PIANO INSPIRATION SERIES - SEASON 1

1. SEASON 1 INTRO: Welcome to the piano inspiration series. With me, Woody, in season one will use the song Blueberry Hill to get you started on your triplet shuffle fail, which is the foundation for getting a really good swing and groove in your playing. And it's a lot of fun. Then we'll take a look at an easy to play, but really professional sounding gospel style chord progression as played by Steve Winwood. Finally, we'll take a look at an essential technique used a lot by Elton John in his playing. I'll be practicing. 2. SE01EP01 WELCOME TO THE PIANO INSPIRATION SERIES: Hello and welcome to Piano Shack with me, Woody. Today I'd like to introduce you to my Siris of piano inspiration lessons. These are lessons with creative piano ideas to take your playing to the next level. They are aimed at beginner two intermediate students with some topics for the advanced players as well. The goal of these lessons is to give you some new creative ideas to broaden your repertoire and, above all, to give you a lot of fun on enjoyment in your playing a little bit about myself. Then, just in case you were wondering. So I've been playing plan on keyboards and synthesizers for well over 40 years on. Initially, I was classically trained. I studied with royal schools of music until I reached the classical piano Grade eight. Then I quickly moved on to play with bands various genres such as pop, rock, jazz, blues, soul, funk, pretty much anything you can name. Actually, now I am really enthusiastic and passionate about sharing all that knowledge. I've learned over 40 years with my students in the lessons will cover music theory various genres such as boogie Woogie blues, pop, soul and gospel, and also share with you some composition and arrangement ideas. The lessons are in no particular order and don't need to be viewed as such. Each lesson is its own independent, self contained musical concept. These videos will not be rushed. There will be a long format because I want to spend, however much time it takes to explore each concept thoroughly on in depth. If you should have any follow up questions you arm or than welcome to contact me or chat with myself and other students, here are a few examples of some of the topics that will cover must know licks like this one to the floor. Some iconic jazz riffs essential pop piano choose just like these and even this one. Some beautiful chord voicings, woody techniques way fabulous New Orleans grooves and piano blues chord progressions like this to fine, soulful gospel playing and Hammond organ style comping. Thank you for checking out my lessons and remember, I'm always here to help. If you have any questions, I wish you all the best of success and happy practicing 3. SE01EP02 BLUEBERRY HILL TRIPLET GROOVE: Hello and welcome to Piano Shack with me, Woody. Now I think that Blueberry Hill should be on every keyboard players repertoire. This was performed by Fats Domino, famously in their fifties. I think so. It's quite an old number, but still very relevant today. It's gonna teach us the triplet feel, which is really enjoyable to play and when she get the triplet feel locked into the baseline, This is a very standard New Orleans style baseline, which is a lot of fun to play once you can get your hands locked together with Syncopation . It's really enjoyable and very rewarding to play. So let's go through the song today. I'll tell you what the cords are are explained the triplet feel for you the baseline. Then we'll put it all together and I'll give you some tips. Okay, so that might appear quite simple. The trick with this song is getting the right hand on the left hand locked in together. Let's start off by talking about the feel, the timing, the groove of the right hand that my friends is the signed off the triplet rhythm. Let me tap it out for you. So we're doing four beats to the bar. The the time signature here is 44 2341234 in quite a slow tempo. I'm not sure what this is, but it's not a fast tempo now. A straight rhythm that we normally pay with rock would be like this. One on two on 34 on one on two on three and four. And I'm sure you are all familiar with that when that's the rhythm that comes most instinctively. But this one will have to think a little bit if you're not used to doing this before. This is the triplet feel. So for every beat, we're gonna play three notes, so it's going to sound like this. 123123123123123123123123 IS still 12341234 It's still a 44 tempo. That's a pretty good exercise to figure out how to play this if you haven't played the triplet feeling before and you really need to learn this. This is so important for all of our shuffle rhythms that we're going to cover in some later episodes. So what you can do to yourself is just too. Perhaps. Count up. 123 four and then when. 23 Corp. 1234 And it's quite helpful to accent the first of every three beats. So you're gonna get into exaggerated a bit, no loss to attain a bit as, well. Cool gun to free pull When and if you've never played this rhythm before, that might be a really good exercise for you to figure it a Just do it as you're waiting for the bus or walking to school or whatever it might be. 1234 123 Call 123123123123 And then we're gonna need to speed it up a little bit. The tempo of blueberry Alias did it. It did. Three game dewberry Um, Berry, I found you. That's the triple it field on the piano. Then we're just gonna be playing major triads here. I'll show you the cords in a second so we can if you can sync up eight, the two hands separate them. This might be quite challenging for you with the left hand. Just play three every beat to three. Ah, once again, try an accent. The first of every three of the triplets exaggerated. Okay, let's go on and talk about the chord progression. Good luck with that is going to be challenging if you've never played this field before, but super fun. Just doing this feels really good fun, and it feels great when you really lock into that groove. So it's going to start with a G actually there, just the pickup. That's why I put it in brackets. This leads into the song, so the song actually begins on C, even though we are in the key of G. So the pickup is in G, playing a little arpeggio riff to just lead in just lining the G arpeggio on their way into the first once more so I can't at the same time. 123123 123 actually break their back into it again. One. So this is quite an interesting progression. I think for the first thing you'll see it's eight bars. Let's forget the pickup because that starts before the song begins, so we have eight bus. There's one chord for each bar I've shown here. Not too many changes were doing C for two bars G for two bars of D for two bars and then g for two bars again. So this is on eight Bar blues, which is kind of interesting. You don't hear that many eight bar blues when you talk about blues progressions is often the 12 bar blues. And another thing that I find really interesting when looking like this chord chart here is that typically, a 12 bar blues would start on the on the root key. So if it's in the key of C, it would start in, see if it's in the key of G. It would start in G. That's even true for many eight bar blues Almost eight Bob Lose. So this was quite strange to me to see it starting on the fourth chord G When the cave G is the root cord, See is the fourth eso It starts on the fourth quarter say fourth because it's the fourth note in the G major scale. So the cords we're gonna use RG see, we've even got d here back to G. Quite interesting chord progression, I think. Let me talk about the voicings that then I'm using to play these chords. Uh, okay. So to kick things off, we have the most basic C Major. Try it. I'm going to do a video all about triads. I think for you. But, you know, it's every other note in the C major scale. May have G Instead of jumping my hand all the way, Diane and playing the G Triad in the root position, I'm just going to go use an inversion of G instead. And that's another topic for another video. So we're not going to dive into that today. I hope you know your inversions. Probably the most important thing to no. After you learned your scales scales in your triads. So going from G T o g playing by inversion of G, which is the first devotion. And when I play the d I I'm going todo time to that inversion of D second inversion. Yeah, on back to that one. So the cords we need to learn for this piece are it doesn't really matter if you play your own inversions. It doesn't sites. Still sounds great. This c g de you can play a different way. If you want on, you could actually vary these to make the song more interesting. Every time you loop through the progression, you could change the inversion of the triad that you're using. That would be really nice, I think. Okay, let's move on and talk about the baseline. There is probably handy to play these, or probably helpful for you in the beginning. If you're not used to playing these kind of rhythms with your hands together, play them one at a time to begin with. So under court, wait, Let's move on to the baseline. The baseline is outlining the shape off the Try it again. The major tried in the root position. So let's start here where the song starts on the sea on Just gonna play the gangs. I'm not 100 sensual. That's correct. It's hard to dio one hand for me. You just building a major tried with your left hand and then thistles the pattern. So you're rolling up to the top, playing the running up to the top and then back down to the third and then to the top again . So it's the root 3rd 3rd 5th You've got to get that right. Swing the right feel as well. 341234 I don't think this should be too difficult for you to play because the notes are landing on the beats. If you've never played this kind off song before, then I recommend you start off just by focusing on one of the cords. Don't worry about changing chords right now. Start on, for example, to see way playing lower time like this on. I'm not using any foot pedal or sustain pedal it all here. That's not necessary for this kind of song. It would just turn into much do that. You don't need to use the pedal here, just sits for however long it takes. Ah, work on that riff. I mean, I think even if you're a beginner or an intermediate player, you should be able to get. That thing is going to take some time if you're not done it before, and I was going to take a few hours, let's go down to the video on When you do these transitions between the courts, try and keep it as smooth as possible. You don't want to have a notes. As you change something like that, try and keep it as smooth as possible. It's not easy, but that's what you should be aiming for. I'll play through the whole thing way. That's what you should be aiming for, trying to keep it as smooth as possible. Okay, just a few tips on putting it all together. Then we've already done the introduction starting. If you just remember to start on G, which is the key of this piece, and I'm just going up and dying the the notes of the G arpeggio video on our paid users. Well, for the beginners, if you like, because that's introduction, then we're right into the song. Now, one thing I want you to think about when you're playing the right hand exaggerated night. Listen what I'm doing messing up myself really nice if you could do that, you know what you're basically doing is outlining the beat, the accent that the snare drum will be playing. If you could do that, that really helps outline the beat. Because the plan oh, is a very arrhythmic instrument. It's actually classed. I think in the orchestra is a percussion instrument. You want to think about that as you're playing these kind of rhythms, try and provide the beat that the drummer would be playing as well. So you want to be accenting accenting the first note of every bar The first beat with your left hand with the right hand try and get the snare beat going, which is on two and four. So let's do that again. I'll campsite. The campsite beats one way. It is difficult to do that. I'm talking the same time. Three. Now, finally, I'm gonna teach you how to end the song. So as we come around here, we'll start at the D on. Instead of paying our regular G, we're going to do a ending. And I think this ending would work quite well. Let's do it again a g chord and then do this little ref to finish the song. Okay, I'll do that very slowly for you. You could do it with 100 Is a struggle of you to do both litter What? That sounds like. Okay, I'm doubling up on the base and I'm also doubling up a cheap with my right hand. You don't really need to do that. if you don't want Teoh and that's it. Good luck with this song is going to be challenging if you've never played this triplet feel before, but you will find it to be extremely enjoyable on rewarding to play. You can just get locked into this groove and it's quite hypnotic and you'll find it a lot of fun to play. I'm sure thank you very much for watching and happy practicing. 4. SE01EP03 BACK IN THE HIGH LIFE AGAIN SUS2 VOICING: Hello and welcome to Piano Shack with me, Woody. So this is a song by Steve Winwood called Back in the High Life and I've always loved it, especially the cords on how they fit together with the melodies. Absolutely beautiful. And if you haven't heard, listen to the song before. I recommend you do so before watching this lesson. But these are my interpretation of the cause. I don't think I think it's exactly like Stevie Winwood plays it. And he, by the way, is an amazingly talented one of the very best Hammond organ players. PNS. He plays guitar all sorts is one of these mega talented musicians that can do absolutely everything. I'm not sure if this is exactly how he plays it, but this is a way off playing the chords and voicing them. But I think sounds really, really nice. And I just had to share it with you today. - Okay , it goes something along those lines. I play it slightly different every time. Let me share with you what I'm doing here in particular. Let's pay attention to the chord voicings. Here, let me talk you through the cords universe to begin with so starts off Very simply, I am playing a regular. This is in the key of G, by the way, a regular G major triad. Um, adding on the top court there that works very effectively is like a little anchor. This thing stays the same. Azazel. The cords shift around underneath, which is a really nice effect. You'll hear that in a second with my left hand, as I often do. I'm just playing the roots on the fifth. That's a power cord, Really. That's what you would call a power cord if you play, don't get some. So we got four beats to everybody for two beats of G 12 and then we're gonna change to see with a dot. Now, why have I call that C with a dot Because we are gonna play a C suspended to see us to cord every time you see a sea with a dot, That's just my shorthand way. No standard. We have mutating it, but I just run out of space. So that's represented. See us to what is the CSS to so irregular C major chord would be played like that. That's your regular triad, but when you play Suss to that means to play the two your 1st 3rd 5th play, the two instead off the third. A c. Add to would be that today we are only playing see sussed ooze on the way I'm voicing it is to add See, that's the same G we had in the previous G chord. I'm also gonna add ghee Below is not a pretty sight in court just by yourself. If you learn nothing else from this video, this court this is one of the court's. I play the absolute most off them when I'm just improvising things on fenced synthesizer, doing just improvisations, coming up with patterns, lifts and Ricks Patton's lifts and Rex patents lifts. What is his patterns of riffs and licks? Thank you very much. You need to know this cord. I'll tell you one cool thing about this cord. When the key let's assume in the keeps C for a second night, instead of saying this more in court, we're gonna play this on the cool thing about this. You can hold down in the same chord with your right hand. This this is like a magic court. Guys really want you to learn this court when you can play any baseline from the C major scale. Look, I should do a separate video on that. Let's go back to our video. Howard are cords that we have here losing the plot. There we go. So that's RG thing. We're going to go up to this. See suss to cord annotated with c dot Actually, every time you see a sea here, Okay, we are gonna play that voicing on every time you see a G here, we're gonna play that voicing. So there's only two chords that you need to play with your right hand. Do this entire progression. It's a wonderful signing progression. I hope you agree. We need to know that one. And you need to know that one. And you'll also hopefully see here how smooth and easy it is to move between these two chords. So, with our right hand, I did embellish a bit during the song in the introduction. But if you're gonna take it down to the basics, all you need to do is with your right hand to play the entire song. That's the court of voicings I'm using. Let's go on now to talk about the actual chord progression. So you've got this voicing Dane with your right hand is going to serve you all the way through the song. So this talk about the actual chord progressions themselves in the verse. Then we have a G two bars for two beats in the bites of 44 Tempo at a slow tempo goes like this thing way we get to discord here. Okay? And if you haven't seen these before, what this means is you're playing see with the right hand d with your left hand. So it's a C chord over a D note in the base. This is pretty common in pop songs. So in this case, we're gonna play off, ceases to voicing with the c dot on an a d in the base again. It's just a beautiful sign way play the whole thing again. So what we're actually doing here if you were to simplify it is called someone. Play them just to stand Detriot. That's all it is. As many of you know, I'm sure in the key off G, it's the one chord four corners are see. It's the fourth note in the G major scale. So we call that the forecourt on then the D is a five chord 14 live are the very most common cords out there when you're playing just pop music like this and folk music, for that matter as well. So that's all it is. But because we're playing these interesting chords of the right hand, it gives it a really nice, rich, interesting sound. I mean, the triads are very, very boring. I never play those. You become a lot one. Wow. So what's going on here? We try and break it down. I'm not sure I can answer that. Yes, I can actually see the's All the nights were playing, So this is actually a form of a D seventh chord playing a C over a day thistles called a C . This is called sorry thing is called a D suss cord saw. Escort is a type of seventh chord. Would cover that in a later video. Perhaps I love set Theseus escort FSS but is a DSS. So what we have here is a d chord. Don't be fooled by the sea On the top. This is a D chord. Aziz being outlined in the base some kind of d seventh escort. But don't worry too much about the theory. What the cords are called. Just remember the shapes. Okay, let's do it one more time. Then we'll go on to the chorus. This means repeats just to make good. It's just hard Slough, so don't be surprised to see me talking right. And then that brings us into the chorus. Let's go over the cords of the course. This isn't wonderful. This is quite a typical pop gospel e type progression, actually, So it's a very good even if you're not interested in learning this particular song, I do encourage you to learn these court. This particular sequence comes up a lot. Songs from say, Elton John, for example, would use sequences quite similar to this in some of his songs. I actually composed my own song, using very similar chords to this home time ago. But I did. Let's go through it so we've got on regular G. You can forget the power cord. Just play that if you like, I'll be is a cease us. But now I with an A in the bass. What a wonderful same. I think a power chord again Life begin This is a beautiful gospel signed G court over a B instead of you normally play a g chord over Think it over the third What? You know this voicing you can use it all over the place. Very common in gospel music. You can play Amazing Grace The This is in it all over the place Third in the base regular See access to This is a beautiful court coming up here. Listen to this. Oh, tears to my eyes Almost. And this is also gonna be beautiful We're not gonna do r. C will hold the name on It works so nicely with the melody just putting that c over D and again as a turn arrange. So I hope you can see here might seem a bit complicated with all the moving baselines and stuff. But what we have, actually, with the right hand is just very simple, just alternating. Okay, so you don't need to worry too much about the right hand when she got that programme that is taking care of itself on the left hand is just walking up. Let's do it once, Once more, all the way through way to run out of space. Things is nice to drop time, but of Syncopation at the end there. Wow, I find his cords so nice to play. Let's talk a little bit about some embellishments that you can do. I hope you're feeling these courts as much as I am. Let's go to the verse made something right there. Variation. Okay, So instead of going changing the bass notes what you can do, so this is a C with a G in the base. I also have to change the power cord slightly. If you didn't do that, it would sign Strange sounds. OK, but that's great, since we have a C chord here filling it up with a big power cord in the left way. Just try. This guy's gonna dig it. Another thing you can do. Let's go back into the G regular. See? There It was nice. You can use the same pedal, make it smooth. That will work. If you could throw that in, it's a bit of a stretch. You could do it anywhere where you have to see stretch for me as well. You're gonna need the sustain pedal. Otherwise it's gonna sound choppy like this. Let's talk about some embellishments for the course. I've got nothing in mind that see what just comes. I play it. Okay? The rhythms are important as well. You might be out of here. What I'm doing here. I'm accenting certain beats and I can't really explain to you how to do that. You just have to feel it. Um, I'll pay Jiating needs as well. I'm not just playing Alo notes. At the same time, I'm doing this kind of thing. Eyes really exiting that top note. The fact that that stays the same as everything else is changing is what makes this chord progression. Saying so beautiful. That's a nice way to end the song. Let's do that again if I start from here, Okay? There's a final court. We know this one by night. I'm just gonna lining. I'm learning the cord, but adding a so one more time. Okay, Just ending on the G Triad with a grace note. Let me tell you one more time through the chorus, I'll do the ending. Then we'll be done for today. - Just a slight difference when I kind of switched off. And don't really think about what I'm doing. My hands take over and I end up doing things that I wasn't really planning on doing. What I was doing, there actually was. Just, er you wanna add a bit of variety to a song? This if you are just repeating this is a loop open over again as you're practicing Troy doing different things instead of actually dropped that top note there were just playing. You could experiment with some inversions. You sound like if I played this, for example. Yeah, I'd encourage You mean there's no right or wrong? You just need to sit down with a chord progression like this. You could play a Melo romantic version like this. Sorry. Well, I really do hope you enjoy these wonderful cords as much as I do. This is one of my go to songs that I play. If I'm just sitting name, wanna jam something? I just experiment with court progressions just like this one. Hope you enjoyed the video. Thanks for watching and happy practicing 5. SE01EP04 MUST KNOW ELTON JOHN LICK: Ho and welcome to Piano Shack with me, Woody. Today we are going to break down one of Elton John's most iconic riffs. Here's what we're gonna do in the video today. I'm going to play you. Some examples of this riff in action will then break it down and explain how it works. I'll give you some practicing ideas, and then we'll give you other applications for this rift. I'm calling the Elton John riff, although this is a rift that you can hear in pop music by many other artists as well. It's also very, very widely used in gospel music. And if you trace back its roots, it probably goes all the way back to ancient folk music. So this is a must know rift, something I really enjoy playing in my songs and music. Now I'm gonna teach you how to do it. Let's take a listen to Won't Let the Sun Go Down by Elton on George Michael No more you heard that little lick or over the place in this song. What I'm talking about is, I can't that little movement there no more. It is again seemed to fancy you have it again Let's take a listen to another example. Guess that's why they call it the blues way up. That's the basic idea of that. When we have Candle in the Wind, a similar thing, you go play in different inversions. We're just here in Elton's John's stuff, one other before we leave Elton, when other track of his that comes to mind. I really love this song, actually from the eighties and the Keeter. I'm not a great singer, but I'm just trying to illustrate the melodies here. So you know where we are in the song you hear all over the place in the teachers were Why did I pick such an awkward key signature? Never mind. You hear another artists as well is ah, lovely Song Angels by Sarah McLaughlin. Jesus, I don't have the courts trying to play from memory way. So you heard it there in the main course There in the That's the same riff. Apologies for singing, but I just wanted to outline the melodies anyway, Let's move on and do a breakdown of this piece. Okay, I'm gonna do it in the key of C for you. It's always a good idea to start in the key of C What we're doing. If we just moved to a simple try it, Actually, it's pay the full version of this lick first. So what's actually going on? This is called a one to the fort now going from the 1/4 which is our position. So the court of See if we're playing a song in the key of C major on the four chord would be thing. This is the most common core progression went to the four used in pop Bite saying. But instead of jumping up and down like that way, we're going to leave the base note anchored on the sea. It's gonna sound like this sounds very gospel e him ish, churchy. If I had a couple more notes toe try out there, that's a very common cadence. Cadence is what I'm sure you recognize that way could do one Maura version of that. It's almost like an AR man, isn't it? At the end of a him eso what Elton is doing here. He's playing first a C, and then he's jumping up very quickly. This was just like a passing Corddry or a filler cord just going up to the full and then back kinds of the one again, let's do it in a different key. Let's do it in F, for example. The most basic form first, actually. So we won't play the fifth in the left hand. That's all it is. Way we're gonna leave the base anchored on the F. That's really important for this sound. And then, instead of jumping up and down and playing each triad in its roots position, we're gonna use inversions of the Triads. So instead of playing, that's which is a bit of a jump up. It doesn't sound very smooth. What I'm gonna do is just play a different inversion of the B flat instead of playing that's gonna move that down to the bottom and it's much smoother and you get that's lovely up and down motion. Take a listen to this, then. Actually, I wouldn't even normally play the with reposition. I might play an inversion like this one. Then it makes sense to use first inversion of the B flat. Take the final variation, which would be this inversion of F. That's probably the one that lt uses the most. I think it s amusing inversion of efforts never gonna take that window into the bottom thing. This is a B flats, but I'm moving B flat to the top. You really need to know the inversions so important to playing good pop piano in any piano music in any genre. Really, I always say that learning your inversions takes the playing from being amateurish to signing professional. And another thing I was doing there is adding doubling up. So instead of just playing with my right hand, I'm adding another F on top just to make it even fuller. Then you get this lovely movement going up and down like that with do something in sooth. Okay, let's take a look at the left hand as well. I noticed something I'm doing there as well. So very common for me. Teoh. Instead of just playing the bass note, I like to add 1/5. Okay, so it sounds like that which is very full on lovely sanding. I'm sure you'll agree on what we're gonna do if you're dealing with their when you change to the F, You should change that note as well to a since that's more in the F chord G isn't so. Let's do that one more time when you get the lovely movement in the base as well. You could hear I'm accenting that as well. We're playing a nice, syncopated rhythm Street sounds churchy. And then we can dio. That's the kind of accompaniment that Elton would you do straight down here. I'm gonna show you a variation of that lick. Okay, One variation you might enjoy. I certainly like the sound of this. Instead of moving both of those news notes up to the sea caught him in. The key of Gina we can do is just move. Leave that one hanging, which is actually a C suspended two sides. It's actually this called, but we're leaving the base. No sign of that, guys. I hope you're enjoying that as well. This shape I've talked about it before is a magical signs see court. But instead of playing the major third were playing a second, doubling up on in this case over a G base. Yeah, that resolves. Lovely. Keep see, you can choose just There's no rules about this stuff. You need to understand that there's no rules. Here is whatever sounds good is good. Whatever signs right is correct. So I'm just messing. I notice I'm doing slightly different things in my left hand. Sometimes I do choose to go up to that. Sometimes I'm moving one, but it still sounds good. Even if you don't way have here basically is a c sussed for playing 1/4 instead of third way. Whereas this is more of an F over a c. This is this. Yeah, when she started digging into this, you see also the patterns that you hadn't really thought of before. So if I'm playing this variation thistles just two versions of a C chord C sets for resolving to a C major. Whereas if we do this variation, this is more like, uh, with sea bass resolving to see really nice. Whichever way you do it thistle for blow overseas. Okay, there was quite a lot there. It's easy to get lost, isn't when you start digging into how these cords actually work? No. One thing I wanted to show you about this. It's kind of interesting this'll movement that I just showed you. If we play the fifth variation with the left hands kind of Hey, this version see, Major try it. Going to f Keeping the sea. This, my friends, is the basis off the basic rock and roll shuffle sound. We've been using any kind of gospel e setting here. It is amazing how all these musical licks ideas, chord progressions are interrelated. Because if I take this movement and play it like this instead, you can see that's our basic rock and roll power chord kind of groove on If I shuffle this instead of saying it straight. Basic blues rhythm most actually happening When we do the blues shuffle like this, you're also probably hearing in your mind this same. What's really interesting about that is that what's happening is we're going from the sea to the F, and then we're going into the B flat. If you think about this, what's actually going on is we're jumping up. Before they were jumping up 1/4 again, it was a well built upon this one to the four pattern. Just your basic rock and roll groove. Basically, wait, Booth, what am I doing in Kiev with? So I hope you find that interesting even do that as you're playing pop progressions? Well, we can extend that lick a little bit further by going up to the fourth of the fourth. So this stick in the key of F just for argument's sake, you hear that movement a lot as well. That's the basic. When I told you earlier, going up to the B flat, which is the fourth fourth again, would be the e flat. I need to just the base as well. Take one more look. So this is yes, as the notes from the E flat did. I believe they work beautifully with the left hand 50. That's the third of the B flat. That's the first of the flats. His nice way to end it. Go back down to the roots and they assessed to going up to the third right. Let me give you a few practice ideas for this one. Let's start in the key of C. Let's play it in the most basic form that I recommend you learn. I'm going to encourage you to play fifths with because they get that lovely movement, which is gonna come in handy when we work on our rock and roll grooves, shuffle grooves, boogie Woogie and that kind of thing with the right hand. Just player Basic. See? Try it. Go on, then we're gonna do the riff. So we're gonna go up to the F inverted in the right hand and move left hand as well. Like so just get into the field of doing that. Getting an extra lesson for free here. This is the kind of rock and roll boogie patterns I want to share with you as well. But that Ugo a nice way to practice this. You need to do this and all of the keys, obviously, to be really proficient on the keyboard. So I'm gonna encourage you to use the circle of Fifth. That means you're gonna go up 1/5 or 1/4 every time you practice this. So, for example, way just did it in the key of C. Let's go up the fourth because this movement is all about fourth. It sounds quite musical when you practice in this way. Take a listen before two f upper forth to be flat The force to e flat up 1/4 to a flat d flat Teoh getting near the end tonight Cto se Teoh G way back home again. So that's really good if you could do that, it does get challenging. When you get halfway through the circle of fifths, What happens is you're adding more and more flats, and then you are progressing to a slightly less Sharps as you go through the circle. That's a subject for a different video all by itself, I think. But that's a nice way you can practice this move in the Store signs musical because you can actually link these together to make a song, for example. Nice way to end it is too finish on your route. Try and just do a little grace note their from the two to the three. So I think we've reached the end of this particular lesson. I hope you find that inspiring. I would encourage you to learn this particular rift because it's used in all sorts of pop music, not just by Elton John. Of course, it's also the foundations for a lot of the rock and roll piano boogie Rudy and blues gospel music that we're going to cover in some of my other lessons. Thanks ever so much for watching this and happy practicing