Piano for Singers: Quickly Learn to Accompany Yourself | Eve Williams | Skillshare

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Piano for Singers: Quickly Learn to Accompany Yourself

teacher avatar Eve Williams, Music: Information and Inspiration

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.



    • 2.

      Why are we talking about theory?


    • 3.

      Notes on the Piano


    • 4.



    • 5.

      Major Chords


    • 6.

      Minor Chords


    • 7.



    • 8.

      Scales and Why We Need Them


    • 9.

      Other Chords


    • 10.

      Time Signatures


    • 11.

      Now Let's Play


    • 12.

      The Position of Your Fingers


    • 13.

      Moving Between Chords


    • 14.

      Playing in Rhythm


    • 15.

      Rhythm Vs Arpeggios


    • 16.

      The Bass


    • 17.

      Using the Pedal


    • 18.

      Improving Your Timing


    • 19.



    • 20.

      Chord Sheets


    • 21.



    • 22.

      Blues Licks


    • 23.

      She'll Be Coming Round the Mountain


    • 24.

      Son of a Preacher Man on piano


    • 25.

      My Bonnie Lies Over the Ocean


    • 26.



    • 27.

      Unchained Melody


    • 28.

      Norwegian Wood


    • 29.

      So, you want to get out and gig


    • 30.

      Choosing repertoire


    • 31.

      Useful Resources


    • 32.



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About This Class

If you are a singer but not an instrumentalist and  want to be able to accompany yourself so you don't need to hire accompanists or you had piano lessons in the past that just didn't gel for you, this is the course for you.

In this course you will learn to play piano so that you will quickly be able to perform live, record videos for YouTube and Facebook and find gigs without having to split the money with an accompanist.  Piano is a beautiful instrument and it will open up a whole new musical world to you.

I am a signed songwriter and performer. As a singer I have released 3 albums and undertaken tours and major festivals. At first I had to bring other musicians on board to accompany me as a singer until I learned to play piano  accompaniment using chord sheets. I want to pass on this method to you. If you hate sight reading this could very much be the course for you.

This course is really aimed at providing a piano accompaniment for singers, so it won't be the course for you if you want to be a straight pianist. Hopefully if you are a singer who doesn't yet play, you will learn to love this beautiful instrument and start out on a voyage of discovery. The course is beginner level.

We cover 

  • Music theory especially harmonics and rhythm

  • Time signatures common to popular music

  • Creating a 'bed'  for your vocal

  • Improving your internal timing

  • Playing to the right standard to go out and get gigs

  • Choosing and adapting repertoire

  • Sourcing appropriate chord sheets

  • Equipment needed

After the course you can go out and accompany yourself with confidence. You will also notice an improvement in your singing due to increased knowledge of harmonics and timing.

To get out gigging as soon as possible, please enroll now and I look forward to working with you!

Meet Your Teacher

Teacher Profile Image

Eve Williams

Music: Information and Inspiration


I'm Eve Williams MMus, professional singer and songwriter. I've been teaching music and music business topics since 2005.


Eve Williams is a singer and songwriter from Co. Down in Northern Ireland.  Eve’s songs have been played in several countries since 2012, including USA, UK (including BBC airplay), Germany, Ireland and the Philippines. As an artist she has performed at several international festivals including Celtic Connections in Glasgow (broadcast live), YouBloom Dublin and Urbankelt in London. She has completed a successful UK tour in 2016. 


 Eve holds a Master of Music in Songwriting from Bath Spa University. In 2015 Nashville Songwriters Associ... See full profile

Level: Beginner

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1. Introduction: David, you know, can be intense. Finally, the decision really master mean yet again, the rest of the code in the planning. And you can see the bounds actually done. And again, we will see that at the sky legged. Now. Hello, and thank you so much for joining me on this course, piano for singers. So my name is Eve Williams. I am professional singer and songwriter and I hold a master of music degrade. And I first started having piano lessons as a primary skill child. But to be honest, I didn't really gel with that. My teacher would actually hit me across the knuckles with a relearned by playing rock note. So I was obviously a bit scared to go to my piano lessons. But apart from that, it was very much based on site radii. And I also didn't have a choice of repertoire to play. The way that we're going to learn is going to be very, very different. So if you haven't jailed with piano lessons of the past and hoping that you're going to really get something out of this course. We are going to learn cordial playing. So you won't be playing any really complex sonatas. And this course, the idea is to be able to play from court sheets that you can find easily, completely for free online so that you can sing the repertoire that you love and accompany yourself, which also gives you a great deal more flexibility as an artist. And if you're a professional artist, it means that you don't have to pay half the fees to the capitalist, which is always great. So basically what we're going to do in this course is we're going to learn what notes go into a court, what courts go into a key. And then Han to play those chords in different times and Coleman times far into music for, for rhythm, 3-4, rhythm on six, it rhythm. So once you have mastered that, there will be a lot of repertoire that you can take all. We'll also learn how to do little bit of ornamentation just to make your planning signed really interesting and an add little bit of spice to it. So I hope that you're excited to get going and let's start the course. 2. Why are we talking about theory?: So I know you're itching to get playing. So why are we learning about theory? Well, once you learn the theory, all you have to do then is put that theory into action and you can play, as I mentioned in the introduction, what we're basically going to do is learn a byte chords, walk notes, make up a chord, and then learn by case, what courts make up a cake. And then we're going to learn things like time signatures so we know how to play those keys and the right rhythm. We're going to learn how to transpose so that if the K that you find a piece and doesn't suit your voice, you can easily change the key. All the theory that we're about to cover isn't font. Very practicals because when you hear the word theory, that can be a little bit off peddling. What this section is really abide as the practical knowledge that you need to start playing. So let's have a look at the theory that you need. 3. Notes on the Piano: We're going to start the theory section with some very important information and not as the name of the notes. No, musical notes don't run ABC. They run C, D, E. So you find C by looking for the two black notes. And see is the white notes before the two black nodes on why are we beginning with C and not with a? You ask, Well, the key of C has no black notes in it. It's all white notes. So that's why it's the place where we start. So the notes are Ce De a, F, G, a, B, C, and that it's exactly the same. The octave above, C, D, E, F, G, a, B, C, nine. The black notes are called accidental sharps and flats. So this note is either C sharp or D flat, depending on what key we're in. This note is either D sharp or E flat. This note is F sharp or G flat. Best note is G sharp or a flat, unless note as a sharp or B flat. So the names of the notes, you can say them overlaid on this screen, but there's also a downloadable resource to help you remember the names of the notes. Sometimes people stick little stickers on to their keyboard at first just to remind them when they're learning, that's totally fine so long as it doesn't interfere with your playing. 4. Keys: In this video, we're going to talk a byte, k's, and k. Basically mains is what particular pitch we're performing at pace at. So you can see here on a piece of software called MuseScore, some key signatures. So basically if you see this first case signature VC on F sharp, which is what that node is. At the start of a pace. Every time you see f, you basically pay F-sharp. But of course we're, we're playing more with chords and with sight reading. But I'm going to teach you a little hack to rating key signatures. That will definitely help if you're reading the cords above. They stave and a piece of sheet music. Do you see the way this has an F sharp? If you go one little step above F-sharp, that's j. And here we have F sharp and C sharp if you go one step above C-sharp that day. So I'm going to show you the note names so that you're able to work this out in just a second. So here we have F sharp, C sharp, and G sharp. One little step above G sharp, bots a naught flats work slightly differently. So here you see one flat that's the key of F at random, and normally that doesn't fit the rule. But here we have B flat on a flat. It's the flat before the last one. So as you can see, that's B flat major and the relative minor is D minor. You can see that when I hover. So here, when I hover here, we have B flat, E flat, a flat. It's a flap for the ad, so it's a Flat Major. Relative minor is safe. So the relative minor key is three little steps, three semitones beneath the major. And I'm going to show you that in a keyboard and a second. So let's just look at note names for a moment that will help you to raid keys and this way. So I know that we had said there was no complicated site rating on this, but this will help you to rate case on knowing the k will help you to know what chords to play. So you can see here that the lines on this div, when we're in the treble clef. Now this treble clef means the high part of the piano. The right-hand lines go E, G, B, D, F. On the little sentence we're used to remember that as Every Good Boy Deserves fun, E, G, B, D, F, And then the spaces spell face from the beginning to the top. So f, a, c, e. So you can say that this note here at the top of a stiff, the very last line is an F. So when we saw an F-sharp before and the case segment shirt, that Mac we play an F sharp every time you see an F, but it's also one that will step above f with g. So I'm going to include this as a downloadable resource with this video. And I'm going to show you this concept on a keyboard. So the little hacks to reading the case if the last note and the key is F sharp. Then the key is one step. Although F sharp, which is G, If the last accidental, last sharp in the key signature is saying that it's one step above C, which is D flats. If we have, say, B flat, E flat, a flat, B flat, E flat, a flat. It's the flat before the last one that is the case. So here we go. That's the chord of E-Flat. So if we have B flat, E flat, and a flat, E flat as the key. So we've looked at key signatures. What I'm gonna do is I'm going to play you a very simple tune, twinkle, twinkle little star, and a couple of different k's. So you can hear the different vibe of both those case. Because when we change the K of something, we not only make it easier to play or to sing, but we very much changed the fate of that. So this is Twinkle, Twinkle Little Star and say, so. And so I did this guy to win. And so that's in the key of C. So let me play it in D So you can hear the difference. So, so still. And so this guy, twinkle, twinkle little star too. So you can hear that those two keys have very, very different vibes. But all I did in order to change the K, I will talk about this and the transposition section later is to use the same pattern of chords and save the chords went C, JF 1-5-1, the day it went date, AG 1-5-1. So the same pattern just in a different cake. And we're going to learn in this section, Haida davis. So we had talked a little bit about the relative minor on high, it's three semitones, three little steps beneath the measure. If we have the key of C Major, C And we go three little steps died, including the black notes. So 123, that gives us a minor. So say the key is J. Three little steps below j takes us to a and the relative minor is E minor. So as you can hear, a major k, very, very bright side, whereas minor is a very dark side, et cetera. 5. Major Chords: Remember we said at the start of the course that we were going to find out which notes go into court on them, which courts go into a cave. What we've looked at, how you tell what key you're in. And now we're going to talk about the courts that are NHK and high to make them. So we're gonna start with a chord of C major. And how do you make a major chord? Is we go to what's called the root note of the chord. So in C that would be saying, then we can't afford a semitone stats. So C and then 1234, that's eight. And then we count three little steps, 123, that's G. So four steps then three steps, that gives us C, j. And then we add another C in the bass. And that is the chord of C major. And any key, the major chords are number 145. So when you can't that you actually include c. So four is going to be 1234, f. So how do we make the chord of F badger following the same process while f. And then for little steps, 1234, that takes us to a. And then another three that'll steps above that 123, that's sake. So FAC, FAB is the chord of F major. So 145 are the key courts. So let's count five from safe, 12345, that takes us to Jane. So why would we make G major the same process? J, 1234 takes us debate, and then another 3123 takes us to date. And then we add a G in the bass or anger plant on here. So c, f, and g are the chord of C major. There will be a downloadable resource that will help you with all this. Okay, so let's now look at the key of D, So D. And then we want to take forward, it'll steps 1234, F sharp. And remember when we looked at the video on keys, there was a sharp in the key of D. And then we want another three steps from F sharp, so 123, that takes us to a, so day F sharp, an a with a data base. But as the court of D-major. So now we want to find out where four as in this case. So 1234 and this is contact white notes and no black notes. So 1234, g. Well, we've already learned how to play the chord of G. So here it is in the key of D. And then what would 5B from day 12345. So how would we make a major? Well, and then for little steps, 1234 takes us to C sharp. Then another three little steps, 123 takes us to a man and I am the base, a major. I'm gonna play it down here. So that is the little formula for playing major chords there as a downloadable resource with this video that will show you the notes and some very commonly used major chords that you're going to see all the time. So basically, the procedure is for little semitone steps to give you the third of the court. That would be a and C is the second note that you play. So for little semitone steps, then three little semitone steps above that, and that gives you a major chord. The major chords of any key are 145. So these are the important things to remember. Band basically we just have to learn how to play them. And you're going to be able to play so much stuff when you've cracked this formula. So now that you've learned what goes in to a major key, we're gonna take those TK's. We've just looked at C and G. And we're just going to play the chords. So you need, when you're playing chord to put all the notes down at the same time. So practice that C in the bass and then C, E, G, and the right hand and put them all down at the same time. So just have a little go at bat. Let's do it again. Okay? So the next chord was f. So f and the base and the FAC. Same time. That's grit. I do it one more time. And then the next chord was G. G in the bass, then JB date and play them all at the same time. And one more time. So let's now practice going from chord to chord. So C, j. Let's do that one more time. Say J, one more time. Say. Okay, so now let's do the whole thing and date. So D and the D, F sharp a. So let's play that one more time, all the atoms together. Then the next chord was g sub j, Bei De again G in the bass. So play me and other j. And then the last chord was a. So add the base a, C Sharpie. Play me another a. Okay, so let's practice moving between those courts. So the j, d, j, d j. So spend a little time getting the notes and those chords, right, playing all the notes together, I'm moving between chords. In the next section, we're going to learn how to play chords and rhythm so that you can start accompanying yourself effectively. 6. Minor Chords: In this section we're gonna talk about minor chords. So there is a concept of music called tonality major, a minor. So we mentioned before that manager is a happy signed. But listen, what happens when I add a minor chord into that mix? It darkens the by EPA does MIT, so minor is a solder, darker side, a beautiful signed. So how do we make a minor chord is very similar to how we make a major court. Except for n, a major chord, we take four little semitones, steps. And minor chord, we only take three, so C minor with a C And I want to three E flat. And then we go for little steps from there. Well, 2.3.4 j. So you're reversing the process of the last video where we took four steps and then three steps here you're taking three steps and then four steps. So C minor, C major. C minor, C major. And actually like you to practice doing that for a second. So C minor. C major. C minor. So you manager. Okay, so let's play another minor courts day for example. So day and three little steps. 123 takes us to F, And then 4L steps takes us to a. So D minor David or D minor David or so. All you're really doing is lowering the second note of the chord, which is called the third, by one semitone. So D-Major lower the F sharp to F, D minor. And a. So a 123 gives us J and M 41234. So let's try that. E minor, a major. E minor, a major. And this is why we play minor chords. 7. Inversions: In this video, we're going to talk about inversions. And inversions are basically different ways of playing the same chord. Because as long as the court contains all the basic notes, it doesn't really matter what order you play them, men, for example, we'd looked at the chord of C major, C, E, and G naught. The first inversion of c major would be if we started with eight. This way. The second inversion of c major would be if we started at with Jane and played it like this. And the idea is to choose the inversion, which makes the most sense in the piece that you're paying. For example, in the piece son of a preacher Mab, There are three chords and the verse a, a, and B. So there's no point in playing, say, eat on here. And there, suddenly playing a like this than to be like this all over the keyboard. We want to keep it as close as possible, so highly managed that as we play a and this inversion, and that will be waved a, we only have to make a very slight movement that we removed bay. Again, we're not making too big a movement. I love actually sounds better than playing the courts all over the place. So we could also play it like this. I'm again, Bach doesn't make a huge movement all over the keyboard. So let's practice a couple of other inversions. Let's look at the Court of D-major, D, F-sharp, and a. So let's play the first inversion, and that would make it started on the AF sharks will play at dawn here at Sharp a day. So just play me that a couple of times. And then the second inversion, where it begins with a, a day F-sharp. Let's play about a few times. And then let's plant what's called root position, just 135. So D, F sharp, requisition. Let's play it out a few times. Now let's play the chord of G. So G, B, D as Rick position. Let's buy reposition first Thus time. Nor the first inversion. Maybe date J, J at the base, of course. So let's play it out a few times. Three. And now the second inversion, which has starting on day. So let's play it d9 here, d G. So you can practice and versions of various cohorts from the downloadable resource that's available with vest lecture. 8. Scales and Why We Need Them: In this video, we're going to talk about scales. And I can hear you groaning already saying, I did scales back at school. I hit them. The thing is, if you're gonna play actual tunes on the piano, you really do need to practice scales because they'll help you to remember which notes are an art and a particular key. And that way you're less likely to play a wrong note. And you can also work out the chain of things more easily. So we'll start with C major, which is the easiest scale because it doesn't have any accidentals, no sharps or flats. So this is why we play a scale. We got 123 and then turn and coming died as center and turn. You need to practice that. We'll move on to the rest. So let's do that again. See alerts on a major scale, the intervals, in other words, the space between notes goes one term, two terms that you'll notice there's no black note between e and f. There's only a semitone between E and F as opposed to a tone between DNA. So it goes tone, tone, semitone, tone, tone, tone, semitone. And so it's a similar pattern if we go and to David ledger, tone, tone, semitone, tone, tone, tone, semitone. And that means we have both F sharp and C sharp and D major. Let's try that again. I'm coming, God. Let's do that again. So let's just do one more major scale. Amy address, remember tone, tone, semitone, Florida, as atone as two semitones. So from say today, as three steps, really, if you can't do the blacks, here we get a tone, semitone, tone, tone, tone, semitone and done. So let's do that again. And that is a major scale. Obviously, the more sharps and flats there are in a scale, the harder that is. So now we're gonna talk about minor scales, law. There are three different kinds of minor scales. Just to complicate bank. There are natural minor scales, melodic minor scales, and harmonic minor scales. The first minor scale that we're going to play as what's called unnatural minor scale. So basically, if we're in the key of C, remember that in the chord C minor, there wasn't E-Flat, so there's going to be an E-flat and mid-scale. But we're also going to flatten the sixth which is a, and the seventh which is B. So we'll be paying E flat, a flat, and B flat in this scale. And as you can see, and they included resource, they pay signature of a flat to the relative minor of which is C minor, has a B flat and E flat and a flat. So the scale goes like this, same movement of the fingers. And that is C minor, not trial. Now, we're going to play say, harmonic minor and NC harmonic minor. We still have the E-flat, we still have the a flat, but the bay as natural. So it's going to sound like this. Kind of airy as much the melodic minor scale as an interesting one. And that all the way up. The only thing you flatten is the third, the a0b0, so you play it like this. But on the way, dine, you flatten the sixth and the seventh, which is a and B. So it signs like this. We play it out again. So only the third flattened on the way up. And the seventh of the six flattened on the way down. And that is C Melodic Minor. And all these scales on some more or in a downloadable resource attached to this video is good to get them a bit of a practice. 9. Other Chords: In this video, we're going to look at other kinds of courts, as well as major and minor. We're going to start off by looking at seventh chords. So if this is C, where adding a whole tone before the keynote of the court. So if the court is saying, we're adding B flat to make C7, Nigeria here, hi, bright and shiny accord C7 is, let's listen to the difference between saying and C7. Now you can also have C major seven. And what that means is that you're using the notes that are in the scale of C. So there is no B flat and the scale of say, its base, so it would sound like this. So that's a lovely, flooded jazzy chord. So let's listen to the difference between C and C Major seven. Okay, so now let's play a minor seventh. So a minor and note before a whole tone before a is j. So we just change the a to the J. It's almost like playing the chord of C in the right hand with the notes a and the left hand side. So again, let's listen to the difference between a minor, a minor seven. So we are going to play a SAS to court. And what that means is instead of playing the third of the chord, you play the second. So in day instead of going day after, we're going to go day with Day and the left hand. See what a beautiful bright cord that is. So let's listen to the difference between day and days AS tape. You can also sus four. So instead of playing the third, you play the fourth. So Samaria and the chord of F, Here's an ordinary f, f and say, we're not going to play the a, we're going to take it one step above and play B-flat because of course it's be flattened, not bay F. So that's another lovely bright cord. Let's listen to the difference between those courts. Then you can have courts called ninth. So here we have C, a G chord of C, with C in the bass. And then that's play a ninth all the way up here. So Let's listen to the difference between C and C nine that were made from the same on the top to the day that court is used and the salt I can see clearly neither ran has gone. Nights are used when you want to create a sort of floating affects an augmented court. We sharpen the fifth. So if we have the Court of J, G, B, and D, and G in the bass, we raised the G to G sharp. So let's listen to the difference between J and G augmented. So you can hear that that creates a very specific effect. The opposite of an augmented chord is a diminished chord. So, and a diminished chord would be lowering the third. So inj, baby becomes B flat, and we also lower the fifth, so D becomes D flat. So a diminished chord would sound like this. It's your kind of old silent movie soundtrack. You know, that kind of very scary sought to. So let's listen to the difference between j and j diminished. So there's information on all these different kinds of chords contained as a downloadable resource that are there to add very specific effects because courts tell a story, they create the mood of the music. And so sometimes we want to add a little tone. And we do that by using seventh chords, ninth chords, SAS for SES 2s, and sometimes augmented and diminished chords. 10. Time Signatures: In this video, we're going to talk about time signatures, which is very important and music. So the most common time segment chart is 44. I'm going to show you what 44 looks like at sheet music just in the corner of the screen. And for, for signs like this, for Bateson a bar. So let's count four beats in the bar, 123412341234. So let's play the chord of a minor to that Bates. So we're gonna go 1234, 12341234. And then let's go to D minor and do the same thing. 12341234 and F 2341234. No, you can't double the time on the little phrase that we use to remember for, for double time is coffee, coffee, coffee, coffee. So let's do that with the chord of F, coffee, coffee, coffee, coffee, coffee, coffee, coffee, coffee, coffee, coffee, coffee, coffee, coffee, coffee, coffee, coffee, coffee, coffee, coffee, coffee, coffee, coffee, coffee, coffee, coffee. Coffee. The next time signature we're going to look at is 34. This is what 34, like written dine and sheet music. So I'm going to explain the four before the three. The four stands for a crotchet, which is a one beat note. So the three tells us the high many crotchets there are and the bar. So 31 bait notes and that signs like this, 12313 plop along with me, just like that for a couple of moments. 12313133, and that is Walt's time. 123123 should always make you want to sway when you hear something that's in 3434 goes, go, well, wait, go wow, awake, go wow, away, go well way. So let's play DJ and 34. And what you basically do is you playing the bass, Jay Don here. And then go away, go away. Wha, wha, wha, wha don't proudly. Now let's try. See, go away, go away, go away, go away, go away, go away, go away, go, way out. F, go, go, go, go, go, go, go, go at play. And another last column, but still used enough to make it worth learning. Time signature is six it, well, the difference between six it on 34, say you mathematicians, well, 34 is what we call Walt's time. It's anything that makes you want to sway of ICT. 123123123123. Go away, go away, go away, go away. Where six IT IS. I live near badly home. I lived nearby valley WHO? 1-2-3, 4-5-6. 1-2-3, 4-5-6. I do live nearby Ali, whom? You might think if somewhere with three syllables that you live near. But I live near Bally home, I lived nearby valley home. Unchained Melody is a very famous song and this time signature, obviously played in an arpeggio. But 23456123456. I live there valley. Who lived there gladly. Therapy valley home. I left there badly. And that's try this in F. And if and if done badly, time if they're bad or you don't. And let's try it with a minor, D minor. My live nearby. So later on in the course, when we come to play the pieces that are included with the course, we're going to do two pieces in 442 pieces and 34 and t pieces and six it, and I really recommend getting a metronome up completely for free on your phone or your tablet. And playing chords along with a metronome in each of these time signatures and at fast and slow speeds, as we really need to learn a good sense of rhythm in order to get it back out and play. 11. Now Let's Play: When you move into a few lines that best and maybe they had married, you're going at rest. Ok, so you have learned the theory behind accompanying yourself as a singer on piano. You've learned what notes go into your course. You've learned what courts Hui Jia Qi and you've learned highest play those courts and read them. And section we're actually going to play, we're going to look at playing chords and rhythm. We're going to look at using the pebble. We're going to look at changing between chords. And really by the end of this section, you should be starting to be able to play. We have six pieces at the end of the section, as I mentioned before, to pieces and for 42 pieces in 3-4, I'm cheap pieces and 68. So we're going to practice those to get the confidence. And after that, you can go online and you can find the court sheets to anything you want play and get cracking on building your own repertoire. So I'm hoping you're really going to enjoy this section on lockstep started playing. 12. The Position of Your Fingers: So let's get into the nitty gritty of playing this instrument. You don't want to play. You've probably seen in previous videos, you want to play with really flat fingers. But it's really difficult. You actually want to have your fingers slightly Claude, slightly curl then. That makes it much here to play. You'll notice my nails are incredibly short. I actually have my nails and this Honda little bit long because I play guitar as well, and it helps for finger picking on guitar. But if you have really, really long mails that you get a kind of clicking noise when you play keys, which can be a little irritating, especially if you're recording from like Instagram or YouTube. So I'm sorry ladies. I know it's sad, but you really don't want to have your nails very long for playing piano. So we're going to look at some exercises in this video that will strengthen your fingers. So normally these fingers, your thumb, your pointer finger, your middle finger, they're quite strong. So what do I gotta play a chord? I'm sort of not truly using those on avoiding these last few fingers which don't tend to be as strong. So what we're gonna do is we're going to do a short little finger exercise for the last strong fingers. So what I want you to do is go cd, middle finger, ring finger, little finger, c, d, e, and then d, f j, F G, a, B, C, a, B, C, D, I'm mad di c, d, etcetera. So let's practice that again. We're going to do it really fast like this night we're going to do is the same fingers on the left hand. So we're going to start on C with a little fingers. I'm backed up because we want to have our left-hand on our right-hand as strong as each other, so that we have nice, well-balanced courts. Now it might take you some time to get that exercise Don Pat. That's fine. When you play a chord, you really want to try and play like sampling date, I'm going common day. Second finger because we go 1234512345. You might see on some shape Music, they'll actually write n, which finger you should use for your thumb being one and your little finger being five. So would tend to play chords like this, 124 and that's kind of like unnatural, comfortable place my course that you'll notice I'm using my little finger, my thumb, to play the right note and the fifth DNA and the left-hand. But it's not a good thing to stop using your little finger. A lot of people who play piano do that and it makes it quite wait. Another great exercise for your fingers is this C, I'm petting a pan across my knuckles and I'm going to play the chord of C. Then the notes in the chord of day, then the notes the chord of a. And you'll notice then F, You notice the pan is not falling. So let's do that again. See a J, D F sharp, a, E, G sharp, B, F, C, C. If you can do that with a pan and mixture that the pan doesn't fall off. So I would recommend trying to practice the finger exercise just once every day and before you know it, you'll be playing it really well. 13. Moving Between Chords: In this video, we're gonna talk about moving between chords. So we talked before about high. There are different versions of courts and we want to play the most efficient and versions that we count. So we're making the least amount of Me. But for example, if we have a chord sequence of C, a, and G, We don't want to play, say darn hair. And then go way up here for a and then B, some are R12 here for J. It's much more to, to play. C. A minor note, I only moved one finger and the right hand to do that, and then J. So let's play that series of courts. Just like that. See a minor J. Let's do that one more time. C, a minor j. So you can see that's relatively small movement, or we could play an amazing version, so make it play C minor. Let's do that one more time. C, a minor. Because what can happen is that we get into a habit of just playing our favorite and versions of certain coerce. Like, I always tend to play C like this. Someone asked me to play the chord of C, That's what I would do. And that's not a good habit to get into because we want to be able to play as efficiently as possible, making the smallest movements possible. 14. Playing in Rhythm: Not, I know that we've talked before about time signatures, a byte 34446 int. But it's so important that as we get into this section, I really want to go over a gap. So we're gonna take a very simple chord sequence, C, a minor, and J. And we're going to play it in all these time signatures, so we're gonna do it and for, for first of all, we're just gonna do it counting four. So C 234, C 23 for a minor to three, for a minor to 34. Jain 234, J, 234. Practice that together again. C 234, C 23 for a minor to three, for a minor to 34, Jade 234, J 234. So that was two bars of H court. Nagana did double time, which is the coffee, coffee, coffee, coffee. C, a minor than G. Coffee, coffee, coffee, coffee, coffee, coffee, coffee, coffee, coffee, coffee, coffee, coffee, coffee, coffee, coffee. Let's do that again. Coffee, coffee, coffee, coffee, coffee, coffee, coffee, coffee, coffee, coffee, coffee, coffee, coffee, coffee, coffee, coffee. So if you're playing a song by as N 44, you can decide whether it's science passed or it really just depends what effect you're going for. Nine, we're going to look at the same chord sequence in 342 bars of h. So we're going to start with safe. We start with the base and say, don't inherit. And then play the rest of the chord up here. I'm playing it in second inversion because that's just the way I feel like legacy today. So we're going to go 123123123123. And I let's practice a minor, 12323123123 and J 123123123123. Okay, so let's do two bars of each of these chords in 34. So 12312, 12312323123, a man, let's do it all again. We'll do it three twice, actually, 123123123123123123123123123123123123. So we practice that chord sequence in 3-4 night. We're going to practice the same court secrets and 68, and it's easiest to pay 600. And on arpeggio not at the sort of, but actually playing individual notes. So we're going to start in C and that's going to be member I live near Valeo. I live there validly, have their badly van I, a minor. Then j. So all we're doing is playing the right notes and the left hand. And then I playing inversions here. So I'm playing all the notes that are in the Court of say, But I'm starting on j, so and then an a minor that's rate possession, a, c and a. So a, C, a, C, a, C, VCA, and then j, G, B, D. And that's again requisition JA JB Dane, b, j, j, j, the Davey J. Okay, so let's play this all together. Okay, and let's do it all one more time. I live near valley. We'll do one more say to finish. Absolutely beautiful. So keep playing this video over and over again. Practice playing a chord sequence and read them because that's really going to help you to play songs. 15. Rhythm Vs Arpeggios: In this video, we're going to talk about playing chords and about playing arpeggios. And it's almost like strumming or playing finger picking on the guitar. It creates a very different effect. So I'm going to play the same song both ways. And you can make up your mind. You know, it's your own individual taste, which one sounds better? So that's the introduction. May hit B. Yet evenings still shines. You. Or I could plant like this, may be things still shines. And, you know, it's completely up to you. Which way you play it. The important thing is if you're going to arpeggiate it, it must be n time. So let's type when we struck the courts, 23412341234123. So the court secrets there was F-sharp minor, D, a, and a. This is Angela's, may it be. So we're not going to slightly arpeggiate dot. So all I'm doing when I play this is going up the tonic triad, F-sharp, a unsaved, vague, you'd be at evening, still shines. Oh, you're so I've just going up and died about twice. I'm gonna play that neu with no vocal. So just along as that pulse is going through your head and you can keep it and tied. Depending on the pace, you can choose which one of those styles you want to play. And the courts to the song easily available online. But I'm gonna post this chord sequence as a downloadable resource just so that you can practice playing that both ways. 16. The Bass : In this exercise where we're looking at the base, we're going to go back to that chord sequence that we had that went saying a minor. Jane. Now you'll notice that when I started I played octaves in the base. That's sometimes creates a good effect to though it's usually better to play C and G, the tonic and the dominant, the first of the fifth of the chord. So let's try that. Play C and G with your little finger and your thumb and your left hand. I just leave those dine whilst playing safe for, for debates over the top. Three for this 234 out, this 23456234, unless time let's do this. C of j in the left hand. So let start with saying to 3M, fit G, c two, 3n J, and C to three and j 234. So safe to three for j 234, C two. And so let's add the j quicker this time. So say 234 C two j for, say, to J, C two j four. See how that created a very different effect. Let's try that lie with a minor. So a mine are gonna play a and a and the base. So let's just play a and a and the base and keep paying any in the base for, for beta 2341234. And I just hold a and a and the base. Why do you play the chords of the top on here high differ. That effect is 235. So again, let's play the Nope separately. So let's bring in the a on the third Bates. So a to a, a, two, a, a to a, for a, to be for a 24. Okay, so now we're gonna do a similar exercise on the court of j. So it's going to be j on date in the base. So just leave it dine and play the chord of the job. 2341234, Not all the fingers moving on every page, 12341234. And by bringing in the day and the base, I'll note three. So 123412341234. So as you can see, the base creates an effect. And also sometimes you want to keep a really strong rhythm and the base. So for example, I might want to play 1234123 for 234123412341234. So that's practice that the court sequence that I played over the top there was jie date unsafe. So just keep playing. 123412341234123412341234 and out again, 1234123412341234. Okay? So I'm going to use octaves in the base times, you're going to one. I'd do the same thing again, so j over the top. So let's do that again. Okay, so let's do that whilst playing more notes. And the right-hand side we're going to be 1234 here, so 1234123. So as you can see, the note in the bass is helping to keep the rhythm and my instance. So I would practice all these exercises and this videos regularly until you feel you've got a really good grasp on the base because I'm awake bys will just leave your playing not as effective as a kid Bay. 17. Using the Pedal: In this video, we're going to talk a light user, that panel. So it's called the sustain pedal, lie on an actual piano as opposed to keyboard. You might have three petals and practice pebble, which really dampened society. And another petal that really solvents assigned on a one on the right-hand side, which if you're playing a piano movement rather than the keyboards and what do you want to use called the sustain pedal. I'm going to play accorded day by the sustain pedal. And here it is with the sustain pedal. So the sustain pedal does just that. It sustains the note and makes it last longer, which is why I educate your fitness sustained pedal. I'm they say they Jane. You just get all the notes bleeding together. We don't wanna do that. So we're going to play D, G, and a. Um, what I want you to do is first of all you play the chord, let's just practices with D. So I bore and then put the battle line. So pedal, pedal. So when we change chords, we're going to do DG and a paddle. Paddle, paddle. Let's try that again. So ADL, pedal, pedal. And let's try this time. A minor and j. So I will play the darn here. Paddle, paddle, paddle up or panel. The panel. Pebble or paddle up for paddle out. See how rapid the sign license raise. Let's try that again. Or paddle up, chord pedal, or paddle up. So let's now I do this to cart support. And you only change the pedal. You sort of clean the paddle a bit. It backed on between courts, so keep your foot down while you're playing the same chord. So 234123, up to three. So just watch what my fit is doing there. Let's do that again. So that not all the belly X0. Hello. That'll, that'll, that'll, that'll, that'll become a very effective when you want to create an airy sustained side. You keep the pedal dies. So for example. But as I say, leaving the pedal die or not using it at all, won't create the best side. So just, by way of example, just before the end of this video, going to play this chord sequence C 234234 and G 234, C 23. That's what it sounded like with no cattle. Well, I'm just going to leave the pedal and this bloated size like say 23 hours, a wider to 34, jain, 234, say to bring sea rising blades together. So now let's do the paddle properly. One more time. Courts then they'll go 234422344234123. So just keep practicing until you get a high of using the pedal. 18. Improving Your Timing: In this video, we're gonna talk about improving your timing and keeping in time, which is something I have to work on every day. So I'm just going to show you here. I have a metronome up here on my tablet, and I'll start to play it on. You will hear the Bates setting the tempo here to bite 70 bpm, which is quite slow. So just listen to the debate. Say hi, emphasises the first beat, the first beta slightly higher. So all I want you to date as play alone. That was according to saying I gotta do. And Jay and I am a minor working at this every day. We'll make good timing much better. So that's quite a slow pace. What you can't do lose metronome apps is you can remove abate. So I'm going to show you here. I have just clicked on the second bait to remove it. So what will be played will sign like this. 134. So let's see if I can play along when the second bait isn't there to guide mates are gonna just ac. Now I'm going to remove the third Bates and see what happens. So turn three or item I'm only having one on foreplay which will side like this, 12341234. So I'm having to kinds of my own hat because I've removed the Bates. Let's try that to save. Now you hear high I got slightly out of time during that. What's just Braves the purpose of this exercise, line taking like bait for. So the only way I'm going to hear at all is going to be the first beat of the bar. C. I might have time, so I have to get back in time. 34123423412341234. I'm ahead of time. 1234. 1234. I back in time 12341234. So you can practice this in 470 bpm, fairly slow. And it's actually harder to keep in time and a slower bait if it was very fast, let me just increase this up to say, a 100 BPM and bring all the baits back so you can hear what a 100 bpm size like BPM stands for Bates per minute, just like your pulse. The higher the number the BPM, the faster the music isn't. So this is a 100 bpm. Gonna play this at a 100 API. Just the Court of say. Yeah. So the faster that is less, you feel that you're kind of dragging or that there's space between the chords that can sometimes be hard or for your brand to compute slow. So I'm not going to go back to, I think 75 BPM. And I'm going to play in 3-4. Just listen to this bait. 123123 chord of j. Jay Jay, Jay, Jay, Jay, Jay, Jay, Jay, Jay, Jay, Jay, Jay, Jay, Jay. I'm not going to be the same thing I did before. I'm going to take the second Bates. It'll sound like this. 123123. So they app that I'm using is called Pro metronome. I'll let you have a little look at the screen here. So you can see bro metronome, I can change the time signature. I can change the beats per minute. I can blind guide certain Bates and play along to this very easily everyday. It also lights up the bait so you have this visual to follow. So I really recommend this as a great exercise to do to improve your timing. 19. Ornamentation: In this video, I'm talking about ornamentation. By that I mean little notes used for decoration while we play. I'm not talking about classical ornamentation, which is things like trills that go like this. But more using the notes that are in the chord for effect, just to fill out your plan, make it sound a little bit more polished. So the song I have in front of me here is sweet child of mine, Buy Guns and Roses. I'll give you the courts to this song as a downloadable resource. But basically, we've only got days C and G going on. And the varsity played it like this. Just genes. Those to me reminds me a child's means. Everything is as fresh as that Brad scan, that's little dots. What I'm gonna do as US notes that are in the Court to create a little bit more fell to the side. So when David got D, F sharp, a, D, and C, we've got C, G, C, E, and G. We've got G, G, B, D. So we can use any of those notes to fill things ICT. So go to just start with Jesus. And it seems to me, reminds me of chat feelings wherever it is, this graph shows the Bragg scattering. So let me try that a different way using the same notes. She's not a smack me reminds me of chat. To me. These are either if the crashes, that is when she takes me away, that spatially paintings, and if I stay too long and probably run out of it, if either of those we China. So we just use notes that are in the chord going up or going down in order to add a little bit of interest. So I want you to have a go at that. Just the burst which is just d, c, and j, relay and play the notes of those courts. Whatever way comes naturally to you in order to fill light the space that there is. You're playing signed a little bit more polished. 20. Chord Sheets: So it's pretty easy to source chord shapes online. But the one thing that I would say about that is they are more often written for a guitar than for piano. And that can present some problems, which I'll show you. So I'm gonna search for son of a preacher. Man. Would help, would help if I could type son of a preacher man courts, because that's a song we're going to be doing later. Okay, so you can see the ultimate guitar comes up twice, and then we have guitar chords, so yet tends to be mostly guitar focused. So what happens when we click on it, is this. Okay? So here we have a strumming pattern that some guitar tablature that doesn't really matter for us. What we're looking for is, does it say CAFO because of it says CaCl2, then we have to transpose the whole song by two semitones. If it says kapo, three by three semi-tones, et cetera. So this one doesn't say capital, so that's grid. So you can see here the way that it's written just with the chords above the words. It doesn't really give us bar lines or anything like that. So we're going to have to just kind really carefully our cells. And that's the way that most courts sheets online. So I'm going to try another court sheet here. No sense at all, which is beautiful Saal at o. Okay. Again, it's ultimate guitar. And you can see here at the top it does say kapo three. And that means we have to raise every chord we see here by three semitones. So the J becomes G. G sharp, a, a sharp or B flat, actually B-flat, we'll call it. So j becomes B flopped piano, D becomes D, D sharp, E, F. So d becomes F. E minor becomes E minor, F, F sharp, G minor, and c becomes same. Day flat, day E-Flat. So the chord sequence that went G, D, E minor, C becomes B flat, F, G minor, and a flat. When we're playing it all piano, you could try singing it in the courts that are written here, G, D, E minor, unsafe, but that would make it very low. So basically you can find the courts to absolutely anything online. Just be careful to have a little look at the chord shapes and make sure there's nothing you need to bad. And also, you know, go through several chord shapes before picking the 5.2.1, as you're likely to find the Sagan's several different k's and different levels of difficulty as well. This is another example of an online course shaped. This court shape comes from an app called i rail, which has chords to all kinds of amazing songs. So you can see here, it gives you a lot more information. Then some of the online chord shapes. So we're getting the writers, for example, Lennon and McCartney. The song is All You Need Is Love. You can see right at the start we're being told that it's in 44. So every time there is a line that denotes that there is unused bar. So in the first bar we have G and D, just assuming that that's two beats, J2 beats day. Second bar is J for all four Bates. Next bars, say Dave beats 12 and then resting for the next two bits. You can say that the time segment or changes into 34 on occasions that unto for where that's written. And so this has no words. So were purely playing the music when we look at chord shapes like this and this is what a band were generally play off this kinda court shape. So when you say see the line before the bottom, we have a minus. That is just another way of writing a minor. I would write a minor, a, another little m, But this is high, it's written here. So this kind of court sheet may be less common, but it is another kind of chord shape that you will encounter. 21. Transposition: In this video, we're going to talk about transposition. And transposition basically means changing the key of the piece. Because quite often you'll find some chords online. They may not be in the right key for your voice, or they may be written for guitar, such as the pace that I'm a byte to play. And they need to be transposed for piano, not a lot of keyboards have a transpose K. If you've got one, that's fine. Just remember to turn off after you've used it because I know that I've left it switched on some everything in the wrong key for the rest of the GAG that can happen. So first of all, we're going to look at the chords of a song called No sets at all, which are here. The courts are basically Ji De E minor and say, So they are what I tried to saying the chain and not create songs like this, you regain your pledge. That's gonna be my far too low. And actually the court shade actually says kapo three. So what capo three means is raise it by three semitones. That would take us from the key of G to the key of B flat. So let's see how we work that out. Here's J. And then we kept three semitones steps from j. So j a flop, a beef thoughts. So j becomes B flat. So we of course have to do that for every chord that's in the song, to the next chord was d. So we need to conduct three steps again. Day APHA, a, f, So d becomes F. The next chord was a miner. So again, we call it three little steps. 123, it becomes G minor because of course, if the Court was minor before, it's minor afterwards. And the final chord and the sequence was C. So we'll call it three, saying D flat, date E flat. So the sequence that originally went G, D, E minor, C becomes B flat, F, G minor, E-flat. So I'll play the song and the two different keys and you can hear the difference. So in the original AT went, Yo regain and your thumb do. That's gonna be my fault. And transposed. It sounds like this. Latch that's gone. Sounds much better, doesn't it? So, let's do a couple of simple transposition exercises. So I want you to take the K chords of the key of C, so that would be safe. And so Khan u transpose c, f, and g. And today. So basically if we're going from, say, Today, we're going one tone, which is two semitones steps. So saving Hume's day. And then the next court was f. So let's call it two little stats from f. That becomes j. And total steps from j, the coordinate j, j, that becomes a. So j becomes now you'll notice that when we change the K of a song, we not only change the pitch, but we also change the mood and atmosphere of a song is HK as its own unique personality. So that is something to bear in mind when you're transposing. So I'd like you to do a couple of exercises just on your own. I am going to include those as downloadable resources. I would like you to transpose from the key of C and two, the key of F And from the key of D and to the key of a. And I'm going to include instructions is hard to do that with this video and the resources. 22. Blues Licks: We're going to have some fun in this video, we're gonna do some simple blaze likes, all of which are in the key of C, But you can change them. So leks are little bits of ornamentation, little bits of decoration to add personality to your playing. So the first one, if you can just go from E flat to a rule, could be like this. And then, and then e and j, and then F and a and Jay. So it sounds like this altogether. So practice that one a few times. Pause this video on practice that. So the second elect We're gonna do sides like this. It goes sailing. And then on top say, and then move the age of the Earth and then back to a swell together at size like this. And we can put another say on the basis of UIKit, There's a big stretch in your fingers required for doing that, so it may take some practice. Let's do it again and again. Pause this video until you've got that spot on. My hair is a fun. Let Kim, we're actually going to be using this when we play son of a preacher man later. So there's a B flat list, even though it's in the key of C, just for a bit of interest on its sides like this, we go a flattened J Amanda indices. Then. And then doing the same. Then on J. I'm just saying, and that bath on a, a Mendelian disease. Let's do that slowly again. First, J and B flat Don to say F and a, dime to say, B and J, Don to say. And that F and a and on to say that we plant a spate of that size like this. So practice that one because it really is an amazing introduction for fast-paced, slightly bluesy songs. So there's three blades links to get you startup. There are lots of blues licks online that you can look up on the ADL about a pizzazz to your playing. So I hope that you enjoy putting these into your songs. We're going to put them into sort of a preacher man litter. As you'll see. 23. She'll Be Coming Round the Mountain: And now we're going to actually play some chains. I hope you've been looking forward to this part of the course. So we're gonna take everything we've learned up to this point and actually accompany ourselves singing, which is the whole point of the course. So we're gonna start with a really simple tune in 44 should be coming down the mountain. How it's gonna work is we're gonna do two songs and 44 and easier while on a harder one to songs and three for an easier one on a harder web. And two songs and six, it again as more simple one and a more complicated one. So we're starting off with shall be covering logged the Mindon, the court sheets to all these songs are included as a downloadable resource. You'll need the courts in front of you and order to be able to pay the chain whether you want to print them off or read them from a phone or tablet. So the courts of this are quite simple. We've actually got three entire lines of G. And we're going to use that coffee, coffee, coffee, coffee. Read them like best to become a lot when chickens. And really hit that G in the bass. Whenever you see that second G and the Court shaped to be come about branching coulombs, she'll be coming. The demand may change. So that court is D7, and the way I'm playing it is day, F-sharp, a, C, D, D7. So d with a C and it basically, so let's practice that chord. D, F sharp, a, C day. Okay? So let's go to the line before that and practice moving from the G to the D7 should become J coulombs came going, children coming about. The transformational technology, bathrooms. So, so we have our g, d, seven, and C. So let's try that all together. And we're playing fifths and the left-handed the base G and D. She'll be coming in the mountain when she was surely a capital. G times bonds in 1919 when she founds, OK, and the second verse should be driving six white horses. Very similar. Should be driving X0, X1 overseas when she comes hit that base should have a job. And of course so you can use sex. Drive in 65 was, is drawn in 6 million horses with j comes and I and the last verse, I'm just gonna do three Vs. In this video, we're going to hit that the low J and the base way d9 here. I'm going to turn this slightly so that you can see the little j. And we see it, yeah, way died here. Okay. And we'll all come out to meet her when she comes. O log N adds omega when she columns and they go and dot rate G galleries. To me it's not flat AD when she downs. Ok, so my lacks play three verses all together. She'll be coming down the mountain where J comes out to be. 1990 pounds command, which is about matching DMS. Shelby, you drive in sex wide horses when she comes to me, maxwell process will achieve its drive in 600 devices, drive in 65 versus dry physics minimizes. J comes along and she comes low. Base cities. Jacque is log to the main thread. Needs me RACI downs. Well done. That's your first accompaniment on piano. 24. Son of a Preacher Man on piano: So this is the more difficult of our songs in 404. This is son of a preacher map. And remember earlier on I talked about that little blaze, like we're gonna do it again and a different key. Hi, it's going to go in this k is day on Bay. And then back to a, and then F sharp and a, and then back to a and G sharp amaze. So let's do that slowly. Def B, a, C Sharp, and a, a G sharp, a and B. So let's do that quick data. So Kp practicing not because we're going to use that as the introduction. You can pause this video and keep dogma. Let's do a couple more times. So now let's practice moving from the introduction into the first chord of the virus, which is a. So we're gonna put big a and the bears. And starting with Day at bay and the right half. And absolute coordinate. J shark bait. Okay, and what we're gonna do in the first line of the song is we're just going to go. So practice that a I know there isn't a day at the court sheet, but hardly make something sound a bit bluesy gospel is by adding the fourth, which in the key of a is a. So 123 out for the e, e, e, e, e, e 8 million rows, a breach is solid. Okay, so let's do that one more time. Now there Rosa privileges. So on a map to the chord of F is the common bond. So we're good to go II and III, where this data is alone and don't change the note in the bass because a still works in the court of I just leave that where it is. So and where does data have alone? And that we're doing the same thing as we did in the first lie when they gather on its Dad and talkin and that we're going to go to the court of bay. So D sharp, F sharp bay doesn't really rotate. We will get embed just moved between a and D sharp with this. So it will sound like this because it really would tell me walk and through the backyard, we go walk in imbedded. To me, as a navigator, go low knows to madness abroad is OK. So let's do that again. Just from the ordinary court of Bay. Hasn't belly would take me welcome. Chasm bill, imitate me walking through the backyard where you go, woke in the bedded look into as well it knows to match a zebra, sad leaving a bay and the base the whole time. So now let's practice that cold virus. Okay, from the court of eight, Billy Ray was a preaches sound when his dad, anybody's along, when they gather on unsteady that again goes below rotate. Oh, good. Through the backup. We go all the way though to look into as well those to match a surprise. Well dots. So you can pause this video and practice spot virus again. Remember it takes time to get these things. And then the chorus, we've got a, so I'm playing a game. The base or rage may end up doing the same thing. It doesn't the verse, we're going 123. So I'm lifting my finger off the bay when I play the a. So 123 a b, b, a, b, a, b, a, b, a, b, a. So waiving the a and the base width has a over a is a good course. So a, a, b, a, b, b a. But let's sing along with that. Your neighbor and a good average May and add to a was assigned and a preacher man. So let's do those first two lines. You only want a good anger, rage made was a preacher man. Okay. And then the same thing again, the owner. But th May was a son of a breach a man. And that 60x to the yes. And then let's go to B salesforce. So that's Bay with an eight. So yes, he was wounds. Oh, this is not my scored. And then a Wu giving a nice date, a, and the mass Stein here. So let's play that course again. The owner bond, a good average man, was Asana up reach a man. The only book, good habitat age was the breach man and yes, he was. Well, we will wrap up the notes in the eye. So play the whole court of H gathered the right-hand Baco a, a, a, a, and then all together a VA ct. OK, so let's practice the introduction. The first sparse, the first chorus, all together. So, really right, it was a preacher's son. When is data where they gather on its Todd Ok and goes and bulli were rewarded through the backyard where you go to good, that it looked good to his nose to surprise, you only want a good arrangement. What does Asana breach a man? The only book Good To each minute was a saddle up. Reach a man as he was, he was bubbles. Who, okay. And then second verse, just like the first. So then God has no disease. No matter how hot a triad, It's really a job and to really go until everything is all right. This is all right. What do we get away? And you only want a good arrangement. Was Osama breach a man? The only book good judgment was a breach of fantasy was who, who's who. And then we're going to the court of D. So this movement here. And we're not doing anything interesting with the courts here. We're just playing them and read them. The moment a dog that was as say like guesses from me on this highway that I've gotta go to Bay, take entire domain, then that little movement. So take untamed, they telling me that he's had an E7, so we play in the base, but we changed the a and the right-hand today. Then in Fromm it's not going to say. So let's play this bridge section again. So just ordinary day days and the base is still, I guess for me on this, I take guitar to make to resolve. What should. Now look at this. And I added a very lonely, I don't know if you could even see it in the picture here, but I added the bottom end of the keyboard so that last line, let us see. And of course it changes key here. So we're gonna do the sand pattern. But in the new case, wherever he went, e, e, EA, we're not going to be going a da. So let's practice that. A, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a DA, Well, even reach back. And that today was a preacher man. So that again with ADA. So go today, what does this breach of man and leave the a and the base because D over a is a good court. So let's do that again. So a a ADA Jante Law to get arrangement that was assigning a breach of that the on a team, each man was this bridge. And that to a as well. And then D7. So D and the base, F-sharp, a, C day of what you could do is this. Okay? So let's make that D Twinkle. So it'll sound like this. Yes. He does. That. Just leave that core die. And the big accord to finish. Okay? So I know this is all quite difficult to practice it section by section. And then we'll play the whole thing together. Okay, so playing the whole thing together, not merely array was a preacher's son. And when the data, when they're gathering Einstein and talkin goes and barely would tell me well, okay, through the backyard, we go all giving me that look into as well. The only word a good ever reach. But it was the sound of a breach man, the ownable who could ever teach fame was asylum breach various UU was here, you know, who's who? And onto the second virus. Then goodness no, we say using a trauma and what it's done is really talk to me. Humberto was all around his job. Everything is all right. Can we get away games and you only want a good ever reach me was a breach of man. But you could teach me, was the sound of a breach medius you you was those who had it's the branch with date. That was Stanley gets us from me honestly learn take a tad. Telling me that he's on the Sabbath when a prom and China is now the bass, but magazine cage edge, the anionic an overreach was assigning any breach of man. The on particularly germane bridge magazine. Was and Twinkie till the day. Who? Yes. Okay. So that was really hard work. It's probably taken you some time to get that song. So really, really well done. 25. My Bonnie Lies Over the Ocean: Number in our songs in 3434, I'll shoulder member from the rhythm playing just gets played like this. So if you print out the courts to My Bonnie Lies Over the Ocean. We are just going to play it in this simple read them the whole way. Three, so it's just going to bake. But the ocean is revealed. Oh, bring back to the, okay, so de SAP and remember it has a C in it. So let's play that first verse again. My boss. Or the ocean. Where the ocean? Oh, bring back the 2B. So we'll have that little bit of decoration. Trade the verse and chorus. And then bringing that, bringing back, let me take a break and bring back body to a ok. And then second bursts exactly the same last night. My blue has now dropped. That enables data breach. All bring the body to the ETP, the Bray back, bring back, well, bringing back the body to me, of course were happier. And the third verse, so let's make this nice on the line. Okay. Got out to the ocean. They read the writings, have gone back to the main search, just play it slightly heavier. And that will make the solid lighter. Remember course to use the paddle, pitting the paddle die after you've played the court. So let's practice paddling in this last course. Okay, so pedal up chord and then peddled, I brought back pedal. I'll bring back the body to broad. No. Let me put it to me and let's do one more. Bringing back all bring back the tag t that Rayleigh slow back. Bring back to me. So I added that was G, D, G. And then low court with a low GI and the base. So I have a couple of goes at playing that song. It really is a fun one. 26. Tightrope: The next song we're gonna play, that's N3 for is tight rope from the greatest showman. So if you don't know the song, probably a good idea to go unless until it, maybe on Spotify or YouTube before playing it. The interesting thing about the song isn't about walking a tight rope, and yet it's in three for x and not waltz timing, 123123123123, and you definitely wouldn't waltz over tightrope. So interesting choice of time signature. So we're going to play it much savers. My Bonnie Lies Over the Ocean. It's got a couple of more complicated courts. My Bonnie Lies Over the Ocean, which people look out. So it's starting in a, some people. That is so that the second chord there is C sharp. So when you think of the chord of C, C, E, and J, we're just raising everything by a semitone, C sharp, G sharp, but I'm playing it. And this inversion because to go from here to here, isn't about movements, so that is also very easy to go to the day. And then B minor. And the difference between D, I, Me, Mine has only one note. We just changed the, the he said that and tie it with a rebel. So let's do that first line. Some game or a lab that is symbol the gland and tied whether Rehoboam and then Sam powdered again. Some people say of a city against that, but say for land to follow what's rigidly follow you. So eta a, remember we take the shortest distance possible between chords. I'd follow you to the great. No. I'm that E again. Two world F-sharp minor, so that is F sharp, a and C sharp. So of two girls just practice that of two worlds moving between those chords. To vote, we call all o. Okay, so let's do that verse again. Some people love or live, that is said boeing planned tied with a rate of over. So we able to always have an acidic as I say, if we were on what you want to flow to, what's written, follow you to her, great, not know to which we belong. And then Sam, pattern in the courts, in the course. And in math, we promised you let go. Logging etag broken pi is three. We can see though has potential but again, a tad proof. Now have only show. It saw. That comes with me taking view, walking inside room. Okay. So you'll notice that I did a and eight up here, F sharp and D.net. So moving between the courts and each section was easy. So let's do this part of the course again. And we promised you let go. You're walking a tight rope up high. In this case, we can see down below the walking a tight rope. Now I've only shown you could fall. Well. She comes with taking new well, okay, it type row. And then we have one chord per syllable going on here with you, with you. So we have one chord per sellable apart from an elastic ui at the end of the slides. So with You, Wu view America was the same idea again with you and with you. So let's do that again with you. Who are you with you with you. Then enter the second birth switches, much like the first-person, mountains and valleys and all that can come in. There's no Shouldn't. You will be an add together. We work in a dream. Always in motion. I rescued or just to be with, you. Always give it all. To use. Hand. Rom is to read, let it go. Walking a tight rope. So you can see though, we'll do not logging it died room. Then that can catch me. She had fallen. So it goes down from D to D minor, which creates that effect. So that's good from never sure. Yeah, sure. And you catch me should fall. Well, it's either comes with taking new. Well gang it's tied robe Aligarh, that's the one chord per syllable thing with woo, woo, woo. With you, with you, woo, woo, woo. Where the thing with you, you know, you can probably tell this isn't entirely the right key from my voice, but it might be for yours. So I have a transpose dot. So couple of difficult chords and they're all by getting it and rhythm. So keep on working. I'm practicing it the song, because it is a nice one, would be a great one to have in your repertoire. 27. Unchained Melody: So now I've got two songs in 681 we're going to start with is probably one of the most famous songs that happens to be in 68. It is Unchained Melody. So remember we're play six it as an arpeggio. So two C's in the base, then J, C, a, C, G. And then the next chord is a minor, so a and E at the base. And then a, C, a, C, a, and then f. So f and C in the bass, and then FAC. And then the next chord is G. So G and D in the base g, a, d, b, j. So those are all the courts that are in this song. Well, there's an E-flat literal, but we'll cross that bridge when we come to. So just practice the arpeggios first. So before we play the song, let's just do all the arpeggios who say twice, a minor, twice as twice. And J. Okay, one more time. And a minor, and F and G. Okay, so now let's play the first verse of the song. But good for your age. What do you do that a few times to break up the verse. Back, to say until I was back. So slow. And do you see as we move to that? So for a Minor to E matter goes like this. So that's just practice that such as the a and the base or lower a. So we'll go from, I need your love. Gods like to maybe do that of course at odds to C7, switch H to C to B. And the right answer goes like this. Okay, so let's do that last slide again. And that don't add will reverse global to this unit and we will get to this C and E flat is the chord of a IPA. Every step goes died while, so e becomes E-flat, G sharp becomes G, and B becomes B flat by plague it and listen version a flat and a bass that G, B flat flat. So let's go from Lonely rivers. Rivers flow to those seemingly due to this C. Back to add to the go of this c will do Rava's sell any waveform. Waveform will be comin home. Way for me. Of course, this is a SOM technique button for man, which is why I'm not seeing it that well. The second gets a bite, the piano. So let's practice that bridge section again, and then we'll go back into the verse, finished the song. So rivers flow to the sea. To the sea. To do your bird arms of a baby, who Rava's seven and we're folding where you'd follow me. I'll be comin home where it for me. So it's still a C at the start of the virus. But good for your lunch. It goes back. So slow, moving medially and can do so much damage. The neutral level two. Now there's a little sequence of courts to endless. So that's practiced, that little secrets, of course, it goes a minor, F minor, which is just where you flatten the Dart. So a becomes a flat. So a minor, F minor. And then see, and that is unchanged melody. I hope you have some fun with that. 28. Norwegian Wood: So the next song we're going to play in, the very last song that we're playing on the coerce is also a very famous song and 60 Norwegian wood by the Beatles. Now, it's obviously a guitar folk song and you're probably much more used to hearing it on guitar. So I've worked on a little arrangement in piano. So remember that six, it goes 1-2-3, 4-5-6. 1-2-3, 4-5-6, I live near Paoli, whom? I live near badly. Hm, so what I've done with the D chord at the start of this song is s. So if hitting that F sharp really hard to make that work. So if old guard on that, a, D, F sharp, and then back Don. I live near Bradley home. I live near Bally or was it just practice that? So it's going to sound like this is what I say is she runs API. So we're doing two different versions of date high that made or we're going to go low. So let's do that first line again. Usually I say she went she claims that she showed me arranging the sand pattern, saved court, but just different version. So F-sharp a date. I live near valley. Who cognitive near Valley. Where I live near Valley. She mediation really is any food or reaching wound. So she B is mood and mood and mood. So let's do that again. What do you mean is a good food? So we always want to use the closest version that we can. So this is Don here, this type food, Norwegian mood. Okay, so let's practice that, say c, g, d. So let's do that whole verse again. Standard auction. Let's say she wants head. We should initialization is Norwegian group. And that we're going to D minor, so we're changing the F sharp. And he asked me to stay and she told me it is see daddy when if they're belly, it dark as though was to change. So E minor to a. Let's do that section again. She asked me in his day and she does it anyway and act as though those into chenin in. So you could either go or just go. Whichever you think sides bass stopped by to boast, you can make up your mind. I looked. Wasn't it today? Or else goes though loss into j here. And then back to the way we played the first, first time drinking one to two. And, and she said, it is time flew away and I'm back to the bridge. Turn again. She told me she whacked in the morning and started to laugh. I told imagine done rolled up to sleep in the back. This bird flow region. It's a song about burning, dine somebody's flat. I right? Or am I getting that wrong? So I lit a fire, isn't it good Norwegian Wood, possibly a bit sick. But then the ending of the song is famously open to interpretation. So let's find a way of n To get so good. But Norwegian. So you could just end it with those cores or region. Or you can use the introduction as a bit of a nitrosyl. So there isn't enough go low wage. And everybody's taken up through the notes of day. Whatever way you want to end up. Okay, so let's play Norwegian word the whole way through with that. I lived there belly home. I live near Pali home running through your head. Okay. So we're in 68. And I say she wants a room, isn't it? Ooh, Norwegian moved. She asked me what is dy and she told me to sit anywhere and if so, why I looked around and I noticed there wasn't a chain and even in my time drinking one to two. And then she's saying it's time for leisure Latino morning and started to laugh and told her I'd go to sleep in the back. And those begin at Chrome and at Google over huge improvement. Well guys, I hope you enjoyed this section. Once you've got the SAT pieces learned and you've really practiced this process, can go online and find any song you want to play. And if you want to email those songs to me, for me to hear them, thought would actually be amazing. 29. So, you want to get out and gig: Your, him and doing this course is that you want to get byte that and gig and accompany yourself. Maybe not, maybe you just want to play for your own enjoyment. That's fine. But I'm gonna talk in this video about what stage you can get up there playing and public. So before you get there, there's a few things that you need to work on, work on cords, on timing, just consistently every day. Even if you only have five minutes one day at something you need to work on all the time. And really if you're gonna take covers gigs as opposed to maybe playing your own material, you would need to have a bite to ours worth of songs. Good to go. I'm not support 40 songs and that would take some planning and practicing. It's a good idea to record yourself, to check your progress, just to lesson with a critical ear. And it doesn't matter if you just record yourself on your phone just so that you can get an idea of how well you're progressing and get a bit of feedback from other people. I'm always happy to give feedback if you sent me three some MP3s or videos. The other thing is your competence level. I think it's not a good idea to get out there. If you're a little nervous about your planning, if you don't feel confident to bite it just yet. But then on the other hand, there's a certain level of confidence that when it comes from getting EIP there there are several places you could start to play rather than taking a massive gags just to ease yourself into it. You could play it open mikes, restaurants and bars. That's great to get a residency that can pay quite well. You can play online on Instagram, Facebook, and YouTube. Not you can go live on these three platforms or you can prerecord videos. So that's really up to you. If you prerecord something, you can add it up, keep going until you get it right. But people do like to chain in for live performances and it's a great way to build your following almost platforms. Nursing homes are great places to play. You'll get a totally honest audience there. Also an engaged audience. You know, the songs that we knew in our youth often stay with us well into old age. So you'll get some Alzheimer's patients and dementia patients who their memory may be affected by their conditions, but they still remember song where it's just automatically. So it's a really rewarding thing today because it puts people in touch with another part of their life and with something that's really meaningful to them. Private parties can also be a great place to get started on. Again, you won't have to split the phase with an accompanist. So I hope that's given you some ideas for getting out there. 30. Choosing repertoire: We're going to talk now about chasing and adopting repertoire for your voice. And some things to consider when you're choosing repertoire, go with what suits your voice. So if you've been playing something on piano and it's really easy to play in day, but you know that for your voice at probably Woodside better. And then go with what suits your voice. Don't stress yourself when you're first getting out there by choosing really difficult repertoire, cheese repertoire that you can master and feel confident with. So I'm finding the right arrangement for you. Remember, there's usually several different versions of every song online, and it's just about finding the version that suits you best, that's in a good key for you. Don't be afraid to change the K. We have looked at transposition on this course. On you may have a transpose button on your keyboard. If you have a keyboard rather than an actual acoustic piano. So don't be afraid to mass with a key and find what suits you best. I did say keep it easy. Don't stress yourself light, but also see yourself challenges because you want to grow and progress on take on more and more difficult pieces. You know, that's going to be good for your confidence in the end. Psalms are N4 chord loops that basically go, say d, G minor a, or that go C, a minor, F, j. That's fine to play songs that are four chord loops, but maybe not for a whole gag, like for half an hour or an hour at a time that might be a bit dull for the audience, but it means that you can sort of let your hands get into muscle memory and just play. I'm really concentrate on the vocal. If the vocal is the thing that you're really selling to the audience. 31. Useful Resources : Well, we're coming very close to the end of the course. And I thought I'd point you in the direction of some useful resources that you may want to go and look up that will help you and your ongoing journey. So a really great series of books. Are these books pictured here? Theory is fun. I know it's a bit of a cheesy title, but many, many professional musicians learn theory via theory has been basically it's not just like getting a rudiments of theory but can reading it. It has a series of little puzzles to help you put the theory into practice, and it's a practical way of learning theory. You could also get a piano cortex, which basically tells you which notes go into court, which chords go into a key, and which keys you need to press to play those notes. So, so, so that's a very useful thing to note. There are some grit ops right there. You can get metronome ops. I've mentioned those before. There are a variety of free metronome apps on the Play Store and via your iPhone as well. I real pro is a great app. It's one that you do have to pay for, but it's quite a shape. When I was 11 ponds and the UK, it has the chords to nearly every song, but you could possibly imagine written and really clear, understandable chord shapes. And there's also jom genius. You can basically play along to jam genius, which is really going to help your timing and your ability to play with other people. You can transpose on job genius, on a conchae and with a baits to help you play along. Music think tank, if you're looking for a blog, it just has a wealth of information on all things related to music and the music industry, including playing piano. And then of course there is my blog. They eat Williams singing and saw erratic tuition blog, which you can find if you google me. 32. Conclusion: Very well done for getting to the end of the course. I hope you've enjoyed it. If you have any questions by N with angle the course, or you'd like any feedback on your work. Feel free to drop me a message. I'm always really happy to hear from State roots. I hope that you will continue with your piano journey and think of accessing some of the useful resources that we've mentioned. And just really fall in love with this beautiful instruments.