching this course that the plans have changed because sometimes they do. It all depends on what or more people request on dawn how things are going. But at this moment there's around 100 and 50 pieces of sheet music on this website, so if you want, you can check it out. But if not, you can also Google sheet music. You could find different places. Um, I don't really care where you get your sheet music from, but on my website. The sheet music is matching up with the lessons that I have on YouTube as well with the covers there. So, just in case you're interested in that, for now, I'm going to zoom in on one of these and show you something very important. To start with, we're going to get something looking like this and we have five lines. One, 2345 And we also of course, have four spaces in here. Okay, so that's how do you lay out is build up 91st thing that you need to know and that's super important. It's one of the things where I always go wrong. Is that on here among magic drawing skills again? But there's a a sign somewhat like this. Okay on, that's what we call the treble clef. Now, what's important is that right here it's intersecting with this line. Okay, this line right here. Which means that if there would be a note on this line, that note would actually be the G. Okay, so that's a G in Dutch. I'm from the Netherlands and in which we call this the G key, because this kind of looks like a key, but in English, that would really confuse you, So don't think about that. But just so you know, the other option is that we have what we call a bass clef and that looks like this. This is the sign that you can see on this basically means that this area where it's intersecting this note Roy here is an F. Okay, now this is super important because usually what you will see is you will have to your top bar right here, which will be a travel club. Your bottom bar right here will be the base clap. OK, Setubal will have this sign, and the bottom ball will have this sign. But in some cases they actually have two of the trouble cliffs above each other when the song is being played really high usually, um, with a high pitch, Or do I have to the base claps or what's even more confusing? They could change it halfway through out the sheets. So you may start with a treble clef on the base class and that you're playing along and all of a Southern. This sign appears, which is not even that clear. It's not like they put a big fat exclamation mark where they make it red or whatever. It's very easy to read over if you if you don't properly reach your music and all of a sudden this changes now, you may be wondering what Does it matter if I have a trouble clef or a base class? If it just usually indicates higher notes on lower notes, well, we're going to see that when we at the notes to D Cliffs. So let's start out with the travel class. First of all, it's very important that you realize that we are allowed to go be Lodi's lines or above these lines. And when we do so, we can simply draw a little bit of our donor or line if you will. So if I want to draw node right here, I can make a little line here. Usually this note will be colored in, but I'm gonna leave them empty so that I can actually right the note name in there. Okay, Now there's gonna be a note on every line, and there's gonna be a note in between every line, so there will be a note here and then on the line between the line on the line. Now, you already know which. No, this this right. I already told you that because it's intersecting hands. So this is going to be the G Okay. Between the line on the line and between the lines starting here we have C and then we just go up. D E f g a be see. Okay says that's pretty easy. If I would play this, you would simply get ah, a c major skill. Okay, this see right here is very important because it's the middle C on the piano. Sue, it's this'll one right here. So that's different seas or your piano on this the middle c We also call that C four because the fourth, see if we start on the left. That's the 1st 1 2nd 1/3 1 c for the middle. C k says that's super important if you have a piano with a different amount of keys. So not 88 but something else. Locate this sound. Okay, you will hear if you're too high or too low. Thistle one we're looking for. So if I start here when I was moving up moving up, I was going away up to this. See? Okay, so this sea is this'll see over here. Okay, so middle c also C four on that one will be C five. That's important on the sand, because if we walk up even further, we would get to see six, you know, we would get higher, and if you would walk down lower, we will get lower us. Well, so right now you know D nodes. It may be difficult for you to remember in the beginning, but I always like to have a lick of the G right here, because it's intersecting here anyway. And then I can go a couple of notes up g A B c and go down F E d c um, super easy, basically. So this may take a little bit of time to remember for you, and that's absolutely fine, but I'm gonna have to show you the bass clef as well. And that's where things are gonna be confusing a little bit. Okay, so what I want to do right now is head over to the resource file pumping in the screen. I think it's gonna be resourceful number 12 um, and you can actually see these bars on there. And I want you to draw one of these cliffs and then add little dots. Okay, add dots like this, and you can color them all the way in because that's how they're usually going to be and then just for now beneath them control that the lines like this. I'm gonna ride C d e f g A B c. OK, so do that right now, please resourceful number 12. And then we're going to do this same. But now for the base laugh and notice would be differences. Okay, so your resource file move to the next area. And as you will see, nothing is up yet. OK, Sue, you draw this little icon like this, and now all of a sudden we're dealing with a bass clef. The problem beings at the base class is a little different than GM center Trouble Club. So how is that gonna work if I want to play a C on the base class? All of a sudden, I'm gonna be here de e a f Remember that. I told you that this one is intersecting with the F. Okay, so this is now enough. Where is in the beginning? In the previous one we started here on see below and the final see ended up here, remember? So now we have C d e f g a be. And now we have to put a little line here. Si, OK, said Royal lines C D E f g a B c. So that's a little bit different night. To be honest, it's not too big of a deal. We're basically shifting to nodes down. OK, so this used to be a C. It's now on E. This used to be a B. It's now a D. And this used to be Ah, on a on. That's now a c. Okay, so everything is basically coming to notes down or five notes up. Okay, depending on how you want to see that. But it's not a super big difference, but it is very, very important. Now you can understand that if you think you're playing in the trouble clef and you're playing, what's up here? Actually, your two notes off. Okay, so you're gonna be two notes or four steps the wrong way, and that's quite an issue. When you're playing, always make sure to look here. What is going on? Um is it a base class or is it a treble clef? We're gonna be practicing with that a little bit in in a second? Remember the lesson about time? Sam's in the lesson about time. Sam's I taught you how nodes or look, remember, with these open nerds and these closed nodes, Well, that's actually coming back right now. So if we have an open node something like this with nothing attached, that's going to be Ah, whole note. If I'm going to have an open node with the Stam attached, that's going to be, ah, half Newt. So that still carries on through her. If it's colored in with the Stam attached Quarter note. Remember that? Same for when we add the flag or two flags where would move to eighth or 1/16 note? Okay, so very important to pay attention to the flags as well. Same goes with if we have another one and we connect them that we go to 8 to 2/8 notes as well. Okay, so that carries through right here in the sheet music. So now we can already see quite a lot of stuff. Let's say that this is one of those g thes we have a but we're playing a whole mode half note and 2/4 notes on 2/8 notes. Okay, so if we would have to draw measure line, um, it would probably be here for this. And then there's some stuff over there. Okay, so we have a beginning right here that we have a measure and then we have some Sullivan. There will be more stuff over there. I'm right now. We're just playing in eight. But if the note would friends be here, then we would go a c A. Okay, so that's basically how this works in the sheet music. But we'll have a little bit of a ligature that later as well. Just to say that the whole mode 1/2 note, according note in the eighth note. All of that is still valid. Roid now and you need it if you want to learn to reach you music. Personally, I don't really look at the time value of nodes because I just get confused by it. I just look which notes to play and then listen to this song and then I play it. But again, I'm or play by air kind of guy. If you do get good at this, then you can actually take that sheet music and play right off of that because she can see how long you have to play every note Sometimes you will see sheet music and you will see a note and they will see a tie which could even carry over through measures. A case that it could be a measure here. And this is something very weird. So maybe we have 1/2 note here and then 1/4 note and another quarter note. And then this half known has his little tied to not 1/2 note. Andi, maybe even to not 1/2 minute. Okay, so you may think that what you have to play here is f a f f Okay. Whereas in reality, if we connect them with a tie, you don't have to play this again. So we just be like this on the office ill ringing because it's connected. Okay, Whenever you see this, you don't have to play it again here. You just have to hold this note for us. Long as the time value indicates, we can also do this if you don't wanna Francis, right, adopt behind it. So now we have 1/2 note with adopt, which, if you remember, is 1/2 plus 50% of the value, which in this case is gonna be a 3/4 note. Okay, Half note, plus 50% of this value is 1/4 is 3/4. If I want to indicate this, but I don't want to write adopt. I can simply put 1/4 note here, all right, with a little tie, because I'm not going to play that again because of the ties. So now we have 1/2 and 1/4 so that's that. Maybe a little bit confusing to you, but basically, all you have to understand is that if we're looking at a certain area of the sheet music and we have a note and a little bit further, we have a note again on Maybe again. Right now, let's say this would be the A. This will sound like this If I put a time between we're not going to play the note at the end of the toy. Sanad would be. But it does actually take the time value. If I pick the tie here as well, then we would get like that. Okay, so you do release it as soon as he time. Is that okay or like that? If that makes any sense and sometimes you see something annoying like Francis this and only the bottom one is tied. And then you do have to play this one. But you should not play that one. So then it would be like that. And you still have the other one pressed in. OK, very important to look at. Say, don't play anything again. That should not be played. Then when we talked about the time signature, you're going to actually see that in the beginning, Off the sheet music as well. So you have your five lines, right? You have, for instance, your Ah, you're a thing. You right here. And then you can see your 24 time signature right there on the sheet music so that you know that Ah ha every measure is going to have a value of two quarter notes, for instance, or 1/2 note or whatever. Okay, so that also carries on to the sheet music. All the Holt's story about the time signatures carries on Roy here to the sheet music. Now there's something important because if we have these five lines, basically, how do we know if you have to play a sharp or flat? Well, here is the rule we have this little trouble cleft thing right here, which is starting to look uglier and uglier every time I write it. And then we have our time signature right here like this. And then here we have some space to actually add Sharps or flats. So for instance, D major key. So, for instance, we could have a sharp right here on the sharp right here, Right, Andi? Then we have a certain key. Now, when we have the Sharps here, as soon as we start to play that song, all of these Sharps carry on through the whole sheet music okay for the whole thing. So maybe we start here, and if a play that we have d e f remember because it's new shop G A b see shop de Okay, but it sounds a little bit weird. Why is that? This shop is actually on the F, but it hasn't original this AF, but it does actually carry through. So any shop on this f should also be played here, but they're not gonna put it on the sheet music twice. So it's up to you to now. Keep in mind, every f is gonna carry a shop. Every C is gonna carry a shop. So also, the AF right here has to be sharpened. So also the f right here D e f sharp. Because of that sharp ride, their influences that note see shop and right there. Okay, so let's say these two notes air in there while we know that we have to sharp that note right there and then sometimes you could see a little flat Roy before this note. Okay, so now all of a sudden, this note needs to be flattened. Well, it's not just going to be that note. It's gonna be every node until the end of the measure. So before you see the next measure line, every note that will be here has to be flattened. It's possible that you see in note here, which is which you don't have to flatten. Okay, so this is a so a and then you play c sharp. So, Theun, that one has to be flattened because of the flattened sign. However, if this sign has been written here than this whole measure, this note will have to be flattened. So now we get this thing. Okay. If the measure line is here. This flat does not influence that note. So now it's flat C sharp on a regular A. Okay, So any flat in front of a note flatters that node and the whole note area for that note until we encounter a measure line that makes that one go away for the next part of the sheet music. Okay, same goes 40 sharp, so we could have a sharp right here. And it will mean that every note in this area until the measure line will get a sharp. And then after that, we have to look here and there's no sharp, so this note would not be sharp. Then we have another sign which I like to call the reset sign. It looks like this, and it basically means, well, great job when you're putting a sharp hair. But the nodes behind this sign are not going to follow that order. Okay, so in this case, this note would actually get a sharp, but these two because they follow the reset sign. Do not get a shop again. This only works until the end of the measures. Say there wasn't measure line there. This one will get a sharp. This one would not get a sharp on. This one would get a sharp again because we have a measure line that's basically negating this one right here. How does it work? What are the rules? First of all, we have a lucrative There's Sharps or flats Roy here. If there are, they count for the whole song. The whole area. Okay, if there is a flat, every node behind that flat is going to be flattened until the measure line. If there's a sharp, every note behind that note will be sharpened until the measure line. And if there's a reset sign, every note behind this reset sign will get its normal value. Okay, so if visits and A it will go to a if it's being placed right here than this note will go back to be, no matter if there's another sign in front of it. So these signs overruled thes signs right here, but only until the measure line. At the moment that the measure line has been said the end of the measure. This is basically being applied here again. Okay, and let's say that this is a G whatever on we have a sharp right here. And a sharp right here and the sharp right here. I don't know. I'm just making this up, okay? It's possible that sometimes we have the same thinking. But now the sharps change. So we get an extra shop or whatever, which basically means that the key has changed. Okay, so then these no longer account because we've had a new keep being introduced right here. Beware. Because if this happens but the change is from a travel, um, class whips. I totally. If it's from a travel cleft to base class, it's very possible that we have We see a sharp change, right? Because the A is now here. All of a sudden, this is the A Thebe is now there. And the, um the D is now here. Okay, so you may think boobs the sharps have changed. Noti, sharps have not changed. They just had to be written somewhere. Els to say the same, basically in a different notation, switching from trouble to base laugh or the other way rat. Okay, So super important. Basically, to be aware of these things, we have some rest values as well. So let's say we have a line. And that's gonna be five. Of course. I'm just going to draw one. If we see a little box below the line, that means one whole rest on arrest basically means we're not playing anything. We could have 1/2 rest, which is up the line, and it's gonna be a little bit smaller. You don't really am. You don't want to see that too. Well, anyway, then we have a core. The wrists, which my drawing skills on my gold looks. Something like this. Okay, on eighth rest and 1/16 rests a lot of thoughts. Okay, Whole rest. Half rest. Quarter wrist, eighth arrest on a 16. It's always important that when we have a look at the measure and let's say we playing a 44 that we fill these up correctly using rests as well. So we could have a whole rest right here, and then the whole measure would be empty. Okay. Is below this bar about away. Um, we could also have half rest right here on top of this bar, and then have 1/2 note. We could have one of these quarter arrests, super annoying to draw and 3/4 notes But anyway, the whole value off the measure is gonna have to comply with whatever we have right here in our time signature. So if there's no notes, we have to put the appropriate rests in there. So now what I want to do is I want you to head over to resource file number 13 which is going to be a bit of she music. And I want you to decipher what is going to be on there, and then I will give you the answers. Okay, So what I want you to do is when you have the sheet music, I want you to figure out what key is the sheet music written in. And then I want you to identify all of the notes, all of the things that are important. Andi? Um, yeah, basically decipher the sheet music so that, you know, exactly would to play if you would actually play this. And I'm going to do that as well in a little bit. But first, I want to give you the time to do this by yourself and see how far you get. And then you can have a look at where at where we are and what we're doing. Okay, so let's suppose you're ready. If you're not ready at pause the video right now and then let's get cracking. So the first thing that I notice is that there's a couple of sharps right here on Dhere. Okay, some going to indicate that. Then I noticed that as a reset sign right here. So I'm basically scouring, making sure that I catch all of these reset signs. If there are any Look, that's reset signs over here as well. Now, that's going to be until the end of the measure. Okay, then what are lights? It is like to cross at all of these nodes that are connected with a tie, because you don't have to play them anymore. Now, I probably wouldn't suggest you do this if you want to play from it, because you want to know how long you have to play it. But that's what I do when I'm decide free. Okay? And then if I have a look, all of these notes are exactly the same as well as all of these nodes down here on this is a travel class travel Chlef travel clef. And these are based cliffs, a k in this new order change in Chlef. So what I can do now is they can simply write down the court for this entire area because it is the same. So I'm going to have a look. The top on is a g them below that we have D and below that we have be kcbt G. That's basically a G chord being played in this area. And then here's something changes. It's still G, but then I c e and the bottom one is the same. So it's B e g. So that's an e minor court. Hey, so I can put that head g major e minor then I like to say in the same class. First of all, because it was it just gets very confusing. So have a look at the next line. A cane. It's really quite busy and had to scribble something down. But, um, here we have a si on's. Then here we have a d B E. B B case of this is a full active and then see a Okay, um, you don't usually do this on sheet music, but I want you to write it out a little bit. Um, just so you can actually check along If you have the correct notes. This will be a e be f and B eight. Now, keep in mind these are the natural notes. We have more applying these sharps yet. Okay. So let's see if there are any sharps in a little bit right here we have see a we go even lower to af. Okay, so that's avenue a have again on B as I am right here we have a m c and run here We have a Andi deep finishing that out Saraya f and C f and be f on a f on be as I am right hip We have a natural sign so that's important. Once we sort adding sharps and flats C on g g um he andi g and here they're really close, but they're actually being played at the same time. Okay, The reason they are written right after each other. You may think you have to play them after each other while you don't It's simply that if you write them above each other, you wouldn't be able to see Okay, so that's g m A being played at the same time twice. And then we have this thing giving up a c e a c e a c e. Okay, Now let's have a look at which notes have to be sharpened. So we have a C shop on F shop on a g sharp which put this whole song and a major ki ok, You can already see the when I do this kind of stuff. This whole piece of paper is going to get ruined because hunches scribbling all over the place. But we have in a major key see shop shop, G shop. So basically every G has to become a shop. But right here we have a reset sign. So this G is not subject to that. This G actually is so pretty g sharp, which now turns this into major chord. Okay, and then right here. See shop have shop, see shop f shop, half shop have shops. See shop see shopping f shop of sharp as shop have sharp C sharp. Ah, there's a reset science. It is nog sharp right here. G until the end of the measure. And then sharp, sharp, sharp. Okay, So lots of scribbles now Let's move to the bass clef because we basically decoded the whole treble clef. And I can understand if it is hard to read for you on camera. But when you do this in person and I do like to use different colors as well, like maybe use a red for the trouble clef onda blue for the bass clef or whatever. Um, so let's see if I can find a different color pen. Okay, so I tried Teoh use a different color. Pamela doesn't really work, so let me dude with the regular pen anyway, So G's on ese for the left hand and then a a a a ah, going down g g g g f f f f e e e e that roid Here we have dees and we drop we get into the sea some right here be on now We have natural G's because the new shops and then finishing up right here a on this one as an A as well Okay. Adding the sharps where we have to soon not right here. Here it is. New reset science. I can add my sharps right here. 40 Abbas Well, um for to see and there's reset signs, and that's it. Okay, so that's how I would decipher this. She music if you want. And that makes it clear for you. You can also put in your measure lines at the measure line right there just so you can clearly see how the measures are divided. And then you have deciphered your sheet music. So that's how we do that. Um, I wouldn't again not recommend you do that if you actually want to play off of that sheet music as well. Because now it just looks like a big mass. But if you're just trying to figure out a song in your pretty bad at reading sheet music or if you wanna, um, compact your interpretation of the sheet music to mine, then it helps If I just put all this stuff here for you to see what I would play. Okay, so that's how I would interpret that she music. Um, thank you so much for watching for now will be moving on to lesson 2.6, in which I will be talking about simple ways improvised when playing a song, I will see you over there 20. Ep 2.6 Piano Improvising for Beginners: welcome to lessen 2.6 of the living room piano course. In this lesson, I'm going to start to teach you the basics of improvising. Now improvising is probably one of those topics that most people get anxious about because you have to play something. But you don't know what you're going to play yet, so I'm going to give you the basics in this video on. This is kind of hard to do, because improvising basically means that you get to decide whatever you want to play right and eventually, if that is the goal. But in the beginning, I want to kind of give you a little bit of a structure, because if you just play whatever on the piano and you don't have any experience with that yet, it's probably not going to sign of that noise. So I'll give you a little bit of structure and then give you some free space to improvised within that structure. Having said that, I'm going to kind of be tying This'll Essen together with the next one, which is going to be had to play piano and sing of the same time or had to play the piano and have somebody else ing on top of that. We're going to learn exactly had to do that any next lesson and is going to be a bit of improvisation there as well said. There may be a little bit of overlap here and there. The difference being that this'll Essen is a lot more free. You get a lot more freedom to do whatever you want to do. And in the next lesson, you are going to kind of have to stick to certain ideas in order to play that song. Because the main difference between this lesson and the next lesson is that in this lesson , we're just playing some random stuff is not really a song that we're trying to imitate or play in the next lesson the ideas. You have to make it sound like a song but still improvise a little bit so that somebody can sing on top of that. If that makes any sense. So now we got that out of the way. Let's start with this lesson. I'm going to teach you a whole bunch of different things that you can do, and then you can decide what you like On what you want to play. So in order to start improvising, I want to use these courts that we have been using quite a lot. See a minor F Andi G. So the first thing I want to do is I want to just play these courts, you know, in our regular court playing position, which basically means that we haven't octave in the left hand on the court in the right. Okay, so we can just play that a couple of times just to get used to that. Okay, on these are a note C g a C E f A c and G B D c analogue. Zoom in on the piano a little bit. I hope that you know these notes off by heart. By now, we've been doing them quite a lot. But if you don't just scribble them down, okay, real quick. Before we continue on, let me give you one more tip. What I will really like to do when I'm improvising, it's just put my phone somewhere on the side on recording because sometimes I tend to play something in a girl like that actually sounds really nice. And then maybe I want to come back to that later and develop that into his song. Okay, so, yeah, always record when you're were improvising. I mean, you don't always have to do it. Like if you're just having a bit of a chill time. But why not? You know, you just put your phone or recording. It doesn't have to be on video, but just audio. You just put it somewhere and you don't really try to play to make something beautiful. You're just having fun. You're just relaxing. But if, for instance, by coincidence, you play something that you really like out of experience, let me tell you is very difficult to get back into the same state to play the same kind of thing if you keep on playing so like, after 10 20 minutes, you forgot it. Even if you go back to it immediately, sometimes you play something different. Another are damn. I had something really nice going on. And now I lost that. Okay, so if you get up to this moment, where you where you basically catch yourself or find yourself playing really noise things you're like, Oh, wow, that sounds really good. I want to work on that some or maybe turned it into a song. Doesn't have to be a song that you put on YouTube for publicized or whatever, but maybe just for yourself. Um, yeah. It could be very nice to to record yourself on improvising. Cool. So I'm gonna show you a whole bunch of things that you can do with these cords just to show you what the possibilities are in the beginning. And then I want you to do different stuff. Don't just copy me, OK, So I'm going to be playing a single note in the left hand because the doctors, you won't be able to see them. So let's just do a single note. So the thing I was just playing were these courts right here, right? So even want to improvise on that? One of the first things I can do is I can decide to play a different amount of courts, you know, or I can choose to play inversions. That's one of the first things that comes to mind with me. So if you're just playing these cords, it could be nice to play different inversions. So did you get a different sound, right? Say, from here. You may want to go something like that. Okay, The little thinking that I'm doing, that's also something you can dio play these courts. Instead of playing a block, you can quickly play the up or down even but usually up signs better so you could play all of the courts. You could play all of the courts like this. Okay, But I would maybe not do that with all of the courts. Eso maybe just pick one like that on them. Maybe you want to go here. One of the other things that you can do that makes a lot of sense is to switch around the order of the courts. OK, so you could sort here, right? See, a f G. But we could also go. Okay Says, see, Yes. Also possible before I played Okay. You can also start on a different court sought only Isn't this like Isha? Isha, You know, isn't it that I don't know? Like there's all kind of stuff that you will figure out if you sort of toy around with these courts? Nikolic, hasn't it? This song isn't of that song. Sources sound really familiar. One of the other things we can do is Teoh expand the left hand. So we're gonna play cools. That gives us a whole bunch of options came. So instead of just running through these courts, we could play an extra note like this or we could We can also do things like playing the court toys way. Maybe playing the court is not really your thing. Maybe you want to add a little bit of a melody line. So then why not just play five courts in the left hand on Adam Melody Line on top, Do that with one finger or with, you know, one note at the same time. Two notes at the same time. Okay, We can add a bit of those quartz and there's if you know which court you are C E g. And then see a CF a on maybe dgb. Then you can kind of keep that in mind when you're playing so you can go like now This is nice, but it also prevents present you with a problem because what it does is it makes the song very predictable. Here. I can already tell you for 100 son guarantee that you can guess what I'm gonna play in the last court here. Listen to this Now, I guess, and it's gonna be right. You could already hear that coming up. So maybe when you're improvising instead of doing the same thing all over again soon I sorrels cm play two notes up on. Then I do that for the next node as's. My left hand is coming down, which is nice, and you can throw people off a little bit of case you could go. Okay, so now I didn't change now. Stayed up here. Okay, so then it's already different. So what happens to me sometimes is that I find myself in something that's very cliche. And that's one of the things that I would advise you to be careful about, because when you play something that's super cliche, it's it's It may sound nice to you because you're actually you kind of hear what you want to hear next, right? But the problem is, if you do that, if it's too predictable, the audience is going to get very bored. You want to keep people on the tip of their seeds, basically most of the time, so that there they go like Oh, what's coming next? So don't play the same thing four times. If you're playing your court, maybe you could actually play a chord twice as long. Okay, that makes things very interesting. Usually we change courts all the time, so we're used to do this kind of sound. But what happens if I Okay, that's already been more interesting, maybe, Or Okay, so I'm going back from C T. G. And then to a for long time C g Okay, when you're improvising and I know this lesson is a little bit vague, I'm not really giving you any specifics to do here. But we're just fooling around with these courts a little bit. And that's something that I want you to do as well. On day, I want to do in this key in the key of C because we will be doing improvisation, laid role in different keys as well. But for now, just keep it to see the nice thing about that is that you can basically play any white key , and I will usually sound noise. Okay. So I can simply e I can simply start to go up these scale here and then played these octopus were here. Look. Okay, if I had a blackie, it will sign different. Listen, Okay, that's not going to sound. So I have to say on the wards, But then I can pretty much do anything. Okay? I know will sign for it. So the fun thing is that if you have something going on in your left hand, the right hand can do whatever. Now, what I want you to do right now pulls the video in a little bit. Take these four quarts C a G and figure out what your most favorite order off the courts is . Okay. What is your most favorite order of the courts? And in order to help you with that, we're going to give these courts a number. Okay. Say, this is court number one. Number six. Number four and number five. If you remember in the C major skill, these would be the numbers. So write down what your favorite core progressions are they confined? Start on one and then play six for five. You could start on one, and therefore 65 You can do 1564 But you can also start on five. Go 641 you can do 5466 Whatever you want to do, OK, and I want you to write down. So pause the video and practices for a little bit. Just try out some stuff, and I want you to write down three off your most favorite combinations. So which that you really like. And I will also give you mine a k. So I hope you came up with a couple cool ones. The 1st 1 I came up with, um, I was just playing around a little bit, but also kind of depends on. We were kind of limited, of course, by the by the course of a kid play, because we have these four quarts and the orders are are quite limited. The 1st 1 I came up with this 1564 really like that and then also came up with 6415 which is a little bit stupid because basically, it's the same one as this one. But because it starts on the six, it sounds a little bit different. And then I came up with a 4165 So let's start with a 4165 which is half see a Amazon G. Okay, so ever sees the sense noise. Okay, we get this kind of sound. So one more time so you can see what I did. Roy here. Okay, then we have the 641 fight starting on a minor out here. I realize that. And then we have the 1564 which has cried recognizable, probably. Okay, so where? That will probably be my favorite. Out of these courts, the 1564 If you had any different answers, that's absolutely fine. We're doing improvisation here. I don't really have anything specific that I want you to play. I just want you to start fooling around with these courts a little bit. So not always. Don't this, Um I want to open this up a little bit to, um maybe a two chord, which would be D Avenue. A andi also a, uh, a three chord, which would be e g on dboey. Okay, Andi, you can kind of decide what you want to do right here. If you want to sick on playing courts for now, or if you want Teoh do some melody lines, I'm going to figures on melody lines for now, in the roid hand on therefore, my left hand will mainly be playing five courts. Okay, so I'm going to be playing CGC a f c f g d g d a d and e b e if that makes any sense, So that's what I'm going to be playing in my left hand and just see if I can figure out something cool. Okay, so one of the things we can do right now is sort to add a little bit of melody in that Roy hand and one of the first places where I would sort of Look, if I were you is in the sauce to court, So the sauce to cord. If you want to do this, you take any key. Doesn't matter which key on differences in this case, we're playing in that C major keep So you play your see suss to court. Okay. If you play an f sharp, you're gonna play your half shops us to court. But because we're playing in a C major, keep We're going to play The see saw us to court so he plays see skipping it, playing out 1234 on playing it says CDG. Now this is a golden court because liquid happens if I'm only allowed to play these three notes with my right hand, even in a block. So even like this lists on what happens on how beautiful this already sounds. Uh, and all I'm doing in my left hand is I'm playing the five corps, but this one's occupied some playing cnd and then I'm playing fcf on change E g. And listen, how beautiful. If you want to improvise, if you want to be cool, you could just play this on all of a sudden you signed like a pianist because damn, this sounds good. Now, maybe you wanna okay, add a little bit of stuff like that and I will sound even cooler now if that goes too quick for you. All I'm doing is I'm just playing this right hand and a little bit of a pattern. Just played once and just it doesn't matter. Okay? Everything you can come up with in your left hand will probably sound noise. Remember, all I'm doing is I'm playing cgc, but because my right hand is blocking that I cannot play that so sticking to CNG as I'm going to a FCF on G B G. Now there's something really nice about repeating according that right hand or repeating a couple of notes because it gives people focus points that they know where they're going to go. They know that they're going to hear this, for instance. But in order to not make them go board, we switched the left hand. Therefore, it sounds really different. Effort gives it a really cool, you know, you know, these courts this'll sounds very different from fits on here on here. Okay, Now we can change the M order of the left hand so we can go, which is a normal order C A f g. And now we can go to, you know, 1564 weaken Do all of that. And we could even expend a roid hand because we're like to play C d. G. And we're also like to play the next see Okay, We're also plant allied to play this G so we could make their hands, you know, go even further so we could get something like this. Uh, if we want, we can turn this into an ad nine court by including the E. And then we have even more variations so we could go. And I promise you that I will sound noise paid will sound noise so you can try that as well . You play CD E on G have the same time. One time you can go back and forth between D. G and C E. Or you could do that, which actually a little harder. You can play the court and play the D on its own or you complain to Suss scored on Go back , Teoh cnd all kind of different things possible and that you can, you know, whatever you can go all kind of directions. So that's a really cool way to start. That's something that I think would be really nice if you can start that to go C d G. But if you want to do something else, this is improvisation. So you can do whatever you want to do. Let me show you what I can do if I just use this to, um yeah, to make you basically understand how cool that can be. But just playing thes notes right here on sometimes what I like to do is I like to use an extension. So instead of going a while ago a B or G D a f c g to make a bit more interesting. OK, now, I didn't all expected to be able to play something like what I'm going to play now, but it's it's maybe it will give you some some motivation or inspiration on give you an idea of what's possible. But just playing this simple sauce to court, let's see what happens. I don't know. I'm just making something up, but this is really pretty cool stuff that you can play was not really having to think that much about what you have to do because your right hand is going to stay on that quarter case. Sometimes you get a little bit, but you can also just stay here and it will sound absolutely fine. So that's really cool. You can also include the different courts, but away the D f i N t e g B by turning those into a to five quart so right here. But they're not gonna give you such a nice quality of sound. It's more different, kind of, you know, atmosphere right. So maybe you like that. They're dramatic. Okay, so it's always supposed to sound beautiful. Sometimes you want to play something that sounds dramatic. Sometimes you want to play something that sounds sound. Okay. So whole bunch of things that you can work with. I want to advise you to figure out. What kind of core progressions do you like? What kind of chords they want in that? Do you like a 1356? Do you like a 1246? You know, all these combinations are possible. I want you to figure that out a little bit. That's your homework for today. And remember, whenever you're improvising, whenever you're playing something, make sure to record it on your phone. Because if you play something you really like and you wanna instead of just improvise and just fiddle about a little bit. Turned that into a song. Turn that into something beautiful, that it may be a good idea, Teoh to know what you're doing. So if you can listen to your recording and be able to figure that out again, that's cool. And otherwise, it may be smart to film your piano whilst you doing that So you can actually look back at the video. Onda, look back at your hands. So no, this lesson was a little bit more vague than the usual lessons that we're doing. Um, but yeah, that that's due to the nature off the topic. Improvisation is something that you're gonna have to do by yourself, And I can only give you some guidelines. But the more I tell you, the more you will probably think that you're restricted to what is what I'm saying? So I don't want to influence your team, Which for now I want to advice you to practice this stuff a little bit before moving on to the next lesson on If you if you need some more structure, then you can actually had on to the next lesson right away where we're going to be also improvising. But then really structured. If we want to actually play along with a song So I will see you a lesson. 2.7 21. Ep 2.7 Sing & Play Piano: welcome to lessen 2.7 off the living room piano course. In this lesson, I'm going to teach you how to play the piano whilst somebody is singing This person could be you or it could be somebody else and we're going to play the piano to accompany them. Wallst singing This lesson kind of belongs a little bit of the previous, less inducing the improvisation. But here is going to be very structured. I'm going to teach you exactly what you need to do and then give you some examples because every song is going to be a little bit different, basically. But we're going to focus on rhythms between the left and the right hand patterns in the right and the left hand, and also what you basically want to do had to play this so that somebody can actually sing on top of it. The most important thing to keep in mind is when you're going to do this, that somebody who's singing on top is already providing us with a melody line on one of the biggest mistakes that people make in the beginning here, used to playing piano by themselves, it's to take too big of a role in the song, so you don't really want to go crazy Solo accepted as a piano solo in this song. Otherwise, you want to keep it calm. You want to keep it noise of flat. Say that that person is singing on top. Maybe you're playing in a band. Maybe there's also a drummer. Maybe there's also somebody on guitar, so you don't have to fill that entire a song. There's going to be different participants who are going to help you feel that. Avoid that. You're going to leave on purpose when playing the piano suit that somebody actually has a chance to sing on top of that play guitar solo on top of that or whatever. So let's get into this. Let's say we have a song Apologize from one Republic. I hope you knew that and, um, and basically this song is gonna have some lyrics right, and we can divide it in different sections. We can divide it in, um, we can divide it in the version and the choruses, or maybe even in a bridge. And one of the most important things first is to figure out the chords that belongs somewhere. So usually there's gonna be a core progression here. There's going to be core progression here. There's going to be core progression there. OK, on the different core progressions is what we're going to be playing. So for apologize, we're going to sort off with a core progression that is C minor, followed by a flat and then e flat on beef lent. This means that technically, Aiken sore by just playing these courts in reposition. And it should already kind of sound like the song. So here, Uh okay, so I can kind of go there. Okay. I'm holding on your roof government 10 feet off Grant, but it doesn't really sound coherent. So one of the first things I do is I tend to get rid of these standard rue position. So if we have C minor, for instance, we have C e flat g and wait. Let me let me It raises a little bit. So let me demonstrate how far apart these cords actually are when I play them in rue position and keep him. Mind we as the people playing the piano want to keep a bit of a low profile, okay? Because if we played too much. Um, if we catch too much attention of people than the people, the person singing where that yourself or somebody else is going Teoh feel left hat If I go to the root position of every court, Okay. Starting with C minor. I'm gonna have a C on e flat unagi. Okay. And then I had to go Teoh a flat so I can go down here to a flat, see flat as an up E flat, G B flat and then b flat De so you can already see the visits. Quite widespread. We may want to take that in a little bit, which is what they usually do in a song as well. So we have to figure that I have a little bit. Well, this'd is definitely the one who's jumping at. So this B flat I'm already gonna put here. Let's see, that's a little bit better soon out since you called me two feet off the ground like that a little bit better already. Now this one sounds to highs to bring that one down as well with the added G. So right here, your feet off. Okay, That's a look better. Okay, that's a little better. Oh, actually, I'm playing the playing this g here. A swell right now. Okay, So, like, Hi, this is a bit more compact already that Ava's still staking out a little bit. Both. That's OK for now. Now we're moving from G to F. So that's quite a lot of keys that we've been getting rid off. Okay, So you want to kind of make it compact, usually because it's nicer to single. Listen, then, listen to my voice, but listen to what you like better. I'm holding a Europe, cut me 10 feet off the ground, or I'm holding Europe Company 10 feet off the ground. So what do you like better if you listen to the piano it and pay attention to my voice. But just the piano I'm holding on your rope company 10 feet off the ground. This one or I'm holding your company 10 feet. Okay. I think the 2nd 1 is a bit more coherent now. The funny thing is that in this song, the B flat court isn't actually be flat court. A lot of people think that and they play the song. You know anything that That's correct. But actually, it isn't okay. It's not a B flat chord. It's a G minor savin court, which looks a lot like a B flat chord B flat DNF. That's the B flat court. Oh, that's a seven. Oh, B flat D N A. That's a B flat court, but we have to put a G in front. Okay, So instead of this, we're going to get this. Listen. Uh huh. Okay. That already thought this sounds a lot more like this song. Okay. S so important to check your courts because with the regular cords B flat, who would have been able together? Now, how do you play this court? You actually tear it apart and you put that D in the left hand. Okay, so it's gonna sound like this. Okay, so we have a G minus seven core, but the D moves to the left hand so important to mergers, courts pick the right inversions and then double check your cords, because sometimes it sound a little bit weird thing a flat is also still signing. Weird, because I'm kind of hearing this half on top. Ok, which would mean that it's not a regular a flat chord, which is what you usually see when people describe it. But it's actually an a minor chord slash a flats. Good. So let's get the priorities straight here on the courts and make sure that we have no more mistakes. Said the course that we want to play our C minor and then after minor slash a flat. Okay, Snow the easiest song in the world e flat and then g minor seven slash d. So now let's have a look at the piano with their legs. Like so saw with C minor on we saw in this inversion. Okay, city second inversion and then Roy here a flat cf g B flat e flat G be flooded. Okay, so if I combine that with a left, let me move it a little bit safer like this. Thank you. So this is my c'mon, and I have to get every corner. That's correct, but have to play a flat on my left. Okay, E flat on now. I have to go right here. Togethers on. This sounds really good. Okay, So these are the first steps, of course, making sure that your courts are correct, and I will teach you that later on in this course as well to make sure that your courts are correct. So don't worry about that too much for now. But I just wanted Teoh to show you that it's not always a straightforward as you might think so the first thing you want to do when you want to support someone singing with your piano or if you want to sing yourself whilst playing the piano is make sure that you have to correct courts. Indie correct inversions. That's the first thing. And then the second thing, you don't want to play too much. Okay, so when I just play this, it sounds a little bit boring. But when I had vocals on top all of a sudden, we already have quite a lot of stuff going on, holding your government 10 feet and I'm hearing what you say. But I just can't make you tell me that you need Okay, so continuing one right there now, the third thing that you need to do after you've figured out your cords figured out your inversion it, see if there's a pattern that you may want to play okay. In this case, there is a pattern that comes to mind. You know, that sounds pretty good. Holding your tell me. Okay. And then that way you can actually create a pattern with the vocals. And already you pretty much have a song. So that goes really quick. Step number three. Very important. Make sure that you have the correct pattern. For instance, remember, with Adele, we have this pattern going up. And then now the thing is that if that's not a clear pattern in the song because for this one there is for this one, there isn't for this one, there is a swell. Sometimes there's not a clear pattern. And the song, okay. And in that case, it's very easy for you as a pianist to play too much okay to play to money notes. So, for instance, with hello, Adele, this is all that's happening, guys. Okay, it's me. I waas okay, because just hello, it's Let's just soon, which is so not so. Just lay little bad for them to single. Okay, So take it easy when you want to play and sing to the piano. So then how we're going to play? If you have a right hand pattern like this. What are we going to do with the left hand? Were usually with these songs were playing octaves in the left hand. Okay, so I can just playing doctor with my left hand to the right. And if that's too difficult for you at this late, you can also play a single note. Hey, maybe pick the lowest one here, maybe pick the lowest one. But you can go back and forth as well. So on There's all kind of different things that you can do sometimes you want just do something like that, you know? So there's all top of different things you can do with your left hand. Sometimes you wanna make a cool rhythm between left and right. This is very thing is very structured, right? You can't really do anything. But when you're, for instance playing a different song let me zoom out a bit. But when you're playing a different song, something like this, you know you could go, you know? And then you have a little bit more freedom, you know, to do something fun. Okay, so then it's more of a rhythm between left and right. You know something like that on the way to develop. That is, we're just playing a lot, a lot, a lot. You can just start by playing the courts. One's thoughts were ordinary people. Maybe we should like it's before you're going to okay, before you get into something like that, one of the things that I really like to do when I'm playing a song like this, even if it's just something that's very repetitive, you know, even if it's just for courts being played like this, they would all like to do so. Like to use my left hand, you know, to give it a little bit of rhythm and ideas about playing a full octave on that, repeating my thumb the right and can just play four times. That's fine on the left hand is going to see that look of my left thumb. Okay, of course I'm exaggerating a bit, so you can see. But normally you know eso. You can do all kind of things. You can run your fingers in the beginning. This may seem very intimidating. When I saw people doing there was like, Damn, I can never do that. What should I play? Listen, here's how it gets. You're just going to start I But playing whatever court you need to play four years, just play them once, play them once each okay in the correct rhythm, direct tempo, everything just played in once and seeing on top of that or have somebody else sing on top of that. And then as time comes, you may actually play each of the courts twice with a little bit of returning from in the left. Okay, And then you may do something like that. You will notice that your fingers are starting to do things and most of the time and will sound very bad, But then a couple of times, it will sound really good. Um, just stuff that you that your hands will start doing on their own. And then if you do something that sounds really good, stop and analyze what it is that you did. What did you just do and how can you repeat that? You see, there's a lot of things that I'm playing when I'm playing courts like this in order to support someone singing or playing in a band or whatever on most of these things are very natural. for me. Whenever I look on YouTube or somewhere else where I see people playing, sometimes you see them doing patterns in the right hand than you think, and we try that I'd It doesn't really feel that noise on that is because it's not a natural move for you. There's such a moves that are gonna be very nice for you to play, but I won't really like them. And there's certain things that I will be very good at and you and really like them because every hand is different. Every person is different. So don't get to stock up on this start to play some things in this chapter, I will still be teaching you how to figure out courts to any song, at least the pop songs and all of the songs that you hear on the radio rock songs. So make sure to watch out for that here. I just wanted to give you a little bit of a basic principle, and then we will definitely be giving be diving deeper into how to do this kind of stuff with specific songs, because we are going to be matching up patterns to specific songs in chapter three. OK, so we're going to be picking maybe five or 10 songs and one lesson and we're going toe to learn all of these songs in one lesson and you'll be amazed by how quick that goes. And then I will teach you exactly what I do. And I'm playing a song like that to immediately make it sound like were actually playing that song and not just a random bunch of courts again. When we sorted out, I play this 40 apologized song. Okay, I'm holding on your rope. Got me 10 feet off thing is what? It was playing. And now we wait. Uh okay. For me, there's a big difference between this that Okay, so how can you actually start for this and move, Teoh Something of school? Is this OK? And then later on, even go here. Okay. To make that song sound really cool, we're going to be doing that in chapter three, so don't worry about that for now, but in this chapter, Chapter two, we are still going to figure out how to find these courts. Okay. Finding the courts is going to be step number one on than finding the correct pattern will be the next step. Right now, you kind of know how it's being done. You can experiment with this a little bit, and then I want you to move to keep moving throughout this chapter on to Chapter three. We're going to be materializing a lot of this stuff, and I'm also going to be introducing some really new cool concepts, but basically, but it's Harmony Head, Chapter three. You are going to be able to learn songs in this way in order to play them so somebody can sing on top of you can sing yourself within a matter of minutes is going to be amazing on then. In the second half of Chapter three, probably somewhere there, you're going to be able to to play songs with the melody line on your piano as well, because that's super cool to do. So let's keep moving forward. I will see you in a lesson 2.8 22. Ep 2.8 Find Chords for Any Song: Hey, welcome to lessen 2.8 of the living room Pienaar courts. I know you're not used to looking at a computer screen before this lesson. It's actually important because I want to show you how you can find courts for any song that you want to learn by simply looking thumbs up online. What I really like to do is I like to use he tore taps in order to play courts at the piano . Now the song I picked is going to be friends by Marsh Mallow. So I'm gonna type that into Google and then are simply type courts Okay on then. Usually the 1st 1 is Tab startles my guitar, that comma really like that website. So I'm going to click on that. And now right here you can see that we have a certain tuning key and which is being played . And then we have a mean pattern line, you know, all kind of stuff which we don't really need other than here, we can see the song intro with some courts. Right? And as you can see as I do this, this is really something that guitarists like to use now. I like to use this website because it's very easy to have a couple of versions right here with a rating. So this one has 359 reviews off five stars. So think that one should be all right. And then I simply like to look through here to see if that makes any sense but that what I usually do is I quickly play these chords on the piano. But you can also play them like this. Usually that works, but you cannot hear that only recording right now. So I like to check if this is actually correct. Sometimes you will notice Roy here that they say that the song was written for a certain Fred which is something that guitarist use or a kapo at a certain fret on. Then you have to transpose the song which you can do right here. So if we look right here, the courts, if I transpose the song, usually that works. Yet there we go. Now all of a sudden, all the courts are different, right? I transpose it three times up. So sometimes this song was written in a wrong key. It's not the correct one. And that you want to transpose this now, the next step that you want to do, she want to get all of these courts, including the lyrics into either word or pages. So what you do is you go right here to add it, and then you can select all of them. Okay, If you select them on the on the website right here, that's not gonna work. Select all of them, simply copied them. And then you go to your favorite texts. Ah, thinking. And then you have the lyrics as well as the courts right here, including intro verse, referring says, That's super nice. If that's what I do, I'm going to print them in a bit and then we'll continue on the piano. But for now, I want to show you a couple more things. Let's say, because this one was quite smooth to find records and I checked them a little bit a swell and they are correct. So this almost quite smooth. But let's see if we find one that's not correct. So we're back at Google. I'm just gonna guess like maybe Bruno Mars grenade, um, and then courts, of course. And then we have taps dot ultimate guitar again, which is a website I prefer. And here we have De Miner. I think this is actually correct. Look, here we have ah, version where it says Kapo fifth threat. And that means that these cords are not correct a case. If you played these, it would sound different. If you see five here, you're simply going to hit plus one right here. Five times. +12345 You will notice that we end up on D minor and a minor. Okay, so if I look at version one, we don't have to do that because it's already in the correct key D minor and a minor. Okay, so if you ever end up on a version of this one is transposed already, because I just did, um, your symptoms and if it doesn't work out, you're simply going to check of it, says Kapo. And if it doesn't, sometimes it doesn't. But it's still the version that you like best. Then you can do this yourself by figuring out on which key the song has been written and then added it. Okay, it really depends on the song you're trying to learn. Sometimes It's super easy. Sometimes it's annoying and you're going to have to added it a little bit. But I really like this website because you can do it easily here. There's a few other ones that where this works almost well. You can, of course, also go to the website directly and answer an artist's or name of a song right here. I don't get sponsored by them or whatever, but this is just honestly, the website that I use all the time, because I have almost all of these songs. However, if there's a song that they don't have, I'll be happy to use any other website. Um, yeah, just like that. What you can also do is another website that I like to use. Music notes dot com on um, and we can simply search for any song right here as well Marshmallow friends. But to be honest, this doesn't always give the best results. Sometimes it does. Sometimes it's just not, you know, not correct. However, in a lot of cases, as you can see right here, you will have the cords above the piano as well. A minor C F E seven says four e seven Okay, So in this case, these cords are correct. Says sometimes this is easier if you cannot find the cords on a court tap. Sometimes you will notice that a court tap as we saw before for a guitar has the wrong chords because they have been made not by the original composer, that usually have been made by a volunteer. And I just put of these courts now. Usually these versions are really good, especially if you have a look at the review. Um, and I find them to be bit more accurate than even sheet music on this website. You have to see what you want to go with. So is sometimes if you cannot find 1/4 if you actually figure that the court tap is not exactly accurate, you may want to check out music news that commas well, they again I don't get sponsored by them. They're actually competitor of mine because I have my own sheep music. If you want to see that on pjm piano dot com. So figure two PM People have come she music. You will see a list of all of the sheet music that I have right here. The only thing that you do have to keep him on is that this sheet music is produced by me myself and therefore the quartz aren't indicated on the sheet music as you saw with music notes. But actually, if you like sheet music, you can simply see that, Yeah, that you can get sheet music on my website as well, just in case if you're interested in that, we're really trying to shield my website here. But you know how it is. And the same goes for Mideast, so you can find many files as well. I mean, of course, if you like my lessons, you're probably going to like my website as well. So I wanted to show that since I'm on the laptop anyway so, um, ultimate guitar tabs. Very good website music knows that. Com Very good website. And then there's my own website as well. Right now I'm going to print them and I'll see you at the piano. A k good. So now that I have all of the's courts and all of the parts printed out again, guys keep in mind that all beginnings are hard. So in the beginning, you will most likely have to print this out and do this love that I'm about to do. But eventually you're going to get so familiar with visit. You can simply pull something like this up on your phone or an iPad or on your computer and play right off of that. Or you can have a look at cheap music where the courts are written above, or at the end of this course, you will hopefully be able. Teoh, listen to any song. Just play this. Okay? So one of the first things I like to do is to take my marker and actually color these notes so that they become or color these courts, um, service so that they become a little bit more clear on pop off the part of the paper on. You can already see that amusing one color. And this is actually exactly the same core progressions. I'm going to be using the same color because when I'm playing three, that, um, that actually tells me ah ha is the same. Okay, so I don't have to really, um, think about it that much anymore. Now, right here. You can already see that this is different because we have a minor c and then we end up on F. Okay, so we're not really doing anything right here. I quickly played through it, and I don't really hear that g over here, so I'm going to a cross that out. So you may want to do that as well. Um, you know, like when you when you listen to somewhere that when you look at it at a core progression, sometimes you you will see that it's not exactly perfect. And then you have to get rid of something on. Then if you already colored in all of these notes, then that's going to be a little bit harder. But it doesn't really matter if it just sorting out with this and, you know, you mess it up a little bit. You just print that page again, right? Be a little careful by the environment if you can. So don't just go off printing songs all the time, but I mean, you know, in the in the progress off learning. So right now, we can already see that this chorus has these same core progression as the second bit of the refrain right here. Okay. I'm just coloring this in for now and then I will talk you through it later. Okay, Good. So one of the first things you can actually see is that the the bridge is in blue, Okay, because the bridge is usually quite different than the rest of the song. So already have put that in blue. That's still some stuff that I don't know about yet because these G's here seemed to me as if there they shouldn't be there. Okay, as of a to build a bit different, but we'll have a look of that soon. And then I noticed the G Hera's Well, that's a little bit with at the end, so we're gonna have to check on that as well. This stuff right here is only for if you're playing the guitarist, so we can already get rid of that. So on a glance off it, this song is relatively easy because we have green bits, which means this core progression is the same the whole time and advantages changes to the orange core progression Reut here and then we have some stuff in the middle, which is the bridge. So this song is really build up relatively easy with only three core progressions for you to learn. And, of course, the bridge always being a little bit more interesting. So if you have a look at the notes that are in the cords, aim onerous A C e and then C is C E g. And then f is f a c on. Then we have e seven sauce four, which is Ah e a B on d. Okay, so if we take, all of these courts were basically end of with a C major scale or on a minor skill issue. No, my knife and then East seven is going to be a little bit of ah, often odd one out in this. Ah, Kee. Okay, so now did you know that, um, we probably only have to use the white notes. So in order to play any song, basically, you're going to do this and you don't necessarily have to write all of this out. You can do that in your head as well, so don't have to put it on paper. I do that nowadays. Where? Just look at something like this. And then I complained almost immediately, Um, not trying to brag, but it's just like it's a matter of getting used to and doing things quite are fun. If you do like there's a couple of times, then later on, you probably won't need the color is anymore or whatever on I really like to play off of this because you can actually see the lyrics to follow along on. Do you know exactly where you are? And if you print out the entire song, you can just play through the whole song. So if I'm just playing through that with that Really? Ah, with that really picking a certain set of keys if you have a look at the in true. Okay, that already sounds pretty much like this song. I don't know if you know the song. If you haven't listened to it yet, you really should do that. If you have a look at the verse, you say you love me I say you're crazy. Were nothing more than friends. Okay, that sounds pretty good to me. So what I like to do so I like to always play through it a little bit just to see how that goes on and basically have a little listen at. How did courts are being put together. How many different type of core progressions sound and if that's all correct? Of course we have to check with the bridge, if that's correct, because of these weird G's being in there that I don't really here in any of the other parts. So we would have to check that out as well. So this is the beginning. Now we're going to actually play through the song on figure out of this is correct. And what type of inversions we have two alone. But this is where you want to sort off to. Just make sure that you have all of these courts. You know? No. Had to find the courts on how to color code them, which is something that I really like to do. I hope you find that useful as well. Now let's figure out, how does Song actually sounds when we use these quartz? And if there are any adaptions that we have to make? Okay, So what are you really use a hate one soaring to play the piano? And of course I'm still learning. Everybody keeps on learning and developing, but what I really used to hide in the beginning is when people told me I'm not gonna tell you specifically what to do, but you have to figure it out on your own on. I'm basically telling you exactly the same thing right here, but I What? I want at least show you what I'm doing. So, in order to play this, of course, we can play every court en route position. Right. But as you probably know by now is that's not always going to sound very noise. So if I'm playing every quarter root position, we're going to get this okay? Or here on it. Just It sounds a little bit too much Spread as offset before. Okay, so we want to bring these courts in a little bit. I will demonstrate that to you in a little bit, and then we have e seven sauce four. Okay, there will be on top on going there. So then So putting everything together. Okay. That would just be too high, too light for me. I want you to listen first, and I'm going to show you my hands as well. So what was just playing right here? Is this like that? Okay. And you can see that we're spreading from this aid to this deed. So it's quite a big stretch, by the way again. If you haven't listened through this song yet, do it because of the Washington What I'm talking about. So what I'm gonna dio do kind of like this aim on 1/4 K But I want to sick into this area kind of that kind of sound. Okay, so here's the thing I've been playing, I think literally around 600 songs arm like this with the court's maybe, maybe more, maybe seven or 800. And when you do, there's a lot like, really a lot you will start to already know had to play the court. And if it doesn't sound well, so if you go here, you think that's too high? For the second time you play it, you automatically adapted. Okay, that will happen for you just as it is happening for me. Now, let me ask you a question. When you're in a car or even the bicycle. But when you're in a car and you're going to make a turn, how do you know how far to turn the wheel? Well, you don't if I asked you ride in front of that corner. How many degrees air going to turn the wheels gonna be like this much or that much? Or that much you really don't know. Especially if it's a car that you haven't driven that often, right? Does it mean that you don't make the turn? No. Usually you make the turn just fine. OK? But your subconscious that's telling you how far to attorney turn a little bit. You notice that the car is moving enough. A turn more, More, more. Samos with these courts a case if you don't have the right inversion in the beginning yet you will figure that out and we're doing it more and more and more You get used to What? Top of inversion signed noise together on which types don't. OK, so compare this sound through this sound. Okay? I really like this one a lot better. Maybe you're playing a song where you have these high notes. You can clearly hear them. Sometimes courts are being played like that. So maybe here here and then it's possible that they wanna dio that one. OK, so this really depends on the song and I cannot really tell you exactly what to play in every single song. But what I can tell you is that I have a lot of lessons on YouTube is over 500 lessons on YouTube in which I'm showing you examples of which inversions see you so you could do that . To begin with, you can listen to songs you can hear if there's notes that are really sticking out in a song, or if everything is like, really close together, they're going to have to get some experience with that. And if the 1st 10 2030 songs that you're playing, you have issues with that. Don't worry, OK? Don't be too hard on yourself if you're just sorting out. Thank take the time to learn this kind of stuff. Okay, having said that, let's have a look of the courts. Obviously, in the left hand, we're going to play that Rudic is so a c f E in the left hand. We would be playing that, um let me see Matt a little bit in order to get that in. So right here a c f as I may be any active. Okay, um, for the roid hand, we have a minor C f E seventh us foreign e seven. Okay, so for the right hands what? I'd like to place a ce g c. Because it's so close. You know, there's just one note that differs, and now you can choose to go here, which could be cool or here. Okay, that's kind of up to you or here. Okay, I chose this, but maybe maybe this is even better. So good morning it right here. A on a C c on G C. Let's go with this. Higher f s o a cf when I talk to them. And then right here E now the e seven sauce, 4/4 e a bi on d. Okay, so I'm already playing the right here, so I could just play that with right? I could add a neon stop if I wanted Teoh, But I actually really like the sound of this D on top. OK, and then I can easily go here for e g shop BND for e seven. Okay, so e 764 is e A b and D. And then for the e seven. Okay, so right like that left simply do Thio Thio okay? Or you can hold the EU as well. So that's the kind of thing you know that you have to try and figure out. Do you want? Oh, do you want to hit them both, or do you just want to do right? That's also possible. Right? So let's see what I like. I'm gonna do the double tap first, and then a single. Let's see what is signing best, Okay. Or single one. Okay. I think double I like the double for now. So basically what you do, she figure it out a little bit. Do you wanna play octaves the whole time, or do you just want to play a single note? Do you want to play an octave? Do you just want to play single notes? Okay. You have to figure that out for your left hand. Are you? Maybe going to play five quarts. Okay, that's also possible. Sometimes to make it a little bit more emphasized, like right here. You keep playing. I Andy. Okay, get a bit more emphasis. So you have to figure that I feel your left hand. You have to figure out your inversions for right, and then you have your core progression finished. Now, as we can see, we have this Green Corps progression going all the way until halfway through the refrain. So let me talk you through that just to show you how easy a song like this is to play. So, uh, OK, do that again. And then you say you love me. I say you're crazy. Were nothing more than friends. Okay, You're not my lover. More like a brother. I've known you sensory like 10. Don't mess it up. Talking that shit. Only gonna push me away. That's it. When you say you love me, that makes me crazy. Here we go again. Okay? And now we finish on F because I'm already in the orange one. Okay, so that's how that song is. Buildup continuing on. Don't go. Look at me with that, Nikki, your in case. And now we do one of these per line. Before, we had two lines for one corporate Russian. Now we get through one's okay, having a made it. Want me to spell that for you, right? Yes. F r. Right. And it's OK. And then basically, we're going to do the same kind of thing, right? here and then we get up to the bridge. Okay, so that's where it's going to be a little bit different. So there's a simply high walk through a song like this. OK, I'm not really doing that crazy of things, you know, the court, you know, had to play these cores because I talked you through the maybe e seven suss four is a little bit different. You maybe have not seen that one before. But you basically know how to play through these courts. You know what to play in your left hand, which is gonna be the octaves. And you know what to play in the right hand, which is going to be that court. So this is nothing out of the ordinary for you. But now you can actually see how we played through a song like this. So let's do the bridge and see if that's actually correct. Because I haven't checked this yet because I wanted to do this with you. Let's see what happens. So this bridge is a little weird, as usually is the case with bridges. At least I find them on the most hard part to play of any song usually at least I find him the hardest part to play if used Mace with songs, usually a case to get fr r e andi as that's how you spell France. Okay, that's the first time. So f g aim on a CCG. Isn't it in there that wanted this same. All right, e Andi s on. Now we get a d five court that shit inside your head. All right? E and E. So what I'm doing right now is I'm simply playing what I'm seeing on these courts. I've never played this song before. We're doing this together for the first time. So now I sort of have being low here because then I can move up here, and I think that would be kind of cool. So f r I e. On D. Okay. Timing is important. That's how you spell friends on See right now, f r Roy E. On D s and not the same. Get that shit inside your head. That shit inside your head right here? No. And then the default. I'm just playing d a d d. Ok, so you can just see that on the point of camera here de a D a. D. OK, so for the D 505 for playing the lady, and shamefully so these bridges are always a little bit interesting. I keep him want. If you're playing the piano, your singing to it, you can kind of adapt the time value. Sheikhoun Did he read them a little bit different order timing. But if you're playing along with somebody you have Teoh, you have to do correctly. Okay, so I would simply be moving on through here. Check out that G. That's most likely going to be something that you wanna solve yourself. Either. Just play that G court if you think that that's correct, or you can hold often. Simply hold on that affraid that and keep him playing that because we basically have the aim on a sea of core progression right here. Now what I want to do for your homework is, first of all, take it easy When practicing this kind of stuff, I want you to find one or two songs that you've always wanted to play on. Look of the cords, as I've shown you before, look of the lyrics with the court's fire, the guitar taps or, if you want to by music, knows our common something else. But keep in mind a music notes, you'll have to pay to get the entire sheet music. So you know, big trouble right there, so it's a bit more complicated right there. But on those of the websites for guitar, you can get the whole song free, so get one or two songs that you've always wanted to play. If you can try and find songs with one or two core progressions so you can take it easy and you can sing along with that, you can ask somebody else to sing along with it if you don't want to sing yourself or if you think that you can't sing and play at the same time, yet that's absolutely fine. Get someone to sing along with you and practice this kind of stuff. Get some different top of colors out so you can actually color the different segments and make sure that you realize that Ah, this is actually exactly the same as this and even right here, And the orange bits are the same as well, very important for you to realize that for now, let's move on to the next lesson, which is gonna be 2.9. We're going to talk about these. Circle off Fifth. I will see you write that. 23. Ep 2.9 Circle of Fifth's for Piano: Hi. Welcome to lessen 2.9 of the living room piano chords. If you made it this far, I want to congratulate you. I knew that sometimes when you follow a course like this because that's nobody who is forcing you to do it right. Sometimes it can be hard to keep up with it. So wanna thank you and also want to congratulate you for doing that? We're now getting into thes circle or fifth, which is something really cool, too, that you can use. And you can actually draw that yourself. You don't have to keep it with you all the time. You can actually make one yourself. And it's very useful. So I want you to keep up with that. We have this lesson than 2.10 2.11 and then we have the test of Chapter two coming up. Keep at it. You're learning. Had to play the piano. You're learning a lot about music theory. So here we get. By the way, if you want to keep up with me, you can have a look. A resource, fall number 14 or looking. The work big. Um and yeah, you can draw along with me, right? That's so print foil 14 if you want to keep up And is that really going to get in this? So you may be wondering, what is the circle or fifth swell? It's exactly that. It's a circle off. Fifth on, um, and I know that sounds really super, but that's really what it's. So if you have your circle right here, I want you to put little little thing is the same issue would on a clock. Okay, so we have 12 o'clock 63 and nine, and they were going to divide these one o'clock two oclock and right here, 45 seven, eight, and then Tom on the level. Okay, so basically, we have a really nice thing going on right here like that. Now, that's 12 Little Boris right here. There's going to be 12 notes as well, Which are these notes, while on the top, we're simply going to ride, See says, that's quite easy. Ride, See? And usually you would ride the notes on the outside of the circle, probably federal Circle of fifth. But I like to write them on the inside now because my circle gets a little bit bigger. It's a little clearer for you to see. So see, Right that. And then we have to actually have a look at the piano in order to figure out the next night . So if Ron see, we're going to be moving up to fifth on. If you know that. Interval is seven. Half notes away. So you go. 123456 seven. And we would end up on G. Okay, so that's the next one. We're going to put that into Circle G. Then if I keep going from G 34567 iron upon D and A okay, so we can put D on a like that. Okay on, then I have to keep on going. So I finished up on a e be and I can keep doing thistle. Okay. The next night would be a black one, because I'm on B eso. We end up home g flat or half sharp. Okay, that's of course, the same from G Flat Way. Moved to D flat as I'm from D flat way. Get to a flat, a flat e, flat, B flat and from B flat, the fifth of beef ladders. Okay, So this is the circle off fifth Sui sort on C and then we can simply complete that all the way room and every step is going to be 1/5. That's how you draw the circle of Fifth. Now you may be wondering. Okay, Board, What good is that? Well, the circle of fits can be used in a lot of different ways. We can see these notes as nodes we consider Miss courts. We consume a scales and has a lot of different things that you can do The first really nice thing that you can use this circle of 54 is to find five courts. Okay, let's say you want to know the D flat five court right here. Normally you would go to European, you play a D flat and then you have to go. 123457 Okay. And it's not too bad to do that for one cordwood. If you also want to know a flat five, they have 21234567 on gone. The piano. It's super clear, right? But if you actually want to do that on, for instance, a guitar you want to know the fifth off a certain scale or a certain quarter on guitar than it could be a little bit harder. So what we can do You want to find a D Flat five chord or you have to do is you go to D flat on, then you go clockwise. Okay, so this way and you go to the next note, which is a flat so d flat a flat D flat. That's a five. Court a deflect five. Court e flat B flat E flat is on e flat five. Court B flat, F B flat is a B flat five, court B G flat or F sharp be ISS a B five court. Okay, so that's a very easy way to find five quarts. We can also use it to find major courts. So we go here, see e g. And as you can see, what we're basically doing as we have the starter No right hair reposition. We moved to the next note, which in this case, is G. We skipped two and we end up on eat. So now we have C major. Okay. See, e g s C major visible. So works for for instance, e flat major cities thought here you write down the next one as well. But keep in mind that this one is going to be at the end. So we stored on e flat them be flat will be the final note. Always still have to figure out the note any medal which we're going to skip to notes, and then we end up on that one. Okay, so that's a really need way to figure out all of the major courts using the circle off fifth. So can apply that for any chord. Then we can also apply it to find a minor court. As you hopefully remember, the root. And the fifth is gonna be the same for Major and minor. So right here. However, we have to put this note in between. So right now is set of doing two notes in between. And then the next note 40 Major, we're now putting two notes in between from C and ending up on the flat. Okay, so see, E flat on G would give us the r c minor court. See G c g. As then you skip to and you take the 3rd 1 on the left. Okay, So for instance, if we want to do, let's say D flat minor, we have d flat. We have the next one, which is a flat, and we still have to figure out the noting between we're gonna skip one skip to, and we end up right here on e. OK, so that's how to figure out minor courts using the Circle of Fifth. So now let me adapt this circle little bit so that we can do something else, Which is really nice case so would have done Now is I've put all of the notes on the outside of the circle on the same Still applies is still the same circles. So we could go here, here and here to find that major court etcetera. Now, what I want to do is I want to write down all of the's notes that are on the outside. I'm going to write them on the inside as well, but I'm going to skip three notes. So this a is the one that I'm starting with, and I'm gonna put that ballu see Okay. And then d is gonna be on the inside of half G. Is going to be on the inside of B flat, etcetera, etcetera, some simply writing all of them continuously right here. Okay, so now would have done is I've created a bit of a mass raid, but this is very important. Now we can actually do some really cool things in order to figure out your major court Right now we have to do is look one to the right on half your major court. You see these three right here as a C major court Forgy Major G B d d major d g flat. Which off course is half shop, so you would have to know that. But at least you get the no droit de g flatteringly a flat major, a flat e flat C in case. So now it's super is defined them in order to find your minor courts right now, move to the inside of the circle a C e to find a minor de af a to find d minor. Okay, so to find Major, you go to the outside circle, pick and note, go to the right and then go in and you have your major court in order to find a minor chord . You go to the inside, you go out and then across right in order to find your monocle. That's something else. That's really cool that we can do right now, because what if these are not notes? What even starred? These are skills. We could have the C major skill, and it's actually relating to the A minor scale. Here, have a look if I play to see my just skill right here, it has C D E F G A B C, and then a minor has the same nodes A B, C, D, E f G, or exactly the same notes that can be found in the C major scale. So by simply drawing the circle of fifths twice ones on the outside and once clicked in three times, you now have a really nice circle that provides you if you real quickly want to go to major or minor scale, for instance, from a major that will be G flat. Minor G flat major is e flat minor E flat. Major C minor Have major D minor, super easy to figure out your minutes. That's something else that you can do, which is really, really useful to me. And that is to figure out all of the notes there in a certain skill. In order to do that you can simply a major and minor is, of course, going to be the same cause that's what I just told you. But let's say I want to figure out the notes of these c major skill. Some gonna pick a note in this case, C major. I go to the left of that note half, and I put a line Roy here. Okay, so I hope that's clear to you. I want to figure out the notes for C major. So go one to the left and I put a dividing line. Now I go to the right and I'm not just going wanted, right? I'm going to to the right, put a dividing line, right that. And now I cross out this note and guess what I'm left with. C d E f g a M b A love the notes off the C major scale. And this, of course, works for any skills. If our undo my damage. Right. Happy the D back. I got rid of this line. Okay, Keep in mind what I told you we're going to select any note. Doesn't matter which one on the outside, off the circle or on the inside. That doesn't matter. Let's I want to figure out all of the notes in the d major key. Okay, That may not be the easiest thing to do for you. Right off by heart so deep I'm going to move to the left. Put a line right here. I'm going to move to Detroit. But I do two steps. I put a line right here and I cross out this note now in three D major key. According to this, we have D E g flat, G e A B D flat, and we're back on D as that is correct. OK, the only thing that you have to keep in mind is that for every flat, it's also possible that we have to play a sharp Okay, so therefore the G flat could also bdf shop. The D flat could also be the sea shop. Okay, so keep that in mind on. That's actually what's happening with the D major key. OK, a flat could also be G shop e flat could be D shop and B flat. Could be a shop. Same goes here on the outside. Okay, so keep that in mind that these notes are indicating which note it is on the piano, but not necessarily had to call it. So now, you already know quite a lot of ways to use this circle of thefts. You can figure out wet of fifth sore. You can figure out which key belongs to which key Which scale basically belongs to each other. So the B flat major skill has the same notes as a G minor skill. We can figure out the courts, see major a minor. Okay. And now I'm gonna clear at this mass on. We can also see really easily which notes are in which key. So I'm going to clear out this entire mess. Onda draw the circle again to teach you some more, really need stuff. So it's really cool to you to use a circle as a music theory. Kind of to, um we also want to know I have to use this circle to help you composing songs, Especially when you want to Ah, figure out cords that are very useful. So one of the things that you can do is to have a look at any note. Let's say we're riding in a C major key. So if we want to play in C, one of the things that you can do is you look at, see, you look the laughing to the right and thes courts are going to be very nice to play with. So c, f and G together they sound raw denies on the piano. Listen okay, immediately. You have a really nice song going on. You can also do that with the flat friends we wanna write a song and d flat. We're gonna pick a flat on G flat. Let's see what happens. But that's not all. Sometimes we want to change key If you want to change key, it can be quite hard. For instance, to change key from C to G flat, for instance, the further away notes are on the circle afis. The harder it's going to be to change key because of the fact that a lot of these notes aren't really in the other key. So a lot of the notes of G flat you will not point them into Seiki because remember when we drew these in here? So see, has Aven G G flat has b and D flat in them and also the other knows that I drew in here, so they're not gonna be the same notes. However, if you want a ride from sea to after for a CTG, it's going to be a little easier. So let's say that I'm playing a song and see which has C d e f g a b in it on ending up on c. Of course. And then I want to move to G. Okay, All we have to do is change this note right in. We have to go to F sharp. So maybe we have our favorite core progression. Something like that. And now way have to get af sharpen their okay, so maybe you go. Okay, That's a relatively easy way to G o. So we're here on C e g. Okay. See, G. You know, this isn't signs that weird And now all of a sudden I can continue to playing in the G major key. Okay? Same if I wanted to move to way. Have to now incorporate B flat K right there. Seven playing here. I'm already playing in half and it doesn't really You don't really notice it. If, however, I will want to get to a A Is this okay? That would be a big change, because I'm going from C major G a minor. A minor ism in that because we have a major in a f isn't in there because we have this. So if I'm going here, you know too much changes, right? You can't make it work. But the whole idea is that the closer you get on the circles So if you want to go from C, maybe you want to change to D. They will go three g c u play c courts that are in the C major skill, the thing you play chords that are in the G major skill which are almost the same chords. So I will teach you more about that when we talk about composing songs. But for now, just keep in mind that this is another trick that you can do with the circle of fifth. If you want to change keys, you can look for keys that are in the vicinity of the key that you're sorting out with and of course with C. It's all relatively easy. But if you're playing in the key of E and you want to change key to, let's say g flat, it would be nice to Notre. These are relatively close. Or as if you want to go to B flat, you're gonna end up with a whole bunch of new notes in your key. So that's something that you maybe don't want. So knotty question is, why is it that the further away you are on these circles, if I'm in a and I wanna move to e flat, all of my notes change. Whereas if I go to D, only one notable change. How do I know that? And why is that the case? Well, that has to do with the trick that I'm gonna teach you right now. So if we have ah, Luke right here, si has zero flats or sharps in it. G has one d has to a has three. He has four b has five on G flat or F shop has six. Okay, the only note that's not a flat and G flatters F because we're not playing a B. That's actually a C flat. Okay, then if you go the other way, around half has one. B flat has to even has three. A flatters for on deflate has five. OK, so if you ever want to figure out which notes are in a certain key or if you notice that a maybe a song has three flats in it, then you could already immediately figure that it must be in the e flat. Major key. Okay, so that's very helpful in the Indies skill as well. So on the right, it will be sharp suit zero than one sharp to sharps, three shops, four shops, five Sharps and then for G flat. It will be six. But keep in mind that G flat is in essence half shop, says six flats or six sharps on the one thing that's important when we talk about sharps and flats on this whole circle, thinking is that the circle, especially with the flats on the sharp's indicating which noted, is on the piano. OK, so I'm talking about Let's say, let's say I'm going from a to G flat. Thanda means this and it right here. It doesn't necessarily mean that a Hassidic G flat it could also be the f sharp. Okay, so basically, we're talking about So basically we are talking about is it a flat or sharp? But it doesn't necessarily indicate whether it should be a flat or a sharp pick that you will need some mullet, um, off skills and courts in order to figure out how you would write that down. If you're playing, it doesn't matter if this is an f sharp or G flat. It just matters that you knew that you have to play this note. Okay, so the circle is very pragmatic in the sense that it tells she played this note in that nude. But you don't necessarily need to know if it's a d flat onda g flat or of its a C shop on an f sharp in the case that you're working with at that moment. Okay, so keep in mind, that's a very practical tool, but it doesn't necessarily tell you whether it should be a flatter g Sharpie flatter d sharp, etcetera. That is still up to you to figure out. So would you have to keep in mind is that the circle of fifth is basically a tool that you can use an all kind of different ways on you don't necessarily need to use. It is just something that maybe you find it helpful now because of the weight is laid out. That's all kind of patterns that you can identify on the circle that you can use in different kind of examples as well. So maybe you figure out how to use this circle of thefts to find six quarts. You could use it to find Suss four chords you could use it to. I don't know, like all kind of different things, because this circle has built up in a way that no matter which pattern you identify, that pattern will be applicable to any note in the circle. Because it's circular, it's round, and it doesn't really matter which pattern you identify. It will always work out. So therefore, if there's things that I'm not teaching you right now, it doesn't mean that they're not that you can easily figure out any chord using the circle of thefts as long as you know the pattern to look for. So the final thing I want to show you by the Circle of Fifth is which Sharps on which flats are in a certain keep. In order to go for the Sharps, you have to look at this site right here. So see has none g has Woman's going to be the f after sharp. Okay, we're going to start at half shop and simply add away on because the d will have to say it's going to be half sharp on and see shop. The A has three says going to be half shop See shop Andi g shop. Okay, The E major key has four groups that doesn't work. Four Sharps atthe C G on deep. The B major key has five shops F, c, g d and A. So this allows you to not only know how maney sharps there are in h key, but also which one's the Ashok major key has six sharps f sharp c sharp, G shop D shop, a shop and e shop. Okay, so that's how you can figure that at. So if we go the other way, it's a little bit different if we want to figure out the flats because now we're talking about flats on the left of us flats of the F, where it's simply looking here. Okay, so after is going to have B flat B flat, we have to sort of be flat again. So of course, B flat is in there, and someone further e flat. Okay, Like that, E flat is going to have three B flat e flat on a flat. A flat is going to have four a flat, of course, because B flat e flat on D flat, D flat is going to have five B flat e flat, a flat D flat on G flat on G flat will have six B flat, e flat, a flat d flat, g flat of them be, which is, of course, see flat. So that's how you can also use the circle of Fifth in order to figure out which flats on which sharps are in a certain key. So this was the lesson about circle off fifth. If you warned for your homework, you can create different type of circles with just the outer line with the outer and the inner line, and also with the numbers so you can actually figure out. You know what you want to do with those circles so you can do that boy's simply printing that resource. File number 14. Make sure toe. Have a look of that if you haven't done so already, or you can simply take a piece of paper on a draw, circle yourself and go to town. And I want to thank you for going through this lesson. It's a little bit different, you know. It's it's It's a tool that we can use in order to play music. You can also use it and you can use a fore piano. You could also use a four guitar for now. Ah, wanna move onto lesson 2.10? Keep in mind we have 2.10 than 2.11 and then we have the test of Chapter two coming up. I want to add voice. You too make that tests. Okay, Just a share hopefully made the test in Chapter one. You have to check if you know everything that you need to know before moving on to Chapter three, because that's where we're really going to sort cracking on, playing quite a lot of music and going to a little bit of a more advanced level. Also, if you haven't those already review this course or let me know what you think help other people, too. Figure out of this is a course for them. You can simply do that. Roid here takes about 30 seconds and sometimes the botanist somewhere else. So I can't really tell you where it is because there happens to change around a little bit , but just reviewed a course that would help me out so much. And for now, let's move on to Lesson 2.10. 24. Ep 2.10 Ten Piano Commandments: Hey, working See Lesson 2.10 of the living room piano course. Today we're going to do something a little bit different. Yes, I am in front of the told board I am in front of the piano, but that's not what this lesson is going to be about. I want to talk to you about the 10 Commandments of playing that piano on what that basically means is the 10 best practices, at least in my opinion, that you should uphold if you wanna learn hand to play the piano. So maybe you find this lesson a little where that's absolutely fine. But this stuff is really important. Also, I'm gonna tell you already. What's number 10 for this lesson? It's posture, a K piano posture. So at the and off the tank amendments that I'm going to run through with you, I will teach you everything you need to know about posture when playing the piano. OK, very important to make sure to cigarette for that. For now, I want to start off with the 10 things that are so important. The 10 best practices. One playing the piano. Keep in mind there, not on a specific order, even though this one, the 1st 1 is probably the most important one. Probably the one that most people I'm really upholding and it is play slow when you're starting out. When you're starting out to play the piano and I know how it is. You place something, a little bit of you get excited and you want to go at it. And then what happens is you start to play a little quick and your finger is a running away from you. Or maybe you think that you're playing something that's right. Worse. In reality, it's no so play slow plate, really slow in the beginning, it's better to play something very slow on play correctly than to play really quick and play it almost right. You know, take the temper out of it. Take it easy on New can be frustrating in the beginning to practice something slowly, especially boring stuff like maybe pianos, skills or maybe a part of a song that you just you know, you're not that into or that's that's difficult and it takes you a long time. You can only played slow, and every time you speed up, you make a mistake Well, guess what. If you are speeding up and you're making mistakes, it simply means you're not ready yet to speed it up. You can use a couple of things in order to make sure that you play slow enough. You can use a metre whom I've got one on my piano, I think. Let's see. Mets room coming up. Here we go. Okay, You got the bead going. So maybe this is the original beat off this song, and you want to do it a little bit slower. You put it on half. So right now it's on 120. You would put it on on 60 on 40 on 30. It doesn't matter. Put it slow. And then, if you're able to play something at that BPM, then you can slowly store to speed things up until you reach the actual bpm of the song. OK, trust me slower. It's foster. If you do it slower, you will learn it faster. It's a not a sprint. It's a marathon blah, blah, blah your turtle. I don't know, but take it slipped. Best practice Number two only practice songs that you love to play. You have to love these songs. You really have to want to learn from, because it isn't going to take some time, especially when you play them slow. You know, in the beginning you will spend some time with this song. So why, Which is spent all of your time learning a song that you don't love again? You're also not going to spend time to learn to cook a recipe for food that you don't like , right? So never ever, ever, ever, ever learn a song that you don't love because even if you do manage to accomplish it like there's no point because you're never gonna play it because you hate this song, right? The only two exceptions that I can come up with while maybe three is if you have to play something if you have to perform somewhere, like at a wedding or a funeral and the Third Warner's if you're trying to, you know, get with a girl, get with a guy you know, do something nice. Umm And the 3rd 1 is your mom. Okay. If your mom really wants you to play something, what are you gonna do now? Is why it is so important. We human beings are not really man to to learn a lot of stuff that we don't like. That's not of interest. That's not important. So we are hard wired to learn self that is interesting, chose that is, of interest us to our survival, but also, you know, for our own development. So make sure that you're only learned songs that you really love. Because if you're gonna do boring songs just because you think it should want them, it's just is going to take so much. Effort is going to take so much time you're not going to be able to have a little fun. Whiles playing only play songs you love and let's move on to Number three. So commitment number three is practised regularly. You cannot expect that if you practice once in a while, you know, once in a month, once every two months that this thing is gonna happen. Playing the piano will take some effort now, depending on the level of talent and depending on how how Gucci practice and all kind of variables, you can either learn to play piano really quickly or it can take some time. But it doesn't matter. First of all the practice is one of the things that you should enjoy as well. You should have fun whenever you're practicing the piano whenever you're playing, because it is so nice to do something creative because it is so nice to do something that's creative or artistic. If you would even want to call it that on making music is one of these things, so enjoy it. Wall should do it now how? Shoot you practice how often shoot you practice on How are you gonna practice regularly? So first of all, there is always the possibility that something will come up right so you can have a holiday break or a very busy exam week or whatever, and that's absolutely fine. But in general, I would like you to pick 12 or of possible three moments a week, where you can set aside at least one hour where you can, which one of these episodes right here or practice the piano. Think a to set aside an hour wants to or thrice a week to make sure that you actually have the time to practice and then keep track of how often you practice on what you practice so that you can, you know, basically see there's a progression or not. You can also film yourself or record yourself waltz playing the piano, because as you move along, you may not notice how much you've improved over the time. So it's always nice to have a video that maybe a year from now you can look back out and go like, Wow, I had no idea that I improved this much. So if you want a practice than it's really good to practice on a piano, OK, I have a digital lips. It's still on. Let's turn that off. I have a digital piano right here, which has the thick keys. I already went over that. I believe in Chapter One, but it's so important that you practice on a piano and not on the keyboard, if you possibly can. And we also want to have these pedals in. Okay, so you wanna have pedals at least your sustain pedal in order to be able to practice with that as well. And then, if possible, get an 88 key piano. If you're currently practicing on the piano that smaller, that's absolutely fine. But if you're going out there to purchase a piano, make sure it has a thick ease, a sustained paddle and 88 keys. This is super important. Of course. You can also get an acoustic piano, and then I will usually have the 88 keys. So if that's absolutely fine as well. But whatever you do practice on a piano norm on a keyboard and this is not a keyboard, this is a digital piano. Say that's absolutely fine. It can be Elektronik. Just make sure that it has the thick keys on this is really a requirement again. So if you have one with the thin keys, get rid of it. Get yourself a new one. So now number five. Practice at your level or above your level. Okay, practice above your level, but do not practice 10 levels above your level. If you're trying to do something that is so hard that you feel almost every time, it is so extremely difficult to keep up with that, and it's really not going to be that beneficial. Okay, maybe you will be able to play one of the songs that is super duper hard for you in the beginning. Eventually, but just repeating and repeating and repeating and maybe getting lucky that you actually get the hang of that. But then, if you have to play any other song, you're not going to be able to do that. It's better to increase your level of playing the piano and the difficulty of songs that you're playing incrementally every single time, so that, you know, a year or two or three years from now they're able to play much more difficult songs. Then if it just focusing on one song and trying to get that out there, so work or your level work a little bit above your level, but not 2030 steps above your level, And I think that you know what I mean. If you're trying to play a song for like an hour and you haven't even labeled to play four or five seconds in a row with that making 20 miss leaks, that song is definitely above your level. Talking about these songs that you're practising, what I really like to do is a like to practice two songs at least sometimes three at these same time. Okay, this really helps, because why don't you get frustrated with one song, you can switch over to the other, and one should don't. With that. You can go back to to the other one, and it really helps you with the plasticity off your brain as well, doing new tasks all the time, which means it has to switch same with a handsy. Know the motor function off your hands as well as the muscle memory. It's gonna get shaken up, especially if you play songs and different key or songs of a different genre. KKK. Imagine playing classical and right after that, playing Latin. Okay, that's going to really throw you out of whack a little bit. And because of that, it's kind of like interval training in a way, a good way. Run really fast on that. You're walking that you running that you walk. It's really good to put your brain under a lot of stress, you know, trying to do different kind of things that's super important. So practiced two or three songs at the same time. We're not not at the same time, it right after each other, and you can do that in a session so you could do a couple of skill exercises there may be placed on number one plays. Song number two Thank you back to song number one. Stick there for about 20 minutes and then go to some number two again sick there for another 20 minutes. Go back to song number one, played once more and plays song number two once more. And then you have a really nice balanced practice session. In my opinion. Number six Learn music theory. So important It's really important that you learn music theory because we may think that in order to play the piano really well, you have to be able to place off with your hands the actual playing. But your brain also needs to know what you want to play. And yes, you can burn songs by just learning them from me or from cheap music or by listening to his song. But actually understanding the music behind the theory behind it will help you so much to progress in your pee and new journey. Okay, so long music theory. You're doing a great job of that already. If you're watching this course, so that's absolutely perfect. But keep additive, this stuff that you have forgotten go back to the course. Look it up again. What about those courts? What about those skills? What about the core progressions? What about the way that all of these things come together? The time signatures think about all of that stuff on. Remember that it's so important to keep track of your music theory to keep that up to a high level so that you exactly know how these songs fit together. It makes it so much easier for you to play things. Okay, Number eight. It's a little bit optional, but it's one of the things that I think you should experience. I haven't Holland in a long time. I should actually do it. I don't I don't know I'm doing. It's probably priorities, right, Um, but it's playing in a band in a band or in a duo, or at least perform a little bit. But it's so noise to play together with other people. It's going to really put you on the spot now and then, and people are going to go like dude, you played it wrong or whatever, or you're not keeping proper tempo or whatever, but it's really important for you to play to get it with other people in order to really develop your piano scale. So maybe you know somebody that likes to play guitar. Maybe, you know, someone that likes is saying and you can accompany them or maybe a drummer and a saxophone . You can make all kind of really cool combinations on. It doesn't have to be a band that's necessarily performing, you know, but it's so nice to make music together, and it could be different kind of things. You could just have a friend that likes to sing, and, you know, whenever you meet up, you could do like half on hour or something like that. It doesn't have to be regular practice, but it's really nice to play with other people now and then. It's going to help you progress so much, so make sure to do that on. Have a go at that Number nine. Is the practice environment so important? If you have all kind of kids running around or you know animals, or maybe a crazy wife or crazy husband, that's not really going to help you with learning to play the piano. What's also definitely not going to help is if you have neighbors complaining all the time or if you basically have somebody who is distracting you whenever you want to play in order to practice properly, you want to get into the zone. Okay, You kind of want together in a state of mind where you become a little bit more creative. Some people like to dim the lights a little bit. Some people, you know, they like to take a bath before they play the piano. Some people like Teoh take other things, but that's not a here or there. I don't personally do that just for your information, but it's very important that you get into proper state to practice the piano. And it doesn't really help if that's a lot of distractions, right head as cars driving by all the time, and it really annoys me. So as soon as I'm moving, I'm going to try and find a room that I can actually put a piano in a proper P and another digital one, but actually an acoustic piano, and then practice there. No, and make sure that the acoustics are nights. So so if you have hardwood floors, maybe put some carpets, input Curtin so that the sound doesn't really echo that much on. It's just so important. And it's really important that whenever you're practicing that you're not annoying anybody else and nobody is annoying you. Because if one of the two is gonna be the case, that's going to be part of to your learning, because all of the time you're gonna, you know, get people like stop playing like, you know, or if somebody is on the phone the whole time. Once you're trying to play, it's just it's not doable. What you can do, of course, is get some noise canceling headphones. If you're playing on a digital piano like me, that really helps, and then always make sure that there is enough light when you're practicing on that, the light is in front of you shining down on the keys. If you don't have a war piano on other words from the sides, because otherwise you're sitting in your own shadow. Now, if you want a practice in a bit of a like a sad a bit of a more dim environment, a little bit dark, you know, a little bit like nice and cozy. They can also do that. But in general, if you're really learning something, if you're reading sheet music, make sure there's enough light so that you can actually see the keys. In general, the darker it is, the harder it is to play the piano. And then finally make sure you have proper posture. One playing the piano. Super important, really important to take note of that, I'm going to show you a couple of things about that right now. So yeah, proper posture. Okay, so one of the most important things is how you're sitting behind a piano. And of course, I'm giving a super bad example. This isn't really a piano, so I should really get one of those. But it didn't come with the digital piano, and I don't know, I never I never really found one that I liked. Except for some of them. They were, like, 400 bucks, and I just thought it was a little bit too much. So I'm on a simple still right now. Anyway, you want to make sure that you your knees are just below the piano keys, okay? And that your back is straight. Now, this stool is actually too low for me on the reason that I have this is because it can easily move to my laptop, you know, like different things. But I should actually be on the higher stool. So let me demonstrate that with a book. Okay, so this is already much of a better position for me to sit in? No, the knees go underneath. The piano were sitting centered and the right food can, of course, had the pedal. And the feet are flat on the floor. Hands can reach the piano, but the arms Aaron stretched against some of that far away. I'm also not sitting right here. I'm not slouching. I'm sitting straight up on the shoulders, are relaxed. A lot of people in this sort of play the piano, they have their fingers straight and the shoulders in their ears, you know, and like a lot of and it's just not really working. So relax the shoulders and you're going to move basically from the wrist on a little bit from the elbows. You can you know you especially if you get higher. You can go here, but when you're playing here, you're not making massive movements. You're not a bird. Okay, so you keep your elbow here nice and tucked in. So all of these notes are reachable with my elbow making very small movements. Arms relaxed, shorter was shoulders down. Same goes for the left hand. Okay? We're not playing the piano with the shoulders, so the shoulders can stay down and the arms can actually move. Okay? Forearms are engaged, and then the fingers are not flat. The fingers are actually curved a little bit, so we can play in an easier way. Also say that whenever I'm practicing the piano, I notice that I'm slouching as well, you know, Especially when I'm trying to express myself or when I'm. And I think it mainly has to do with the fact that because this one is too low, you know that I'm already sitting to Lou, so I'm gonna work on that on that stool. Why should just invest in that? Because I'm behind the piano so much anyway. But it's okay to lean in, to be expressive know then, but in general, straight back, you know, and the knee scam point down a little bit, you know? That's okay. This doesn't have to be 90 degrees. Whatever position you're comfortable in. But relax the shoulders. Relax the elbows under wrists, curve of the hands a little bit so that we can play with Ben fingers. And you're going to get your strength. Really? From the from the forearms. Okay, this is where you're going to get your strength from playing right here. OK, good. So that brings us to the end of lesson 2.10. The next one is going to be 2.11 in which I'm going to teach you how to play an easy version off New Vogtli. Bianchi by Ludovico Einaudi That's going to be really nice. We will do the original version later. A swell but learned easy version first. Why? Because I'm not stupid on. I know that you want to dive into the original one first, but I've actually adapted this one. Say that if you practice this, you can easily just you can easily just change your left hand later and you'll play the original. Okay, so no reason to know. Practice the easy one first, because we can adapt that left hand really easily later on. There will be absolutely fine little tweaks here in there and you'll be able to play the original version. Let's move over to lessen 2.11 right now 25. Ep 2.11 Nuvole Bianche Easy Piano: I work into lesson 2.11 off the living room B N o. Course. In the next lesson, we're going to have the test of chapter two. So hope you're looking forward to that. Testing your skills and knowledge up to this'll point and see how four you've actually gotten. Do you remember where he is? Sorted out witching. This course a little while ago. Maybe you didn't really know anything about piano yet on Luke where you are right now, I think you're sorting to get comfortable with this instrument. At least with the music theory behind it on this'll s in 2.11 is going to be a fun lesson. We're gonna do a really beautiful song. Never really beyond she by Ludovico Einaudi I'm going to teach you a relatively easy way to do that on The reason I do it like that is because then later on, you can actually just make a change in your left hand and you'll be playing with the original way of playing this song. So this is going to be a really fun lesson, Kana ending up that Chapter two and then in the next lesson, gonna pretty to detest. Now keep in mind we're almost starting into Chapter three. That's words gone and got a bit more, you know, a bit more difficult. For now, we're going to London's Beautiful song to finish up Chapter two. That will teach you a bit of an easier version so that you can actually have a lot of fun playing XYZ. And then later on, maybe I'll teach you the original version as well. So if to see if that's something that I'm gonna do good. So let's start out with the beginning of little Fico's never really beyond show right here . We can do the original bit for now and then later on, all adapted to to make it a little bit more easy. Uh, okay, say this is the intro. And what I want you to keep in mind right here is that this entire song is built up out of four quarts and these four quarts are going to be repeated over and over and over. And that's what makes this song so easy. So the courts are af minor. So we're going to be playing af a flat and see then following that up with D flat Major said D flat, uh, on a flat azan a flat major, a flat C E flat and then e flat major G B flat. These air going to be the courts that we will be using threat this entire song sorting here , working our way down, and it will be like that the entire time. Now, this might be a good moment to figure out in which Keith, this song has been written. What is these scale that we're playing in? Um, if you want to figure that I pulls the video right now and then I will tell you the answer in a little bit a case, a pause the video and figure out which scale this song's plate. Good. So I hope you managed to figure that out. This'd Aung it's written in the a flat major skill. So I hope you got the road. But for now, let's have a look of all playing it. So basically, we're playing that half minor Courtis sword with okay right here after a flat NC and then we're playing a D flat. Major court also root position with the D, fled on tops a deflect, have a flat on deflate followed by on a flat major court. But we put in in second inversion so it's e flat a flat C and zan e flat g b flatters where we end up in the e flat major court. But we play if lets us four as unsolved that into the flood major. Okay, so if lets us for t flub major. So basically, we play this. I'm trying to play it city. You can see it as well as possible like that. OK, then we're going to play the same. But now we add an E flat on top. Okay, Rodeo e flat a flat, C E flat and then e flat G b flat. Okay, so playing that both pieces right after the Children, we got this. I don't I'm playing in a little bit too quick. Justice safe sometime. Okay, then what we're going to be doing for quite some time is the left one is going to be playing five quarts in these same courts against half d flat a flat on e flat, So FC de flood a flood d flat a flood, the flood a flat on e flat B flat in case of practice that along with me like that the right hand is going to play thing right here, which is B flat. A flat, a flat, a flat. Thank a Say good morning that with FCF on with the flood a flood d flat. Lol, you thought OK again. Uh, like that is that we got here like this. Okay, so the right on this plane, even on dif leather the same time and then c c e flat. And you basically do that twice. Okay, we do that during a fuddy flooding sue. And then we play E Vladan, see at the same time, be flat B flat, e flat. Okay, wake up to e flat d flat, C b flat even. OK, say, this is a little bit of a night of a difficult part for your right hand, but basically, we're playing this, okay? And I'm sharing it a bit exaggerated, so you can see it pretty well for the left hand. A floaty floral, a flat Andi flabby flood. If Lance ever slow that down for you right here like that. Okay, a case. Leslie that slowly. Okay, now we're basically entered the same thing, but instead of playing beef letter in a flat during the D flat court, We're now going to play G. And so you get this, okay? And then we play something different here. A swell. It's gonna be like this. So only single most for right ive flat C C, c D flat C C back to e flat and then C B flat B flat, e flat D flap C B flat, even in cases slowly like that. So let's combine that like up until here. We're doing pretty fine. Keep in mind, I will put a play through of the entire song at the end of this lesson. In case you don't worry about that too much, you'll be able to see that very clearly. But for now, let's keep at it. It's quite a beautiful song to play normally. What we do right now is we start to do this. Okay, so the left hand is actually starting to move. I don't want to do that for this lesson. If you want to do that, you're simply going to play the exact same thing once more. But now you're applying this pattern in the left hand. Okay, so you get etcetera. Okay. If you're gonna play that so you can do that if you want to. You play exactly the same things we just did. But now, applying this I personally wouldn't do it if you play this Mawr tamed down version because we're not going to do this repetitive thing in the left hand and they're basically building up to something that's not going to be Yeah, being being played further on in the song. Okay, so probably not the best ideas. So just keep it quiet and stay here, and then we're going to move on with the next part right now. Okay, So this is the next port again. Keep in mind to have a look that play through at the end of the video wants you. Don't learning this. You will see how it all fits together. But for now, left hand's still playing the same as of that nice, super easy to just play everything the same. Right hand e flat and a flat and then e flat B flat, C b flat, a flat. Okay, so you get oppa. Until there you did the same e flat B flat, C B, flat But now you're gonna play a flood and see at the same time, followed by. Okay, so we have this. No. Like that. B flat, C B flat, a flat on the e flat and B flat at the same time. Fall about your flat, so there's bit right here. Like that. Okay. Good morning with laughs is just gonna places at the same time. And we're gonna play this one first and then the left hand. Okay, so we get this. Now, watch. We're playing this a father. Now we get the A fluency, remember? Together right here with left on Sandy Flint. And now, way play e flat and B flat like that. Okay, so once more like that, Okay? And now we move on. Okay, So, basically, which is doing an adaption left hand? Of course. Still, these same roid hands like this. An e flat, B flat, C B flat, a flat. And I would get this rundown B flat, a flat, e flat like that, then is the same. Okay, again on now you do play flood and see what you don't have to play that e flat and then just stopping here. You're not going to repeat that. He flipped. Say the right hand right here. Okay, So let's let's do that one more time, this whole bit. Okay? Like that. And now we get something really cool. Pay attention. Here we You Okay, now the roid hand is going to play af You're flat d flat, C d flat, e flat, C B flat, a flat. A foot. Okay, The rhythm is a little weird, so it will be like this. Okay. In the meantime, laughter is going to do its thing. So together left Onda should have this e flat on. And then as you had the b flat, Okay, So again, do these same. But now you're not playing that off. Okay, Done together. But now you're going up here to D flat. Okay, so he did like, this is a little different. We're not playing the f. We just play e flat d flat, C d flat, e flat. See? Now you go back to D flat, C B flat, a flat, a foot. Okay. Putting that together final time B flat, a flat, G, a flat, B flat. Finishing up right here. I'm gonna do that very slowly for you again. You can watch that at the end of the lesson as well, if you having trouble to figure out how it's being played. So make sure to have a look at that as well. Okay, so if you're curious theory journal way to play this and again. I'm gonna probably explain to you had to play the entire song later on on this course. But for now, the level would just be a little bit too high for you. But the original way would be this. Okay, so you can imagine that you're probably happy that I made it a little bit easier for you because that's that's quite an ah difficult thing to play. Compacted the easier version scenarios be moving on with the rest of this song. So the left hand is still playing the same. But now we play every court twice in order to get through a k a. The flood a flat on a B flat e flat. The right hand is playing something interesting. Here we play F a flat B flat and c thes other notes We're gonna be playing, but was soaring here on B flat, C b flat a flat half. We're gonna do exactly the same B flat, C B flat, a flat f And now we're gonna just run back up a flat B flat, C b flat, a flat. Okay, so like that. Okay, so, B flat, C b flat a flat, half B flat, C b flat, a flat, F a flat, B flat, C B flat, a flat, three. Then we do the same B flat, C B flat, a flat. But now we get to see a flat B flat, C B flat, a flat. See a flat, B flat, C B flat, a flat, B flat. Okay, suits a little bit annoying. So we get this thing. Thank a There is just one of these things that you have to try a couple of times and we'll get in your fingers it starting here. Okay. Like that. Combining that with laugh, play twice and you notice that the left hands on the emphasis all the time. So here, that's when we play it. Now left. Left someone soon on that. Almost see on again on the sea. And now B flat once more. Okay, moving in The next bit thing is cool. because it's basically the same thing in a right handle. The time, the left handed just changing. So we're playing a flat B flat, a flat to announce it, and then we're just gonna play the same You flat a flat B flat, C B flat, pay flint. That's all we're playing that keeps on going. Okay, so a flat B flat a flat to announce it on zan you flat a flat B flat, C B Flat Bay flip. That's for the Centauri a bit. So pay attention. - Obviously , I wouldn't do that. I would play with faith. So that's how you play that bit. That moving onto this bit right here. Okay. So, Gan, keep in mind the full play through at the end of this lesson. Think a I knew that these air Ah, lot of nudes guys on. When I first started to learn this song, I never thought it would be able to play this on droid. Now, playing this off by heart without even struggling. It's not about what you have to play in your hands. It's mainly about the nodes to remember that scared me in the beginning because it's not really difficult which have to play in the hands. But what you have to keep him one is if you play this a few times, Thatcher hands will sort to get used city pattern. That will be easier and easier to play. Okay, so right here, which is a flat g f a flat G f c af g a flat G way. Do exactly the same. But now we play a D flat. Okay, so here on again. Okay, now we get It's basically the same pattern, right? C b flat, a flat, C B flat, a flat. You flat a flat, B flat, C B flat, a flat. And now like that. Okay. Cool thing is, we're gonna play this bit twice in the song, so you will have plenty of time to get familiar with that. We played twice right after each other. Okay, so let me play woman time slowly for you with one finger. Said you can clearly see and then one more time with my hands so that you can see how that goes. - It's as I said, we were going to play that twice in the songs. He play exactly the same thing twice, and then we're going to end up this song because normally we have two repetitions in the summer. Right now, we're going to end of that song for this easier version right now and playing the following . Okay, So again, left hand is the same right hand, Not super interest saying are the first quarter's a little bit difficult, but the rest is quite easy. So hi. A flat lo a flat C like that. Okay. Like that. So high. A flat low, A flat C G a flat C af a flat. After this, a flat go to D flat e flat. Okay. And they just keep at this court right here. Okay. Are going to do that for this court, this court as well. So basically like this and the way we do these courts as we come here. Okay, up until here. And this is where we're gonna sort We start on the top note on play the courts like that. So e flat a flat D flat, then switching to e flat a flat, C B flat, a flat, C E flat, G B flat, a flat G beef. Okay, so the final five times is we sort of that a flat all the time. Like with one hands a night together. Uh, like that. Then the second time. It's a lot of different because we play high a flat low, a flat G a flat F a flat. So it's okay now we play af again a flat d flat as that we saw over through these final five times that we do exactly the same as before. So here a play that with one finger. Okay, so like this? Oops. Sorry. Right. Okay. These two pieces are being played together. You play these twice solemnity that slowly. And then I'll show you how to finish up this song. Uh, me? Yeah. And you can simply finish of that summer playing FC. Ever your left hand, Have a let's see in the right. So I will definitely agree that the right hand melody line is quite interesting of this song. Okay, there's quite a lot that's going on with the left hand. Is just playing the same the whole time. We're just playing those four quarts, but in a five court position. So we play our five and San Deflate five, a flat five and evil at five. So that's basically all we're doing in that left hand, which gives us all of the opportunity to focus our attention on the right hand playing that malady line. I want to thank you for learning this song. Keep in mind right now, at the end of this lesson, I'm going to show you a video the place through the entire song slowly, Exactly the way we learned that here. And Zan in the next lesson, we're gonna have the tests of chapter two, please, Which that it's so important that you do. In the meantime, keep practicing this song. It's a really beautiful song to play on. That right hand is almost identical s So what? I'm gonna teach you in the original way later on this course we're just going to that the left hand. So if you go this down, then you're pretty much 90% of the way there to play the original version For now, move on to lesson 2.12 which is gonna be the test of Chapter two 26. Ep 2.12 Test Your Piano Knowledge: Lesson 2.12 for roid head. The final lesson of Chapter two. If you've made it this far, I want to congratulate you. You've completed almost 15 hours off piano instruction in this course, so thumbs up to you well done. And I really mean that it is super difficult to keep up with things. So if you're still here, well done. I want to head over to the resource files. Pjm piano dot com slash resource is or if you have the word but printed, you can do that as well. But resourceful Number 15 will have the test that I'm going to be giving you the answers to in a minute. So make sure to print that test first if you haven't done so already and make it, I give you 60 minutes to make this tastic case. It's super important that you try and make it within that time period. If you're not able to do that than that's OK, you can take a little bit longer. Try and really make that tests off by heart, trying to not to go back into the course yet. But if you figure out that there's points that you've been missing. Then, of course, you can go back later. But right now you want to see where you're at. What is your level currently? What did you remember from this chapter? The questions are a little bit less technical. Then I ask them in Chapter one. Now they're a little bit more general. I would say Andi answers can sometimes be very different. So it's really important that you may be tests and it's even more important that you would you the answers that I'm going to reveal to you, because you need to figure out if there's things that you have to get back to before moving on to Chapter three and Chapter four in Chapter three in Chapter four, we are going to be doing some more advanced music theory. Bits were also going to be diverging from pop into different top off music classical, jazz, Latin blues. So that will be fun, a swell toe, have a little liquor that but mainly it's important that these fundamentals, you know, we can go into those mawr advanced thinks like modes and all kind of different things that weaken do and all kind of things that you will see in chapters three and four, and we will do that. But the fundamentals are most important if you don't have the fundamentals ride and then you know, if you don't really absorb them, that is going to be difficult to keep progressing. So having said that, print the test, make it, and I will give you the answers right now. Good. So as with Chapter one, the testes on my laptop So we'll be looking over there quite a bit. I have That doesn't annoy you too much. But I'm running Dive right into question one right now named 10 different type of courts that can be played on the piano. OK, so there's a lot of options that your hat here, but I'm gonna be restricting myself to the courts that we did in Chapter two. So options were major courts, minor courts, five quarts. We did six courts with that major seven minus seven and seven courts. We had suss to suss four or commanded diminished. I think we didn't mind a six course as well. We have nine courts. You could have 11 and 13 courts, even though we didn't do them and on and then the ad nine court as well. If there's any different courts that you list it, that's absolutely fine as long as they're really courts. Andi Andi Whole idea of this was just for you to remember that that so many different type of courts so you can play. We had those 75 chords. Think about that. So we have so many different type, of course that you can play that it's really important that you realize that even though we may not play them that often in pop music, for instance. But in the other genres of music you will see, for instance, in jazz you will see lots more of these major minor seven courts, you know. So it's important that you know that they exist, which you probably do by now. Question number two. What already differences between a major seven, a minor seven and a seven court. The reason I wanted to ask this issue probably have the idea or a vague idea, you know, whenever I say that, like I ever was a difference. But I wanted you to really focus all that and tried to write it down or tried to explain it to somebody who would not know what the difference is between a major seven on minus seven and a seven court. If I would have to explain into somebody quickly, I would say that a major seven court is based on a major court. But we're going to add a note at the end, and there will be 3/2 notes in between. The last note off the major chord before we had that seventh Okay on. What's important to understand is that that major court has Savina root position 40 Minor chord is going to be based on a minor chord. And then the last note off the route positioned minor court, if we have another 2/2 notes in the middle, will end up on this seven that we use for the minus seven and then 47 quarter doing a combination between major and minor. If you remember, we have a major court assault within route position, and then we have 2/2 notes in the middle before reaching the note that we refer to as he seven. So there's a difference in the sense that we have three in the middle to in the middle, three in the middle for major 7 to 32 for minus seven and 3 to 2 for seven courts. Question number three. How many inversions are possible with the court you mentioned at Question number one less the amount of in Virgin's possible for each court? Well, I wanted to put in this question kind of is a little bit of a trick question to see if you were able Teoh identifying the common denominator. I think that's how you call it. Basically, it's super easy. If we have three notes, that's three possible inversions, including the root position. So we have room position, first inversion and second inversion. So any court that you listen that has three notes in it, we're gonna The answer's gonna be three inversions or root position plus two inversions, if that's how you listen it for the court. Such Elissa, with four notes, there's going to be four inversions or root position, plus a first, a second and 1/3 Diverse Okay, so four inversions and in total possible. If you include that reposition and then, for course, with five newts, that's going to be five possible inversions because we have five knows that we can start on basically, and that's going to be rude. And then for a 2nd 3rd and fourth inversion. Okay, Um, question number four. What are the different type of pedals that can be found on a piano? I was looking for four pedals. If you remember, we have the owner quarter pedal on the left. Remember the unit Quarter pedal. Then we have these sustenance paddle or the practice paddle, depending on the type of piano that you're playing on. And then we have the sustained paddles. I was looking for four type off pedals. Question number five What is the function of each of these pedals? Well, the practice pedal is probably the easiest. It dampens the entire piano. You can lock that into place so that the piano simply makes ah lot less sound. And you can practice without the neighbors getting angry. The owner quarter pedal is also softening down the piano. But by eliminating one string. So we're not quarter that is Italian for one string on. As I explained to you, that was the case for the old pianos that have two strings. Eliminates were one of them on for the new pianist as three strings and it will eliminate. Also, one of them said is actually two strings being played there. Is this the same pedal which, if you press it, all of the dampers will come off off the strings. Of course, talking about acoustic pianos here on digital pianos that's being faked in there. But on acoustic pianos, all of the damper hammers will come off so that the strengths can actually vibrate without being hindered on with these sound keeps on, even if you don't press in the key anymore. So the sustain pedal allows any note to be sustained. And then we have that Sustern Newdow pedal, which is basically a little bit weird. All of the notes that we are pressing down all of the keys that were pressing down at the moment that we had the sustenance pedal. All of these notes will be able to vibrate. But then, as soon as we release those notes, as soon as that pedal is in, all of the other knows that we're going to head gonna have a damper hammer on them as soon as we're released them. So these notes will be killed immediately. As soon as we let go of the key. So so Senator Paddle Being a very interesting panel, question number six would is an arpeggio. Well, if you want to be very short, you could have just wrote down Broken Chord, right? It's a broken corporate. Take notes of the court and we play them one of the time. Instead of playing notes together, we're going to to do do play the notes separately. So that's basically in ORP aggio. But, um, that's all kind of different ways. You could've list of that like play multiple notes of the chords one other time or whatever , as long as you kind of got the gist that your Pageau just means that we take that court. And instead of playing it as a block, we are going to play the notes one at a time. How many nodes shooting Arpeggio consists off at least kind of a trick question, because you could argue that if you played two nodes off accord right over five Court Francis that we are technically playing an arpeggio. But I was really looking for at least three. Okay, if you want to play a broken chord, you play C E. Then It's very interesting to play that G or maybe the A or maybe the G sharp. That's coming right after it, because it always if you just play CE, how are we going to move its A C major on a minor or a C augmented court? We simply doing that. So play three notes, at least in order to constitute on arpeggio eight, provide an example of a useful a pet Jew that's built up with different quartz. So what I mean with that What are basically man? In case you didn't get that question because I find it difficult to formulate it. What if I want to play six or eight or 10 notes and I want to use different quartz, but it's still should sound really nice together, So I basically want to run on the piano. Did you did you do with it? How am I going to do that? So if you didn't understand that question, pause the video now and answered first and otherwise listen to answer. So my answer is basically, by combining a five chord that belongs to the major or minor or whatever other courted you're playing. Okay, so we see that quite often that maybe you're starting out on a D flat five courts, a D flat, a flat d flat and now we're starting to play the D flat. Major court writes a D flat, a flat d flat af a flat d flat af a flat. So moving from a five chord to a major court or two minor chord, that's what I was looking forward as different combinations possible as well. But this is the one that actually demonstrated in this course up until here. Question number nine. You're heading into sheet music territory. I wanted to know what a clef ISS when we talk about she music. And basically we have that bass clef, if you remember, and the Trouble Cliffs, I wanted you to give a short description about that. What is that? What does the cleft mean on? Basically, it means that that class, the basically trouble class, means that we have to play the notes in a certain place where we have to ride them in a certain place or when they're written down and we read them. We have to play these notes as being certain newts. Okay, question on Bataan would is the difference between notes played on the different type of class that you are familiar with. So the base and the trouble class basically, what is the difference between these notes on? The answer I was looking for is 4/2 notes if you want to be short, or that the notes on the base class are different notes than the notes on the travel class , when they're the same visually. Okay, So if we have these five lines on a note is being written between the lowest two lines, for instance, on a base clap plan that would be a different note than when we put them between these lower lines on a travel club. Okay, so wanted you to explain that on the difference between the notes is four Hoff notes, The one way or 10 half notes the other way. Question 11. What information can be found before the first measure? Line off a piece of sheet music. Okay, so we have that measure line and then their stuff before the measure line. What can we find there? Well, we're looking for the clap. So is that a basic treble clef? We're looking for the key because she's see the amount of Sharps and the amount of flats Roy there. And then, of course, the time signature can be found there as well. Good. So question number 12 kind of had a couple of sub questions in there. One talking about cheap music. How do you know if aqui has changed? The class has changed. A note should not be played as a sharp or as a flat. Basically, I didn't wanna tell that in the test because then I would have given away the answer. But basically how to reset a note saying, Now that say that now it's a regular note on and not a sharper fled anymore. And then how do you know if the nodes are properly divided in a measure when we talk about time signatures? So let's answer Question number one. How do we know if the key has changed? Well, if the key has changed than usually, we will see that, um by either having another if we're into trouble clef rinses by either having another troubled class sign with a different indication of the sharps or flats. If there are any onda otherwise in the in the base class the same stories. So you would see the base clamp with the different indication off flats or sharps and sometimes the classes and repeated. We just have this section but usually declare full, be repeated as well. Um, to how do you notice that the class has changed? Well, we will see the class at a certain moment. So if the cleft doesn't change, we have the class in the beginning. Trouble on base, usually or base base. It's possible or trouble trouble. And then if it doesn't change, nothing happens. But if it does change somewhere along the line, we will see a cut and we will see a new class indicating right indicated Roy that so if you have trouble trouble and now it changes to trouble base, then we will see nothing. Nothing. And I'm boom. All of a sudden we see trouble base and you know that's where it changes. How do we know if a note should not be played as a sharp or flat? If it was indicated as having to be played as such? We have this reset. Sinan. Kate, I don't know if you remember that, but the reset sign I always forget whether it is this way or this way. I don't I don't know. I believe is this way the reset sign. So we will see that in front of the note. Keep in mind that only counts until the end of the measure. Or unless there is a new signs. If we have the reset sign and then behind it, we have a note, and then maybe we have the sharp sign again. And then a node on this reset sign doesn't count anymore. This reset sign also only counts for the node where it's indicated for the line. Okay, but it does count for the entire height off the off the staff. Okay, so if we have a reset sign in front of an F right here and then there's another Evan octave higher than it would technically also kind for that one. But usually you would see another reset son from of that just to make it more clearly. How do we know if the nodes are properly divided in a measure when we talk about time signatures? Well, we look at the time signature on we look at how many notes we actually get 1/2 within a measure. So usually when you get cheap music, this should be correct. But sometimes people make mistakes. So if you're in a 34 time signature, for instance, we have 3/4 notes and then if you see 2/4 notes but no rest, for instance, then we noted that 1/4 note missing there's 1/4 note value missing and then the time signature has not been properly applied to the sheet music. Okay, so, yeah, basically, we can. We can know if it's properly divided if it always adds up. If there's always 3/4 notes in a measure off a piece of music that is in a 3/4 note. Time signature Question number 13. When improvising on the piano, what is a useful court to use so you can improvise easily in any scale the quarter was looking for Is your sauce to court or you're at nine court? Okay, so you can picks us to for and see See Saw Stewie would have C, D and G Onda see at nine c, e, g and D. But then we were placed the D in the middle right here. So we have four or notes. These are the courts that I really like to use. Improvise with. Ana makes it super easy. Question 14. Is it important to always adjust courts with inversions when you're singing to a song? And the simple answer is no. It's not important to always do this, because sometimes it's possible that if you're playing a song fat, you could actually play all of the cords in the room position that you didn't have to change it. However, it is very likely that you shoot change the inversion off certain courts if you want to sing to that song based off the voice of the person singing on. Also based off the fact that usually a song has inversions in the courts. Okay, so the answer is no, you don't. I always have to do it because that's what I asked. Is it important to always adjust courts new, but with why? I would like to new why and that is that Usually you do have to adapt that, but it is possible that sometimes all of the cords are actually meant to be played in rue position. Question 15. Why do we color code court tabs when we are figuring out Issel. I get so I color coded quart taps so that I know I can easily see in one glance oven I which off the core progressions are the same. Which of the parts carry the same core progressions as well as how many core progressions are there in the song? So if my whole song is one color, let's say my whole song is green I know it's gonna be the same old, same old for the entire song. If I see 18 different colors, I know I'm probably playing Bohemian Rhapsody. Okay, so, um yeah, that's why color coded questions. 16 1 of the three main sources to get the courts for any song when playing piano. Well, number one court taps Super easy. I explained that to you and lesson two point eight. If I'm not mistaking, um, source number two sheet music you can find the courts above. Okay, but be careful there, Um, as well as with the court taps. Always be careful on number three is either by asking someone that you're playing with. If you're playing in a band, maybe somebody already knows the courts or playing in my ear. So basically an alternative way to get the courts in. Those were my three ounces. So she music or court taps asking somebody that already knows that that you're playing along with which seems stupid. But when you think about it, there's quite a lot of cases where you want to learn the courts to his song. Um, if somebody's, for instance, I have this all the time of this Friendly plays guitar and write a party, and I'm sitting behind a piano like I do which courts are using. Oh, it's a B d are cool. And then, boom, I can play along immediately on the third ways to simply playboy here, which we're going to get into a swell in. Chapter three questions 17. Draw the circle off Fifth. So I hope you got that right. Um, I would like you to check that in the lesson, actually, because otherwise I have to draw it again on DA and in. The lesson is clear. And if you if you did get a wrong, then you're immediately in the right lesson. So that's a lesson 2.9. Um, so check it in there. If you go to right Question 18 named five ways in which these circle can be of help when playing the piano, so there's different answers that you could have given him. The first way can be helpful is to find out five chords or to help with counting in your courts the second ways to find more mainstream courts like the major and minor court. And there's, of course, a LSU patterns for all of the other courts. Hopefully, you figured a couple of those I by yourself. Then it's possible to see how maney, sharps or flats are in a certain scale seeking user. For that, you can also see which sharps or flats are in the skill you can also see which are. Scales are close to each other close to one under. So which skills were share a lot of courts, which makes it easy to move from one scale to the other one. You can also use it if you use the inner circle, a swell to identify which notes are in a specific skill and right of the top of my head. You can also use it to find minor and major skill pairs really easily. There's there's tons of different things you can do with circle as well. So if you wrote down anything else, I'm pretty sure that you got that correct as well. Question 19 Give three instructions for proper posture. Well, I'm playing the piano. Look, there's a proper posture, man again. So sit up straight. Make sure that you're still your pianist. Still is high enough. Feet flat on the floor. Shorter's down, straight back knees below the piano. Not urine. Tar legs. Just the needs Hands. Fingers Not flat, but arched a little bit. Elbows relax and not moving like a bird. And basically, in general, having a very nice, relaxed posture where the force off the fingers is coming from the under armour. Okay, this section right here, that's where you want to get the force off your fingers from. Those were a lot more than three, but if you had any of these three, I'm happy. Question 20. Provide three of the best practices. One. Playing the piano. We had 10. I have a list right here, so play slow practice songs that you love practice regularly practicing on actual piano and on the keyboard. Practice two songs at the same time at a level that's just a little bit above the level that you currently at Learn music theory plane. Abound. Have a teacher or somebody thought you admire a role model. Have proper posture. One playing the piano and make sure that your practice environment is ideal for you to practice as much as you want. This was the test. We have one more question. 21. Did you remember to review the living room? Piano courts said that other students confined out of this course is beneficial to down. Did you? Because if you didn't, you should really do that. It helps me out. It helps other students to find this course. If you find it useful, why not shared with other people? OK, that so many people in the world they're not gonna be like you're not gonna meet up with them. They're not going to compete against you. It's probably people that live in another country. So help them out, help them to find. But they love to do. Help him to find a good course on leave a review. Tell them honestly what this course is all about. Andi, if you liked it or not takes about between 20 and 40 seconds. I believe so. I make sure to look for that bottom and do that. So that was the entire test. There was the full chapter two. I hope you had as much fun learning it as I had teaching it. Right now I'm gonna take one day rest, and then I'm gonna be recording the full chapter three in the coming weeks. So I really hope you're going to enjoy that as well that you're going to stick with me. Keep in mind you can simply practice songs whilst you're getting three scores. Okay. You do know have to do the entire course for us. Before you saw practicing all kind of songs. That's songs that I'm teaching you in this course that songs that you may want to learn off by yourself. As you hopefully know, I have a lot of songs on YouTube so you can check them out as well. Um, simply google pgm piano. You know, same is the website PGM piano. You will find my lessons on. You do so you can check that out as well. Um, I really don't really I don't really care about the fears or whatever, because, um, because it you'd really doesn't pay anything pretty much. But you can check it out if it's helpful to you. Anyway, I'm no diving into chapter three before you do. So please take a break. Us? Well, maybe one day or two days before moving on. If you feel fresh, if you want to go go a hat, it's fine with me. But in chapter three, we're going to take things to yet another level. And keep in mind that piano is not an exact science. We have had a lot of theory stuff right now in chapter three, I'm going to make it a bit more, lose a bit more supple, and we're going to do all kind of really fun things right there. So I hope to see you in chapter three. We're really going to start playing quite a lot in that chapter. So I think you're gonna like that. I will see you in Chapter three 27. Ep 3.1 Advanced Piano Scales: hi and welcome to Chapter three off the 11 room piano course. While I cannot imagine that things have been going so weakly while. Actually, I've been recording this course for over six weeks right now, and there has been a lot of challenges getting all of these videos out, so it hasn't really been very quick, But now that we have arrived in Chapter three, I'm kind of like, Wow, we're already half weight said. The big question is, were the 1st 2 chapters most important or the last two? And the answer is complicated. It's not. It's not one or the other. You need the 1st 2 chapters in order to understand the second to, But maybe in Chapter three in Chapter four, you will learn so much more soft to actually connect all of the information that I gave you in Chapter one and two. So what is my main purpose of this chapter? Well, there's basically two things I want to do. First of all, I want to make sure that you integrate everything you learned in Chapter one and Chapter two and really start to get an understanding of how you can learn to play the piano, so there will be lessons on how things actually fit together. So there will be a lesson intractable to practice session for yourself had you combine that left and that Roy Hand, which is something that's difficult for a lot of people sorting out. But I also want to provide you, and that's basically the second thing. I also want to provide you with some more information. So, for instance, this last time right here, advanced skills, we will have our lesson 3.3. With modes on, there will be more lessons where I'm going to be teaching you different kind of things that we haven't touched upon yet. I also want to finish this song on a Matina and Novalee Bianchi from Lou Difficult Charity . We did the easier versions in the previous chapters, but right now I want to teach you the original way I size. As I said, the roid handles almost going to be exactly the same. It will be mainly a change in the left hand, and I think by now maybe you're playing level is ready. And I say that because I am presuming that apart from just watching this course you're also practicing yourself. So if you're not doing that yet, it is really time to start practicing yourself by actually playing songs. If their songs that you like or that you would like to play, you should actually sought to do that in this chapter. I will also teach you how to learn from my videos on YouTube as well as had to figure out which videos are beneficial to you, because the level of playing has to kind of match your current level of playing right. So there will be a lesson specifically on that topic. How to find songs that you can practice so that you know exactly which songs to pick and practice from depending on your level, because that's really important and will help you understand which song should shoot. Start playing. So for now, let's the 3.1. We're gonna do advanced skills. That's a 3.2. We will talk about how all of this stuff it's to get it with the courts and the core progression and the thing we did on the lyrics. And you know all of that, how we can fit that together for pop and rock music. as unless of 3.3, I will be talking about modes and the rest. You can easily see that in the description off this course what the topics are the next lists. I would really, really advise you to have a look at these specific lessons about how to find out which song you have to practice on. The levels on also had to practice. How are you going to put it to put together a practice session? Because that is super important if you don't know how to do that yet. But for now, let's solve with this less. Okay, So what was that? I was a little bit different than the regular skill that we're playing right. Normally, we're playing a major skill. Let's say we do see my just skill we have See the E f G A. B arms were not really going into the blues right now, but I do want to teach you this blues skill as part of the advanced skill lesson that we're doing right now. So, um, major skill, right hair. We have whole motor, whole notes, half notes. Hey, hole on behalf to finish it at right. So let's write it like this instead of the w Wh even though I like to w w high h. I think this is a little bit clearer right now for this list. So then we want to get into the miners skill, which has a different formation, as you know, by now. Hatefully. So we're going to e flat right here on Earth, an A flat and B flat. OK, so it's a little bit of a different skill rather than okay. City steps are different as well. We have two steps followed by one step. Let's have a look at the piano just to go over this again to SEPs one step. And then we moved to F. So it's two steps again. Let's see if I can actually, yes, I can kind of get a booth on their so two steps. Okay, so sorting here. Want to steps? One two steps, Two steps, Aggie than one step to a flat. Do subset B flat of on two steps to see. Okay, Roy here. Now, these are both skills that carry seven notes and then the end notice repeated. Okay. But basically the seven unique notes in the skills and These are the skills that you've learned so far, right? Say this is major a minor. And now we're getting into the blues skill, Which sounds, I don't know, Like even if you just play this skill, I will explain to you how to do that. It sounds Nizam bluesy, right. So the blues scales a little bit different. Um, let me ride the notes first. So we have C e flat, uh, and then full about G flats, G B flat, and then ending up on seat. That is something very important. First of all, these gaps are different than in the major. And in the minor, of course, but also heavily crowd here. 123456 notes before ending on the beginning. OK, so this one is also one of these skills that you can play continuously, like Visit K s. So, um, I will show you how to do the with the fingers in a bit, but for now, let's figure out these steps. So from C to E flat is gonna be 123 steps. So does three steps in the beginning, right? Damn, That's ah, really close to the edge. So right here. T f It's two steps from after G flat is one step from G flat to G is also one step. Okay, so C e flat, F G flat G now to be flat, three stamps to end upon B flat and then two steps and up on C. So for a regular blues scale, it's gonna be 321132 Starting on C like this, starting on D and would be something completely different. OK, I mean, the gaps orders. Same. But all of the notes are gonna be different, which is really interesting to me, because with this one, we have all white notes, assumes we moved to d would get two black notes. OK, but look, what is gonna happen when I change that blues scale from C to D. So I'm gonna do that. First goods. In order to do that, d, we're going to take three steps de 123 ending up on f okay. From half we have to take two steps. As you can see, that's the next one said two steps from after saps want to we end up on G now from the next one We have to take one step on one step one and one say from G one step, we end up on a flat and then another sap, we end up on a okay So far, Sigit. And then we have to take another three steps from a 123 We end up on C and then another two steps to end up on D again again. 123456 notes before we end up on the returning. Okay, this is a little bit more spread, so it looks maybe like those mawr. I'm sorry for that. So let's see if you can find the GI Blues skill bore yourself and then we'll have a little bit of time and then I'll take a little bit of time to show you how it plays this with my fingers. But it's a little bit depending on how you want to play this well, so please figure out the G scale by yourself for blues, and then I'll show you had to do that. Good. So for G. Um, we have to do the same thing, right? Three saps to be flats, moving on to see a D flat on D D F on G. Now I want to talk a little bit about the fingering. This is one of those things I've seen a lot of different things, especially when you look at the sea. Normally, we used to do this. If we only play five notes and if we want to go all the way here, we owe we get under, right. So, like this. And, um and if you want to continue, we would actually build a film here because we get under again Now with the blues skill. If we do the same thing, lick, that's not gonna work. And then if I do three fingers and Lango under, I have to go here, which is very wit. Also there six notes now instead of seven. Say the fingering would be a little bit different. Anyway, um, I've seen a couple of examples. I've seen this, which actually this work s so here. Um and then I've also seen different approaches to go to the fourth finger right here. So that's also possible. 1234 And then under 134 which thing does set you up pretty nicely on. And then you can also go like this. 1313131313131 Which is also pretty easy. You can ended up on a different fingers. Well, now, the main thing is that it also is going to really depend on which note you start. If you started your rude, it may be easy for you to do that. If you maybe start here to come back, you may just want to do that. Or maybe you want Oh, you know. So it already depends because blues is more of an improvisational style. That's not really one certain technique that I can advise. It depends on your flexibility of your hands and also the hand size, and also depends on how you want to actually play that blues. We'll get to that a little bit later. A swell any blues lesson. But for now, let's not get to suck up on how you want to play it. I kind of like this is well, 313 well through on three for to see, and they have to keep in mind that when you change to different key, all right, so D or G thought that's going to be different. Like a case A d You know, you could already mawr easily take a regular approach right there. So, like that now, you cannot thought easily did the 13 right here. You could do 212131 three and then continuing on. So that's very skilled dependent as well. And then for G, it's kind of really similar as a C. Right. Uh, so it really depends on your personal preference. I wouldn't get too stuck up on it. I would mainly just try and focus to learn these notes. Learn these skills if you wanna learn them. Not specifically these ones, the C D N G. But of course, sees a very good places start. Antam and G is also nice. But D is not really that important in the beginning. Yet it really depends on which skill you wanna play in. Obviously we'll get to that later. I just wanted to show you the blues skill for now. Let's move on to the chromatic scale. So now is that you knew three skills, the major skill, the minor skill and the blues scale. We're going to be moving on to the chromatic skill, which is actually a really quite interesting skill in my opinion. And it goes like this. It actually, if you can see that, has all of the notes in it. Food almost fits. Okay, so every step between these is going to be the same will be 111111111111 step. So playing that on the piano, we will just get that. Okay, Now you might think, Dude, what is that? You know, what does that do? The chromatic skills. So we see that an improv, improvisational, little bit Naresuan. But basically, it uses all of the notes. You can kind of get these. You know, these kind of sense. Um, these weird chromatic scale kind of things you don't see. It's super often that people play that in regular music and pop music or in rock. But you do have course, eat a bit more in the blues and in the jazz on that type of thing. So how do we play it? Well, basically, is just a one of the three, except for these gaps. Roy Hip. OK, so it's a one, which is your thumb on the three, which is your middle finger. Three. Warm three on. Now play the thumb Zandi. Point a finger to cross the gap. Middle from middle thumb little thumb pointer and going up off the camera, giving up. It's not that hard with this fingering, but going down is a little bit more tricky because you will really want to play that from most likely. Okay, so as with all of these things, take head easy. Take it slow. So going up very slowly, I'm going back down slowly if you have to. Um, and finishing up right here. I think that's off camera as well. So for the other hand, left hand, the idea is the same. But now, of course, we cross the gap this way. So from middle finger, let me get rid of this. If you can see that, OK? And now the pointer from middle from middle thumb Middle pointer, Thumb middle like that. I came so going up slowly and coming back down. Okay, so when you come back down plays the thumb is then the pointer. I'm off camera already? Yes. So I think you get the point chromatic scale, probably the most easy skill to remember. Every no that's in there is gonna be in there now Something that's super cool is the whole stap skill. So what would do that as we take every other note in case we're going? Teoh not play that on, not play that one, not play that one, not play that one, not play that one and not play that I think a so every other note C d e and then G flat a flat B flat. And this is a C whole stap key. Now why do we call it a whole step? Because, like, a sad whole turns half tones. So the steps that we're counting our Hoff slaps. So that's 222222 in between two hearts, steps or one all step, these sound really a bit psychedelic. So especially if you play them like this, you get a little bit of I don't know makes me feel uncomfortable so it doesn't matter which No, just start out. All that matters is that you are going to take a whole step. Okay, so if I saw it on, see the next one will be d e g. flat. A flat B flat. So Right here, Holst. Abdi Whole step E holster. Chief Land Horst up a flat B flat. Since there's 12 nodes and these skills consist of six notes, it exactly matches up to have these whole steps. So what I would like you to do, Roid now is Teoh. Give me the whole stop skills for D Sharp for B flat and also for G. Give me those, and then I'll see you in a bit. Okay, so I hope you've written them down. I'll show you the answers in three, 21 Okay, I hope that you that you found this out. This was a little bit of a trick question. Because, of course, with the whole staff skills, we only have two possibilities. Right? Were either playing the notes G A, B, C, sharp D shop F and G or were playing the notes B flat, C D E G A B flat. These are exactly the same as these. They just started a different point. D sharp D sharp, f f g g a a b b c sharp C sharp d shop the shop. Okay, So these skills, there's only two possibilities on idea of these notes or you have these notes and just depends which six note you have and think you have a sort in it. Okay, so only two possibilities. Super cool music. If you really want to give a psychedelic effect to maybe a movie or to an evening or to whatever this is the skill for you, we've got a couple more left. I just want to quickly remind you what we've done so far. So before this lesson, your new major on D minor. Okay. And now I told you the blues skill I taught you the chromatic skill which remember that was simply every single note. And now I also tortured the whole stab skill that has three more skills that we're going to do. Ah, the harmonic skill, the Panta tonic skill and the melodic skill. Okay, so let's have a look at the melodic skills Panta tonic, and then harmonic skills. Gude. So the cool thing about the melodic and harmonic scale let me put melodic here on harmonic hip is that they're basically variations off our minor skill. So one of the things that you didn't know yet is that the minor that I've been teaching you is what we call the natural minor. The reason that is is because of a take my notes from the aim on a skill. They are exactly the same as the C major scale the same notes, not the same order, because we start on a instead of C. So I want to take that a minor skill. Hey, B C D E f g A as an example. Now there's a good reason to roid in harmonic or melodic minor, and we will get into that into chapter four. We wanna have a look at these steps right here. So for now, just learn as much as you can. And then don't worry about Hank deployed too much yet. We'll have a look of these steps right here. So between a m b, we have a step off to, as we know, and then one to to one to to. So now let's take a look at the harmonic. The harmonic for a minor said this is a moaner. Okay, harmonic for a minus. Signs like this thing Okay, sounds a little bit Arabic, right? So if I saw it to right, that a be see De e Uh, G on a But what happens is this seven goes half a note up. OK, Soo, Everything will say the same. Except that this to or change into a one on this too will change into a three. Okay, to want to 2131 steps in between. So normally, we have this Azan a minor. And for the a minor, harmonic way Go there. Okay. TG shop. Right. So this is all the same up until here. But here, instead of taking two steps, 12 were not taken. Three steps. 123 ending up on G sharp. Going to a OK, so raise the seven. This one right here by 1/2. Okay, it's 1/2 higher. Now let's have a look at the melodic. So in order to really melodic what we've basically don't If we fix that gap off three, we don't like the three right there. Maybe sometimes you do. But maybe sometimes you don't. So this is still the same. This is still the same. This is still the same. This is still the same e to f. Sharp has become to have shop to G sharp to G sharp Two a one a two B two. Okay, so we've restored some balance Moving from minor Teoh the harmonic minor. Now the melodic think a second hand at the end right here almost sounds as a major. Okay? And that's the cool thing. If I write the major beneath here, My Drew, we now have a B c sharp. A shamefully remember d e half shop G shop. Okay, so what we're doing is starting from minor. We are starting to change one note to G sharp. Basically, one nerd gets up. Nikki City difference here is that one node goes to shop like this here. Yet another note goes to sharp. Okay. On here. In order to get to major, another note goes to shop. In order to to go from a minor to a major, we have to sharpen three notes c sharp, F sharp and G show in order to go from melodic to a major, a melodic to a major, we only have to show up One more note, which is a C shop. In order to go from harmonic to a major, we still have to show up in two notes have sharpened See shop. Now keep in mind that I chose the a minor scale because it's so easy, right? There's only white keys here. So all we have to do is put a sharp, sharp sharp. But it's also very possible that you have a skill that, for instance, has a b flat in it. But then if you sharpen it, of course you would end up on B. If you have a c sharp, you would sharper that you would end up on D. Okay, so that's super important. So what I want to do right now is give me some examples off harmonica melodic skills. And I ask you which once. Okay, keep her mind. I put melodic up there. Okay. So don't be mistaken for melodic. I would love to see a C melodic skill as well as a G flat melodic skill. Harmonic. I want to see a d ah harmonic scale and on a sharp harmonics skill. So please make these And then I will see you after that with the answers a case. I'm going to reveal the answers in 321 Here we go. So 40 melodic. First of all, I had the melodic down in the beginning. Now it's up. OK, so I told you that before, But make sure that you did it correctly. See melodic. I want to see c d e flat F g A B c. Why is that? OK? Usually a flat and B flat right here. Six under seven have dropped half a note down. So right now we ended up here G flat mona scale, usually g flat a flat, be double flat. See flat D flat, e double flat, a flat, a flat being raised half unearth city flat is eliminated, leaving us with f e double flat, eliminating one flat. We remain with one so e flat 40 harmonic scale d We have d e f g a B flat c sharp d, which is something a little bit peculiar, right? But I'm keeping my point that we have to have every note one, So a b c d e f g there have to be there ones as the rules that we raise the seven. Since it's being raised from sea, we now get see shop. So first key that we've seen with a flat on a sharp in there at the same time. And then for Asia, we ended up on a sharp be sharp C sharp d shop the shop after shop g double sharp. Remember, the cross means a double shop and then a sharp against. If you had any of these wrong, please watch back a little bit. Make sure that you get it right at the end. I will ask you for some skills as well on the homework test before moving on to lesson 3.2 . For now, I'm gonna teach you one final scale the pant atomic scale, before moving on to the homework session. A que So I guess that if you've been watching this lesson, um, right after each other that you're pretty tired by now. So I wanted to finish up with one mawr type of scale, the pant atomic scale Penta meaning five. So we have our major skill right here with basically seven notes in it, right? All we have to do in order to turn this into pentatonic, the pentatonic skill for any skill issue, right? Dandy majors skill. And then you get rid of number four and number seven. Okay, so you simply get rid of these super easy to do. Okay, so if we play that on the piano instead of Ueno, skip the F on Skip the be so right here. C d E g a. I'm on to see again. OK, so Major on then pentatonic sounds a little bit he certainly with Chinese on. And there's a lot of traditional songs that have been written in Panta Tonic scales. So that's a relatively easy one. We are going to do a couple of these skills right now for the homework session. You can check that if you got the answer is correct. At the end of this lesson, I will give you the exercise, roid. Now, because I wanna have a few of these skills written down for you as a practice exercise before moving on to less on 3.2. Now, if you're overwhelmed by now, at this moment, why don't you just take a little sip of water and get some coffee, get another drink, maybe have a little toilet break before finishing off these final skills. But it's really important that you do in order to make sure that you understand it correctly and that you get the answers. Right. Okay. So I'm gonna be asking you for some blue skills. Chromatic skill is super easy. So I'm not really going into that. And then I want you, Teoh, give me some harmonic pentatonic melodic as well as some whole stop skills. Okay, so let's do that. Starting right now. Okay, So have the board upright again because we need some space. So simply I'm gonna ask you for 12 skills, so see, D flat de e flat e half. Um, let's see. Let's do f sharp. I think that's nice of an G. Um, a flat A b flat on b. Okay, that's 12 right? 2468 10 12. Yes, please give me the answers to these skills are pause. The video is always and then come back with the answers goods. As always, I will reveal the answers In a 3 to 1 On the right hand side, we can see what these skill is supposed to be. So we have melodic pentatonic, whole harmonic blues melodic pentatonic hole blues, Panta Tonic hole on ba loots. Okay. Melich C minor, C d E flat, F g A and B pentatonic. We've only got five notes d flat, e flat f a flat and be flipped for a whole step d e f sharp g shop a shop. See, As you know, there's only two possible variants with that on Earth is the one with the F sharp G shop a shop in it and then for the harmonic off E flat, we've got e flat, F g flat, a flat, B flat, C flat and D the blues scale an e e g a B flat B d. Okay, um melodic F g a flat B flat C D E f k pentatonic only five nights f sharp g shop, a shop, see shop and d shop the standard black notes pentatonic skill that we see so often NZ A and the Eastern traditional music G A B flat, C, D e flat and in f sharp. So again, in that harmonic skill, this time a flat on a sharp in the same scale. So we didn't see that that often. Ah, blues skill A flat B D flat D e flat, G flat. You can always recognize these because the steps here are only one and one right, so that's always very obvious and sandy pentatonic for A a B, C, sharp E and F sharp. And then the whole nodes. B flat, C D E g flat and a flat. Finishing up with a blues scale. B D E f f sharp A. So that's it. That's the entire homework done. I hope you enjoy this lesson. I knew this is quite technical stuff. Quite hard. We will have some interesting skills in less than three years. 12 this chapter where we do the moods super interesting there as well. But apart from that, I won't bore you too much with all kind of different skills. Been recording this for two hours right now, So I'm gonna take a bit of a break before recording lesson 3.2. Hope to see that 28. Ep 3.2 Piano Basics for Pop & Rock: hi working Cillessen 3.2 of the living room piano course still can't believe that we're in Chapter three, but in this lesson, I'm going to teach you what the basic set up is off a rock or a pop song. We already talked about that a little bit, you know, with the cords. But now one look more specifically at what if you actually want to play the malady line in your right hand waltz playing courts or something else in your left hand, And I had to do that mainly for pop and rock songs. But there's also some contemporary classics that use that as well, a swell as movie music and all kind of different genres, basically. But mainly let's focus on pop and rock because it's easiest to explain it that so we're going to have a look at that. In this lesson on, you will see how you can use that knowledge and how the songs are built up and how easy, basically is to play songs like Sound. So let's dive roid into that, how to build up a pup or a rock song. So most of the pop and rock songs have a very basic structure. Usually there is a core progression that repeats itself. And then in most of the cases, there's four quarts and sometimes three or more. But let's say four courts okay, and all of these courts on the core progression belonged to certain key. It's repetitive, and there's a melody line build on top of that, and that's basically a song. Depending on the song, we could have one core progression or two or three on the key could actually change. It's also possible that it's not repetitive, but that's that will be very weird. And the malady line could also move outside of the key. Okay, so those are a couple of things that you should keep in mind. But in general we will have a surgeon core progression, usually four chords in a certain key that repeats itself, and there will be a melody line played on top. Now, one of the things that's super important to understand when playing the piano is that there's basically two past you can choose. You can choose the path off being the pianist in a certain song on what that means is that depending on the song, there's going to be a band actually performing the music and is going to be someone singing Or that could be somebody's singing and somebody playing the piano like a duo Khanna thing or even it could be just a piano. So if you choose the path of being the pianist, you would just play with. The piano is playing. So if there's a piano solo piece piano arrangement like makes like maybe a piece of shoe pa or maybe the things we played with Ludovico Einaudi, then it makes a lot of sense to just play the piano piece, right, because that's beautiful. That's what you want to hear if there's a duet kind of thing going on. So somebody is singing on top of piano track. It would also make a little sense. Detroit A. Mimic that piano piece because you can play that and then you can sing on top or somebody else concerned. However, if you're playing a song where the piano is is there. But it's not playing the entire song because as a band, that could be a guitar, a drummer, a saxophone, whatever, all kind of instruments layered on top than that piano piece may be very minimal because it's just adding some accents on. If you would perform that as a solo piano peas, that would sound very weird because you're just playing really small accents here, and there are little pieces, so you have to decide when you're playing a song. If you want to make it into piano solo arrangement or if you want to be part of a bigger struck job, meaning, if you want to play the piano by yourself and you do not want to sing on top and nobody else is singing on top and there's no other instruments, then it can be very boring to just play those four quarts without a melody line or whatever , or to even mimic the piano as it's actually playing in the song. However, if you're part of a band on, do you want to just contribute to you? Sound overrule on Let's say you're playing. There's a drummer and or somebody on an electric guitar as well as the lead singer. Then maybe you want to turn it down a little bit and play with the piano is actually playing in the original recording, so you have to pick one of the two. Are you going to be prominent? Is is just going to be you Or are you actually supporting a bigger course? Basically. So in this lesson, I want to show you what to do when you are the only one playing. It was just you and you're not going to sing on top. How do you actually tackle a song? And in order to do that, I want to have a look at Beyonce's halo. If you don't know that song yet, make sure to listen to it first. See on the San Howard Gannon goes on and then we're going to have a legal that good said The first thing we want to do is when we play a song as we wanted Eddie Key. So Halo is being played in a major on the courts that were playing or a followed by B minor . I've sharp, minor, uh, whips on D. This means that the easiest way to play this song the very basic ways to just play all of these nodes A B, f sharp and G. Okay, so we get this. Remember, those walls are built Well, baby, that crumbling down. They didn't even put up a fight. They didn't even make a sound. Okay, Now this of course, science. A little bit weird because we're all over the piano. Maybe we could do here. Remember those walls are Bill, baby, that Timberland didn't even put up a fight. They didn't even make a sound. I found a way to let you in, but I never really had it down standing in a lot of your halo, etcetera. OK, obviously, this doesn't sound super gude, but if we turn these into courts, we get a bit of ah, better sense. So we could play a as a court. A major. Remember? Those walls are built, baby thought tumbling down. Okay, Like this and it sounds a lot better. Remember, those walls are built. Well, baby, that tumbling down, they didn't even put up a fight. They didn't even make a sound okay, ons, But playing it this way, we already got a lot more field. But keep in mind that now we're just playing with one hand, so we want to add in the left hand as well. Maybe so you get a bit more. Remember Bill or baby thought tumbling down they didn't even put up before. They didn't even make okay. So by doing that, we get a little bit more body Teoh. Our song now is the problem if I just play these chords for a couple of times and I'm not singing because that's what I'm talking about right now, it will just signed super boring. Listen, So without having something on top without having the melody line on top, that's going to be very boring. Now, luckily, we know which key were playing in, and therefore we also know which notes we get to choose from a be see de e f and G being an a minor. We have see shop, have sharp on g sharp. Therefore, see Melody line off this song and keep in mind this doesn't always have to be the case with pop and rock songs, but in general this is how easy it is. We have a certain key, we have a court progression and then we have the notes that are actually in that key. We're going to use these notes to create a malady line to be played on top of this core progression. So what will happen is that the cores from the right hand will actually move over to the left hand. And in general, not always. But in general, we're going to turn them into five quarts. Okay. Into five courts soap. We will now play a five. Be five have sharp five and D five in the left hand. Okay, so let's have a little listen of that. Remember, those walls are built, baby, that I didn't even Pete it before. I didn't even make a Okay. Now what? You played him like this in general, that's going to be, um, a little bit intense, right? Because their power courts. So sometimes it's better to remember those walls are built, baby. That tumbling down, I didn't even find didn't even make a son. Okay, so we can apply a little pattern thistles. The most basic patterns that are usually see. So it's just the lowest note off the cord. Medal note top node and back down to the lives note. Remember, those walls are Bill, baby. The timberline done Didn't even put up five. I didn't even make Okay. Now, sometimes, as you notice, right now it's getting off camera a little bit. So maybe I should just move my camera over. But sometimes in general, we're getting a little low. So then you can solve that by sticking here. Maybe you don't want to get into the right hand so we could just take care. So then, Okay. Something like that? No, not a thing that we sometimes see eyes, A pattern like that. Okay. The different type of options you can have. Okay. Old type of her pledges are possible on this is really dependent on the song. What kind of feel you want to give? You can also just play them those walls up, baby. The okay, that doesn't really matter. The main idea is that we want provide the melody lines that we're going to play him right with a bit of support in the left. Okay, so then it's time to fear at the right hand. Now, the good news is you do not have to figure out the melody line by yourself. There's plenty of videos on my YouTube channel. There's music sheets that she music that you can purchase. Um, and there are other ways to figure out the melody line. However, if you do want to figure out the melody line itself. I will have a video on that and Chapter four, but you don't need to be worried about that. You don't need to worry about what the melody line is. Usually, this is very easy to figure out yourself on. Otherwise it will be taught in different lessons by people. As I said, I have over 1000 lessons on YouTube, so you're more than welcome to have a look at that. See if this song that you want to learn is there. But if it's not, then there will be other people as well. That will teach you Mallaby lines. Keep in mind the malady line is something very tricky, because if you have a song in your mind, right that sometimes I hear a melody line on piano and I think that's no entirely correct, like that's really not what she is singing or that's not what he is singing. And sometimes I go to these song and I go like, yeah, indeed, it was wrong. That's not how the song goes on. And I used to have that a lot, which is one of the reasons why I got inspired to do piano lessons myself. I would listen to his song of a goat like Damn dude, that's so far off. You have no idea how could even come up with a malady line like that. Right? So instead of remember, those walls are built, it will be remembered. Those wells are billed, for instance, and you go dude, like that's so wrong. However, sometimes you have a melody line in your mind that turns out to be wrong. So when you listen to the original song, you go Oh, damn. I thought it was a little bit different. So always be careful there. If you if you hear a malady line I always try to make my melody lines sound Hunterson on point in my lessons. But sometimes when you listen to my lesson, you think that's not entirely correct. But then you go back to the song you go. Oh, it was correct. I just I had a different in my mind, which is something very difficult when creating piano lessons, because your own perception gets in the way of the actual truth sometimes. So I have to always be wary of that. But you also have to be wary by you. When you have a look at melody lines, explain in sheet music or by piano teachers if it is actually correct or not. Anyway, the melody long right now is remember, this bulls are built, baby. Their somebody willing. Uh, okay, okay. You don't need to necessarily learn this melody line. But now I want to show you what happens when I combine that with left by just simply playing the quartz in my left hand once as a five quart listen. Okay, So the main thing that's important hit in this stand is that all I'm doing is I'm playing these five chords once in my left hand, I will zoom, add a little bit of swelling in a while, and then I'm using the's notes to create a malady line that goes on top of that. And that is basically how these songs or build. Now it doesn't matter if I repeat all of these courts three times or four times or two times they ever play them broken or a in an arpeggio, or if I'm just playing them once, it's all about the structure, the way you want to play them. That's up to you now when I create a lesson, I always try to make sure that my left hand is matching the song as much as possible so that you get the correct feel for red. And then the roid hand is being played on top on. Later on, we will see how we can make this right hand a little bit more interesting. A swell. Now What's important is that, yes, that malady line is the hardest thing to remember, because in a given song that will be 300 or 400 nudes, right? And that's a bit hard, especially in the beginning. But what super importance on the sun is if you have your structure correctly, if you have your correct key and the correct courts that you're supposed to be playing, whether it's through the entire song or whether it's just in a certain section of the song , that doesn't matter. As long as you have the correct key and the correct cords, this is secondary. Okay, if that goes wrong, then you don't have a proper foundation to build your melody line on. So let's zoom out a little bit and now we'll play it again. What I just played so you can have a look at the left hand as well. And then it will play a different pattern in love. A case of a playing it this way we're basically doing is providing a nice foundation with my left hand right, and I'm just playing a single note melody line on top with the right, So it's just one note at the time in the right hand again, I'll show you had to do differently in absolute 3.4 before now. Let's play a little bit of a different pattern in the left a que se hopefully your hair that by doing this'll by just playing, I'm providing a little bit more, flew to these song and providing a bit more bodies unjust, even though this can be very nice and can be very powerful by doing this, it provides a bit more flow, a bit more continuity, in my opinion. Now let's listen to yet another variation on this is just a show to you, that deciding hand to play that left hand can be super important. 40. Feel off these song again. You do not have to worry about that addle in the beginning off. You're playing because what I wanted to do and I will talk about that a lot of this chapter . It's Luke at lessons. They don't have to necessarily be my lessons off course. It's always noise if you which my lessons because you support me. But if that's other people that teach you certain song, you're more than welcome to have a look at them as well. What's important is that in the beginning you just copy people. So if they play so if they play a certain pattern in that left hand, you just copy and follow along with that, as on later on. If you get some experience, maybe you make a little mistake. They think, Hey, that actually signed a pretty cool right. Maybe, instead of going, you accidentally went to be instead of a C. So then you get maybe you like that. Okay, maybe you make a mistake, but planes that being you like that and then you change it. But what's important is that in the beginning, if you're sorting out, do not worry about it too much. Okay? Super easy rules on people will uphold these rules when they teach you a song. It has to be the correct key. We have to use the correct courts. And then we put a melody line on top by using notes from that key. So that's the one more variation of the left hand, a bit more of a freestyle variation to show you how you can make a song like this your own so very different feel from when If I just dio, I guess, something like that. So there is something really cool by this. If we and let me move the camera a little bit right here, if we basically take these ingredients, it's like cooking right. If you want to make maybe a result, so there's a couple of basic things that you want to do. You want to use results arise. You want to make a stock and boiled the resulting in there. But then what you do specifically with it, that's up to you. So we give a certain basic idea about that song. We want to play Halo so it has to sound like Halo, which is being played in a major, and that we play a five B five, sharp five and D in order to provide some contacts with the left hand now in pooed nodes on top. OK, so that's the basic idea that we will always use for any pop music or any rock music. And yes, it's possible that we have some exceptions now and then more. We break the key. What's also fun is to play a song in a different key on purpose. Sometimes people do that as well that we basically transcribe all of the courts. As you knew I had to do that as well. So from a major, let's say we will play that in C. Major. So 123 everything is three notes up. So that would get something like this. I don't know. That's the first time I tried. That didn't come out perfect, but you get the idea. Okay, so we could, on purpose, roid it in a different key. Sue. What I want to keep in mind is that even those sometimes a song can look very intimidating in the basis this is what's going on. Yes, it's possible that we do know, have this court right here and that were actually repeating a B five court. That's possible. It's possible that we have five courts instead of just three. So maybe this is f sharp and that maybe we have a G court of the Android that or G shop court in this case, I don't know that's possible as long as you keep in mind that any basis, we just have a key. On top of that, we have some quartz that are part of that key. And then on top of these courts, we simply have a melody line written with nodes taken from the key. That's all you need to know. So the main thing that we didn't this lesson is we We went from playing courts in the right hand because we wanted to make a solid foundation for somebody just sing to. We now want to make a solo piano composition by moving those courts to the left hand and actually putting the melody line instead of having somebody sing. We put that melody line in the right hands, said a week and places as a solo piece. We don't need anybody else. We just need the 88 keys and we can have a blast. Keep in mind, you can also do this on, simply play melody line for somebody to sing on top off. Okay, It doesn't have to be a mutually excluded. So if you play courts in a left hand or five quarts of broken quartz in this case, it doesn't mean that you cannot play a slide light malady line with right and then have somebody sing on top as well. But usually what we see is that right hand is going to play the melody from the lyrics. Okay, so the lyrics will be played in the right hand using the newts. So I want to thank you so much for watching this as a homework exercise. What I would like it to do is a wanted to lick of the courts for Halo. And I want you to practice with this a little bit. You have some examples of what I'm playing here on the piano and just see if you can figure out you don't have to be able to play this song and entirely, But just see if you can figure out these courts for your left hand how you would like to play them. You can choose to play the courts in a roid hand as well and seeing to it yourself. Or you can start to play that melody line on top a little bit on like I sad. It may not be easy for you to to figure out that malady line, but I've shown you had to do that on the Piano road here on. In later lessons, I will. Teacher had to do I have to figure out melody lines yourself, playing by air and also different techniques as well. But for now, just have a little bit of fun with this and see if you can do this. You can also do this for different songs, but just as homework like after you stopped watching this video, keep on at it for, like, 10 more minutes. Make yourself familiar with the core progression a five B five F sharp five on D five and see how far you can go before moving on to Lesson 3.3. Where we're going to do something completely different. We're going to have a look at moods 29. Ep 3.3 Piano Modes Explained: Hey, welcome to less than 3.3 of the living room piano course. Right now I want to talk to you that moods. It's one of the topics that are a bit difficult to understand in the beginning, but I think that I found a couple of ways to explain it to you quite clearly. So the first thing you have to keep him on is that a mode is basically a scale like a So as we have seen advanced skills in less than 3.1 right now, we're taking a look at yet another bunch of scales. So I'm going to explain this in two different ways. I'm going to start by explaining it the easy way. But there's some limitations to that. Which is why, after explaining it to you to ease away, we're going to extrapolated that and make sure Did you play all of the moods that you have two new? So we're going to start by playing just white notes, and I will explain to you how we can play all of the different modes using white notes, only. So, first of all, what are the names of the moods? Let's put them on the board on. If you want to ride along, that's possible. But you can also have a look of the resource file popping in the screen right now because all of the moods are less that Harris Well, okay, so here we go. Let's list all of the modes. All of the names first. Good Sodi moods. Don't only carrion name. They also carry your numbers So we can say mode number one mode number two or the first mode. Second mode, etcetera. So but the numbers one, 37 And now the modes. So the 1st 1 is Ionian, and I'm already sorry, cause I'm not gonna be able to pronounce all of these correctly. The 2nd 1 Dorian. And here we g o fridge in frit gin, Libyan. Now we have another Lydian but we say mixer in front mix O Lydian Oh, my God! A Olean on the law Creon mood. I came So these are all of the modes on If you're freaking out yet? Don't worry, OK? It's not going to be super difficult yet. We will get to the difficult part later. But what I want you to keep in mind is that we can apply all of these moods to, For instance, the White Keys. Okay, so I'm going to demonstrate that with the piano right now. So in order to play any of these moods, we're going to start on the wide keys. Thank a on the 1st 1 The Ionian is quite easy. If we saw it on C d E f g A B C, we have our Ionian mode, right? That okay, which basically means that the Ionian mood is a major skill. It's exactly the same as the major skills. There's just a fancy word for major skill. Now, how do we find the Dorian mood? So instead of playing a c. Dorian, I'm actually going to play a d Dorian and there's a reason for that. So I was playing on Ionian a C major skill Roy here, remember? And now I'm going to play a d Dorian mood. So all I have to do is they start on D and then I play all the white notes. Okay, so now I have my d Dorian right here says, see Ionian and D Dorian right here. So the first thing you have to keep in mind is that in order to find all of these moods, you can simply move a nude to the right as long as you're on the White Keys. Good. So we have the d Dorian scale. I will go into that a bit more in depth later than the three gin scale we move T e o. We have the fridge in scale, but it's an e. Okay. So super important to keep note that we are actually changing the starter note all the time . So, Ionian Dorian Fridge in. You can already imagine that the next one, the Lydian Skill, was start from half an hour and a left, and we play all of the white notes in between. So, so far, so good. The mixer, Lydian. Okay. Still super is is just a wide notes, but not sorting on Jeep Alien. Okay, this is an interesting one because, as you probably remember, the all of the white nodes sorting on a brings us to minor scale. So this one is pretty much a minor skill. It's exactly the same. It's a fancy word for the minor scale. So the Ionian is a major skill, and the alien is a minor skill. And then the final on the low Crean we start on B and we and, um be like, move the camera bit right there. OK, so these are all of the moods. So now you might say to yourself, Well, that wasn't too bad. That's pretty easy to remember. I just moved the note and then I end up him. The different mode on that is correct. But there's a little bit of a problem, Okay, because what we did is we didn't play all the modes that are out there. We just chose a very specific selection. So we played his C and then a d Antoni on behalf on a G on on a on a beat. So he played a C Ionian mood, a d Dorian mode and E fridge in mood, etcetera, etcetera. Problem is that when you do like this, it's super easy. But what if I want to play a C. Dorian mode? This means that I have to start on C and the intervals have to be according to the Dorian mode. See fridge in mode. OK, so we're going to have a liquor that in a little bit, but first, I will have to discover the intervals that I'm playing in all of these modes, or how many subs would have to put in between. So we will get to the second step, which is applying any of these modes to the sea as a roux position. But first, we have to figure out how these moods are built up. So we're going to be playing that whole our whole tone, half tone thingy. So let's have a look at the piano right now. We have a starter node, see? And then the next one is D. So we have that whole tone, if you remember. Okay. A whole node hall mode, hall mode, half note. It's a whole whole half. And then whole whole whole half. Right? Okay, so that's a major skill. If you probably remember from chapter one. We have whole whole half whole whole whole half. Okay, then the miners skill right here. The the alien. I was a little bit different in case starting here. We have a whole one so we can write that on half one and then a whole whole half hole. Okay. In order to make this a little bit more clear. I'm going to change it to steps. Okay, So whole notice to saps on 1/2. Noticed one step. Okay, hold Watford. I have to take 12 saps. In order to write it down like this, it's going to be, like, really messy. So I'm going to change it to 2 to 1 to 2 to 1. Okay, That will make it hopefully a lot clearer for you, but I just wanted to stick to the whole half for now. So do you remember that story? Okay, so we take two steps, Two steps, one step and then 22 to 1. And here it was different. Remember, Teoh 12 to 1. Said 212 to 1 12 to 1. Teoh too. Okay, so this is how many steps you have to take Foran alien mode or a minor scale. Now let's figure out the rest of them. Good. So forth. The Dorian I can simply play that here, starting on D and now I have to figure out what I'm doing. So the first said the next night I'm playing is going to be e So that's two steps, then it's going to be after. That's one sap than two to says. So far, it's still exactly the same as the minor scale. But now I have to take another two SEPs one step on two. Okay, so we can see 212 to 21 2000. Dorian. Okay. For the fridge. In starting on e, I have to start with one step in order to end upon f. Okay. And then I take two steps, two steps, two steps, one to to in order to end back up on it. So keep in mind that these are just different patterns that we're going to deploy the major skills he first. When you're learned, we have two steps, two steps. One, 22 to 1. And now I'm basically teaching you a whole bunch of different skills. But instead of calling them skills, we call them modes and came. That's the main important thing to remember. Let's have a look of the Lydian starting with 222 steps. 12 to 1. Okay, make so Lydian to to one to to one. To as on the final mood, the low Crean mode Starting on B, we start with one step to to So so far, it's still the same as of this one. One, 222 Okay, so, as you're able to see, we're basically moving this whole thing e up One note. Okay, you can see that We have 2 to 1 to 2 to 1. We put that this to on the end. Luke 212 to 21212 to 21 OK, we put that to on the end. Then we put this to on the end right here. See? So the whole thing is basically moving like this is he want to 2 to 1, and then here wanted to do one wanted to do one. So that makes sense, right? Every time, every time the interval in the front moves to the end in order to create the next section. So now let's see what happens when we actually play this on piano. So now what happens when we played on the piano? If you play that Ionian skill way, simply have r c major scale. But now ever wanna play adoree in scale? Starting on. See, something interesting happens. Okay. I hope you wrote down all of these numbers in your resource file so that you can now read along. But I have to start on sea. And now I have to take two steps. But now I only have to take one step like a savy. Dorian is going to be starting like this, Which is different then. Or major skill, Of course. So right here. Now I have to take two steps. Another two saps another two steps. And now I have to take one and then two in order to end up here. So here, like that. So this sounds the same. Was this okay? You can hear that. A kind of signs of same. But now we doing start on D for the Dorian. We start on C. Okay, so we can keep on doing this. But I'm not going to tell you all of the answers yet. I want you to actually get into this. So well, let's have a look of the board. What I want to do if you haven't done so yet. Is Roy this down? So behind Ionian. Dorian Fridge in all that stuff, I want you to write down the amount of steps, okay? And then what? We're going to do. That's in the resource file right away. Now what I want to do is I want you to figure out all of the nodes for all of the different modes for a C. OK, so all starting and see as an After you've done that, you can come back to the video and I will show you all of the answers on also in need, little trick. So let's do that, Roid now, just to declare the head would B c D E f g ABC here to B C D E flat F g A B flat c etcetera . That's what I want to see. Okay? And I'm going to show you all of these notes when you come back. Okay, So I hope you figured out all of the's before I'm going to show them to you. I will reveal them in a three to one, and he already answered, So let's quickly run through them. Ionian is just a major skills. C D E f g a B. Dorian is different. C d e flat af g a b flat. I came. So basically you're going to flatten the third as well as the seventh Okay, so that's also a way to remember it. Some people find that easier, then the fridge in C d flat e flat, F g a flat B flat. Okay, Really unease away to remember that. Vandy Lydian C D E f sharp G A B. Basically, all we're doing is we're raising the four. Okay, this is the fourth note or putting that half a node up. So every time you see a Lydia mood CD eat the 4th 1 is gonna be a sharp and the rest of just be like the major scale, then the mixer, Lillian C D E F g A b flat. We're going to flat on the seven. Okay. So, major skill flat only seven to get the mix O lydian and then the Ionian Sea D e flat F g a flat B flat is just a minor scale. Basically, it's the notes of the minor skill. Okay, so it's just a c minor skill. Okay, then the low crean scale C d flat, e flat, G flat, a flat, B flat. And that is something really interesting. I'm playing all of these with the sea and reposition, right? This means I have to, so don't see and we're moving up. C D E f g eight beat Hey, but everyone to figure out the modes. I can do something really interesting. I'm going to remove this right here. So these are all of the notes for a C major a C D e f g a B, and have a look at these notes right here. There's something interesting to me because e flat and B flat. These are also the notes that I confined in a B flat major skills. If I'm looking for a major scale, let's see, that's a B flat major skill. So B flat major carries the same notes as a C Dorian scale. Okay, it's a B flat major or see Dorian. Are these same the note? Sort of same. It's not exactly the same because we're starting on C, and we will talk about that later as well. But for now, just keep in mind that that's already readable, is it? See, Dorian carries the same notes of as a B flat major. Never have a look here. See deflate Deflate F G A flat B flat. That also seems familiar to me because if I play. If I saw it on a flat, I I get on a flat major scale. Okay, so the a flat major is the same as the sea fridge in skill. Okay, Going on half shop seems very familiar. A swell city C Lydian carries the same notes as a G major. Okay, let's just get rid of this for now. So, g major, maybe this this makes more sense. So, b flat. Just the B flat. That seems familiar to me as well. Starting on f, I got an f major. Good. So the notes of the sea mixer Lydian right here are the same notes as those of 1/2 major. What about the Ionian? Well, governor, that you've guess it e flat f g a flat B flat, C d e flat. So we have basically caught ourselves an e flat. Major gives us the same notes as a C. I only in and certainly see Lokeren d flat e flat G flat A flat B flat also seems rather familiar. Okay. As three D flat major key. Now here's the main issue doing thistle and finding all of these is relatively easy because these are major keys that we can really easily identify. Okay, Aunt, Because we're coming from C Major tying all of this together. It it'll really works. But if I have to find a g sharp mix O Lydian, for instance, you can already imagine that that's gonna be really interesting and then having to link that to the notes off. Easy major skill to figure that out, it's gonna be relatively hard. But are you ready to have your mind blown? What happens if I get my towel? And I got rid of this? We end up with yet another skill. Okay, We end up with yet another skill, and I have to start on the third note down a flat and then play up. Listen, a flat B flat, C D flat, e flat, F g on an upon a flat. Okay, Isn't that crazy? So what basically happens is if I have to find all of the modes to any note in this case, C, What I can do is I can go to my piano. I walk 1234 stabs down. And then I have all of the notes that I should use for my majors and then I start writing them three. SAB's down. So just to give you an example, if I want to find all of my modes for F, I'm gonna write F little playoff 1234 down. Which is D flat or C sharp. OK, we don't know that yet, but let's say d flat Then I have to use all of the notes that are in D flat in the D flat. Major skill to figure out which major skills I should apply. So d flat e flat after d flat e flat f so d flat e flat, F g flat a flat, B flat, C d flat. Okay, so G flat a flat B flat, C d flat. Now, I have all of the major keys that I should use to find these notes. But remember, I have to start on half so, and this is only if this is helpful to you. Okay, But now I can simply get rid of this just to see how it all fits together. Keitel blends together. Good. Now, in order to turn this into an f major skill, I have to flatten the B if you'll remember and now we're going to apply this really cool thing. So I'm simply going to use the notes from my E flat major. Okay, which is e flat said it has to be flattened. F g a flat, B flat, C d e flat. And now, technically, this should be exactly the same as the AF Dorian mode. Okay, that's what I'm basically doing with this weird work around. Now let's check that first and then I'll explain you. Why do that? In order to play a Dorian, we dio to seps one step to Seb's two steps, Two steps, one stamp, two steps. Okay, so we get the aft Dorian Road there, So that's correct. So now let me explain what I did here. If I simply want to write down all of the's all of these modes instead of going 1221212112 which is very confusing. I want to simply write out af g a B c d E. Because I want to play because of one. Write down all of the modes for F so I can simply write down f g a B c d e. Every line and I know that I've got that down already. That's easy. Then. For my major skill, I have to turn it into an f major skill, which we all know that the B has to be flattened. Okay, so that's super easy. We could solve by doing that. Okay? And then we have to figure out the rest of the notes by simply playing all of these in major sufferance. And see, Major, we know that if we sort all c d e f g A b, we don't have to change anything. Okay? So we can already leave it at that on This makes it very easy. B flat. We know that a B flat, major key. You have to flatten the e flat on the be OK, so that makes it super easy as well. And we can simply do all of them like this. A flat major key, all of the keys that you know, off by heart, a flat B flat, D flat, andi flat, G flat, major key. After flatten G flat B fly a flat B flat. See flat D flat on the flat. Okay, The AB is the only one that isn't flattens said. Now we know that if you want to play play D f low Crean key thistles what we end up with Okay, so doing this or we have to do is D flat. Okay, so d flat e flat g flat a flat on B flat is a short cut to find all of these sinak and simply remove this and I can write Ionian and this whole f off course f f f f f Okay, so basically, what I'm saying here is that there's different ways of figuring these out. You can simply count all of them out. So store riding all of the efs and thank count out all of the notes. Or you can use this little mathematical trick that you can go to which ever note you're going to use Serotta demotes. In this case, F you're going to go four notes you're gonna go four Subs down 1234 Ending up on the flat on just simply going to ride that note on the third position D flat. Then you're going to play a D flat major skill. Okay, and you're going to write I these notes e flat f g flat a flat B flat C. Okay. And now you're simply going to apply the rules for all of these majors. Major keys to this. I find that an easy way to do it because you almost never get it wrong. But if you want to count it out, that's also possible. But this is super easy to remember. And remembering 1 to 112 is going to be a little bit hardest if you don't have your material with you. If you just. If all you have is a piano in your head and a piece of paper and somebody asks you to write down all of the moats for G sharp than probably, this technique will be easier. I hope you You understand what I did there. Okay, basically, there is no easy way around in these skills are very difficult. So this for me, is a mathematical way to always get them right in a very easy way. Celeste, do that one more time. Let's say I have to find out all of the D modes. I'm gonna enter my note right here, so I have to figure out the D mode de minus forceps. 1234 is B flat. Okay, I know to be flat for the fridge, Elim. Okay, That means that if I'm doing this Fred Glenn Franklin mode, I'm gonna have d e f g a B c with the rules of B flat right here. So this is my de frigia lem mood like that. Okay. And then I can simply move that over because I'm using the rule of B flat. I can go up, and, um and I note my b flat scale B flat c, which means that for the Dorian, all of the sea notes will apply. Okay, So, b flat. I see. Well, that's just d e f g a b c. And we know that because when we play them, we put this in a swell, and then the next night would be D. And we continue on simply following the B flat major scale. I know this is all pretty advanced off. If you didn't get it, maybe watch it again. But this is to me at least a relatively easy way to find out all of these notes. So now, for your homework and I will give you the answers in a bit. We're gonna do moods, okay? And I want you to figure out these moods. So d flat f cheese shop B flats, e see de shop on the F shop. Is there any Notre didn't use yet? A Let's also doing a so wanted to find out the D flat. Fregley. Um, mode. I want you to figure out the f Dorian. Okay, so deflect Frigia. Lyn af Dorian G Sharp early in B flat lady in a lottery in e mixer. Lydian, See Friedland de shop early in an F sharp. Lydian, please write them down. Okay. All we need is seven notes for each of them starting on D flat, F g sharp, B flat, a E C D sharp enough shop, and then I will give you the answers once you come back. OK, guys, I had to pick the board upright again. I want to just give you one piece of advice. Sale. One disclaimer. Basically, I've been I've been recording this lesson for well over an hour now, and these are just a whole bunch of nodes on. It's super difficult to get everything right on the board. So I think I've got all of it, right? But just to be sure, if there's something that seems really weird to you, like you counted out and it doesn't on doesn't match, it is, of course, always possible that I make a mistake. There's almost 100 knows that I had to write down. I think they're all correct. Like, really, I did check them twice, and I think that the role Correct. But if there's something that you go, huh, I'm not entirely sure. If that's correct, then it is always possible that I made the slightest mistakes. If you, for whatever reason, think that one of them is wrong, just let me know in a comment or send an email. TPM pin offends at gmail dot com, and I'll check that out and come back to you. But just because this service so advanced that I'm I cannot guarantee that I didn't make even a single mistake in all of these. But they should all be correct. So, first of all the numbers 326475364 are, of course, for the Dorian Mode Fridge in mode Lydian Mix O Lydian, Ionian on DLA Crean Mood Okay, as I explain to in the beginning. So D flat fridge in. We have D flat, E double flat, a flat G flat, a flat, beatable flat, see flat so bad that you have that as well. Keep in mind, we are always only allowed to use all of the notes once. So this is not a D that's not on a you're supposed to ride a double flat and be double flat for F Dorian F G a flat B flat, C, D and e flat G sharp eye early in G sharp a sharp B C sharp D shop, e f shop ah b flat, Lydian B flat and the rest is all normal. See the E f G a A locker and a B flat. C d e flat of G e mixer. Lydian E Offshore G Shop A B C sharp d See fridge in c d flat e flat, F g a flat B flat de sharp eye early in D shop ish up after a bishop, a shop be see shop half sharp, Lydian after hoagie shop, a sharp be sharp, C sharp D shop and the shop. So thank you so much for watching this lesson. I can imagine if it was a bit overwhelming and you don't really know what to do with this as well as the maybe the skills from a lesson 3.1, even though they believe skill probably makes a little sense. But this is this is a little bit more advanced music theory. I wanted to put this in here a swell. I want you to keep in mind that you can always just keep on playing the songs that I taught you in the previous lessons, which maybe. But now it seems like something super easy compared to all of this rocket science. But yes, some people like, but people are different. Some people that which this really want to get into the nitty gritty and one understand how all of these modes work. And some people are just happy to play it a couple of tunes. So I want to give you guys all kind of things, everything that you could wish for in this course. If you have any questions, you're always mortar. Welcome to send an email to be champion of fans at gmail dot com and put in that email that you are enrolled in this course. Okay, I get so many questions from people, and not that I wanna, um, like and not that I wanna not replied to somebody. But if you actually invested in this course, I can take a bit more time to reply to you. Then if you're just a freeloader off of YouTube, that's just watching one lesson. And they asked me a question and I want a girl like, Yeah, but I have almost 300,000 people on YouTube. I'm only one go high, like I cannot respond to everybody. That's just watching all my content for free. Because if I would do that, I this wouldn't be a job. This would just be me giving free advise the whole day. So I hope you understand that this is my full time job on. I want to thank you so much for supporting me. But watching this course so put in there I am a member off your living room piano course. And I have this question because then I can actually take the time to answer you properly for now. Thank you so much. Let's move on to lesson 3.4 30. Ep 3.4 Intermediate Piano Melodies: Hey, welcome to less than 3.4 of the living room piano course. This lesson is kind of a continuation of less than three point to remember what we talked about this song Halo from beyond Say, if you have not seen that lesson yet, make sure toe have a league of that first. So this may be weird to you. We talked about evolves skills that we talked about Halo. And then we talked about modes, which is basically just a whole bunch of other advanced skills which have been able to see in the previous lesson 3.3. And now we're back to Halo again. So why would I do that? Or basically what I wanted to do? So I wanted to give you some time to actually think about those skills, you know, relaxing a bit, whiles learning about a different topic as and do some more skills in our back on that topic. In my eyes, that makes a whole bunch of sense. If it doesn't for you, that's fine. But But I made the course and I had to pick the order of the lessons. So for now I want to dive a little deeper into that hole pop and rock song thing. And how do we actually do that? Let's continue on with Halo a little bit longer to show you how you can build out malady lines just a little bit. I don't want to give you too much info, all that? Yeah. We will talk about that later. Us? Well, but I want to show you a little bit how we can make things like that Maurin trist thing. Because I was just showing some general examples in 3.2. Now we dive in a bit deeper. Good. So the whole idea waas We had the song Halo and it was written in the a major key thing K. And then we had some courts. Let's see if I remember a b minor after sharp minor on D. D right and that we put a melody line on top of that, using the notes from the a major key roid head. This is what we had. So we came up with this malady line, and then I also showed you had to make these courts a bit more interesting. Boy playing arpeggios write something that we can do now we'll show you a couple of ways to do that in more detail in this lesson. But I also want to have a look at the right hand. Now the whole idea off this lesson is to give you a bit more information about hand. This stuff kind of works. The idea is that the melody line in this case is exactly the same as the lyrics. However, in some songs has a melody line and lyrics on top of that. Okay, so sometimes we have a bit of an issue. Should replay the lyrics. Or should we play the melody line? Because both are clearly Hera ble? Sometimes we can incorporate that malady line with the lyrics. So, for instance, if we play Pirates of the Caribbean, uh, now there's not really lyrics in this song. But what is happening is we have a court structure. Okay, so now what I could do is like you play that malady line and then played the courts in the left hand in pirates. I'd like to do that with actives case, So let me move this alert ability left right here and and now we will see what happens if I play the melody line is the right hand. Here we go. Good. So that's quite cool. Who are playing the courts and were playing the melody line, basically as we did in less than 3.2. But now I picked a different song for now. Now there's something cool that we can do. We can play the courts in the right hand, as well as the melody line of these same time are basically hiding that malady line with Indy course and sometimes playing a couple of notes in between and then for Pirates. We're going to get something that I'm going to play in a bit, and I haven't really prepared this or anything. So we're going to see impromptu if I can actually figure out a cool way to play that for Halo by doing these same technique of playing the quartz in the right hand, five courts in the left hand or octaves in the left hand, depending on what signs better, and then also playing that lyric line The malady line Indie quarters Well, for pirates. Let me show you the three examples in a row. First time I'm playing the courts. Second time I'm playing octaves in the left and malady loan in the right and the third time I'm going to combine these two and issued really listen to what happens. It's quite cool. So what's basically happening here is that I'm playing that melody line a more supply in the courts, and the trick to this is let's look at the board. We want to make sure that the correct cord is being played as the correct time. This seems super obvious correct time. This seems super obvious, but it's really important. Second, we want to make sure that the malady node is on top, and if we do this, we can simply use these courts. Now we can play the courts once and then play the rest of the melody line. Or we can repeat the courts depending on the feel of these soul. So let's have a look at Hailu. We have to play these courts. I will do the same things that I will play the court's first. Then I will play the melody line and then I will see if I can integrate the melody along with Indy cords. So here we have the piano. Now keep in mind that I have not practices or whatever, So let's see if I can actually come up with something that's cool. Obviously, if you spend a little bit more time on that, the result will be even better. But for now, let's just go with this and see how it gets, Okay? So, as I said, this is not something that unnecessarily prepared because composing this song and I wanted to do something that's relatively easy to play. If I take half on hour to sort this out, then we end up with something that's a little bit above your level at this point. So just something basic. So here's what I'm doing on a use the board to show you what's basically happening. So let's put the courts here. We're sorting out with a C Sharp and E 40 a major court, and then we're moving to be D and F shop Andi than we go to have shop a see shop. And then we moved to D have shop A Okay, so again, at the bottom here, you can see the course that we're using. So this is left off course. We're not really using the middle notes Roy here. But this is what I'm playing in laughter. Any B n f sharp have sharpened see shop on d N A. And then these are the courts. Now what we want to do is we want to find notes in thes courts that match up with the melody lines of a play The melody line. I'm starting with an E. And then I moved to see shop and I'm playing E and playing C sharp for little Oil ride. And then I moved to be, and then I moved to D. Now, as I had d, we're already in the second cord. Funny thing is that deep is actually poured off. That second court be isn't, but it's leading into it. Okay, so that's here. And e n c. Shopper part of this court. That's not really a coincidence. Okay, first of all, there's not that many knows that we can play. We can only play seven notes in a melody line if you want to. Six is his basic rule, but also, these notes sound rather nice on top of this, and this note is leading into this court whilst played here. So these three notes are being played here. So what I want to do is is basically want to see if I can add in order to make that chord Sound better. Now is I want to add a note here in order to make that court pop out in the right hand. If I add an E here, it's not really gonna work because they already haven't eased. So that's a bit of overkill, but this c sharp is relatively high. So let's see, what happens on this is all up to you. But what I'm doing right here. So let's see what happens now. I'm playing this and right here. These two are already part off this court right here. E and C sharp. Okay, So if I go, I already have a bit of a fuller court or I could give and I just leave that you don't necessarily have to play everything at the same time. I could also just play that he wants for the melody line and then played together on the first. Simon, I just repeat like this. Okay, Now am be also sounds nice together. Second do before moving in here now on D I I shouldn't play a and C shop because we're already moving into the next quarter. Cam. Sorry. That is not entirely in the scream of BDF shoppers. The next court. So then I want to switch. And I could switch to F Sharp and G because he is my top node putting f shop on the bottom and that will actually create a very nice sand. Now, be careful when you make the switch, because the B look right here, the B is still for the first court. Okay, so these three notes are still being played on the first court. And then as we go to D, we moved to the second court. Another option would be to emphasize this evil playing a C shop or even a so I could go. That's what I could do. Thank you. Here. Full court. Right. Okay. So I chose not to do that. Maybe I could just do see sharpened Isa like that. Another option. I still have the A in the middle right here. So I could use that as well. Cyangugu. I can play that as well. Or I could just play these top notes here. Okay, I moved there so These are things that you can decide for yourself if you want to basically fill up your song instead of just you can get, which makes it sound a lot cooler. Okay, by simply filling that up. So what would do all the time is we want to make sure that the the malady note is going to be on top. So now let's let's actually write a little bit of music right here on the board and I'm going to make a relatively easy So I'm going to keep the left hand on the bottom on the right hand on the top, and we're just going to pick. We're just going to play thes five chords once. But keep in mind that I'm allowed to use a E and C sharp here on B D and F sharp here. So So my melody line is e see shop C sharp, see shop, see shop be and then going up to D. Okay, so I want to keep these notes on top. If I put notes above this e like this, I want to have this sound right. If I put air sea shop on top, I lose this UK so that's impossible. So I have to keep this e here and then I can choose to, for instance, play e a c sharp to fill it up because we need this right. This is our basic thing that we need very anti, but this is what we need. If we want to put in a few more nodes right here and that maybe I want to add an e in here A swell. Okay. Says that of a place There's a play e e a c sharp than a C shop three times on top and then e m b. So we get this. Okay, this'd is also cool, but the court isn't originally in there, but it would sound like this. Oh, OK. You get a bit more of a floating sound because it's an e sauce forecourt, Right, So maybe not do that. And now we want to figure out D andan has so much with Well, basically, if we look at these chords, right b d f sharp. So we already have the full court by just playing it like this right here, right here. We could get something really cool so we could add in a D at the bottom. Emphasize that. Or we can go here here if we want to use even more notes or simply have Shelby D or F Sharp and G because we already have to be. So I'm gonna go for now with F Sharp and G So see what I'm doing? I'm basically filling it up so these notes weren't here before. I'm basically putting in more notes to make it more interesting to play. So now we have e We played a full court seizure. Upsy sharp C sharp e m b and then f sharp and G. Let's see what that looks like. I'm Luke. If I put away my fingers, I'm just playing d and F shop right here. Okay, Okay. So then I have to continue on right here. A lot of bees. I'm not going to write that. I'd freely, but what I can do is I can simply stick on that af shop d right here have sharpened a. That's very convenient because my next chord right here will have have shop c sharp and half sharpener. So if if I'm using my half sharp as a bottom layer have sharpened, be half shop and see shop and then eventually to have shop on a which is the melody line. Luke BBB. Okay. Like that. If I combine, that sounds good. Okay, So what I can do coming from here and now right here together, Like a use f sharp and be and right here. Or I can just play it on them. Played again like that. Or if I want to, I can layer another note. One of these notes from half sharp, so as sharp c sharp or a like Elaine's that end maybe here like that. Okay, so you don't really have to remember what I'm doing here. But if you just on the sound was going on So I'm basically filling out these song with more notes right here. Maybe to see show. Okay, things maybe too much. So not right him move into the next four D A. D and B Now, putting that dean the bottom. I could even put the f sharp in that because the notes I can uses DF shore base. I'm looking for the top note again. I want to have this on top, but then I'm simply filling up with notes. from the court, okay? Soon. And I'm filling it up with the notes from the court. Says that's one of these things that you can do arm. You have a look of the courts that you're playing. You have a look at your malady line road here, Melody line looking quite boring because there's not that many notes in there. And they say, You know what? This c sharp is sitting on top, So I'm gonna put in e here. We're going to put in a there. You may even put in a there. I'm gonna put an e there. Who now I have to choose between B f, Sharp and G. I cannot use in a anymore, because it's not going to match with the court. So you know what I'm gonna do? I'm gonna put an af sharp on the bottom on gonna be in the middle there, So this is matching up really noise, and then we have to switch to F sharp C sharp offshore. But the switch happens at the A. So was a little It was a little bad writing there. So be What is it? Bc shop. Okay, so maybe we don't want to use that be because it's already being played as an F shop shop shop as I'm 40 a. Maybe I want to go full. I'd see shop, half shop and a and then I'm filling up that song on, basically are creating more notes. Pretty more notes in there. And then I could do the same for laughed. And, um, maybe change this to an a e a e a e a e a e pattern, right? It's actually play arpeggios like that. And then all of a sudden, from a pretty basic, boring song, I can turn that into something cool. Now, what's important to understand is that I wanted to show you this less than 3.2 starting out . And now we're less than 3.4. This lesson right here on what is actually going on. How are these songs being built up on? This is a very easy way of doing things, and I wanted to show you the basic. I doubt I'm not necessarily telling you exactly how to do it, you know, because it's it's still a little bit of a give my opinion, I tell you like, Yeah, I just take 1/4 and I take a note here and taken out there. But I want to give you a little teaser of this because when we're composing songs and we were playing songs by ear are actually trying to play exactly what is being played. Or maybe turn it into our own version by improvising. I'm going to show you mawr off this, But this is basically how it works. I hope you get the basic steps. We have a song. We find out the key. We find out the core progression. We take the notes from the key, and we will notice that the lyrics or the melody line usually follows thes notes. Exactly. Usually thes seven notes that are part of the key are bringing use. Thrive the entire song in the melody line. Then we can take those courts and put them in our left hand and play the melody line on top in the right hand. And then, if we find that to be boring, we can add a pattern to our left hand. So maybe so. Maybe played a court four times each. Or maybe using arpeggio, we could even borough nudes that don't belong to the cord necessarily, and Sam to add them on top or to make the court longer. And then we can do the same for the roid hand. We can play a little pattern with top notes flying out all of the time because those top notes is gonna be what the melody line is. It's going to be We will be very clear to the person listening to the song the very top note of courts that you're playing. So if you're playing these courts meteoroid hand, you simply take those notes from the courts of the left hand and at them at the bottom, off the notes off the right hand to create a more full signed to the piano and make it more interesting. Right now we're playing these courts in a block. But you can, of course, also arpeggio these courts in the roid hand. And I will show you that later in the course as well. For now, wanted to give you an introduction on how to make a very simple melody line with a single note a bit more interesting by adding courts into that melody line. So no homework for you, except that if you did your homework for a lesser 3.2, actually figuring out how to play that Hailer song a little bit further than maybe it will be fun for you to play a couple more off these melody lines in that song and add some more courts to it or to make different variations than I did in this particular lesson, so you can have a go with that. But I don't really have any specific homework. For now, let's just move on to Lesson 3.5. 31. Ep 3.5 Combine Left & Right Hand: Hey, welcome to Living Room Piano Courts Episode 3.5 Today I want to talk about something really important. Everybody struggles with this in the beginning. How did you come or in your left anger roid hand and had to practice these kind of things? So today, in this episode, I wanna have a look of that I'm going to show you had to play the first part of fuel a lease from Beethoven, which is cool. And we're going to use that song to kind of show you hijack a memorial left on your right hand And how you should practice that on one of the things I like to do submerge left android a little bit sooner that you may think so very important to check this out. Also, I haven't update. So let me walk around the camera. I finally got a piano stool that was really time. After teaching piano online for 10 years, I looked for a couple of stools on dumb. I don't know, I never really found one that I liked on. I thought it was, and I always just used, you know, regular stool or just the chair and talking about the piano posture. It made me realize that I'm being stupid. Like I should invest obviously in a proper pianist store, piano bench. So I got one. Right now, I advise you to do the same thing. I just got this Andi. I noticed that I'm actually, if I'm able to adjust my my seating height fat, I'm now sitting a little bit higher, and it allows me to play with a lot more ease and a lot less threads in my shoulders. So the men say that I was making is not paying attention. And of course I know how you should sit behind the piano. But in out of convenience, I was just using this still that I had laying around. It's easy for me to swivel around, and I'm a bit more, you know, a bit more stuck because of the anti slip off the top. But still, even if I'm recording lessons, I should also use a proper piano bench, so practice what you preach. Catch yourself a piano bench. They can be very inexpensive, or what you should have lease do is if you have a normal seat. Usually it will be a little bit too low for you. Especially if you're a small person like me. I'm like, one year 72. You can figure that out in feet and inches if you want. But but yeah, usually. Then you will be a little bit too low. Probably if we compare it a normal regular seed hind with the piano bench. At least the way I'm comfortable. So get yourself a piano bench and otherwise raise your your seat a little bit by in the years off a pillow or something else. Anyway, another blah, blah. Let's get into this song. I'm going to show you a little bit hard to place that and I will talk a little bit about having to play. But I don't want you to start practicing. Just chant. Because keep in mind, this video is about how you shoot practice, how you should approach a song like that. Okay, here we go. For Elise by Beethoven. A case. So let's take it up until there for now. Now, um, I wanna have a look at the board a little bit. Let's devoid. Left on roids on. Basically what we're playing in the left hand is a e on I'm not writing this down in the music. Former, in case I'm just placing some courts and then we have e on g flat, which you can already notice this court annoying because we haven't talked of Roy here, and then we get back to a e a. Then we have a little bit of an intersection, and then we do exactly the same thing right there. Aunt A e A. Ok, so these are just notes as they not piano notes, but just notes, you know, just a little scribble for us to remember. And san, I will Pruthi the notes for a roid hand up here. So the melody line is going to be e d flat a d flat e followed, Boy, be de see on a Okay, So was sorting out there and then we're continuing on with C e A B and e g flat Be si OK, so do not try to play from this yet because it doesn't make any sense. Okay, we're going to get these same e d flat e d flat e followed, boy, be de see a c e a b. And now we get e see, be a pay attention right now, this is important, right hand malady lines starting here into this box and then continuing here into that box left hand is completely separate from that. Okay, so it's not trying to match up or whatever. We're not doing that. These are just the courts that we're playing in the left hand. OK, good. So this is the middle C left hand is gonna play a e a e g flat, so we have to go over on a okay. Now pay attention has so you will notice how this is completely not matching up with that at this moment. Okay, right hand is e d flat, E d flat, E b d. See a That's where we saw it. And then c e a b e g flat bc. Okay, so Rod is okay now, these things are going to be played at the same time, and we will get this. Okay. And the question is, how do you practice something like this? How do you approach it? So what I want to do is I wanna pick a part of the song. And right now, I picked this part for me. This up until there is enough. OK, that's the part that I wanna learn in this case, I wrote it out on the board so that I can see it. But that doesn't matter if you can remember it if you have it on sheet music. If you want to listen to do all the time, that doesn't matter. But what's important is that you pick a certain part where you say, you know what? This is the part I'm gonna learn. Now, what's very different is knowing how to play something on being able to play it. Okay, so the first thing I'm going to do usually is look at which of the hands carry least amount of notes or which of the hand seem easy. Seems easier. So we have to look at this for right. We have to play all of this and for left. We just have to play a few quarts. Okay, so in this case, I would probably have a look at left. So Pinkie pointing finger thumb for me. I feels comfortable. Keep in mind, I'm not sitting really in front of the piano because that's where the camera is. So I have to sit on the side of it, which is while you can really see my home. But my arm is like in this direction because I'm off the on the left of the piano, so it's a little bit weird. But anyway, you want to look at what music notes to play in this case A. And and I can figure out that this is the way I would want to play it. Okay, It's also possible that you have super small hands and you would wanna played like that, right? That's also possible. But usually you should be able to get this. So I'm not really trying to play the song. I'm just trying to get used. Get familiar with the notes. Uh, it's it is what I have to play first, then does like that. It it it and I have to do this e g flat. Okay, well, there's no way I'm going to reach that. Maybe you can lucky you, but I can't. So now I can go here and then with the pointer and then the farm, Or I can do a move over, which seems a lot easier to me. So I'm gonna go with pinky thumb on the middle finger. Okay, so you can kind of do that moving over thing. So I'm just getting I'm not starting to play yet, okay? This is what I'm trying to show you. I'm not starting to play. I'm just figuring out how I would like to be able to play this. And what is it That my left hand Astor place. I can go here and then there, and then I have to go there again. Because how does my left hand have to move? Well, here on now, my pinky has to go back there, Remember, in order to play a so my left hand has to do something like okay. And then later on, after the same. So I can look at that as well if I want to, But this is already quite a big part of the off the peace, right? So I tried to identify that because this is relatively easy to play. Um, I can play that a couple of times, but you don't really have to be able to play this. Okay, so let's say this was way harder. Let's say you have to go a za first, and then there are. No, no. Like, you wouldn't necessarily have to practice that. You just go like, oh, that I have to go here. Here, here, here, here, here, here, there. And then the next one, They're whatever. Okay. Doesn't matter what the notes are. But the idea is that you want to get familiar with what you have to play. You don't have to be able to play. Yet in this case is just relatively easy. Says that I can play it quite quickly already. So right now, let's presume that my left hand is unable to play it yet. But I do know how to play it. I do know kind of how my fingers have to move. Then what I will do as I will use the pedal and try and play it on the tempo just a couple of times so that I remember this so that if I'm going into my right hand, I don't forget. There's an after Sordell over Okay. Said I'm gonna go todo dio tended it. It it it do dio dio okay, And I know that's not really I don't know. Whenever I'm humming, I'm so off tone like it's just ridiculous um, but it helps me, you know, and I don't necessarily have to do that. I could do also do that in my mind, and then it sounds a lot clearer. I can also imagine me playing this in the right hand with my mind. Or I can't even listen to this song and play that. Okay. But I'm not really trying to play this yet. I'm just, you know, just a couple of times, maybe I'll go super slow. Maybe I'll get even slower. Ah, something like that. Okay. Just a couple of times. So now that I can I don't have to look at the board. And I know a a e which is a Lowy higher. Have Angie flat on a a. So now remember that cool my left hand. I kind of got a foundation of kind of know what's going on there. So now I can have a look hemorrhoid hand on. We saw with e d flood e d flat e b D c A. So the first thing is, let's remember the notes And how do we have to play them? OK, so first thing I do, I could actually just use my point of finger. Because whenever I use my point of finger, I know that I'm not going to start a certain motor program. Okay, Motor meaning like your your, um your muscles your your mo Therese system. So if I just use my finger, I know that I will mess things up for later on not getting used to a certain motor pattern that I don't want a place. So just use my finger for now. Be D flat, e d flat. I'm just reading from the board. Now be de see a And now this is very important. I look no at the final note of what I'm playing, but at the next one, because that's where I have to go next. OK, if I would stop here, it's very likely that I stop on a certain finger. That makes it very hard to play this note. So I look at this one as well, Which is the sea. Okay, So what I get is e d flat, e d flat, e b D c A. On that. We have to go here. Okay, Now, the next step I'm gonna do is I'm gonna try to remember them so I'm not looking at the board ribs, and I went wrong. Okay. I also always go way too quick of this stage, so try to calm yourself down. Go slower. No, that's Millet. Right? And look back at the board if you got it wrong. Playing with one finger can be challenging because you forget. Okay, that's why have to go now. We're gonna try if I have to go slow or place slow, but I'm gonna try to Tiu feel that tempo. So that least I've heard of a couple of times on my piano, so, like that. Okay, don't do this too much with the one finger case just so that you remember the notes a little bit. Now we're going to store them in our in our hands, right? So you can kind of figure out you can go thumb. But, Luke, now I have to go there. So that's no handy. It would be noise if I can actually have this kind of thing at the android. Isn't that helpful? Maybe this handy. But now I have to go to see, So maybe it will be easier to end up on a finger and go there Okay, so that's kind of up to you Waken do this'll, which is what I like. So that will work. This is helpful because now I can When I don't longer need my ring and middle finger. I can simply move that over and do that. I could even goes faras, you know, to continue on there. Okay, so that's something that you have to figure out. What is the nice way for you to play? Would you like to made that jump with the thumb, or would you rather and up on the finger right here? Um, you know, maybe that's easier. That's why we always want to look at not the final night of our box, but also the one after that. Okay, keep in mind. I do not know the original fingering for his piece on. I have looked up original finger rings for multiple pieces and people tend to change things up the entire time. Always also have. Like I said, I have quite small hands. So sometimes I get confused with fingering because it's no, it doesn't work for me or whatever, and and to apply all of these standard rules, it's possible. But I'm self taught. I talked myself playing online. What I do usually works for me. And sometimes if I cannot figure it out, I will look at somebody playing appease and see which way they plays the notes. But for me, what's helpful is that if you can actually figure out a way to play it that works for you, then why not do that? Just keep in mind that if I end up on my thumb here that I have to make that bridge. So maybe this'll be more helpful. Okay, e have to see about that later. Okay? So what I do is I as I chop a little bit off the right hand. Now these are my notes. So maybe this is enough for me to start. That's OK. Or I can do the whole thing for purpose of this video. Let's do the whole thing. So after doing this, we have to go see e a B. So that's quite straightforward. Ce a be weaken Do ring on pointer or weaken. Do middle and ring. Okay, uh, now, keep in mind we're not playing yet. We're just figuring out getting to grips with howdy songs. Actually build up like a said. This is what I like to do. Now. This is what I told you. We are not even though we know how to play the left hand. Already. How we're gonna do that? We're not practicing that yet. Okay? We just prepared it a little bit, and now we're doing the right, so that's very important. So we go here, let's say we do like this C e a b and then we have to play. Let's see e g flat B C's. So we have to prove that. And maybe you're not going as quick as I am. Maybe you're just okay, maybe something like that. I don't know. Maybe it's even slower. But what you want to do is you want to try and get the notes and that maybe you cannot play the correct rhythm yet. Okay, so maybe you go. Uh, okay. Maybe that's how you're playing in. That's OK. We're not playing the right hand yet. We're getting familiar with the notes. Keep her mind. Usually you have to play slower than you think. So now what we're going to do is we're going to make the first introduction off left and right. And here's why do this If I practice roid on my own the whole time, right on. I can do that. I can do two or three more times. Just so I knew Howdy notes are going. But if I just play right and then just play left and then I'm trying to merge them, it doesn't work. Um, can I give an example? Maybe a food example. Okay. So if I want to make a pancake and want to have the reasons inside the pancake, right, um, order blueberries or whatever. I want a big that inside the pancake than if I take the do Or however you call that, put it in the pan and make the whole pancake. And then I Sprinkle on top. The Berries order raisins. They're never going to get inside. OK, it's not possible anymore because it's already solid. Now, if I put them into soon, they will burn because, you know, you put them into dough. Maybe, and then maybe it burns. So what I like to do is I like to put it, Might do I bake one side, I turn it over, and then, as it's still a little bit soft. I put in these things and then they bake insight. Maybe something like that. Okay, if that makes any sense. So what we want to do is we don't want to wait until the pancake is solo. We don't want to wait until that roid pattern is just in that right hand because then trying to add that left in it seems like an intruder. And that's what happens with most people that when they sought to play together, this hand actually make messes up this hand or this hand masses of this hand. That's not what we're going to do here. We're actually going to use the hands to complement one another and make it easier to remember because we're going to store everything within two hands. We're not going to learn one hand on one hand and put them together. They were actually going to learn it in two hands. So we want to be kind of up to two slate where the left hand can play this. Uh ah. So you kind of have a little bit of control over. It may be a little bit slower. And the right hand maybe that's already too far if you're there. Okay. So, you know, played a little bit like maybe maybe if you're here, okay. And then for roid. Maybe if that's what your right hand looks like. I think that would be a noise moment to start putting them together. Say that asteroid hand becomes better. It gets used to the idea of the left hand also being there. Ok, now we're sorting on, right? So what we can do to make it easier for ourselves? It's have the left. I'm ready already of this point. Now, when do we have to play left? We have to start this node. Aziz, the right hand is heading this note. So it's still a roid left kind of thing. OK, so going slow. Relatively easy. I was too late. Okay. I have to solve my left hand as I'm heading that note. So let's do it again. That's OK. Them Okay, Wait, I can do this. Uh, but now I have to be here now. All this note My lesson has to be here on now. On the last note here, my left and has to be on again should be together now. If you're playing something like this, you might think. Yeah, but that that's not really good. Well, actually, what we're doing right here is we are combining left and right. So it's very nice if you can play. If you can play that on here left, you know, you can play that, But merging it is where the magic happens. Of course. So what we're doing is we're now forcing ourselves even through the Roy hand isn't at the level of playing thistle of ones on the left hand is in either. We're now merging it to make sure that once we get it, we will get it with both hands. So we do it again. Maybe slower. Uh Okay. So, um and actually, I forgot a little note on the board. Little here, I there. So now all we got is we're able to play this song that since this song is basically repeating itself, here is just the end. That's different. We could actually go into this section, and then we can repeat this whole section, you know, in one go. So let's do that. Let's say right now or playing level is somewhere here, so we can go now. We have to play this e here and then, uh, left home doesn't have to move. Were on the same thing. Ah, now we play E c B A. Now, if you think, why's he playing it like like he doesn't notice song. Well, the reason I do that is because I understand that the first couple of times she may be playing fierce, that it's not super easy to do so. And even if this song is easy to play for you, I want you to see what it's like to struggle through and get better and better and progress at this song. So this'll be a normal progression, right? Somebody who's still has to think at certain points or has the hands in the wrong place at certain points. It doesn't matter if you're playing this or cloud Debussy's Claire de Lune or whatever, like something more difficult or like a Turkish march. What matters is that when we're learning, we cannot really processes one time, and I want to show you how this doesn't sound really good yet, but I want you to practice it like this because too many people focus on the right hand, and then on the left and then tried to merge. And we get the whole pancake story again. Well, that just doesn't work. So we're going to do it like this so that by the time that we get more fluent, you will actually manage to do that. Now, there's a couple of tips that I have for you. First of all, be relaxed and placed slower than you think. You shoot. We can use a metre newme for that. Okay, we will do that in a bit. Also. What a lot of people when they start to play the piano forget is that if you're playing something with your left hand, you can adjust your right hand. And if you play something with your right hand on your left hand isn't doing anything. You can adjust your left hand. So let me show you what this looks like playing this song. If I do not adjust the roid hand on the left hand for a little bit and I'll show you the difference, they pay attention to what happens. Roy Hiss. So we're here. I'm comfortable up until here, Right. And now I have to make the jump. So Okay, now as you notice. I'm waiting to make the jump until the very last moment when I actually have to G o. So again, that looks like this. No. Uh, okay. What I can actually do is I can jump sooner because as my left hand is playing a Mariah and Azle the time in the world to slowly travel down here and I'm already ready to play that note. Now pay attention to what that looks like. So look, my thumb is already here, right? And that as this hand is going, my left hand is moving already, you know? Is that so? I'm already here. This way. My hand is where it needs to be before I actually have the place. I have a little bit of patients there. Okay, So tried to do that. Do not keep your hands at the position where they shouldn't be like this, You know, because you will be too late and it will be sloppy. Rather, by the way, I'm playing this without a paddle right now. That's also one of the things you should do. Play without your pedal in the beginning. Why not? Why would you use the pedal? Usually way and playing in the beginning. You play slowly, and then you forget your pedal. So you get this and it just keeps on building, and it's just annoying. There, get rid of the pedal. Uh, okay. Okay. So after practicing a little while, you may have been able to get hair or somewhere here. That could be a time to introduce your pedal. Or you can now introduce a metronome. Now, this goes a little bit too quick. So I have some settings, and what I like to do is I'm not really good with the matter name. So like to put it noise and slow. Maybe that's a little bit too slow, actually. And then I like to just, uh, do the, uh uh huh. That's how we're gonna do it. So it's, huh? Okay. So however slow you have to preach your metre newme in order to make this work. If you saw with your mentor name, you didn't produce your pedal yet. And if you saw with your pedal, you did not news your metro name yet. Okay, so you use your metro name right now. Ah, whoops. And then I make a little mistake, okay? say that I give again. Now, if I make a mistake like I just did, I will just try it again once. And if I keep home making a mistake, whether it's the same mistake or different mistake, maybe my Metrodome is too quick, and I won't simply put it down right now. It's a 65 beats per minute. I usually do it when I'm in the lower ranges, like maybe five beats per minute down. Okay, You're not gonna put it one beat per minute than that? That doesn't really do anything pretty. Five beats per minute down to 60 maybe 55 maybe 50. Yeah. Just until you get to the point where I don't care if it has to be on 12. Like just until you get to point where you're able to play that. And then as you get that, you can kind of speed it up a little bit. Right. So now okay, I've been speeded up a bit more, you know, once you get that, but take your time with this because right. And I was going pretty quick already, right? Okay. The trick with the Metrodome is that you cannot really cheat yourself. So if I go here because I want to think a little bit, that's not possible. If my metronome keeps on going right on, that's what the Metrodome is. Cool because she competed on a certain rhythm on. If you don't manage to make that, if you don't manage to get that BPM and you can, because you can put a little certain tempo. And if you don't manage to make that if you don't. If you keep on making mistakes with that BPM, then you just have to put it back a little bit. The now at the stage where there's basically a couple of things that you can work on, you can work on your paddle. You can work on the tempo and and that Metrodome, making sure that everything sticks and you can work on the speed. Okay, so the first thing I would do is I would put in the paddle right now and just see how that goes, okay and see how you get with your pedal, see what happens. And if that works that maybe we can start to put the Metrodome and the pedal at the same time, etcetera. OK on then we can slowly increase the speed. Now here's the thing. Let's say you are able to play up until here, and then you have issues too connected. Okay, What a lot of people do is they simply story from the beginning again. But that's not really the issue. So what you want to do, then, is you just want to play this piece right here. What I always advise people to do is because I've heard this online like only practice the piece that you cannot do. But now we get into problem if I practice. If I already know how to play this bit and I'm going to repeat this bit, let's say which right now is stupid because it's the same, of course. But let's say that this was something else. So this I've got this down. This is easy, and this is the part that I have to repeat because I don't know it yet. The one thing that I really don't like is, if you keep repeating this part, it becomes a separate block within the song. So what I would do is I would always if you want to repeat just one thing, let's say that. That's 12345678 segments to his song having trouble with Sackman Number five watch again to do. She going to play 45 and six in order to match that. Okay, so let's say riding out of this, that bit is a bit I'm having trouble with that. I'm going to start with the bit just before, which is this okay said that are encapsulated that. And I don't just practices because maybe the issue was going from this. See, to this e may be the issue was something in the left hand, right? So I always want to make sure that if this is the part I'm struggling with, I will go back to this part, play that on that I don't have to go back and play the entire song again. Okay? Because that takes a lot of time and you will practice this bit hole more than, for instance, this bit because this is the bit where you're failing. So he feel here. It started there. Fail sort. Luke, this part doesn't get plate. No, no, no. We fill here. So we go here, Here, here, here. We feel here we go back there, there, there until this transition becomes easy. And then this was already easy. This was already easy. So now we can just play through and play the rest. Good. So have a little bit of fun with this. It doesn't have to be this song, but we haven't written out here anyway. Maybe you find it noise to play the first bit of fuel. A Liza, but yeah, I just had Just see if you like that. But what's most important is that you wanna send the approach good. So some of the approach what you're going to do is if you have a new song, you have to figure out what you have to play. You have to figure out the notes. Maybe you want to write them down. Maybe you can do it off by heart. Maybe you want to listen to his song and do that way. That's absolutely fine. But what's important is that you identify the nudes and then you're going to split them between left and right. Usually I like to figure out the left hand first, so I figure out my left hand a little bit. But I'm not really playing in yet? I'm just figuring it out. And then I practice of maybe 23 times just so I don't forget it. Then I move over to my right hand. I figure that out. How do we want to play it? What's my fingering? How do I want to, You know, how do we want to attack this problem that is playing this thing that I don't know. Then once you know that a little bit practices to three times, right? As I maybe go back to left, See if you didn't forget that so and don't bite of chunks that are too big. OK, make it, make it. You know, one or maybe two measures in the beginning, right? So then you're going to do laughed a little bit thing, going to Reut a little bit, and then you can see if you can kind of get thes separately and as it's kind of working, like maybe 60 70% you're going to match it now. What happens when you match it? You completely screw up, right? Because if you can play this about 70 80% 70 80% you're gonna match it now. You drove back to 40 or 30. So it's gonna look very Magoo sh in the beginning and it's not gonna sound grade if you have to. You can always give back, like all a zoo, right? You know, ones Unless you left ones And you know, but mainly try and go really slow and fit them together because ashes store to learn them, you will integrate them. You will learn left and right at the same time and in your brain and your muscle memory it will be connected on that will make it so much easier to remember it and to play it than if you're trying to do two things at the same time. Anyway, this was the end of the lesson as your homework, please practices bit a little bit more until maybe you've got it down. And mainly remember what I said about how to tackle a song like this. For now, let's move on to Lesson 3.6 32. Ep 3.6 Reggae Piano Rhythm: Hey, welcome to Living Room Piano Lesson 3.6. In this lesson, I want to talk about rhythms. I want to talk about beats a little bit about swing, and mainly we're going to do that by learning some reggae. So we're going to do these song with jamming by Bob Marley today on its mainly to show you what you can do with a bit of rhythm and how important that swing can be. So what I want you to give him one is that in this chapter we have a few lessons that are like this. OK, so we have a Latin lesson with the blues and jazz lesson and also this lesson. So it's not really about learning that song. It's more about getting Mawr Knowledge and Mawr feel for those rhythms and to actually notice that it's very important how you play something on the piano, not just which nudes and when. Okay, because the wen can be a little bit different than you may think so without being super abstract, let's just dive right into this lesson, gonna learn some courts that we're going to learn when to play these chords at a specific time. It's not super difficult to play. It's actually relatively easy. And then we will apply that. And that will apply a pattern that will make everything sound reggae all of a sudden. Okay, so let's dive right into it gets. So let's have a little look at the piano. See, we're going to play. We don't really care about learning to play this song. Exactly. It's more about getting the idea that a rhythm can be very important on also that swing, okay, was still with the left hand, is going to play a B E G. And then I like to plan f sharp locked. Okay, so let's put that on the board. So for left, it's gonna be be e g on half sharp. That's a little bit of camera cool. So that's left now for the Roit, and we're going to put little bit of court on top. So for the right and we're going to play a D F sharp, B d G shop, bt G and a C sharp of shop like a selects, have a look at the board A D, f sharp, B, D, G, sharp, B, D G and A C shop of shop. Okay, now, the funny thing is, you can actually combine thes B d f sharp A and we will have beam on a seven e g sharp b d . And then this one is a regular major court of this one is regular minor chord. Usually there's an e in there, so But I don't do that for this lesson. Okay, Suit. In order to play this song without any raggy rhythm without any swing, we're going to get this for right, Okay? No, for left B e g. And as I said, unlike to play an f sharp doctor, okay, if we combine them, it's quite cool. Okay, So keep in mind, we're playing jamming from Bob Marley. So if you haven't heard that yet, made sure to leak it up. Okay, so I've got a hand originated. The beats that we usually play. 1234 And also the nudes roid here that we're into playing a bit now. First of all, if I have my Metrodome, which I have sat on 60 right now, I'm just going to play that roid hand. 34 and one, 23 four. 123 four Okay. That's how we get that. Um, keep in mind whenever playing the Metrodome that I'm hearing the Metro Room via slide delayed due to the way that my city was set up at this moment. So sometimes I might just miss that matter name. Because of that, I'm trying to keep it a straight as I can. But, you know, on three for again to three for no one to three four. So I want you to try that as well. You can use my metro name where you can simply download a mobile app. Or maybe if your own Metrodome and that also really works. So right now it's on 60 bpm. I would do it one more time whilst shutting up as they used to try that as well. Okay, so if course, these courts signed wit without the left hand in there. So let me moving over a little bit. We're also going to play left, and now what I want you to do. So I want you to actually be able to stick to the rhythm. And if the playing of the court is preventing that, then just play a single note in the right hand. Okay, that's also possible. Or you could do double notes or whatever. So for now, if you want to do that, I want you to play these same nights in the right hand as you good. Any left, so B e g on deaf shop. Okay, You can pick where you want to play the F shop. Here we go. 123412341234 And so now you go ahead. You can practice this, which when I saw playing, that's when you have to start playing. Get ready. One, 23 four. And okay, now we can also lead Discovered of the Metro Fanara. Very knowing sound. We can also move back and forth between left and right. So what we're gonna do is 12341 23 41 to you. Three, four, 1234 Okay, you have a try with that. Let's do the Metrodome. Here we go. Get ready on the one to three four. And Okay. Hope you manage to do that. If for whatever reason, this goes too quick for you, you can always put your mentor name on a different bpm. Okay, so we could drop back to 40 or 30 or ever. Now I want to have a quick look at the board. So what we've been doing so far as we've been playing one to three for now, you see these little A's in between. That's gonna be the end. Okay, So and one and two and three and four and one and two and three on four. And okay, so replies that to the metronome. See? Three, four, one and two and three and four and one and two and three on four and one and two and three on before. And if we employ that toothy piano with right hand and the left, let's say that the left hand is gonna be the one as the right hand is going to be the end. Okay. To three, four, 34 And Okay. Like that. Okay, so that's a possibility. One and two and three and four, aunt. Now let's see what I want to play. What? I want to make our out of this and how we're going to play that. So what I've done is I've written the first court in here, and you can now see how that we're going to play this rhythm. So we'll be let of a different We were actually play. One will play nothing and then on the ant will play the B in the left hand on the two will played. According the right hand on the anti will play to be again then nothing. Be the cord on then be okay. So, basically, let's just try the left hand for now. Okay? Let's see how that goes. Okay, so now it's not on the on the Metrodome, but it's writing between. It's on the end. So one to three, 412341234 Okay. Want to try that with the other notes as well? So let's get ago on one C 34 Uh huh. Ah, uh ah ah ah! Okay, so that's left for the right hand will be on the tune on the four. So that's relatively easy. Okay, if we play the metro name right now and keep him on, do you get to decide what the woman's I want to Tuesday 20 threes and the fours on the metro name. Um, so here we go one to three 41 and two and three and on. And one and two on three and on. One on, two on, three on on. Born on two and three and okay, Suit again. One and two and three and four and one and two on three. On four. On 12 on three on four and one and 23 on before And okay. Getting a a little bit out of breath here. Okay? Now, what is super important is that they don't start on one. He sought on the ant. Okay, so if we have one on two on three on four Sam's, we do not start on one. Let's slow that down. One aunt too. And three on day four at or if you want to talk hands. One laughed, rides laughed. Three laughed. Right, Left one laughed. Right. Left. Three left, right. Left. Okay. Really? Try that On your knees and K monies of dirty. Because I keep putting chalk on them One. Okay, So one left, right, Left. Three. Left, right. Left. One. Laughed. Ride laughed. Three craft bride laughed, and now we're going to talk about swing. Okay, so this doesn't really sound reggae, OK? But What if I do? That sounds a lot more reggae. And if you cannot really hear that, listen. City difference. Right here. Uh huh. Uh huh. Uh huh. Uh huh. Okay, that's what side swing now with. Okay, Doesn't that sound a lot more reggae? So what we're doing, basically, is instead off keeping perfect distances between these, we made them a tap tap, tap, tap. So it's one and two and three and four and one and two and three and four and one and two and three and four. And okay, so let's try that. Just with single notes. So here we go. One okay. As compared to this one. Okay. Lets Colon or front the metro name going to put that on. That's pretty on Laurenti. 12341234 I'm gonna play it without swing first so that you can hear that. Okay. On one. Okay. Doesn't really sound like anything now with the's swing. Okay, Maybe put it a little quicker. Oops. I don't know what I have known. That would what happened. Ah, there we go. Ok, good. So a little bit quicker with that swing one with so basically What does that mean? What does adding the swing mean? Well again, it means and it's very hard to explain. But instead of keeping this distance the same the entire time, we put a little bit of an error and it basically okay. So what happens is it becomes less perfect, which means that it actually gained some emotion against some feel. So the weird thing is, you're actually playing something that's less perfect than if you would just put it like this. Mathematically, this would be really nice. So basically what I'm trying to say is one of the versions is perfect, right? It's exactly how you want to play it. The other one. It's not perfect with the emotion, the added emotion, putting that in. That's actually what makes it so cool. So if you want to play this reggae beat one more time, so listen to this song that's hard to play a bit of we jammin from, but morally I'm not going to try and sing to that, because I will really ruin it for everybody. So let's not do that. But I listen to that song and you actually hear this pattern in there. It's not on the front layer. Okay, it's in the background, so don't be mistaken. They want on the front is a little bit different, but in the background you can actually hear this layer. But that the Tet Tet to tattoo. So it's very cool. Listen to that song jammin by Bob Marley and let's move on to Lesson 3.7. 33. Ep 3.7 Una Mattina & Nuvole Bianche: how you walk into lesson 3.7 in the living room. P intercourse. Right now I'm going to teach you. Hang to play. You know, Matina the original version as well as an availabe on cheese. So we did easier versions earlier in this course today it's time to actually finish those up. So one thing to keep in mind, I'm not teaching you the entire song right now I'm teaching you. The difference is compared to what we did before. So if you have not seen the you know, Matina easy video yet or the new volley beyond video, please make sure to which that fuss as with the other videos, the easy version that I have attached to the previous lessons that will also be an original version attached to this'll s. Now I think that what I've done and what I want to do for this lesson is actually add them separately said the end of this lesson, the next one that sorts to play will be on the play through from the Matina and then the one after that will be never really beyond she. Okay, so it's not in this exact file. It will be a separate video, so it's probably call it 3.7 a. M. 3.7 b or something like that. But you know, you will figure that out. For now, we're going to sort within a Matina. It's almost exactly the same as the easy version that I taught you. But there's a little bit of a difference that I will play through the song and I will point out when that difference actually occurs for naval beyond. She is the same story. I will play through the song and teach you wear. The difference occurs, but the difference is a little bit bigger for that song. So let's start off with Una Matina. OK, good. So again, this is just for some reference for me. Let's pay attention to the piano. You know, Matina, in order to play the original way, we're basically going to play everything the same way. That's just this part. That port is going to be adapted a little bit. Okay, so I do not remember exactly how I played it back then because it's been almost two months ago, believe it or not. But what I What I do know is how do you play it originally? Right now. So if you if you've seen that easy lesson, you could order. I've seen the easy lesson off me right here. Or you could have seen that play through dissent. Easier play through with the notes raining down. It doesn't matter. Let's redo that song real quick right here, and you will see what happens. So in order to sort out, we started right here way we play that again on that, we went to the FBI. I'm gonna do this without pedal, by the way, because I'm having a hard time to reach G B. Okay. And now we get back to the beginning. OK, now we do have again. But we have that e a at the end, remember? Remember that one and a na Grebeck city beginning. This is why we before played something like this. So now it's time at this moment to adapt that and teach you the original way of playing that. So what happens right now is that this will be the same. But now the left hand is going to sort an arpeggio. Let me let me take the camera down a little bit. Arpeggio like that. Okay, so what basically happens is you play af c a c a c a c. Now, as you can see, I can actually reached that in one go. But it's not very comfortable to for me to hold this f whilst playing that. So what are doesn't play the af holdout with my pedal? I'm now releasing Okay like that. Okay, so f c eight c a c A c A total of eight notes. 12345678 And I would do the same with G d. B. Also Ignatz. 12345678 And now you stop on the C s. So it's actually nine notes. 123456789 In case of the whole thing, slowly, simply do that again. But now we play a A at the end. Okay, so the first Simon's see a GDP E c. And then it will be f c A GDP. Okay, We're gonna do that again, But now it's FC FC FC FC G g g g g g g d a e a e a. So that's nine again, right? So 12345678 Want t three point 678123456789 And again to finish up now with the again for F f C A c A c A c g g g Not the B but G and life that. Okay, so this whole left hand, Let's do it slowly. Here we go. - Uh , - okay . Nice. The good news is the right hand is going to slay these sames. Ever play that slowly? Okay, this is one of play the A on this one. I play the okay like this. And now right here. You wait a little bit with that. A So a little bit quicker Like that. OK, say the matching points right here and right here. Thes 1st 3 nights of GB are still empty. Okay. And then it's every note. Okay. And now, first left together, left together like that. Okay. Okay, then the right help play B A B a B. If you remember that. And then okay, be a You will be like this. Que su b a are going to be at the same time as here. E this'll A's on its own together right here. Okay, So what we get is this thing, Okay. Okay. Now, if I lose these two together, I'm going to do that slowly for you and then a little bit quicker s. Well, - okay . Says that was just the slow way I remembered that I wanted to share the rest first before playing it up to speed. So then we get exactly the same. But keep in mind the lesson is, that tiny bit different not going to FC A, but staying here, here on Dhere. And then we do go to FC A still for stretch for me. G d d g g on a So here. Okay. And now we take the big one, right? Um, and right now and then we finish up lying that they came. So this bit like that. Okay, let's see this entire but slowly and then finish at this song. - Okay ? Okay. Okay. No. Okay. And that's that piece. Now we're moving all here a que and thank continuing on a getting back to CGC now. We had e g b and now we have the Remember that part C e c and G d B Now we have the f e e port, which, um, let's see. Is that still the same? Yes, that is still the same. Cause is going to get a little bit interesting in a bit. So So, uh, and now we get into yet another one of these. Okay, but it's a little bit different. Okay, so now we get here, and this is still the same. And left is not gonna play S C, f and G g g. But we only played them once. Okay, so not nothing like that. Just a single arpeggio up, Okay, right. Is gonna be a e a b a b. So we get this. Okay. And now is this one is a little weird. Let me demonstrate. First. It s a combination. Basically, we're playing Alo A and high A twice and left, and then a e e a e a and Roy. And it sounds like this. Okay, So left roids rights left on. Now we get up for right e Really? Like this one. It's it's It's a little weird, but it's really cool. I'm gonna demonstrate with single fingers if I can manage that. Um, just so you can see what happens. Okay, B a b A b And now we get something weird and left us well amending abroad. That Okay, So basically left this plane a low F on the high F twice and the royal hands playing a e a e a e. But this song we played together left, right, right, left, right, Right, Right. Okay, so and now, that's all. We're playing a B a. Okay, Sue ending up right there. That's the G so reserved to go to a we're going to do the same as we did before. This'll. So if you combine that, it will be Yeah. Okay, then we're going to continue on. We do exactly the same. So would it with before. Uh, but now, instead of a a b A, we do B A B a B. Okay. So you get the whole same kind of thing. Okay, Hands on. We get this. So this whole bit I can understand if it's a little bit confusing to you. So let me go through it one more time whilst talking it. So basically, we came from here on way. And then instead of the normal thing, we have this going on. Okay, that would do that. One more time s over here finishing up and they were moving on, so I can imagine that's a little bit confusing. Have a look at the end of this lesson or that separate lesson that I'm doing right off of this one, sharing you the whole play. Three of these song. Okay, So after that part, um, what happens is we have this way. Get this one more, and then we have the final one on now. Okay? Right here. In case So we have this in between thinking this is exactly the same. Now we moved to be. And then thing is a rundown a e a finishing up as we've seen before, right here and now. Right here, ending up right there. Okay, so that's all the same as in the easy lesson. Yes, I have a look at that. Many play through at the end of this lesson or in a in a new lesson right after that. But it will be right at the end of this lesson. Look at the play through. If you want to see that. Ah, one more time. I think that maybe a little bit more clear, but I wanted to play through it for us. Well, like this. And now let's finish up. You really beyond she by doing the original version for that as well. Few adaptions there as well. Good city. Main thing with the Matina song that we just did. It's you just have to you have to remember these tiny little changes. Now, the thing is, when you're performing thesis on, if you will perform this for somebody who's really, really, really like a no on really wants it, get everything right? Yes, of course. Then you need to make sure that you get all of these little changes right? At the exact same time, We're usually people would not notice that. Okay? So if maybe, instead of doing the f c A. You did the FCF one time nobody is really going to notice that. But if you really want to get it, roid, it's just a matter of lining all of these little things off my heart and waiting until your fingers on your motive skills in your hands picked that up in your muscle memory, and then you don't have to think about that anymore. okay, Moving into Novalee beyond she a little bit of a different story. Basically, there's two adaptions that we have to make. So we played all of this song. Let me actually zoom out a little bit. So we actually used to play this song playing power chords. If you remember that. Okay, on. The main thing we're going to do right now is to turn those power chords into our Paget's. And I'm not. All of them have to be changed. I'll play through the song a little bit and show you when we're going. Teoh change that. So we'll change them in our pages on thunder Is the mother of the whole that little bit road there. Okay, so we will do that afterwards. Yeah, let's just focus on the air. Paget's first get that out of the way. And it's really not that hard because the courts are basically the same. We're just turning them into arpeggios, so we'll get that done pretty quick. And then at the end again, you'll see the owner Matina play through first and then you will see the need really beyond she play through as well. So the original versions after this video in comparison with the easier versions that use soul before. Okay, If we saw we have the intruder, I'm playing a little bit quicker than I normally would just to get us through a little bit quicker. Now we have this sword, you know, remember that. So that whole bit is going to be the same. Okay. However, then you're going to repeat that bed, and you're simply turning this into our Padgett. So you get this, like, a makes sense right again the next bit, okay? Because we have to move that up until they're okay the next, but will be the same. Uh, here, just planes is of my heart suit. Right now we get, we get that, but Okay, I will get to that in a little bit. But first of all, after this whole bit, we end up right here on before. In the easy version. I showed you had to play it like this. Remember? Now we're going to actually adapt that, but we're not just playing a regular, um, AARP Adieu off three notes. No, we're actually going over to a flat. If that's too hard for you, which is possible, then you can just make normal or pageants. Okay. FC fc FC. But what I want to see, if possible is that Okay, So the really awkward one is this one FC half on now over a flat back like that? The other ones are a k. If you play what I like to do is pinky middle finger pointer From then you can actually play that. Just make sure to release thes notes. So if you do want to play the four notes the original way, it's af c f a flat d flat. They flood Defla half a flat, e flat a flat, see on evil A B flat, e flat G. Okay, so the easier way with just the three nights will be like this thing. Okay. Like that. And the Hardaway, um, let's see. Like that. Okay, so every note is just gonna be at the same time. Okay, If there's no note, it's going to be in the right hand. It's not going to be in the left hand. Thank. Hey, this continues on thrive the whole song. So let me show you a little bit right here. Cases just keeps on going. And at the end. Okay, so just keeps on going. Um, but what I want to do right now is have a little bit of, ah, attention to this bit. Okay, so I showed you the easy wait. To be honest, I don't remember again. This has been I think it's been, like over a month ago that I record of that. But I do remember the original way, which is way more important for us. This lesson. So right here. Okay, so let me talk you through a little bit weird, and then we'll do left android separately from there. Okay, so here we have this not Roy is gonna do this. E flat d flat, C d flat. And then Roy here you played together A flood active in the left hand e flat a flat. See a flat. So way like this. The flat jock tive e flat G a flat G flat. Sue like that. Just the left hand. Makes it a lot more easy to learn this. So starting on the d flat like that D flat a flat defla laugh. They flood defence. You do this A flood doctor ive flat a flat on a flood again and I did exactly the same jock tive G Jean Sue. Okay, The same on idea Exactly the same. But instead of starting on D flat is sold on e flat. So the whole left hand for this bit on thinking, teaming right hand like that. So you flat right here high af e flat d flat, C d flat, e flat, C B flat, a flat, a flat. Say that Sounds like this. Okay. Going to do that again to see, But now C D flat C b flat, a flat, a flat. Okay, gonna do that again. Up until see. But now C D flat C b flat a flat said the second time like that's finishing up with this B flat, a flat G, a flat B flat. So it's really not as hard, she may think, but it will take a little bit of time to get these in. So let me play it very slowly for you than a little bit quick. And then one time of the original speed and then I want to refer you toothy midi at the end of this lesson, it's, you know, Matina first and then I d and you've really beyond she has. I've sat a lot of times already, so make sure to check that out. For now. Let's do it Slow, medium and original speed. - Uh , okay, So that's the piece that was missing the original way to play that piece in the middle of the song. Very beautiful. Keep in mind the very beyond, she repeats, after you've been done around halfway, and the song repeats pretty much the whole song as that. Some variations that we didn't really do. In the easy lesson that I tortured, I want to refer you to the medic file for that we're basically going to repeat. Instead of going over here, we'll stick to the original three note arpeggios in the second half of Novalee Bianchi so you can check that out as well. Andi For now, that's it that's had too plainly, really be onto the original way. Make sure to listen to the song a couple of times on a recording. Two. Yet to really get the timing's right and to get a bit of feel for this song because it's it's relatively easy to play, but you can really make a good difference, depending on how you play it. Remember swing. We can add a little bit of swing here, and there doesn't have to be to robotic. You can give it your own style, your own twists. So for now, let's move on to lesson 3.8, where we're going to start. Teoh improvise using Canon in D, which is super cool. 34. Ep 3.8 Canon in D on Piano: Hey, welcome to lessen 3.8 of the living room piano course. Today we're going to do something really cool. We're going to play Canon in D, and I don't know if you've heard about this, but this is actually really cool thing. It's a repetitive song that you can play on the piano and you can actually really improvise on them as well. So what I'm going to do is I'm going to show you a lot of different ways to play these segments. It will all come clear to you in a second on day. You get to decide how you want to build up that song, because it's basically really cool way to improvise. So I'm going to give you a lot of ideas as they you get to basically put together your own version of Canon in D, and as a bonus, I'm also going to teach you how to transpose that to any other key, which is very super easy. Basically, you already probably know how to do that, but I will give you a little tip of that as well. So let's have a look right now. The courts that we're going to play because we're going to play repetitive courts all the time and then we'll move on with that. A que se de canon is build up out of eight courts that are repeating all the time. That's why we call the cannon. So we will have these courts d a be f sharp, G de g and A B is going to be minor on F Sharp will be minor as well, and all of the other ones are major. Okay, now we can simply right out of these cords Teoh to know which note you can use. So for D, you can also use a enough short for a We can use C, Sharp and E. And obviously this is just an idea. You can use all of the notes in this skill if you want to. Uneven notes. I inside of these skill. But in order to sort let's just start with these nuts. Okay, So for F sharp, we have A and C sharp of the g n g of these D's and these days or the same. Okay, So if you think that the courts are different, that's not necessarily indicate so g, we have B and D right as well. And then for a we also have see shop and e and D A f sharp. Okay, so how does this work? Well, basically, when you sort of play candy, usually it just it starts like this with a single mode. Uh huh. Okay, So you probably you've probably heard that before sometimes, right? Basically, all I'm doing is I'm starting a d a B f sharp G d g a. Okay. And these courts are repetitive, so I could also play courts. That doesn't matter. Okay, Now, the noise thing about the canon is that you can put a metronome. Not that quick. Probably you can actually keep the temple this same, and they make the notes that you're playing more interesting. Okay, so maybe you're playing all 60. So then we get, uh uh for instance, but you could also, you know, do things like that with your left hand. OK, good. So the way I like to sort out its usually by just playing my left hand a Zaev shown you b f sharp g d g a. But is entirely up to you. But I would sort I'd super simple and dry and think of fill it out. Keep in mind I'm not using my paddle at this moment. Um, and I will maybe do that later, but not yet. So then after that, you could fill up the courts a little bit. Uh, on All I'm doing right now is I'm simply adding the next note to the court. Seven playing D R quarters D f sharp A normally d f sharp A. So if I'm playing diem, I'm adding that half shop on top, but I picked it up. Knocked. Okay, So d have shop A I'm simply playing the second round of that court hemorrhoid hand for a C sharp e. Um, I'm playing the top in it right now because that's the next note from the F sharp, some starting here and that I'm simply walking down and up because this is a my sound. I could also stick toothy second note of the courts of that, I will be here like that. Okay, but it sounds different, so maybe we could do that. The second run. So maybe we want to sort out here with left, uh uh, And now, as the right hand in, uh And now maybe we want to do that thing where we play exactly these second note of each court and this doesn't matter. Okay? Visible to you. Now we can also play two notes. Way can also play left first and then right. Okay. The whole idea being that the entire time the left hand is going d eight be f shop. That's how we progressed. Three. These courts. That's our core progression. Okay, so let's say that the example that I just gave you that I'm going to put that into practice or just play that for now and then see what happens. See if we can come up with some more patterns. But you're more than welcome to actually change that up and play something else, Okay? But I'm going to show you a lot of different patterns in this lesson that you can use that you can make your own canon in D. You can make your own beautiful. So let's see if I put all of that together. What? I just played what we end up with, and there we will expand a making a bit cooler. Uh huh. - Okay , So doing this, we we already get a really nice progression. Why? We start really gentle, really easy. And and already it turns into into something a little bit more. Okay, so maybe maybe we want to just give it a bit more body. So maybe we want to fill up the court and playing three notes in the right hand like this. Or maybe you want to go a little bit lower, actually, go there, fill it up like that. Okay, so maybe here, Uh, I'm just giving you ideas, giving you suggestions. And you are hundreds them free to do whatever you want. It has a lot of these made, actually. Already some really knows progressions. But what I want to do in this lesson is for you to figure them out on your own, to figure out what you would like. But if you need inspiration, you can always look up Canada and the videos or on Spotify, whatever. And you will hear all kind of different variations. So now we had a full court. How about if we go like that? Isn't that nice? So what do we do right now? Are basically I'm doing my courts with the same bottom note for two courts in a rose, some starting on D. My right hand is starting on a But when I go to a mall, right hand is also sorting on a So I get things the first court ADF sharp. And then I moved to a C shop e So you get this really nice This'll repetitive thing. Okay, if I would move the whole court over again, it starts to change a little bit too much in my opinion, in the beginning. So I stay here and then here. Now my right hand is going to drop for the B. Look, it's on f Sharper, but that is going to stay on f sharp for this one case of here. Two courts with the same ah Lewis note in the right hand here on now for G. I'm actually going to sort on d like that, because on D, I can also start on the okay. But now I can go back to this D. But now I have to go up. I go ea c shop. Okay, so for this route repetition, you can try along if you want to like that. Okay. How about maybe Okay, so Now we do is left Cort left right side, right. Playing the court from top to bottom. Something that we don't really often doing music, but And now you can Teoh ended like this or go up. You know that's up to you. How about this one, okay? Or playing our top two nights together. Okay. Okay. It's a little variations. Let's see if I can improvise on this and created always build up. So I'm going to start from the beginning for now and just come up with a noise progression on. I'm just improvising. So let's hope that it turns out to be something cool. Okay, So I'm just coming up with some stuff, right? In this case at the end. What I do is I play the top note of my court, and this is not necessarily the top note of a root position. Quarter K, which would sound like that. No, I chose to play my court in 80 f sharp. So my second inversion and I picked the top note of that cord bottom Middle bothered top bottom, middle bottle. A case. You get this'd we can employ this city next one as well. We simply applied this pattern to any accord. Okay, Now what we can also do is instead of just doing things in that roid hand, is expanding the laughter. Maybe way would like to go to doctors. I think that could be quite cool, especially because then we can repeat our left hand as well. So let's see if I can come up with some patterns for that. - Okay , So I didn't the left hand in there. And if you want to agile left in there and you want to do double pattern, so differences, you could dio see him repeating that thumb. Or I could just do lower thumbs up or thumbs way. Then it's smart if you want to do a lot of that. If you want to put a lot of notes in here anyway, it's small to sort out really slow in case, and maybe we can start on March 30 and then we can actually, um, stick to that because we're going slow. Okay, because once you speed up in the right hand, we're going to need that time having difficulty to hear my Metro name actually over the piano, so that's annoying. But it's always make sure that you can hear your net Metrodome quite clearly. I also see these ads on Instagram for ah, for Metrodome that you can wear on your wrist. That's vibrates instead of a sound. I have never tried that, but maybe that would be something cool as well. Um, anyway, if you want to dio Ah, a lot of solving your left hand. Maybe it is smart to take it easy on. Don't start to quit, cause if you start here by the time you start to do your doubles your on that speed, Okay? Maybe that's not something you're comfortable with, CEO. Okay, that's cool. Now you can also expand your cord. Okay, so you go. Four notes may be here. You could do something like this. OK, maybe that's cool. You can come up with stuff yourself. You could even do something like that. Okay. Whatever you want, you can put a little little things like that. So by the time you're back eyes something like that, the possibilities are endless. Now, one of the things you do not have to do it's a sick to actors. You can actually also use your middle notes, so play power chords. You could even go on active low where you can even do jumps like octave and core Jump Whatever you feel like doing okay, you can make it us as crazy as you want to go. So you do not have to stick to your to your active in your left hand. You can actually play full long court. You can play the fifth as well if you want to do that. Also, your right hand. You don't have to stick to your notes in your court, for instance. Right. So you could get etcetera. That's something that's cool as well. We can have jumps in, right. Okay. So you can make things as crazy as you want. Basically, you could also just go freestyle in that d major key as long as the left hand keeps doing its job on. I'm not saying that this is necessarily the prettiest thing to do, but it's just one option. You know, you could just use that whole D majors skill to toy around a little bit on play something that you like. Okay. Yeah, I just have a little bit of form with that. So what do you are watching this course at a really high pace, and maybe you've really been playing for two weeks. That's absolutely possible. It's also possible that you've been playing for a year or two. I don't know. So if you're just starting out, use your left hand and just play that little cannon. And maybe with your right hand, just play little things, okay? No, Nothing too crazy. I when I started to play, I love to play something like this. Yes, I thought it was maybe a little bit boring, but I thought it was pretty. And it was something that actually sounded like something that was meant to be played on the piano. And yet I just really liked it. So what I would advise you to do So learn these courts or these nodes off by heart. Okay, so all of these notes that I've written here learn them off by heart, or or, you know, basically, just playing that d major skill. Anyway, that's the most important thing. But also make sure that you know which notes ahead on your left hand on which notes are compatible with that in your right hand, so that then you can start to free style a little bit more. So now I want to quickly demonstrate to you with the distances are between the courts. So do we actually know if you want to play in another skill what we would have to do? So let's quickly do that as well. So basically, this whole cannon has been built up out of different courts. Of the D chord is the one court in the D major scale the F sharp. While there's no e, there isn't f shop. So that's the third quarter in the d major skill that we have G, which is gonna be the fourth Court A is gonna be the fifth court. And actually, there's a G chord here as well. So five event B minor is gonna be six. Okay, so our core progression is a 15634145 So, for instance, if you would wanna, um, if we first who wanna write this in a C major key, we can go one one, and then we have to do 563 four, four and five 85 quarters. See, is G the 4/4 af Okay. 3/4 e minor lick minor on the six is a minor. Okay, lets see if we simply ploys that that's your one in si event E g. Okay, that sounds pretty good. Okay. Can easily do that as well. All right, way got a whole different field. Now. What we could do is we can play our de canon and then get a little cheeky starting on d again. A I go to a minor. Take that over. Okay. I think that's fun. So you can move from from one skill to theater, of course. C to D. It's not really the easiest way to go. Maybe you could move C to G or C toe after a little bit closer, but there's I think that sounds fun. You know, going like that. It really throws people out of whack. So I have a little bit of fun with that. Maybe find a key that you would like to play this in may be see as a nice a key for you because you don't have to worry about any of the black. He's I personally find a nice have some of these black keys in there to give me a point of reference, but that's entirely up to you. Maybe you would like to play it in a flat, major. Maybe you would like to play it and a B major. Whatever scale you would like to play this in. It's all completely up to you. But now you know the core progression you should uses 15634145 What I would personally do what I used to do a lot is simply label these quartz. So if the first court was 80 f sharp, right, that's how we ah, how he played it in the beginning. Then I would simply call this my one, my two and my three. You know, the first note in the quarter second and the third No in the court and reposition. But any position that I'm playing it in and then I just used to write at these patterns. So we play 123 that maybe oh, play 3121 Or I would maybe play 1 to 1. You know, all these kind of things. Or maybe I would play 11 in three of the same time and then two and then one in three again , and you can just write out all these type of different patterns on a sheet of paper events . Start playing with them, and you just played his 123 pattern for all of the eight quarts. And then he moved to the 3121 for all of the aid courts, etcetera, etcetera. And then you build your own can in Indiana. I would love to hear from you if you if you created a really nice one, maybe upload a video on YouTube or recorded and just send it to me. You can always do that. Send on the email to PGM piano fans at gmail dot com, and I'll be happy to have a look of that. Andi even give you some improvements. If you say how don't know. Like I want to put another pattern in between. Maybe I'll give you a tip as well, so make sure to do that for now. I want to move on to Lesson 3.9 35. Ep 3.9 Piano Midi Files Explained: Hey, welcome to lessen 3.9 of the living room Vienna course. Right now I'm inside your computer screen on. We're going to have a look at many lessons. This is very important in this lesson. I'm going. Teacher had to learn from a mini lesson what many is, how you can use it to your benefit, where you can find many files, and also how you can easily estimate if a mini lesson or any lesson for that matter is within your levels. So we will also be looking at cheap music. All in all this, one of those lessons. We can just sit back, grab a cup of coffee. You're allowed to do that. Mm. That's good, because we won't be using the piano. I'm just going to show you a really a lot off important stuff. Keep her mind. I will be using my own videos, my own material for this duty, copyright reasons. But if you wanna download MIDI files from somebody else, or if you want to, which somebody else's lessons, of course, go ahead and do that. But, you know, I kind of like it way in which more lessons say that's cool as well. So anyway, let's dive right into it. I have this little tool here somewhere that allies me to draw on the screen. Okay, Cool. So this is basically a MIDI lesson, and we have a different type of notes. We have green nodes on blue notes, usually in the middle lesson, because that's the default setting of the program that I will show you later as well. Now there may be differences in how people build up their many lessons for me. I have this cool background. I think it's quite nice instead of just the gray. And then there's a couple of things I always highlight the middle. See, right here on also all of the notes carry, you know, in the bottom they just carry a number as well. Okay, the black keys are all unmarked, so they're just the Black Keys. But all of the nerds dropping in actually have the name of the note in the note. I find that super helpful. I don't really see that a lot on other YouTube channels or whatever. So this is basically the way that I like to do it. So, first of all, we have to make a division between left and right. The right hand are all of the green notes right here. However, sometimes notes actually move towards, you know, the right side of the left. That's so it's not just a split right here. It's very much possible that you see a blue note over here and blue note over there. Just keep him on that for my lessons. The blue nodes are the left hands. If you see a blue note all the way over at the screen that that means that possibly you're crossing hands or whatever. So how do you interpret thes many lessons? Well, basically, we can see these notes, and I'm going to show you. Let's just run it for a little while. So what happens? Okay, so obviously me recording the sound from Aleppo with this microphone, it's not really doing any good, But when you listen to the lesson yourself, I always try to use a midi synthesizer that really provides a nice piano sound on phones and laptops. It's not gonna be the best, but if you listen through headphones or through speaker system, that's always good. Whenever you listen to Midi tracks, usually especially when you listen with your your phone there will sign a little bit like a metal tin can, you know, like a tin can like very hollow, very anti. So make sure to to use proper headphones. And if it still sounds bad than the person who created a mini lesson, didn't do a good job. So now if we look back, we can actually see that these notes are raining down from the top. It's kind of like the guitar hero game on. What we can see is we can see all of the nodes that are being played at the same time. Actually, right here, they highlight on the keyboard, of course, but we can also see all of the notes coming up. So what I like to do with a MIDI lesson is I like to immediately have a look at all of the notes in order to figure out the scale that we're playing him. OK, so at any moment you can pause the video and you can write down a couple of these notes. Right now we have a flat. We have ive flat. We have G, we have d flat B flat. You know, you can see quite a lot of them. And then if we actually move through that video, we can see different notes as well f c And then we have all of the notes that were in this song. You can simply write them down and then you will have the key of the song. In this case, that's a flood major. So that's where I always like to stored. Then if let's say we start all the way the beginning this is a little add 40 cores that you're currently watching. So if we sort of the beginning, we can see the core progression. Okay, starting on F and then moving forward while there's gonna take oil moving forward. We see d flat over here, Um, a flat and e flat so you can easily see the core progression. Now, let me just play this song for a little while so you can see. Okay, so e flat Now we're going to soared again F d flat a flat e flat. Now what I find very annoying about many lessons in the beginning is that when I was watching them, it was going so quick that I didn't really have the time t to see what was being played, and this is because it was actually looking at notes I wasn't really looking at at at keys , you know, like the whole scale or at court structures. I was just all the time, like throwing to Roy down fcf SC Ever see ever deflect deflect, you know, And it just it took so much time and I didn't really on the sun had to use them. So that's why I'm basically making this video Luke for the scale. Then look for core progressions that you can identify and then eventually you can have a look at the right off the screen or the right hand the green nodes to basically see what the melody line it's now if the things they're going to quick on YouTube, first of all, you can slow the video dam, but this will corrupt the sound file a little bit because the pitch of the sound will be weird. But what you can also do is on my YouTube channel. I have easy lessons and easy, slow lessons, and these are basically being played back slow. Okay, so let's have a little look at my channel for now. It's so I can show you some stuff and then I'll get into what a midi file is. How it looks like when I'm making them on how you can actually use them to your benefit and slow them down as well. But just in case you don't want to get into that whole thing, I'm just going to show you the easy way by going to YouTube. So in order to go to my use of channel, you simply search for PGN piano and you will find my channel. Okay, I've been making a lot of lessons there. There's a currently 1000 lessons up, so I started 10 years ago. Okay, so if you go all the way back to these lessons, there will be very different than the lessons that are up here right now. Obviously, we can see all of the many lessons right here. You could see advanced on all of my advance lessons. In general, they play through at the normal speed. However, the easy lessons, the new easy lessons play through at a slow speed. So playing there's back, Let's put it up on the big screen. You can see that it goes relatively slow. If for whatever reasons that it's too quick for you, because keep in mind, you can just pause the video as I just did. But if this goes too quick for you, go to the little card right here, Speed, and you can slow it back to even half speed, you know, and it will slip. You know, of course, the sound will be horrible, but that doesn't really matter. If this is the way you want to go, you have a free less and you can slow it down. So easy slow is the lessons you're looking for in the beginning, probably on. And then you can have a look at the advanced lessons as well. Just whatever you do, Please. If you do what your YouTube watch until the end of the lesson. Because if you click away the lesson before it has ended, then that's very bad for my YouTube reputation. Because you do things that you didn't like. We're just seeing. And then, you know, like just whenever you click on a lesson not just from me, but from somebody that you like them, or a video that you like please watch it till the end, or at least halfway, because otherwise we really get a bad rap sheet for you. Deep good. So there's the easiest way to learn songs. Basically, you go to my use of channel or somebody else's YouTube channel in your look for Mehdi lessons, and you can simply see the whole song being played. And you can pause that. You can rewind that you can easily see these patterns. You see the deride here than as a C shop, and then there's a B so you can easily see these quartz as they're being laid out with the melody line on the right. Right here. Let's say that you're not really looking for the easiest way, but you're looking for the best way to use many files. Platt, you asked. You go to pgm piano that come or any other website, as I said, but I want to use my own material to not get in trouble, you know, with with copyright or whatever. But of course, you can also go to many files that come or any other website. What I do is I offer all of my medic files as well as the sheet music that belongs to those many files for a fixed price. And so you pay once and then you have lifetime access to all of the lessons. That's how it currently is. But always make sure to check out what the pricing is at the moment off purchase. So if you would want to do that, you can do that. Another voice. You can also get your MIDI files somewhere else. So there's many files right here, and it says you can download a sample, so let's download a sample and see what happens. So the first thing I can do because I'm working on a Mac is open my MIDI file in Garage Band and then we can play it. So let's just play the forbid. You can basically see all of the notes written out here. Now, this is not really a playback program. It's more of an editing program program that you could use. I actually used the big brother of this program, which is logic to add it. The MIDI files. Okay, but yeah, you can you can actually see all of these notes right here. You could grabbed them and dragged them around and then all of a sudden you ever different . Hear that? So this is how we added the MIDI files. It's actually a lot more work than you may think, but this is a program that you can use for free, and I don't know Windows, but there's probably also free programs to open it up. However, if you want to be able Teoh playback that song to actually see it, I like to use Cynthy Zia. Um, I think I got Total Mac for $25 that's a lifetime access thing. Including updates on. I heard one of my friends tell me that it was only a dollars on iPad, so I'm not 100 century about that anyway, if you played back here, which you will see, is that you will indeed see these notes in there and you will see the pianist. So basically, you get the idea of my YouTube videos. However, you also have controls so you can simply scroll up and down in order to see these notes. You can just scroll through it really easily. Too bad that I didn't think of making this programming could have made some real money there. But anyway, so you can scroll through. You can simply play it. You can also select different areas of the song where you want to go. But you can also adapted playback speed. Okay, so you can play it quicker and slower, as you please. Okay, so that's super easy. Now with my website, What you get as a bonus is the sheet music. So if you want to go there, you you open up and you simply get the sheet music for any of the MIDI files as well. I don't know how other people do it if there's, you know, if they offer a midi file of the sheet, music is included or not, but you can find a lot of many files on the Internet. Just be careful that whenever you get MIDI files or she music, for that matter, that it's actually correct and not learning something wrong, or that you like the way that is being played. Okay, It doesn't always have to be exactly what the song is all about. However, when you play classical music, I would advice you to, you know, get the original version like that's yeah, like it will be a shame if you learn the norm. Original version off. Let's say few release or any other song, right for sheet music. I still advise you to go to music. Knows that. Come again. I do not get sponsored by them, unfortunately, but I was just looking at into Stella, right? So you can you can purchase a sheet music here, but it's It's five euros. $5 I don't know per per sheet music here. So many different options. This easiest way to go about. It's a simp e simply good to YouTube. And you can you can search for a synth Easy a piano, right, and you will get all of these lessons. These are all competitors of mine. Um, piano bays, happy Dmitry Jacobs piano, Marley over error, which I think is German for Marios lover. I don't know. So all of these people, right? All comparatives of mine mortar welcome Teoh, which them Just make sure that whatever you're watching is something that's actually beneficial to you. And if you want to find my lesson, you always Thai PM piano and then, for instance, let's say say something right and then you will see my older lessons for this song as well . It's my new lesson for say something. You click it and you can watch it. So, as I've said before was more than happy to have you on the channel. I have your witching one lessons. But if you cannot find a song or you want to do different version and you find it of somebody else that works as well. The nice thing about MIDI files is that you could simply download them. You can open them if the person who created the videos actually allowing you to to Danner that MIDI file and otherwise you can still use it as I showed you before very handy again is that little card right here that allows you to play back at 1/4 of the speed half speed or even doubled its speed. That's super helpful if you ever wanna, you know, learn a music piece from MIDI, so that's about many files what it is. It's basically a digital file off on analog sand, right? So we can actually so we can actually influence that file. We can very easily take a song and put it a couple of notes up or a couple of notes down, which is something really cool to do if you maybe wanna sing to a song, but it's just too high of a pitch. You just drop it four notes, and then you can sing to it all. This kind of stuff is very, very much possible with Midi, but this is not a midi courses, just a piano course. So So maybe if there's a lot of requests, I will do another course on how to produce MIDI files and all that kind of stuff. But otherwise let's just keep on moving on. I do want to take one more moment to show you how you can easily see your level any many files. So let's say this. Ah, this. Say something right here. So what I'd like to do so like to simply browse through. Let me get my little tool thinking again on here. We can clearly see arpeggios, right? We're starting to play here and go up, and then these two at the same time, So we played G d G on G. Indeed, this means that you have to play that l f and G g g g nd now If you've been playing for a little while, you know your level. You know what you can play. And if you're just seeing simple or pages like this, maybe that's something that you feel comfortable playing in the right hand, however, was seeing are active, right? We have a D right here on the de right here. And then we see a bunch of double notes. So will play an active double. No double, no double, no double note. And then if we continue a little bit further, Okay, we will see yet another active. We will see yet Mawr arpeggios on yet another octave. Okay, so this is a very clear visual way off seeing how difficult of songs, That's what I really love about MITI's again. I used to hate them in the past. Now are really love them because it's so easy. Once you have a little bit of music theory knowledge, it makes it so much easier to to read these many files that you can easily see. These are group to gather so you don't have to play one hand all the way over here and the other hand all the way over here, which makes it hard as well, so you can have a look at a MIDI file and say, OK, look, my left hand is just going to be playing arpeggios. My right hand is gonna be playing this. Now let's say that you want to play this song. You want to play the arpeggios, but the right hand that's just too hard for you, what you're going to do. Sure, simply going to ignore all of the bottom notes and just focus on the top notes right here because that malady line is hidden in the top notes. If you don of many files from me or for somebody else, and you open them with software that allows you to add up many files, you can even go in yourself and delete all of these bottom notes from your malley line and clean up the file. If you were so, it's easier for you to play if you If you only want to play these top notes and then you can play back in your favorite many playback generator and then you know you can do that as well. So but otherwise, but otherwise, if you don't want to go through the hassle. You don't have to download something and edit it yourself. You can always have a look at my easy lessons were other easy lessons. Usually, when it says easy or super easy or simple from any of the you tubers that are out there Creating thes the malady line will only have one note in them. So unease away to identify if it's hard or not, Artur notes. Relatively close together or are they on the left and on the right of the piano? Do we have to play double notes in the right hand or single notes? How did the arpeggios Luca's? It just, um, Octave, you know, because D A. D is an octave wide Or does it run D F sharp A d F sharp? A. D you know, Is it a very long or Padgett that makes it harder. Um, so you can basically see what your level is there. I also want to show you this for music sheets. Good said the final thing I want to show you is hunted to the same thing for sheet music. Um, I don't know, like, let's just like let's just pick one right here. Um Bohemian Rhapsody. So what we can do? Let me zoom in a little bit. Say, this is all music knows that come again. I did not get spot. I don't get sponsored by them. I should be sponsored by them. I always took, but like I don't know, this is just for me. It's a very easy website because, um, you get all of the sheet music if you buy it and you can open it in an app or whatever. I've used a quite a lot, but now I do everything off by air. But basically we could do the same thing here. Approach this as the roid hand for now, even though it's not right, because this is the piano part. But let's say that this is the right hand. What we're going to do is we see a single note every time, and we see courts over here. That's four notes in each of these courts, so we can easily identify that as being a relatively challenging in the last hand to play these four notes all the time and relatively easy in the right. And then if we scroll down, um, we see that something changes because right now there is actually a roid hand in the piano right here on the left hand. If you move to the other pages, you cannot really see that because, you see, you have to purchase it in order to see them. But let's move to Well, maybe here. So what I would do in order to find honey. So what do we do in order to find out if this song is too hard to play or not? Look, I look through this song right here. I see that there's quite some interesting things going on. Okay, left hand doesn't look super hard, you know, so you can have a little bit of a Luke on, actually visualize where this would be played on the piano. Well, the descends is actually, um, relatively close to one another. Okay, so these notes are not all over the place here and here. There are a little bit further apart, but it's nothing. Crazier hands when we spread all over the piano on the amount of notes being played at the same time, it's not that bad as well. Especially here and left. However, in the right hand, this is probably gonna be quite quick, like group going up on over here. It's going down, Burb. So what I liked it is before I sought to learn a song, cause if I look at page number one, I may think that's doable. And then later on, on the 2nd 3rd 4th page, you see all kind of stuff, anything on, they're gonna be able to do that. Then I wouldn't want to waste my time learning the first couple of pages only to run into problem later. What I would do that if I want to learn that song, I would find another version. Maybe that is MAWR. I would say the same level throughout the entire song or if it's building up to a higher level. I want to make sure that the level that it's building up two is actually something that I can play. So that's basically the end of this lesson. I've shown you what I've shown you. What many files look like a little bit when you opened them in an editor that was GarageBand. In this case, I've shown you how to play them back and Cynthy zero. That's not free program, but it is relatively cheap. $25. I believe on desktop on like I heard from somebody $8 on I've had, I don't know. You can get cheap music on music notes that come or on other websites, and you can, of course, also find them on pgm piano dot com. The one thing I have to say that are really like about my own website when compared to other ones like really like objectively speaking as that you get the MIDI file and deceive music for the same things. If you purchase sheet music on music notes, for instance, thing you won't have the MIDI file with that. Okay, that's something that you have to keep your mind. So if you do want to use sheet music alongside with the MIDI file than that's something to look out for. So yeah, that's that's one of the unique things about my website, and the second thing is that you get all of the sheet music. Any media files for one fixed price. At this moment, you can see that's $99 for a lifetime access to all of the sheet music and MIDI files. It may be different by the time you're watching this course, I have no idea, because sometimes the prices do change. Of course, be careful not to purchase Medi Files for like 12 bucks if you can find them for free, especially if you don't really want to use them. For ah, except for personal use, it may make a lot of sense to look for free many files to sort out with, on the other hand, free. Many files come with the thing that they're free, and sometimes they're just really not that useful. Ah, lot of the Times theme Edify is that you will find are not piano midi files, but they have different instruments in the MUS. Well, like a drum kid like a guitar and thing, you would have to add it that out yourself. And if you don't know how to do that, then that can be annoying or if you don't have a program to do that with, so make sure that wherever you get your metaphors from, if you do want to use them, that there are piano only or otherwise, that you don't mind if that's other instruments on the track. If you have any questions, please send an email TPM pin offense as always, whether it's regarding the website or regarding many files or any other explanation, I'll be happy to help you with that. I know this is a little bit of a different lesson than what I usually do behind the piano, but I wanted to show you some different ways of approaching piano and for me, the visuals. Like I said in the beginning, I really didn't like it. But now really like that. I could just see all of the notes and I can immediately estimate like, Is this something I'm going to be able to play or not? Is it too easy? Is it to boring as way too hard? I can easily do that using using many lessons or MIDI files. So that's why I wanted to tell you about it. For now, let's move on to Lesson 3.10 36. Ep 3.10 Let's Play Latin Piano: Hey, and welcome to Living Room Piano Lesson 3.10 Today I want to talk a little bit about Latin , Latin on piano, one of the things that really like to hear. I've done some salsa courses, you know, I love letter music. Reminds me off the summer. However, I rarely ever play it because it's a little bit where to play on piano, isn't it? Recently I've been getting into it a little bit more. I want to give you an introduction on Latin Andi as I develop my Latin skills, I may be doing some more lessons in this course as well. If you want to see that lap me new. But for now, I want to give you a little bit of an introduction, something very cool going on with Latin. Some things that you may not be expecting on. What I want to do is Samos with the reggae lesson where that's some quartz that you can play and you can't really hear what it's all about. I want to do that with the with the Latin lesson right now as well we're going to play some courts, and then you may not think that it's the latter music. And then by just adapting it a little bit, we will turn that into Latin. So here we go. Let's see what we can do. Good. So the courts that I'm going to be using for this lesson, you can really pick your own courts. Okay. But I just wanted to do these and I'll give you the rule for these courts so that you can apply them to any chord on the piano. But basically, we're going to play E flat, minor and D flat, major. Okay, so basically, we're going to be using two chords e flat minor on D flat. Now, let's play these chords right here. If let minor on D flat, major. Okay, so just going back and forth between these two, that's not really that much going on, right? I'm I could just play them. 2341234 Sock. We turn these into latter, maybe something like that. You could already get a bit more off the Latin field. Now, the importance of the thing that I'm going to teach you right now is that the top court is a minor chord on the bottom court. already. Basically, the other court is on the left of that court immediately. Being two steps apart says is to step support on that has to be a major court. So if I wanted to pick any other court, let's say I would do a minor right? Start on. That's also possible. A minor thing. I have to move two steps to the left. So a two steps to the left ending up on G. And now this has to be the major core. Okay, that makes it easy like that. Okay, so that's also a possibility. A minor and G two stops moving to the left on having minor and major. OK, so these are the rules. Now, the cool thing about Latin is you really want to make some notes, pop, right? So what we're going to do, we're not going to play. There's a root position because right now this is a no that's popping, and I actually wanna have the route on top. So usually when we played accord in route position, the route is going to be on the bottle. So what we're going to do is we're going to play these courts and first inversion. Okay, Okay. You already get a bit more of a Latin feel like that. So what we're going to do in order to play this is we take our e flat, minor chord, and we put the e flat on top. Okay, that's going to be three rule e flat on top, followed by B flat on zan g flat. That's how he played the court, then fourth e d flat court. Let's put that over here. We do the same thing. So we have d flat on top than a flat. And then if there is a fun thing, once you have these two courts, you can simply go back and forth between these courts. You could even, you know, create few patterns. So what I want you to do right now is go back between this core E flat on D flat, but play both of them in the first inversion. So we have a flat d flat for the D flat court on G flat B flat, e flat for the E flat court. Okay, cool. So do that. Go back and forth a little bit and try out some things that you can come up with on. Then we will continue once a pause. The video right now. Have a bit of ago. Okay, Cool. So what we want to do for this pattern is we don't just wanna play these two chords way, actually want to apply a pattern, and we can also apply reference notes. Okay. So we can go. Okay. So we already get a bit more of a Latin feel what we do. Basically, I hope you remember this by now as we take our first chord. E flat minor. We play that for a little bit. Then we moved to D Flat. Now we stay on D flat a little bit, and then we moved back to E flat minor. So that's how we start. But obviously, if we continue this, basically what we get is e flat, minor, e flat, minor, d flat, d flat. Right. But it's important to know that were actually starting here. This one is a long one. And that one is the closing on. Okay, because we open, which is something in the middle, and then we close. Listen to this. If I would just go back and forth, it's very different. That's when I go, OK, so even doing this in a short run by just playing each court ones T o okay, we already get a bit of feel. So how do we get the field? Remember the swing from the reggae lesson? Well, we're going to employ that as well. So if I just go now because we're in a lesson video, We've already played a little bit. I on purpose, didn't want to play the pattern that we're going to do. Yeah, because really cool. But they won't be able to objectively. Here. There's a little bit If you listen to this, there's nothing really to Latin about it. However ever play, then you could already get the idea of it being let in, right? So therefore, it's important to remember that we're not playing e flat minor if lamanna d flat d flatten our opening. Okay, we're getting from here to there, there, there, and like that. Okay, now we're going to play the courts twice, okay? So give that a little girl and trying to add the swinging, They don't just go. That's not what we're trying to do. We do this. Okay? So give that a little good. Slowly. Okay. Once you have that under control supports the video. If you haven't and take a little bit of time to keep in mind, I want to see this rhythm. Okay, that's super important. If you have issues to play, the courts go single notes. Once you have that I want I want you to try this. Okay? So what we're going to do so e flat e flat d d flat d flat a d flat d flat, d e flat e flat the case to give that a go now, we don't want to do that The whole time cause is going to be cliche. So we were sort here and now and again, ending up right there in case a toy around using just these three notes. You can already hear how latin you can make that sound. Okay. This time, I played it a little bit earlier even. OK, so don't want to hear this, okay? That doesn't have the swing. I wanna That's a late one. We can also have a quick one. Okay. So you can toy around with that a little bit, then we're going to upscale to actually play the cord. Uh, okay. Got that. Sue. We can do that as well. Okay, So a toy around with that a little bit. Now, maybe at this time, it's noise to have a little bit of left hand as well. So we can just play a single note. You know, you can play octaves. That's up to you. Okay. So you don't have to play knocked. If you can play a single note. That's absolutely fine. If you have trouble with these courts, that's also fine. Okay, Just played two notes, if you can. Or these two. That's also finding going to these two rights to play G flat on the flat at the same time. Moved aven d flat. Uh, I don't really care about the nodes too much. I care about the rhythm, the Latin feel, the pattern. Okay that we're doing here. That's what's form. That's what's nice to play. So let's focus on that one more time. Slowly. Uh huh. There we go. OK, let's say we want to put the D in the middle just in the roid hand. Okay? Like that. Okay, if you want to play your left in your right hand with just one. No, that's fine. Or over there. Uh huh. Uh huh. Now, let's see if you if you do this, if you can also play the D in the left hand. Uh uh huh. Uh huh. Uh uh uh uh. Okay. Maybe you can play the active or the court. Let's do the court, Luke. And I'm playing both left and right. So Okay, so toy around with that a little bit, or you can do the octaves like the full octave on the D. Ok, Okay. Now what I want to do is whatever you're doing. If you're playing the single notes, if you're playing chords, if you're playing octaves were playing octaves and cords, it doesn't matter. Pulls the video for a little bit and have a bit of practice yourself. And what I want to do is I want you to vary. So sometimes you put the d in there, and sometimes you didn't say what you're playing. Could look something like this. Uh, uh huh. Yeah. Uh huh. Huh. Okay. So just make a cool. Um, do something noise. Whatever level you're currently playing, all that doesn't matter. I wanna you know that I won't have that kind of rhythmic feel to it. Okay, so now bear with me. I know this is going slow, but now we're going to advance quite quickly. So we've done a one time. Then we went to double. I'm back with the thing in between. Now we're going for four times, but I want you to play the quarter K. Now you may say, Mark, you sat four times. Yeah, four times per cord. So four times e flat on them. Four times the flattened. I keep in mind we have a four quart core progression. So we go to D Flood again and then back to the Flint. OK? Soup got you there. So if you want to compete with the D in there as well, Okay, so now we're going to do We're going to do that for four times. But we are not going to play the full court. We're going to play single mothers, and we're going to play e flat on G flat. But now we're going to borrow this in Detroit here as well. Like that. Okay. And we do the same. When we moved to this court, we're going to play AF and thief flat, but we're going to borrow the B. Okay, Fats, different decay. What to do now is that add another e flat on top. And when I'm at the deflect quarter at another d flatter court on top. So note on top. So this. Okay, so there's nine notes. One, 23456789 And then knowing again, let's do no more. And then I stopped there. Let's see if we can fit in town is going to be tied, okay? It's gonna be toying like that. Okay. Boom Android that So we can a company, something like that, You know You want to like Okay, so left hand e flats de flats on that, we could continue again. Now, keep in mind that these kind of rhythmic thing is that data that you really have to get in there because if you just play this, uh ah, nobody is the wiser. Case it. That's kind of we feel that we want to get OK, so don't worry about the patterns too much. I'm just showing you what you can do, boy. Changing the rhythm a little bit. And by adding some notes in the middle here and there were still playing pretty basic soft a melody alone in the right hand and just a little bit of accent in the left hand. Did it, Teoh? OK, so now let's see if we can actually turn this into something that's a little bit more playable because this one is very rhythmic. So let's do this e flat, G flat, B, flat, D flat. So basically, we're silted Teoh. So to this is basically the sound we want to get balm. Okay, but we produced little Grace notes in between. Like that. Okay, what do we play? E flat G flat B, flat D flat, G flat, B flat, E flat, G flat, B flat, D flat, G flat, E flat. This thing is the same as what we put on the end before. So with one finger like that, and now we're going Teoh like this. Okay, we're going to do the same kind of thing with the be okay. I can imagine if this goes quite quick for you all of a sudden, because a couple of minutes ago richest. Uh huh. We were there remembering your thinking. Ah, now he's doing four times It's so boring. And now all of a sort of were here, you can hear is that I'm not playing that I'm playing. And as certain breaks Teoh, then we move on. Okay? So if you want to follow along, that's cool. Once more E flat, G, flat, B, flat D, flat, G, flat, B flat, E flat, G flat, B flat, D flat. So that's basically the same starting here. Now, instead of finishing it up like that, we basically skip this one and put in a bit of tempos. So okay, because we wait a bit longer hair like that. We apply the exact same pattern to these four nights right here after a flat bi on D flat. So everything we just did simply moves two steps down. So no. However, we have to repeat exactly this once more before moving back to the first pattern. Okay, If I play all of that right off for each other, I'll do it a bit quicker first, and then I'll slow down, okay? Not has no clear ending. I'm just playing that okay. So slower for you. Maybe. Let's zoom in a little bit more from up top move over here. Way. Have to do it again, Guys. Okay, I'm moving up here. Okay, left hand. Let's just put in e flat on D flat. Okay? To company a little bit. We're just going to play them once it starts. So here, Like that. Okay, By the way, I'm not using a paddle at the moment. It's not really super necessary if you play this rather quick. So here we owe now, maybe play the left on a couple more times, and now we can move. OK, E flat two D flat on deflected B flat. Okay, so let's play them at the same time, Has the right hand notes here. Okay? And then I will show you had to do a bit of an offbeat thinking because that's that's very weird. But that's actually what's happening. So if I would just play them to get it with these, we will get this by that, okay? And then and then, like that boat I would like to see. Is this Okay, say this one is a little bit later. 1st 2 are the same. Advantage gets in later. Look at my left hand. Okay, here we go first to times are at these notes and then 1/3 time my point of finger will be later. Okay? Adding to that sand. Okay, so play around with that a little bit. I can imagine that this is a little bit advance for you. Maybe. Maybe you're getting the hang of it. Okay, So if you having trouble to play this, keep home practicing a little bit. Or maybe make yourself on margarita or mojito is something to get you in the mood. Disclaimer. Don't drink alcohol if you know Latu or for medical reasons, but you never know. It could loosen things up that data a little bit to get in the mood. Um, let's say there's a little bit further. So we're currently playing this now? I want to take it a bit further. So now we're gonna do this, OK? Notice what I did there. I'm repeating this e flat like that. So here and then here we do the same on then continuing on here. Okay? So you can do that. Put in a double when they keep him wind. Everything that you repeat all the time will become very cliche and repetitive. Okay, so you don't want to do that too often and I want to put them in there all the time. So maybe maybe that could be fun. Right? So way still have the d. So we could do something with that. Uh, okay, um, Soup. Okay, I'm now. I'm just improvising a little bit soup. Now, this was a little bit tricky, because I'm really putting a lot of notes in that slowly like that again. Some basically doing the whole thing. So, like that? I think that's pretty cool suit and then going back, okay? Or going back like that. Good. So with the left hand, we complain e flood active on, then go to e flat d flat on, like, visits we can actually take important. This is slowly, uh, and you can make it us crazy if you want to go. Okay. So hear us. Well, go to e flat on d flat. If you just play the deflects, I find that a little too dominant. But here I don't really mind with the b Achter for some reason. So you could say here or go here. Thank go there. So you can really nicely accent with the dese, right? there, So and right now I'm just fooling around a little bit, putting different patterns in there, So that's completely up to you. I didn't entirely come up with this pattern, but have been, you know, like improvising on on the little bird in a different type of thing is on, basically came up with these different type of, you know, So we can all weekend do like that are or, you know, you can do so many. Whatever you want to do, you can do that. My goal wasn't really just a teacher, a little Latin thing that you can play, even though I do think it's quite cool. I will play it slowly one more time for you so you can see it with a few different variations here we dio some Latin suffer. Basically, I wanted to again show you that you can play some really cool things on piano, not just pop music. Let's have a look at someone a case all in Awesome. Pretty cool. Let in patterns, I think. Keep in line that we're just using that e flat mourner on D flat Court basically, and you can transpose that to any other court if you would like to played in a different type of setting different type of quartz, your top court is going to your minor court. Vander one below That is going to be the major court. Okay, so just sacre top court Put that in first inversion on the on the bottom court. Put that in first inversion as well minor and first inversion major in first inversion. And then you're going to use that Newt Fats in between the two grand notes of the courts, doesn't it? Did it did it did Don't you know the little note in between? So you're going to use that as well? It's getting really, really late here. So for now, I want to thank you so much for watching this lesson. We will be moving on to lesson 3.11 to have a little look at some blues and jazz and then will be moving on to the tests already. Lesson 3.12 off chapter three. After that, we will be continuing on with Chapter four. So I really hope you're still with me right here. I hope you're enjoying. I have so much fun playing this kind of stuff, so I hope to see you and lesson 3.11 37. Ep 3.11 Piano Finger Stretching Exercises: hi and welcome to lessen 3.11 of the living room piano course. The next lesson is going to be the test. I'm rather exhorted for that, even though in this chapter we did a lot of soft that can't really be tested as such. So we will see that in the next lesson how that turns out. But for now, I want to talk a little bit about our hands, about our fingers of things that we use when playing the piano. So we talked about proper posture sitting up straight, and today I want to teach you some techniques to stretch your fingers warm, warming up the hands a little bit when playing. And I want to talk about how I do this, what I like to do and how that all works. So, first of all, I know this can be a bit of a boring topic. Maybe, but this is actually really important. It's like checking the tires on your car before taking a long drive. It's really important people never do it, which is why accidents happen. Same with sports. If you go out running, you may want to stretch a little bit before you go, you may want to warm up before you had those muscles too hard. Make sure that you watch this lesson. It's just really important. And I can imagine that is not as fancy as learning a new song or playing something cool. Just watch it with the lessons. Maybe 20 minutes, and I'm going to teach you some really important exercises for your hands to make sure that you say injury free. Now keep in mind. There's also people witching from America, which is a country where people put dogs and microwaves. And then they complain to the microwave company that the dark did and dry after a walk through the rain, you know, So don't try and sue me for this because I'm not a medical adviser. Everything in this videos on your own risk. And if you snap a finger or do something weird, Thatcher own problem. OK, so no letters in my mailbox trying to sue me if something went wrong. Be careful. It's your body. You should be conscious off that, And if there's any limitations on the physical limitations that you have then or something that I shoe heard you or if you feel pain when doing one of these exercises. Do not do them. And if you have any questions, talk to your doctor. Okay? For all the other people in the world that don't have a lawyer on speed dial, just enjoy the video, and all the exercises are at your own risk. So first of all, I talked about warming off the hands a little bit already really important in wintertime, right? If you have called hands, at least I have cold hands. I noticed that when I'm playing, it's not going that smoothly. I I have less feel on my fingers. I'm catching behind the piano, and one of the things I like to do is I'll make that little bath for my hands to warm them up. Now, I just took a shower before doing this lesson, and and I put on the sweater immediately to keep the warmth in my body. And my fingers are really nice on warm right now, but I tend to get cold hands superfast normally when I'm just sitting behind a desk or whatever, so make sure that your hands are a little bit of warm before you do these exercises or before you're playing the piano is just very important. It may explain pianos so much more enjoyable and easier, and I actually noticed that if there's a song that I'm having trouble playing that sometimes if I just heat up my hands a little bit, I'm able to play that without any issues and that I was basically just the fact that my hands were called. So that's a shame warm of your hands properly. There's a couple of things that you can do. Like I sat the little bath for your hands. You can take a shower. You know, make sure that you're warm, that your whole body is warm, which is always nice. If you're going to play the piano. Or if that works for you, just rub your hands you can get you can grab a clause of tea and hold it like that, or you can slowly play something easy and warm up your hands like that. For me, the slow playing doesn't really work on cold winter days, even if it's warm inside, the cold is just in my body, and it just it doesn't matter if I play for a little while, it will not warm up my hands. Okay, so that's what I resort to applying external heat to my hands in the form of a shower or hot cup of tea. But again, I don't know if this is healthy. Always be careful, but it's just the way that I really like to do it. Now, if you have warm hands is a couple of exercises that we can do before actually playing the piano and is also a couple of exercises that we can do in order to increase or capabilities behind the piano, which I would refer to a stretching, you know, so does basically two things that we're doing. We're warming up and we're stretching. Okay, some of these exercise we can do the same time. It kind of has both benefits to it. And some of them are just purely a stretch. So the first thing I like to do is just interlaced my fingers and just roll them around a little bit, okay? And you can roll them backwards as well, just to get the wrists a little bit, you know, warmed up like this. Go backwards and forwards. Okay. You can also do a slight stretch and preached the fingers forward. Never do anything that hurts. Okay, so right now I'm just I'm insulating my fingers and I'm pushing them forwards, bringing my elbows together, and I feel a stretch, but I do not want to do anything that hurts. Then I can grab my hands and this is a wrist stretch, and I can hold my arms straight and gently pull here not too hard. Gently pull here to stretch the risk a little bit, and I can also actually grab the thumb and gently again. And this is too hard, cause you'll snap your thumb gently press the thumb towards the arm a little bit. Occasions gently, not in which pressure. You want to do that. On the other hand as well and gently journal he pushed the foam. Then we can stretch your hand the other way so you can grab the fingers. Keep your arms straight, push a wrist forward and gently put on your fingers. This is not supposed to hurt. You don't even have to feel a proper stretch on. This is mainly for your fingers. If you feel a little straining a risk, then either support the wrist. You know and just be gentle. Now, what you can do if you if you don't feel that much of a stretch, is actually stretch one finger at a time. So just gently, really gently pull those fingers. Okay. Like this. Okay. They're not supposed to crack or anything. Just gently pull on them. And again, it's not supposed to hurt. Just a little bit of stretching going on right there. Okay, do that for the other hand. Us. Well, you don't just want to do one hand, right? So I'm gonna do the other hand as well. Let it quickly, because I already warmed up this hand a little bit before. Good. Another strangers Raw denies for your thumb. It should keep your hand like this. And the other hand goes in underneath. Okay? And you grab the thumb like this gently. Okay? You keep this hand straight and you gently pull the thumb pulling it down. You can pull it towards and complete here, you know, just giving it a gentle stretch. You will feel that here. Be careful. Okay. Doesn't have to hurt. Just be gentle. There, keep him under. The thumb is actually long. So it's it runs until here. Which is why rolls of feeling it here mainly and a little bit here, but not just up there. So, like that, we can also push the thumb in a little bit. Okay, Good. Now, if you have somebody to help you, you can actually ask somebody to massage your hand a little bit. Okay? So all of the bone structure in here, or you can do it yourself. Just give that a little bit of a gentle rub. But But if somebody can just massage your hands, especially the inside of the hand, that's really noise. If they could just give that a little rubber the thumbs just a couple of times, you know? And otherwise you can. You can do that yourself a little bit like that. Then we want to spend a little bit of time on the forearms. Sue, we're going to make fists, and you're going to extend your fingers. Us force. You can l a Squeeze them back and you're going to do this quickly for by 30 tries. Now you can do this straight. You can go up, will probably be of camera. You can even go to the sides okay. And if you do this like, it's not super violently, but you really squeeze it and you really exploded quick. Okay, so So it's it's no, this kind of lazy ass. No, it's bam, bam, bam, bam! And you've got trying to go as quickly as you can. OK, so you do that if you do that, you will actually train your forearm. Look, you can already see the veins input any needles in there and and, Yeah, you can just do this. You can do like this. You can do it on the inside. Hey, that really works. So that helps to loosen up the hands. You can shake it out a little bit and keep in mind, it should never heard a case. If you're shaking it like this, don't do it like so violently that it hurts. You can do a little bit of this, which is a bit, you know, I'm not a little bit awkward, but anything that helps for you to make your hands more supple congenitally rob the hands and president against each other, moving forward in words. You can also interlaced them like this and gently bring them down to stretch your fingers as well. Okay. And then if you had the pinky the right pinkie up you do it again with the other one. Ouch. Kate. So be careful, because this kind of stuff can hurt. Now, look, my knuckles are interlaced, okay? So you cannot see the knuckles. So I'm not here because that doesn't really do justice to this part which was stretching right now. You can do that later if you want, but I'm actually in quite deep. Look. So basically, the almost entire finger is sticking out. Okay? This is what I'm seeing right now, and I just gently move that in. Words should do it a bit more gently, but I want to demonstrate to You can bring the elbows together together with the hands like that. If you want to do that, you can do for the top a swell on, then the other way around. But that won't really stretch that much. Okay, You can pool on your fingers one at a time. They don't have to crack. I wouldn't a voice you cracking them? Just pull them like this. I also do that with the thumb and pulling the other one and if you have somebody, you know that once. Lutece for you, that's even better. Just don't use any oil, okay? Like just it's just a dry hunt. Massage like this. Okay, now there's a couple off techniques that we can do on the table. OK, so I'm going to fill my hands on the table right now and demonstrate to you with that. Looks like gets a 41st 1 You're going to put your hand flat on the table, apply a little bit of pressure, but it doesn't have to be too much. And you can actually use your other hand to gently push on the fingers a little bit. Okay? Ended two fingers at a time on also due to thumb. Now, I know that some people don't have a lot of experience massaging people or whatever. You're not supposed to hurt yourself. So just be gentle, like just a little bit of pressure is enough. Like just a little bit of pressure. That's good. Now you're going to pressure fingers in the table. I don't know if you can see that, but I'm like my fingers are not lose Your going to press them in the table but the knuckles here are also going to remain on the table. So we're not doing this kind of thing or this I'm pressing in and then I'm taking my other hand to test if there's actually tension. So when I pull that, the finger is supposed to actually snap back to the table. So I don't want to see this kind of thing. You know where it's like, where almost nothing is happening. No tension and actually again, make sure that you don't hurt yourself. If you want to really try this, you can put your hand on the table and close your eyes and ask somebody to just grab a couple of your fingers like this because right now you already know which one you're gonna do. Same for the thumb. So you want to make sure that that's actually moving in. Then we can stretch the thumb one more time gently like this. So we're just stretching the thumb, or we can stretch the entire thumb by pulling on it, and the same goes for the fingers. But it may live that I'm applying a lot of pressure, but on may be applying, like 50 grams or 100 grams of pressure at the most to be very, very gentle. So I'm just pulling those fingers to this side. And I can also pull them the other way gently, like not too hard. And I'm just basically laying them next to each other right here. You know, I'm just pulling that. Okay? From a swell, I can give them one final stretch up like this again. Super gently. It's very hard to communicate that voice video, but it's really gently like nothing is really nothing is really happening there. Just a gentle pool. Okay, put them the other way and I can stretch them like this. Keep my fingers strayed, and you don't have to do all of these exercises every day or whatever. I'm just showing you couple that you can basically choose which one you would like. So now does one more. This one is a bit more advanced on its for those if you're having trouble to reach, so be careful with this, okay, it's No, it's not an easy thing to do. I don't want you to hurt yourself, so always be very careful with this. You can place your finger here. Events stretch your hand like this. Okay, I can see this stretch right here. I feel it here on a feeling a little bit here. You do not want to tear this bit of your hand. Okay, That's not fun to go and have that stitched up, so be super duper. Careful. It may look like I'm pulling hard, but I'm not pulling that hard. I'm just laying my hand over there and stretch it a little bit. Now, I can put my pinkie in there and stretch it the other way. Okay, So who? That looks really weird. But you can stretch this in order to stretch this area again. Not an area that you want to get stitches in, so be gentle. Okay? You can put your ring finger and stretch it like this gentle guys. Really? I do not want to receive any emails from anybody tour a ligament, something like that. Okay. If you cannot reach us, faras I'm reaching. That's absolutely fine. Okay. Doesn't no reason to do anything that hurts yourself. Okay, Come push a little bit here. But really, this may look like I'm stretching really horrible. I'm just applying a soft sense of pressure and then finally here. Okay, I could preach that. Okay, Andi, I can just repeat that with one hand, so I'm not really using the other one. I repeat that a couple of times, stretching here, here and now, I'm just basically pushing my hand forward in that direction here, here. And I'm using that edge off the table. OK, so do that with care or don't do it, Adul, this hand now feels a little bit, um I don't know, a little bit, a little slide, numbness. But like, now we're a couple of seconds later. It's starting to feel really lose in comparison with this hand because I haven't on this right now for this hand. So? So you really don't have to do all of these stretches all the time. I do really like to do something like this and just give it a little stretch up and down. Maybe here, You know, maybe the thumb talk a little bit, but just be gentle, you know, gentle with yourself. A little bit of stretching like this. A swell, you know, just loosen it up a bit, right, And before playing. And the most important thing is to make sure that your hands are warm. Also, when stretching of their cold, you can gently start stretching them to get them warmer. Just be very careful with that. If you ever have any dad's contact, your position or your doctor to make sure that any of these stretches are a good thing to do for you, especially if you have things like arthritis or something like that, make sure to always consult with your doctor up hand. These are just some stretches that I personally like doing. Maybe you like to do them as well. But it's not something that I advise you to do, per se. If you have any pain or anything like that, just be very careful with that, Okay, but they do help to actually make your hands a little bit more loose and make playing piano easier. And again, I definitely don't a voice to play piano with cold hands, cause that can very easily lead to injuries if you do that a lot, so make sure the chance always warm and make sure that you pick a way to warm up your hands in a manner that really works for you. That's healthy for you, and that's good for you. Whether that's just rubbing your hands where it's taking a shower, I don't really care, even if even if you do want to play something very light on the piano first and that helps for you, that's absolutely perfect. Make sure to do that, but for now I think we've had enough stretching for one video, Let's move on to the tests of Chapter three point 12. 38. Ep 3.12 Test Your Piano Knowledge: welcome to Episode 3.12 of the Living Room Piano course. I cannot believe that we are here. Only this episode left until you reached the final chapter. And I think that by now you've gotten to know me a little bit. I unfortunately cannot have been getting to know you because you're behind a computer screen and I cannot see you. But I do feel that we have been on a journey together, even though I do not exactly know who you are. I've spent a lot of time with you, and right now we are at the end of chapter three. You've been watching more videos for a total of over 20 hours boiler. So we're going to conclude chapter three right now before heading into chapter Foreign. And I want to just thank you again for watching this course. I hope you've been learning a lot. I hope you're enjoying it so far. And I really, truly hope that I've been able to help you to play this beautiful instrument or maybe another one, because music theory can also be applied to other instruments. Unfortunately, I have a little bit of a hay fever attack. It's very sunny out here. And that means that all of the grass and all of the trees are starting to flourish. And that means that my nose is not happy. So, unfortunately, my voice is not the best during this episode, so have you don't mind too much by now? I think that you have printed the test for Chapter three on that you have answered all of the questions. If you haven't done so yet, please pause the video right now because I am going to be revealing the answers in a bit. As always, please make the test yourself and do not simply listen for the answers. It works so much better if you make it yourself. You can actually realize who I have to go back to this lesson or is that lesson. It's really different if you recognize the ulcers for me telling you that if you have to come up with them yourself. So the questions may seem a little bit trivial when we're doing it right now as an answer video. But if you actually have to come up with the answers yourself, especially if you don't watch back in the videos, you will see that. That's quite a lot of content that we have had in this chapter. That this chapter wasn't just about music. Theory was also about getting things together. Howdy blamed your left and your right hand. We had the cannon and D lessen the finger, stretching the reggae lesson. So a lot of things going on that doesn't really have a lot off music theory in it. But I want to start blending the theory with the practice. So that's something that I did in Chapter three, and we'll be continuing to do in Chapter four for now through Let's finish of the test. I've been working pretty much straight on for the past 21 days, so I cannot wait to finish this video. And it's Sunday today, and at about seven o'clock I'll be done with this video seven o'clock tonight that I can go get some food and I have a few days, a few hours to rest. And then tomorrow morning one day it will be time Teoh to start recording Chapter four. It's been a hell of a ride. Lattes finished Chapter three, strong together goods. As before, I'm gonna be really antisocial and turning away from the camera little bit Teoh to read the questions on my laptop. So the first question is, What are the differences between a major scale and a blue skill? And you can you can name multiple differences. So differs difference that comes to mind for me is that a blue skill consists out of six notes instead of seven. And then, of course, we have the difference. We don't have this whole turn half tone set up. We actually have different distances. So if we have a look at the blues skill, for instance, for C, we have C E flat F as an F sharp or G flat. Harvey would want to call that G B flat and then see 123456 nodes sees the same one again. So we do not count that if we have a look at the distance between these notes, it's a little bit different than with the major C D E f g a B C. So first major different. Seven nodes for us. A six on here we have 2 to 1 to 22 on one step in between C two e flat is three steps. E flatter F two after F Sharp, 1/2 shop G one, g two, b, flat three and B flat to see two. Okay, so the other difference is the interval between all of the notes. So I hope you had that on then. Of course, there's also the answer possible that a major skill gives a typical major sound on a blues skill gives a blue sound, which is very obvious, but it's one of those things that's really distinct. If you play a blue skill, it sounds a lot different than a major skill. So that's definitely an answer that I would count as correct as well. But I really hope that you included the six notes and also the different amount of steps in question to I ask you to provide the notes for the blues scales for the half blue skill, the D flat blue skill and the eight sharp blues skills. So let me write those out on the board of that will go over them goods have the answers right here for you. For the F blues scale, we have half a flat B flat, B C E flat on ending up on F. So right here for D flat, we have D flat, E G, flat, G, a flat B flat as then, of course, ending up on D flat right here, huh? OK, on a sharp C sharp D shop, E f g sharp, a k a sharp C sharp D shop E f g sharp a shop. Okay, I got that right there. Question three. How many different whole sub skills can you use before you run out of different key composition? So the answer I was looking for, it's too, because remember, the whole step key basically uses six notes, and there are a whole step of part of two steps apart. Doing that means that out of the 12 notes, we use six. So let's say that we have a C is the first note that we would use a node 13579 and 11. Andi, if you would use a C sharp as the first note, it will be 2468 and 10 and 12. So we have all of the notes. But there's only two possibilities because every note that you move up, you will have these same notes in there just a different note to start. So C d. E after a G shop, a shop. All carry these nodes the same notes in their skill as well as see shopped a swell a C sharp d shop f g a be on dsi sharp. They will also have these notes in the skill. Okay, so that makes sense. Question for what is a chromatic skill. A chromatic skill is just a skill that plays every single note on the piano. Every single note that we know in Western music little up right after each other's It is 12 notes in the chromatic skilled technically running from C until C and every No, that's in between that question number five. Which nodes do I have to remove from a major skill to end up on a relative Panta tonic scale? Okay, so if I take any skill, that's a the D sharp major scale, and I want to turn that into a D sharp panta tonic. Which notes do I have to remove the answer? I was looking for us No number four and number seven from that scale. Okay, so if you, for instance, have this c major skill. See note you would remove or the F NTB to end up on your pentatonic skill. That is relative to the C major scale. Meaning of the sea Panta tonic scale. So for questions six, we need to provide the notes for the three pentatonic scales list that beat low G sharp D and B. So let's do that on the board. So I like to do this old school style. I put my major skills in. And then I used the trick that I described in the previous question simply going to remove number four on and number seven. And I do that for every skill. So right down the major skill off all of these. And then I remove them to end up with the pentatonic skills. G sharp. A sharp be sharp d shop e sharp. Okay, pentatonic scale. D E f sharp. A b. Okay. B c sharp d shop after shop G sharp. Ah, little B c sharp d shop after shop. G shop. Remember? We're always looking for this black key sound. Okay, that's the sound of the pentatonic scale. Say these are your answers for you. Right here for the relative scales in question number six. I wanted to new. In which order can I move from minor to major scale, including harmonic and melodic miners In your answer. So the answer I was looking for is if you start on minor, you want to go from a natural minor June harmonic minor, melodic minor and then two major skill. And why is that? Because if we actually have a look, for instance, that a minor right, a minor, a minor has zero shops in it. Um, a minor harmonic has one. Sharpen it. The G shop, okay. As an a minor melodic has two shops in it af shop and G sharp as an A major as three sharps in it. The sea shop So zero g shop f sharp and G sharp Bethann see shop, have shop and g shop. And this works the same for any any minor to a major skill that sometimes the major skill doesn't have any shops in it. And that's fine. But that still means that these notes are being raised with one step. So in a harmonic we raised the seventh with one stop in melodically raises six and the seventh with one step. And for Major, we have to raise the third, the sixth and the seventh with one step in order to get from minor to a major skill doesn't matter which one that is. So now the question is what is an easy trick to find the notes to Anne melodic minor as well as he knows to any harmonic minor. Okay, so depending away you want to start. If you want to start on the minor, let me write that out. So we could do this two ways. We could have the minor or the major for that matter, off any skill as a starting point. Okay, some using a right now a minor, a major. If I want to go to Harmonic, What I do is I simply raise the seventh. If this is already a sharp, this will become a natural note at writes. If so, let's say this was a g sharp already now will become an A OK, so we raise the seventh in order to turn in a harmonic. We raise the sixth and the seventh. We raise the sixth and the seventh in order to turn into a melodic ever raised the third the sixth and 1/7 in order to turn it into major. Now, if I start on major, we actually lower the third to get to melodic. So that one is just removing the sharp because there was a sharp already. I'm going to lower it now It's a melodic I'm going to remove the shop here at F two turned into a harmonic. So I lowered the third and the sixth in order to get to Harmonic and I removed. Ah, the the third, The sixth and the seventh are lower them one step or half a note in order to get two minor . Okay, that's the answer that I was looking for in this question. So now I want to see harmonic miners for a flat E and C shop. I also want to see melodic miners for F sharp A and C flat. So let's put those on the board. Okay, So before you're simply going to write down these answers, keep in mind. These are minor skills. These are major skills there. No harmonic or melodic. Yet we're going to do that right now. So in order to turn the top three, let me double check that, if that's correct, yes, The top three have to go to harmonics. All we have to do is raise the seven. So in this case, the G is a flat. In order to raise that, I'm simply going to remove the flat. And now we have a correct harmonic skill. And I also have to raise this one and raise that one. OK, so a flat without a G flood at the end, a flat B flat, C flat, D flat, e flat, F flat and G is gonna be our harmonic minor skill for a flat Thank e Ashe are G A B C D shop is e harmonic minor and C sharp d shop e after hoagie shop, a B shop for our harmonic minor of C shop. Here we are starting at a major, so all I have to do is have to lower the third, not raise lower the third and lower the third. In order to lower this third, it has to go to an e double flat. Okay, so that's also possible. Lowering that third right there. Okay, so keep that in mind. Ashot g shop A, B C sharp d shop the shop for melodic minor F Sharp, A B C D E F Sharp G shop for melodic, a minor and C flat D flat. A double flat F G flat, a flat and B flat for a C flat. Melodic minor thes ready answers Syrian Question nine. I wanted to new explain the basics of the of the way pop rock songs of Jerry built up in a minimum of 100 worths. So I was looking for something like generally speaking, rock on pop songs are buildup in a core progression, with four courts that are repetitive. And sometimes these courts change when you move, for instance, from verse to chorus, that may be a different chord progression. Usually, rock and pop songs say in the same key, and the core progressions may change within themselves, so the order of the courts might change or new courts may be introduced. They usually see this and the bridge, and not necessarily in the version in the cores that much. Also, these songs are easy to play because the core progressions are usually relatively easy, with some exceptions here and there, where courts are moving from four core progressions through three chords or is impossible that they move up to a six core progression or an eight core progression or a core progressions that doesn't repeat itself necessarily. So we have two different kind of core progressions in the quarries or two different kind of corporations universe. So usually that is not very common. Something like that. You know, just a little story about rock and pop songs. But you know it is. You just play these chords in a certain core progression and whether it's 123 or four different kind of core progressions. Usually they repeat themselves, and it's relatively easy to learn. Question 10. What is a mode? While a mode is basically just a scale ride and mode is just scale. But the cool thing about modes is that if we take a certain note as a tonic, so let's say we choose see as a tonic for a C major skill that we can and simply put that see at the end. So now it's thought on D, and we run through till see, right on. We actually end up on the next mode. However, that's not a C mode that will now be a D mode because the D is the tonic. So how does that work to quickly refresh your memory? So, to be very clear, if we saw it on a C major scale, we call that an Ionian mode, and we always call out the note that's in the front. Okay, the tonic off the moat that's very important. Moving down the list. Thes aren't all see moats. Okay, these are D E F g A M B mode. See Ionian D Dorian E fridge in f Lydian G Mix O Lydian a Ionian on DBI la Creon to finish up a cape if you want to see to be Lydian mode than we have a certain than We have an explanation on how define that in the episode that covers modes, which is Episode 3.3. If I'm not mistaken, so we will do a couple of boats in the next question to see if you actually remembered had to do them. Oh, by the way, in question 11 I was going a little bit too quick. What is an easy way to find almost containing the same notes and naming them correctly? Well, this is how to do it. You write out a scale without adding the and knowed right here. So Dern write that down and they simply put the note on the end every single time. And then you finish the list. Ionian. Dorian Fridge in Lydian Mixer. Lydian Alien low. Creon. Um, you simply finish it like that. That's an easy way to do it. Question number 12. Put these modes in the correct order. So we have a alien lady in Dorion and Mixer. Lydian. So yet? Sorry. Dorian Lillian Mix O Lydian a Olean. Okay, Fats, How to put them in the correct order. So in order to do that, we end up with Ionian. Dorian Fridge in Lydian Mixer. Lydian Alien on de la Crean. Moods in this order. Okay, then I wanted to see Dorian a fridge in e flat. Lady in G sharp makes a Lydian de, um Ionian Sea and lock reem B flat. So let's Roy those out as I will check them. Dudes having the else destroyed here. You ready for them? A dori mood A B, C d e f sharp and jeep e flat fridge emote e flat a flat, G flat a flat B flat C flat d Flood the G shop Lydia Mitt G sharp a sharp be sharp. See double shop de Sharpie shop F double shop. The D mix O lydian D e a shop g a B C of the sea are alien mode C D E flat F G A flat B flat as the B flat. Lou crea mood B flat C flat deflate if let a flat G flat a flat. OK, so these are the modes for you right there. Let's move onto the next question. Question number 14. How can you fill up fill up melodies but adding extra notes and making your piano playing Sam or fool when compared to playing just a single note melody line? So we talked about this in a think less than 3.5 or 3.4. If I'm not mistaken on basically what I wanted to hear, she can you can. You can build a cord around your malady line. Okay, So whilst you're playing in a certain court in your left hand, you can actually add the nodes of that court two year oId hand as well to make it into double notes of triple notes to make the whole pianist sound a little bit more fool. You can, of course, also do arpeggios in your left hand our resembling that court as well. Question number five water or the two steps to playing the reggae bubble. That's the thing we did in a lesson 3.6. So Step number one, you take your beats. 123 and four. And then you put the and in between 123 and four. Now you're going to play in the example that we that you're going to play your route in your left hand and you're going to play that rat left hand on every and so want left to left, three left for left and then only to under four. You're going to play your right hand, which is going to carry the full court. Or, in the case that we did, we had seven quarts, so we only play three notes in the roid hand, leaving out the route to just be played in the left. So what we did is replayed. One left, right, left, three left, right, left. That's the first step and then the second step to make it sound good. It's at a little bit of swing because it always is just science like a robot, and it really doesn't sound reggae. Okay, so you take the beads and you apply that pattern and then you add swing question number 16 . What was the one single thing that we added to both? You know, Matina and never really beyond she in order to get that Ah harder version or the original version to play on. The answer I was looking for is arpeggios. We added arpeggios to those songs in order to make them a little more difficult to play. What makes a cannon a cannon in canon in D. Um, yeah, bit of a weird question, maybe three times Cannon and one question. But the answer was that you take a certain amount of notes or a certain amount of courts, and in this case it's eight, and usually it's eight in these cannons and you repeat them the whole time. The whole song will be repeated all the time, and that's what makes it a cannon. Okay, so if if you have two people playing on piano, which you could do, is one person could start playing the other one waits as an is. The first person starts the second segment. The second person comes in and plays right behind them, and you get this beautiful canon. Hey, that's the idea. Question 18 1 playing Latin, which knows who would play on top to make it pop. Well, basically, what we do is we play the root of the court on top in the right hand to make sure that that really pops and really shines. Three. So that's the answer I was looking for Question 90. Should you always stretch and warm up before playing the piano? No, you do not have to do that. If you're warm, that's okay. You can stretch if you want to, but if you do have cold hands, you don't have to stretch. But you do have to warm up, so basically stretching is optional. Warming up is not optional. If your hands are cold, you need to make sure that your hands are always warm when you want to play. Question number 20. Have you left a review for this course that did you if you didn't, please do so. Takes about 30 seconds on really helps me out, but it also helps other students active. Feint this course. If you enjoy the course, I would love a positive review. A swell as a little scribble of what you liked about the course of what not takes 2030 seconds, and it really helps me. It's a really nice way, Teoh to make other people aware off waters in this course. For now, I want to thank you so much. I'm going to enjoy the last four hours that are still in this weekend. And then tomorrow I'll be starting on Chapter four, so hope to see you right there. Have a good one. 39. Ep 4.1 Play Piano By Ear: hi, Working to lessen four point born in the living room piano courts. When I started this course, I thought that I would simply increase the level of difficulty for Chapter 123 and four, meaning this chapter would be the hardest chapter, the most advanced things. But as I went along, actually decided that maybe smarter, to not keep on overloading you with new information but actually start applying to solve that we learned. So that's what I'm going to do in Chapter four. We're going to take all of the information from the previous three chapters on Actually bring it into action, starting with this lesson where I'm going to teach a hard to play by ear. Now, if this is something that may scare you in the beginning, I totally understand. It's not something that, um it's easy. But with the knowledge that you already have, we're going to actually make some really good progress in this lesson. Yes, it will take a little bit of time. Have to train your ears a little bit in order to be able to do that. And most importantly, you have to be determined to learn a song instead of just giving up after the first few trois. One of the things that's super important when playing boy here is that you're actually when you listen to a song and you them play it is that you remember what you already figured out . Okay, because one of the things when I started to play by ears I would figure a bit out as that it would move on. And then we'll figure something out as well. Or maybe a couple of melody lines. Maybe Accord and Santa would want to go back like I figured out this bit and I figured out this bit. And then I went back. It was like I forgot What? That waas Okay, so it's super important that you find a system. If you are able to remember stuff very easily, that's cool. But otherwise, if you figure out a note or if you figure out which key this song was returning or whatever , you want to write that down in the beginning. OK, um, by now I figured out quite a lot of songs by ears, so it's a little bit more easy for me. But even even still, like when a core progression changes or something like that. I usually tend to forget the previous court progression. So let's dive right into a Chapter four. Basically deep chapter, basically the chapter that's going to bring all of the stuff from the previous chapter together. This chapter is also a little bit different because in less than 4.11 we're going to do a test off Chapter four and then a lesson 4.12 will do a test for the whole course. Okay, so that would be big test covering the whole course. Every topic that we did on basically, that is going to be completely different questions than from the previous tests. OK, so don't worry. It's not just an elongated tests putting all of this stuff together, but I'm actually going to test every single item that we did in this course. Andi, I will tell you where to focus on. If you miss something weird to go back to. OK, at this one, when I want to remind you to leave a review for the course of your light, it will be very appreciated if you share that it takes about 30 seconds to fill that in and If you want to learn specific songs, keep in mind I have a YouTube channel. I also have a website where you can learn specific songs and unease away. So if you ever want to have any information about that PJM piano fans at gmail dot com, or simply had over to PGM piano not calm for now, let's go sorted by with playing boy. Here is this plane about everything. I'm not really teaching your hand to play classical music, for instance, but more pop music or rock music, because that's the kind of thing that you would usually wanna play by ear. Now that's two different ways you can play by ear. The 1st 1 is actually have a recording of a song on your phone on IPADS. You're listening to something on the radio, whatever. So you actually have the audio and then you're trying to figure that out. This means you can pulls that rewarded or it could be playing along. Okay, The second way of playing by ear is that you remember a song so somebody tells you Hey, do you know how to play Earth Song by Michael Jackson and you go like not yet, But let me think like a good life like you're trying to figure out what was the song like again. And then you're trying to play from your mind, listening to your own mind and then playing by ear. Okay, so the second version is a little bit more difficult, of course, but, um and the second version is usually way go wrong on the key. And that's absolutely fine, because people won't notice when you're playing, we're going to focus on the first version, mainly because the second version is a lot more advanced. So for now, I'm gonna take it that there is a song that you want to play. You don't know how to play it on. We won't look up any courts. We won't look up any notes or is simply going to figure this out by ourselves. Okay, so maybe maybe somebody has a Unsal on their phone. Or maybe somebody sings a song to you, and and you don't have time to look up courts or you simply cannot look up court and you want to play that song by here, or all of the course that you're finding are not correct, right? So the first stop, Basically, we take saps. The first step you're going to take is you're going to figure out the key in which these songs played. Okay. To me, that's the most logical thing. Second, we're going to figure out the courts that are being played as well as the core progression . Right. And now you can basically play that song and people can sing to it. And if you want to weaken also at the malady line. So in this lesson, I'm going to give you some tips and tricks on how to actually do this and had to figure out the key. And then we'll move on from there. Okay, so there's a song that I selected for this, Um which is lost boy by Ruth Beat. So if we listen to that, it's going to sound like this, and I'm simply stopping right there. Okay, so we have to Ah, which to me it's signs of the first note in the third note or the same. Right, Teoh. Okay. So what I'm going to do is I simply start on C. And I like to hum sometimes. So, too, until I find the note. Ah, and I find the note. Okay, but if you if you don't want to harm or if you don't want to sing that you can try and listen to that note a little bit longer in your mind and find it like that. But the first night was, Ah, uh, and I find the right there. Okay, it's a writing that down G. Teoh. It's higher, Teoh said. That's a beat. And then we already established that this one pretty much signs the same. So let's do that again. Let's see. That's correct. Todo yet says That's a g again. Okay, now we have three really clear sounds, even though this sound when I listen to the harmony when I listen to all of the other notes , being played sounds a little bit different than fat one. So probably what they did is with the inversions. They put these notes on top because they're the ones that I hear Clearest, and now we have to figure out the chords below this, and probably there's a three core progression. Okay, so we don't have 1/4 note. It's not Ah, do or whatever, That's no no, right here. So it is probably only three notes. So probably so. One of the sense that you might think are we have G b G, um, now it we can do a couple of things we can. We can figure out the court's first, or we can figure out the key first. Okay, If you want to figure out the key, we need a few more notes because G b G is simply not going to cut it. So normally added key first. But in this case, it will be easier for me probably to figure out the courts. Or we can say now, we wanted to the key first. Then we're going to listen a little bit further in this all. Okay, So, um, let me listen a little bit further in the song, first to demonstrate what it would look like if I simply figure out the key first, and then we'll start again and I'll show you why I actually decided to London courts first . Right now. Right now is when I decided it. Okay, So let's figure out the key, and then we'll figure out the courts and then we'll take the key from the courts. So let's say that or not. We don't have any clear records, but we just want to figure out that key. We're gonna sort again. Uh, there was a time I was alone, nowhere to go and a place to call home. Okay, so I actually I cut off the song too quick is that there is 1/4 court. Okay, I didn't hear that in the beginning because it was a little bit too quick. So there is 1/4 court, so let's go back way. Need to find a toe, which is a bee again. But now it's a little bit lowers, so that doesn't really help us yet. Okay, Let's listen to the malady line. There was a time I was alone. Sotoudeh Teoh. Okay, so these notes are being played now, you may think who He figured that out pretty quick. Yes, I did. But I know that I have to play g or be or somewhere in that area. So I'm basically fooling around with these notes, and I figured out that this one is the like that. Okay, so that one pretty quick. So, in order to figure out the key, we now have G b D on e OK, so now let's let's work on a little bit further. You know where to go and a place to call home. Todo todo todo. Okay, so we also have the a right. So now this is really starting to look like a c major skill or on a mourner skill, but we don't know yet, so let's see. And then we continue on My only friend was the man and well, that's good, cause now it goes a little bit higher now, that's not it. No. Okay, so we already figured out all of the notes. Now my only friend Waas the man in the moon. Okay, we're something like that. So we haven't have shore by the sea as well, meaning that we now know that these songs in G g major Okay, I have that on top by accident. Um, I haven't prepared this lesson. Okay, cause I want to do I want to do it off. Like basically, I want to show you how really good when I do this. So now we know the key key is G major. That makes life a whole lot easier because it means that all these courts in order to fill them out. We can only use these notes. Okay. We already have G and B and G in all of these quartz. So that's correct. So now I can actually fell out all of these courts. Okay? The other way to do it as a sub before is if we ignore this, we can simply try to mimic this sound. So we would listen to the song because there's such clear courts in the beginning. And I have to find quartz with the jeon tops. I would start with G, but that isn't it. But this sounds like it. So this actually sounds like it a lot. So if I have be e g, I have an e minor chord right now. Let's check that. Okay, that sounds good. Says I'm going up. Be on top. Is that correct? Sounds pretty good to me. So, de g b writing that down? Okay, now back to G. Well, it's not a minor, because that sounds weird. Maybe g again? Uh, no. Um c can also haven't Aggie on top, So yeah, that sounds noise. OK, I'm just We have to double check it. Of course. Right, But for now. Mm. Let's say so. And now we heard a uh huh. So I think way might actually be going back to G here, but just a knocked of lower. Let's listen. Well, that sounds like, uh, my only friend was the man in the moon. Okay. Says that science pretty good. So that's another approach. If I hear these courts very clearly with no singing on top, no other instruments, I may actually decide to go for the cords first. Now I have to listen back, If that's actually correct. So this is my solution. Now let's listen to the original. Hmm. Signs pretty spot on, right? I mean, it's playing by ear. So it's always possible that we do the little different that maybe they leave out the right here like that or go there. That's always possible. But this is the noise thing is up for your interpretation. So I think that we got that that's starting on the courts. Now let's say that we didn't start on the courts with sorted on the malady line, but we that we did figure out this B g B thing. Right? So now all we have to do is We have to look at these notes, Roy here and then actually fill that out and see if it could make any sense. So then what I can do is I can simply write down all of the all of the courts from the G major skill So G b D B D F shop de offshore A a g B a C e f shop a seekers. That's the diminished court right on C e g. Right. So now I have to figure out if I know all of these courts from the G major skill now have to see which courts could actually be used. Well, d f sharp A. I don't have any of these notes in here, so it's very unlikely that that one is being used. Okay, after a C shop again. Very unlikely. A C shop e Also unlikely because we don't have any of these notes in here. All right, and we heard clear clear courts. So now let's figure out the court with the GNN, it's either going to be G major, first court or here with the gym top, okay? Or a minor, which sounds really good or C major. Okay, so see what I'm doing here. It's a little bit of a different approach. If I figure out the key first, I'm going to write down all of the courts from the keep on. Based on the notes that I already got, I'm going to eliminate some notes and I'm going to go with E minor as my first court G will be the inversion to have the G on top because we don't have that G on top now. Usually a court doesn't repeat, so let's just get rid of that temporarily. Now we have a beat, so we could have actually b d. We know that this is the 1st 1 and then it has to go. Teoh. I don't think I don't think that's it. So no. Here, maybe at the end, right? So now we have to figure out another quarters. Only one chord left with a B in it, and that's G Major be on top g D. So it will be D g B. Let's confirm that that signs now we want to have another court, so we already use this one. Now we have another core with G on top. Well, it's most likely not be Minorca Zone would simply move back. So now that's not the only out of possibility. This C major. So we're going to ride that in? That sounds good on. Now we have a B left right here. Is it the BDF shop cord? No, it just doesn't sound that noise. So is maybe e minor. It's probably G and B or D G B. Okay, so please notice these are two different approaches. With the first approach, I'm going to figure out the key first and then writing down all of the courts for the G major key in this case, eliminating a few courts that are most likely know it as I'm figuring out which court belongs to Which note. The other thing is that I figured out the court's first because it could hear him so clearly. That's what I did in the beginning. And then because of those courts and a corporate Grecian, I could figure out which notes were in the quartz and based off of that, I already had a lot of notes G, b, e, d and C. Now I was missing my a m i f sharps. I was listening a little bit longer in order to figure those out. Um, in order to figure those out as well, I would use that a malady lined to fill in the blanks. But I would already have my corporate Russian, which is a good way to start. Cool. So if you have your key, but then you want to find out your courts now, we're not done yet because we have a core progression, but it's just a starting core progression. Now, we need to know if this song is actually continuing with the core progression or if it is actually going to change, it could change. So we have to listen a little bit longer in this song. There was a time I was alone. You know where to go and place to call, and we can play along. Only friend was the man and eight months and times he go on one night, I should He came to me. The sweetest told me he wanted to tow Peter Way changed over there. Okay, so 52 seconds on YouTube, 52 seconds. That's when it changes. So now we have an opportunity on a on a choice. We can we can figure everything. I'd unseal 52 seconds, or we can first figure out the whole core progression. Now, I'm the kind of guy who likes to accomplish love things. First, I would actually learn the melody line first and see how far we get. Okay, But it's also possible to move on to 52 seconds. So, um, so what? I'll do in sake of this videos will salt with the melody line first, so lets you raise the board a little bit. Okay, good. So what I want to do is I want to write down that in this time frame, like, let's say, 50 seconds. The core progression is going to be e minor g see on G. Okay. This way I won't forget that, aunt. As then, we wanna figure out the melody line Now for the melody line. We can simply choose from all of the notes from the G major skill. So that's the's notes. G A B C D E f sharp G. Now, usually in melody lines, they don't play notes that are laying right next to each other. Right? So that doesn't really happen. They want to build a little bit of tension, like something like that would be more common, but it does happen. So I tend to jump, like to two notes in the scale, whatever. But whatever I'm gonna do is I'm going to stick to that scale. So if I want to play that melody line, my left hand is actually gonna have to play the full chord. Or or I could adapt to 25 court. Now, depending on a song, Sometimes you want to, like, maybe you want to go. But that doesn't really sound for this song. It's more like, write something like that or Okay, um, I even find this a little bit high. So what I could do so I could actually adapt my left hand by sorting here, right? Is that moving here? Maybe. Good, maybe. Let's see. We'll have to figure that out. But so maybe here. Yeah, I kind of like this. Okay, let's try this. Let's go here. Yeah, it it doesn't Here. Okay, so something like that. Okay, says that's how I like to play by ear. Is the light to figure out my courts first? Fear of hydroplane my left hand, and then we'll do that it's a little bit easier if we play. If you simply play five courts instead of are going with a different kind of cords because my hands are super used to five courts. So it would just go with five quarts except for the E, because that will be too high. Uh, and then here. Well, let's see, uh, if you think I'm doing a terrible job of playing well, this is the first. Some have played this song in five years because I did a lesson for it about five years ago , I think. But I'm pretty sure it was only the courts. I don't think I played the melody line ever. I don't remember anyway. So yes, of course, the first time that you do this, and especially playing like this not sitting in front of the like trying to share my hands . It's not going to be a supple as it would be as when you've practiced the song for for one or two hours, Right? Makes sense. I don't know the melody on line yet. I'm trying to figure it out. So how do we do that? How do I figure it out? Well, while some actually playing right here. I hear that I have to go higher and I'm going to not pick this c sharp or whatever, because that's a lot of my key. I'm going to. I don't think I don't think that will sound good. So I'm basically a bit intuitively. I'm jumping up higher and I'm like and going back and they want to figure out that there's this little thing. But now I notice that there's a little variation. No, you that Okay, Ted, it is. So I know we have to go up right? He was already my highest note. The's AF shop is going to be next in my key as a G. Okay, so let's see what happens. This is the highest one that I can hear now. I have to go back. No. Okay, so not one a little bit too far said. That's how I do that right? And that's how I figure out that song. So then putting in left up until there and going back to G. Maybe a little bit lower now again, starting a team owner, right? Oops, right, So that's how I played by ear. Now there's a couple of ways to do it. You can. You can practice it a lot. I don't practice it that often. You can practice it a lot, and then you could actually almost play that song correctly because, as you have been able to see, I'm not really. I don't have to try that much like most of this stuff works. But you could also say I want to learn to play a song by here and that I'm actually going to write out the melody line right so that you remember, had to do that also. Sometimes I simply forget what she's singing. So I have to listen again. You can play along with roids, nowhere to go place to call home. Now one of the things that happens a lot is she's actually singing now. One of the things that happens. A lot of she's actually singing here, but my left hand would be, so you know that it doesn't really sense. That's why we moved that up, Okay, but if I want to play along, I can simply stay here and see if I can play along and I'll make some mistakes, most likely, but you know you'll learn from that. And then you remember the melody line better. There was a time I was alone. Where to go place to call home even sometimes you okay or something like that, right? So before I actually went up because I didn't listen to the song. So I played from my mind. So when here. But that's probably a little bit further in the song. It's our mistake, the bits. So that's why it's super important that if you want to actually play along with the song and play by ear that you pause the video and you play little bits on actually lissome back . Okay, So adding a single melody line isn't that hard. You simply take the notes from your key and add them to it. I wanna have a look at that 52 seconds bit or 50 seconds bit. So that extra baited it doesn't sort of 52 seconds around 45. So we're looking for Teoh. Ease in there. Okay, is a top night of the court, so it's probably minor, right? That doesn't sound right to me. So ever since that d a i d a for the top d a. Okay, maybe It's the D chord. A day, Yeah, so that sounds right. So ever since that, let's listen. If that's correct, it's still size a little bit weird to me. So let's see, It's more duh. And I have. Ah, uh, so that's probably not the correct court. Okay, so let's figure out. What else can I do in the morning? Ah, ever since that that sounds nice. Okay, So what we have is the introduction of two new cords here the D major court and the A minor court. Now we're basically using all of the courts accept half sharp half shoppers, the diminished court of this G major key. So it sounds like this on just it's not being used in the song. I guess it's not use the most of the songs, so that would be the seven court. So we have the to court right here on the five court right here. So we have the six one 41 corporate ration to start with, and now we have a little bit of an intermezzo with the two and a fine. So we have to figure that I'm were coming here, blah, blah, blah, blah, blah, blah blah, blah, blah, and then ever do, Do do do do Do I hear something like I like Teoh. Ah, Okay, so we're sitting on the deep. So So we played this and it is not it they'll be, but yeah. Okay, so we have this on ever since that way. Yeah, that sounds good. So what we have is I'm probably now it is going to be a new core progression. Or maybe it's the same, I don't know yet. So this was around 45 seconds, and then we have 46 until around 55. We have the a minor chord, which is a to court and Sandy d. Major chord, which was set was the five chord and sandy de blah, blah, blah, blah, blah write. I would write it down like this. She was the way I like to do it. But so what we have is Okay, So what we have is we have this intruder last boy from never land, always on the run from Peter Pan, Something like that. I don't know the lyrics and was super back with lyrics. I think we have that around four times. Todo Ever since that Okay. And now I think it may be the same corporate Russian actually. See, I lost from never way. Always on the run, Captain Hook. Yes. So basically, what happens is we have this little this little pre chorus thinking and then from a 56 until I don't know where yet we simply go back to the e minor, G, C and G Core progression way. Really never likes to last. Boys like me. Still the same here way. No, me as we stood. Little same. I'm on the 46 repetitions already. Wait, Not yet. 34 times. One time. I think it's eight times here way have, Ah, four time of one time. And then it's a time repetition here. It's like because as a chorus and verse right now, we're already at around. Let's see where it starts. Yes, so two minutes and four seconds. So from 56 seconds to two minutes of four were playing this core progression. And then from two minutes, five until two minutes. 12. We have this one again. A minor, the d and the d with the thing. Me. Right. So 256141 Okay, so up until here to men's 12. Right now it is soulless, pretty much going back and forth. We have the core progression that we usually play on the little intermezzo core progression intimates. Okay, let's see what go. What's going on there from never land usually hanging Now, Peter on way in the woods. Always on the run, Captain. So this is still pretty much the same right? Chorus way. Still the same. Yeah. Boys like me, we're gonna have something defeated panting And my story Three eights. Repetition way. Three minutes. 24 on when we're always keeping the oh base really t ever home to lost boys like me and lost boys like me Like me and me We simply end up here. Here. So So now we figured out this song playing by ear I've never done that. So apparently this song only consists of two parts, right? We have the Eamonn egy CG part and aim on a d with the with that little bit of the end. Okay, so that's the corporate Russia for the whole song. I did the melody line a little bit. The melody line is obviously going to be I don't want to have the easiest bit because you already know the whole structure of the song may be getting started is the hardest bit. But the melody line is going to be the most interesting bet because, well, that's where the whole songs is going to give. You know that's where it's going to get the most of the recognition playing that melody line on top of the courts. So let me close of this lesson a little bit. I'll give you a few more tips, and then we want I want to move on to less than 4.2, which I'm going to give you some tips on how to. Actually, when you're whether you're playing by ear, what you're composing the song or whether you're playing from court T cheats, where I'm going to teach you how to more easily figure out how to play a song. So whether it's playing by ear or composing yourself, if you get stuck, you can actually use that little tip, and maybe it will help. You usually will, And if you're reading from a court, cici, usually you don't need it. But sometimes it could be helpful. That's good. So finishing off this lesson. I know it was a little bit chaotic, but that's because it is where play has sung by here. Um, if I wouldn't have talked through it, I would have probably figured this song. I'd in a bar 58 minutes, something like that, right? So it's not something that I do super often, but I like to do it now and then. I like to give myself a challenge of actually putting on a song and then trying to figure it out before it ends. Something like that. I think that's rather cool on them playing along with it. Of course, that's relatively doable with the courts. But if you also want to add the melody line in there, usually song stand to go a little bit different than you think. So if if you would sing a song yourself, then usually your melody line is a little different than the actual song. And it's super weird because you listen to some of your mind is the thing that I did halfway in this lesson where I went to work on the malady line and I thought that it was supposed to go like this And then I listened back to the actual recording, and apparently I was thinking of a different part of the song. Or like the melody line just went different in my head. So super important. If you want to actually make sure that this song is accurate, then listen to this song and then play it and go back and forth a lot, as I did in this lesson as well. If you just wanna have fun and just want to play something that sounds a lot like the song , they don't have to make it picture. Perfect, of course. So thank you so much for watching Lesson 4.1. For now, we're going to move on to less than 4.2 with some tips. As I said before, I'm composing a swell. It's playing by ear that you can use to make it a whole lot easier for you. 40. Ep 4.2 Common Piano Chord Progressions: Hey, welcome to lessen 4.2 of the living room piano. Of course, in the previous last time, we had a look at had to play by air. We made a little bit of a start with that. In the next lesson, I'm going to really test your ears. That's going to be Super Advance eso before we're going to do that. I just want to take it easy with you a little bit on teaches some tricks, depending on whether you took a little break between that lesson of this lesson. Toe actually figure out some of the songs you may want to play. You may have noticed that it's not as easy as it seems in the beginning. Riots in the beginning is quite difficult to get up to speed, to find these things out. And in order to help you with that, I want to teach you some tips that will help you to more easily figure out a core progression to song that you don't know how to play yet because there's a couple of rules that usually composes sticked. Okay, in order to do that, I want to start with the names of the court's not necessarily as a court on its own, but as a position in these skill. So let's do that first to make sure that you know that story and then we can actually continue on with the rest of the less. So what's important to realize is that when we talk about core progressions, we usually don't refer to the courts is the course themselves. But as a number in a scale and the numbers, we use our Roman numbers. Okay, so this would be the one this will be did too. Three, four, Amazon. Uh, oops. Five, six and seven. Right. I hope you you know these numbers. If not, you can simply do a 1234567 That will suffice us. Well, so what's important to realize is that, for instance, is that we can actually enter any skill below here, and we will get the correct courts. So let's do major scale. See, de e enough. G a. Be OK. So these aren't courts. This is just the scale. Now, if we want to turn them into quarts, remember The second, the third and the six have to be minor and the lost. One has to be diminished. Now we have a C major skill, but we have the courts written them. So now we can actually identify a core progression one of the most commonly used core progressions. And we're going to have a look at commonly used corporations. In this lesson is the one four five. So pause the video for bit of figure out what to 124 and five court are. Okay, so hopefully you figure that out. The 1/4 at sea. Super easy. See, the four chord is the F and the five court is the G. So this is how that's going to work from now on with core progressions. If I want to get a one for five core progression, I got this right. C f g. Usually we see a pullback as well. 24 onto one. Okay, Okay. Something like that. Now the cool thing about core progressions that we can simply enter any scale right here, and we will automatically get the correct courts. So let's say that we're using a different type of skill. Maybe maybe three d major skill, right? De e f sharp g a be See shop right, turning them into, uh, cords right here. Diminished one is going to be a D four is going to be a G five is going to be in a now. This core progression will sound the same, even though it's one note higher. Okay, it's exactly the same. Yeah, as this roid. Yeah, like that. So. But that's how we can indicate core progressions. You probably knew that already. So let's move on a little bit. What I want you to realize is that there's a couple of core progressions that are being used quite a lot of songs, and I'm going to write them down for you right now. And then we will dive a little bit deeper in them. Good. So here we have four of the most common core progressions. 6415 a 1546 a 1645 and a 14 65 So what's interesting about these is that they Aucas a set of 145 and six. Um, there's also other core progressions, of course, but these are ones that are quite often we used. So what I'm going to do, So I'm going to play through all of these core progressions, and I want you to imagine if you can hear a song that's being played like that. Okay, so we're gonna start right here, Okay? Does that ring a bell? So I'm going to play through that a little bit, See if you recognize the song. Okay, You don't have to. Harris song. It's not mandatory. No answers, really? Right. But there's a couple of songs that we will see in a little bit that fit. This core progression now is they may not all be played in the made in the key of C, so that may be played in a different kind of key. But this is the core progression that they that they use. So we will see that in a little bit. I'm going to attach a couple of songs to this one, and then later on, we will actually transpose them to the correct key. But still using this core progression. Let's see if you can really hear a song with this core progression. Uh, that's one that comes to mind to me caped. Let's see about this one right here on What about this one here? 1465 Okay, so maybe you actually managed to hear some songs. Maybe you didn't. Now I'm going to tell you a couple of songs that actually fit in these core progressions on . I want you to see if you recognize them. OK, so if we play this in a regular like, just want court record, it may be hard to recognize this song. This corporate Russian is also found in Africa by Toto. That's nothing that I don't know deliberates. Wait. Okay, so we have death Sposito as well. What about all of me by John Legend. What would I do? OK, so all of me also fits in there. Now, here is the problem. The corporate Russian may be correct, but sometimes it sounds a little bit weird. Like, for instance, that last song, all of me, you can hear that it's kind of the song, but it sounds a bit off. So if I play this with you can kind of hear that is the correct core progression. But we're missing the correct skill. Therefore, it's always very important that you realize when you're playing a song by ear, for instance to first figure out the correct skill. And then what we're going to do is we're going to remember these four core progressions, right? Andi, whenever you find a court, it's very important to realize in which scale it is and in which position off these scaled it. So we're going to do that, um, with this first score progression. So I'm going to get rid of these three and then will visit them later, Okay? But I want to show you the kind of thing that that I'm basically explaining here. So all of these four songs used this core progression, but all of them could be played in a different key. Or maybe some of them are in the same. I don't know yet. I haven't I haven't figured that out, so we're going to figure that out. However, if you play them in C major, Usually what happens is that it loses a little bit of the character. There's a reason why songs are being played in a certain key. Usually not see Major, because it's being used to often so loses its special character, and now we're going to figure that out. Good. So let's sort with all off me. Since That's why we kind of took off. So all of me. So in C major, we have a minor, uh, c on g. And now I want to know cause this isn't sound droid You even though I know it kind of sounds like all of me, all of me Signs difference. And I want to know the exact courts for all of me And the correct key, which is this You hear how much better that sounds? I don't know if you notice song all of me by John Legend if you don't look it up But the difference right here between this which you can hear that it's all of me. But it's missing this special flavour. Which here, what would I do with that? You're smart, man, right? It sounds a lot better. So what are we playing here? Are actually sorting on af And that means that the AF is the sixth cord off the key in which all of me is being played. Okay, starting out with 1/2 then we have d flat. The APP is actually a minor chord because the this will say the same so minor and the rest will be major so f d flat a flat, which is the one chord which is also telling us that this is actually written in the key of a flat, right? Thank e flat, which is a five court. Cool. So this means that we're basically 44 Hoff notes away from C Major. And that's why it sounds different, right? Signs a lot different than the original. So let's have a look. A despot's seat. Oh, it just it didn't really sound, Ryan, right? Okay. Just didn't sound roid. And that's because the key is actually different. So it's actually supposed to be played in d major like, Hey, it's a place of plain de major. So you get something really different we saw in B minor and then we go to G minor moment, Remember G d and then a major, Okay, we're not going to sort and be minor desk Sposito. Sounds a lot better because we're used to that in D Anil in. See if I now play see, it will sign, but stupid. Okay, Toto, I think is actually correct. And see, Major, how about if I were a boy? If he friends is have a look at If I were a boy, which is written in af sharp, the five would be a C sharp six would be a d sharp on, um on the four would be a b right? So if we play that in C major, it really doesn't sound. If I were a boy, it is very difficult even to get the key in if I were a by Okay, it sounds a lot better now. The reason it's so hard to imagine this one and see Major is because it's quite far away. You see f Sharp and C as you can see on the piano there really quite far apart. 123456 The most amount of notes that they can be a part Okay, because of Sharp is hoffan and higher than the five of the sea. So it's it's quite far apart. So what? I'm basically trying to show you that even 30 corps progression of all of these songs is the same, right? The progression is the same because the key is different. They sound completely different because secondly, all of me could also be played in this key, right? How many times do I have to tell you evil way, right? It should also be able to be played in desperate seaters key. Okay, so right here. Okay. It's the same core progression I'm Samos with, or a Marner as well as the original, uh, as well as the original key. OK, so point being you can have the same core progression that's being used in many different songs. The C major illnesses total by Africa, Many different songs all in a different key. And they will sound pretty much Ah, little bit different Now there's also the rhythm, right? So when I play all of me I use these three knows that like that. Okay, When I play this Placido, I use a bit more of a latin feel I wanna play. If I were a boy, I'm just going So I'm using different rhythms with the same core progression in different keys to create different songs. But basically all of these songs complied to this core progression. Now, what is the use of that when you're playing boy here? Well, basically, if you if you remember these core progressions and I will give you one more at the end as well I'm going to to write them down and I'll give you a few examples of all of the core progressions, right? But if you remember these progressions and mainly the thing to remember is Look, we have a six of 41 or five, but in all of these other progressions, we also have that. Okay, so in a lot of the progressions in pop and rock and basically, like the newer music, we all we almost always CIA one of four of the six unifying. So now we have a look at the song of the previous episode 4.1, which was lost, Boy. I am a lost Did it. Okay. These cords, obviously, because the the first court in the last quarter of that same, it's a little bit different, but if we have a look at which courts are in there So I said usually you will find the one of four of five under six. Now, of course, this example will be a little bit different. But if we have a look at the G major scale G A B, c d e half shop Aunt G again, the one is the G chord. Well, that one is in there. The forecourt is a C chord. That one is also in there. And then the other court was the e minor chord, which is in this case, the six scored in case minor, minor, minor diminished. Now, usually, as I said yesterday, Well, this one is the same as the previous one, and the diminished court is usually not in there. Which leaves you, Ah, six course to choose from. And what I say with this is usually this one isn't in there, and that one is also not in there. Okay, so if we would have no that yesterday would have figured out that it's a G Major Keith and the first quartz I would be looking at R, G, C, D and e so G, I can clearly hear that in there. D It's a little bit too uplifting because of song. Sounds sad. Okay, but the one before and the 6/4 in, There's if you're listening to song. If you're playing by ear and you figure out these scale, always search for the 1 to 4 to five and a six and see if you can identify them and then simply stored, thrown them around t to see until you find it. And sometimes there is a different court in there. Sometimes you find a three. Sometimes you'll find on the five under four, but not the six, you know. So all kind of different combinations are always possible, but usually you will find the one because it's the key in which is written on the five order for is usually in there. Okay, so that's basically attempt to make it easier for you to play by ear. And then the other thing you should do When I sorted out to play the piano, I was just playing all of these courts once because it took me a lot of effort to do that right? So if I play the courts like this for this song, it happens to be something get because this is actually how the song goes like very slow. I am a lost boy from Never Land having fun with Peter Pan. It's probably different lyrics, but anyway, but for the death Sposito song Todo todo Saturday Dutilleux Teoh, right? You want a little bit more. I forgot the courts, right? So you want to put a little bit more stuff in there. So what you're going to do, that's why you play by ear. You're going to identify the key, and then you're going to find the courts. But when you do, when you will find it courts, you will actually have a look at the 1 to 4 to five and the six and see if you can identify them first. And then actually, Adam in the cake is they'll most likely be used and then you're going to How shall we call ? It's not really It's not really yeah, like it's not just rhythm. It's also inversions were basically rhythm on inversions, right? So rhythm and inversions are super important if I take the correct rhythm courts and key. But my inversion is wrong. Listen, it doesn't really sound convincing, whereas same key, same court, same rhythm s. So why is the inversion important? Because the note that's going to be on the top right here eyes the no that makes a sound that's most clearest, right? So if I put that note on the bottom or in the middle, economists is value, right? So from here, of course, you can still hear it but what you want to hear. That's what's most clear in the songs. If I play no courts but just the correct notes in my left hand, that's probably a lot more clear than when I played it corrects courts. You can always not hear that song, even though the courts are the same. Two key is the same. The rhythm is the same. Listen, now that's all due to the inversion. So first you figure out the key than the courts and have a look at 145 and six because usually two or three of these are at least in the song. Then work on your rhythm and your inversions together to make sure that it actually sends. Like the song says. This is the part that everybody can do right. Finding a key and a court isn't all that difficult. This is the reason why people which my lessons because the have issues actually adding the correct inversion or to correct rhythm to it so they couldn't find out the key in the courts, like in a guitar tap or whatever, but then adding the rhythm and your version. That's where the real magic source lays because somebody maybe looking of the courts and ending up on a guitar tap that's written in C Major and they used the wrong rhythm and the wrong inversion, and they're basically playing all of me, and they know that it's all of me. They know that it's supposed to be that song and they end up with something like this, like Or maybe they just playing root position. And they wonder, Why doesn't sound? Well, the reason it doesn't sound, especially if they leave out the rhythm. Maybe they play something like this because you've got the right courts, the right progression. But it's in the wrong key, the wrong rhythm and the wrong inversions. And that's why it sounds like a completely different song. And the reason for that is because all of these pop songs use a corporate Russian like this or any of the other ones. Okay, so I'm going to quickly go over a few of the other core progression so you can you can recognize them and we do them in the correct key, so I'll give you one song per core progression. Do not make it too long, and that one wants to do. And so I wanted to look up three of your most favorite songs on, Figure Out the correct core progression and the correct key and see if it's one of these or if it's a different chord. Progressions is lbd homework for today, but I'll remind you of that at the end of the lesson. So we have these core progressions that are very common that I just want to quickly get over. And then we'll move on to Lesson 4.3, which, keep in mind, that's a very difficult thing to do. But it's a really interesting lesson, so I hope you'll enjoy that 1st 1 right here for whether without you want 564 Okay, that's in C in the original Kiva D. It sounds like this. See with for you. And keep in mind there's money songs with that corporation that we had desk bus okay with this corporation. 6415 very commonly used also for all of me, as we saw before, which is so funny, is the same core progression. It's a bit of a different key on a different rhythm, and you get a completely different song. But that's the whole point. That's why composers use these corporate Russians because it sound really nice. But then they give it their own flavor. This one is a little bit weird. A 1645 Maybe that's something like It will be lonely with two, but it's also the courts for stand by me. So again, a very different implementation off the of the 16 for five and then another Christmas song , Sand to tell me with the 1465 core progression. Tell me if you really made me fall in love gun If you won't be. But of course, it sounds a little bit weird because this is in C major. Now let's transposes to G major son. Tell me if you were really there to make me follow love a gun if you won't be Nice Year, which sounds a lot better, so to give him mind, you can use all of these corporate rations when playing by ear. All of them have a one of four of five and the six in them. It doesn't always have to be the case where you're playing a song, but and like probably 85 to 90% of the songs that you're trying to figure out. You will have these courts in there, or at least three of them. Thank figure out the correct order. You already should know the key, and then you apply the correct rhythm, an inversion. You can have a look back of the inversion listens for that to make it your own and to actually make sure that it sounds like it's a place to sign. So your homework, for now, is fine. Three songs that you really like figure out the correct key and then the core progression to that song and and you'll be surprised how many of these songs actually have a one of 45 and six in them See you in less than 4.3. 41. Ep 4.3 Practice your Ears!: hi guys. Working to less than 4.3 in the living room. Piano course, if you're watching this, I cannot believe that you made it this far. I've uploaded a couple of the lessons already by this time, and I'm kind of seeing what people are doing. And on average, people up until now have been witching, like maybe half a now or an hour of the course. So if you're here, you've watched over 20 hours. You're very committed and the really like that. I hope that you're enjoying this course and that you're learning so much about playing the piano. And I think that at this moment you are so congratulations to you Really, Really takes a lot of dedication effort to keep going at it. So good job on you. This lesson is probably the most advanced lesson when it comes to skills. Um, when it comes to playing skill and air skill basically in this entire courts, if you're having trouble with this, let me tell you that this is really expert level. Okay? I did not expect you to get this in one time, so just so you know, it can be quite frustrating. But this is one of the things that I wanted to put in here because it's absolutely, really so in this lesson is going to be a lot of examples, a lot off exercises on. I want you to keep in mind that this is a videos. I cannot change it after I've recorded it. What may happen is that you learn all the things I'm doing off by heart, and then it doesn't work anymore. So you can actually copy these exercises and ask somebody to play. There's on piano for you. It's really easy to play, but it's very difficult to hear because we're going to be practicing the ears. You can also do it yourself, but it would be super helpful if somebody wants to do this for you. So there's a couple of things that were going to do. First of all, we're going to I'm going to play a different type of newts on. We're going to see if you can hear the distance between the notes differences this as a full note. Okay, it's a whole note of this is a harf note. Okay, so, in order to start, um, I'm going to not be shown piano. Of course, because of the boys, you would be able to see that in order to start, I'm going to play either one Horner or two whole notes as a difference between the notes. And I want you to tell me every time. What do you think? It's whole note or two whole nodes difference between the nets. Okay, that's where we're going to sword. This is probably the easiest level, and then I will make it harder s we get. Okay, so let me change the camera. So you don't see the piano anymore. Here we go. Just like that. Okay, so here we go. Let's begin. Do you think that's a whole note or are are two whole nights difference that this was one whole note? Okay, Is this one or two? This was to Okay, so starting on the same note in this case, it was G A for one and want to get used to the difference here and now. Two nights. Okay, so let's do another one is a one or two. This was two whole minutes. This is one hornet. OK, so now what I'm going to do is I'm going to keep on doing this, but I'm only going to repeat it twice. I'm going down, up, down. A used to tell me whether it's one or two. So here we dio That's one that's too to to, um one. Okay, so I don't know if you if you got that one right, because it's sound because I went lower. Maybe you have trouble. Ah, uh, to, um, uh, one case. So maybe you're noticed things that if I go a little bit longer, fellas, easier to notice. So I'm going to make it a bit harder. I'm going to play 3.5 whole notes or basically 7/2 notes in there. Okay, so that would be 1/5. All right, if you remember that. So now the options are, for instance, this, uh on like that. Okay, So let's see if you can get them correctly. Here we get. Okay, that's the 3.5 to 3.5. 3.5. That's one whole note in between two whole notes, two whole notes. But that's 3.5 nodes, as that's one whole night. So maybe at this moment, you think ooh, It's quite hard to do this. Um, we're going to do something different now that will come back to intervals later. So just before I was doing these Inter falls, right? Are you to guess whether it was 12 or 3.5 whole notes in the middle? Right now, I'm going to do something which is quite a lot harder on. I'm going to simply play a note on you have to call out which note it is simply by hearing it. Okay, so gonna sort easy with a C. In order to make it easier for you. I will stay in this area. Okay of just I'm not gonna ah, go all over the piano, OK, That will be super hard. I'll tell you what I'll actually say on C d e f and G to begin. Okay, Let's see if you can figure out whether it's C, d e f or G. All right, on down. Let's start on. See, as a reference point. Now, what note is this? This is the f This is a D. This is an e. Okay, so I know again, if you're just starting out with this is probably the first time you watching the lesson? This is very difficult. Okay, Super hard to do. Um but it does get easier, as with everything. So I'm going to keep on playing notes, and I'm actually going to expand it to a MBIA's. Well, so am be will also be any word not doing sharp shed. Just a B, C, D e f and G. Okay, let's see how you're doing right now. Keep in mind this sound eyes the see. Okay, let's see. This isn't a a be de s g e c s a e Be de okay. So again, I know this is super hard to do right now I'm going to include the Sharps. And if you even got one of these rides Super cool. Okay, so be nice to yourself. This is this is not easy to do. I'm gonna start with the sharps first. So when we playing any of the off the white notes just the black Knights right here and then we'll see how we get along OK for reference this oneness C sharp. Okay, here we get G shop de shop show. Okay. Again After sharp a shop see shop as sharp G shop de show. Okay, now the super duper hard thing mixing all of these together the know that I'm going to play now can be any note. Okay, here we get a G shop. Oh, f de a shop g s a D C A. C shop f show. Okay, if that one a little bit too quick for you right now, I will do a couple more, and I will go a lot slower seeing if that helps. And, um, yeah, let's see what happens. A f shop, a de shop. See? Offshore G be see de shop G G Shop de Ah. Okay, So first of all, keep in mind that this is super super hard to do. There's people in the world who cannot do this, but you're probably not one of them. Okay, if you're this far into the course, you probably have some musical talent. Probably a lot of musical talent actually on you are able to actually learn this. Now you can simply do this, close your eyes and play around them. Note. The only problem is that you will always know whether you're on white or black keys. Okay, But you can just put your hand and playing node and tried to guess the note like that. Or what's more helpful if you have somebody who can actually help you out that you asked them to do it. But this should technically work. OK, so go ahead. You close your eyes. You can do this. I hear half in a difference here. So maybe Ian F Yes. Oh, I got that right. Okay. So you can cheat a little bit in the beginning. You know, if you don't know this note, go home for note up or go a sore go wide note up. F g a B. Yes, I got them. Right. Okay, Lucky. Um so that's one of the things you can do as starting out with the white nudes. Obviously, because these on these are half a note apart, it still makes super interesting. You can also close your eyes. I'm playing Interval. You go like I think that's for notes apart. No, it was five nights apart. OK, but the problem with that is that if you do that a couple of times, you will notice the difference in your hand. Very well. So, um yeah, it's not the best way to go. Best way to go is if you have somebody at the piano and you cannot see them. I you have to guess the notes. That's that's definitely the best. Okay, so then the next thing you can do if you want a practice of Playboy here, as you can try to guesstimate which court is being played. OK, so I will play a couple of courts on, see if you can get them. And the courts I will play will be see e minor G and a minor. Okay, these are the courts that I'm going to be playing in rue position. Let's see if you can hear which Coartem playing this is the C major chord. I always like to sort out the playing C. So we get some kind of reference. Okay. Okay. This is the G court. A minor, A minor. Now, this is a really good practice, um, to hear the difference between major and minor courts, major minor. OK, so that's one of the things that you can do. Let's add a couple more in there. So maybe d major as well on DBI minor. Okay, let's see how you do now? C major. Right here. Let's go. F uh, de B minor A minor f e minor G See de a minor. Okay, now, because the note on top keeps on changing, it's relatively easy. Even there was still super hard. So if you want to help yourself a little bit, I can play inversions and will make. It will make the court sound less dominant with that top note because no, for instance, in C major, the G is actually on top. OK, so I'm going to play some different inversions and see what happens. So we have C major right here. Thing is a different court. Would Corti think visits? It's f. Okay, de See G e minor, a minor B minor. See B minor, A minor Andi Deep goods. I know that this was probably super hard for you to do. You don't have to be able to do this in order to do any of the things that we that were doing in the course. However, it does, of course, really help if you want to learn to play by ear. If you could actually listen to this song and figure out the courts just by listening to them? No having to play them on the piano. Okay, that will be super helpful. Or if you hear a few notes that you know is G d be okay, or at least the distance between. You know, it's one of the exercises that I'm not going to do right now is something you can do as well as you can. Try to listen to the core progression and you don't have to get the 1546 for instance correctly. But it really help. It doesn't really matter. You can. You can name 1/4 1 And it would really help if you start to listen to these parents and you can do this every day in the car, in the train, on our plane, you know when when taking a shower doesn't matter. Every time when you're listening to his song, you can try and listen. If you get the core progression right and then later on, figure out the actual core progression to the song and see if it matches up. And if you do, there's a lot. You will get better at that as well, meaning that if you figure out one court out of all of these courts. Since you can heritage core progression, you can play that song a lot quicker. Okay, so exercises. You can play two notes and find the distance between the notes. You can play a single note and try to figure out which Newt that is. And you can also play courts. Try to figure out which court that is. And then core progressions tried to listen to a song and figure out which core progression This song has been written it Good luck and I will see you a lesson for point for. 42. Ep 4.4 Splitting Piano Chords: Hi. Welcome to the lesson 4.4 of the living room piano course today. Today I want to talk about splitting courts. We can do this for a couple of reasons. To make a court sound lighter, brighter or to make it easier to play. I also want to talk about slash course because these courts are a little bit weird and it kind of has the same implications as this lesson. But it's just a little bit different. So we're gonna do that in 4.5. So after this, we're gonna get slash chords. Right now. Let's focus on splitting courts first. So when I'm talking about splitting cords, what do I really mean? Well, if we have a court, let's say C major, this court consists out of three notes and usually when we play this court in the way that I've tortured before, we're gonna plane octave in the left hand came. So I play something like this, right? C C C E g. Now what I'm basically doing is my Roy Hand is playing the entire court. That's three notes in the court of thyroid Hannis playing that entire court the left hand simply playing the route. So this is not right here as an extra to make it more clear to emphasize it. Okay, Sue quarter on its own court with it with the bass note on court with two basements. When I say splitting courts, basically talking about the fact off splitting this court in half. So playing the C major court hemorrhoid hand, I'm gonna split that and I'm gonna put that see in the left hand. So now I have my left hand here. I'm a roid hand here. Well, now happens is I'm playing the engine the right, and it's not a C major chord anymore, But I'm playing a si you talked of in my left On what results is that I have the full court again, but I'm playing one of the notes with my left. Andi had one with my right. I don't have to do that near each other. I could also go higher or here or something like this. OK, so this is a very useful way to ever only wanna play. Let's say one known in my left onto notes in the right to create a C chord that it's not necessarily played in the same position, but a little wider now. Why would I want to do that? Well, sometimes this sound is just to think. Three season there, and maybe that's just a little bit too much. So maybe I want to go a little bit lighter right here or lighter in general, but sometimes it's helpful. If my left hand can actually let Sam play something like that, it's super much easier to play this and left. Then differences go, you know, because that my right hand, uh, has to do something like that. So sometimes it's a lot easier to play something in your left hand and then in your right, and that's why you may want to split the court. Another possibility is that we have a cord like, for instance, a C major seven court right on. If I play that in the right hand, have to play four notes with one hand, Um, and that's not necessarily always a bad thing. But sometimes it's just hard to play this. Okay, save. I'm coming, let's say from a G, and I have to move here. Then maybe that's hard for you to do because you have to place four fingers in one time, so we can then also split the court playing e g be the right hands on adding a C active on top by doing this'll, I'm I'm creating a court that's much easier to play from our right hand, and the left hand is still providing the ground note here. Now there's a couple of really important reasons you may want to do this, because if the whole goal is just to make the court easier to play, I could have also just transposed the court. So if I put the be over here and the G over there, for instance, what I end up with is G, B, C E. And a court has been more compact, and it's easier to play G B c. Okay, it's a lot more compact and easier to play for me. However, I may want to have the sound of that beyond top. So then rewriting it to this sound may not be helpful because I need that be sand to be on top or even the G m B. Therefore, when we split the cord and we can, we can split it here, but we could also split it there. Okay, that doesn't matter. It really depends on the song. But if I'm splitting my court, let's say here I would play see and in left on G m. B. And right now, when I do this, I don't have to stick to this position. But I could also is something like this creating a really bit more of a unique sound. You don't hear things super off. We could even go as forest to split the court here and plays the be on top like this or even here, Place of be octopus. The cool thing is that you can actually decide how many of each of these notes you wanna put in there, and the court will stay the same. So as long as we only use see e g m b. It will always be a C major court. But we could Francis do C E c g b g, and play something like that. So in this case, we're not just splitting the cord, even though look right here and playing cnd on right here in playing g m B. But I'm adding another see in there and another G in order to make a different type of sound. Okay, so that could be very useful. A swell. Now I'll show you another one of these. Damn, I should not do this with my hands. Like but for Is is the B flat. I like that one as well as an example City B flat. Ah, major court B flat major seven chord The I always go wrong or deep half a right This'll One is already a bit more of a stretch, uh than, for instance, this one right here. OK, it's a bit more of a stretch. Also, if I split that right here, it's a lot easier to play. These courts are relatively easy to remember because the core that you end up with will be a minor chord. And it's just like in this case, it's a demon. According with the sea was a minor chord. So these courts you already know in your hand already knows how to play them online, simply adding a B flat or a B flat active on top. We'll make it a lot easier to play. Now let's have a look, adds a major nine chord. So, for instance, see major nine C E G B deep. We have five notes, okay? And when I play that it's super hard for me to reach because I already have quite small hands. You can see that that it's not really not really nice, active plus one. I don't have that much issues with. But when I have to prove my my point, a finger in here this stretch start to be starts to be very, um, intense road so or to play one lesson on active with my points around my pinky. Whilst putting notes in the middle, it is quite intensely. See, I'm already hitting that CIA's well. So what we can do is we can split the court. Usually I would spread it here. So have C C E G B d. Making for marginalized to play a position. Or we could split it here. And then we have C e g B d. Like that. And of course, we can also decide to play two c major chord in our left hand and just the beyond the D or even D Ambien that'll end, right, giving a really beautiful sound. So maybe we're watching these examples. You're not just motivated to try this yourself or inspired. Maybe now you also understand that sometimes if you're playing according a left hand, let's say C chord and then some other notes in the ride that it's that it sounds like a different court or that it that you may be father. This wasn't accord see e g d B, but that it's actually a major nine court, right? So when you go into a bit more advanced songs, or or when you have a composer that roids on Advanced piece or if you have songs that are a little bit less mainstream because some of the songs sound really cool to have a lot of seven quarts in there or suss courts of slash cords than it can be very useful to use these splitting techniques. As I said sometimes as a single note that you want to point out, maybe you're playing a song with a lyric line like like this, and the first Court is a major nine, and then you could do something like this. Okay, so you can actually incorporate that lyric line, but you need to be to be the highest note. So if I would start here, then you don't hear that note. If that makes any sense, if I want to make a lyric line B g e G that I cannot play the original cord because you were this note on top. So then I would have to transpose the cord like this. But then there's a lot of action going on in my hand. So maybe I would go like, let's say, here or even I could play the court here on a play like that. So have some fun with this experiment a little bit with it, splitting courts a super useful and and it kind of seems to be a little bit of Samos slash courts, which actually is really different. But it has the same kind of, um but but it really looks like it. So we're going to do that in the next video 4.5. We're gonna have a look at slash courts. Please try this out. If there's any of these courses having trouble to play major seven minus seven major nine courts, try this technique and see if you can split that court without having to apply on your version, and sometimes you you would want to apply that inversion so you can do that as well 43. Ep 4.5 Slash Chords for Piano: Hi, guys. Welcome to less than 4.5 of the living room piano chords. In the previous lesson, I talked about splitting courts and I told you that I wanted to extend this topic a little bit with slash courts. Now, slash courts is something that I call them slash courts. Okay, that's just the way I call them. Maybe they're called different where you live. But it's something that really annoyed me. I didn't really understand it because I was learning how to play these songs from guitar taps Right on in guitar tap. Sometimes we have a slash court. Now, what does that look like? Well, let's say that we have a core progression E minor G um, C on g again. Right? These are regular courts of a play them. Okay, you can hit it with groom back and forth. Now, these are actually the courts from last boy by Ruth be I don't know if you know this song, but if you don't look it up, so is lost boy. Okay, this is a why So laws boy, rules be important that you look it up if you don't know it. Because when I listen to that song. I don't hear a minor G C g in the beginning. I hear it later on, but I don't hear this. I hear something different in this court because what I hear is this Are you cape? Not a weird thing is, I want you to have a lick of my right hand right here, if you can see that. Yeah, I get. So look at my right hand and listen super important. I'm gonna do this twice for you. Okay? Now, which more? Right hands on, it will be exactly the same. And listen, Okay. Even though my Roy hand is exactly these same, something changed in the sound. Okay. What happened is that my left hand? It's something different. So if we have a look at right and left, let me show you what I did. Um, e minor G leg btg fats G B on D. So it's a g chord, but it sounds a little bit different. See on there. Okay. So what I'm doing is I'm playing a minor. A play G c on g m a right hand, but in my left hand on playing an e active deok tive. See active and then Aggie October. So the left is actually playing a d active whilst playing the G on the board. And if you want to know that, you will see it like this. So this is what I call a slash court because as a slash you know, www dot slash And the weird thing is that this is being played in the right hand. So the court on the left of the slash is gonna be played in the right hand and that will be played in an active in the left hand. So yeah, it's a little bit weird because they're flipped right. Say the D is being played in the right hand in the left hand. Sorry, s O. You may expect something like this or this bought the right hand is playing a G court on that makes it a bit of ah different type of court, different type of sign. So what usually happens is we can play a G court with a G. And now if we have a slash, it will either be the B or the d. Okay, Usually 99% of the cases the note that is being added will be part of the court. Sometimes what we do is we would add, for instance, another note on top on that has to do with the splitting course that I told you about in the previous lesson. So if I would want to indicate to somebody like, Hey, guys, we're gonna play an E minus seven chord. But I wanted to play it with the east separate than what I would do is I would put a G major court slash e. Okay, Now, let's see the rule. That court was a G major chord here or here. That doesn't matter slash d. So we get this sent. Okay, Now have a do G major right here. Slash e We get this sound, we basically get an E minus seven, but we write it in a different waste. Another left hand is actually going to play that Okay. Says that's how we can use slash courts to indicate that we want somebody to play this cord in a different way. Okay, Now, as I sad, this happens quite a lot when you actually want to play an E minus seven court. We could write it down like this, but you won't see that when you read guitar taps and I would just say e minus seven this when this happens a slash court. 99% of the cases the D node that will be behind here will be part of the original court. So therefore, if we have a g slash cord, we have the notes g be on d, so you will likely have a g slash d chord or a g slash b court. And let's also write down a G slash g even though that doesn't make any sense. All sort of their a g slash g ever sound like this? Okay, right here. Now g slash B on g slash d. Okay, um, we can write it down a bit because I really like this. A version of the G courts are here like that. Okay. Now, on its own, it doesn't signs that weird, But again, if we put it in context, normal or g slash D. Now, all of a sudden you hear it, right? I guess Quite of a special flavor. It'd court. Let's see if I replace the g slash D with a g slash b. Say this one right here, said the left hand is not going to play a B. Say that we get this, hear that? So when you played in context, it actually makes quite a lot of difference. What you play So here, a lot of a different sound from this or the original not to be again, sort of here and not to be again. Okay, so you can hear that it's that it's quite different Heidi's court set so I can talk about this for hours and give you all kind of different explanations and examples. But it's not really that interesting on the main thing I wanted to teach you is in combination with the previous lesson, with the slash courts and the splitting courts that we get these kind of situations where you pretty G chord and then a B in the left hand. So you know that whatever is behind a slash has to be played in the left hand. Now we do that because we want emphasis on that note. Now, when we do it in this kind of situation, we want that because we want that dino to kinda shine through. If you have a look at these courts. Sometimes you will see that it's actually ah, ahead in court. So, for instance, you could have B flat. Um, f on A and D is basically being left out because it is that be major seven court, right? But if you leave the d out, um, and they could put the d in the left hand, we could get something like this. Okay, Which science brought aware. But it's something that you could do. Um, we could also simply add that a on top by putting it in the left hand, putting more emphasis on that. Like that. You won't see this often, but sometimes it it is used in songs. Okay, You can also see this kind of Sutherland with sauce courts. So So maybe something like this, right where you have ah b sauce to court with an E in the left hand. So you see it quite a lot. We can have this a swell right. Eso a lot of different possibilities, but basically, keep her mind that whenever you see and note behind a slash in accord that you have to play that on the left hand on this one in the right hand, and then you'll be absolutely fine. For now, let's move on to lesson 4.6 44. EP 4.6 Changing Keys: Hi. Welcome to less than 4.6 of the living room. Piano course cannot believe how quick this is going. We have got a couple of lessons left, and then we will have the test in less than 4.11 of the entire Chapter four as well as the master tests. Unless and 4.12 of the entire course. I've kind of taken a different approach in Chapter Fourth, and I would have far in the beginning because I wanted to do some basic seven, Chapter one intermediate and chapter to advance in Chapter three and then super advance in Chapter four. But I I really found that, um, as it was going through their scores, I can give you more and more and more advanced music theory. But that's not really what I want to do in this course. I want to give you some tools that actually allow you to play and have fun playing. So what I want to do this lesson is I'm going to teach you how to change a key whilst playing, um, without everybody noticing where they may notice, but like it won't be as a abrupt as you might think so. This is one of the examples where I'm not teaching you more music theory, but a more of a practical, practical solution to problem that you may have when you start to play. As I've said before in this course, it is possible to change a key of a song. And we've don't practices on that where you had to Roy Takina Different song. Now, why would you want to do that? Mainly you want to do that If the courts or the or the key in which you got the song aren't correct. OK, that's possible. So you get it in a searching key, but it just doesn't fit the original way of playing it, So you're going to adapt it to the original key. Another reason that you may want to do this is because you're playing in a band on the singer to persons singing. It is not really comfortable in the key where the song was written in. Maybe it's a woman singing a song that is basically written to be sang by a man except for Sam Smith, because he goes really high or it's a guys sing a song written by women So it's very possible that there's a guy who wants to play hello by Adele. Right? But he cannot reach those upper registers. So he wants to rewrite this song came maybe maybe 7/2 subs down Or maybe 5/2 steps then or whatever when you're playing in a cover band. So you may want to actually adapt. That's I've torture. Had to do that in another lesson. Learned, you know, Remember the specific lesson at this moment but of torture had to do that. And the lesson is most likely called transposing Okay, transposing different Keyes. Now, sometimes you want to actually change to give a song in the middle of a song. Okay, So what happens then is I want I want to take this examples. Let me play you a little bit right here. Okay, so I've picked a song that it may be a little weird, but I kind of like this song for this demonstration. So let's say we have this song right here. It will be okay. And then later on, it will go. It will be all right. So gets higher. It will be. If you would just do this like it's it's It's weird. It's not doable to just move from this to the other one. So we're gonna discuss Had to do that in this lesson. Okay, but sometimes that happens. Sometimes a song. Eyes moved up. Usually it's moved up. Sometimes move down, were usually has moved up. And when we do that, when we move the sun up, usually it's one whole note. Now this presents us with a problem. Because if we have a look at these circle of Fifth, so if you remember that Okay, so we have a look at this circle of fifth. So we know that the notes that are closest together so am differences. These keys look a lot alike A and E as well. But the further away you are from these circle, the bigger the difference will be between the keys. So CNG there's only one little difference if we remember. See as I'm for G way have the f sharp eso. The only difference is that in C we have enough on G. We have enough shop and d we have a C shop and enough shop. Okay, so there's already two notes different. This means that if I would simply played and see. Okay. And I simply moved to G. It sounds a little bit weird. Okay, Now your brain gets used to this kind of stuff really quick. So because I already did this a couple of times before now may not seem that weird, but if you're actually playing that, people listening to it will be like, Whoa, what happened? Okay, so sometimes you may want to do this abrupt change will be, but not only is it weird on the ears, it's also hard to sing along with that because you kind of have to just to make things note , the f sharp, the new note introduced because it's not really in the key that we were. So you get a lot of people that if they tried to do that, including me, they sing attitude. So what we now want to do is, first of all, we're going to rewrite a song from C to G. Okay, so that the change is not that major. And then we're going to see what we want to do if we actually want to rewrite it from C two d. So let's presume that you remember the key of C. Hopefully. Okay. See the G, A and B. Now, the core progression on playing is C A minor. Let's see. Is it? Ah. So the core progression playing is C a minor. And then and that f and then g OK, so these are indeed normal course, like 1234567 That this is the order of the court. Some plain. So now if I write my g major key right here, the first quarter would have to play his G. The second quarter's e. The third quarter's f on the fourth court is sort of the third quarter C and the fourth quarter's deep. Okay, of course. Keep in mind that we have Ah, few miners in here as well. So minor here. Minor Here. Minor. Here, one here. Okay. So how played in G? We get something like this, it will be okay. Never complain. Never compare that you can hear there. That's really a big gap. So the interesting thing is that the gap here is seven steps, but the difference here is, um Well, in fact, it's so small that the Eamonn quarters actually in the sea magical. So we're using courts from the C major skill in the G major skill. Okay, Only So the courts was using here C f g a minor or still using C and G. And now we have replaced them by dnd monem. But they also appear in the C major scale. Now, if we do d, it's gonna be a little bit different. So the interesting thing is that from C to D, it's only 2/2 steps or whole note. And this is something that we actually see quite a lot of songs that we would move up one note. Okay, but if I play these chords again, there's gonna be minor. A minor ana minor. So minor, minor, minor. 23 and four. Okay, so the G court is available in the C major. Keep the D court isn't because it's the d minor. The A court isn't because of a minor. And the B minor also isn't because it's a B. This means were introducing three new courts simply by going to D. So now if we have a look of the piano here, we owe Okay, so you do get used to it quite easily because it's only one note of a difference. So when it comes to that, the transition is less up corrupt. But the courts are actually all completely different. Okay, what helps is that we're playing the first chord. Um, on the first note, I will later show you this with all of me as well. And you will notice that it's a little bit different because the core progression isn't starting on the first court. Now, if I moved from C to G, we get something more interesting. Okay, that's very weird. That's a very weird jump. I'm still not used to this new site. So there's a really interesting thing here, even though these two skills sound a lot of like or they look a lot alike. We only have one different note in here. The F shop, they do sound quite different. Okay, especially with this core progression added on top on, Even though these change quite a lots of from C to D major and the courts are completely different, they sound the transition is a little bit lighter, okay? And that has to do with the fact that if I want a transition from a certain node to another note that if I if I was sick to the core progression, this d is actually not that far away from the sea. So we can kind of get used to that really easily. But you have to experiment with that a little bit. Okay? Now I want to show you cool examples. So let's say I want to move from sea to deep. Andi, I don't use any tricks. We're just gonna get this as we've been hearing before, it will be a lot. Okay, So very abrupt. Hard to actually get the lyrics or get the vocals on the correct note instantly. Very difficult. Now, here we do the little trick. It will be right. So by do this little intermezzo, we actually a Nancy next key. So on. You got this quite a lot on the song, right? Where if they change key, usually right after the bridge or, you know, a little bit later in the song that that you get something like this. And and the interesting thing is that I'm actually doing this in the middle of the core progressions. I'm not even doing this at the before, and the one which I can do so Ah, you know, And then I could move on as well. So is that is that is a possibility. I just chose to do it here. Okay, so now super interesting. What is happening? Let's clear the board. Okay, So what we want to do so want to go from C major from the sea a minor F and G Court one and transpose to db minor G N A. And how are we going to get there? OK, so the whole idea is that if you play these chords, the the ear will be used to to see my just scale. So a lot of these notes, and not just that skill they will also be revolved around the day. They will be the note that is popping at the most because, Well, just listen. Thing is just a very pleasant note night. This one, for instance, falls a bit out, so this one doesn't really do anything now. What we need to do in order for this to make sense is to actually get that d to give it a bit of a more prominent place and what we can do in order to do that is to play a chord that basically wants to, as we call resolve into three D court. So, for instance, if this court, it's nice of a player, a player more that wants to resolve some place. Okay, that sounds nice, right? Never do this. It's Sanson eyes, but it doesn't really. It doesn't really pulled towards it. So there's a couple of rules if we have a certain key suffering on stop right there. You really want play that? See? Right. This is really leaning towards closing it. Okay, in the same happens with the D. If I stop and just walk away, go like no, like come back plate. Oh, yeah. Play that one. OK, now, the weird thing is, if I'm not play the beat, you don't really get the the idea that you want toe resolve it into that. Now, that just sounds weird. And that is even in this short period of space, period of time, even in this short period of time, from playing to see my disk ill and then to d. Whereas when I played this be remember, you really you wanted me to play that see so bad. It's like a scratch you want Scratch it. And then when I did this d thing, how you wanted me to play the d so bad. Okay, so listen again. You're like you're almost begging me. Come on, Mark, play that note. Yes. Okay, there's the release. Now, remember this feeling even when I'm explaining this to you. Okay, so it's a subconscious thing. I'm even explaining it to you now. Here we go. Man. There's nothing more than you want them for me to play this note, right there were. You know, the funny thing is, when I go back here, it's still women to close that even in a different doctor there, like more. Please play the deeply to the there. Were you OK? It's like that that that really itch that you want to scratch. And the weird thing is that when we had that with the B before, if I played now on, I resolved it does nothing for you. Pretty much. That's what we want to do. So we want to get out of this sensation of having to see, you know, and actually that be wanting to resolve in the sea. We now want to get to note that wants to resolve in the deep. That's one of the possibility. So I could play a C sharp in order fut want me to resolve it right there? Okay, so I simply play the c sharp. So here. Now remember, the sea shop is not in the same Magic e. And you're very happy with me to play that deco. Okay, So if I would exchange g and I simply on, I simply put an inversion there, said that the c sharp is it on here? It would sound a bit clearer. So you want me to go there simply because the c sharp is there. Now there's another fun thing if you play the five chord. So for see the 5/4 g and for D 2 5/4 a remember 23 45 on four fine, several minutes. See, Major, just playing something, place that g you feel that you're being pulled back to this, okay? Or at least if I play this c chord, it wouldn't sign out of place. Same goes for the A and the deep. Okay, they go back really nicely. Suit. They go back really nice. Okay, so I can actually combine this, But playing there's an aversion having the c sharp on top, which is that no, that wants to resolve in the d and then finished. Okay, So all I have to do is I have to put this cord in there somewhere and then resolve it with a deep and then your heirs are fooled or tricked. And now you think that we're actually in a D court in a deep major skill. Now, what helps with that is that C Sharp is in the d major skill. And it's not in C and have sharp Isn't the d major skill which is part of the D chord, some introducing see shop and F sharp right after each other. And now there's no going back Boomer in deep. Okay, so first example to do that, we simply insert this court instead of the A minor. While we're not gonna do it instead of the A monomer, we're gonna play it right after the A minor. Why is that? The a minor chord consists out of a C and E, and now we're going to replace that with a C sharp piece. It is just a small change on. It'll sound like this. Okay, so it's a very it's a quite natural transition. A way can continue on right there. And it's science, quite nights. So that's the first option. Or we can simply put it at the android here, replacing G right, Or we could even put it behind G. So let me, um, demonstrate these three variants I'm gonna saw with this one something like that. Now, what I like to do is when I play this right after the A minor, I like to still play the two measures here because otherwise it just goes too quick. We lose the four matters that we have, or or basically to four quarts, right? So I'm basically replacing F and G with the with a minor with a major court. So otherwise it was son like this Wait, Just possible. But I don't like it. No way. That's the first opportunity. The first possibility, the 2nd 1 that I like is to replace the geese of the final court. So here it will be. Now we're gonna do it. Wait can continue. There are screwed up. That corn was supposed to be be morning. Okay. What usually happens when we do that is we change the lyrics at that movement. Okay, so So you don't really want to do it. Um, at a moment when when? It doesn't when the lyrics don't really make any sense. If that's if there's, like, four lines than don't do it on the third line, of course, like let's say it as another core was coming in here. You're of course, going to do that in the last line and then opened the new Cora's of the new version. Wherever you're writing to your going to open that in the new Kik and you're not going to change your key in the middle of the of the chorus or diverse usually. Okay, now what happens when we put the court of the end? Okay, so then we would get something like that. So it works a little bit different in all of these cases because here we we keep, um, we honor the core progression. Putting in four chords here were simply adding a court, But every time you're doing that, you basically want to stretch it a little bit. Wanna played for at least ah, double count. So that people get used to this different sound and then resulted in the deep major chord with that of Sharp C sharp enough sharp. And now we're in deaky Sonatas. Do the same thing with all of me by John Legend, which is a lot harder to do because all of me with John Legend is originally in the a flat major key on Let's say we want to write it to the B flat major. Okay, so one, one whole note up okay, Wouldn't know why wouldn't do that, cause already can reach that. But let's say now here's a problem. First of all, it's not a song that really lingers. Cases. This one is the way things, but all of me songs eso I can't really easily do that. So, first of all the original courts, all of me and I should really up the camera. Otherwise it doesn't make any sense. We have half minor follow boy a D flat, a flat on e flat now B flat major. If we would simply transpose them, all of the quartz have to go. We'll note up So G minor e flat B flat on e flat would be F Okay, So here's an interesting thing. First of all, the the one chord is on the third position right here. Same goes here. So that means that if I wanna transpose normally, if I would end up on the 1/4 we did with the previous example, it immediately gets clear what we want to go now. I ever do this kind of stuff. It's a little bit less clear. Okay, I haven't tried this before. Buying Oy. Um, so I want to give you a real example here, so let's see what happens. Um, first, let's see what happens if I just if I don't make any transition and just play the courts as they are right here. So Okay, so it's not too bad right now. We can kind of get into their way versions. This s That's not too bad. But you definitely notice a change because there's a lot of notes overlapping. It's not that bad. However, if you wanted to write to B Flat Major, the 5/4 of B flat major is the path. Okay, The F court right here. So the obvious place to introduce the half court would be at the F minor spot. Probably right because way have to do is drop. So let's see what happens. Way. I always tried to look Ap spots where can insert a nude or court really easily without making that much force about it. So I have minor, and after they sound well, they don't sound alike. But if I played him in the same inversion as I'm doing right here for all of me, playing in an open inversion is in the middle on a flat would also be in the middle so far in here thing, that's gonna be a quite reasonable transition. Let's see what happens when I put it in on the third place. Ah, that signs weird. Okay, what happens if I put it in on the Fourth way? Way could do that. Maybe the second spot? Uh, yeah, so that's a little weird. So in this case, I will probably actually put it in the 1st 1 which is a little bit weird on they continue on like that. So with every song, if you want a transpose mid song, it's very important that you take a little bit of time to figure out what it is that you want to do how you want to accomplish that on dumb and to actually try it out and see if it's science noise. Actually, to be honest, this one isn't too bad to Geo continue on like that if you just played a song. But if you add the vocal line, you may get in a little bit of trouble here. Okay, so figure that out for yourself. If you want to continue on with this song over the Christmas song with any other song, um, just pick any song that you like. And just for the hack of it, you take a look at the at the overview of the songs of the lyrics and and and the different sections of the song City Chorus and a verse that said There's a repeating course. Maybe you have a song with a repeating chorizo and can actually transpose the second cores . One note up and see what happens. Okay, that's what I would want to give you for homework for this lesson. For now, I want to invite you to move on to Lesson 4.7 45. Ep 4.7 Jazz up Songs: hi, working to less than 4.7 of the living room PN. Of course, today I want to do something fun. I want to talk a little bit about how to jazz up any song. So there's a lot of really cool songs out there that very beautiful songs, but you may not really enjoy playing them on piano, so this could be Dan songs. This could be very This could be rock songs or upbeat songs, and it may be really cool to actually slow these songs down now. One of the songs that I made a lesson for is Lonely Together, but it was remixed by Jazmine Thomsen on. She actually made a really beautiful version of that song on its It's not really Super jazzy per se, but it has been just up a little bit. So I wanna have to listen to the original song, and then we'll play a bit of having new song sounds that you can actually get the idea of what I'm talking about here. Okay, civil plays at 1 p.m. And we would get something like this, Okay, but I just mean actually transpose it. It's in a bit of a different key, I guess. Okay. And then she's basically going into ah, very chilled out version of this salt. Okay, so listen to this song. It's Avicii, Lonely together featuring Rita or a If you don't know the song yet, we'll listen to it and then listen to what happens here. So basically, there's a couple of things that we are doing, and I want to quickly talk you through them. And I wouldn't give us Forest to call this a jazz song, but it's more one of those airport lounge, you know, like it just, you know, just very, very noise. So later on, there's a couple of course that have got here that I want to show you later on if you want to try this yourself, which we're gonna do, Um ah, a bit further in this video. But for now, let's look at the original on. Let's see what happened. Okay, so first is probably D minor, By the way, I haven't prepared this lesson again. I do this on purpose of case if I prepare the lesson and and I take a few hours, so actually figure everything out, it means that I don't possess the skill to do this quickly. So if I don't possess the skill to do it quickly, it's probably too difficult for you to learn in the beginning Some actually learning this song as Ideo we're gonna sort out with D minor. Okay, so that's why we saw I think it goes. That sounds good. Writes a d minor, a minor B flat major and c major. Okay, so first of all, you could play this song in this key, which is the key of half. Okay, but she decided to put it in a different key on. I think it sounds really nice. So super easy. It's gonna be minor. A minor again, right? So we already know that. And then we start on a be and then I think I moved to Was it f sharp? Yeah. F sharps f sharp. Minor. And then I went to G, and then I went to a Okay, so this means that from C to a, it's three subs down right from B flat, G three sub Stan for a to f sharp three and from D to be so that's correct. Okay, So what she did she transposed the song three steps down. OK, so that's number one. And then what she did is she is not actually playing a B minor chord. So they would just play the courts as they are right here with settling this. Okay, as that doesn't really give it that. You know, this really nice lounge e feel. So how did she do that? Well, what I'm playing right here is a any melody line d n a on I'm comparing it with. So if I put this half shop in the middle right here, we end up with Bt f sharp and a okay on that is not a B minor chord. It's actually a B minor seven core Luke play note to in the middle three in the middle on two. OK, eso actually on a beam on a seven chord. Okay, that already sounds a little bit more chilled out. A bit more jazzy, More loan. Gee, Okay, then for a morning when we went to F Sharp minor, we're not just playing in here. I was actually playing, Okay, some play, I'm going Here s so this e putting that on top. We have have shop a C Sharp e um, began on F sharp Minor seven court. Okay. In the middle, three in the middle to in a minute. Okay, So the whole idea here is by adding 1/7 it's going to sound a bit more jazzy. Bit more, Lounge E. Okay, so without it would sound like this. And now with okay, we can work together, then for GM went up here. Okay, So what is that? Well put the jian. We could say it's a major nine. Okay, It's a major 9/4 at nine. Core right here. Depending on if I put the f sharp in. Well, the Mallaby Longo's like that. So basically, basically. Okay, so that's a major nine court. And then for a what happens? Yes. We end up kind of eso. Basically, we're playing What? What? You could call a six chord because the half shop on top, as in a six. Okay, so for now, all you need to know is we transposed it Two different key. It's a key that maybe she likes a better. Maybe she just wanted to give the whole song a different sound. Andi, also, what happened is that we actually extended all of these courts about adding in more newts. If I play the regular core progression without these additions, it's going to sound a little bit boring. So, like this. Okay, another play, the additions. You get this. Okay, so it sounds a lot more interesting. Now, what's also important in the san after a minor seven on a six contain the same notes Luke F sharp C sharp and here, a six a c sharp f sharp. Because if I put them on the board, um, I'm basically telling you, these are the same, right? So right here, So have sharp a see shop and e on a six is a C shop e kind of shop, which means that we're basically going back and forth between these courts as a bit of a game. Right. I'm going to give you something, and then I'm gonna wait. It's like rhyming. You know, when you rhyme, you have the A B A B pattern. That's basically what's happening. Him. If we have a look, a beam on the seven on G major nine B minus seven and cave in a. So don't be de have shop a now G major nine G b d have sharp. Okay, Okay, So this means that basically what happened is instead of having four relatively different courts, we now ended up with courts that all share these same notes. So we're basically going from this sound the D F shop minor send to that G minus. So basically, going from the af sharp minor to be minor, this basically set up or starting here on that's the field. But we just we put in a little bit of a different order hand. We add that g So you get this right, get a different sound there on, then moving there. Okay, But basically, we're going back and forth between these, so that's interesting. So what happened here is that, um instead of going all the way out suit right there is she actually tried to merge everything and blend it. And that's why I consider this to be one of those airport lounge songs because it'll bland's. There's nothing really sticking out that much, and it makes it a very I wouldn't say it's a flat song or boring song, but it makes it very easy to listen to write. You can easily see that all of these notes kind of belong together. We have the A's and the f sharps, and that really blends really nicely. Okay, so that's basically what happened when she went from this song to that song Andi on Soften It Down a bit. So now the lessons to be learned are that if we want to do that, we have to introduce some sevens, maybe a nine. You could go to his six, but basically we want to make the courts more interesting. So that's what these courts are for. Um, this is hello by Adele in a bit more of a jazzy waste. I'm going to show you how to do that. And there may be actually, it's farm to transpose these as well, let's say three steps down because that's what she did as well. So let's see what happens if we transpose the song. Three subs down and and how different We can make a song like Hello by Adele Sound. So if you don't know hello by Adele, make sure to listen it right now, um, and then pause the video and come back after you've let's listen to it and make sure that you actually know the salt. So I picked hello by Adele because it's easy to play in the beginning engages that and the courts. We have our aft minor, a flat E flat and D flat. Now, this is already a really good reason to start transposing this song in a different key because this has been used way too much, in my opinion. OK, it's the same key as all of me by John Legend. It's the same as Ludovica and at ease in the Valley. Beyond sure that there's a lot of songs that are being played in the A flat major key on it starts assigned to be boring to me. OK, so okay, like this, It's so what I want to do right now is these little cords, right? So here, what I want to do is actually turn these into seven courts and see how that sense OK, so pause the video. We're going to rewrite all of these courts into seven chord. So that means four nights record. And I want you to write down thes notes on and then see what I got and see if we ended up on the same notes. Okay? Let's get Okay. So this is the first thing that people do when they want to jazz up a song. Um, then up with something like this. So we have af minus seven. Right here. Sounds like this. Okay, So quite cool. Okay. So instead of going here right now, we have majority. Sounds pretty nice, but for a flat, we have to get here. Okay, so we have right there as an e flat G b flat adding a deal on top. Okay, hands. I'm right here. So now we have these seven chords. But the problem is that for hello by Dow, you get this Teoh and you get this little bit of a feeling you go, you go there and you go back, right? There are places in the same rhythm. It just I don't know. It just it doesn't really do it for me. So what you can do is you can actually first of all, try to play inversions and on these and see if that actually changes things. Um or you can actually leave out a couple of notes. You could also change the rhythm, see if you can come up with something different Okay, So, um, pause the video for a little bit and see what you can come up with. So one of the things that you could, for instance, issues sore here. But now you go simply here and then like that. Okay, That gives it a really noise. So we could kind of an up with something like this. Hello? It's me. That was were these. Do you go se times you? But I don't. Or something like that. Okay, I'm not really a singer. Hunch has made something upper, so it sounds a little bit more jazzy already. But maybe we want to turn it into, like, a major 9/4. Whether we get, you know, quite a lot of notes, Dan. And then maybe get rid of some notes as well. Okay, so turn these into major nines and then I'll see you back. OK? City major. Nine chord variants. Five notes in 1/4. And for me, you know, it's just it's just too much. But what I can do is a kangaroo rid of the route Bryant saw Got rid of the route, and I'll play that and left. And then I'm just left with these court droid here. So, Major, nine court right here, right here, on on on G B, Flat D and F right here on the okay for me Now, it sounds a little bit, I don't know, a little too predictable. Maybe it's kind of cool, but it's a little bit. So this is how I go about that. Okay, I figure out some chords, and now all of them were our major nine. So if you make every court major seven or major nine, then it's going to sound a little bit cheesy. So you may want adapt that a bit. What I want to do with this lesson, I'm not necessarily teaching you exactly how to do. Because first of all, every song is different. And second of all, you should use your own interpretation here, but start to fool around with major seven chords with major nine courts, six quarts, minus six. And see what happens if you change these quartz. Okay, I will probably do a proper course on high to jazz up any song, but it's really a lot off work. It's probably just a two or three hour course just on that topic. But what I want to do you now issue actually use this to sort exploring your seven courts in your nine courts. See, get a bit more interesting courts in there than just always the same old, same old major and minor courts. So I did this a little bit. I I fooled around with it on. Um and I came up with these courts right here that I really like. So let's cover it of these. So I came up with these courts right here. They're really noise. Natural field will break them down and that I'm going to let you go on to lesson 4.8. Okay, but let's have a little listeners at what I came up with. Okay? You can really dis infants off, so don't be afraid to fool around with it a little bit. So let's lawyers. Sacha, we're good here. Af g a flat on C F A flat C and G. Okay, that's the regular. So it's on. It's an F minor nine court. Okay, a flat is usually where we would store. See e flat G B flats. Okay, so that's on a flat, major nine. But then we have e flat G B flat d after. So also major nine e flat major nine. Andi, finally, we have d flat. Uh, a flat see on e flat. So again, a major nine. So what? I did it right here is I simply took minor nine, a major nine quarts on and turned them into something that are really quite like But it sounds a lot different when you transpose them like I did about if you would just play them , you know, in the root position. So have a little bit of fun. Pick a song that you like and see if you can jazz it. I had a little bit or lounge. Music it out a little bit with Major seven. A major nine courts. I only went for nine courts here. So minor nine major nine. Andi made something here by actually putting in certain inversions to make sure that the notes are on the top that I want to have on the top. What I usually do is like a real of the notes right here, and I play them in the left hand. And sometimes I actually emphasized Francis with Evan C. I play with their rude and I played the root and the five in the left hand to give it a little bit more oomph on. Do you know, I just I like that sound a little bit better. So have some fun with this. See what you can come up with and then Rayvonte Lesson 4.8. 46. Ep 4.8 Recognising Chords: today, I'm going to teach you a trick that will instantly allow you to see if a major or a minor court has been inverted. Or if we're playing it in reposition. If you don't know what that means, she should probably which this video, anyway. Basically, when we're playing chords, sometimes you may have difficulty to recognize which court is being played because the order off the notes has been changed. Today, I will quickly show you how you can figure out if the order has been changed on how to make sure that the court is written in the way that you can actually recognise. Here we go. OK, so I'm gonna teach you two things. How can we realize if a court has been inverted or not? And how can we write it back quickly? So first of all would is an inversion. If we have accord, let's say C major, you can actually Roy that in three different weights has more ways. But let's let's assume that there's only these three, OK? Because if I keep on going, look see e g c e g. We end up on the same way. Okay, So the issue is that most people, when they learn courts, they only learn this way of writing. The court said they see somebody in a bar or on YouTube on a cover, playing something. This thing they think it's a g chord because the G is at the bottom, whereas in reality it is a C major chord. But the G has been put on the bottle. Okay, so very important to give that in mind, it does not matter what the order of the notes is. As long as we have these three nodes, we're always talking about a C major court. So now how can we recognize that? Okay, let me play you a small core progression, and we can see if these courts are in rue position or not. So pay attention here. Hey, let me put these courts on the board. So if I see somebody playing these courts right and keep him on, if you do this more often, it will be easier. In the beginning. It's gonna be a little hard, but you will get better at this. I really couldn't believe that I could actually look at courts like these and immediately recognize each one of them, but by now I can. So it just takes practice on patients. But the first thing I want to do is I want to realize, Is this court in the rue position? If it isn't a rude position, it means that the note right here is the name of the court. So that would be This is a d chord. This would be an accord, a B chord and again, an ankle. Now it's It's very unlikely that there's to a court's right here because the notes are different. So that's probably not the case. So we need to identify. Are they true position or not? Just to clarify when a court isn't rue, position the name of that court. So let's say C major, for instance, if see majors and reposition the name of the court in this case, the sea is on the left of the court. Okay, when we write it down, and also when we play it, see, e g is a reposition off C major. So how do we know of its root position court? We take the name of the cord. We add three steps. We end up on the middle note on. We add another two steps and we end up on the ah, on the top note off the court. Okay, so in this case, we have a C because it's a C major chord. 123 saps 12 snaps and we end up on the top. The problem is that with these three letter courts, we don't know if it's a major or minor, so we can sort counting these steps in the middle. But it doesn't really make any sense, because sometimes if it's a minor chord, we take two steps in the middle and than three. Okay, now, I don't want to figure out if there major or minor yet I just want to know if they're inverted. Therefore, we get rid of the middle nude, and instead of taking two and three steps, we're now going to take seven steps from the root to the top. So let's have a look. Place. See? 1234567 And end up on G s. CNG is part of the route position. Chord, C Major. Now we can simply play all of these so d f sharp and be Let's have a look at the piano D F Sharp Be so what I have to do to get rid of the middle node. Yes, and now it's 123456789 moves to the top. Okay, that means if it's nine notes that this quarter's not en route position. So this one is not en route position. OK, we will easily see what it is. A little bit later for now a d f sharp a d f sharp. Get rid of the middle note. I have to go to F Sharp Long 2345678 Also nine. It's not en route position. Whatever court is is it's not en route position. Next court B e g shop. Get rid of the e way. Have to get a G sharp on 2345678 Also nine. So it's not a rude position cord. And then the final one a c sharp eager out of the middle one. I have to go to e 1234567 ha! The A core right here is actually a rude position. Court. Okay, so now we know that this quarter's A and then we have to have a look. 123 in the middle and two. So it's an a major chord. Okay, so now that we know that there has to be seven steps between the bottom note and the top note and here it is nine. Here is nine here. That's nine. All we have to do simply rewrite that. So we have d f sharp be. There's nine steps now, so I can simply what I do, I'm going to put the D on the top right now. Get rid of the middle note, and now I have I have to start here and end up here. 12345678 So that's also not correct on. Then I simply keep on going. Bone 234567 Things is my final quarter. Have the be on the bottom. Okay, so then I'm going to the board, put the be on the bottom and this is my final court. It's a B major or minor court. We'll get to that in a bit. Okay, then, for this one right here. Well, we had nine in the middle, so that's not good. I take my a polluted all the top right here and now I have 1234567 Nodes s. So we have a D court. Okay. Said putting the A on the top right here and we have a d chord would do the same for that other cord Borghi shop. We have nine. So that's too much. I'm gonna put this be on the top, ending up right here. 1234567 said, That's correct, said the BS to go atop in order to be ARU Position court. And we already did the a case of getting rid of all of this stuff the's of the course that we end up with in rue position. So basically it's super easy. Identify how Maney notes there are between the bottom and the top note. And then, if it's more than seven, you simply keep on adding the note on the top. Save the notice here, he added, There, if it's here, you added there and you keep on doing that until there's seven nodes between the bottom and a top note as then you have all a few courts in rue position. This means that we have an accord une accord a d accord on a B court. Now all you need to do is figure out of its major or minor. Well, we do that by looking at the distance between the notes. If it's three and then two, we're talking about a major court and efforts to three. We're talking about a minor court, so let's quickly do that as well Have the court right here. That's two in the middle and three. So we have B minor. Then we have this court three in the middle and two so d major, three in the middle and two So e major on here are three in the middle and two So a major. Okay, so that's I would do that b minor on Van de e on a major. Neither fun thing is that when you do this quite a lot that you don't really have to go through the whole process. You will actually just look at these court. You will see B e g shopping. You know immediately that it's e. Major. I cannot really explain how that works. It's kind of the same. It's learning to read. I guess if you see the word street, you're not gonna go as t r e t. It means something different than a rude No, you just you see the word and boom immediately. You know what it is, and that's exactly what will happen with these courts after a little while. Keep in mind that the trick I just showed you will only work a major and minor courts. Because if you go to different courts like maybe a major seven or a major nine chord, um, it will be different. Okay, so only use this for major and minor chords. But most of the courts that are being played in pop music or in rock music will be major and minor quartz now for things if you want to take it a little bit further. Um, there's actually something really cool, because when we have a major chord an a minor chord, the root position is always going to be the same. So for the root position is gonna be seven notes from the bottom to the top bought Harris where it changes the the first inversion on a major court will have eight notes in between and the second will have nine, whereas the first inversion on the minor quarter have nine and then eight. So if we have a quick glance at the piano yet again, Okay, let's say C major or minor. You can easily see that the top is always CNG, So it's the same. 1234567 in between. Okay, But when I go here, my top note is now this. See on the bottom notice e So have 12345678 notes in between. And my first version for Major, but obviously right here for minor. I have to go. One note. Mawr. 123456789 Okay, major second inversion Born 23456789 But when I go to my minor second inversion, I have to go one note less so in a born 2345678 notes there. OK, that's basically the difference. So it's important to know that if you want to do more of this kind of stuff, um, but it's difficult because if you see eight or nine, you don't immediately know whether it's major or minor. Yet, However, if you listen to according you can hear that it's major or minor and you notice a task. Nine, for instance, that you know are it's a major chord in this second inversion, and that really helps you to go with that. I want to advise you to have a look at one of the songs that maybe you have been playing or on PJM PN WorldCom. There's a lot of songs as well, many lessons. For instance, you see the notes raining down, and you could just see a couple of different chords being played. You can have a look at what one of my court lessons and just pick any song. Doesn't matter what you want to. Just pick a lesson and see which courts are being played and try to easily figure out with the seven, um, strategy, whether the songs are in inversions, what the courts on inversions or not. So please have a look at that for your homework, and that will be moving on to Lesson 4.9 47. Ep 4.9 Composing: hi, guys. Working to less than 4.10. The final lesson of this chapter before we're getting into 4.11 doing that test off this chapter and then moving into 4.12. I'm gonna test you on the whole course. Is this video I just want to quickly. It's not gonna be a long video, but it just won't quickly touch upon the composing songs topic. Now, I'm not really a composer myself, but yeah, I want to have a little bit of a look of How did you compose songs and want to give you some tips and tricks that I didn't notice. So I don't really compose songs and sit down and write them down. But I do improvise quite a lot, and I like that. So what I want to talk about right now is some of the tips that I have on hopefully, they will help you to be a better composer. Good. So we have the piano right here. I just want to show you a couple of basic things. So, um, maybe you've heard of this one of these standard lost song core progressions, Right? Right. You get something like that you can add a malady matter, little Ella. You can add a malady line on top of that like you came and you get something like that. Okay, so, um, not a bad place to start. I, with you can freely around with that a little bit. It's a very simple core progression move from sea to a minor G. A problem with it, in my opinion, is that first of all, it's and see and second, that the corporation is relatively boring. OK, so that's one of my first tips. Actually, I'm going to write them on the board and the first tip is pick on original or a nice key. We've heard this C major key quite a lot. I'm moving from the one court to the 62 to 4 to define okay, safe. I would, for instance, prove that in an e in an e major skill, we we get a whole different sound, and it's quite interesting. What we actually get does that we would get a core progression. Uh, sounding like it is a case is the same kind of core progression, but it sounds a little bit less boring. That's right. As they can improvise on top of that. Let's see here. I don't know, like I'm just making stuff up, Okay? But it gives it a little bit of a different sound, right? If you, for instance, writing E or maybe in a major, you know, it gets a bit of a different sense. A pick a noise key. 92nd thing is pick a noise core progression, obviously. And I know that these may really sound as very trivial or obvious tips. Let me put a new core progression in this case. Okay, so we know that the one the 4 to 6 and a five are being used quite a lot. So maybe it's nice to put a three chord in there. Okay, maybe a one in three. A six and a to I don't know, like I'm just making stuff up. It could sound really know his consent. Really terrible. So let's see. And then a three six on a two. Okay. I don't know. Maybe that too is a little bit weird. Um, you could also go to different type of core progressions, So maybe you like that. 136 I don't know, like I'm just fooling around the case, and I played the 1364 So the 1364 it actually sounds a lot different than what we usually used to hear. Listen, uh, okay, We're not really used to that, then, um, so start to fool around with different core progressions. Repetitions, Of course. Okay, you could do a 1363 or you could maybe do a 1565 Or you could do a 1566 Right. You can do new kind of things that start to fool around a little bit. And don't be afraid to makes something that sounds awful because you don't have to, like, recorded or put it on YouTube. You can just play around a little bit, then a new malady or a refreshing melody. So what do I mean with that? Well, it's very It's very tricky when you bring your right a malady because you could do something like you knew Andi. It starts to, um the problem that I usually have is that I start to play something and it start to sound very predicting. So you don't want to have a melody Fats Super predicting its noise if you can change your melody a little bit. So, for instance, we could have something noise like Like that, for instance, in accord. Right? But then if I keep the same melody, Okay, that's still nice. Now it starts to become a little cheesy, and now it starts to become boring. Okay, so starting here, maybe you want to go there. Okay. Maybe you want to go somewhere else. One of the things that we also see a lot is going up and going down. So, you know, you can already hear this. Like it? Yeah, maybe it's a little pretty, but it's super boring, mainly. So you may want to change things up. Don't always sort on the note of the court. So also boring. So maybe start on the on the third on the fifth. Okay, as I am put in like, you can create some really noise courts in here with your malady line, so maybe right, that's that's at least that's a little bit fresh on. Then we and then we went to F. Maybe you feel very tempted to play the cord right in one form or the other. Okay, but it will also sound boring. Then a lot of people tried to put in too many notes. OK, so a lot of people try to put into money notes. Okay. Not necessary is really noise to build some tension. Maybe you just want to go here. I'm just making this up as I'm going. Okay, but something like that to me, sounds a lot more pretty. It's a lot of a better son in just Ah, like, look, Mama made a song like it's not that exciting. How about sticking on the same court while it's changing the left hand? You know, give such a nice feeling, doesn't it? It's like something is coming, but I don't know what yet Instead of always just the same court say, by the way, these are the same course that I was playing and listen to the quality off the song. And again, this is my personal faces. My opinion. Maybe you didn't like that, but but listen to the difference of song. Okay? Gonna play some root position courts in my right hand. I was a little cheap because they're played this route. Position Court. Where's Indiana? Was playing this. Okay, but let's let zoo to reposition courts again and let's see what happens. But on upon G. So Okay, so now I'll do the same thing that I did before. Same courts in the left hand, but the right hand sticks to see and then we finish on G. You know, you can do about it here or there. You know that on just fool around a little bit. Like don't like, don't be afraid to make mistakes. You see, the thing is that when I was playing to see Major Quarter because I had a plan a 7/4 K on Same goes for F was playing in a major nine core. That's why it sounds so cool. That's what sass ical Teoh Because 1/4 k we're just missing that. A. So maybe you could put that in the new. And that's what science so much cooler than just a Okay, so I know that these seem like a lot of random tips. Maybe they are but Peca NYSE key. So don't just stick to see Major, you can. We saw that it sounded pretty nice, but trying to pick a nice key pick a new sort of core progression. Don't always go for the same boring core progression on pick a new type of malady. Make sure to go somewhere where nobody has been before or you know something new, something nice. And finally play fewer nodes rather than more notes in the beginning. OK, in the beginning you want to play too many notes when you're writing a song We actually played only a couple of notes These notes are gonna stand at Okay, Andi. And finally, finally, this was finally finally Finally, don't be afraid to make mistakes. Practice these kind of things on your own, especially when you're composing a song. It's so noise because you're writing a piece on. Maybe you're happy with that. You write it down and then you continue in your you know, happy. Well, then you don't write it down, okay? You only have to write down the things that you like. And then maybe once you've finished your song, your sore too adjusted a little bit. So you play it the way you wrote it down and I find it a little bit too boring here, a little bit too boring there, and you change things up, and then which will end up with is a beautiful piano composition. Hopefully. So if you're road your own song, send it to me. PDM piano fans at gmail dot com. When your consent A Via Facebook page on and I'll be happy to listen to it and give you some tips. For now, let's move on to Lesson 4.11. 48. Ep 4.10 Practise Schedule: Hi working Cillessen four point and the final lesson before we're moving into Lesson 4.11 which is going to be the tests of Chapter four. That's why last lesson 4.12 which is going to be a test of the entire course. So in this'll s and I just want to take a little bit of a breather before moving into the tests on just tell you a little bit about how to schedule your piano practice because because it's all nice to learn a bunch of stuff in a course like this. But if you don't know how, you should practice this kind of suffer when to do that, it's really gonna benefit you in the long room. So the first thing I want to emphasize is that this lesson is going to be a little bit random, like there's just some random tips. But mainly I want to talk about how to tackle this problem off, learning to play the piano because basically, it is a problem, right? If you don't know how to play yet, but you do want to learn how to play. It's a problem when we can actually solve that problem. So the first thing for me would be Teoh. Identify what it is that you want to learn. Say, do you want to learn to play courts and sing on top of that? Because you mainly want to sing when playing the piano or you wanna accompany somebody, Um, or do you actually want to play? Classical music could be something completely different. We should like to learn to compose songs yourself. Or are you mainly interested in improvising just sitting behind the piano and making some beautiful sounds on the flight? Super important for me to know that and I don't really want to go into how to do all of these specific things, but I think that it's one of the things that you should really focus on. If you have a look at my website, which is PGM piano, that caramel pop it in the screen right now, Um, there's a lot of different categories of lessons that there's easy that's original. There's vocal, and then I'd change the categories 30 years. Right now they're right now. The newest lessons that I'm uploading are simply many lessons because I found them to be quite helpful. Actually, once you knew a certain level of piano, which by now you should definitely know if let's say you want to do accompanying than having a look at the courts lessons that's going to be most beneficial. T if you wanna learn to do classical pieces, and having a look of the original lessons will be most beneficial to you, so you can start there. Okay, that's what I would want to start to make sure that you learn songs that are played in its hybrid way that you actually want to play. So make sure that you if that's something that you want to learn, it's OK t change this later. I wanted to learn different things in the beginning that I want to know Learn now, but make sure that you you pick one focus point that you go OK, I want to be able for people to sing to my piano. Cool that I'm gonna learn 10 songs that people can actually play to and remember them so that I can actually, if somebody ever wants to sing to my playing, I can go Look, I know this song of that song of that song that that's right If there's classical pieces that you want to learn, look up. What are easy classical pieces to lunch? Okay on. Start with the easy pieces and learn a bunch of classical stuff on this will really help you. Any second thing that's super important is the piano that you're actually playing on. Okay, it helps if you have these loaded keys, these thicker keys, because if you're just playing on a keyboard, that's no really beneficial. So make sure you have a proper piano, whether that's a digital piano or acoustic piano. And definitely make sure if you have a digital piano that you have a paddle with that piano , that's really important. Then when it comes to schedule, I really think that it's important to practice a lot, but not that much that it gets annoying with you on. What happens is if you say I'm just going to see you when I'm gonna practice, and usually that doesn't really happen. Okay, so it may help for you to pick a day or two days if you can in a week. Well, you just take two hours off your time and you're going to block it, block it for piano. Why do I say two hours? Because if you want to practice one hour and you're gonna block one hour, that's not gonna work. Because let's say you want a practice from 89. You know, you know, I goes, like, at eight o'clock, you go. I should practice my piano, but then you're going to take a pee or you want to drink some tea or I don't know. You get cold on the phone and suck with them for 10 minutes, so make sure to plan two hours procession or, if you really have to, 90 minutes possession. It's also nice to practice a little bit longer than an hour because it gives you the opportunity to learn some music theory, maybe, or two, actually. Which somebody play or listen to a song or figure something out so you don't have to actually be playing for two hours, but it gives you a little bit of time to prepare what you're going to do. Maybe you want to learn a song from me, so you would have to go to the website and log on. And, you know, maybe you want to print the sheet music. Maybe It's a new song, so give yourself some time, please, for your practice sessions. And it's better to practice two hours, let's say twice a week than to practice one hour, Um, then to practice one hour three times a week because you just won't get that much done. Okay, so make sure to set aside enough time. Apart from that, I want you to. If you were, let's say you're practicing a song. I want you to practice that song as far as you can. Play it 3 to 5 times per day if you can. If you miss a day, it's no big deal. But just somewhere today let's say you're studying or let's say you're working and you just you got groceries or whatever before you're going to cook, Sit behind your piano. Played a song one or two times, right. If you get up in the morning before you head off to work with the school, play the song a few times, so if you do this once or twice that they just practice that song a couple of times. You're going to be so much quicker at learning the songs. And if you just say Look, I have two hours of time on Saturday and two hours on Monday and that from Monday till Saturday. You're not doing anything. You're not really gonna progress that quickly. Okay, so you tried to get two hours in twice per week on. If you cannot do that, at least get one session in per week. Okay? Make sure to do that now. The other thing that's really important is that you don't get bored with what you're doing , because it can be super frustrating. It can be super boring if if you're trying to play something and it doesn't work, and sometimes you have to repeat the song 1000 times. Listen, if you have to repeat that song 1000 times before you get it, I noticed people. You say that like, I have to play a song 10,000 times and they can play it. Yes, but it gets really, really boring. Right? So my rule is kind of a maximum of 100 practices, maybe 200 right on one song on def. If you don't think you can manage it even after playing it slowly, you don't have to be able to play up to speed. But like, if you want to play a song slowly, 200 practices should be the moose. You know, like if you have to go 1000 practices, that's just ridiculous. It just means that the songs too hard for you and you're trying to play something that yeah , obviously, if you do 2000 times, you'll probably be able to do it. But it's It's probably above your level, okay? And, of course, when you have a song of eight minutes, yes, it's going to take quite some time to learn that song and to actually fit all of the pieces together. But let's say you have a song off eight minutes and you cut it into little chunks of about 45 seconds or 30 seconds per chunk than if you have to repeat that chunk 1000 times before you gotta than the song is too hard for you. Okay, so maybe maybe per chunk makes more sense. 100 Transfer chunk. Otherwise it's too hard. And then, if you if you learned all your chunks and you want to fit that together and that that takes you couple couple 100 tries, that's not that big of a deal, but yeah, don't just don't practice songs that are super duper way too hard for you. It gets frustrating. You'll probably learn it. The wrong way on in the long run is just It takes away time for you to actually practice something useful on top of that practice. Multiple songs at the same time. Okay, And if you can, different styles. So maybe a Latin song, Onda Classical song or maybe a song. We're just playing courts and then another somewhere playing the melody line. It's super important that you keep it fresh, that you keep new things going, and if you just stick to one genre, that's also possible. But I tried to pick different kind of things so that your brain has to keep on switching. OK, maybe different tempo, maybe something that you play very slow and something very farce or doesn't matter. But I tried to pick two songs that you can learn at the same time, Onda. Then you can actually do that. So you after two hours, so you stored your first hour, you work on one song, and then if you get bored of that song you afflicted yet a song and then the next session you do the same. Maybe it's start with the other one, and then you do like that. And if you want to play a song in between, you know, on the days in between that you can actually play two songs right after each other. And that makes it really nice This while you can play one song once and the other song go off to work and when you come home, you play both of them again. And then you at least got a little bit of practicing. Um, it can be very boring, especially when you almost finished the song where you're almost there. But you just play that song four times. You know, we're like, I don't know. I never like to listen to the same song twice on the radio. Whatever. So, um, yeah, you might want to actually go back and forth between two songs or even three songs, and I will make it a lot more interesting Cheap, um, and then finally, make sure that you keep on learning music theory and these type of things. If you notice that you're lacking, it's very common that people go like, yeah, music theory theory theory. A guy got it, and then they just move on and start to play. Play, play. It's not a bad thing, but it's just that sometimes you want to go back to the basics, okay, back to the roots and see why it is that certain things are being played in a certain way. And if you can actually recognise parents or courts than this really helps you to develop your playing as well later on. Finally, keep in mind that if you listen to covers or a pianist playing a solo on a concert or whatever, that everybody has their own kind of style. And if you tried to exactly mimic what that playing, maybe it feels super weird to you. Whereas if you play something just a little bit different, it may feel really nice. So what I'm trying to say, Don't always try to copy everybody. I come up with something that suits your style of playing. You might actually like that a lot. I want to wish you a lot of luck playing if you have any questions. PDM piano fans at gmail dot com and for now we're moving into lesson 4.11 into detests. I truly, truly hope that you will set aside some time to practice your piano on. I'm going to see you, Andy. Tests of chapter four right now. 49. Ep 4.11 Test Chapter 4: Hi, guys. Welcome to Virtual Piano Teacher Episode 4.11 This is going to be the test of chapter four . Andi, I hope that you're being good. Girls and boys on print the tests first before we're gonna have a look at the answers. Okay, Way too hot to wear a cap today. Plus, I lost it as well, so yeah, no camp. So please had over two PM Punitive com slash resource is find task chapter four right there . I don't only number of the resource is anymore. I gave them names as well, so we'll make it a little bit easier to find. But it's probably resource 17 or 18 on Make that test first. It's a little bit shorter than the other ones. And then after you've made that test, keep on watching this lesson. Okay, good. So first question is, what is the first thing you do on playing by ear? So the answer to that was trying to figure out the key in which the song is being played provide three additional tips for playing by ear so you can name a bunch of things. But the things that I was really looking for is the first you find the key have already have that. They want to find the core progression inversions to records on the Mallory line. Okay, so those are the three tips that I would have bought. You can also give more general tips like make sure you're able to listen to the song when trying to figure it out right down there knows that you already figured out and all that kind of stuff right down the most common courts in the scale that you found in order to try and match that. Try to search for the most common core progressions. So tips like that would also be question number three. What already most common core progressions in pop music. And the answer is, of the 6415 of the 1546 the 1645 and 1465 So who that you wrote those down. Make sure to check of that. And then for question number four, what do I mean with splitting courts? So in the lesson about spreading courts, I explains this right. If you have a court usually with four nodes of five notes in that you can actually split that quarter. Chris, your left on your right hand. So, for instance, let's say a B flat major seven chord You completed B flats in the left hand on a d F in the right hand provide four examples of accord being split that is helpful to make it easier to play. So maybe this question was a little vague. What I actually mean is give me four courts in which this actually works and android down how you would split them. In case if you haven't don't that pause the video now and then come back and answer and see the answer for this question? So, of course, you have been able to pick an IQ or that you wanted. Let me just call out a few of them. So as I sat B flat major seven. We can put the B flats in the left hand 80 in the right hat. I also really like the slash courts. A case of, for instance, a g slash B is accord where we're not really splitting the court. But we're playing the bees in the left hand instead of the G's, and you can also play G D in the right hand and then only played the bees and the leftward would actually constitute a split. Ah, habits. See major nine. But then playing C, G and C in the left hand on D, E, B and D and the right, and as a final cord, we could have a league at a six court, which is really nice. So, for instance, a D minus six scored way you played a dees in the left hand on F A B in the right hand. Okay, um, provide three examples of accord being split to improve the brightness of the court or highlight a specific Newt. So here we're not spreading the court to make it easier to play here. We're splitting the court to actually Brighton out of certain it's is sometimes what happens if we, for instance, plays see Major a play C C C E G. Then it gets really a little dull or a little bit boring. And that's too much. See in the court, if you will, so we can split the core but playing the seas in the left hand as I'm playing E g E. For instance, in the right hand to really make those ease pop as well. Another example of that could be a D minor chord, and it could be anti quorum just giving you a couple of examples. So D minor chord. You may want to play F A F in the right hand and Zana di octave in the left and let's say, F minus seven court. Let's play C E flat on a flat in the roid hand and play the apse in the left hand. Okay, so any of these chords that you may have given me if there's an example like this, then that would be fine. I know that's a little bit more hard to grasp, but the idea is that we're splitting the cord mainly to emphasize another note in the court . So we didn't play the same night in three occasions, so C C C E G. But we actually play C c E g e. So we have to ease and to seize, to give it a bit more emphasis on the East. Question seven. What is a slash court were already mentioned that a little bit So, for instance, like us at the g slash B chord, I'd often, Lee used G B D in the right hand and a B octave in the left. So what we're doing is, instead of playing the route in the left hand, were actually emphasizing another note from the court and putting them on a slash. Sometimes we're adding to know that's and not part of the core, but that's very rare. Why would you use a slash scored well, mainly to emphasize that note. Hey, so emphasised are not a note in the court. And instead of just the route when changing keys, what is the court that were used to pull towards the new key? So what would do when changing keys, if you remember, is we go to the key that we want to go to and we take the five court out of that key, we play that, and then we can enter the key more easily. So I was looking for the five chord off the new key. Okay, said the fifth note. In the scale of the new key or the new skill. Is there anything else you can do to pull towards the new key? Yeah, you can play the seventh note off the scale on top of that five chord, and then it will pull it even further. Or you can play that note in a melody line, and that will also help to get you there. Cities seventh note off a scale. What is the main thing we do when jazzing up a song? So the main thing we do or like the thing that we started out with in this course is to add seventh or nine courts as well as sometimes a six. OK, so making the courts larger, pretty more nodes in those courts. How can you recognize of a major or minor quarters inverted or played in reposition? Remember, if you play the note on the left and the nodal the way on the right or the bottom note in the top note. The distance has to be seven steps. Otherwise it's in an inversion. Provide the steps between the essential notes in the courts, said a bottom in the top, but they don't wanna spoil that cause. Ain't could use up for Chapter 12 so provide the steps between the top and bottom or the bottom of the top node. To recognize root position or inversion, provide all six examples of represented to you. So that is for a major. We have seven steps in reposition eight substance first inversion. Nine Steps in second Diversion for Minor. We have seven steps of reposition nine steps for for a Subversion and then eight steps for a second inversion moving on to composing. What are the common mistakes when composing? Okay, so playing a malady line that's too predictable playing a corporation that's sue, predictable or boring playing in a key that's boring or make sure or song sound dull. Okay, these are three of the most common mistakes when composing a song said Don't do that on 15 . What are my suggestions towards practicing piano? OK, so as I sat pick moments ride the week, preferably two moments in a week, where you get where you block two hours. You don't have to practice two hours with you want to block two hours so you can prepare a little bit if somebody calls you or whatever. You have a little bit of lean way, so you at least get 1.5 hours of practice in. And there's also means that you have a bit of time to check out some more music theory to figure out some new self that you may want to figure out that you don't have to be actually playing for 90 minutes. Okay, um and as a final suggestion made sure to leave a review for this course if you haven't done so already. So for now, I want to thank you so much. I heard that you didn't really good on the test. If you're here, you're doing super well because you've which almost 24 hours off music theory and music on piano playing course. Say that. Super cool. Well done to you, sir. Or Madam. For now, let's move on to less than 4.12 the test of the entire course. And keep in mind, the questions are different than the questions from the tests before. Sometimes the question is the same. Okay, the answer was open. But if you have to actually put in certain notes, for instance, all of the notes are gonna be different. So you get a fresh start to see if you actually know what you're talking about. 50. Ep 4.12 Test Whole Course!: Hey, welcome. See Lesson 4.12. The final lesson of the living room P Enoch was if you made it this far. Congratulations. It means that you've been playing on practicing and watching for quite some time, So let's finish all of this up with the final test. Now, before we get into that, I want to just quickly tell you where should you go off the fits. Where, Where, Where should you go after doing this entire course? All of the options you have us who had over to pgm piano dot com There's over 800 piano lessons on there, including this course so yet, So if you enjoyed it and you ever wanna look back, that is a very cool way to do it. There's also a different course on there as well as over 200 many piano lessons with she music included on over 500 alder lessons that I used to do in the past as well and met all and all of these many lessons on all the lessons are for a specific song. So you actually get to learn over 5 600 different songs on the website. So maybe that's something you would enjoy. If you do, you can use the discount coupon skill share toe actually get 20% off on your first year, Um, or 20% off in your first month. So you may want to check that out. If for some reason the coupon isn't valid anymore, it's possible that it has changed. So then just sent an email to PJM piano fans I d. Modeled. Come on, I will give you that 20% discount anyway. For now, let's had on into the final test. You can find it in the Resource is on pgm piano dot com and is basically a mix of the four tests that we have already done. Andi, I've changed all of the questions. So, for instance, when when I ask, you transposed the F court to three steps up, or whatever is then now that wouldn't be an F court anymore. Maybe it's an acorn or something else. Okay, so you have a fresh start clean start on all of the's for now, that's life right into the test. So the first question, and maybe by now, hopefully by now these first questions are going to be relatively easy. how many nodes can be found within a single active on the piano tip? Do not count double notes if they might occur. Okay, so d total within one octave on the double notes. It's 12 0 K. 12 notes and by the way, to the test first. Okay, I presume that you've already done the test. You already filled everything out, and now we're just looking for the answer. Okay, so question two given alternative name for the notes list of below, so we hav e flat. The alternative for that is D sharp. G double sharps a G go One note up and even wanted it up. So that will be in a and then we have d alternative for that. Could be a C double sharp or on e double flat. Okay. Um, C sharp could be a d flat g again at double sharper. A double flat. Um, a sharp can be beef land g flat is will refer to us G flat can be af sharp. See flat. That's what we usually call a B and a double flat eyes. What we normally would call it g. Many notes in the following skills. A major D sharp major and F major. So for a major A B c sharp D e f Sharp G shop, a k for DIY shop major super important that you that you noted the correct notes Safer D sharp way of DIY shop e shop. And then it's f double sharp G sharp a shop be shop on Ethan. See double shop right here before moving up to D sharp. Okay, as Andy af magic e f g a b flat c d e. Okay, so I hope that you found these relatively easily. Now, which scales do thes notes belong to? We have a F sharp, G, D, e, C and B. You may want to sort on G for this one because that's a G major skill that we have. G shop E c sharp B A f sharp and G shop starting on e So e major skill. If I would. Trance pays an F sharp major key three steps down. Which skill would I end up with? Well, let's find out F sharp three Subs down won t three Would an opponent on a D Sharper on e flat major skill? Which notes can I find in that skill. Okay, so e f g a flat B flat C d on e flat. Um, question number six trans pace these courts three steps up. Miners f a flat on sea. Going three steps up won t three Yes, we end up Roy hair with G sharp minor G shop be and D shop. Um, see, e g. Well, that's a major chord. Three steps up. Teoh e flat major e flat G and B foot. Okay, on this one was a little funny. So it's e sharp. It's basically the same court is the ab minor. But now we call it e sharp with a g sharp. Be sharp, say three steps up again, ending up right here on that g sharp minor and are four steps on G B D E g Major chord. All right, here. 1234 Wait upon the e flat, Major. Then we have seven court. Right here I am on a seven chord. Going back four notes. 12340 K F minus seven. Right here after a flat, sandy flat and then we have a diminished chord. B d f four Subs down 1234 for G diminished right here. Question. How many courts are there to be found in a major skill? Also, how many of which type of courts are there in a major skill? So basically, we have major chords, mine accords and diminished chords. And we have three major chords. Three minor chords on one diminished court. Write down all of the courts to be found in the G sharp major scale. Name is just fine. So G sharp. A sharp be sharp C sharp d sharp e sharp f double sharp on g sharp. Okay, so all of them are pretty much sharp e shop, double sharp and fungi shop. And we have major minor, minor, major, major minor on diminished a case. We have a G sharp major court Asia Minor Beashel minor C sharp major D shop, major issue minor and half double sharp, diminished. Write down a four chord progression that fits in a be major skill. Okay, you can just select a corporate Russian, so be see shop d shop e f g and a show. Um, doesn't matter which one you picked, but any of the courts in this core progression would be good case of four courts. Um And then, of course, we have minor hair minor here, minor there and then diminished. Okay. So make sure to write downs those things as well transposed this core progression to after major key and provide the names of the courts. Okay. So again, it doesn't matter which course you picked rear now moving on to an F major key. So this means that these are the relative quartz. Okay, So therefore, if you had the one court, it would be af to court G minor three, court, a minor, four chord B flat, um, five court, see, six court D minor, and the seven court would be e diminished. Okay. And whatever core progression you figured out, that's fine. As long as she used these courts. And they were the same as the beach. Question 11 named six basic terms used when describing a song structure. So, um, we have intro verse, pre chorus, chorus, bridge, our trip, for instance. Okay. When talking about time signatures, what do the top and bottom number indicate? So the bottom one indicates the value off the beats and the top one indicates how many beats there are in a measure. Question 13 named 10 different type of court families so we could have major minor major seven minus 77 courts. Five courts. Six courts diminished augmented suss two and four. Um, we could have major nine ad nine at four. Um, minor, seven. B five. That's all. Top of the records that you could have less that right there. 14. How maney inversions are possible with the court you mentioned at Question 13. Let's see a man inversions per cord. Okay, So if you're court had three notes than there's three total inversions Possible CF root position first and second inversion. If your quarters four notes. That's four inversions possible. Five nights, five etcetera OK, assed long she's sick. Did into the regular inversions. Question 15. What are the different type of pedals that can be found on the pianos? So we have the quarter, the pedal thesis tornado he sustain and the practice pedal. Okay, these are the Paterson. You conformed 16 waters, an arpeggio, a broken quart. Okay, 1/4 where you play a love The notes by does by themselves. What is the distance between notes played on the different top of Cliffs city based class. Any trouble class, Um, that you are familiar with. So the distance is actually only two steps. Okay, that's the correct answer. Question 18. When talking about she music, how do you know if a key has changed? The class has changed. The nature be played as a sharp or flat and the notes of probably divided in a measure when we talk about time signatures. So the first question How do you know if a key has changed? Well, you know that by looking at the the part ways. See if you have the If you have the board right here and let's say there's only a flat right here and then a little later, um, maybe you see a sharp pair and a sharp there. Then you notice that the key has changed. Okay, how do you know if the cliff has changed? Because if we start right here like that and then later on, you just see that one. Then you know that the clef has changed from a trouble cleft to bass clef. How do on over note should be played is a sharper flat. Well, look at the indicator right here. but also if there's a note somewhere and there's a a little indicator in front of it or a sharp for that matter than you know, that that note should be played like that. And then how do we know the notes are properly divided when we talk about time signature as well? So that's two and four. Basically, what we're looking at is to coordinates or the, um, equivalent of that case it to coordinates and one measure or um, or 1/2 note Okay, so quite easily to figure that out. And usually that's correct. If you purchase sheet music, it should be correct. Um 19. When improvising on the piano, what is a useful court to use? That you can improvise easily in any skill? We talked about this suss to on sauce four courses. Thes are cores that are very useful to improvise, suss to or sauce for unquestioned. 20. Draw the circle off fifth. So okay, let's get into that real quick. Um, I hope that Drew's yourself C g d a e b on g flat d flood a flood ifl a b flat, and we end up on the F right here. Question 21. Give a three instructions for proper posture. One. Playing the piano so sitting up straight you have your knees just below the piano. OK, your butt is a little bit higher than the knees. You want to relax the shoulders on. Keep yeah, keep relatively relaxed wrists and don't flop around with your elbows. Thes are kind of the instructions that we are looking for. Question 22. What are the differences between a major skill in a blues skill? You can name multiple differences, so obviously the D distance between the notes is different. Also, the amount of notes is different. We have six, whereas we have six and a blues skill, whereas we have seven in the major skill. Okay, provide the notes for these blues skills. The AF blue skill, the D flat and a sharp. So the have blues skill is half a flat B flat, C E flat after Defla Blue Skill Deflect E G flat G, a flat B D flat cape and then the final on a sharp. It's a sharp C sharp D sharp, e f g sharp and a shop. What is a chromatic skill? It's a skill or we play a lot of the notes. Okay. Like that. Okay, so it's No, we don't skip any note. Question 25. In which order can I move from A minor to major skill. Include harmonic and melodic miners in your answer. Okay, so we're moving from minor to harmonic to melodic two. Major Nick. A few. Remember that? And then the question six, what is an easy trick to find the notes to any melodic minor as well as the notes to any harmonic minor? So, basically, if we have our minor three easiest one is the a minor. Okay, If we want to go to harmonic, we raise the sevens. Okay, so in this case, this one, we raise it with half a note. So we get way that sound. Then if you want to go to Melodic re raised the sixth as well. So in this case, the afghanis of shops like that live. And then, obviously, if you want to go to major way raised the third as well. Question 27 providing notes for these scales. The harmonic G D shop on B flat and the melodic a sharp D and e flat. Hopefully, you have the answers right there. I wrote them them for myself as well. For G harmonic, we have G A B flat C d e flat of sharp on G for harmonic minor D sharp. We have d sharp e shop, Ashok G shop a shop B and then see double sharp before heading back to D shop. And for B flat, we have B flat, C D flat, e flat, F G flat A and B flat. The melodic miners are going to be a sharp so a sharp be sharp C sharp d shop the shop after shop g double sharp and a sharp as them for D its D e f g a b flat c double sharp d And then we have e flat, G flat, a flat B flat, C flat, d flat, e flat Question 21. What is the mood? So in a normal major skill, we start on C right? And we and I'll see and we play all of the white notes in between 40 c major skill. So if we go to the Ionian mode, for instance than what we do is, we don't startle C, but we start on d we have the d Ionian mood, okay? And then we keep on moving like that. So a mode is basically a different type of scale that has a different type of This is between all of the notes compared to the major. And then I ask you to put these modes in the correct order. A only and lady in durian mixology and on Forage in. And the answer is Dorian fridge in, um, Lydian Mix O Lydian and Ionian provide the notes for these modes. Dorian de Fridge in a sharp lady. Um, be mixed salad, Ian. See? Alien G flat and low Crean e flat. So Dorian D Well, we've already seen that. Not too hard. D E f g A B C d. Right here. Okay, um, fridge in a shop is going to be a shop. Be C sharp d shop the shop after shop G shop on back to a shop. Um Lydian b c shop D shop e shop after shop g shop a shop be the BZ only. No, that's not sharp. Okay, Like that mix O lydian C d e f g a b flat on See? Like that. Okay. As an alien G flat a flat, be double flat See flat d flat, e double flat have flat and G flat lo crean final moat that we're gonna do e flat a flat G flat, a flat be double flat See flat D flat What already most common core progressions in pop music. And the answer is of the 6415 of the 1546 the 1645 and 1465 So who that you wrote those down? Make sure to check that. What do I mean with splitting courts? So in the lesson about spreading courts, I explains this, right? If you have a court usually with four nodes of five notes in that you can actually split that quarter, Chris, your left on your right hand. So, for instance, let's say a B flat major 7/4 completed B flats in the left hand on a d. F in the right hand provide four examples of accord being split that is helpful to make it easier to play. So maybe this question was a little vague. What I actually mean is give me four courts in which this actually works and and write down how you would split them. In case if you haven't, don't that pause the video now and then come back and on and see the answer for this question? So, of course, you have been able to pick an accord that you wanted. Let me just call out a few of them. So as I sat B flat major seven. We can put the B flats in the left hand 80 in the right hat. I also really like the slash courts. Okay, so, for instance, a G slash B is a chord where we're not really splitting the court. But we're playing the bees in the left hand instead of the G's, and you can also play G D in the right hand and then only played two bees on. The leftward would actually constitute a split ah, habits. See major nine. But then playing C, G and C in the left hand on D E B and D Indy, right? And as a final cord, we could have a league at a six court, which is really nice. So, for instance, a D minus six scored way you played a Dees in the left hand on F A B in the right hat. Okay, what is a slash court already mentioned that a little bit. So, for instance, like us at the G slash B chord, I'd often Lee used G b D in the right hand on the B octave in the left. So what we're doing is instead of playing the route in the left hand, were actually emphasizing another note from the court and putting them on a slash. Sometimes we're adding to know that's and not part of the core, but that's very rare. Why would you use a slash scored well, mainly to emphasize that note. Hey, so emphasised are not a note in the court. And instead of just the route when changing keys, what is the court that were used to pull towards the new key? So what would do when changing keys? If you remember, it's We go to the key that we want to go to, and we take the five court out of that key. We play that, and then we can enter the key more easily. So I was looking for the five chord off the new key. Okay, said the fifth note in the scale of the new key or the new skill. What is the main thing we do when jazzing up a song? So the main thing we do or like the thing that we started out with in this course is to add seventh or nine courts a swell? A, sometimes a six. OK, so making the courts larger, pretty more nodes in those courts. How can you recognize of a major or minor quarters inverted or played in rue position? Remember, if you play the note on the left and the note all the way on the right or the bottom note in the top note, the distance has to be seven steps. Otherwise it's in an inversion. Provide the steps between the essential notes in the courts, said the bottom and the top, but they don't wanna spoil that cause. Ain't could use up for Chapter 12 so provide the steps between the top and bottom or the bottom of the top node to recognize root position or inversion, provide all six examples of represented to you. So that is for a major. We have seven steps in reposition eight substance first inversion, nine steps in second diversion for Minor. We have seven steps of reposition nine steps for for a subversion and then eight steps for a second inversion moving on to composing. What are the common mistakes when composing? Okay, so playing a malady line that's too predictable playing a corporation that's sue, predictable or boring playing in a key that's boring or make sure or song sound dull. Okay, these are three of the most common mistakes when composing a song. Said Don't do that. Okay, so these were all of the questions I want to thank you against Sandwich for witching. This entire course, it's been a great journey. Teoh, do this to get a with you taking me quite some time to record all of these lessons. Unfortunately, I got I don't know, it wasn't really that I got sick while I don't get sick, but it was like a period of time that I'm Unfortunately, I got some really bad hay fever attacks for over a month, which which didn't allow me to record any lessons. So took me a little bit longer than I would have expected. But right now we finished up the entire course. Keep in mind I posed free lessons on YouTube. Um, so does the marks be any theory channel on the Mini Mark channel, where you can see lessons even though in the media markets a bit more of a visible ization off how to play the songs? But the Medi songs on Pjm Pienaar that come are very clear. You can see all of the notes that you have to play there, she music available to any song that's up there, so you may want to check that out as well. For now, I want to thank you so much for taking part in this course. And if you ever have any questions, p g m p an offence at gmail dot com That's why you can reach me. And for now, all we got left to say is keep playing.