Play Any Pop Song By Ear Using Chord Progressions & Melodies: Piano MASTERCLASS - Beginner's Guide

1. Welcome !: So you're probably thinking about paying that panel. You're probably wondering if being able to play the piano would take years, or playing by ear would be impossible. Let me tell you something. There's a big problem when it comes to learning music. Because when stony gout, you remember what to do? Do I start with reading notes or playing chords, or directly learning songs? After all the stroma, most people decide to quit because it's just too much stuff to worry about. Let's be real. The idea of reading notes, it can sometimes be unbearable and hard to digest. Welcome to my course. My name is Joseph heating, hundreds of students from different ages, mainly due to this glass. But this course is not like any other one. It's a structured in a different way. Instead of learning how to read those and the beginning, we'll start by directly learning how to play sounds. This is the newest schema, cannot guide so far. Be assured that you'll be learning brand new songs from artists like Adele, more than Gaddis, fairly poor and more. There is no really knows. The beginning, only calls and playing song by ear. How this course is me. We will start by discovering that the entropy is their names and positions on the keyboard. Then go to scales which are a group of specific years on different positions. We will apply what we did by learning quarter progressions, which are a group of specific years on specific skills. All of this makes us eligible to play by ear, and we will practice that together. To wrap things up, we will learn how to improvise so we really jump on their professional level. The scores also includes reading notes and learning how to cite tree to make sure that your special among all students, there is plenty of challenges placed along the way, giving you a 100% guarantee of being able to play the piano after a few exercises. If you want to take action and jump to the next video, we will be working on making you the popular songs by ear and add your own style to it. This is the exact same curriculum that I teach my students during two months war of private lessons. I am so excited to do all of this with you. I think that you will have a grid musical ear at differentiating this. Along with a portfolio of songs you'll be able to play right off the bat. Are you ready to unlock unlimited songs played by ear? Jump into the next video, and let's start. 2. Welcome to Day 1 - C E G notes - UPDATED: Starting with reading notes, we have eight piano keys between here and here, but actually it's 71 repeating itself. Let's explain it. We start by here, 1234567. And the eight, it's the same from this node. If you see we have two black keys right here and the left are those two black keys. There is the same node and it's called the Node C. We have many seeds all over the piano. We have this C because it's at the left of that to black keys. We have also this, see, it's at the left of that to black years. We have also this see it's added the left of the tube-like years and on and on. So we have c is all over the piano. And remember, this is called the Node C. You will have to always remember it. Now, let's learn the name of the nodes together. So we have C, and after C, we will not learn the name of this node. Now we will leave it for later in this video. We have the node E, c, and E. What's the difference between them? It's because see it's the left. You see those two black years. Left, and E is on the right. Okay, So C, and now I will add a note. Remember, also we have G, we have C, G, okay? So we have also here, see E, G. We have also here a, C, E G. We have also here C, E, G, Y. Those are the same because here at the left of that you black keys, we have C as the right of those two black years. We have the e. After the E we jump isn't a node, we skip a node and we come to the G, C, E, G. But we have many nodes left. Before we learn that the other nodes, let me tell you why we started by seeing why I started by teaching you the note C. What I didn't solve from this node or this node or this node. The nodes here is the main node. Why? Because usually the piano keyboard is divided into alphabet. Okay, So we have from a to G. Let's count together. This is denote a, a, B, C, D E F G. And it repeats a, B, C D E F G repeats a, B, C D E F G. We have seven nodes, a, B, C, D, E, F, G, seven nodes that are repeating itself all over the piano keyboard. And therefore, we always start from C14 reason because C is the main scale. What is scale? We will learn it later on. But for now, take it from me and always start counting from 0. So we start by, forget about the a and B. Just start C, D E, F G after G, it repeats a, B, C D E F G, a B, C D E F G. But we will start from C. So C, D, E, F, G. And repeat a, b, then c, This is the same C. Okay? But we learned three nodes. So far. We learned the C, G. Let me tell you a tip to memorize this and I will tell you later on other tips to memorize other nodes. To memorize the first three nodes that we learn. You can't just memorize that we can do this, okay? We can lock our fingers into something called chord, but we will learn it later on. We replay this by locking our fingers. We lock our fingers and play C, E, G. This is the position of C, E and G. You can play it in the right hand or left hand is the same. By this, I locked my fingers and memorize. This is C and G. 3. Vid 2 - The Rest Of Notes - UPDATED: We learned the three notes, C, E, G. Now we have two nodes that we talked about, the a and B. We stopped by a, B, C, D, E, F, G. And repeat, where are the a and B nodes? Well, C, E, G, and after G always comes the a, so you repeat the alphabet. So this is not a after the node to G comes to the node. After the note a, CMS, the note below. We have C, E, G, then the node a, then the node B. But guess what? The note a and B also can be repeated here. Also can be repeated here. How can we memorize it? I'd have a trick. You can't memorize it that this is a node C. This is C and before C, that is AB. For example, the hit. For example, I have a trick. This is denoted see you. And you can memorize that before the node. See that denotes a, B. So whenever we find C on the piano keyboard, Let's take an example right here. Before the note. See what nodes we have. We have a, we have a, B, C, D, E, F, G, and that entropy, it's ABC. You see we have the node C. Before, see we have a, b and let's have a fun example. We have the node C and where are the nodes a and B? This is the node a. And this is the note. I mentioned that we have eight nodes from here to here, and one node is repeated, which is the C. Let's count it one more time together. 12345678 is the note C. But we learned only five notes. We learned C, G, b. We have two nodes left, and as you can see, we have the node E and we have the note F, we play the note C, E, G. And as you can see, we only have two nodes left, the node D and the note F. This is the node d. And it's located between the two black keys, as you can see, unless jump to another D. This is the De between the two piano black keys. And another D also, this is the D, it's between the two piano black keys. And so the F is before the three black keys. So this is the F, D, and F, And you can memorize it in a way that we have the chords C-E-G. We lock our fingers. This is the court CEG. Between the codes. There is the node d. Also right here. We can do it. In the end. We discovered all the seven notes and the eighth node is the one repeating itself. Let's do it together. C, D, E, F, G, a, B. And repeat the sea. 4. Vid 3 - continuity of video 2 - UPDATED: So let's see this together in front of us. We have the note C, and then comes to the node D that is between the two. Black is the node that is at the right of the tube-like is. Then denote f. And f is between the code CEG. This is the chord C, E, G. Between the two chords, there is a node D, and then note F. There is no d and the note F, and after CEG comes the node a, node a, as you can see it. And after a CMS denote B, we have a and B. And always remember that we have the code CEG that we will later on discover what is code. But for now, keep in mind that, that d and the f is between those nodes. And also we have C here, we have C, C, C, and as you see in front of you, we have C3, C4, C5. Those means that we are going up, up, up, up an octave. What is octave? The octave as the distance between those two. We will later on learn more about it. We also have, for example, d here, F here, and as you can see that it's written D4 and here F4 and hit certain D5 and certain F5. So it means that we are always going up. So we have D here, D here, D here, we have F here, F here, F here. So we're constantly going up and up and up. 5. Vid 4 - Black Keys : Coming to the black piano keys. What are black canopies? We have those keys all over the piano. And as we have seven nodes or eight, if you want to count the one that is repeated, we have five black keys. You don't have to memorize the numbers because you have them in front of you. There are seven white keys and five black keys. So each white key have its own black key. So each white key have a black key. For example, this white key has a black key here and a black key here. So each single node has a sharp. If lead. What is sharp and flat? Sharp is when we come to the right. And flat is when we come to the left. So let's know more about sharps. So if I have this node, this node, I want to play the note C Sharp. What is C-sharp? It means C, but go to the right. So c, right? This is the black key associated to the node C. Let's have another example. I want the note G, G, G sharp. Let's have another example. The node D, right after C comes the node D. I want to play D sharp. I play D, and then shift to the right, so D sharp. Let's have also another example. I want to play. For example, Thorpe. I play a, then sharp. So sharp is always when we go to the right, a bit on the right. Now, let's talk about the flats. What our flats, It's the opposite of sharp. Sharp to the right and flats to the left. I play, for example, G. G flat. I play G, then flat. I want to play D flat. I play D. Then they're flat to the left. You might wonder, why don't replay this node, it's to the left. Well, the sharps and flats are the closest movement possible. So if you want to, G, flat, flat is to the left, why don't we play this note because it's on the left. Well, this is not the closest movement possible between g and f. That is one node. We can't skip it because we are talking about sharps and flats. G flat is the closest movement possible. What is the closest movement from g to the left? It's this node. This will lead us to another idea and we will talk about it in the next few minutes. For example, F, What is F flat? There is no black key is. We will learn about that in the next video. So always memorize that the sharps or flats are on the left. If I asked you to play note sharp or a node flat, you play the note and go to the right, or play the note and go to the left. 6. Vid 5 - Your First Challenge! - UPDATED: We memorized that sharps and flats are on the left. But what's the symbol of sharps and flats? Let's take a look on this important remark. You don't have to know the nodes right now. We will learn it later on. But for now, just focus on the symbol. Okay, can you see the symbol of the sharp? This is G sharp. I'm telling you don't have to memorize the notes. Okay, So this is the anode gene. And as you see, this is the anode G you see in front of you on the piano keyboard. If I want to go on the right, I have to play G sharp. And this is G-sharp. So this is G, and this is G-sharp. And if I want to go to the left, I play G flat. This is the symbol of sharp. This is the symbol of flat. If you want to memorize it. And another order, you can memorize that at the top pride, this is the node G sharp. Then we go down to the G. Then we also go down to the G flat. Another example, we start by D sharp, okay? Then we come down to D normal D. Then we also come down to D flat. This is the symbol of sharp. I will zoom a little bit. So you can see this is a symbol of the sharp. It's like a hashtag. And it's at the top right. This is the symbol of the flat. It's like a little be curved a little bit. We arrived at the sharp and flat as the left of the nodes. We will learn the notes later on in the course. So every time you want to play, for example, F sharp, you play the F and play the sharp. And remember this is the symbol of sharp. This is the symbol of the flat. 7. Vid 6 - special key names: We learned so far that if you want a sharp, we go to the right. If I want g sharp, I go G to the right, it's sharp. And if I want the flat, I go gene flat to the left. What if I want to replay F sharp? It's easy. F sharp. But what if I wanted to play F flat? Whereas the black key to play F flat in this case. And when music theory comes in, we are learning that F sharp is the node E. F sharp is the node E, because don't forget that sharps and flats are the closest movement possible. So if I want F sharp, F sharp to the right, I want to make the closest movement possible to the right, and it's this node. But if I want to make the closest movement possible to the left, what I have options other than this node, I have no options. Therefore, I play this node. If we write F flat, we write F flat. But music, there's nothing called F flat. There is. Every time you want to say A-flat, you don't say it, you say the node E. And to have more examples, I want to show you on another node. Let's suppose the node C, The main note that we have to memorize its position. If I want to play C sharp, I usually play C sharp. But what if I wanted to play C flat? I want to go to the left. I play C flat. And what is this node? It's exactly the node B. So there is a bit of confusion right there. But know that there is nothing called F flat because it's the same as E. And there's nothing called also see flat, It's the same as B. And I want to give you two more examples that are actually the same as the two examples we had. The first place. We tried F flat and C flat. But let's now reverse the roles. What if I told you to play B-sharp? Try to play B sharp. To play B-sharp, I have to play B to the right. The closest movement possible to the right. B sharp. B sharp is the same as C. Okay? Now, I want to play E sharp also. Let's play E-sharp. We play E sharp to the right. So E sharp, remember it's the closest movement possible. The closest movement possible is sharp to the right. Those are the special key names. Now if you want to see it on the screen, maybe it's more clear. We want to play E sharp as to the right. So right, E-sharp and E-flat is to the left. Normally. Let's suppose I wanted to replace C flat. What is C flat? C flat to the left, and C sharp is normally to the right. Now here comes another special key, and it's called the natural. Now if I say G natural, I want to play the natural note. It's a normal node. For example, C is a natural note, G is a natural note. And I will explain why we call it Natural. Before this, take a look at what is the natural. This is the symbol of the natural node. This is the symbol. We put this symbol when we want to say that it's natural. Now I want to tell you after showing you the difference between natural, sharp and flat, why we are using natural and music. But before try to take a look, What's the difference between natural and flat and sharp? This is the National. If I go up a little bit, we have the sharp. Okay. And if you can't see in front of you and this is the sharp, then we go down. We have the flat, flat, natural sharp. But if I play right there, if I played this node, we will have the natural node. What is the difference between this and this? Well, there is no difference. If there is no difference, why do we write it? Later on in the course, we will learn something called key signature. When we use key signature, it's essential to know what is a natural node. For example, we are playing something in music. Why do we use it? Why do we use the natural while we can just play it normally? I will tell you what. Let's suppose you are playing a piece of piano and you saw in front of you the symbol of the show. You saw something like this. And I'm telling you, do not worry about the nodes, just see the symbol. We are playing a piece of music and you see in front of you this thing, the sharp, if you want to, oh, this is interesting. I will play in set of G. I'll play G-sharp, it's okay. But later on maybe you see the same node. But without this, maybe you see the same node G, but without this, you start wondering, is the composer wrong? Or did he forget to write the sharp? Well, here comes, the national composer puts natural in front of you to remind you that he did this. Instead of wondering, Oh, do I have to play the sharp or the normal node, he puts you this a thing right here called natural to assure you that he is 100% knowing what he's doing. He know what he does and he is 100% sure that this node is G. And therefore, you, as a pianist, play the note G natural, okay, this is the node G natural. You don't wonder, oh, I have to play sharp or not. You played that note natural. It's used in music, but later on we will learn something called key signature. That key signature is something that comes right here, but we'll learn later on. But for now, these are the informations. 8. Vid 7 - Double flats and sharps: We already learned in the previous videos that when we talk of sharps, we go to the right. When we talk of flats, we go to the left. So if I wanted to play G-sharp, I play G and go to the closest movement possible to the right. And I want to play G flat, I played G and then flat. But what if I want to play G double sharp or G double flat? I play G sharp, sharp. We'd become the other nodes. I played G double flat, G flat, flat. It's as easy as it sounds. Why do we use it? Sometimes in music, it becomes too much complicated later on in the key signature things. Musicians have to play something called double sharp, for example, or D E double flat. Let's play E double sharp, E sharp, sharp. This is a double sharp, or E double flat. E flat, a flat. It's as easy as it sounds. Or let's have one more node. For example, let's take the a or the a, or the a. We can take whatever a we want. We take a double sharp. What's a double sharp, a sharp, sharp. Or we want a double flat. Flat, flat. As you see in front of you of the screen. This is the symbol of double flat. We put it also on the left of the nodes. If you have a node, we put it on the left of this node. Don't worry, what noted is we will learn it later on. And this is also the symbol of the double sharp. We put it on the left and it has a symbol of n, x. Will those little dots on the corner. This is the symbol of double sharp. You will ask me, joseph, why don't we put two sharps when we talk about double sharp? Because Double Flats, we write two flats. Why don't we do the same in sharps? Well, this is the music. They made this annotation to let you see that this is double sharp, like an X and double flats. So, so far we know, but don't worry about this. You will not see it too much in music because it's rarely used. You will see that a sharp and the, a flat. But it's important to know maybe one day you saw that in front of you. 9. Vid 8 - Summary - UPDATED: To summarize what we did, I'll repeat it altogether into this video. We learned that we have the node C, then E, then G. And altogether they make this code what is called, we will later on learn more about it. But the important thing is between those codes that we do with Lucky our fingers, there is the node b. Then note F. Always know that between both there is denoted d. Then note F. And here comes the two other nodes, that node and then node B. We have the cord between the coordinate denote D, then F. And after this we have the a and B. I told you that you can take a reference to know the nodes a and B, that before every C, there's denote a and B. This is the node C, As you can see in front of you, that are the node a and node B. And before this, see that denote a and let us denote, we can also refer to C and E, Okay? This is denotes C and E. We can call it that c as before that you black keys and E is after that your black is. It's up to you how to memorize those. It needs a practice and I recommend you to memorize it. Well, because we will be doing everything based on those notes later on in that course. We also mentioned that we have sharps and flats. For example, we have the C. To replay the C-Sharp, we go up a little bit. And here on the screen I'll zoom in to see the note C Sharp. You put sharp before the note, C Sharp. And if I want to play a, but I want to play a sharp, I play a van sharp, or I can play a, then a flat sharp is at the right and flat is at the left. We have exceptions, for example, the nodes b. If I wanted to play by play B, then B sharp is the node C The same as denoted c? Or I can play B-flat, it's B flat. And the same applies for the node E. If I want to play E-sharp, I play each shop and is the same as denote f and I can play E flat, this is the E flat. We also mentioned that if I want to go up a sharp or I want to go down a flat, I make the closest movement possible. So if I wanted to play G sharp, why don't I play this? It's from the left, but it's not the closest movement possible. I have to play G, G flat. It's closer from here to here. It's closer than between the year and the same applies for a frog. If I wanted to play a G sharp, why don't I pay G sharp? It's on the right. But no, we will have to make the closest movement possible, G and G shop. We also mentioned something called double sharp and double flat. And as you see it in front of you of the screen, this is the double sharp and this is the double flat. And as the sharp and flat, we always write it as the left of the key. Okay, so right at the left of the note, the double sharp has a symbol of x and the double flat has the symbol of two flats. 10. Welcome to Day 2 - Intro to scales: Scales, what our scales is, scale is a combination of nodes. If I want to play for example, the scale of C Major, I'm saying that I want the scale of C Major. I'm saying it's C major. So I start from S0. I start from S0, and I go up until I reach another C. Let's do it together. In C major, there is no black key, is only white keys. Let's do it. So C major, as easy as it sounds, this is the scale of C Major. Well, why I said C major? We are going to discover this and the next videos. But from C major, I go up from C to C. As discussed previously in the previous videos, we know that from C to C is eight nodes, including the node that we are repeating it and it's the node. See, the note C is repeated two times. And so if we remove this year repeated, we have seven nodes. Let's count it together. 1234567, okay? And again, I said the scale of C major. This is why I started from C. If you want to see in front of you, we are having the scale of C major, or going from C to C. Scale, is the whole notes played together. So the scale of C major, or all the nodes C, D, E, F, G, a, B, and C are all the notes played together. For example, if you want another scale, I want, for example, the scale of a major, okay, let's keep it major for now and later on we will discuss why major and when we can do the minor scales. So a minor, I'm saying a minor. So we start by a. I can start from this a, I can start from here, I can start from there. I can start from there. I can start from any I1. So let's play the scale of a major and you will discover why I'm playing this sort of scale. So why I played those gears? Why I didn't play, for example, why I've been played this will discover later on, but take a look in front of you. We have all the kids that I just played. Let me do it one more time. I start from the sea. This is that I started from. Now from the sea, I go up to B, then C-sharp. Why am I explaining this in the introduction without knowing why am I playing the a major? I'm playing this just to make you understand the idea that a scale is a group of nodes starting from a certain node and ending with a certain node. So if we started from a, we also end with a. And also another example, if you can't see in front of you, this is the scale of G major. So we go G, a, B, C, D, E, F, G scale. The scale is a combination of notes played. But what's tricky about that is, take a look in front of you. If I play, for example, G, a, B, C, D. It's not, it does not sound good. Why? Because I played this node and this node. This node is not included from the scale. I'll give you another example. Let me play the scale of C major that I played in the first place. Let me play, for example, other nodes and you can take a look in front of you, the C major scale. All the keys and this scale are white keys, and so I'm not allowed to play this key or this key or this key or this, or this. I had to play all of this. I have to play the white kids. And so I will prove to you that if I played one of the notes that are not included in this scale, it will not sound good. Let me try to do. Sound good. No, it doesn't. Why? Because we didn't respect the rules that are, we have to play only white keys. Now let me give you a final example to understand. This is the scale of a major. Scale of a major is made from a, B, C-sharp, not C, C-sharp, D, E, F-sharp, G-sharp, and then a, okay, so if I play a note that is not included in this scale, it will not sound good, and I will prove it to you. It doesn't sound good. No, absolutely not. Why? Because I didn't play the nodes that are in this scale. It didn't sound good. But if I play the notes of the scale, it sounds good. But if I play the notes outside the scale, doesn't matter. I'm playing notes outside the scale, and therefore, it doesn't sound good. That has two kinds of scales. That is the major one and the minor one. The major one sounds happy. For example, This is the G major scale. Let me play to you that G minor scale. It doesn't sound happy. Another example, the C major scale. C major scale sounds happy, but let me play to you the C minor scale. It sounds sad. Now what I'm going up and down, it's the same. You can't play. You can't do it. Whatever note I'm playing that are either C or D, or E flat, or F, or G, or a flat or B flat are included in the scale of C minor, and therefore I can play any notes, and those notes have to be in the scale. Now every node has a major and minor scale. For example, that G has a major and minor scale that we just played, and the seed has a minor and major scale. F has a major scale, a flat has a minor and major scale. Every key of the piano, it has a minor and major scale. In the next videos, we are going to discover why it's called minor and why it's called major and the how to do a minor and major chord. 11. Vid 2 - Why do we use scales: Why we use scales. Scales are very useful when it comes to music. I will give you an example. If you want to play a sound in different way, I have a song which is a great one and we are going to play during this course. It's called perfect for Azure. If you are wondering, you are going to play the song during the course, but coming to scales, why are we going to learn skills? If I want to play this? Another way, I can pay it, for example, I template like this. Okay, so how are we using scales here? Every time I'm changing from here to here, to here to here, I'm changing scales. You may say that I'm transposing, I'm just moving my hands from here to here to here to here. Well, what if you want to play it here? Do you want to keep moving from here to here to here to here to here, to here to here, and then go up to arrive to here. It's easier to use scales. Scales are a huge time-saver when it comes to improvising and making your own melodies, and also using codes and playing songs. And also we use scales if a song is too high in pitch, for example, if you're singing with a song, let's suppose I'm not playing the right hand. I simply wanted to play too high for me. So what I do is go down using the scales, for example, that it's more comfortable for my voice and you can use it later on when you play piano. And also scales are so important to learn chords and melodies. I know this sounds cliche that beginning, but you will discover later on how powerful our scales when it comes to music. 12. Vid 3 - Whole and Half Steps: What are half and whole steps? I will teach you directly with examples. Half-step is when we make the closest movement possible. Remember when we talked about the sharps and flats or sharps and flats it at the left. Well, here we are going to use it in order to move half is that we have to remember the sharps and flats. How? Let's say I want to play G-sharp, I played G. Then go to sharp. Movement from G to G sharp is called half step. Why? Because as we talked earlier, we mentioned that from G to G sharp is the closest movement possible. And so if you want to play a half-step, we have to go from G to G sharp or from G to G flat. But if you want to play a whole step, as it sounds, whole step is double a half-step. Two half-steps makes one whole step. Let me give you an example. From G. I want to go a whole step. How are you? Let's suppose I want to go a whole step up. Because on that piano, we suppose from the left to right is from down to the top. Because on the piano, we suppose that down on the left is the bottom. And on the right is that up from left to right? From the bottom to the top. When I say I want to go up, I mean, I want to go to the right. And when I say I want to go down, I mean, I want to go to the left, back to half and whole-steps. I want to go a whole step. From G. From G, I want to go and whole-steps, I go half, then heads. So G, G sharp. As you see in front of you on the screen, I can go from G, G sharp, then a. Or I can go down from G to G flat to F. C, G, G sharp a, or G? G flat, F. What is the difference between those? Well, it's the same. I'm doing a whole step. I wanted to give you an example of the half-step. Also. For example, I want to go from here. Half-step up. I asked myself, Joseph, what is the closest movement possible up that I can do from the North Sea? I started thinking, what is the closest movement possible I can do going up from C, from C to D is a trite. No, The closest movement possible is from C to C sharp. Also another example, I have that node. Also another example, I have the node, for example, a. I want to go a half-step up. So I asked myself, Joseph, what is the closest movement possible that I can do from a going up? Why the closest movement possible? Because we are talking about a half-step. So I started thinking from a can I go to here using a half-step using a closest movement? No, I have to go from here to here using the closest movement possible. Another question, I want to go from D O D. I want to go down using a half-step. I started asking myself, what is the smallest movement possible I can do from D going down, I started thinking, can I do from D to C? No, because it's not the closest movement possible. There is another movement that I can't do it. I play D and then D flat, or it's the same D, D flat, C or D and C sharp, because D flat and C sharp are the same. And also, for example, E flat and D sharp are the same. Okay, let us hear what a chromatic scale, what is the chromatic scale? You don't have to memorize it. Chromatic scales is the group of half-step. Take a look how it sounds like it. Chromatic scale is made from half-steps. We keep going up. You keep going up. Oh, you can't go down. And to make you remember, a whole step is when we go from here to here, when we do two half-steps, a whole set is, for example, from C to D, or from G to a, or from D to E. Or also we can go a whole step from black keys. So we can go from F sharp to G sharp, how it's the same concept. We went from F sharp to G, Then from G to G sharp, from F-sharp to G sharp, it's a whole step. And another example, for example, from C-sharp to D-sharp, we went from here to here, then from here to here, and it makes evolve step. But there is also a trick in here. We can go a half-step using white keys also, let me ask you, how can I go from a half-step up? Remember, when I tell you a half-step, you directly ask yourself, how can I go the closest movement possible? Pause the video and start thinking, what key is going from being a half-step up? I hope your answer is true. A half-step up from B, a, C. Why? Because it's the closest movement possible. I can go from B2. I can jump from here to here. I want to go from here to here. And so it's the closest movement possible. Another tricky one is denote E. But it's the same concept. I want to play a half-step going up from E. What is the closest possible from going up the note F? Why are we learning whole and half steps? It's boring, right? You will see in the next lectures that this is so important to start knowing the difference between minor and major skills. 13. Vid 4 - Major Piano Scales: Starting by major scales. What are major scale? As we mentioned, a scale starts from a node and end up with the same node. Now let me give you an example of a major scale. C major, that you heard of before. C major is a major scale, but have you ever wondered why we call it major? Because it has a certain pattern. This pattern is unique for all major scales. Every scale that has a certain pattern is called Major. And there's another pattern for minus scales that we will discover later on. What is the pattern of the major skills? It's whole, whole, half, whole, whole, whole, half. The whole and half steps that we studied now used in scale. So to make a major scale, we have to play whole step, whole step, half step, whole step, whole step, whole step, half step. You have to memorize this pattern to Wh. It means whole step, whole step, half step. Then three W and one H. A whole, whole, whole half. If you are able to memorize it, you will directly be able to play major scales. Let's do it together and prove, Let's do it together. And I will prove to you that this pattern applies to all major scales. For that we are going to try on the easiest one, and it's called the C major scale. From here. We have to count now a whole step from here. Because here I have half, then whole step. Then comes the half. Then three times, three times whole step, half step from here to here. I'll repeat it from here to here. It's a whole step. Why? Because there was half-step and then half-step. And then from here to here it was also a whole side because then it half-step because it's the closest movement possible. Then we want three whole-steps. This is a whole step. Then this is a whole step. This is a whole step. And finally, we have a half-step that is right here. See, we have the pattern, whole, whole half, whole, whole, whole half. Therefore, if we apply the same pattern, other scales, we will have a major scale that sounds happy like the scale. Let me try the same pattern on another scale. For example, I will have the scale of G major right here in front of you of the screen. G major start from the node T, G, because it's called G major. We want to play a whole step from G. A whole step from G is a. Now a whole step from a is also being. Now after B, we want a half-step because whole, whole, half. So from B to C is a half-step because it's the closest movement possible. Then from C comes a whole step. We want three whole steps right now, okay? So we did whole, whole half. Now we want three whole steps. From C to D. Then from E, we want a whole step. So it's two halves. You see, we want that's a whole step. Let me play together from the beginning. It's easy, isn't it? All we did is just played this certain scale. We added on it. G, a, B, C, D, E, F sharp, and then G. If you're wondering why those all colored is just from the notes of both. So don't mind. If you want, you can consider this. This is the scale. This is the scale of G major. We played all those nodes. Now what's the trick here? If I change one of the nodes, for example, I made this like this, and then for example like this. And then for example like this. If we take a look, it doesn't sound like a scale. Does it sound good? No, it doesn't. Why? Because we didn't play the same notes that our scale, we didn't apply the rule of whole, whole half, whole, whole, whole half. And to make sure I will count it together. We want a whole step from here to here. Then I want a whole step from here to here. As it a whole step. It's a half-step. Therefore, the whole scale is canceled. Whenever we play a single note outside of the scale. It's not considered escape anymore. And therefore it doesn't sound good. But if we kept the note, how there were there were like this and we take a look. I'm sorry, I messed up here. Like this. This is the whole scale and it sounds straight. It's a G major scale and it sounds happy right now. Why? Because we have the rule of whole, whole half and we apply that here. Let us have a final example. We will try to play the scale of E major. Scale of E major. Let us do it together. We start from E, and then we have to go up using the pattern, whole, whole half, whole, whole, whole half. So let us do this. You get two. How I played it. I just counted from year two here. There's a whole step there, from here to here. There's also a whole set because, you know, we're going down and up like this, half-half then like this, then like this. If you want to see it in front of you, I just did this by playing those notes, 1234567 eighths. And this eight is repeated. By playing those nodes, we are having the scale of E major. Why? Because we apply the rule, whole, whole half, whole, whole, whole half. And we had those nodes. Musicians, big scale, for example, the decide, hey guys, We are going to play altogether on the scale of a major. They all play the same notes. It does not have to be the same note at the same time. But for example, they are not allowed to play C. Just see, they have to play C sharp in case they play it, for example, g. They can play G. They have to pay G sharp or G flat because they are on the same scale. And keep in mind that a major scale doesn't have to sort on the white keys. It can start on that black is okay if we use the pattern, whole, whole half, whole, whole, whole half on the black yield, we have also major scale. For example, let's try it on the black years. Let's start from the F sharp we have from here to here, we have those scales. Let us do this together, okay, so from here to here, we want whole, whole half, whole, whole, whole half. From here to here. It's the whole set, then all set, then half-step, then whole step from here to here. Then a whole step, whole step, half step from here to here. We are having this thing right here. Okay, We are having this. It sounds nice. Now you know how our major scales, I'm going to teach you in the next video how to actually play major scales on the piano because it's a little bit tricky when you move hands right here. So I'll teach you in the next video quickly how to play major scales. 14. Vid 5 - How to play major scales on the piano: Coming to major scales, how to play it on the piano keyboard. We haven't problem when it comes to playing the scale on the piano keyboard. You know already that the scale is made from eight notes, including the nose that is repeated. So if you have, for example, the scale c major, we start from S0, ended up with C. That's eight notes. Okay, Let's count it. 12345678. But how do you play it on the piano using our hands, not our fingers. Okay, So the problem is we have eight nodes, but we only have five fingers or with our hands. So what I'm going to teach you is a small trick to play the piano escape. You start by Planck, this. How do I switch? How do I move to here to continue the scale? How do I switch? So I have to do a small trick which is play this, then this, this all of the third finger. What you have to do is switch from your third finger, first finger. So instead of playing this, instead of playing with your fourth finger, all you do is arrive to this node which is e in this case, and switch and your first finger, continue. All you have to do is play the first three notes. Instead of continuing with the note F with your fourth finger, you just switch from your third finger? What I did instead of continuing by my forefinger, I just remove. I arrived to here. Then continued. I did it professionally. How instead of doing this? Then remove your hand, then place your hand. I did. Move my finger underneath my other finger. It's like I'm hiding my fingers switching between here and then when I want to go down, I do the same thing, but in the opposite direction. So I play the note C with my fifth drinker because I went up. Now I want to go down. How do I go down? All I'm doing is switching with my third finger. Okay. I switched to hear. I repeat it. I go from here. I switched to my third finger. Okay, so I switch here. Let's split from the beginning. You can do the same for other scales. Let's try it with the a major scale. So a major scale, we start by a. How do I continue? I can't continue anymore, so I had to switch from my third finger. Okay. So I do like this. Then when I want to come down, I do the same, but in the opposite direction. I switched from my first year to my third finger. I recommend you to play it slowly in the beginning to be able to switch between fingers. When it comes to the left hand, it's a bit different. You have also to switch your fingers, but instead of switching your fingers from the third finger, okay. You do it from the first finger, so you do it a bit different. I will show it to you. So how do I continue? I have three nodes left, okay, so I have this note, this note left, and this node left. I have three nodes left. So I have to place three fingers ahead. Okay, I have to pace three fingers. I had 123, so I repeat. Place my third finger because I need three fingers. When going down I played the same, but instead of going up, I go down the same. So I switched my finger. You see here, I switched instead of playing, instead of continuing like this, I just switched my finger here. I went down. Switch my finger underneath. Okay, so I played like this. Now when I want to play together and you can do it too with practice, I have to pay attention to both hands. With practice you'll get better at. Let's give you an example on how to play together. So I started by this. Now switching my third finger is the right hand. Okay, the left-hand, leave it alone. Now I want to switch the left-hand. Okay, So I'll repeat. I switched my right hand. My left hand going down. Now, my left hand. My right hand. I'm going up. I'm doing the opposite of when I'm going down. When I'm going up, I'm switching my right-hand first, then my left hand. But when I'm going down, I switch my left hand, then my right. Okay. So its right-left, then left, dr. Dt, right, left, left, right. If you want to memorize it like this, I'll repeat it. I go up, switch my third finger. Switch also my third finger. Now is the opposite. Switch. My third finger. Switch my third finger. I want you to play it smoothly. It becomes like this. All it takes is a bit of practice and trial and errors, and you can see how much easy it will be. Okay? So you start switching left. Okay. You start switching right, left, left, right. And your third finger. 15. Vid 6 - How to play minor scales on the piano: What our minor scales, as we mentioned when we are talking about scales. When I say, for example, I want to play the scale of C minor, or C major. I always start from 0. So it doesn't matter if it's C minor or C major. Now, I want to play the scale of C minor. I wanted to talk first about what is the root. So it's an easy concept because when I say I want to play C major or C minor, I'm saying the name of the root node. C minor. C is the root, or C major. C is also a root. So the root is the beginning of the scale. We start by the root and we end by also the root. So for example, G major, the root of the scale of G major as g, or the root of the square of G minor is also gene. In both minor and major scale. We start and root nodes. How do we find roots? I already said that route are easy. When I say a major, I mean that the root is a. Okay? So every time I want to play a scale, we are not going to say the first node. We are going to say it more professional. You are going to call it root node. So we start by the root node when I wanted to pay, for example, the node, see what are the requirements or the rules for the minor scales and the major scales? They had to start from a node and end from the same node, and it's the same and the minor scales, they had to be eight nodes and one repeated or seven nodes, excluding the repeated one and the same in the minor scale. We had starting by the root and ending with the same node. We have eight nodes in both minor and major scales. Those are two rules that are the same, but now we have one rule that is different. And it's that the major head pattern of whole, whole half, whole, whole, whole half. But the minor one have another pattern that unfortunately we have to memorize through its whole half, whole, whole, half, whole bowl. To memorize it, I want to try to sing it. Let's do it together. I want to start from the half. Suppose we are starting from the half, half, whole, whole, half, whole, whole. It's easy. Just memorize. Half whole, whole half, whole, whole half, whole, whole, half, whole, whole. I want you to put the whole before anything, okay, So in the beginning, so it become whole, half, whole, whole, half, whole, whole. This is how I memorize it. Half whole, whole, half, whole, whole. After we memorize it, we can start having examples is the same. If I want, for example, C minor, I just start from S0 and apply that pattern. Whole half, whole, whole, half, whole, whole. So let's do it. See it. Whole, whole half, whole, whole, half, whole, whole. Our repeat are just made. Whole. Then half, then hold, then hall, then half, then hold. But in the major one, I played whole, whole half, whole, whole whole half. But here it's okay. I will show you another example in front of you. Let's suppose we want to play the scale of G minor. I want first to search for the root node. What is the root node? I'll already mentioned that the root node is nothing but the first note result. So it's denote g, the first node we start with. After G, I want to go whole step. That's a whole step. Then. Half whole, whole. Whole than half, whole, whole. What is the half-step from a whole? Because that whole half, whole, whole. If you see it, it's like this. It's easy as it sounds. And if you see in total, we play those notes, we played hole. If you want, you can pause the video and count it on your own. So we saw by G, then a, then half, then hold all half, then half, then hall. Or if you want to see it on your own, you can stop the video and see it. We started by g, then whole half, whole, whole, half, whole, whole. This is how the minor scale is made of. All we do is pick a note and play the scale of this node using a certain pattern. It depends whether it's major or minor. 16. Vid 7 - How to play minor scales on the piano: How to play minor scales on that piano keyboard. We learned previously how to play the major scales. And minor scales are pretty much the same. But the main difference is you have to pay attention to the flats or sharps. In this case, I'm going to play the scale of C minor. As you see in front of you. C-minor have the following keys. I did pretty much the same. First thing you have to pay attention to the kids, or sharps and flat, etc. Second, you have to make the same thing that you did in major scales. You play instead of playing. How do I switch to the next one? You just do. Switch. The same thing with the left-hand. Play it slowly because it can be a little bit tricky. So I play both hands and tried to play it also on your own. Switched right-hand switch, left hand. Go down. Switch, left hand. Switch. Frightened. Now you may ask yourself, do you have to play the one time or two times? So do you have to play? Or it's the same, it all comes back to you. But the important thing is to learn how to switch your fingers because it will help you later on in the course. 17. Vid 8 - Scale Challenges: In this video, I have a challenge for you. You can pause the video, do that challenge, and later on, you can watch the correction of the challenge. The challenge says that I want to replay the following scales. E major, D major, and D major. What you have to do is, for example, when starting from E major, you start by playing the root note, which is E. Then you go up using the pattern that we discussed. Its whole, whole half, whole, whole, whole half. Okay, you go up and if you want to make it harder, you can also go down. I want you to write it on a pen and paper, for example. You want a whole step. You write that whole step, your right in front of you, that F sharp. Then you want the next node. You write it down on the paper and you do the same for the three scales. After you did that, you go to the video of the correction and then you see if you play that correctly. Yes. Congratulations. If not, then it's not a problem. You have to learn from this. Going to the next challenge. We have the minor scale challenge. This challenge consists of playing the following scale, a minor, F minor, D minor. What you have to do is the same. You have to start from the root node, which is a in this case, or F or D. And then go up from the pattern that we learned previously. Hall, half, whole, whole, half, whole, whole. You go out. For example, if it's the a minor, you play a. We want tall. You write on your paper that this is the node b, then we won't have you write on your paper that this denotes, see, you write it one after another. After you write it on your paper, you just played on the piano. And in the next video, I'll make a correction for this to see if it was right. Good luck. 18. Vid 9 - Correction of the challenge: Were you successful or not? Less discover right now, when the first challenge, we have the E major scale. We had to play those nodes, E, F-sharp, G, a, B, C-sharp, D-sharp E. And if you see here on the piano, we have whole, whole half, whole, whole, whole half. Let's count together. So from here to here, there is a whole step. Whole step, then half-step, then whole, whole, whole half. This is the E Major, going to the next one, we have the D major. So there'll be measured consists of the following nodes. B, C sharp, D sharp, E, F sharp, G sharp, a sharp, and B. If you see it on the keyboard, we have B. Then C-sharp is from here to here wall, then hall. Then we go to the half. Then we go whole whole, whole half. Okay. I hope you memorize that pattern because if you didn't, it's so hard to recognize major and minor scales. Then for the final one, we have those nodes and we have a whole, whole half, whole, whole whole half. If you want, you can count it because it's whole, whole half, whole, whole wall. And then switching to the minor scale challenge, we have the following scales. First a minor, which consists of the following nodes, a, B, C, D, E, F, G. And yes, as you see, there is no black years. Why? Because there is something called relative scale that you will see later on. A minor is the relative scale of C major. This is why it does not have any black key. Don't wear your figure that on later in the course. But anyway, this is the pattern, a ball from here to here, then have whole, whole, half, whole, whole. And the same thing applies for F minor. We start by F, which is the root node. We start by applying the pattern, whole, half, whole, whole, half, whole, whole. So F-minor have the following nodes. We start by F, G, which has wall than half, whole, whole, half, then whole wall. And then we end up with f. This is the symbol of flat, is small b. This is flat, F, G, a flat, B flat, D flat. And the same thing applies for D minor, where we have whole, then have wall, wall than half, whole, whole. If you did a trial, congratulations, that's very good. And f naught, again, try to do it one more time. It's not that complicated, neither. It's easy. Okay, so try it and we will move on into the next video. 19. Vid 10 - Octaves Challenges: We didn't finish our challenges. I have many more challenges for you. In this challenge, I want you to play the scale of G major by octaves instead of single node. What doesn't mean? I will show you a demonstration of another scale, the easy one, and you will do the hard one. The goal of this challenge is not to overwhelm you, but to challenge you, push your limits and expand your piano knowledge. So I would play the scale of C Major by octaves, okay? I'll not play the G major, you will play the G major. I'll play the C major right now. Hotplate. I start as written. I do it in my right hand. First. I play the octave. What is the octave? I start from the root node. The same node from you or do you see that node is located on the left of the two black years. I play it right to you. I play like this in my first finger and my last finger, I start beginning. It will be hard to, maybe to reach this octave. Some of you may have a small hand and that's okay. I had many students who had a small hand and maximum reach, for example, this why stretching their hands too much. But with practice, they managed to do it to the maximum. With practice, you should be able to do it with a maximum. I want you to play the scale of C major in the beginning. Then do your challenge and play the scale of G major, okay, so first we play, then you go down. Take your time while playing the notes because it can be a little tricky while, while you can play it. For example, maybe you play this, then you play this. Okay, So it can be a little bit tricky when you play octave, but you can manage to do this. Now switching to my left hand, I start playing the same thing. So now that I did the right-hand, then the left-hand, I'm ready to do it both together. You know, what's easy about this is that you are playing the same notes. You are playing the note C, C, C, C, then D, D, D, D, E. Let's do it together and slowly. I want you to do the same, but the scale of G major, instead of starting from C, you start from G. And how you can figure out the scale of G major. You start counting whole, whole half, a whole, whole, whole half. And you start counting, you write it down on paper. You write down with the nodes of G major. You write that for example, there's G then this node, then this node, then this node. And after you write it down on the paper, when you put it in front of you and you play it in the right hand, then make sure you leave enough space for the left hand. And then practice the right-hand and the left-hand. Then practice it together slowly. Practices slowly. And this will give you an extra push for the rest of the course. For your challenge number two, I want you to play the scale of G-Major, the same scale as before. And using your left hand, you play the octaves of the root note of the scale. So this is pretty great for this challenge and it's a bit tricky. I want you to play the scale of G major and your right hand, okay, I'll not play it, I'll play the C major, okay, so let's suppose it's C major. I will pay the C major in my right hand. Then in my left hand, I only play the root note. What is the root note of the C major? It see. You play it as slow as you can to get your hand moving around the piano keys. But you do the same using the G major. You play the root note of G major, which is g obviously, and you play it an octave. Then you play the G major scale in front of you. You play it, you go up, and then you go down. For your third, the challenge, I want you to play the scale of G major, the same scale in both hands. That's it for the challenges. If you were able to do that going oxidation and if not, try to do it one more time. 20. Vid 11 - Key vs Scale: Key and scale. What is the difference between them? It's an easy concept. You have to understand it. When we are talking about a key, we are talking about a single key. For example, I'm talking about the C key, or the E-flat key, or the F sharp key, any key on the piano as a key. Okay, so this is a icky. Icky. A scale is a group of certain keys. So I can, for example, say that the scale, I can't say that this is a scale. Why? Because it's not a group of specific keys. Instead, I have, for example, to say the scale of C major is a group of the white keys. That scale of F major is a group of this key, this key, this key, this key, this key, this and this and this. So it makes, so if I want, for example, play the E minor scale. If I wanted to play the E minor scale, I have to play a group of specific keys. I can't play any key, I have to play specific keys. And this is all based on the pattern that we learned. Whole half, whole, whole, half, whole, whole. To make the minor scale, I know it that it's so if I play any note outside those notes, it's not the scale. I have to play. One of those nodes. A key is a normal key, but a scale is a group of keys. What keys, specific keys, for example, in the E minor scale, I have to play only those keys. And so the main difference, stronger sand is a key as a single thing. But a scale is a group of those keys. It's a group of the key of E, key of F sharp, key of G, a, B, C, D. Okay, so any key replay from this is including the scale. 21. Welcome to Day 3 - Chords: Chords, the most important thing in music and piano instrument, like a guitar. When you are talking about chords, we are always talking about a combination of three notes. I want to play the chord of C major. I start by C and play the chord of C, E, G. How do I know that this is E and G with C, We are going to learn it after this lecture. But all we have to know is that we can play those scores together or we can play them separately. We can play them over template and like this, we don't have to place an order or together we template as we want. But the idea of course is that it's a combination of nodes. So if I want the court, for example, of I can play the chord of E. This depends whether the chord is major or minor. As we have scales, major scales and minor scales, we can have also major chords and minor chords and many more types of chords that we will learn later on. But for now, all I want from you is know that we have major chords, minor chords, and the courts are made from three nodes. They don't have to be played together. We can put one after another or a template them in the right hand. We can play it like whatever we want. We template, whatever we want. We can play a chord like the y. I'm playing chords because courts are the main part of music. And later on in the advanced part of the course, you will start learning songs. And songs are made from cords, and therefore, any sound is made from a progression of codes. And later on we will discover more about what is called the progression and how to do it. But for now, all we have to know is that the code is three nodes. 22. Vid 2 - Major Chords: What are major chords? As we learned and scales, scales are made from a certain pattern that we have to respect to make it. For example, I want to play a major scale. I have to respect that pattern. Whole, whole half, whole, whole, whole half. And the same thing applies to records. But here I can follow that pattern. Whole, whole half, whole, whole, whole half. I have to follow another pattern. And it's starting from the root. We count four, then three. I will explain more. Let's suppose I want to play the chord of C major. I start by sea, okay? And remember, the code is made from three notes. I want to play two more nodes, okay, I have two notes. Replay what I play. I count four from this node and three from the next node. What for and what S3. I'll explain it to you. I have to count four half-steps. What is half-step? As we learned, half-step is going to the smallest movement possible. So from here I have to go up four half-steps. So this is the node c. Let us go up four half-steps. One, true, 34. So this is our second note. This is our second node. Now we have one node left. After four, we count 33 starting from here, 123. This is the third node. So the chord C major. This is how we make the chord C major. To understand more, I'll give you another example. Let's play the chord of G major. When I say, Gee, I mean that the root node is g. I start by GI. I play the G. Then I want to count for, from this G, 4.5 steps from this G, I counted 1234. This is the second node. Then I want to count 3.5 steps from this node. I go up. This is the code of g. One more example. I want to play the chord of E major, and for now I'm using E major, I'm using the major, not the minor. We will learn the minor later on how to play it. I simply start by E, then go up four half-steps. So 1234. Then I go up 3.5 steps. Starting from here, I want to have a final example, and it's the D major chord. How I play the D major chord, I simply start by playing this node. This node. Then I want to go up four half-steps. How I do it? From here. From here I go up 1234. So having F, but not F, F-sharp. And also from F sharp, I want to go up three steps. So I go from here, 123, I'm having the node a. The code altogether is. Therefore, every time you want to make a major chord, you have to follow this pattern. Remember that this only applies if the root node, the base is at the bottom. If I want to play major, I have to play image of sourcing from here. If I started from here, which is called inversions, and we will check later on. The rule doesn't apply. There were only applies if we start from E. One more tip about the major chord is that major chords always sounds happy. It's major chords always sounds happy. 23. Vid 3 - minor chords: What are minor chords? Minor chords are exactly the opposite of major chords. It doesn't mean that if we play the major chord C, the opposite becomes minor. Because I already mentioned that we can play the chord whatever we want. We can play it like this. Where I can put whatever I want. But minor chords have a different structure. Instead of doing the 43 as we did in the major chords, I have to use three, then four. I will give you an example. We've played the C major chord previously. Now I want to play the C minor chord. I do see. Then I go up three half-steps instead of 412. Then I go up 4.5 steps, 1234. We have the score. We will have another example. Let's do the G minor chord. To play the G minor chord, I start by g. And be careful, this pattern 34 only applies if we are starting by g because later on we are going to play the G minor chord, but not starting from g, something called inversion that you will discover later on in the course. But for now, we are starting from the root node. We count four half-steps, so 123, and then four half-steps. One, true, 34. We counted three from here to here. Then for this is a minor chord. Now having a final example, I will play the chord of E minor. The chord of E-Minor start from E, and it also have three half-steps up. We count 3.5 steps and we are at the node T G. But now instead of three steps, I will play four steps, because 34 and the minor one and then the major 143. Here I played three there I wanted to play for, I play four. We have the chord E, G, B. This is tricky, but the one thing that you have to know that you go three. Then for starting from here it goes 123. Then for suffering from here you go here 1234. And you will have a minor chord. 24. VId 4 - From major to minor chords: I'll give you a small trick on how to transfer from minor chords, two major chords. If we have, for example, the C major chord that you see in front of you. We have the C major chord and we want to play the minor version of it. So the C major is this court. Now how to play the minor? I have to play instead of 43, I have to pay 34. I count one, and this is the root. So 123, then 1234. This is now my inner virgin. So this is the major. This is the minor. How to do it? I just switched fingers. Instead of playing this. I switched my finger here. Okay. So you see from here to here, I'm letting my third finger up. Okay, so I'll give you another example, that G minor chord. Now, how to transfer from G minor chord, G major chord. You can't see the difference that all I'm doing is moving my third finger up and down. Now, is there a rule that their major is down and the minor is up? No, not treated. And I consider that you have to learn how to play the course from scratch, but take it from me and try it. Try it now. Okay, So try playing a minor chord of something. Playing a major chord of something. And you can see that the main difference is just you have to shift your fingers up and down. This rule does not apply to all cores because there are certain exceptions, but you can try it so minor, major. If you want to pay the miner, you shift your third finger to the left. If you want to play a major, you shift your third fingers to the right. Okay, This is a good trick. You can use it. 25. Vid 5 - Major challenge and correction : Do you think that you can continue the course without making a certain challenge? Well, here I have it for you. For your challenge today, I want you to play the following chords. D, E flat, B flat, D flat. Note that all of those courts are major because another challenge, you'll be playing the same course. But in the minor version, to play those scores, you start by playing the G major chord. You press the D on the keyboard. You press the piano keyboard, and you count four from that D. And then you count three. And you do the same for all of those. Pause this video and try to play it on your own or write it down on a piece of paper. And then in the correction, you see if you're right or not. Correct that challenge, I want to show you on that piano keyboard. How did we play it? We want D major. We start playing D. It doesn't matter what do you play. You can play this, this, this, this D. If you're wondering what are those sees. This C means it's on the left of the piano. This one is the first one also here. We have this. Nothing important as just showing you the difference between the octaves and the Cs. Okay, so never mind about this. Just keep in mind that thus U1 is the first. See that C2. I can see CSVs from the beginning of the piano. But now coming for our challenge. We can't see here that we start by the node. Okay? Then count four steps, three steps, four half-steps, not steps. So D, 11, true, 34. We have, then we count three steps. We have the score. We have this quote. If you were able to play it, congratulation. And if not, we have many cores left. For the next one. We have this starting from a recount for steps 1234, then 123, and we have this score. Then for the E flat major chord, we start by E flat and we count 4.5 steps from this. So from here to here, from here to here it is half. From here to here there is a half. And from here to here, the final hat we have denotes E flat and G flat. For the last node, we also count three steps, and it's the flat for the other nodes. Here it is the, the fourth quarter. We also account for half sets and three half-steps. And for the final one. The same concept applies here, and it's just to remove half-steps. 26. Vid 6 - minor challenge and correction: For our channel number two, we have the same as the challenge number one, but this time we have to play minor chords. That previous challenge, we had to play major chords, okay, we have to play the course D. And the other course we have to play the major chords. But now we are going to play the minor ones. And therefore, we have to do the same thing. We find the root node. But instead of working on that pattern for three, we work on that pattern 34. I want you to pause the video and try to play it on your own. You may play it on your piano or on a paper. You write down the keys of this code, which nodes of this court, and then you come back after you finished. You see that? How are we going to do starting from the first chord and it's D minor? We start by painting the node D, which is the root node. Then skip three half-steps and we become to F, then skip 4.5 steps one through four, and we become to the node. This is the core of D minor. Moving to the second chord, we have a minor. How are we gonna do this? Simply play the root note and then skip 3.5 steps one through three. On the third half step, we play it, then 1234 and replay this node and we have the Court of a mile. For the third chord, four chord, E flat minor. All we have to do is do the same thing. So this code is a bit complicated. I'll do it with you. We start by E flat. Now we move 123 and not four, we move it three. Therefore, it's not g as the major one, G flat. And from G flat remove four, so 1234 and we have the chord E flat minor. Small trick here is that an E-flat major, you had to play E flat. You have to play E flat, then g. You had to play G and set of G flat and then B flat here and the minor, what we did, we moved our middle finger a bit to the left. Okay. So we move from here to here. You can play it in front of you on the piano and see how you move your finger from here to the left. And it becomes easier to transpose from minor to major. Again, this rule does not apply to anything. Now for our fourth score, we have B flat minor. This is B flat major. What we do in it. We just moved from here to here, and it becomes like this. Finally, we have this chord and it's the D flat minor. But we don't want minor, rhomboid major. And therefore we move our middle finger from here to here, move from here to here and becomes this score. This is everything for a challenge. If you are wrong, don't worry. You will learn along the way and later on in this course, you will get better and better in this. 27. Vid 7 - Inversions: Inversions. What are inversions? When we talk about inversions, we remember the chords. And as the name says, it's something that we invert it. I have that chord of C major in front of me, and I want to invert it. How do I invert the chord of C major? If you take a look, we have the node C and E and G. To invert this court in the first inversion, I have to remove this C and put it right here. So all I have to do is remove this C or can remove it from the code and put it right here. How do I do this? By simply removing this node and putting get right there and it becomes this code. What I did is simply remove the node that was here and put it right there. And by this, I had the first inversion. This is pretty easy. Now, hi, I do the second inversion. I also do the same thing. I remove the node that is in their base. This is not the root node. This is the node that is in the bass. There is a difference between the root node. Node that is in debates. The root node is in the name of the scale. So if you have a scale of C major, the root is see. But right here we have the scale of C major, but in the first inversion, first inversion of it is the chord C major. It's still the chord C major, but inverted. So it starts from E inside instead of starting from C. This is the root position. This is the first inversion. This is the second inversion. What I did is I removed this node and replace the triad here. So I replaced it in the other node up and not active. So I got up and knock div and replaced it. So this is the first inversion. This is the second inversion. I remove this and paste it right here. So if we take a look how it sounds like from the root position, what is the root position? It's deposition that I'm highlighting right now. The position that we start from the root node of the root position as when we start the court by the root node, which is in this case C, it's C, E, G. Then what we did is paid the first node, then the second court where you moved the original node that was here and put it right here, from here to here, then here. And the second version, I removed the node that was originally here and put it right here. Here comes a small trick that what if we made a third inversion, even though it doesn't exist in this type of course. But what if we did a third inversion? It becomes like this. Let me do it with you together. We have this chord, G, C, E. I have to remove that G. And where do I put it? I have to put it right here. Same position. It becomes like this. I remove it from here and put the try tier. It becomes write this. What is this position? It's the same as the original position. It's the root position. It should position because we are sorting by the root node, which is at the beginning. We play this chord. But now we are playing this chord is the third inversion. You see it's looping around itself. To understand inversions more, I want to give you another example. Let's take the code of F Major. F major, as you see, is made from the node F, c, because it's major. We skipped 4.5 steps, 1234, then 3123. Therefore, we have the code of F major. How do we make the first inversion of this? Well, we remove this node and put a try here. So I remove it from here and put it right here at the top. Instead of keeping it here, I put it right here. The court moves from here, from this to this. Then how to do the second inversion of this, as you know, are removed this node, which is in this case the node a, and put it at the top. I put it at the top and it become this chord, C, F, a. Okay, so every time I want to play something, I played from the root position. Root position is the neutral position. We do nothing. The code we just played as it is. Then we move the bass note and put it on the top, and it becomes the first inversion. Then to make the second version, I also remove the node that is in the base, that is in the bottom, and put it up here. So it becomes the second involvement. 28. Vid 8 - The 5' chords: What are the five chords? The five chord or fifth course. It doesn't matter what you call it. What's important is that concept of the five chords set of playing a chord like this chord and playing it like this. All you have to do to play the five chords is removed. Middle finger. So it becomes like this. Why play this? Because later on in the course, we will start playing by ear or rootstock blink songs we like. It will be easier for us. And it will be more beautiful for the sound when you play the fifth IT, or the five course as you want to call it. The concept of this as for example, and that G major chord. Instead of playing the whole code and playing G, You can't play only the court, the beginning of the code, the end of the court. This is to save time calculating what is the court and to make it easier for you. But later on you will discover more why we are using the five cores. But the five chords, what's good about it is that in the major code, for example, G major, G minor chord, G, B flat. Five chords of this is the same. It is the same because we stored and re-add, but by the same one, it doesn't matter if you have B or B flat, it will be the same. Therefore, we use the five chords to make the song sounds more beautiful. And you will discover later on in the course. 29. Vid 9 - Major 7 chords: Major seven chords. What are those scores? Those scores are different from the usual loads. Low scores are different from the usual codes. Usually, a chord is made from three nodes. For example, C major is made from the three nodes, C, E, G. But here in the major seven chords, we are going to add one more nodes. So it will be four nodes. Let me explain it more. When we talk about a major seven chord, we mean that we are playing a major chord in normal Major code plus four half-steps. So let me clarify. I want to play the major seven chord of the node C. I play normally the chord C, E, G. I add four half-steps. So I added this node, I add 1.5234 steps, and we have the whole court. It's called major seven, C major seventh. This is how it's called C major seven chord. Let's do another example to understand more. I want to play the F major seven chord. F major seven chord. We start from F for sure because it's the root node. We start from F and replay the code of major. So instead of thinking that I want to replay the major seventh, just think that you want to play the major chord of F normally, which is F, a, C. So you want to play normally the code of F-major, but this time because it's a seventh chord, you add 1.5234 steps and it becomes like this. Give you a final example to understand it, I want to play the chord of F sharp, seven major. F-sharp, seven major. First it's saying about F-sharp. F-sharp, it means we put F-sharp. We put a frog. Then because it's major, because its major, we have to put a major chord from the F sharp. So how do we play the major core from drop? As we learn, we have to play four half-steps than three. Let's count together. One, this is from here to here, 1234. We have the node a sharp, and we play the note a sharp. So for here, we have half a court. Now I want to play the third node from the major chord because we are aiming to play a major seventh chords. To play a major seventh chord, we have first to play the major code than normal major chord made from three nodes. To play it, I have to skip three nodes. So from here we count one thing. We become on the C sharp and C sharp. But we are not completed yet because we want the F sharp major seven. Over this. Over all of this, we add four steps. We add four steps or four half-steps. I mean, after we add four half-steps, we go from here, from here to here, 1234. So we have to add this node. We add this node. We have the code of F-sharp major seven. This is not complicated if you try it on your own and practice the three-quarters that I gave you right now. Okay. So try to make it on your own and let's jump to the next video. 30. Vid 10 - minor 7 chords: We learned about the major seven. Now we are going to learn about the minor seven. And it's a bit similar. But you know, when we jump from major to minor, we switched some roots. I want to go back to the code that remade, and it's the C major seven. To make it minor, we have to memorize a pattern of three for 3343 to make the minor seven, to make it, Let's do it here. Do we have three for three? Absolutely not. Because we have the major one. Now we want to do the minor one and we have to make some changes to this. First, we keep the first node as it is because it's the root node, it doesn't change from major to minor. Fifth node. Lucky, we keep it as it is. Just the second, the last node, we shifted to the left. So instead of E, we put E flat, and instead of B, we put B flat and becomes like this. It's also a bit jazzy. Coming to this code. This is the major seven chord of the note F. Okay, so it's F major seven. But we want to make it minor. How we do it? We leave this node, the first node, and the fifth node. We leave it alone. Not because it's the fifth, Not because it's written S5, that it's the fifth node. Here, it's C5 because it's called C5. We leave those alone and we have to move this node, the a and the e. We have to move it to the left. Those two nodes, we leave it alone and we just have to prove that the gray ones, we have to move it to the left. What we do or that we have with land and put a flat. So it becomes like this. If you hear those two chords, the sounds pretty good. So for the final one, and we did it in the major one, we make this chord, okay, this is the F-sharp major seven. It starts from F-sharp. We want to make it minor. We leave the first note and the fifth node. We leave it. And we go, okay, let me highlight it to you. You leave this. You go down half a step from those nodes, from the third node and the last node. And you go down the note sharp and set of HR, we put a and instead of f, we put it. So it becomes like this. This sounds a bit jazzy. This information will be rarely used in music, but it's essential to know it. Okay, So this is everything concerning the major and minor seven chord. 31. Vid 11 - Inversions challenge: I have a challenge for you. Play the inversion of the following chords in major, G major and E-flat major. You have to do the first inversion and second inversion of each chord. The image record, for example. You start by playing the image record. And then you remove that base node or the node that is in the beginning and put it at the top. And then you do the same in the other bass note. You keep doing the same for all the three chords. Pause the video and see if you were able to do this, then I will correct it. For the first course, we have the chord of E major, the base we have denote here. We have the node G sharp and then not being. So, how do we play the first inversion? All we do is simply remove this node and put it up there. Remove it. We will be having the first inversion. From here. We move the bass note and put it up there. So it becomes like this. To make the second inversion, we have also to remove the bass note, which is in this case G sharp, and put it up there. So it becomes the second inversion. We can play it like this on the piano. If you want to do a third inversion, which doesn't exist because it's the root position. We remove this and put it up there. So it becomes, it becomes normally as the original position. And if we remove this bass note and put it up there, we will be having the original chord, which is in this case E G-sharp, B. 32. Vid 12 - Splitting piano chords: Splitting piano chords. We learned that a court is made from three nodes. And we recently took the example of E major and that challenge. How are we going to do splitting code? What is splitting course? It's the fact that instead of playing chord like this, I can't play it. One here, one here. Instead of playing the court as a whole. I play like this. Then if I want to move to another court, for example, the concept is you have to play it with a certain rhythm. So instead of playing it, you have to play it in a rhythm, okay, in a certain region, for example, 12121212 or one just to CSO. The point here is not to actually pay the code, but the point here is true. Let you know that there is something called splitting gourds, and we will use it as we progress throughout the course. So if you want to practice, you can't play the note E in your fifth finger, then the node G sharp and your third, and then note be in your first finger, then you play like this. 12121212121. That come back. Try to practice it. So you feel comfortable doing this. 33. Vid 13 - Splash chords: Here we are going to talk about splash codes. What our splash codes. When you see, for example, in the first one, c, then slash, then a, it means that in your right hand, you will play what's on the left and your right hand, you will play the chord. See it? When I write C, I mean that I wanted to play the chord of C major. If there was not C major, the mean that this is c, Okay, so we don't have to always write C major, we have to write C. But if you take a look on the cord here, d, M, it means D minor. Here, it means G major. Here it means C major. So for the first one, we have C slash a. What does it mean? It means that in the first place you have to play the chord. See, in the right-hand, not in the left-hand. Try not to confuse edit. If C is written here at the left, we played with our right hand. With our left hand, we play the note a. Okay, So the left written the node C, we play the chords here. And as the left, we play the note a. Okay, I'll give you another example to not confuse. We have d m second inversion. What is the M first? First we have D, then D minor. The m is called minor. Let's go up three half-steps than 4.5 steps. 123, then 1234. This is the court, but they want the second inversion of this. They want first inversion. We put the d and we put it up there, so it becomes like this. Then the second inversion, we remove the f and put it up there. So it becomes like this. This is in the right hand. Not only the left-hand replay the single node D, a single node D. Or we can play it here. Tricky of them close. We had in the first place, we have this. Then we have this. For the third chord, we have written g first inversion. By g, they mean G major. So let's play the chord G major, and later on figure out the first inversion. Let's play the chord G. G major means we have to go force to half-steps and then 3.5 steps. So 1234, then 123. But they want the first inversion, not the root position. First inversion. We remove the G and put it up there. So it becomes replay it with my hands carefully. I can't play like this. It will be so much difficult for me to play it. I have to play like this was my first, second fifth finger. This is the third chord. At the left hand, we play the note G. Then for the fourth, one, for the fourth splash scores, we have to play the chord C and our right hand because it's written on the left. Let's be the chord C with the second inversion, we have the core scene. The first inversion is this. The second version of this. With the left hand, we have to play what's written on the right and it's seen. Let's put our right hand back here for our fourth splash scores. That's it for our splash course. And to play it altogether, we will be having it sounds good. You can't play it at your own. 34. Vid 14 - Sus 4 and sus 2 chords: Sat scores. What are some scores, as you see in front of you if the screen, this is a code that is somehow weird. Instead of playing the notes C, E, G, we played C, F, G. But why is this? Because we are talking about sauce. For course, the normal code should be the chord of C major. But here we play this. You can analyze. We remove the third finger and put and set the fourth finger. Replayed like this. Instead of playing like this. Instead of your third finger, you put your fourth finger. Why? Because it's such a four core and coming to the SAS true set of blank like this. We play like this. Okay, So the trick here is in your third finger and place and set your second finger, your fourth finger. This applies to all the course. We are going to see it in front of us here. Instead of playing the C, E, G, We are playing the C, F, G. If you put it together, it sounds like this. You see the difference between here and here. And here we place our fourth finger and therapists our third finger. Now in the SAS to, instead of playing the chord like this, we remove this, which is our third finger, and place our second finger. This the node D instead of link this, replay this. What is the use of sauce chord? We can place our scores in a beautiful way. You can practice this at home by playing with sus4 chord. You play the songs for code which is c, f, g. You play the octave of G. You play the octave of gene. You put it together. Then you play the C octave of C. It sounds beautiful because it's about the SAT scores. So again, you place the fingers here on octaves of G. Then you go back to the scene. So you can fight with sauce to court. With sauce for I play the sounds for them that reposition. It will search through I play the substitute, the root position. Let's try it on another scale. Let's try it on the G major scale. G major scale. I will play the chord G major. Also. If I want to play the G major, I can play normally like this. This is the code Gmail, but I want to play the sus4 chord of this. How do I play it? I just removed my middle finger, which is in this case, then note B, and place it on my fourth finger, which will be here than node C. So it becomes, instead of this, it becomes like this, are removed from here to here. If we play it together on that piano. Here. I want you to play the octave D. That's underscored of the chord G major. So I want you also to try to code. So I place my second finger. It sounds great. We'll be using this in music later on. 35. Welcome to Day 4 - Mastering chords: Starting with mastering core, what are we going to do throughout this chapter? We are going, instead of playing single course like this or like this, we are going to play a progression, of course. What is a progression? Of course, it's a, an assembly, of course. It's a group of chords that we play in order to play songs. Every song is made from a progression. Of course, there's no song made from one chord. If I want to play a song, I have to learn how to play a progression. Of course, it's not anymore about learning how to play the chords. In that beginning, we learned how to play the chord, the minor one, the major one, and all the type of course. But here we are going to learn how to play a progression. Of course. It's about the logic, which score to play now and which court should play after this code. For example, if I play the score, what color should I play after this code in order to have a beautiful song? And throughout this chapter, we will learn also a song called perfect for our children. So this is the song that we will be learning during this chapter. I hope you enjoyed because mastering course as a main path for learning new songs and without it, you will not be able to run your songs. Therefore, go with me and dive deeper into this chapter. 36. Vid 2 - What are chord Progressions?: What is chord progressions? When we talk about corporate aggression, we mentioned, we talk about a group of chords play together. For example, this song for assurance is made from four codes that we'll be learning together right now. So it's made from this score, which is the F, then this chord, then this chord, then this score. Can we play those four chords in a different order? No, the core progression will change. What I want you to understand is that if you change the order of this core progression, we have another song. For example. If I change the progression of this song, for example, we will have another song. I don't know its name, but we will have another song. You have to know that a progression, of course, is it called played one after another in a specific order. The chords, you can play it in the right-hand and the left-hand, as we did in the previous videos. You want to learn a new song, then you have to learn It's chord progressions. And throughout this chapter, we will learn how to play a specific song. Then later on, after messing this, you'd be able to play any song you want by only knowing chord progression and a bit of melody. The first huge step we have to take is concentrate about learning to play chord progressions. 37. Vid 3 - Chords in Left Hand: Starting with the left-hand, as you see in front of you, we have four codes. The chord of F, The code of d, The Court of B flat, chord of C major. I didn't try it as major and D major or B flat major to facilitate for you why playing the piano? So I've written the course from below. The top. I've written F a, C, then D, F a. But the next steps we are going to only write F major, D minor, for example. But for now you are going to see in front of you the full course we facilitate for you. So starting with the last ten, how we are going to play, as we know, the cold replaced with our fifth finger, third finger, first finger. This time, we are going to play the code with the left hand for this video. We start by playing this gourd. Then we jump into this chord. Okay, then we jump into this chord. Then we go up to the score. You have to imagine in a way that I'm jumping from here to here, to here to here. But to facilitate it for you, just make sure you jump in your fifth finger. Your fifth finger is here, and you like your fingers like this. You play here. You jump. You just look at your fifth finger. Okay. I jumped from here to here, but my fingers are locked. It's automatic. I jump. Then my fifth finger jumped to here. Then my finger jump to here. So I'm just tracking my fifth finger. I'm not tracking my whole hand. I'm just tracking my fifth fingers. So here, here, here, here. And I keep my fingers locked like this. Okay? I mean, like this. Like this, 1234. You will face some difficulties while playing this. You will face difficulty of not being able to play the full court may be, or moving to the next part. So maybe you play like this, then you will not be able to directly pay the code. Or you may face difficulty playing this course, for example, or like this. But the good thing is you can't do it all by practice. Okay. So try to practice 12341. I'm sorry, 1234. Okay. So try to practice this. And once you are able to do this, you can move on to the next video. 38. Vid 4 - Chords in Right Hand: Coming to the right hand, we are going to play the same chords, but this time in the right-hand and the left-hand, those scores. Now as our right hand, the good news is that in this part we are going to play the same. We are going to play the same, but this time is the right hand. As you mentioned, the finger locking technique. While I'm playing those scores, I'm not tracking my whole hand, so I'm not looking at that. I have to play this chord. F a, C, then D, F, a, then B flat, D, F. I'm just looking at, I want to place my first finger, that bass note or the root node. If you want to call it, I can put it like this. Then I move my thumb here automatically. My head moves with my thumb. Then I move my thumb right there. So automatically my fingers and my hand using your fingers locking technique. I use only my first third fifth finger. I play it like this. Then I just move my thumb from here to here. We have the whole core progression. Now you may ask me, where do we have to play our right and left hand. You can't put it like this near each others. So the difference between them is inactive. You see between the F. Here, there's an octave. But for this video, just try to practice the right-hand play like this and don't forget to have your hand up, Okay. So don't, don't put your hand down, try to move it up. Imagine that underneath your hand There's an apple. When you play and underneath your hand There's an apple. You have to put your hand like this. And not like this. Try to make it like this, and then zoom out a little bit. It will be difficult at the beginning to move from core to core to core. This is why you have to try slowly. So one true, then move Wong true, then move through. One thing you will face while trying to play the rhythm. Say that I want to play it faster or slower. And I'm telling you, just don't worry about the rhythm. We will fix everything and the next videos for now, after you have played the left-hand and the previous video, try to play the right-hand. Once you see that you are able to play the right-hand freely. Once you see that, you can play that right hand without difficulties. You jump on into the next video where we are going to do the next steps. 39. Vid 5 - Playing chords and octaves: We are trying in this video to combine both hands, right hand and left hand. It's very easy to combine it. All. You have to do, a strike you zoom out, okay, try to look at the whole keyboard. After that, try to play together. So then, then, then do this together until you're comfortable doing it. One thing you will face is that you will not be able to play fully the code or try to transition from one color to another. But I have to tell you that you have to practice a little bit and you'll be able to do it altogether. After you've done this. After you've done this, I want you to concentrate with me to jump into a new thing that we are going to learn. Playing piano chords in our right hand and playing only the octave in the left-hand. I'm going to play normally that accord and my right hand, by this time in my left hand and set off playing the whole court. I am going to play octaves. So I'm going to play the chord of F, C, but I'm going to play an octave of it. Okay? I'm not going to play the chords. I'm going to play the octave, okay? I know this is a bit easier for the left-hand, okay, So it's, so if you play the left-hand octaves, but for both hands It's a bit harder. This is one step further to advance and play a full song with both hands together. To play the chords and our right hand and octaves and our left hand, we have to focus and concentrate. I want you to play after me and pause this video. I want you to play what I'm playing right now. So I play, you see, here and here, I play octaves. Then I jumped into the second court. Then I jumped into that B flat. Then I jumped into this. See, you play like this until you are comfortable. You keep repeating the same process until you are comfortable doing good. After we are comfortable doing that, we can start singing the melody. So I found, for me, darling, excuse me, I don't know the rest of the song. Follow my excuse me for my voice also, but I'm trying to tell you what you have to do. So I found a beautiful landscape. Never knew The, someone didn't for me. We are just kiss when we love again, excuse me for my voice. But this is the best technique to play it for now. You can sing it in your voice and try to play the chords in your right hand. The octets and your left hand. You can play the chords and the octaves and your left hand and seeing it with your voice, you can start practicing this and playing this song until you're comfortable doing that. Then you can jump on into the next videos. We're going to be advancing more and more into the song. Then make other songs. 40. Vid 6 - Left Hand Patterns: After you are comfortable playing what we learned in the previous videos, we are going to advance into something called patterns. What are patterns? Patterns are something that are repeated. So if I play this note, this is a pattern. This is something that is repeated. How do we play pattern in music? Really repeat the same note. So I found a love for me. Darling, just dive Biden. Follow my knee. This is a piano pattern, but this is pretty boring. So how do we make it more exciting? Well, we use what we learned in the previous videos and playing the octaves. So how do we play patterns using octave? Have found a love. For me. Darlene, just die fine. Okay, but now we can make it more exciting also by playing one here and one here. Onenote try tier, and OneNote try tier. So found a love me. Now let me just try it on your own and see how it sounds beautiful. So instead of playing one note, we are playing a pattern. We are repeating them same notes. So 1121212121212. While you are playing this, feel comfortable to put your fingers like this. I'm just folding my fingers like this to make you see my fifth, fourth finger. But when you play it all has to do is relax your fingers as much as you can because it can be stressful playing from here to here. In case your hand is too short to reach between here and here. You can do, for example, playing this and then jumping to you. Normally, it will be a bit harder for you, but you can easily do it. Okay, so 11212. Okay, pause the video and try to play it on your own. Try to repeat and sync with your voice without your right hand. Try to play your left hand and saying would you have found a love me? Darlene, just die. After you've done that, we can move into more advanced pattern. Instead of playing only octaves, we are going to play octaves and fifths of that octet. So 11, true. If you're wondering from where I had the node c, I just counted five. So 1234512345, because we are playing in the scale of F major one. So you start by f, Then the fifth and the octave. After that, you move to the d. Count 512345. Every time I play something, I count the five of this. So 123451234512345. Then after some practice, it start being handy. So when you play this, you automatically put your second and your first finger here. Play like this. Then here your fingers automatically place themselves here. Then here, your fingers are placed automatically here. Then if at the beginning of your fingers didn't place themselves here, it's not problem. Just counted. Okay. Later on, your fingers will replace automatically, right? If you're playing on a small kennel keyboard, you might face a problem that you don't have the notes right here. I have the big piano so I can play it from here all the way down. But if you don't have a big piano keyboard or a limited keyboard, you can just play it like this. You can go up here. Or you can't play like this one. Then here. And then instead of going down, you just go up. I'm playing one to one. Instead of going down, I'm just going up. It's the same. Okay. You can go down. You can't go up. What's important is that you are playing the same optimum and fifth, okay. Try to practice on your own and asked her you've done that and you're pretty sure of yourself, you can move into the next video. 41. Vid 7 - Right Hand Patterns No.1: We talked about pattern and the left hand. Now it's turned for the right hand. So how do it? We can, of course play the same thing. We can play the same thing while found a mean, but I find it pretty boring. And so, because we learned a lot of things before, we are going to make it a bit advanced. So instead of playing backwards right there, okay, left hand as we did, we are going to play like this. I've found a love. I want you to play like this. Okay? Play the pattern and the left-hand and the right-hand just pay the normal chords without patterns. Try to play it normally. After you've done that, we are moving into the right-hand pattern. What is the right-hand pattern as Reno pattern is just repeating one thing. We can play it like this. But what we are doing is we are spammy. The whole code we will go into spend the whole course. So we are going to play, I found a love, truth. 1231234123123. Lenses die. Follow my knee. It sounds a bit boring when you start to play it, but I wanted to just to try to practice when it's spammy the right-hand. So 123123123123123123. You want to see you want to try to practice it and try to make it slowly. So 123123123, after we've done all of that, you are ready to play. The right-hand patterns are found a love me. Dalen, you continue to pay it on your own. And once you feel comfortable doing that, you are done with the right hand pattern. But please don't skip this video if you're not comfortable playing the right-hand pattern, this is so important because we are going to advance. And songs, try to play everything on your own, try to repeat as much as you can. And then you can move on to the next steps. 42. Vid 8 - Right Hand Patterns No.2: And because there is many patterns to the right hand, I'm going to teach you one more pattern. And this pattern is more calm, Okay? It's more beautiful and you can't play it after you've practiced it. So we are going to play without the left-hand, okay, we are going to combine the left-hand and the next videos. But for now, you have to play one. What I'm playing is pretty obvious. I'm playing the root note. Then the third fifth, 1 to one. Then move on to the next chord. One. I'm playing the first finger, third fifth, 1 to one. Then a moving gone. Then I'm not doing something strange. I'm just playing the root note. This van jump on. Very Pete's. Try to practice on your own and play slowly. 1211212, then move. Okay, so each chord you play two times, 1212 or four times if you wanted to count it each one to one. 11. Keep repeating. Don't accelerate, plate slowly because later on, after you've combined both hands, you can start having a bit of acceleration. 43. Vid 9 - Combining Both Hands: Okay, We learn left-hand and we learned. What do we have to do now is combine both heads. I want you to pause the video right now and try to play those on your own. I'm pretty sure you are excited to play it both hands together. Maybe you have tried to play it on your own before suddenly this video, and that's okay. But I want you to right now to pause the video and try to play both hands on your own. After you've done that, come back to the video and I will be showing you how to play both hands together and our feet and follow up. As we learn, we are going to play it together. I want you to zoom out your vision. I want you to look like this or the piano. I wanted to do it at all the piano. Try not to focus on a specific node. I mean, don't try to look only on your right hand or only on your left hand. Try to zoom out and look at your both hands. Okay. Try to zoom out as much as you can. Do. Not only look at your left hand or only look at your right hand. That's a mistake a lot of students face. So I'm going to start starting with the left hand. I played the octave, I mean the root node and then the fifth and octave. One, true. And I'm telling you, try to make it handy, play this, and then directly your second finger should lay on this piano keyboard. Okay, Then this for my right hand, one true, one true. Each 12 times I have to play it. Okay. So let's start to get that one. Then we jump to that asked. I'll repeat it. I play slowly went I play my fifth finger. I pay also my first finger. So try to articulate as much as you can. Don't fix your fingers like this. Try to articulate so make it obvious that you are playing this note 1212, then we move on. Be careful of the articulation. Try to articulate as much as you can. And don't forget that I'm not tracking my whole hand. I'm just trying my fifth fingers. So I moved from here to here to here to here. I'm trying to let my hand place itself. So like this, if I let it plays itself, I let it plays itself and also my right-hand, the same thing. I'm using the finger locking technique one to one. True. Let your hand place itself. Try not to worry about the specific goals, okay, So one, to make it obvious, jump here, 1212. This is how you play the both hands. Try to practice it on your own practice until you are comfortable doing this. And don't worry if you didn't make it from the first time, you will make it with practice. I'm pretty sure. 44. Vid 10 - Playing your first song: Congratulations, you are now able to pay your first piano song. To repeat. What we did is just for the first time played the left hand with the bass note and then the fifth and the octave. We could do that. We could spend like this, but it's a bit ugly. We play this and then jump here. Then we did it for the record, okay, So we did it for every chord. And then the right hand, we only pay this, this, this, this. So all we did is just first thing, new the chords. We have to know that the cords and then try to play the patterns and the right hand and left hand and then combine it together. That's all you have to do. Play know the chords, okay? You have to know the course, because if you didn't know the course, how would you pay the song? Then you play the left-hand pattern, octave and a fifth note with the octave and fifths. Like this, you try to dance your left hand and then like this, then by right hand you play the same. And then you play it with your voice. I will try to play it. As you can see what it sounds like. Have found a lot of Darlene, just die Biden. Follow mine. He found a fall and sweet. You keep playing this all the songs. And if you want, you can play the lyrics in front of you and you can start singing the song. That's how you do it and try to pay a song by singing it. Was your voice. 45. Welcome to Day 5 - Diving Deeper: Piano groups, what our piano groups. So in the previous videos, we learned how to play a note. And then you may pay attention that I made it very obvious that please don't look at individual nodes. Nodes, look that one. And then 12345. Then this note, no, let your hand put itself. So let it put a self one to make it relax and try to let your fingers lay on the keyboards automatically to warm, true? And it may sound weird that why my finger has to lay this automatically. This is called piano grip. What is piano grip? It's when you make your hand position itself automatically. You tell your hand that I want to play the first note and then the fifth, and then the octave. Play one, true automatically. Also finger lucky technique is a piano grip. What is a grip? It's something when you grab it, you make it locked. So I lock my finger from the finger-like technique. I put it like this one, for example, like this. So my fingers are ill, are locked in this position. They can't move. For example, I can play. I have to make the distance between my fingers equal. This is a grip. When I grip something, I make my hand locked. I don't let my fingers slip to another node or something. I just play 12. This is obvious for me. One cube, I'm not paying, for example, like for example, I'm just paying their left hand. I'm not saying, for example, I'm just blink. Then I'm blocking my finger into a certain position. This is called piano grips. Everything we use is a piano grip. So the first kind of grip was that I learned how to play one and the fifth and the octave, the root fifth octave. This is a group and this is so important to know because we are going to use grip all along with this course because it's about also we will learn it on how to play by ear. This is exciting where grips comes in. So try to know that the concept of grip as just making a certain mood. 46. Vid 2 - Intro to combining hands: In combining, hence, we are going to learn many things. For example, I'll teach you how to take herself for it to another level to make it sound more advanced. Or blending both hands for playing one hand and another hand? Or also, I will show you four level of learning. You will learn. For example, this is level one, level two, level three. For example, there is many levels and you'll discover it later on. I'm also going to teach you how to use the pedal and how to play. For example, I'm playing this F, but if I hold that pedal, I live it and it keeps. It sounds more beautiful. I'll teach you how to do it and don't worry if you don't have a pedal, it's okay. Then I'll give you some tips on how to control your breath because some students struggled to breath properly while playing the course. They were stressing out because they couldn't handle both hands. And then I will teach you how to put your hand positioned properly. Although I told you in the previous video, how would you put it like this? But I'll give you also some tips on how to play both hands. This is just me trying to perfect. You're playing two. After we have perfected our play, we are going to take on the next level because if we didn't make the first-level perfect, We cannot move to the next level. And so we'll discover everything in this section. 47. Vid 3 - The 4 levels of learning: What are the four levels of learn? The first level is the one we did previously. We just play. That I will do is getting more complicated. And the right hand, we introduce the inversions and the right-hand white thing as long we learned that inversions previously, but now we are going to play it in a song, okay, so we are going to use it in versions are as you remember, we play this. And when we are going to play the first inversion, we remove the bottom node or the root node or the bass note, whatever you wanna call it and put it up there. So that becomes like this. The second version of this. So we started using it in the song. So I'm playing in version. Then. I'm playing the root position. Then I'm saying that inversion also. Then I'm playing also an inversion. We're going to see it more in details. Then in level three, we are going to use something special in the left-hand. Instead of playing like this. We are going to play. We are going to see it more in detail. For the force level, we are going to learn how and went to spam the right-hand. So that of course we will add the pedal and we will add everything. So if you're ready to dive in to see what we are going to play into that left hand. 48. Vid 4 - Advancing Left hand: So in the left-hand to start, we are going to make something new. I want you to play this pattern. What I'm doing is 123123123123. I will play it like this. Then move to here, 123123123, One 23. I'm playing this. 123123, then 123123. Why I'm doing this? Because when we add that both hands, it will become like this. 1231231212312121212. Okay, So I want you to concentrate because it's a bit complicated. This pattern is a bit complicated. Why? Because we are moving into an advanced level. I'm playing this then the fifth and the octave. So 12312 city, move to the second chord. 123123123123, then moved to the C 12313. Repeated all over again. One study, 12. I'm paying 12312. Then move on One 23123, then move on One 2312, then go up 1212. I want you to pay that all over again until you feel comfortable doing that. If you're comfortable doing 123123123. Okay, I want you to repeat that all over again and pause this video trash bit on your own because we will be adding the right hand with this. So pause the video and try it on your own. After you've done that, you add the right hand. The right hand will stay as it is. I play this thing right here. What I'm doing is playing the first time in my right hand and my left hand. I mean, I play the first time, 123123. At the same time I will be holding the right-hand. Together. I put both here. So 12312121, drew. Move on One, 212123123. Then move on One 231 to repeat 123123123123. I'm playing two times each court. I'm repeated two times. 12312, repeated 1123. Maybe you're a bit confusing how this fits in to the song. This is why I will let you hear how it sounds. Okay, you continue. So instead of being two times, you'll play four times. I will clarify this, don't worry, you will learn this. Repeats. When you play it slowly, it becomes more obvious. This needs a bit of training, and so you'll sing it as the song says. So 1111. You keep repeating this process all over again until you feel comfortable doing it, okay, please don't miss this video if you are not able to pay this clearly, if this was not clear, make sure repeat the video over again. So replay this. We are only transitioning from here to here. And for the left-hand, try to play it slowly. 12123123123. I promise this will be a bit confusing at the beginning, but I also promised that was practice. You will become better and better. This will be a bit confusing with rhythms and how to pay, but don't worry, just play it and repeat over again, that process takes time and you can't do it on your own truth. 49. Vid 5 - Advancing right hand: We advanced and the left hand, now it's soon for the right-hand. So what we are going to do is instead of playing this, we are going to use inversions. Inversions, as you remember, is when we remove this upper note, that the upper note, we can keep going up. But now we are going to use in something useful. We are going to play, for example, the first inversion or the second version of this. So what we are doing is playing the second inversion of this, okay? This is the same chord, C, f. Hey, instead of playing like this, we are plink. See, why are we doing this? Just keep continuing with me and we'll figure out later on that using inversions makes the movement easier for us. Okay, So we saw by pink this. Then what is the second chord? Try to pause the video and guess what is the second code after this? As you know, the second chord is this D. What we did is move our finger from here to here. The third chord. Try to pause the video and guess the third chord. Yes, the third chord is, this. Industry are not going to jump from here to here. We are going to play this, then move our fifth finger up. So we played like this one. Then the second court. Then the third chord was this. Then finally, we play the last court and it's C major. If you zoom out a little bit instead of blank this. We've played this. Or if you want, I can't pay this. Let's suppose we are going to play the second one that I played this. What I'm doing is playing the second inversion because I'm starting from the seed. So it's CFA. That original court was F AC. I invert it. I put the F up here. So it becomes like this. One more time. I put the a, I put it up there. So it became like this. This is the second inversion of the chord, F major. So like this. And then I have to play that D minor. Then I move my fifth finger up just a little bit. Instead of playing this score, I bring this court. That is the same notes. That is B flat, D, F. Then I go up using the E, G, C, U becomes like this. Found. For me. Darlene, just follow. Now after you've done this and after, of course, you pause the video and try to do this until you are comfortable doing it. We are going to the left tabs with it. I found the law. Darling, just die. We are going to repeat it, but this time more slowly. So I started with this, the inversion. Instead of blank, like a beginner, the root position, I play the inversion because it's more advanced. I play. Take it slowly, practice slowly, and you'll be able to do it. Or what we did is added the left-hand, the advanced left-hand that we did in the previous video. Then the right-hand, we did the inversion thing. Instead of playing those scores. I picked an inversion position y to make them movement easier for me. So I paid. I adjust spelled like this, then move my thumb up here, move my fifth finger up here, then move all my hand up there. Try to pay this slowly. Add the left-hand are found the love. Darling, just follow mine. The left-hand is keep playing. We'll keep playing on and on and on. The left hand will not stop. The right hand will play only the course. So try to practice it slowly because we are going step-by-step. And then after you master this and was able to do this, you can move on to the next video where we are going to learn a more advanced level of the right hand. 50. Vid 6 - More advanced right hand: Moving to the final part and the final level of the right hand and it's spammy the right-hand. Let's remember what we did in the previous parts. We did. I don't like this. Now, what you are going to do is PAM that right hand, but not spam. Spam is play it with the rhythms of the song. 1234123412341234. What I'm doing is 12341234. I'm playing with the rhythms of the right-hand. I'm not just spamming one too. I'm just blink with the rhythm. Just gently. I press the court and play 1234. I wish my voice was a bit nicer, but what we have to do, we have to just date on the rhythm. So 1234 types of practice, the right-hand alone, repeated with both hands. Let us do it together. Instead of playing just like this. It sounds boring. What I'm doing is spanned the right-hand with the rhythm. If you were paying attention, I'm playing the right-hand four times. So 12341234. So all I'm doing is just playing it with rhythms. 51. Vid 7 - Blending with Rhythm: I have to tell you that there's something that will be a bit difficult and it's counting, counting both hands. How do we know when we are going to play this? So how do I know when I will be painting the right-hand or the left-hand. It's a bit confusing how I'm going to play this. This is why I'm telling you that try to count in your hand, try to call 11. C. I confuse also I confused. Also went playing. This is why you have to count very carefully. 1212121. True? You continue on and on and on. The most confusing part in the left-hand because you have to pay 123123123123. This is why I told you that in the first place you have to make sure the left-hand is perfect. As the song says, that as ten should be perfect. In order to move on to the next part, this is why I tried to count very, very, very carefully. 11. You can't divide and you had, for example, you can't say that every time I play 11 more time. One. You can't say every time I hit this key, not the first time, the second time I played the court. So one. Now I play the right and then I go down. Now that right-hand then repeats. Now the right-hand. Then when I hit this, then one more time, one more time. See you have to divide in your head and try your own techniques and how it works for you. But for me, this is everything you have to do it. My only tip is please play it slowly and try to count in your head or in your left foot or right food or anything you want to do, try to count with your feet. I don't know what you can invent your account, but try to count because this is so important. 52. Vid 8 - Hand positions and posture: In this video, I will tell you how to set properly. Control your breath and control your hand position. You have always to keep your hands relaxed as much as you can. Keep your fingers and your hands relaxed. You could put it here on the piano and take a deep breath and try to feel your fingers. I know it seems a bit like a yoga class, but this is important because so many students panic that they are playing so many things. At the same time, they are playing inversions and calls and octaves and fifths and everything, and they forget to breathe properly. This is why I'm trying to convinced you that breathing properly and trying to listen to yourself that your fingers, your breath is so important. Try to listen, for example, 12341234. You could play like this. If you play like this and this position 12. Maybe you don't want to play like this. Maybe you just want to play it slowly. One, for everything it comes to how much you want to make it harder on yourself. There's people who prefer simplicity and just play like this. If you want to go on and the hardware level, you can't just be better. I know it's better about maybe you prefer simplicity. I also want to tell you how to sit. You have to sit like your back have to be straight. Try to breathe properly and your hand always make your hand like this. Imagine that underneath your hand there is an apple. You play like this. Never play like this. Your hands down. Always play your hand up. Keep your hands up. You'll get used to it. Wants to practice more and more that piano. Keep your hands up. Straight posture. It will make your mood better and try to breathe properly and make sure you play slowly, very slowly. And count. Counting is very important. Maybe you would love to be able to count everything from the first time and you will make some mistakes. It's okay. I made a lot of mistakes to arrive at this point, but Petri plate as slow as you can. 53. Vid 9 - Using pedal: Using pedal is something great, but not all piano players have a pebble. If you don't have a pedal, you can skip this video. And if you want to have more information about pedal, maybe sometime you played any concert or whatever or you saw in public and you want to play or the pedal, you will know how to do it. The thing is simple. The thing is when I'm thinking that code, so I obtain the first core set of keeping my hand here. I can play that paddle. Stop. Okay. And my feet I'm playing the pillow and remove it. Then removed if I place the puddle and remove my hand and keep that FADH2, I removed the sound stops. That. Remove that sounds stops. So it needs a bit of practice, how you put it and how we remove it, even though it is not necessary. But it's better to put pedal when you're playing some songs. If you're playing on a digital keyboard, maybe there's some, some kind of some kind of key you pressed. You can check the manual on the internet. There's some kind of key you pressed to make you feel like you're having a sustained pedal, okay, It's called the sustain pedal. It's not that important, but for those who have a piano, It's important to them. They can't play it and make the song sounds more beautiful. If you don't have a PEDOT, don't worry, you can play the sound normally. And again, as I mentioned, you can check your digital keyboard manual. Maybe there is something related to a pedal or a key that the sound a bit more beautiful, for example. I don't know, just check this out and I'm going also teach you how to predict petals. So when you're playing with both hands, for example, see, this sounds more beautiful. But if I didn't play with puddle, it sounds a bit detached one from another. So again, as I mentioned, you can try to mess around with your paddle, just play it a bit. Tried to put a bit of puddle, so a little bit. And try to play commonly because if you play too loud, it becomes a, becomes too loud. The neighbors come to you and you have problems. Try experiments with the pedal and don't be afraid of putting a bit of pedal every, every time, every time you put new code or something, try to experiment with this, you will get better over the time. 54. Welcome to Day 6 - Play songs: What are we going to do in this chapter? That past videos, we learned how to play a song called perfect for HCN. And we learned how to play chords, how to play the inversions, and the how to play the different left-hand and right-hand pattern. But what are we going to do differently during this chapter? It's actually a chapter to make you build your portfolio. Of course, you'll be able to play so many chords using many different songs that we are going to play in this chapter. I'll be going to play with you three songs that are my favorite songs when it comes to playing piano for the beginners. And we are going to do it step-by-step. Why to learn to play chords exactly, because when we move later on in the next chapters of the course, I don't want you to worry about how to play inversions and what inversions replay and how to pay the code. I only want you to worry about what codes to play. I'm trying to cover everything related to calls in version in order to teach you in the next chapters, maybe without playing by ear, what course should play. So I don't want you to worry about the technical side of playing the chords. For example, I don't want you to worry that how am I going to play the E major chord, this first inversion, second inversion. I only want you to worry about what code do I have to play as a major or D major, E major. So my point is to make you as much comfortable in the course as I can. And we will learn in this chapter to know how, what inversion to play in the right-hand and the left-hand? How to make exactly the inversion without much efforts. What about the melody? What are we going to do in the melody? Because during those chapters, we are only learning to play chords, for example. No, Maddie, we are making every single song without melody, for example, perfect accident. Did replace like this. We played it like this. Here, there's no melody. How are we going to play the melody? Well, this is why I made this chapter to make you feel as much comfortable in the course, we're using a certain technique I developed to make you feel uncomfortable as much as possible. Then the next chapters, we move into playing by ear. But concerning the melody, you have two choices. The first choice, which is the one I recommend, is continuing the course normally. And you'll be able to play songs by ear, completely by ear. Then after you learn to play songs by ear, you learn how to read notes. Maybe you want to play a certain song and you're not able to play it by ear, so you have to learn how to read notes. The second choice is to skip everything after this video and jump directly to the site trading port. You will learn how to actually play notes. But I don't recommend you to do that. Only in one reason. If you are too much excited how to play the melody, how to play the actual melody. The only way to do that is through learning how to read notes. After you learned how to read notes, you can directly go to the Internet and go search for melody of the song that you want and you can play the song using the course that I told you and the song or the melody that you are seeing on the Internet. But I don't recommend you to do that. Why? Because it's more fun and it's better to learn how to play by ear, codes and melody, how to play it by ear. Then reading notes will be a piece of cake because nothing is harder than learning how to read notes without being able to play by ear. It's not a great experience. What I recommend you to do is continue the course normally. And then after you learn how to play it by ear, you go and learn how to read notes. And you have everything in your pocket and you can learn whatever you want and whatever song you want. In this chapter, we are going to make some courts for songs and sing gets what songs we are going to paint in this chapter. Someone like you for Adele, can't help falling in love and easy on me. So these are three songs that are great to play for beginners. And you are going to learn so much in those courses. If you're interested in this, jump with me to learn how to play those three songs. See you. 55. Vid 2 - Start with left hand: Starting in our first song, we are going to start as usual in the last ten y in the left-hand because we liked talking by chords and chord or the base of every song. Every time you want to sort, I prefer to know that the course then go to the right-hand, starting with our first score. It's a major chord. Again, it doesn't matter where you play the chords here or here, or here. Because remember when we said that the difference between those scores is inactive. So it doesn't matter where you replay it, but it's preferable to play in your left hand, to paint in the left side of the piano. We stopped by this chord. The second chord is a sharp minor. Then we have F sharp minor. Then we have D major. If you're wondering how I made all those course directly in my head. Well, I use my finger locking technique that we use to you. I play this. Then minor. What is the minor? It's either this or this or this or this. How I directly know that this is minor. Well, I'm trying. What is this? Is this a minor one? Does it sounds sad. No, it doesn't. Therefore, the minor one is. Let me give you another example with an X score. It's F sharp minor. We want the F-sharp minor. Let's try it. We have either this or this. Let's try it. Does it sound major to you or does it sound minor? I think that this is major. How are we going to do with minor? I just move my middle finger here. Here. I'm not playing with my middle finger, so I had to play like this. I moved my middle finger, my third finger, I move it down. This is how I had the chord F-sharp minor without worrying about the spaces between them, I just directly applied what I think that this was right. Then we have the D major. So let's think about it. We want a major. Major is a happy one. How do we know that this is happy from the court? So as this happy as it sounds happy, I think that it sounds sad. Therefore, we had to play from here. We have to play this. We have to go from here to here. This sounds happy. I repeat. Then. Then then those are the four cores that you have to play it. But to make it more professional, I want you not to play this course like this. I want you to play octaves and fifths. So these are the octaves and between them then the fifth, 12345. It's more beautiful. I can't pay it like this also. From where I had the fifth, I just counted 12345. And plus the octave that is right here. This is the left hand of this song. We will see later the right-hand to have the full song. 56. Vid 3 - Continue with right hand: Coming to our right-hand, have to know what to play in the right hand. As we learned previously in the course, we also have the right-hand of the same course, but we play some inversions. So we had the first quote, this, or this, a major chord. We can't pay this. Then C-sharp minor, then F sharp minor, then we have the D major. But if you see, I'm jumping from here to here, to here issue here. What is the solution to this? I want to make it more compact. I wanted to make it smaller. What I do, I go to inversions. Inversions, for example, when I have the major scale, I want you to pay the first inversion. I remove this and put it up there. But how to know what inversions replay, although there's not a specific techniques, it, it all depends on the song and what sounds you want to play and what you want to play. But I will give you this video, a go-to answer. 1020 Ru. You play the first inversion. Then 0 means the root position than two means the second inversion. 0 means also that position. So we have four horse and his song, on average, maybe some songs contain three chords, some other songs contain five chords or six chords, but on average, songs contains four cores. We are going to use the pen 20 rule. Let's do it. For the first chord that is a major. We are going to play the first inversion of it with that original chord. The root position chord is this. What is the inversion? First inversion of this? We remove that base node, the first node or the root node, whatever you want to call it, and put it up there. It becomes like this. This is the first inversion of the first chord, which is a major. Now, the second chord, which is 0. And in this case, this is C-sharp minor. We don't play any inversion because it's 0, it's in the root position. We have the first one, the second chord. That is in root position. If you can't see, I just move my finger. If you're here. Why I moved from 15 or 2 fourth finger, that there is no reason, but we use the 1020 rule in order to make them movement easier for us. So instead of plank from here to here, I just played from here. It's the same code you can find on your own. From here to here is called a major and C-sharp Minor. And also from here, the decode a major and C-sharp Minor. By this time the a major was inverted. It was not the root position, it was in the first inversion position. So let's continue with this. We did that 10. Now it's time for the 20. Means that the second inversion, what is our third chord? Try not to confuse between 21 and our first code. Second code here we are dust, meaning that 1020. So first quarter, second quarter, third quarter fourth chord. The first chord in first inversion. Second chord is in the root position. The third chord is in the second version. The fourth chord is in root position. I tried to make this technique in order to facilitate for you understanding why we are playing inversions and when to play a certain inversion. So we started by this. Then this. And let's continue by our third code, which isn't a second inversion. What is our third chord? It's fast, flat, F sharp. I mean, because the symbol of hashtag, F-sharp minor. What is F sharp minor? It's this score. This is F-sharp minor. What is the second inversion of F-sharp minor? We remove this and put it above. Then also one more time, remove this and put it above on the top. This is the second inversion where you move the root node or the bass note two times. It becomes like this. If we rewind and repeat what we had, we had this score. Then for our final one, we have that D major chord. What is a D major chord is this. We have at 0, we haven't in root position, so that's repeated. See how beautiful is it? We just moved our right hand, fingers. We just moved from here. Move to the rock to the left. Then like this. Then like this, it facilitated on yourself. Try to have a piece of paper and write all the cores in front of you with inversions and without inversions tried to pay it in front of you. And you see that all you have to do is it's small movement in your hands. Again, this 1020 rule, don't work on all songs, but it usually works on most songs, and therefore, we are using it in this song. This will help you a lot with playing songs instead of playing all of the ugly root position. This is better. Later on when you advance in it and you went to become, when you become more experienced, you'll be able to recognize chords without even thinking about it. You'd be able to directly play this chord, a major chord. Then you move your fourth finger to the left. Then this, then this. So you'll be able to pay directly. But for now, just keep it simple for yourself. 57. Vid 4 - Play "Someone like you -- Adele": To pick it altogether, we have to concentrate a little bit. And that left hand, instead of playing chords, we decided to play like this. Right hand, we play like this. Then this, then this. Let's do it. But there's one thing if I played in front of each others, they will collide. So the left hand, this node of the chord of C sharp minor, will collide with my right hand. Therefore, what I have to do, I either go with my right hand up or go with my left hand down. I will decide to go with my left hand down because I would like them the less the right-hand core to stay right here in the middle of the APM. Let's start with this. Let's repeat it. As usually, I tend to tell you what mistakes you are going to before you do it. So when you are switching from here to here, you will face is small problem that you are not able to directly fix your finger or your hands on the right chord. And it's normal. That solution to this is to play slowly, to play it faster. But here we want to play also like this in our right tenth. So we discovered how to play it in our right hand and left hand. But now we are going to play exactly as the song sets. So we could sing this together. So that way I do it as we could do this. Never mind, I wish nothing but me. So I could play this, but I want something better. I want to do more patterns and my right hand, instead of playing with those scores. I could use it in a better way and arpeggiated. What is arpeggiation is when we play instead of this court replay like this. So let's do this together and try to make something looks nice. So we don't want to stick in a single method. And I'm counting on you to repeat after me everything I've played. So let's do it for their first score. What's the second court? It C sharp minor. So it's this score. I would use a second inversion of this assignment. I will not use my 1020 rule. I would use a second version of this. So what is the second version? I use this. And after that, I play the F sharp and fifth and octave. After that, I play also an inversion. I play a second inversion of something, and it's called the D major scale. But in the second inversion, I play like this. Then like this, I'm playing the same court. Then like this. This is the court of F-sharp minor. We didn't play the middle note, we just did this. The octave, the fifth, then the final chord. And it's D major. I play the D major but inverted, not first inversion and second inversion either that I did this repeated, I just paid first quarter, second quarter, but inverted. Third chord, but without the middle note adjusted the octave and a fifth. And then final court and the second inversion of the final core. What we have, if we pay it normally. It looks good. So what we have, if you play this normally, we will have like this. But what if I decided to arpeggiated RP jaded instead of playing this, I pay this. Let's do it an arpeggiation as a pattern because we are repeating something or doing. Let's do it together. I didn't do something magic. I address arpeggiated. Instead of playing the chord like this. I played it like this. Instead of playing the chord like this, I played it like this. You could just choose the old technique that we did. By. There is one more special and it's to do like this. I did drunk in the left-hand instead of playing like this. I paid only like this. I will tell you why, because if I play like this doesn't sound so beautiful. This is why it's better to hold the left hand like this. If we hold the left hand like this, we can date in another way. Now, will you ask me this question? Do I have to pay the first method? The second method? Well, it's up to, you could do the first method, which is just playing the inversions. Or you could pay the second method, which I recommend also because it's more like the original song and it's playing like this. See, I'm just holding the octaves and fifths, then octave and fifth, octave and 5th, October 5th, and my right hand, I'm arpeggiating like this. I want you to play this alone and try to repeat and repeat all over again until it becomes easier for you. Once you did that, you skip and you jump to the next. 58. Vid 5 - Transpose: Transposing. What is transposing before learning how to transpose, I want to teach you what is transposing and why we use it. In order to move from here to here. What I did, I went up a half-step. So I went from here to here. If I want to go from here to here, what I do, I went up a half-step and each of those nodes, from here, I want to go a half step up. I can't do this. I can't do also this. I can't do also this. I can't do this because it's C code. And if I want to move a half-step, I have to move all the nodes of the chords up. From here. I move this note up, I move this note up, and I move this note. So this is how transposing works. We move the whole code up, not one single node. Remove all the code up. Why do we use transposing? Because when I play maybe something I went when I play an icing thumps, for example. It's too high for me. What can I do? I can go down a little bit and go from here to here. It's more comfortable. It was not comfortable when I go down. It's more comfortable. Okay, so transposing is used mostly by people who liked to play piano chords and sing along the way as we did in this course. And transposing is important because if a song was too high on your votes, on your voice and maybe you faced it while you were going through this course. You played a song and it was true high on your voice. What we do is use transposing. Maybe you want to transpose this song that we played. You want to transposing, you want to transpose it to this, for example. See how it went up or I can go down. Okay, I can go up or I can go down. Here. We are going to make an example just to give you the idea of what is transposing, you can transpose it whatever you want. So here we have the example of the song that replayed. We have the four codes, a, c-sharp, F-sharp, and D. If you want to transpose it and go up. We go each scored by each chord from a, from the code a major, we go up to the court, a sharp major. So we go from this. From this, we go to a sharp major. What is a sharp major? Replay the a sharp. We go 1234123123. This is a sharp major, or we can call it a B flat major. It's the same. Then we go from here, the note or the corps de. Then after that, we go to the chord G minor. Then as written, we go to the code D sharp major, or like this. It's the process from going to this. Do this. I'm just going up. This will not be used so much in music because usually if you want to transpose, you simply change the scale. You decided that you wanted to go up. You don't transpose each node. Each node. Suppose you want to go from here to here. You'll keep going up 12345. No, you don't do it. You just learn the whole new song. You just play though all new song. But what I want you to do here is transpose from those node to the other nodes that you see in front of you of the screen. So we have to play from here. We transpose it to this. Then we have, from here, we transpose it through this. We have for now. It's the same. All I did is I inverted the code instead of this. I inverted the court. Then comes this because the minor, then this because it's the D sharp major or the E-flat minor. So D-sharp major, this is G-sharp, D-sharp major, and then E sharp major. It the same because D-sharp is the same as E flat. The same, faster to take a look. I'm also playing my fingers like this. I'm keeping my hands here. Okay, I'm not playing here. Then here, then here. Then here. I'm just moving my fingers a little bit and that's what I want you to get used to try to pay it like this. The first place instead of paying this, replay this where we went a half-step up. Now let's go back to the original position. Let's go up from here to here. See, the only difference is that we went up, it have stepped up. Instead of going here, we can go one note up. We have to go with the whole code up. We have to go this up, this up, this up. It becomes like this. If you go each individual chord up, if you go this up, this up, you will have the following code that you see in front of you of the screen. Play the following course. And if you can realize from a to a sharp, we went a half step up from C-sharp to D. We went a half step up from F sharp to G. We went also a half step up from D to E, D, D-sharp. We also want a half-step up, so we go a half step up and major and minor stay as it is. We could go a half step down or we could go a whole step up. So for example, if you went a whole step up, a becomes B, C-sharp becomes D-sharp. But here I decided to go a half-step up. You could do it f step up and half-step down. But the major becomes the major still a major and the minor still a minor because they are made from that same thing. All I want you to do from this video is know the concept of transposition. Because maybe you want to go up a half step or down a half-step. 59. Vid 6 - Can't help falling in love Overview: This is the song that you are going to play. It's called can't help falling in love. And it's made from corps and everything we learned in the first part of the course. It's made from bunch of things that we are going to decompose one-by-one and learn it throughout this chapter, we're going to learn what code it's made from and we are going to learn how I made those cores and how I made this pattern. We are going to learn all of this and we are going to learn some extras and some stuff that make it sounds more beautiful. If you're interesting in this, jump in to doing this song using all the knowledge that the first part of the song. 60. Vid 7 - Tutorial of our second song: How do we sort, as usual, we start by doing the left-hand. And as you can see in front of you on the screen, we have bunch, of course, that the song is made from. We have 12345678910111213 chords is a song made from 13 cords. No, but they are repeated. If you see we have 11 A1A, we have three A's, we have D minor, we have to be minors. We have to D major chords. We have, we have three D major chord. All we have also for the record. So if you try to spot in the code that we were repeated, we have many repeated. Therefore, all we have to do is just play what's written for us. So here we have to sort by the D major chord. So we stopped by the major chord. And then F minor chord, then the b minor chord. But let's do something good. We are not going to pay those chords like this. Going to do something more beautiful because we learned previously how to play the octaves and the fifth. So we are going to play it like this. Then we are going to pay the F-sharp minor. Then we have the G major. So as we mentioned, let your hand slip and let your hand go like this very easily. Then. Then in the second line, we have Foley. I want you to sing the lyrics. Why you are paying the song? If we do it altogether? I mean, I'm sorry, wise. You have to be able to play the rhythms while playing those codes. You have to try. 12121212, only fun. One to fall in love. I'm sure you have to listen to the song previously because I think it's better to listen to the song previously. And so if you want to drew their left hand, we have to play it like this. And so jumping to our right hand, we also have to play chords. Let's play chords together. We can, for example, let's see what we have replay. We have to replay this inversion or this inversion or their position. We can pay whatever you want. I'm trying to show you that even me, I'm sometimes confused what inversion I wanted to play because it all comes down to the same one. It's the same course, so it doesn't matter what inversion rural play, it all comes down to the same load. This is the same note. Let's start by this because it's more beautiful. I prefer starting for example, let's suppose you are going to play the 1020 position. Okay, So the first quarter, this inversion of this is like this, is in court. See? You went to me naturally, I didn't think that what gourds like directly, I played the first inversion. So let's do it. Let's pay on a lower octave or higher. Let's do it on a lower octave. So now F sharp minor, without playing the left-hand pattern, just like this. Okay, So, but the important thing is that in my right hand, if you can see what I did is played, then I apply the 1020. So this is the first inversion. This is the first inversion. And then the root position of the F sharp minor chords. Second inversion of the b minor chord. This is the original chord. Inversion C. It should come naturally. So then it's like you play the first inversion. If your fourth finger to the left, you move your third fifth finger to the right. Then what I do is also the root position because 1020. Then you will ask me why I'm playing like this, why I'm playing like this, why those inversions, Joseph, I'm not understanding why those inversions. And the simple answer is, I don't know either. I'm just playing it. How I feel comfortable. I could play. I could pay this chord progression, but I decided to play it like this. You should get used to those folds, okay, because it will be too much for us and it will go in front of us many times during playing those core progression, those kinds of chord progressions will go in front of us a lot of times. Therefore, you have to understand those positions or plate as you feel comfortable. Going back to our course, we have how I played those scores, but in different inversions. I could pay it in whatever version I want your homework is to try to pay those scores and whatever inversions you feel comfortable doing good, play any inversion and try to play those scores. My only point for this is I want you to feel comfortable playing chords. It doesn't matter what course you are playing, what an inversion route planing. I just wanted to be comfortable using inversions. This is why I made this chapter. So then we have the CTO of G major, and then we have the D major. D major. Then for example, I have G major. I could play like this or like this, or like this. Then I have the a major. I could play like this or like this, or like this, or like this. Then I have the E minor, D major. I could play like this or like this. And then the a major, then the, the major. So the whole point of this video is try to make on your own and try to play your own course. I mean, not your own code. These are the core that I had that you have to play in this song, but try to play your own inversions and try to make what feels comfortable to. I know it will be a bit difficult in the beginning, but overtime and as you practice the song, try to replay it. Try to pay the song. You will feel more comfortable playing those kinds of sunk. And I have many suggestions are also songs that you will discover it's wrong. But for now, try to practice this song and do it as much as you can using inversions and root position and all those stuff. Because when we move to that playing by ear section, it will be most difficult if you are not being able to play good amount of codes and inversions. 61. Vid 8 - Easy on me -- Adele: Easy on me for Adele. So we're going to start by looking in front of us on the screen, what chords we have. We have the chord D major. It doesn't matter what inversion on playing it. I'm just playing D major. I decided to play it in first inversion. This is the original position I decided to pay in first inversion. Then we continue to the second chord, which is in this case B minor. So I decided to pick like this. You see it from here to here. Then we have a major. What is a major? It's E, a, C flat. Then we want to play the G major like this. We can't pay it like this. Then this, then this, then this. Or I can play it in another way. It doesn't matter as long as I'm playing the same course. So I want you now to pause the video and try to play those four chords, inversions. So they don't have to be all inversions, and they don't have to be all positions. But I want you to experiment with yourself how to play the inversions and feel comfortable during inversions randomly without even thinking about it. I want you to, for example, play this, then record this. Okay, so try to pause the video and play the inversions on you. There is no correction for this because you could do it whatever you want. Okay? You don't have to do it in a specific way. But what's important is when we go to the left hand, the left hand is supposed to have cores. But here, we didn't have cores or I didn't prefer to play chords. So I wanted to play the first node, the root node, and the fifth and octave. Let's start with our first quarter. Let's solve with this. You will ask yourself that, why are we playing like this? Why, why you are not playing like this? I'm telling you whatever you want to play, you can play it here. We are here to sing the melody. We are not going to play the melody. And therefore, whatever you play in the left-hand won't matter. So let's do it again. We started this symbol, right? And then you'll see, I'm not trying to demonstrate my grades, boys, but I'm trying to show you that you can sing it. And when you sing it, you are not only practicing your voice, you are practicing your piano skills. Because later on in the playing by ear section, we are going to learn actually than melody. So this array then for I can pay whatever I want. I'm now free. You're now in level where you can literally pay whatever you want in your right or left hand. See, I'm just free sliding. So what I did is you don't have to play this kind of freedom, but I'm just paying whatever I want. I'm having fun with it. Try to have fun in this section. Try to have fun with it and try to mess around with the different type. Of course you want to play. Anything you want to try to mess around and play with those scores, okay? Nothing can stop you. The point of this is all to only show you that you can play whatever you want and whatever inversion you want. So I wanted to stop right now and try to play this song and sing it with your voice and your own style. So please try to mess around and try to play whatever you want. After we've done that, you'll all good. 62. Vid 9 - Play dozens of songs: As you've seen in front of you of the screen. These are the song. Is it that you can play along? All you have to do is see the course that I put in that PDF. You can find it. And after you see the code of those songs, all you have to do is just play it in both hands. But the left hand, for example, you can't play the root note an octave, and root node and fifth and octave. And the right hand, you can try the inversions. So I want you to try, maybe you don't want to play the whole songs. It's optional, it's up to you. You can't play the right and the left hand those songs, you see the code that I attached you in the PDF. Don't forget because without the horse you can't play the song. You'll see how to take the root node and the first octave. You could pay them like this. The like this. All you could do it like this. It's up to, it's totally, it's 100% of do. The right-hand. You'll try the inversions. You'll try though 1020 technique, or try the inversion or painting the root node, whatever you want, just try to experiment with yourself. And I'm telling you, maybe you will not be able to do all of those directly. And the antenna you that you can ask for a hat and how to play it. But that preferrable is to try to mess on your own and try it on your own. Then if you need help, come and ask me, I have no problem. Try to make everything on your own and try to play the inversion on your own. Try to pay whatever we want on your own. And then if you want to make it more beautiful and stuff, just asked me and I will be happy to help you. That platform. 63. Welcome to day 7 - Playing by ear!: From five years, I was at the local store listening to Christmas songs. And I started imagining what if I could play all of those songs. Right after I come home, I went back and it started looking at the sheet music. And even though I couldn't read real nodes perfectly, hours, not really enjoying it. So I tried to figure this out. I spend so much time trying to figure out how to exactly play by ear. I didn't find any clear answer. I wanted to give up, but I kept going and finally figured out a way to do it. I will share it with you so you can play by ear any song you here. Keep in mind it needs practice and you will not be able to directly play everything by ear. This is not a magic trick that I won't be giving you. It's just some steps that you have to follow. These steps are finding the key, finding that chord progression, then finding the melody. This spot will be somehow abstract. There is some information you just need to practice to be able to do it. Playing by ear is something valuable in music. And not all musicians can do it because they don't realize that it takes time. We will be practicing together to beautiful songs, sky full of stars, and 1000 years. Why playing by ear? Let me make it clear. I gave you songs that you can play. But what if you wanted to play another song? You'll go to Google and search the Melodies. It's true slow. And do not truly training yourself to the fullest. By playing by ear, you'll discover the course by yourself. You will discover the melody instead of singing it as we did in the previous part, you'll be able to pay it by yourself. So instead of going to Google and search what is the melody? And search for the nodes or tried to play the course and sing the melody with your voice. You'll be able to now to play it all on the piano as I did right now. If you're interested in jumping to learn how to play by ear. 64. Vid 2 - Step 1: Finding the key: What are we going to do in this video? First, before starting, I highly suggest you to take a listen to the song. You can listen it on YouTube, or you can listen and try it now because I'm about to play it for you. So try to listen to the melody because in this video we are going to work on them. Melody, the one that we didn't work in previous videos. Now we are going to discover the melody by ear. Yes, by ear, without any single node. We are going to do it together. This is why I want you to listen to the song carefully. You now have an idea of what the song sounds like. I hadn't you commend you also to take a lesson on YouTube. Even though on YouTube you not listening like this. You will listen with like this. Or for example like this. And you will listen on this scale. And what's the difference between what I'm playing or what I'm teaching you, and between YouTube is that instead of playing this chord, instead of starting on the D minor, started on the D-sharp minor. They transpose, you know, what's transposing? We learned in the previous videos. Instead of starting from here, they went to hear the transpose from here to here. But to make it easier for you, because it the first time we are trying to play by ear, I will not play from here. I will not pay from here. I mean, outlay from here is the easy one. Instead of playing D-Sharp outlay. Normally. What's important right here as Juno, what the song sounds like. After we know what the sound, what the song sound sounds like, it's time to start by our steps. Our first step is obviously to start to know the scale. What scale is it? Is it on the sharp minor, D minor, even though I said that it's on the minor. But is it on D minor, E minor, B minor, C major, G-sharp major? How do you know what scale is it? We can't always rely on the internet or other sources to tell us on what scale it sorts. We have to know it by ourselves. Our first step here is to know what scale we are playing. Okay, stay focused and know that we are now. We now want to know what scale is it, what is scaled as a group of nodes? For example, the C major scale. C major scale, the F major scale. The scale is based on the patterns. Remember the patterns, whole, whole half, whole, whole, whole vat. These are the patterns. Now we have to know what pattern this song follows as it's a major one and minor one? Or is it the C Major, F major, G major? How can we know this is what we want to figure out right now? So talking about the first step, we have to divide all our notes. We have to write all our nodes. We have to start by writing all decades possible. Please tell me what key is possible are in this song. What can we play? We can either either pay or C, C sharp, D, D sharp, E, F, F sharp, G, G sharp, a sharp, B, and C. We can either play one of those. We can't play any, we can't play any other notes. We can't play the a, we can't play it here, here, here it's repeated. We have a limited amount of keys all over the piano. So we have 123456789101112. We have 12 keys, we can play it. And therefore, all we have to do is start by discovering what nodes and this song are from those cues. I know you are not understanding and I know this. But what we have to do is to continue to see in front of us what happens. That song star will decide to hold this node. This is denoted f. We found our first note, our first note, and I highlight this note in the black. So I found in out, now the next node. I have to find this node. This is the second note. What note is it? It's denote g. I highlight the second note. I found two nodes. Then this is denote, this is the next node, this is the third node that we found. Then we continue, then, then, then, then now we continue. Then we just found it. We found one note, we found this note sharp or B flat. We arrive to this. Then this is the note C. We highlight the note C. After you highlight the anode, see we have now one node to node three nodes, four nodes, and this is the fifth node. What notes are left? That scale there are seven nodes and the eighth, it repeated. So we have now five nodes and we are left with two nodes. Should completely guessed the scale. So 12345, we have this, we have those notes. Let's continue because those nodes are already discovered. But remember, you don't have to guess the melody right now. Right now you just have to guess the keys and the scales, okay, so continue with me And you understand you will figure out everything. So we have this node, we have we have this. How I went from here to here, I just guess it I tried to play notes because we have that deep after the C will highlight that d. So this is the f. It's obvious because we had the f. Now we have the E. And if you see in front of you, we have all of the seven keys that makes a scale. I know this is a bit abstract, but don't worry, you will figure everything out and how I did it in the first time. Well, I do have previous experience replay by ear. In your case, you just have to follow along with me and you later on we will make another example also, it will be more easy for you to figure out what notes to play. Playing by ear is this subject that there is no exact rule how to play it, but you have to do with practice and practice. Therefore. Now we had those notes. We have those notes in front of us. We have the note C, D, E, F, G, a, and a sharp. So after we have those nodes, we have to put them, we put them one after another. So C, D, E, F, G, H naught. We have those nodes, are those nodes and order. We have the c, and we have the D, E, F, G, a sharp. Yes, they are in order, so we are good to go, but we have to make sure that there is not two nodes repeated. And if you see in front of you, It's true that a is different than a sharp, but what's special here is that we have a and a, so we have a and a sharp. And a sharp. I know this is not the same nodes but a and a sharp or repeated. This is to repeat nodes. And we can't have two repeated notes. And therefore, what we do is instead of playing a and a far, we write a and B flat. So we don't have all denotes repeated. You see the trick here. The thing. We don't want a and a in front of us, for example, maybe some, maybe at some point we will have D and D-sharp. What we will do if you have D and D sharp, we can't leave D and D. What we do, we put D and E flat, so it's D and E flat. To go back, all of what we did is just trying to figure out what are the scale, what is the scale? We tried to find the, to find the key. So we started trying each node by node. So we started trying, we're soft trying each node by each node, I know this is hard to not have any piano sheet in front of you or something to read it. But this is how playing by ear works and it will be easier on and on and on. So after we make sure that there's no notes repeated, instead of heavy, having a HR, we will have a and B flat. Now what you have to do is try every node. So it sounds like the scale. For example, let's try that. C, D, E, F, G, a, B flat, left stripe. If we play, it doesn't sound like a scale. Let us pray this together. It sounds like a scale. No, it doesn't. So where do you move the sea and try to start from that D we saw from the day. We try. It sounds like a scale. No, it doesn't. We try from the ear. No, it doesn't. And then we try from the F, we are trying to eat not by each node. It sounds like a scale, and now it sounds like a scale. Why? Because we start by F, UF, because it sounds like scale. Before. It doesn't sound like a scale in the original position. There's something missing. It didn't sound like a scale. You will ask me, how do we know if it sounds like a skit or not? Well, you have to try to make it by ear. If does it sound like a scale? I think it doesn't sound like it's care. Why? Because you have to train yourself that this, this is the sound of the scale. This is the sound of the major scale. And remember, now we are working with major by playing by ear. We are not working right now with minor. I will tell you more about minor later on. So to repeat, tried each note by each node I tried, this. Didn't work. It's not, it does not sound like a skin. It does not sound like scale. After this. Does not sound like scale. Then. Now it sounds like a scale. What scale is it? It's the F major scale because we started by F. This is the F major scale. And so how we found all of this to repeat everything, we tried to guess each node. We try to sing them out at the end, hold a note. So we try we hold this note, we tried to find it. For example. I want to find this node because it's included in the song. So this node that I'm seeing is included in the song and therefore I have to find it. This is the note. Then. This is Dan out the F. Okay, so I write it down in black. And I want you to do the same for you. I wanted to do two right in front of you. What notes were you hearing and repeat this exercise that I made it. I want you to try to find the scale of the song, sky full of stars, as we did. If you didn't understand, just repeat the video and you'll understand more. I am telling you this sounding a bit abstract, but you'll get used to it. So to rewind everything as you see in front of you of the screen, the steps for finding the scale is singing the melody and hold the note. Then we find other nodes. We find if there's other nodes. And then we put everything in order. Don't forget to put everything in order. After we put it in order, we remove the repeated nodes. Then we discovered the scale by trying different orders. We tried to start by E, Then we started to dry them. We tried to start by this node, then this node we tried to stop by every node. And at the end we'll be having the scale. 65. Vid 3 - Step 2: Finding the chords: For our second step, and it's finding the chords. Now we want to find a code of progression because the song is made from chord progressions. And we don't want to waste our time trying to try every single goal, every single code. So what I did is in fact the method of 1456, and this method doesn't work. We do have to try each score in each individual record by its score. So let me clarify this year, what is the 1456 scores? We have the F major scale. We made a deal to me and knew that we are going to play This song on the F-major scale. The F major scale. So the first degree is the F, because it's an F major scale. What is the second degree gene? What does the third degree? Third degree? No, it's not because it's F-major scale. And following the whole, whole half, whole, whole, whole half pattern, the F-major scale is paid like this. This is the F major scale. So the first degree is this. Second, third, fourth, fifth, sixth, seventh, eighth, eighth degree. No, it's the first degree because it repeats itself. And so here we are going to play the first-degree, then try the fourth degree, then the fifth degree, then the sixth degree. We have to mess around those scores. If one of those works, we switch to another. So what is the fourth chord degree? The fourth chord degree has a root node of the fourth degrees. So 1234. What is the code of this? We have one node, second node, third note, this is the fourth degree code. What is the fifth degree CTE 12345. This is the fifth degree court. What is the sixth degree court? This is the sixth degree court. Well, you are asking yourself maybe, why didn't we play this? We didn't play this because the F sharp is not included in the scale, the scale of F major. Okay, why didn't it replay, for example, this instead of this, because the E flat or E-flat, E-flat is not included in the scale of F major. We don't do it like this, repeat like this. Therefore, while I'm playing, for example, the fourth degree, I'm playing this because it's included in the scale. And I played this because it's included in a scale. And I played this because it's included the scale. So I want you to try it on your own. Pause the video and try it on your own. Try to play the scale going up, then going down using that pattern, whole, whole half, whole, whole, whole half. And also go up and go down. And I'm telling you there is only one black key and it's the B flat. We want to play this and going back to our discussion, and it was the 41456 cores, we want to play to try to play one of those scores and see if it works. So this is the Melodyne. Let us do it together. So the first one, we want to try that first degree, maybe it works. I don't think it's worked. It worked. So let me try the fourth degree. The fourth degree court, what the four degree is? 1234. It's B flat major, so I don't want to play it here. I want you to pay it here. So does it sound good? Sounds good to play this. I don't think it sounds good. So I want to try the fifth degree, maybe it works. I wanted to try 1456 to see what which of those scores works. So I don't think it works to, let me try the sixth, 123456. This is the code that sixth chord. I wanted to bet here. It works, It sounds good. No. Now, this is our first score. So our first chord was the code of D minor, and it was the sixth degree. We right in front of us. The screen rewrite the degree six. This is the sixth degree. If you want, we can put, for example, the chord D minor. This is the sixth degree. Now for the second court, I wanted to discover also the code 1456, the six. We took it away. We have to search for that 145. We remove the six Now the 145. So I will try that one. Does It sounds good? Yeah, It sounds good, but I think that there's something better. There's something better than that first degree. So let us try another core. I will try that five. Okay, so I don't think that sounds good to try one. We tried for now we want to try that five. Okay. Let us try the five because you've tried one for now, let's try the file. Oh, it works. Now we use the B flat major, and this is the fourth degree because we use the six and the four, because we started like this. Okay, so that school we have now, we use the six and you use the for. Now let's try the 15. We have 15. Let's try it. What is the one that wanted the F major? It sounds good. Now let's try the five, because we found the three chords. Let's try the file. It sounds good, but it's not what I want. I want better cord. So what we have here is that I used the six, I use that for, I use the one. Now I want one chord because we have four quarter progressions. Okay, so I use three of them. I want one more chord progression. I tried to use the five, the fifth degree, but it doesn't work. I have to use another degree. Let me use the third degree. Maybe. The third degree is this. Let me try to use it so it works. Now it sounds great. So let me play it again. See I'm just repeating those scores. I'm just repeating all over again those scores. But now you will ask me, we don't know the melody. Well. Here we come. We will learn it right after. We will be 100% sure of what we did in the course. For the course, we had the six code, the code number six. We started by this. Then we had the four core, the core number four, I forgot, I forgot to write it. Let's try that core number four, which in this case B flat major. Let's try B flat major. Then. Our third chord was F. It was the first degree. This is f. Then we also have our last chord, and it's the third degree, and it's a minor, third degree. And third the VI minor. Here we have it. We have those four chord progression and we can see it in front of us and now play it as we want. We can play it like this. So I wanted to pause the video and try to repeat those chord progressions place without the malady, okay, forget about them and that you will do it in the next video. But I wanted to play those codes alone and try to mess around with this and that after you're done doing that, switch to the next video. 66. Vid 4 - Step 3: Finding the melody: We found the scale. We found that the chords, what do we have now other than finding the melody? So even though I played them at in the previous videos, but now I want to teach you how to do it on your own. Now we want the melody, how we do it? Well, there's the bad truth that growing them takes time. And today I want to practice it with you. We learn how to play the melody. You will ask me, why didn't we start learning them NOT from the beginning. And then we run the scales and chords and everything. Well, if you learn them melody from the beginning, it will be a so hard too because you didn't know the scale. How do you, how can you pay them to do without us here? I will tell you it will be so difficult because right now we know that we are playing on the scale of F major. So we only have this and this. We only have those we can play any of those. We only can play one of those keys. Therefore, if we didn't found the scale, we couldn't know that only we are allowed to play those keys. You'll get that point. Because if we didn't find the scale, maybe you will say, Oh, what if the note is this? Or what if denote this. One of them? Is this. How can you know if it's C or E flat or C or C Sharp? Well, after we discovered that scale, now we have a clue of what the melody sounds like. We can note that there is no a fab or a flat. There is only a because 123456788 is repeated itself. So the importance of finding the scale is very high because we can filter out if you want or you can. We can remove all that nodes and remain only seven nodes that we can play with. I stopped by this court. Obviously, they will be one of those nodes, one or here or here. Usually it will be one of you. I saw it by trying. So it's not this. It's this. Then I go up. I didn't I shouldn't say this because It's not included in the scale now. Okay, it's not included in this scale. So what notes? Then? Let me play it the right-hand without the left-hand. So then, then if you hear the song is pretty easy to know it from the nose. The first, the first dose, three nodes are very easy to guess. So you just go up and down. But the interesting part, the next one, so this is the one I found it because because I start playing one code, you know, I saw guessing one-quarter and other r-star by o. This is working. This is not working. This is, for example, I play like this and I start thinking that, okay, this is going down, so I go down, not okay, do you want it? Because let me try to work this out and write it from the beginning. We had from the beginning. So we had I write f, f, GG than a, then AA, then a, AAA, AAA, then G, G, G, G, G. A bit funny, but this is how we try to work by ear. And I'm telling you this is how I started to work by ear. And in the next videos There's more advanced tips on how to play it by ear. But if you read it with me, so we have we have this this spot has read it. So this is the one I'm sorry, this is zone 12312. Then I repeat it. After that, I have I'm sorry, in this obviously I can't pay. It. Has to be then a, b, then a, then B flat, then G, and continue that asked without playing it. So we continue. That crucial part of this is taking your time trying to play this over and over again until you guessed the right node. But I showed you in front of you what is the process of playing each note and trying to discover it? And this is how I started and this is how you should start. So there is no shortcut or there is no fast way. You have to go through this not very beautiful part of playing the notes. And this is how you write the melody. After you rather melody. You just pay those together. I continue. You continue. This is how you play the melody by ear. I'm sure you didn't understand at the maximum the first time and this is why I have also more examples for you. I want you to pause this video and try to practice everything on your own. Try to repeat what we did. Because if you do not repeat what we did, everything is thrown in the garbage. So try to do it on your own and see you in the next videos. 67. Vid 5 - A Thousand Year Overview: For our second song, Thousand Years for Contemporary. Let us hear how it sounds like. Imagine being able to play this song and you are going to play it, and the good news is you are going to play it all by you. And yeah, and the next few years we are going to discover how to exactly play it. We are going to go step by step through the steps I gave you to learn by ear. And there are three steps. So we are going to learn it each one and you'll be able to play this song by the end. Let's do it. 68. Vid 6 - In Detail tutorial: As you see in front of you of the screen, we have the first step and it's finding the scale. To find a scale, first, we have to find all the notes. We write all the nodes. Let us do it together. So to write all the notes, we start writing from C, C sharp, D, D sharp, E. We start putting all the nodes and let us do it right now together. We play C sharp, then dy, then the sharp, then, then do we have E sharp? Sharp at the same as f? So we are not going to write E sharp and said We are, we are not going to run E-sharp. You are going to write F. And after F we have F sharp, and after F-sharp we have G, then G sharp. Then after G-sharp we have the node a that is repeated, then a sharp than B, then B sharp. And then do we have B sharp? Is it even be sharp, or is it C? It's C. Instead of B-sharp, we write C, But we have those two repeated, so we remove the C at the end. We wrote that she at the end let us put spaces between them. Want to want to want to, want to, want to, want to, want to, want to, want to and want to, this is to see it more clearly. So we have all those notes in front of us. Now we want to sing them and at the end find at least five nodes, y five nodes. Because after we find, after we found five nodes, it becomes easier to us and closer to us to guess the scale. Let us find the five-note, let our sidebar excuse me for my voice, but I'm trying to demonstrate to you, so try with me. Don't just watch strive to me. So this is then also what note is it? It's the node D. So we put something on the node D, What are we going to underline? So this is the underlying because the song is like, okay, This is the song. I recommend you to hear it before. So this is the note C. So we put the rounded around then I would see on the running of the Nazi. Then read it. This is the node whatnot, is it? This is E flat. We underline the E-flat. We don't have E-flat. Oh, we don't have lab. So what is E-flat? E-flat. What you do in this case, it's either we underlined it, The D-sharp because we don't have the E-flat, or we write if flat, but let's do it easier. So we underline the E sharp, let us under the D sharp, E sharp. Here we underwrite the D-sharp because we don't have E flat, we didn't try it E-flat here. We wrote The D-sharp and y is the same because at the end you have those genomes repeated. So we will remove it. We will remove that D-sharp and put instead of this E-flat. But we don't do it here. We do it at the end. We do it at the end. After we have this, this is the B flat or a sharp is the same. Let us underwrite the HR, okay, this is the A-sharp, E-sharp underline it. This is the A-Sharp. Then I want this node, the node F, standard f, not f here. How many nodes do you find? 12345. We found five nodes, but let's try one more maybe when we have more clues. That we don't have any clue. So we have those notes. How can we act from those nodes? What can we do from those nodes? Let us write it down from the beginning. So we have C, we have C, D, D, D sharp, and a sharp, sorry, shop, we have those nodes. You could, we could write it from the beginning, we could drag it all here, but I underlined those nodes just to make you owe everything. We're saying them LD and found at least five nodes. Now, There's something missing. What? We're then also we have C, The D-sharp, A-sharp. We have those five nodes. We have those five nodes. We could have written those at the beginning without underlying, but I just want to highlight those nodes for you. We know that the scale is made from seven nodes, not five nodes, but why did we find only five nodes? Well, handgun, we will figure out later on, we found the five nodes because it's the minimum possible to guess a scale with four nodes, it will be so hard to guess the scale. We want five nodes, at least. It sure that it will be better if we guessed the seven nodes, it would be easier for us, but it's not a problem. We can guess that scale from five nodes. Continue with me. With those five nodes, we want to remove the repetition. What nodes we have repeated, we have obviously the D and the D. We write it again, rewrite c, d, The D-sharp. What is the D-sharp is the same, the shore it the same as in flat. We can write E flat. This is the E-flat. Now, after the E-flat we have the F. Then, sorry, I wrote like this. Then we have the a for a short. After we wrote all of this, we had to write it down in order. Is this the correct order? Let's try it. If they are all one Astra and other c, d, e, f, Then we have some nodes missing here. Then we have sharp. It's correct in the same order. So see the flat, then F sharp, we have those. Now, the hard part is to try what scale it is. So we have to guess what is between those nodes because we have the note C and F. We have four of those. And we have this. And we have the a short. Maybe there's between it, the G, because we do have to find a GSL. Every scale, that is all nodes, there is a, there is an a, B, C, D, E, F, G, and we don't, we can't repeat it for sure. There is a G between them. Maybe G-sharp may be G flat, we can't know, but what's for sure between the f, the a sharp between here, between those two nodes, there is at least that gene. We have for shorter than g or the G sharp or G flat, we can't really know. So at least we have to write the g here after I wrote that g because we can't have a scale without that. Gee, maybe it's G-flat or G, G sharp. At least we have the G. So after writing it, we have this as replayed from the beginning. What node is missing? What node is missing right there. We have the a, we have that be No, we don't have the B. Let us try that being Iran Debbie, I don't know. Maybe it's B flat, B sharp, but what I know is that we have that B. Let us figure this out. We have the c, d, e, f, GAAP, we have everything and it's an order also C D E, C, D E, F, G, a sharp, B. And we have those two together. There's a problem here when you find yourself in a situation where you have flat and sharps, always leave the sharp okay, leave it. Try to try to make another another thing out of the shop. So why do we have flat and sharp? We always keep the flat alone. This is the flat, we keep it alone. Let me highlight this. Let me put. Orange background, this erroneous background. So we leave this alone, and you also leave those alone because these are abnormal node. Let me put an orange background also and also those notes, we leave it alone because they are, they don't have sharp or flat. By those two nodes. They have something, something not good because we have the a sharp and B. The sharp can't, we can't have a sharp and flat and the same scale. So what we do is substitute the a sharp, B flat, a sharp. We put instead of it B flat. So we put B flat and now we have flats and flats, but now we have a problem that B flat and B are repeated. What we do, now we don't have the a, we have a missing a. Transpose this from B tray and put it before the B flat. So we remove this and we put it here. This becomes better like this. If you try to play it, we will have, now we have all the notes, now we have everything. We have all the present node. Let me put this highlight, orange background. Here it is. Now we have something more, more similar to what a scale is, because we can't have scales from sharps and flats and the soft like that. We only have a scale from all charts, all or flats and we can't have repetition. If you see my thought process, I just tried to figure out, I tried to make something logical. And with the spirit, with experience, you will be more able to make a logical decision. I can't have the a sharp and B and here a childhoods. Why? Because there is a sharp and there's before a flat and E flat and sharp the flat also, the flat always wins. And so I removed the a sharp and put instead of f B flat. So we have two flats. And after I put B flat, I had a problem because B flat and B are those two nodes repeated. So I removed the B and replaced it with a y, I replace it with a because I knew that we have the a missing. I tried to look and we have a missing. So I put the a here and here we have this thing right here. But this is, but this is not a scaled, because if we play it like this, not a scale, I'll have to try. Maybe if I remove this and put a tier at the beginning, maybe if I remove this and put this in the beginning, so I put B, B flat, I remove this, let me put background to make it seems more colorful. Here. This, maybe if I put this right here from here to here, it becomes more natural. It suddenly sounds like a scale, so it's now a scale. Here we have the scale and what scale it is. It's the scale of B, sorry, B flat major. This is B flat major. You'll see my thought process. I just tried to make things seems logical. I know this is a lot of thinking for the first time and this is a lot of pressure, but I promise this will get easier by the time you play and at each time you try to play and play and try more and try more songs, you will be more logical with your decision. I want you now to pause the video and repeat my thought process. Try to repeat all of those that we did and repeat my thought process. Try to make it alone. And after we do this, continue the video, I'm back to me to find the course of this. Pure repeated it and coming to their codes. Well, the course, we said that first we have to try the one for five-sixths. And then after it didn't work, or after maybe we had the core 65, for example, we try out the course. Let us try both scores. We have this. We try first one. We tried to experiment with the one because usually the one maybe he works. A lot of times we are going to try with them on that one. The first degree is the first note of the scale. So we have the scale B flat major. Now we have to try with the first degree. What is the code of the first degree? It's this. It's the B flat major chord. It works. So for our first chord is the first degree. First degree, which is B flat. Here it is. The B flat minor or major. B flat major will leave it as it is. So our first one was the B flat major. What is the second one? Let us try whatever the second one. Let me try that four. So 1234. Let me try now the four, therefore, this code. So I will put it here. No, it didn't work. So we remove the four. It's not there for, for now. Let me try that five now. What is the fivefold is this score. The five is this score. So no, it didn't work. Therefore, the five is not the next score. Let me try this six. And I'm so optimistic on the six. Oh, it works. 123456. This is six. Therefore, our second chord is the sixth, and it's G minor. We had our first code. If you're asking me how I guessed that that is fixed sixth degree. Well, I know it from experience and you should experience with this true to directly know which is the four and what is the five, What is the sixth, etc. So this is the one. This is the sixth, because I know it. Now let us try. We have two codes out of four chords. We want to reach our goal. And it's for course, after we tried all of this, we tried. We have to try it again. We removed the first code. The first code is done. We remove it. The first degree, six degree is also done. Would you move it? Now we can try with the four or five. Then. We try that for work. So we put the four here. The four is flat major, so E flat major. We had the final, well, so this is the 5123455 worked. We write that we at work with a five and it was the F major chord. We had all of this tribe. We remove the, remove this and remove all. So this, here we are with our four chord progression. It was fast, isn't it? So you had, you have to be for sorting the code. You have to know that this is the 14561456. Those are the most important courts. For example, if I pick the D major scale, this is a D major scale. This is the C major scale. I mean, I'm sorry, the C major scale. So this is the one, this is 56456. So 1456, you have to know a directly 1456. For example, let's pick that D major. D major. We have, for example, the D-major, this is the imager. This is the one. Therefore 12341234. Those are the course of one for five-sixths that you have to do it. Do you know what the creatively F1 courts didn't work? You have to try other course and we didn't have to do it in this case. But in other cases you may have to experience with a three and maybe seven, no seventh done. Maybe three. You have to experience with other course. But for now, every time you want to sort something, you have to try with the 1456 because usually one of those four degrees works for a great amount of songs. Let's repeat it. I want you to pause the video and try to make this on your own. And as usually, after you finish, you after you finish stopping the video, you come back to me, finish our third step and it's finding them, Adi. So pause the video and come back to you. For our final step. We have to find their melody. Now we know the scales. We know that this is a B flat minor scale. We know that cords, because 1410, you see, we made the big mistake here. We've played one. And then I put, what is the chord? G minor, sixth score, the sixth degree court, then 45. Okay, I played, I put that through code. I thought that this is the second code, but I had to pay the sixth chord. This is small mistake. Okay, So we all, we all make mistakes and this is my first mistake. Maybe I made some previous video to find the melody. How to find them energy. We have to sing the melody. Unfortunately, I have to sync my voice. Then I write it down in order. I start by here. About them. Is that I know, I know that the Scale out of this, I can't, for example, play this note because it's out of the scale. I have to play only those nodes. To start the melody. I want to try this one. I start with this. Maybe This is the De, introduction started with this. Let us start with this. We will start from this. So let me start from this. Lyric starts, I don't want you to pay the introduction. We will play it after. So let us start with this at the Edit. Then I want you to experiment this was yourself, okay, so try it also on your own that I jumped in octave from here to here. Then you continue on and to find the melody. What I want you to do is right here and order on a pay only piece of paper, right in order all the melody that you are paying. So here I play, for example, be B flat. One more time. Then I write B flat or I put it by board. Board also will. Okay, it doesn't want you to continue that one more time. Okay. You keep putting their malady. Or if you can't memorize it, you can put it, you can just directly paid. Maybe you are not a great memorizer. So you're not a great person who can memorize, so you have to play the melody, you have to write the melody here. You continue writing the melody until you play it altogether. Then you can play it by this. You would be discovering this by ear. And I'm telling you this needs a bit of practice. And if you didn't practice and if you didn't repeat the song after I finished it, you will not be able to directly play by ear. This is why I'm telling you to finish the song. Try to play it by ear. There will be some challenges here, but you will figure this out at the end. Try to, try to experiment with yourself because this is how every PNS who knows how to play by ear started this everything for painting the song. Hope you enjoyed the content in this video, because it's a bit complicated and it's not too much enjoyable. But once you master that, I promise you could play it better. 69. Vid 7 - Two big challenges coming!: This is a song called Stay with me for Sam Smith. And today I'm challenging you to play it. Pause the video and try to play this song on your own. If you want, you can go on YouTube and check that song gout. Or you can listen to it from what I paid right now. I advise you to play on a minor scale or on the C major scale, whatever you want IT advisory, advisor to start from here. To start from those nodes, from the three nodes here. And the chord F major. So try to put it on your own, pause the video and come back. For the challenge number two, I'm challenging you to play the song called Olive me. This is the song and I'm challenging you to play it, tried to play it by ear. So what's different here is that I played it before you update it in front of you. You're asking me what's the point of playing the sound in front of us and asking us to play it by ear. Well, you can't do the easy thing and it's going on YouTube and seeing how to play this song tutorial and try to see how it's played step-by-step on the piano. This is the easiest thing to do because you're not making efforts and each song you have to do this. But if you challenge yourself and try to do this challenge that I gave you, it's true that it will be hard for the first couple of songs, but for the long term, you will be able to play any song you want without even looking at the internet or on YouTube. So just listen to what I played and then go back to yourself and try to play it by your own, using all the skills that we learned so far, you should be able to play at least 50% of this song. I mean, try to learn the corners. Try to see what course is it. You can try to repeat as much as you can. Take all your time. And then after you finish, Go back to me and we will correct this together and we will see how it's played together. And I will show you step-by-step how we will continue to play our third song by ear. 70. Vid 8 - 1st challenge correction: Are you ready to correct it together? Let's do this now. We have the song, Stay with me for Sam, mess. We have three steps, obviously, finding the scale and then finding the chords and then finding them melody. For now, we will start with the first step, and it's finding the scale. I want you to bring a pencil, a pen and paper to focus with me and write it down as I'm doing while I'm correcting, I want you to also to correct with me and try with me. For our first step, finding the scale. I'll write down all the nodes and this time I'll go a bit faster than the previous time because we now have two songs that were played by ear. But still I will go step-by-step. So finding the scale for the third time, I'm saying finding the scale. We have to write all the notes. So let us write all the nodes from C. We started by C, C sharp, D, D sharp. I'm sorry for annoying you, but this is the piano, and then E and then F, because we don't have F, E sharp, then F sharp, G, then G, then G sharp, G. G sharp than a, than a sharp than B, then B sharp, then all we don't have any sharp, I'm still confusing with it. Then B, then we have directly see and we don't repeat the same, a sharp, and then there'll be, then we leave some space, 1212. Here we go. Then after we do this, we have to sing them and at the end, find at least five nodes. So we started with this. We saw with this. Then. I know that melody, but I'll go step-by-step for you to know what is my thought process. So we have, first we have the c, Then we have the E, 12. We have that gene directly after this. So this the same. We have that. We have the same. So we have now five notes. Well, it was great. Let's continue to see if we can have other nodes. At the same time. We have the B, O we discovered there be, okay. We have C, E, G, ADB. We found at least five nodes. Now let's remove that repetition. Is there any repetition, CEG, ADB, no, there's no repetitions. So we copy and paste this because it's the same. So here we go. We copy and paste it here, right here. We rather down in order, starting by CIA, we start by CA. Then we should have after CAD, this is the DRI there. We rather. And after we remove this, we will remove this. And after the, we should have the ear. We remove the ear because we write it down. And after the E we should have an F, o, we leave it. We left it. Then after an F we have, we should have that g. We write down that g. This is g. After G we have a, we have V, So I struck them through. We have a, we have B. Now, the thing here is, here is missing F. But how do we know if it's enough or, or F sharp or flat? How do we know what f is it? We should try and tie it an error as our best friends. So let's try to play this. So c, d, e, Let's try with F. Okay, let's try first. Would it make sense? It makes sense because if it's F, then we have the C major scale. Because we have here at the end, see, it's repeated the c, It doesn't matter. I'm not writing the C down. Maybe if we tried to C, D, E, F, G, a, B. Looking at Sound good. So it's a C major scale. But let us first try the F sharp. Maybe, maybe it works. Who knows? Does it sound great? No, I don't think it sounds great. Now let's try the F flat. This is a flat. F and the F flat and E are the same. You see F flat and E are the same. This is why we remove the F flat. There's no way there's a flat. There's no way as the efflux. The question, the question is, is it F or F sharp? So we said that with F It sounds more good and sounds clearly. So It's obvious we have the scale of C major and you will now ask me, Joseph, what if it started by g, for example? Started from G. We have the F sharp for example, maybe I'll write our write something for you, okay? Alright, for example, G, a, B, C, D, E, F sharp, G. What if this was put spaces to see it more clearly? What if this was this? We have the G here, a, B, C, D, E, F sharp, and G. This is a scale. Here we come in and confusion. The answer is, we will discover in the courts, we had two options. Either it's a C major, C major, or it's a G major. Let us, let me put the capital letter even though it doesn't matter, but we have now two choices. It's either a G major or a C major, because here we have F or F sharp. How do we know? We can't know? Let's suppose here we use the f, We use the f. Here we use the F-sharp. Let me highlight this for you to see it more clearly. Here we use the f and here we use the F sharp. So it's either C major or G-Major. Now, we didn't guess the scale 100%. Once we do, we come down to finding the chords. Now, the course will reveal everything that code will tell us if it was a G major or, or it was, or if it was a C Major, let us try it together. It started from this. And by the way, if it starts from here, then it's more likely to be a C major scale. Why? Because it started from C. If something starts from C, then it's less likely to be from G major. It's more likely to be formed from C major. But let us figure this out together. Finding the course. We always try that one for 56. Let me try the 1456 on the G major first. Let me try it. This is the g. Let me try that one. It's clearly not working. So therefore degree 1234. So maybe, but it's not. Let us try the five. This is the file. It's not working. Also. Let me try the sixth. Also not working. So none of those who are working. Let me try maybe the, the three. Why not try that three? Oh, this chord sounds really obvious for this code. So let us jump for the C major scale. Maybe it's in the C major scale, so I will try the first degree of the C major scale. So let me write this here, that the G Major didn't toward the 1456. What about the C major? One for 56? Let us discover this together. So we'll discover the first degree of the C major is, this. Sounds great, but not truly this. Okay, So let us try that for. It sounds great. Let me try the five. Maybe it sounds better. It does sound. It sounds also great, but the four sounds better. So it sounds great. I play the octaves to judge between the 46. We saw by the four. Here we go. We start by the four. Now the next X1. Stay with me. Let me try the five. No, it's good, but it's not, it's not really working. It's good because the sixth one true for 123456. But let me try the one instead of six. It's four then one. Let me try now that six are trying for here. I tried I tried the four. Yes. I tried the one. I have to try also the 56 maybe they work. Let me try that six now. It works and then the five. So it worked. So we have the six, then the five. Here we are. We have wanted to stay with me. So this chord progressions work for all the songs. Maybe there's a better chord progression, but for now we find this grid. Okay, so here we are. We found the song to play it by ear. We found that the 4165 is the grid one. But what's great is that the good news? We found that this is C major. And guess how? I knew that this is C major. I knew that this was a C Major from the court. So I worked from the one for five-sixths of the of the C major. The one for five-sixths of the C major worked. Therefore, it's for sure not G-Major. Oh, good job guys. Now for the steps three, the sanctuary of the hardest one. This one, I also struggled when I started beginning to learn how to, how to play by ear. And unfortunately there wasn't somebody to teach me, but here I am, I'm taking you. How do you learn the melody? So here we are. Let us find the melody, sing the melody and right in order so I have to seeing you in my voice unfortunately, want to stay with I go down me. How I'm guessing the analogy. I'm just trying to think in my head that okay, 121135. Going up, then going down, then this is the node that the, what's great is that it's C major, C major or there's no Black years. The good news there is no like years only white keys, so you only have to press white kids. So let me play it here. Press Caps Lock. So C E G then space G E space the C, D, E, D. This is the melody. Then maybe, or maybe CSU. Then that is E G, B, E, G, E, the space. The C, D, E, C, C. This is it, This is it guys. This is the melody that we've been searching for. This is the whole melody. Okay, so obviously it's for me easier than for you. And I'm telling you if you try a few tries with the screeners, you will be able to do it faster than me. Trust me. So this is the melody. It's optional to write it. You can, you cannot try it, okay? But it's better to write it down so you remember what you played. So let me play this with the courts. The courts are from the C major, all the 4165. Let me play it. Want to make it more beautiful? Let me do it. I will play octaves and fifths because octave and fifth make it more sounds more beautiful. I changed the code here. I want you to experiment with yourself and try different chord progression. I want you to know rules here, white playing by ear. I have no rules by playing by ear, so you can play whatever you want. And then the right-hand and the left-hand I'm in. Play like this. You play like this. Try it and touch play both hands. And it will take time to practice. But yeah, this is everything for the first song, we already felt that first, sorry. 71. Vid 9 - 2nd challenge correction: Welcome to the second song of the challenge is called Olive me for John Legend. Let us start real quick. We will write all the notes and as usually as boring, I want you to do it with me. So if you didn't do that challenge or for some reason you do that Intuit tried. I want you to do it with me. So let's try it all denotes C then C sharp, then D, then the sharp ear. And I will not make them per se because we don't have E-sharp. We have directly f, then we have F sharp, then we have G, then we have G sharp, then we have a, and then we have a sharp, then we have B. Or don't tweet me to put B-sharp because I will not I will not write anything after that. Let me put spaces between them. We can see them. We have to sing them out and find at least five nodes. Let's do it together. This is the first one. We found the node C. This is C and we found, you see, you see? I can feel that I'm going up a half step. We have C-sharp, C-sharp. We have this node. We can name it a sharp or B flat, whatever we want. But for now, because we, we, if we put the C-sharp before this, I will name it a short. Maybe it's, maybe it's a flat. Not who knows. But for now we are going to put it short because I put sharp and before it and it makes sense to put it. But usually we don't put a sharp because it's rare. But for now I will put a sharp and our consider myself. In your position. Most students tend to put the sharps because it's easier like to put, to go up a half. But we will figure this out, don't worry. We will figure this out. Let us put a shop the data. So we have this, this is G-sharp. The data that we have this we have D-sharp. We have now five nodes, okay? But we want to try to see if we can have more. This interesting whatnot. This is the f. Okay, so we have now six nodes and grid. So we have six node even though we could do five. But I tried to, tried to push the elements and try to make it as close as possible. If we had seven nodes, we could directly go for it. We remove that repetition and directly go for it. But I decided to put six nodes. You could put five nodes and still figure this out, but it will be easier if you found six nodes. I mean, you can do both. We have C, C sharp, a sharp, G sharp, and D sharp and F. Now here comes the interesting part. To remove that repetition, o, those C and C sharp are repeated. How can we remove those repetition? And obviously, what we do is put, instead of Sharp, we put the d flat, we put in set C, we write C. And then instead of C-sharp, we don't try to C-sharp. We just write e flat. E-flat instead of the C Sharp. We have E-flat. Then the A-sharp is normal. So a sharp and G sharp, D sharp, and F. Okay? These are the notes without repetition. Let me remove this because it's annoying. So we have C E sharp, a sharp, E flat, E-sharp, G-sharp, D-sharp, F. But remember when I told you that when we have sharp or flat, all the sharps disappear. We can't keep a sharp and flattening the schemes in the same scale. What we have to do, unfortunately, sorry the sharps, but we have to remove you. We can't let me, let me write this for you. We can't have a flats and sharps. We have the flat as far better than the sharp, as more dominant. So what we have do we have to do is write them again. So we have the flat is better than the shop. We have to write those again. How do we write it? It becomes like this. They become C, E flat, then a sharp as the same as B flat, B flat. Then that G sharp here right here, is the same as a flat. We have a flat and also the F is the same as f. Okay? Let me put some spaces between them. Here we are, okay, so now we have those and this is the real one. This is the real collection. Here we are. Now we have to write it down in order. Let us try those in order. So we have C, then E-flat, then B flat, then a flat. No, it's not in order for sure. So let us try to figure out and what order they are. I will start because I'm curious. I wanted to start from the F. Let me start from the F and we want to see, we want to make it as close as possible. The F is the correct answer. But first, let me try to solve from the e-shop, for example, maybe you wanted to solve from the E-sharp. If we try from the E-sharp, try to write from the E-sharp. What will you have E sharp? Then? What possible note is F? F. F. Then we want a G, o, G is missing, G is missing. We will leave it to the G. Then we have the B flat, B flat, B flat, and then we have the a, the a flat, rewrite the A-Flat. We'd rather them all and whatnot, we were left with the scene. So are those in order? We have this. Then we don't have that g. So let's remove it and put it after. There's a better order. There's a better order, the batter order, like this. If we write the f, Then after F, we have something, we have that g, but we can't know. Then we have that be B flat. Then we have the a flat. Let me put some space between those, and then we have the B flat, C. Okay, so something, then, then we have the E-flat. Look what we have. We have the EH, where the E-flat, The D-sharp. So we have E flat and D-sharp and the same one. We should have removed that away. We should remove that from the beginning. We removed it. Why I'm not editing my mistakes and just I could repeat it all over again and showed you that I have no mistakes. I could do that. But what's good about that is that I'm showing you that even me, I could do some mistakes and I'm trying to show you my thought process. If I if I were to make a perfect video edited to remove my mistakes, you wouldn't know my exact thought process. But in this course I want to share with you my thought process. So you know exactly how am I thinking? This is how I was thinking. You thought how I solve them mistakes. So the next time you can spot the mistake as I did now after we had this order. Okay. You see this order? I will I will put it in bold. This is the order. What scale is it? You know that we have something missing here between the F and B. We, first thing we have to keep in mind that we have to put all the notes. Here. There is a, there is b, there is C, B, C, not D. We don't have AD. Ad is missing. So let us, let us put those. We have, we have a width here, we have to put another line. We have. This was repeated here. Okay, So let me, let me do this again. We have the a I put this order here. Why I'll start from F, because I'm telling you this is better to start by fn. If we stopped by a, we have to try all over again. And I have to make you wait like half an hour, more long to try that scales. So I want to approach the idea for you because what's important is that you try it. Okay? All I want is to try. Now, we repeat all over again. We start by F, and after F, we have that, gee, maybe G-sharp, maybe G-flat. Who knows? We don't know F sharp or flat. Then after the G comes that B flat. Here we are coming to the B flat, then comes the a flat, then we have the c, and we also miss that D here. We miss that D. And we have finally the E, The E flat. But who knows if the D sharp or flat? Let me put this on another line. Here we are, here we are with the F, G, a, B, C. Here we are trying to focus on this line. I wanted to focus on this line and I will highlight it for you. What do we want our highlight in red? And I will remove those highlights if I can. Let me try the fault and default. You only focus on here. So we have this. How can we know F sharp or flat? How can we know here? First we start by the obvious one, D sharp or D flat, and we have an E flat, we still made the mistakes. We made the mistake of D-sharp, E-flat. For sure it's not E-sharp because D sharp, the same. D-sharp, the same as E flat. Remove the possibility of shops. So we have only the D flat. Let me put the D flat. We have this d flat. Now here, G sharp or B flat? Well, there is something obvious that G-sharp, same as B flat. Okay, so therefore, we can't have G sharp, G, G sharp, B flat and the same one. They are the same. For sure. It's a G sharp. Here we are. We put the G. Here we are. We have a complete one. And after trying what scale it is, because I'm here with you and I'm telling you that the scale is F minor. Why? Because let's try it. Here we have, here we have G, here, we have G, d flat, G flat, maybe G-sharp or, or maybe also G natural. Here. Maybe we have the G-natural. You see, I'm putting all my mistakes. I'm putting everything. I will not edit this just to make you see, I can make mistakes and to make you see that how I'm thinking. Maybe this is where maybe we can play it like this. The sounds so ugly. If we play the G flat, G flat, Let's take a look. This sounds so ugly. Let me try that G natural. It sounds more natural, it sounds far more better. Therefore, that G is a national G, not F, G flat. See my thought process, if I would play G flat, it does not sound good as this. Therefore, we have the scale F minus. Now you will ask me why not F major, Y, F minor? Take a look. We have the pattern of the major. Do we have that pattern? Whole, whole half, whole, whole, whole half? Do we have we don't have the whole one. This is the whole, it should have been here. This is the pattern of the F major, and this is the pastor of F minor. This is the pattern of F minor. Therefore, I knew it by ear that this is F minor and it sounds sad, so sad. Okay, this is how I found out that this is the scale jumping on to the course. How to find that course? We start by the one for five-sixths. I saw by the first degree, what is the first-degree? Is the F minor chord because it's the first degree, so it works. Okay, so the first one worked. Sorry. Here we are. The first one work. Let me try that for. 1234, because we have D flat. D flat. So maybe it sounds great. Do not lie, but it does not sound what I want. I want data, I want something happened. So I will try that five. Oh, for sure. Not the fire for sure not the five. So let's try that. It sounds happy exactly what I wanted to play. This is the sixth. This is the sixth. So then let me try the what what else I didn't try I try the one I had the one I will strike it. I tried the five. No, I didn't try it. I tried to fire but it didn't work. Maybe it will work later on. I had the six. So maybe they're 45 will work. So let me try the four. So 1234. No, it doesn't work. So let me try the six. Dm me I tried already tried the sixth. So let me try that five. No, it didn't tour. So also the 445 didn't work. What can I do? I try the one for 56. I jumped to the sixth. I jumped through all the records. And the other chords are the only 1377. Even though the seven is rarely used, we jump in to death three, so 123, so there's three worked 123. So three worked ME write down the three. That says this is the three of them. Let me go back to the 45. Maybe they work. Maybe they weren't, so I don't think they work. So the four doesn't work. Therefore, it doesn't pass. Let me try the five. Let me try the 512345. It's good but not great enough. Okay, so we will try the seven, maybe that's seven. So our last 7712345677, it works. See how much work it would have to try to get scores. You had to make a great amount of work to guess the courts. Therefore, we have this. After we did that, we have to find the melody and our final step, finding them out. How do we do it? First we sing them. The repeated, then the data that the data you continue discovering on and on and on, and you continue doing it until you found the whole marriage. I don't want to bore you now. Right now, I will leave it for you to find the melody because you can hear it easy. But this is the whole process. Very appeared. Then you continue playing with us on. This is how you do it. Hope it was not so painful as other students also struggled to do this because I can't admit it's painful to start learning how to play by ear, but I can guarantee you it's far better than going into search how to play tutorials on the Internet. So keep going, stay hard and see you in the next videos. 72. Welcome to Day 8 - Fast learning (Level 1): Welcome to fast learning. What is fast learning when playing by ear? It can be frustrating to put a great amount of time for every song. So when you want to care about your and with a method for use, you have to discover every node. So if I played this note, you want to play a note. You have to discover each node by each node. And you may be frustrated at the end because you are not able to directly, no, the song's melody over the course or the scale. For example, for that scale, when you are going to guess the scale you have play, you have to put them in order. And then you have to see if the sharps and flats, and you have to see if there's repetition and you have to see what nodes is missing, and you have to do all those stuff. This is why I invented a method called fast learning. Fast learning, I'll be teaching you interval finding and scale finding. So instead of doing the first step, that's step one, which was finding the scale. You will directly be able to within seconds to recognize the scale. For example, if I give you those notes, if I give you notes with F-sharp, you will directly be able to know that this is G major scale. Instead of spending time putting everything in order and during the methods we learned, I will teach you a method that within seconds you will learn what is the scale. And we will also be able to learn more about the course. And you'll direct, for example, if I have this note, I want to go up to here, you will know that, okay, this is something called fifth. Then I will go up directly. In this chapter, we'll discover everything related to fast learning in order to make playing by ear faster and faster for you. 73. Vid 2 - First Elite Training: We will start by the easiest step and it's training if it's above or below. So I give you a note, for example, I gave you that this training will be so easy, but I have to go through step-by-step. I want you to stop seeing the screen, or I will hide the screen right now. And I want you to tell me if the following note that I will pay is above or below. Okay, try to pause the video and tell me if the node is above or below. This is the gene. This note above or below that g that are played. Yeah, it's above. Okay. Another note. This is the gene at this node above or below the mean. It's below the G. Another note, a more complicated note. This is that gee, this note above or below that GM. Yes, it's below that gene. Final load. This isn't a gene at this node above or below that. Yes, it's above the gene. You're asking yourself, Why am I doing this silly thing? It's so easy. Well, you will discover later on because while playing songs, it's so important to being able to recognize if it's above or below n. Even though this is the g, for example, I'm playing this note. There is another note above it, or below it or get so this has been owed. I played this note and I asked you if it's above or below this and not below it. But I played this. So I want you to know that this is above, and for example, this is below. This is below. Okay? You're not ask yourself, why am I doing the silly thing? Just wait, and you will find that there's more stuff, more advanced and more difficult. But for above or below this is it. 74. Vid 3 - What are intervals: Intervals, what our intervals, we might know that half-steps and whole-steps. For example, if I want a whole step, I go from here to here, two half-steps because it has step is the closest movement possible. Half-step is from here to here. And it holds step is from here to here. For example. This is a way to express the measuring or the distance between two nodes. If I want to say, what is the distance between this node? This node, you can ask your knee, it's a half-step. Another question. What is the distance between this node and this node? You might answer that this is a whole step. Well, what is the distance between this note and this note? You might answer that this is whole half. So this is 1.5 steps because half, half, half one point five steps. Maybe I'm asking you what's the distance between this and this issue? Oh, it's getting bigger. 11 half-step, 2345677 half-steps. Do we still measure the distance between two notes as half-steps? Welcome to intervals. Intervals are that distance between two nodes. Every time we have two notes, any two nodes, maybe here, maybe here, maybe here, maybe here, here. I don't care, uh, nodes, the distance between any two nodes is called an interval. We learned a basic interval at the beginning. We learned what is a whole step, half step, whole step, half step. We're also an interval. Half-step as an interval, it's a way of expressing the distance between the two notes. And the same thing applies for bigger intervals. If we use small distance, It's called half-steps and whole-steps. But what if we get bigger and intervals? We can express it in whole and half steps. We have to express it in another unit, and it's called the intervals. We have many types of intervals. We have second, third, fourth, fifth, sixth, seventh, eighth, as known as octaves. Octaves are a way to express intervals. The distance between here and here is 812345678. And the award octaves means the eight, the number eight. So this is a way to express this space. Octave. This is a seventh. This is a sixth. This is F5. This is a fourth. Three in this a third, I mean, this is a second or a whole step. This is a single node. Therefore, what I want you to understand is that intervals are a way to express the distance between two notes. There is many types of intervals. For now, we will learn the difference between minor and major intervals as we have major chords, minor chords, we have also major intervals and minor intervals. And you will learn that in the next video. 75. Vid 4 - minor vs major intervals: So what is the difference between minor and major intervals? Unlike courts, we can't really know by ear what is a minor and major interval. I'm here to tell you that if we have this chord, it sounds happy. We can know that this is a major chord. And if you have this court, we may know that this is set because it says add code. But if we have an interval, for example, a third, don't worry about what is the third, I will teach you in the next videos. But for example, if I have a third, so you might say that this is a sad one. Therefore, it's a third minor. But intervals are not like this. Maybe this interval, you know, you can't say that if this is set, then it's a minor one. Maybe there is some interval that you can't do it like this, but I don't check them out you to do it like this. If this sounds set, maybe it's not minor, maybe it can be major, but although this is minor, okay. We'll discover later on. But I wanted to tell you something that don't rely on the spacing between intervals, you know, just coords. You can say that this set and this is happy. But n intervals, which is the distance between two nodes we can't rely on if it sounds happy, upset or sad. Happy, sad. So just know the difference that you can know by ear if it's happy or sad. But in most cases you will know, because we will get some practice. This is everything for the intervals and minor and major. And the next videos we will discover the difference, the different intervals and the minor and major ones. 76. Vid 5 - 2nd's: Seconds, our first intervals, I will not take so long to explain this because this is not important. Seconds are like a major and minor scales. So if we have this, this is a whole step. So this is a second major. If you have this half-step, it says second minor, but I don't want to I don't want to memorize it like this. I don't want you to memorize that a whole step. As a second major. Second minor, I want you to memorize that. Second major is like this. It's a whole step, but the second minor, we shift our finger to the left. So this is a second minor. This has major minor. You go to the left. Major, you go to the right, okay, so minor you go to the left and major you go to the right. So I want to make a second major. I go a whole step. Fine. But if I want to make a second minor, I just I just make it up the left. This is a second minor as known as a half-step. Okay, so I just want you to know that a second major is a whole step, and the second minor is when we shift to the left, it becomes a second minor. 77. Vid 6 3rd's: Thirds, third major, afterwards minor. How to know the difference? You guys? Thirds are so important in music. Why? Because they are always here, they are always in songs. So if I have any sound, give me any song. You will always find a major third or a minor third, for example, let's say the song Good, perfect for the first time you learn. Let us just look from here to here. Assert y, let us come together 123. This assert, unlike lesson, unlike the half and whole-steps, if I have, for example here, I want you to go and whole-steps. I just go from here to here. So one, I go here. But thirds, we count the first node. So it's not like math. For example, one plus three equals four. No, here one. We add a third, it becomes a third. Okay, so it's a bit tricky to memorize it, but just know that I want the third of this note. I just go up, I count one. This is the one, this is exactly the 123. If I wanted the third of this node, I go up to, if you want, if I want the third of this note, I go up 12. Okay? But if I want, for example, the second of this node, I go up one. I counted 12. If I want a fourth of this node, for example, I want a fourth of this node. I count 1234. This is the fourth. If I want a fifth of this note, I count 512345. I don't do for example, I want the 5th of Year, I don't add five, so 12345, this is not a fifth, this is a six because 123456, you understand the basic of it, the logic of it. To go back to our third, we have this. We want a third remains from here to here. We went up. You see, you see how we made the third. And then we'll repeat. Our story is we want to know the difference between a third major and minor. How we know the difference between them? The third major is two whole steps. So if I want to go if third major up, if I want to go, if third major, apologize for it. Count with me from here, then I go half, half, then half, half. So this is a third major. Third minor. We just go up to the left. It becomes like this. So this is the third major. We want the third minor, we go to the left. This is the third Minor. Another example, on another note, I will give you the hard one. This is the node. Okay? I want you to go up a third major from here. I just go up two steps, drew whole-steps. So one, true. This is third major. And if I wanted the third minor, what do I do? I just go back a little bit here. I go back a half-step. So pump, I have the third minor. You see the difference? Now I want to give you another example on the note F. So if you pause the video and go up a third major, then show me the third minor. Pause this video and do it. Hope you did it. I want you to go from here to here, a third major. What I do, I do, I go to whole-steps, one, true? Then I want you to go I want I want a third minor. So what I do, I just go at the left. This is if it were a minor, I know I made this example at the beginning, but the ethanol problem, I just want to challenge you. So this is the way you find the difference between third major, third minor. Third major is two steps. The third minor is if you want 1.5 steps, so you go a bit to the left, for example, from here to here. This is a third minor. Why? Because there is not q whole steps. So 1.51, this is a third minor. I wanted to make it major. I go to the right. I want to make it minor. I go to the left. Major to the right, minor to the left. 78. Vid 7 - 4th and 5th: We did the second or the third. Now it's science of the fourth, but I'll do the fourth fifth at the same time. Guess white, because fourth, fifth are from the same nature. So we have second major, second minor, third major, and we have also third minor. But do we have a fourth major or fourth minor? Let me see with you as you get there, I have a fourth, 11234. Let's suppose this is a for a fourth major. Let me play the fourth minor. What I do, I have to go to the left, right from here. I play this. But this is, this became a third major. Third major. There's two whole steps. This is a third major. There is no fourth minor, and there is no also fifth minor. There is no fourth major, and there's also no fifth major. There is, there's only perfect fourths and perfect fifths. What do I mean by perfect? Well, there is no other fourth than perfect fourth. Perfect fifth. We have second major, third major, and perfect fourth. Perfect fifth. If I want to go a little bit to the left, I use something called a diminished fifth, but don't worry about it. We will never use it in piano right now, especially for the Advanced, advanced PNS, rarely use it in classic music. So there's no need to learn it right now. But I want you to know that there is no major or minor fourth, fifth. There's only perfect fourth and perfect fifth. Okay, is there is minor and major for everything, every, every everything. And also the sixths and sevenths that we will learn it after this. There is no major and minor for the fourth fifth, There's only perfect fourths and perfect fifths. There's only perfect fourth and perfect fifth. 79. Vid 8 - 6th and 7th: What about six? And Kevin's? They are rarely used in music, especially the seventh. But we will learn and train ourselves to know the difference between them. When it's minor and 20th major. Lets us do that even though the seventh rarely comes. So try not to worry about the seventh. Try to worry the most about the six. So how do we know that this is ethics? And remember, we are doing all this work in order to true, for example, if I have this, I want you to know that stay with me through all this in lab. I want you to know the difference between here and here. This say, I'm doing all of this to prepare for the magic that you'll be playing in the next videos. We are prepared for the, for the magic of the songs that we are going to play. For example, if I want to know that I want you to go from here to here. How do I know? I just think that this is a fifth. You have to listen to the fifth. Then right after the fifth comes to the thicks. You have to memorize this feeling of that chord. This is the difference between the fifth, sixth. All I'm doing is not to try to make you understand the theoretical part. I want you to understand the playing by ear part because we can go and dive deeper into the theoretical part all the day long. But what's difficult is to dive into the plane. And therefore the six is nothing else than just playing more than the fifth. What's the use of it? I want you just drew when I pay, for example, give me the fifth of this. You see, I know directly the sixth of this, for example, data, data. You see it? I definitely knew the fifth, the six. I mean, now try to tell me that the fifth of this data, I just want you to practice. And for example, let me tell you what you have to draw. Try to give yourself a note, for example, the CMB, the easiest one, and tell yourself that I want to sync the fourth of the data and then check if it's true. It's true. Now for example, give yourself a note and say, what note is this? How it relates to the scene. And then counting in your head, dadadadada, it's a fifth. Oh, then you guessed it. Try it. Okay. So I want you to give you a small exercise and it's what I did right now. Just give yourself a note, a flat. Then say, I'ma go. Major. Directly guessed it. For example, start singing. They're not perfect for our children. What interval is it? What interval is it? It's a fourth. It's a perfect fourth. You see, this is where the strategy comes in. I want you to know directly from here to here, and not try each node. So I don't want you to try each note. I want you to directly know that from here to here. Okay? Then, for example, the fourth, perfect fourth down, that is 66 up. You see, I want you to practice every sound you know, and try to play directly without guessing, without trying to guess which node. For example. Without trying to guess. I wanted to directly know from here to here. 80. Vid 9 - Train like a pro (Secret No.1): Here comes the secret, and it's just as easy as I did, is to practice each song by each song. So just I want you to practice, for example, as we said in the previous video, I want to give yourself a note and say I want to go a fourth from this node. Star thing. Okay, what is the force for the fourth? Try every different nodes and give yourself a small challenge. As I said, try different songs. Then from here, I want to go here. What does this interval? It's the fourth. So try experiments with this and try with different songs. Start recognizing that, oh, this is a fourth. For example. This is a third year that I don't want you to play too. For example. I don't want you to start trying. I want you to directly know that this is here. This is the secret that I want to tell you about. And again, try to practice as much as you can. The more you practice, the easiest is it becomes for you. 81. Vid 10 Secret No.2: Moving to the secret number to the first secret was the right-hand. Now, the second secret, and that is in the left hand. You already know about the 1456 chord progression and we are going to use it here and that perfect song called perfect for externa. This is six. This is before. This is the five. What's interesting here is that we can play like this, one, first-degree or like this. Okay. We can't play one. Then six, what did the 6123456? We can play the chord here, or we can play it here, or you can't pay it here. Let us play only the notes, okay. To make it easier for us. Instead of playing the whole court, I want you to play only the octaves. Okay, so oh, I went back that if you look at my left hand, I went back, back back, back forth. This is exactly the 1645. Let me prove it to you. So one because it's F major, then what is the six? It's 123456. So six. What does the four what is the five? Or you could do it like this. What I'm Grant back from here to here to here. What is the point of all this video, Joseph, why did you show us that you can't go back? Well, that point is the first thing when discovering the courts to make that process faster. Try this, this chord progression. Try to replay the first degree. Then go back, go back, then go back, then go through here to the right, left, left, right. I want you to imagine this because it don't work for, or chord progression. It works for a limited number of songs. This is why it's worth trying. So my whole point is, every time you want to discover a new chord progression, try this chord progression first degree and then go back, then go back then fourth. Instead of wasting your time trying to find the difference chord progression just at the beginning, try the back and forth. Then after you try that, move on to other chord progression. So I want you to try it with this song. And try it. After you've tried it, it may help you in the future to discover faster song. So as Reno directly play this, okay, go back. Then if it didn't work out, went back and went back and went forth. If it didn't work out, you will try other chord progressions. Those are just some tips to make the process of playing by ear a bit faster. 82. Welcome to Day 9 - Fast learning (Level 2): Welcome to my favorite part, and it's me giving you some tips on how to freestyle with a piano. You saw me a lot playing. Perfect for Azure ARM playing it like this. This is absolutely not me flexing on your I'm just trying to make you see what is the difference between what we learned so far. We learned how to play that melody and our right hand. We learned to play the chords and our left hand, or for example, the octave and a fifth. But we didn't learn how to exactly play like I'm playing, playing chords and right hand and playing multiple octaves and left hand and jumping octaves right here and here and here. How do we reach this level? How can we actually play like professionals? So here I'm teaching you all absolutely all the tips that I have in order to transform from this to this. How did I do all of this work? This seems that what you learn is so beginner and you did not learn anything other than plague the simple melody and just playing some chords and your right and left hand and your left hand, actually not true right hand. And so here in this chapter, I'll teach you every single advanced tip. In order for you to transform your song dramatically. You will transform the way you are thinking about codes. The way you are thinking about inversions, the melody. So there will be no rule here. Here, the only rule is to have fun first, second to try and practice. This took me a lot of practice to transform any song, give me any song and I can transform it. For example. I'm sure you remember the song that we played together, but how I'm playing it, I transform this song. I did not improvise too much from me, but what I did is added some octave rules and added some inversions and added some rhythms and played on rhythm. You will be learning everything you need in order to freestyle, to play you, to play something from you, to have a song and improvise your song in a way that it's amazing and repeat the song played with Octave everything, chords, RPG that everything. Here, I'll be teaching you everything. So the only advice I want to do is please have fun in here. This is not a strict rules or something. I just want you to have fun right there because we are going to actually have fun and you'll see dramatic changes in European or songs. If you're interested in jump with me and I'll teach you all those steps that I'm using while paying my piano songs. 83. Vid 2 - How 3rd's are related in a chord: How thirds are related inequality in the old way. And as we learn, we used to have a C major chord. For example, we start by c and we go up four half-steps. And then we go up three half-steps. This was the old way techniques that we use. Whenever we want to play a code, we start by the root nodes. Then we go up four half-steps, and then we go up another three half-steps. But this was the old technique. The new technique that we have to use after learning what is intervals, is that instead of playing four half-steps and 3.5 steps, we have now to play a third major and followed by what, a third minor. I wanted to show you how we have to play the C major chord and the new technique on the piano keyboard. Here we have the C major chord. How we replay it. We used to say that, okay, I have a note of C. I have to go up 4.5 steps, one through four. And after going four half-steps, what do I have to do? I have to simply, this is the four half-steps. I have to simply go up and another three half-steps. So from here, 123, I mean three. So I go up 3.5 steps and I will have the complete chord of C major. This pretty slow way. Using the new way that we are learning, we have to see it in another way. We have to see that we have is third major. This is a certain major made from two whole steps, 12, okay, This is a third major. And then we have over the T is the third major, we have a third minor. Third major. Third minor makes a C major chord, or any major chord. And to prove that, I will try it on another course. Here we are. Let me play the C major chord, for example, how we used to pay in the old way. We could play it here or here, or here. There's no problem playing it anyway, we can paint on any octave. Let's start with C major. We start by here and we go up. And the old way we go out four half-steps and then we go up 3.5 steps and then replay the whole code. Oh, that's an old technique for super beginners. Now we want to try a new technique. We have this go up a third major. Third major. This is the third major, so G is the third major. After going up a third major, I want you to go up a third minor. So after here, here, this is a third minor, and if you see it altogether, this is the chord. So we went up a third major, as you see, two holes stub. Then a third minor from here to here. This is how we are going to make the major chord. Now a final example to understand everything about the major chords. I want you to pause the video and try to play the a major chord, but not using the old technique, using the new technique that we are learning. So when you went, when you want to play the image record, you have to play a third major. Then over the third major, third minor, pause the video and come back to me. Okay, So we have to play the a major chord. First, replace the a. There we go up a third major. What is its true whole-steps? So one from here to here. I mean here, from here to here. Then after going up a third major, I also go up if minor. So from here to here, and we have this whole code. See how easy this is easy. It's easy of counting four half-steps, empty half-step. Just see it as a third major. Third minor. By the way. How to know that this is a third minor? Do you have to count? Know, you could easily see it as this is a third major, for example, this, this is a third major. But what is the third minor? It's when we go to the left. We go from here to here, to here to here. Okay, instead of playing this lesson, if we can play through third major, so here applied to a third majors one. Here. Sound good. No, it doesn't. This is why we play a third major from here to here. Then if a minor from here to here. So you have to imagine it that the third major have this much space. The third minor. This must match space. And you will see later on that we have the same thing for the minor chords, but it's a bit different in structure. It's the opposite. Let me jump to the minor chord. For the minor chord, using the old way technique, we have to play 3.5 steps, then four half-steps, because it's the opposite of the major chord. The major chord was four half-steps, 3.5 steps. This is the old way, but the new technique that you are going to use is instead of three then four, we are going to say that a third minor, then a third major, don't confuse between three half-steps and third minor, they are completely different. So the new way is to use the third minor, third major. What did we use and the major chord, we used a third major, third minor. Now we are using a third minor, third major, you see? So it's the opposite. Now we are going to see it on the piano keyboard. Here we have a minor chord. If I want to play that G minor chord, try to pause the video and actually replay the G minor code. All you have to do is just go up a third minor, then up a third major, pause the video and come back. So we corrected. Okay, so we have G. We start by g and we go up a third minor, third major, third minor because it's, we want to play a G minor chord. Instead of going from here to here. We go up from here to here, a bit to the left. Okay, so we go and set from here, you go to here, a bit to the left. Then from here we go up to here, y two here, because it's actually two whole steps. So from, from B flat to D, that has actually two whole steps, and therefore it's a third minor and we have this G minor chord. Okay, So all we did is just went from here to here minor, and then from here to here. Third major, as we wrote in the previous videos. Now, our final example is the a minor chord. So the a minor chord. Also third minor from here to here. The third major from here to here. It's as easy as it sounds. With practice, you'll be able to easily recognize the difference between the third major, third minor, especially if you carefully watch the previous video that we did. This is the new technique. And from here, we are going to learn three are going to say that the courts are not four half-steps and 3.5 steps. We are going to say that this is a third major, third minor. Third minor, third major. It depends whether it's a major chord or a minor chord. 84. Vid 3 - Find sharps in Major scales: Are you ready for the interesting part, which is knowing what scale it is directly. In that previous videos, while playing by ear, we learned how to play by ear. First we have to find the scale, and then we have to find the codes. Then we have to find the melody. But to find the scale was a hard part. Why? Because it was something that we have to do many steps and we have to put it in order and everything. Right now we are going to directly learn how to find the scale directly. How to know what scary it is. For our first case, let's suppose that you found a sharp, that you found something sharp. You will tell me about the sharp is the same as flat. Now continue with me and suppose that the song contains a sharp. For example, D, for example, C-sharp, C-sharp. Let's suppose you have C-sharp. Maybe. If you have C-sharp, you directly say that, Oh, there is an order of sharp, so there is sharps. What you do, you go directly to those nodes so that you are seeing in front of you F C G, D a, B. Those nodes, F, C, G, D a, E, B, the order of nodes that you should memorize. Why memorizing this? Because if you can actually memorize those, you can directly know what scale this, as I promised, I'm using this technique and it works every time for me, every time I see something I can directly know what scale it is. So how can you memorize those? First? To memorize those, you have to divide it. We can memorize it as F, C, G, D, a, E, B. So maybe you want to pronounce it. They may be F, C, G, D. It's going up fifth. So we have F, F, G, a, B, C, then C, D, C, D E, F G, then G, a, B, C, D, and then D, E, F, G, a score. It's all going up fifth, because if you see in front of us of the piano keyboard, we have F, for example. Then going up Fifth. You have seen. Then we have going up for three, have g, Then we have D. So it's all the combination of those nodes that makes the order of sharps. You may understand nothing but all I want from you is to pause the video and actually memorize this order. F, C G, F, C, G like this. Then, Dave, Dave, follow this order and memorize it. And after you memorize it, come back to the next slide. So here we are going to see something special. For example, if we have an a song, I found F-sharp and C-sharp. I found F-sharp and C-sharp, so I start checking. We have F sharp, okay? Check as you see above this arrow. And after we have the C Sharp, okay, check. Then we check if there is a G sharp. Do we have a G-sharp? Know we don't have a G-sharp. So what you have to do is when you have a song, for example, you find F-sharp, okay, fine. Then you start searching. If there is a C-sharp, this a C-sharp, okay, fine. Check it. Then you start searching for the G. Do we have a G? We don't have a G. What we do, we cut it out on the FC. As you see in front of you, there is something that is cutting this out. We cut this out on the f, c. Then we go F-sharp, C-sharp, then plus a half step equal D major scale. And all the sounds too much theoretical. But don't worry, we are going to learn about this more. But for now, let me make sure you understood everything. We have this order. You have to memorize this order as available in the PDFs. You can check this out. F C G, D, F, C, G deep. It's all going off fifth, if you don't want to memorize it, even though I recommend you to memorize it, you can just memorize the first one, which is denoted f. And then go up and fifth, F, C, G, D, a, E, B. It's harder to do it like this because every time you will be forced to count fifth, but I recommend you to memorize this. This is the only thing in sharps that you have to memorize. After this, when we have a song, we start discovering what black keys do we have? Do we have sharps or flats? Let's suppose we are having shops. I will get back to the thing that chart and the same as flat so we can go up or we can go down. But let's suppose we have sharps. You start seeing which Sharp do I have? Do I have an F sharp? Okay, check. Do I have a C-sharp? Check? Do I have a G-sharp? No, I don't have a G-sharp. So what I do, I just cut it out on the F and C. So as you see in front of you, I proved this yellow thing right there. I cut it out on the sea. We stop at the scene and move to the next line. We have F-sharp, we have C-sharp. We add a half-step. Where are we become? We become on that D. And I will show you in front of you on the piano keyboard. If we have F-sharp, C-sharp. So we have F-sharp, C-sharp, just go up a half step where we become, we come up with a D. So every time you see, for example, F sharp, then a C-Sharp. If it's about sharps, we go up a half-step and we become under dean. Now you will ask me, but Joseph, maybe there is an F-sharp, there is a D-sharp, there is not C and G there is a D-sharp. And I'm telling you, well, it's impossible. Go see every single song. If there is, for example, a D-sharp, then for sure there is a, G and C and F. So you can't have, for example, a sharp without that, the GCF. If you have a, a sharp, you have all of those before it. For example, if I have FIC in front of me, B-sharp, be sharp, which means c. If I see a B-sharp, Then for sure I have all of the shop before this. So I have all of those before this. But if I have a C-sharp, it does not mean that I have G and D and a and E and B sharp. Know if I have C sharp, then I have everything before the C-Sharp. You got the point. So if I have a G-sharp, I have everything before the G-sharp. And in this case, I didn't have the G-sharp. I only have the C-Sharp. I had C-sharp. Everything before the C is F-sharp also. The F is A-sharp. E-sharp also. Therefore, what we do, F-sharp, a C-sharp. And after that C-sharp, we take the C-sharp and go up a half-step, and we become on the D major scale, as you see in front of you. I know this is sound, too much theoretical, but I want you to understand the concept and then we will dive in deeper to know, to know, to take more practical example. But for now, memorize this and then we will see what about the flats? 85. Vid 4 - Find flats in Major scales: We learned to know what scale it is if we have sharps, but what if we have flats? Here comes the interesting part. If you want to have flats and we have also unfortunately to memorize and another orders. But let me tell you something. You are asking yourself. Oh, do I have to memorize those orders in order to know if there is what what scale it is. And I'm telling you, yes, If you memorize those, you will save tons of time for you to try to memorize, to try to see what it is. Remember in the previous sections where we, we were struggling to find, refine the scale. We have found, at least through how we had to find at least five nodes and then put them in order discover if there's repetition. And then discovered tried to try each node, by each node to try to figure out the scale. There were tons of things that we had to do. Right now. We can do it directly. We can't do it directly by just memorizing this. If you memorize this, it will save you lots of time. And I had you a little bit some small trick to memorize this. And it's by calling it BAA, G, G, C, F. I don't know how you want to memorize this, but you have to take a small time to memorize those. These are the only things that you have to memorize and music concerning the scales, but try to do it so bear, bear as you want to do it or baby eBay. I don't know how you want to memorize it. And then the GCF, so bear the GCF. Bear the GCF. Try to write it in front of you or memorize it. And after that, go to see how we can know what scale it is if we are talking about the flat scale. And also one thing that this is going up for. The previous ones were going up Fifth starting from F. Now it's going up for starting from B. So maybe it will facilitate for you to know that it's going up for. But here we go to the interesting part. How to know what scale it is if there is flats. In the previous ones, we also try to check each one. So you were checking? Checking, checking, and then what we did is went up a half step, but now they're flat. This is not the same thing. What we have to do is checked their B-flat. Yes, there's a B flat. Now we go to the next one. Is there a E-flat? Yes, there's an E flat. Now as they're in a flat, start thinking. And yes, we will be having this time a flat. What we do, we have B-flat, E-flat, and A-flat. Instead of going up 1.5 as rigid. And the major part, we don't do that. And the flats, the sharps, we went up a half to know what scale it is. But here we go back one step to the e, and we will be having the E flat major scale. I know this seems a bit complicated, but I'll prove it to you refers to make you see how this works. So we have B-flat, E-flat, and A-flat. We have B flat. This is B flat, B flat, we have E-flat. This is a, this is E-flat, and we have a flat. If we have those three, if we play it, this is the E, The E flat major scale. This is the scale of E flat major and it's sourced from the E flat. And therefore you have to know that, for example, I start searching, okay, what do I have? Do I have, for example, one, playing a song. When playing a song, you start searching for keys, right? You start searching, you try to play the melody. You start shows certainly for the key is okay, what do I have? I have found, for example, I found b. I found a B flat key. Okay, cool. I found a B flat key. After I found it to be flat key, you found a, a flat gear. For example, we found an A-flat key. If you found an A-flat key directly, everything before will be selected. If we select the a flat key directly, you have to know that there is an a, an E-flat key. We have b, e, a. We go back to the ear. After we go back to the E, we say that this is the scale of E flat major. I know that sound more theoretical, but we will apply it to many scales. Don't worry about for now, try to memorize this order B, E, a, D, GCF, and know that every time if we found, for example, this is the last node, we find that, we find the a sharp that last one. We go back to the a and we have the E major scale. I will explain more in the next videos. 86. Vid 5 - What if there's no sharps and flats: Now I will ask you a question. What if the scale that we're playing has no sharps or no flat, try to pause the video and think about this answer. This is a smart question and you have to try to answer it. What if we didn't have no F-sharp, G-sharp, we have no sharps and no flats. What scale would it be? What scale wouldn't this be if that is not? What do we get? The CSC major scale? Because if we have no sharps or flats, for sure, it's something called the C major scale, or its relative minor that we will be learning after. And it's the a minor scale. But for now, know that if it has no sharps or flats, then it's the C major scale. 87. Vid 6 - Make an exercice together: Okay, so here we are with our pen and paper challenge. What I want from you is please have it piece of paper and a pen and sit to make the exercise together. It's better if you did it also in front of you. You could watch it because I will be also writing right here. But it's better if you had dependent paper and the font of your previous videos, I explained how to find the scale of a song if we had sharps and flats. Here, I'm going to explain more how to do it in real life. So the practical part, I explained that theoretical part. Now I will explain slowly the practical part. This is the question, Let's suppose after trying to play a song by ear, you wrote in front of you all denotes available. Instead of trying each node by node to try and to find the scale, you decide to use the fast learning technique when playing a soundbite. Here, our first step should be finding the scale. This is what we are going to do right now. Instead of playing the old technique, which is writing all dynodes first, we have to write all the notes from C, C sharp, D, D sharp, E, F, F sharp, G, G sharp, a sharp B. And then singing the melody to find at least five nodes. Then removing the repetition, which step, then writing it down and order, then trying to find what scale it is. Instead of going through all the five steps, we are going to go through only one step, which is directly finding it. I will tell you how coming back to our pen and paper challenge, Let's do it. Someone like you. Remember the melody. Theta, theta dot, dot, dot, dot, dot, dot, dot, dot Theta dot Theta. I hope you remember that melody. If you don't remember it, you can go simply and go watch the video on YouTube. And I actually remember thermal. What nodes were you able to spot? Remember that we were able to spot the node a because the a, then C sharp. This is why I'm telling you to have a piece of pen and paper in front of you. Go to the YouTube video and try to re-listen to the song and try to spot some notes in front of you of the keyboard. And after we did that, go back to here, you will have a better understanding of what we are doing. We have the, we have the a, we have here, we have the a, we have the a, then we have the C-Sharp, we have the ESO, we write that here. The data. Then we have the, we have the G sharp, we have the G-sharp. Then we have, we have the F sharp. Then we have the, we have something new here which we write down the d. Now the question is why I didn't try to flats, Joseph. I'm not knowing why I writing flats here. You could have easily written the flats. I could've easily, instead of C-sharp. C-sharp, why I didn't try that? D flat. Oh, here it comes. Well, if I play the C-sharp, Try to listen to the song. And the song, we have this score. We have something, we have something like this. Listen. We have this. We have at the beginning like this. We have at the beginning like this. Then one more time. This lesson. See in front of you those nodes are making a code. Why I'm not playing D flat? Well, if I want to play D flat, I wouldn't have a complete chord. A chord is made from either third minor or third major. This case, this chord is a major chord, a major port. Why? Because it's made from a third major, true whole-steps from here to here. And a third minor from here. In here, if I told you that the code was a D flat, D flat, for example, you want the D flat and set up the C-sharp. So a and D flat. Let's try here, D flat and E, a D flat and E. You imagine this as a cohort. Is this accord a D-sharp E? We have to go up thirds and not forth. Take a look. This is a bit tricky to do, but we will understand this. So we have a D-sharp, E instead, or VS. Okay? Here we are a C sharp. So here we are. We have those, those, those true choices in front of us. It's either a D flat E or a C sharp E, Okay, so it's either a D flat E or a C sharp, E because C sharp and D flat are the same. How do we know if this is? What code is correct? Well, we just learned that accord is made from two thirds major, third minor. Leave me alone, that this is a major chord. So maybe this is a major and maybe this is a minor. We don't want to know right now. But what we have to know is that it's made from thirds and not forth. So E, D is a fourth. Conflict mean a, b, c, d. Fourth set of a, C is a third, a, b, c. You will tell me, but you will tell me that this is the same distance between a and D flat is the same distance that a and C sharp? Well, this is the same distance. It's true, but this is not the same names. So a D-sharp, 1234 and sharp fourth set of a and C sharp, a and D flat, 1234. And we go back. A fourth set of a and C sharp is through the names matter. It's not that it's the same distance, therefore it's a third, know the name matters. The difference between a D-sharp, write this down. The difference between a D sharp, a C sharp, I mean a D flat and a C sharp is a huge, because a D is a fourth and a C sharp is third. Therefore, we cannot use it at the same. Now you understand why we made it. We, I wrote here a C sharp and not a D flat, because a C sharp, as if it were, but a D flat, a fourth cords. We don't have a fourth. Now going back to our to what we were talking about, we were talking about the keys that we found in the song. We found those. And now we have to answer this question. This is sharp or flat scale, so obviously it's a sharp scale. The next question, what is the order of the scale you've found? So if we found a sharp scale, we have to write the order of sharps. If we found the flat scale, we have to write the flat order as this, a sharp or flat is a sharp. Write down the order of sharps. We have to memorize it. F, C, G, D, a, E, B. This is the order of flats of Sharps. I mean, you have to normalize it. Look how I did I just memorize F, C, G, D, E, a, B. I memorize it like this. This works for me, maybe it works also for you. After doing this, we are written, we didn't do something hard. We just try to spot what keys we have. Then written as this is a sharp or the flat scale. A sharp for sure because we have sharps sharps, trust we don't have flats. Then we have written the order of sharps that we should have memorized. You can see it's in the PDFs. Then we have to answer this question to what note we arrived. What do we mean here to what nodes we arrived? So I told you that we start checking if there is F, C, G, D, a, E, B, starting from the first one, the note F. Is there, an F sharp? And then olds, we tried to find if they're an F sharp. Let me find a C sharp, E sharp. Oh, we have an F sharp here it is. We have an F sharp. Here we are. So we write F sharp. The next one, do we have a C-sharp? Do I have a C-sharp? And the notes I find, let me search a C-sharp. Here we are. We have the C sharp. C sharp. Then do we have a G sharp? Let's sort for a G sharp. G sharp here it is. This is the G sharp. We write down G sharp to what node we arrived. Here we are, We arrived the G sharp we arrived to here. So I'll put it like this to make your C, F-sharp, C-sharp, G-sharp, to arrive to the node G sharp here, we all here, then our G-sharp. So this is our last node. You arrive. Could we continue to the d? Let's try. Do we have a D? I will I will highlight it. Okay. Do we have Let's surge know we don't have a D-sharp, we only have a normal D. So we can't put it with the series right there. We only have F-sharp, C-sharp, G-sharp. If we go down. If this is a sharp, add a half to the last node to arrive to and you find the scale. So as we discussed, and you can review this into PDF when we have sharps, okay, if in this case, we arrive to the last node and add a half to it. Because as you see in front of you, if there is a sharp, we arrived for example here, fc plus button. In this case, we arrive to that G after that G and add a half. Here in this example, we arrive to the sea. But in this above, in the other examples that we did right now, we arrive to that G after F, C, G. So we cut it dry there. And after we cut it, we add a half-step. So here we are after the G-sharp. G-sharp. If there is f, This is a sharp, this is a sharp scale, and in this case it is. What we do. We add a half step to the last node, we arrived through the last, nope, you arrive to a G-sharp. So we add a half-step. After we add a half-step of the G-sharp, what scale I found? So G-sharp, major scale. You see, this is the thought process I have to go through every time I want to find the scale, you will tell me it took a long time. Well, the next time what you do and as we will do in the next challenge, what you do, you directly find F, F-sharp, C-sharp, G-sharp, G-sharp, then directly I add a half, then it's a major scale. So it literally will take you in ten seconds to do that. You start finding, okay, I have this and this and this and this. What I do, I add a half-step two, the last one, which is g, I add the half-step and I become on the a shot. What I want you to do just in front of you, try to remake this challenge. Try to make it alone this challenge, we did it together. So what I want you to do is try this challenge again. And you get used to it. And then we will jump into the next challenge. 88. Vid 7 - First big challenge and correction: Try to see what notes you were able to spot, not an order. They don't have to be in order for the song called no-slip for mocking getX after you do that, answer to this question, this is sharp or a flat scale. Maybe it will be a sharp, maybe it will be a flat. And after this answer, this, what is the order of the scale you found? If it's sharp or flat, you write the order of sharp, F, C, G, D, or the order of flats. To add notes. You arrived as we did in the previous one and the previous song, you will start seeing to what node sure, you arrive. After that. You see if this is flat, you add half to the last node to arrive at. This is a sharp, you go back and note, and this will be the scale. And after that you answer what scale you found. So try to make this, maybe you'll be a little bit confused. This is why this is a challenge and not an easy task. After you did that and you try to find what scale it is, you go back and we will correct this together. Don't forget to find not all of them melody, okay? You don't have to find all the analogy, but at least try to find some sharps. And the amount of that, just this. If you're able to do that, Let's see this. Do you get it? First? We have to try to spot some notes, or at least some flats and sharps and stuff. And I'm telling you, I think maybe you got confused between whether we write sharps or flats. But I'm telling you it doesn't matter what sharps or flats you are playing. For example, you could have said that we have G sharp or a flat. It doesn't matter. Maybe at the end, for example, if you pick the sharps, you will have, for example, g, for example, G major. But if you pick the flats, you will have a flat major. If you pick the sharps, maybe for example, you will have G sharp major. If you pick the sharps. If you pick the flats, maybe you'll have a flat major. So it is the same because G sharp major is the same as a flat major. I'm telling you, try not to worry about the flats and sharps, whether you have to pick G sharp or a flat, just, just pick anything you get in the way and it will be arrived because they are the same. What notes were you able to spot during the Song of no sleep for modern graphics? We start by here. We have the, we have that B. We have B of the B, and then we have this. We have this. So we have F sharp, F sharp, or G flat, G flat, G flat, so you don't confuse. Then. We have G, we have, we have C sharp, C sharp, or D flat. It's the same. And we have D sharp or E flat. It's also the same data. For example, some. As we try, we have this, we have F-sharp, we wrote it. Okay, so here we are. We have those, we have those flats. Maybe you have another data, data, data cosine, and we'll often, we don't have any props and flat. So far. Maybe we have some, some sharps and flats hiding. For example, maybe you handle, we have, for example, one node, but it didn't appear in the song. It's not necessary that all keys and all sharps and flats appear in the song. It not necessary, maybe the artists did not use this specific key, but it doesn't matter. The technique that we use that we did together that I taught you will let us discover everything. I'm not editing this and I'm not removing the boring part because I want you to see how I am thinking to let you think like me, okay, I want to see my thought process. It's not important to just make the course and finish it and edit it. No, I want to keep my mistakes and let you see what I'm doing, even though we didn't have any mistakes here. But what's important is that I was able to spot B, F-sharp, C-sharp, and G-sharp. Let me remove this. The flat's because it was just me telling you that you could do it in flats. So here we are. This is sharp or flat scale. I will write that this is a sharp scale. This is F-sharp scale. What is the order of scale you found? This is the order of sharps so that we had in the previous one, F, C, G, D, a, E, B. You can always refer to this. We continue after writing the order of sharps. We start seeing to what notes we arrived. We start checking. Let me remove this because we no longer need that. What note you arrived? Our start checking. Is there an F? F right here? I started searching for F. Yes, I have the F sharp, so I highlighted to me, you can maybe a circuit on your paper and we write F sharp. So after that, do we have a C-sharp? C-sharp? We start searching and yes, we do have a C sharp, so it's okay. We write here C Sharp. After that. Do we have a G-sharp? You have this G-sharp. Start searching. G-sharp, G-sharp, D-sharp. No, we don't have a G-sharp, so we don't try to and we stop there. Do we stop? No, we don't stop. Because this song, there is something that was hiding. We have that D-sharp. Also. This D-Sharp, I will highlight it. We have, even though we don't have that G-sharp, why we didn't stop? Because we have the D sharp. This is the D-Sharp right there. We had the D-Sharp right here and rewrite the sharp. But what's tricky about that is that we arrived to the D-sharp, but without that GI, so we didn't have that. Gee, we did f, c, d without the G. There's something wrong. But no, there's nothing wrong. Why? Because this G, as I told you, was hidden. So there was no note. G will bring the song. We didn't find any node G data, data, data. I didn't find any gene. Maybe if I continued further and the song, I would've find a node G. But I didn't find any g. This node was hiding. This sharp was hiding. Therefore, what I right? We can't have a D-sharp without a G-sharp. For example, FI found only D-sharp. For example, let's suppose that I only found D-sharp. I only, only, only only found D sharp, and I will highlight it and underline it and put it in italics so you can't see it. Well, let's suppose I only found the sharpened, doesn't, I didn't find F sharp or C-Sharp or G-sharp. I only found D-sharp. What I do, I directly know that there is F-sharp and C-sharp and G-sharp, but they are hiding, they are not present in the song. The artist or the Assange did not include F-sharp, C-sharp, and G-sharp. You get the point. I'll give you another example. If I had, for example, E sharp. If I add, for example, E-sharp, I directly know that I have all of those before It's. So if I have, for example, G-sharp, I directly know that I have all of those before. So we have G sharp and C sharp and F-sharp. In this case, we have D sharp because it's here, It's here from denotes that we found. I have the D-sharp, but I don't have the G-sharp. It's not in the song. But I have to take it, why? Because it's included in the scale, but it's hidden. It's not there, it's not played. Therefore, to what note we arrived, we arrived to G-sharp before the D-Sharp. Here we are. We have the F-sharp, C-sharp, G-sharp, and the shop, let me highlight this for you. So we found all of those. Then we start seeing to what note you arrived. We arrive to this node. We are out the D sharp eye right in front of me. We arrived. To the D sharp. So we highlight this after I arrived the D-Sharp. If this is, we see that those two in front of us, this is sharp scale. We add a half to the last notes to see what scale it is. Flat scale. We go back and note. We go back anode, and this will be our scale. In this case, we have a sharp scale. We have a D-sharp scale. So what we do, we add a half to this. What is the half of D-sharp? This is dy, Is D-sharp. We add the half where we become, we arrive at the major scale. We write down E major scale. Here we are. We found that this is the E major scale. You will ask me, do I have to do all of those? No, you can guess it directly by ear. You can guess it directly after you practice this. What I want you to do is go to search for other songs. Maybe the songs I recommend you to. And you see those songs that I gave you the cords to replay it. When we didn't learn how to play by ear, you could have those songs. Listen it on the YouTube and try to find what scale it is. Okay, After you find what scale it is, you go and do all those steps. You find what scale it is and you try to find those steps this time without a pen or paper. Try to do it without a pen and paper. And maybe try to do it in your head and then try to figure out the codes. You want to figuring out the course, try that one for 56 scores and then discover them at the end. It will be faster. So the whole point was, you can't do this without a pen and paper, the sign, you can do it in your head. Try to do it in your head and repeat it for others. For example, this song Stay with me for seventh myths that we tried to find the scale. You could skip all of this. You could skip all of this and try to directly find the nodes. So these are the trying to find the melody and find the nodes. Find all the sharps and flats. After we find it, you discover directly what code is it. Then you'll find that the course you start trying to One 456. Then you find them at you right in front of your unsorted trying. I'm telling you you have to try to experiment a lot, okay? This will not directly, if, if you watch this, you will directly know how to do it. Just experiment, experiment, try as much as possible and you'll be able to do that. Finally. 89. Vid 8 - Second big challenge correction: Remember the song that we created previously by year, 1000 years. This song. So we now want to discover the scale of this song. I want you to pause the video and try to make the steps that we already made. And try to find the scale, pause the video, and try to do it and come back to me. I hope you didn't 12. So this song is 1000 years for Christina. Even though we did this previously. But this time we are going to do it. And then you wait, we have to find at least some, some flats or sharps, okay, so this is B flat. When we find this node, try not to write a sharp because there is B flat major, but there's not a sharp major. Usually when we have something, for example, this try to write a flat because they're flat is better. A-flat major, not, not G-flat major. For example, here we have this. We stopped by B flat. Not a sharp, not a sharp because a sharp later on will cause some problems using the scales is the same. So if for example, we have, We had an a sharp major scale, a or a B flat major scale, usually PNS like more than V flat scale over the a farm scale because those nodes are meant to be flat. So this is how the support we are. I'm just trying to tell you why I chose B flat and not a shop. Even though if you chose a sharp, it's 100% the same, you will arrive to the same, to the same result. And you will see at the end where we will arrive if we chose a sharp, but for now let's choose B flat. We saw, we have the D, the C. Now, It's E, E-flat. We stop here because we already had an E flat and B flat. It's more than enough at this sharp or a flat scale. It's a flat scale. That scale, what is the order of the scale you've found? Okay, we want to derive the order of flat. I memorize it like bare, D, G, C, F. So bear ba, ba, or as you want to do with digital, digital cf. This is how I memorize them. If you want, you can write it like this. Bear. Then DJ, DJ, DJ. And see, this is the order of flats. This how I memorize it. Maybe you want to normalize it and another way. But this is how I do it. To what notes you arrive. B flat, we have the B flat here done. Then we have, we have do we, do we have something a flat? Yes, we have E flat. E flat. We had sorry, I didn't try to stop because they're an a flat. No, there is not an A-flat. Okay. Maybe if we continue to do we find an a flat? No, because this is an a we didn't find an A-flat. Okay. You have to do it as fast as possible. Because if you did it very slowly, you will take lot of time to learn, but this is how you do it with practice. So we arrive to E-flat and this is a flat. I go back and note, and this will be the scale B. So let me, let me slow down here. B flat and E flat. We arrive to here, B flat and E flat. Here we are. We are asked the E-flat. We look at that before. We look at the B flat here, this, let me highlight this for you. Orange background. We have that D flat, therefore it's a B flat major scale. See how we did it? We just found that we have the last node, E flat. The last node was in flat. What we did, we went back from E flat. This is the last one. I went back to the B. For example, if I had the last node D, What I do, I go back to the a and it will be a flat major scale. You get the difference. If we had, for example, the last node was G, was G flat. We go back and say that this is a D flat major scale. If I pick the major, so if, I mean, if I pick that sharps, if I picked here, instead of B flat, I picked, for example, this is B flat. I picked a sharp, I picked a sharp and D and C, and instead of E flat, I picked the D, The D sharp. If I did this, I would have a problem. Because I have the D and the D repeated. We can't have that the repeated we learned in the previous ones. This is how the music theory of this works. And we couldn't put it in sharks because We have D and D are repeated. And even if we repeated it, we would have at the end and set of B flat major scale, we would have a sharp major scale. Would have this at the end. Therefore, but this is not valid because this, let me select it. This is not valid because we can't have repetitions right there. You see how I tried to make it fast and try not to slow down when it comes to this. Try to make it on your own one more time if you've got a trunk and this is for the flat. 90. Vid 9 - Exceptions: But we have one exception to the rule. When it comes to flats. If I have only be flat. If I have only be flat, where can I go back? I have B flat. I found only if flood. I mean B-flat. Where can I go back? I found, if I go back to the B flat, if I found D flat, I go back to the A-Flat, so it's an a flat major. But if I found a B flat, where can I go back? This is a great question. It only contains B flat, therefore, it's in F major scale. This is the exception because before there was nothing to go back. If you have only be flat, then it's an F major. Let me play two. We only have B flat. Therefore, in F major, maybe it will come to you one day, but just know that when you see only be flat if you don't have any way to go back, you're directly say that, Oh, this is F major scale. 91. Vid 10 - What about minor scales?: Instead of playing this G, you are playing this gene C, It sounds more dark because it's called a harmonic scale. We have this sound that sounds different. Instead of playing this, replay this. Therefore, how we play it, the harmonic scale, and it's also the relative scale of the C major. C major. And we have the a minor. So we have the a minor scale that has a G sharp, and we have the C major scale. Now you will ask me why they don't have the same sharps, because they are relative scale. We just said that the relative scales have the same sharps. And well, I'm answering you that this miner is another minor. It's called a harmonic minor, the a natural minor. It's natural minor has the same shops and flat as the relative scale because they are relative. But the harmonic one, this one has one thing other than the relative scale, which is this. It's called the leading tone. This is called the leading tone. It's right before the final note. If the final load was a leading tone is G-sharp. We call the leading tone the tone that leads us to another one. What does that point of all this explanation is that when you play something, when you play a minor scale, maybe sometime you will find any song that we have as you see in front of you of the screen, we have a G sharp without having f and C-sharp. Because we discussed earlier that every time we see, for example, G-sharp, we select all the previous sharps, so we can't see a G-sharp without F and C sharp. This is where when you see a D-sharp, for example, The D-sharp without all the sharps, you know that this is a minor scale. You have to know it because sometime maybe you will see G-sharp without seeing F and C sharp. So directly what you have to do to know what minus care it is, you have the G-sharp and you go up a half-step normally as we do in the major ones, you go up a half step and you will have the E minor scale as you see in front of you of the screen. So every time you see a sharp without the previous nodes are present in the song. Because usually when you have G-sharp, the previous nodes are present in the song. But in some songs we don't have F-sharp and C-sharp. When you see something that is not working, you can directly know that it's about a harmonic minor. To know its major scale, all you have to do is go up three minus. So if we have this, a minor, I go up to have this and we will have the relative major, which is C major in this case. You can know that well, this is C major and you start finding everything. 92. Vid 11 - Revise everything: To summarize everything, I want to repeat what I did in a fast way. Their major chord, we no longer say it four half-steps and 3.5 steps. We directly say that we have a third major, third minor coming to the major, to the minor chords, we say that we no longer say that we have 3.5 steps and therefore half set, we say directly that we have a third minor. Third major. So the opposite of the major chord, when we have sharps, read correctly referred to this order of sharps, F, C, G. They buy if you want to memorize it. And when we have, for example, something, we start looking F, C, G. If we don't have G, we cut it out on the FC. We did some examples and add a half-step. So it will become on the D major scale. If we have flat, we put this better, bear digital CF, and it's going up fourth. And we just check if we have, if you have those flats, then if we have an, a flat, instead of going up a half like we did in the sharps, We're just go back and we will have an E-flat major scale and not E major scale, and there is no sharps or flats, then we directly have the C major scale. We have some exceptions. If there is only the B flat, then this B flat, then we have an F major scale. So this is everything. For knowing this, I recommend you to go through everything we did step-by-step and to try if you're not comfortable yet, try remaking the songs remain. There is a list of songs in the PDF I left T2. You can try to find the scales or played by ear, try to mix them up and try to play your own thing and have fun with it. 93. Welcome to Day 10 - Make it sound magic!: Welcome to my favorite part, and it's me giving you some tips on how to freestyle with a piano. You saw me a lot playing. Perfect for Azure ARM playing it like this. This is absolutely not me flexing on your I'm just trying to make you see what is the difference between what we learned so far. We learned how to play that melody and our right hand. We learned to play the chords and our left hand, or for example, the octave and a fifth. But we didn't learn how to exactly play like I'm playing, playing chords and right hand and playing multiple octaves and left hand and jumping octaves right here and here and here. How do we reach this level? How can we actually play like professionals? So here I'm teaching you all absolutely all the tips that I have in order to transform from this to this. How did I do all of this work? This seems that what you learn is so beginner and you did not learn anything other than plague the simple melody and just playing some chords and your right and left hand and your left hand, actually not true right hand. And so here in this chapter, I'll teach you every single advanced tip. In order for you to transform your song dramatically. You will transform the way you are thinking about codes. The way you are thinking about inversions, the melody. So there will be no rule here. Here, the only rule is to have fun first, second to try and practice. This took me a lot of practice to transform any song, give me any song and I can transform it. For example. I'm sure you remember the song that we played together, but how I'm playing it, I transform this song. I did not improvise too much from me, but what I did is added some octave rules and added some inversions and added some rhythms and played on rhythm. You will be learning everything you need in order to freestyle, to play you, to play something from you, to have a song and improvise your song in a way that it's amazing and repeat the song played with Octave everything, chords, RPG that everything. Here, I'll be teaching you everything. So the only advice I want to do is please have fun in here. This is not a strict rules or something. I just want you to have fun right there because we are going to actually have fun and you'll see dramatic changes in European or songs. If you're interested in jump with me and I'll teach you all those steps that I'm using while paying my piano songs. 94. Magic 1 - How I decide inversions: Our first step, and it's how I decided to play my inversions. We have this song perfect for actually run and we want to make it better. We don't want update those boring things. We did a great job and we tried to play it by ear, but now it's time to make something bigger. So how do we get to play all of those scores that are spank and everything up and down. We start by our first step. And it's knowing what courts do we have before doing anything. And of course, after knowing the melody, because the melody is so important to know. After we know the melody, know the chords, which is in this case F major, D minor, E-flat major, C major. So we have the one degree, 6451645, I'm saying by the degrees. And after designing what course we have, we start by deciding what inversions we have. In this case, instead of pink the course in my left hand, I'll be going to play the course and my right hand. But I don't want to play the course and the boring way in my right hand, I'm going to play it in a fun way with inversions. How do I decide what inversion I'm going to play? We don't have previously that there is a formula that says 1020. The first chord is this, then this, then this. Instead of jumping from here to here to here to here, I can play the first inversion, which is this. It's for the first inversion is like this. We remove this and put it up there. The first inversion. Then the second code, which is the D minor. Second quote, I play the root position, which is this. Then the third chord which has this board. I play the second inversion, which will be this. This. Then I play the root position, which is this. Even with this found, just follow my great. But I didn't arrive to the result I want. What I'm doing is deciding inversions not on beginner formula like 1020 that I just taught you. In order to feel confident and play some inversions. I mean, the 1020 works, but not for, or songs. Or I mean it works for all songs because they are inversions, but there is a way, better way to do that. How do I decide what inversions are played for my course? Look what I'm doing. I don't know if, if PNS joule this personally, I have a secret technique. Maybe other people use it, but I use this technique so I'll be very transparent about how I play my songs. Okay, so those are the courses that I'm using to play the AACN. And then B, B flat, D, F. And then see, how do I decide what inversion I'm going to play in my right hand? I don't follow the 1020 thing. I don't do it personally. I just teach it to my students in order to make it easier for them to play. But what I do is try to see what note is more handy for me or what inversion is more handy for me? Handy means is more comfortable for my hand. What inversion is more comfortable for my hand to play in the current moment? I have the code perfect for shooting. I have the chord F FAC. I don't play it like this. Because to be honest, playing a chord like this, I mean, I have to, even though I can use the finger locking technique. And I'm telling you I'm I'm trying to be as transparent as possible right now with you. Lucky my finger. It's not as comfortable as playing this playing this code. And in this case it's the second inversion. So this is the root position. First inversion, second inversion, second inversion. The first code or the satyr play is F. And the second inversion found how I decided to play. The root. The position of the second code. So our second code, I want you to look at the base as the third line. Take a look at the third line. We have notes F, D, B sharp, and C. At the bottom, I'm looking at the bottom line. So the first four that I paid is the F chord, but inverted. The second core that I have to play, the chords, the D minor chord. So I've played this, found me. You see, this is the easiest movement to play, even though this is, even though this is not a very comfortable position. But it's what's easy. It was an easy movement to cancel. I found me I directly moved from year-to-year. Dallin just like this. I moved like this. You see how updated? To be honest, I don't actually know what inversions to pay in this song. I played the very, very randomly. It's okay to do that. So RIP have found the love me. Darlene, just stop. Hello. This is a great position to do it. Again, to be honest with you, I am currently in this section, I'm currently teaching you what I my preferences. When it comes to music, I have my own preferences and you may prefer other chord inversions. Maybe you like to pay only a root position. Maybe you'd like to be found for me. Then just follow my knee. Okay. There's other, there's other teachers who says to you that you have to play the root position. And it's okay, There's new rule when it comes to songs. But I'm sharing with you what I prefer. Repeat. I found, I felt it in grid. I found the love. I found a grid coordinate version to play it. And then for me, you see Darlene just follow my knee. See how I've laid my chords. Now I will, I will tell you another secret that I use. I've found the girl beautiful, sweet. Never knew someone. You see what? I paid something cold. The seventh, a major seventh score that we learn. Someone waited to see what I did. I found the love normally for Dallin just, I added I added down a third major. I mean, I went up third major, third minor, the third major major, minor. Major. Try to play this on your own. Try to play is 77 chords. You can see it how we did it. But for me, I pick the seventh chord, for example, let me play the seventh chord on the C major scale. This is how I painted major minor, major, third major, third minor, third major. So I want you to take a piece of paper and write in front of you this score because it's a beautiful chord that gives you a jazzy sound. I want you to be this code. But instead of playing it on the scene, I'm playing it on there being shot down and just follow man. You couldn't play like this, darling. Just follow. For example, like this. This no big deal. You can play wherever, wherever you want. We're, we're, we're right now at a level where we can just free site and pay whatever you want. So let me repeat it. Found alone. Just follow mine. I want you to play after me. Each time I add something, I want you to play after me. To add one more thing. What we did first, we taught you how to, how I decided the inversion, how I decided which versions I play, I just play what is more handy to me? I do have to know my course. In this case, my course are C and D, F and D-sharp, D, and C, E, G. It's a bit tricky when it comes to memorizing. The course denotes the keys of the court we have. But with time, you'll get used to it, especially if you are playing in the same scale. In this case, I all the time play and the scale of F major. So I'm getting used to the scale of F major and my tip, try to write it in front of you. My tip for this is tried to play at a same, at the same scale when it comes to the song, for example, when you play this song, try to replay it only on the F major. If you pay it only on the F-Major, you'll be able to know very well the course of the scale. So getting back to our last step for the right-hand before switching to another advanced step for the right-hand also. But for our last step for this video, we are going to rewind what we learned. So I play the chord that is more handy to me. And so I found a lot for me because the DFA is closer to me. Darlene, just die find and I could be this or I could've play like this, doesn't just die In the seventh. Follow my knee. Like this. It doesn't matter. If you add one final thing. I found the love for meeting doll and just dive. Follow along with the sus4 chord that we learned on Monday. Then I come back here, follow along my knee. Fallen on mine. Set of playing the chord. C. Tried to see in front of you of the screen, instead of playing the chords C-E-G, like this, I'm playing C, four cores, the sus4 chord. So follow mine. I'm thinking that's us for later than normal CT. So follow. It will sound ugly at the beginning. But overall, it sounds great. Let me paint for you. Found alone. For me. If I follow my family to go one way and then farm me. Just skips when we felt your repeat and you repeat for the final also final tip. Sorry, I'm adding a final tip. Always try to make a trick me. So Let's add later on the right-hand, but that's it for the right-hand. We'll add something also to drive it to the right-hand, but not as this video. I want you before skipping that video, please do repeat what I did here in the right-hand and understand what I did not don't just copy me. Try to understand what I did, because these steps can be really helpful when it comes to making your own Music. Row. 95. Magic 2 - How I play the melody: We've played the courts and our right hand. Then we said that it's possible to also pay them out in our right hand. But if an hour left hand you are playing something. Our right hand, you are painting the corners. How are we going to play the actual melody? In what hand are we going to pay the actual melody? Our third hand. Okay, so let's do this. Let's try to play the melody. And the chords and our right-hand. I'll tell you in complete honesty what I think when it comes to this, I have to play the melody which is the, so we have three times a 123. You also have the chord, the F. Here we are. This is the first chord that we actually played with the melody. So we were just guessed that, I'm sorry, I forgot that. Let you see what I did. I repeat it one more time because I need that with the other core. Then I know my this matching with the court. The whole point that I'm trying to make is that anytime I can find a code matching with the melody that I'm playing or the node that I'm playing in my right hand, I played. So for example, I have this note matching with the code that I wanted to play, which is in this case F major second inversion. Then your heart is. So I want to play also with the chord D minor. Then your, I want now to play this chord. Then your mall. I want now to play the chord C major, mine. I play it. You see my thought process? I'm just trying to match the right-hand with the cord. I will repeat. And they continue to have the song. So I will continue this on. So I want to paint out of the score, baby, Don sin, that dog, you between my own. So I wanted to pay that. B flat F dog. So we change the chord progression. Now. We have a set of F, B flat, c. We now have that DNA. Then B flat, then f, then seeing baby dance in between. Okay, so how are we going to pay it in our right-hand first before the malady that spread the scores and our right hand. Then you order like this, it doesn't matter and repeated. I'll try to play and set of thinking about the inversions in my right hand. I will try to play the melody. At the same time, I will show you my thought process and how I think when it comes to inversions and course. So I wanted to pay it the score. Let's do it. That I want to pay this. I pay. I want to play this chord. C, I'm playing this score because it's in the melody and the chords. Then I want this IP, this, I want to, I started thinking that, Okay, I want this and I want this node and this node. So the skins, so they fall. So I paid, you see it? The Fed, Darling, you look fact tyrannize. The problem with this is that at the beginning you will not be able to compete. Play chords directly. So starting okay, I have this node. For example. What you will start wondering, wondering what notes I have with this course. So I have this chord. What I want you to do is play in your left hand, the court. So for example, then we have, we have this node is split into the right hands. We still have D and B flat, so replay it. We want the score to replay the a. Here we have the a, we still have the F and C. You replay it like this. You see how I'm thinking? I will repeat the song trying to prove you that this is possible and you can do it. So, found a love. What score do we have at the beginning? Found the love? We have this went up. I've found a love. I played this note, I play the F note, and I'm still, I'm still left with the a and C. So I played because I have the a and C here. I play the a and C and Myra and my right hand. So I found a love. You see me? I play the a. I'm still left with F and D. I play for me. The challenge just because I'm still left with a DNP flat. Follow mine. I have this gourds. I played this and my right hand. I'm still left with E and C. This is how I'm thinking in terms, of course, every time you see something, a song like this, for example, I want this score. I see what, what do I have left? I have left that and I can't pay the D and a. Then I want to pay the score. I saw seeing what I have left, that the NB flat dance and you see how I'm playing it. I just wanted to tell you that this does not always apply to all songs. So maybe it doesn't work for other songs. Don't worry if it doesn't took its normal, It's totally normal. It works for some songs and it doesn't work for other songs. So I want you to experiment this with this song because it works for the song. Hope you had the point and try it. Try to do it on your own. 96. Magic 3 - How I play the chords & Melody in the same hand: We have this song called is thousands year focused jeopardy. And he would try to pay it by ear. You've escaped. But now we are going to play it in a more advanced way. So instead of paying like this, going into bit like this. Okay, so what I did, I made the core theme that I've talked about it in the previous video. I just follow the instruction that the tips that I have, if you are doing is we have first unit, our chord progression. If we don't know our chord progressions, we are not great. I know that the core progression here varies from a time channeled, but let's discover the chord progression. You get the data that the data is only hear one step closer. I will tell you how I discovered that this chord progression change without even making the rules of playing by ear and etc. So I sat her pain. What code I have to pay here? I played the note B-sharp. I'm left with d and f. What is more handy to meet you play it like this. It's in this case, the second inversion. Honestly, I don't think that what inversion is I've just played because it's more comfortable. We have this. We are. I paid the B flat major and I'm left with the d and f. So I played this, or I can print like this and my fifth singer, as we mentioned in the previous video. So then because I'm playing here, this is the chord. And then what I did is so easy, I just wanted the first chord. Then I jumped and versions are changed and versions, I hold it that node. Then move to the other core. I want that G minor chord, G, B flat, and I play the D. I mean, I prayed that B flat here, I just want the G and E. So I played the Gianni. You're asking me why I didn't play it like this? Well, the answer is, it's always better to play the melody in our fifth fingers and to be our last note of the chord. So if you want to play the melody and our right hand, we prefer to that pink key, stay playing the code refers that pinky play the chord or the third note of the court be played with the pinky. And so you've seen me always trying to prioritize the melody for the pinky. Why It's because if I play the melody in the middle of the course, for example, it doesn't sound good as this. The whole song. I'm just trying to prioritize, prioritize the pinky to play the melody? I'm always true, no. Do you know my thought process? I'm always trying to prioritize my peaky over my other fingers. Two repeats. I do. The whole idea is that instead of playing a single, a single node, I hold the whole court and grab it with me. Instead of leaving it alone, I'll just grab it with me. What is the current court? The current court is this. I instead of just bringing the left hand, I grab it with me and did with my right hand. Then we switch to that court. Instead of leaving this score alone played with the left-hand, grab it with me and fit in mind. Leaving the melody with my pink. Then I wanted to pay off playing this. I play like this. This is the chord E flat major. Actually here I've played one step, one step. With time. You'll get used to it and you'll be able to play more and more courses like this. 97. Magic 4 - Arpegiating: So to summarize, we talked about how I decided that piano reversions. And then how to play the melody of perfect at Shira and how to pay the Manager of 1000 years, of course, with the chords. Now, we are going to talk about something a little different. It's called arpeggiating. Sometimes you need to play this. What is this? It's the same court, but instead of playing this, you see I'm hitting the note at the exact same town of them. I know the mean heat. So you are just gifts when we fell in love. I'm just trying to improvise from myself and try to make it a little bit better. All you have to do, forget all the left-hand. I'm just trying to get to make the tomake. It sounds more beautiful. O you have to do is just when you play a melody, try to see if there is a chance of RPG. Rpg, adjust the effect of instead of playing the chord like this, you paid like this. There's no specific order or something, but this is a small thing to highlight it for you. You can also use it sometimes. For example, the thousands here. What I did is this is the court, the court, the court. This is the quote. Okay, so just to highlight this for you that you can actually RPGN. And instead of playing a single chord, you can just RPG methods. 98. Magic 5 - Advance Left Hand: Coming to our left hand, you're going to do different levels using our left hand. We could say easy the course like this. Or we could get an octaves, or we could fit an octet and fifths. The real strength is to play both hands together. What I'm playing is 1231231. Go up, go back, go up, go bag, go up, go back. You have to think of it this way. One, go up, go down, go up, go, then jump in one, go up, go down, go up, go jump. It's a bit complicated. It's somehow a complex rhythm. And don't worry for the item later on you will play and something called maximum that I'll be teaching you how to play it. But we saw by one through three. If you blend it in the right hand, he becomes like this. This system is complicated and you have to try to train yourself to do this for them. Try to repeat as much as possible this certain one to three to three, to jump. One. Truth. One. If you repeat it one more time and many more times, you'll be able to play this. But what's important right there is the octave that you are going to pay. Going to pay, for example, what I'm doing right there. I'm just being one lower octave. Then instead of playing this, so instead of playing, I'm playing one. Okay, so the first one, I'm not playing it in its actual place and playing it just a bit lower, and it's the octave. Instead of playing this, I'm playing this. I don't play this. I play this. I don't play this. I did this. I tried to make more complex, more complex for them. And the more you make complex for them, the more you are likely to sound like a professional. Social rewind what we did. Instead of playing just octaves and fifths, we play this. So think of it as a three notes. So 123, go back two or three, go back to three, go back Tuesday. Then we made this more advanced and prep plate like this. And if that's happening this I did this one. Instead of feeling like this. I played. Okay. I want you out also something. Instead of playing. I play. This is back to attend. This sounds great if we played together, but it's hard to actually play. My hand is big and Afghan fit that tenth. So that dance is made from ten nodes. Let's count it together. 12345678910, let's say tenth. If you want to make it sounds more beautiful, what we do. 99. Magic 6 - Advance more Left Hand: We learned how to play advanced left-hand. Now we are going to learn how to play a more advanced left-hand by doing this. We started by this. Then we actually did this. Then what we want to do is play something called tenth. Intervals are made from third, fourth, fifth, sixth, seventh. And there is also octaves, which means eight. There is also 9th. There is also 10th. There is also 11th. On and on and on. But the problem is, we can't really play that tenth in one hand except me, because I've extended my hand too much. For me. I can't play that tense, ED, but for people who can't play the 10th, they can't pay it any more beautiful way during the Song. Usually the tense is the middle note of the court. The court was this output here. So the court was this. Tense is this. But on the upper octave, the accord is this. The octave is f, the same as the root node, and the 10th is this. Like are playing the same octave then that time. Okay? So the 10th is the middle note of the chord, but on an upper octave. So if you want to play it, we can pay like this. You have to make a huge split and your fingers so you can't play like this. Okay. So how I know that this is that tense of the court. I just look at the middle the court at the middle note. I mean, this is the middle note, therefore the tenth. So I recommend you to try to be the 10th alone. So then you can start adding the lower octave. That S is not used so much and you can use it. You cannot because it's so optional to use it, because it does not sound, it does not make that much difference. You cannot do pay it, but it's good, rich. You know that there is a presence of the tense. There's a presence of the tense of the tenth, and you can actually use it to make some song sounds more beautiful. 100. Magic 7 - Ultra Power Left Hand: We learned a lot of stuff when it comes to the left-hand. But there is this one trick that I use Always in my songs and explained enter notes. So what is enter notes? When I play this? When I go back, I play a secret note. When I go up, I don't I will only show you what I do when I go back because when I go up, I don't play a secret note. But when I go back, take a look what I play. What I did instead of playing this date a bit faster. So at the end I paid a bit faster. So it's a bit confusing. So I go. So what I did is just play then directly jump to the root note of this. Then directly jump to the root note of this. But now I can't do it because I'm going up. This is how I'm doing it. And so this is a bit complex. It needs a practice to do it. I'm just going f, c, f, c, e, then jump here. Tried to do it alone. Maybe your song will get a bit better. And if you were not being able to do it, there is no problem. You can still do song better using the previous tricks that we made. 101. Magic 8 - Play octaves in right hand: It's true that the right-hand is done and we had all the advanced tips. But there is one thing also that I want to add, and I had to add it after finishing the left-hand. Why? Because I wanted to talk about how I opened my hands in my left hand. So you're trying to practice it. Then talk about the same concept and the right hand. So after you learned how to open your hands and play that may be and try to make a complex freedoms even though it needs a lot of practice. I wanted to teach you about something that I drew white, praying for me. What I do in my right hand as I play octaves, sometimes I need to exaggerate the song so there is no exact time where you have to play octaves and right-hand. But the best time is when you want to exaggerate the song, you want to play. They be a bit complex, should try to jump octave. But I'm telling you sometimes, and if you want to try it now, you can experiment with your right hand. Try to play the melody and the right-hand using octaves on. Try to use this using your right hand. And maybe at some point in the song, you will have the feeling that now I need to play an octave. So you play your tried to play it and put all your, all your feelings. And this is where the song such be better and we start dispersing our hand, putting our hands all over the piano starts getting interesting and it started to sound professional. Your exercise is try to play a song you want or this song that we are playing church bit only in octaves and then see what happens. And of course, split in two hands, try to practice as much as you can because this part is all about making our song sounds better and trying to put our own pastry. 102. Magic 9 - Using the pedal: Now to teach you about the pedal and how to make your song sound the perfect, although there's one more tip, but this is one of the tips. You think that pebble. Now, before starting, if you don't have a pillow, there is no need of using the pedal. It only makes your sound, your song seems more beautiful. If you don't have a pedal, stay in the video, I will explain also how to make nuances and try to make the song sound a bit prettier using that pedal and your hands stay if you also don't have a paddle and if you have a pedal, that's great for you. We can also work that out. I started putting the pedal a little bit. Okay. So I don't put that as much as I can. I don't press it as much as I can. We don't want to kill their neighbors. We just want to be easy on them and try to make the song sounds. Pretty sure you're not locked louder. We wanted some more beautiful. Okay. So I removed the pedal when I start playing a lot MRI. When I hit darling, just remove that button and then put it so enough with the pedal. Remove the pedal. Edema and put it. It's all I'm removing my feed and putting my feet, my fruits, removing my food, putting my foot so one could remove and put the pedal to remove that federal law, remove that. Remove that pedal. Pedal. Remove and pedal AUC. You have to try to experimented with yourself in a way that doesn't seem loved. Loud. Okay, So for the new answers, you have to try to play. Sometimes call and sometimes at an exaggerated way. A phone bill tried to experimented with yourself and don't forget to include then he wants to, so you can't be doing. You have to be in at the end verse. So you play the week one. Just to experiment with yourself. And this is all up to, you have to add on your own taste. 103. Magic 10 - Using the metronome: Using dimensional, this is a great part because using a metronome makes you controlled moreover your time. And if you can't directly hit denote one, it makes you control more. So I recommend to everybody to use the metronome and maybe you don't, you don't want to use it, but I mean, it's better to use it. To start with a metronome. This song is the best as 50 beats per minutes. If you want, you can start training by maybe 45. It's a great, great time to start. And you can start going up. Maybe you can start going up to 5055. Maybe it's a great founder. If you use the metronome, you'll be able to play more complex songs and more complicated song. That is, that is dedicated metronomes and the applications you can download it either your own on iOS or Android, or you're using your laptop. You can open an online metronome as I'm doing right now. But there's tons of applications that metronome, you don't have to buy one, you just have to download one. It's completely for free on the App Store or Play Store if you're on the assumption phones. And so you can use it and I recommend you to play it with this song. You can actually play it with other songs. But I thought that I just tell you about the electron because it's a great idea to take control over your time. I don't want to make ten minutes video about this because you just have to know the idea of bringing the dimensional is available and you should do it. 104. Magic 11 - Putting it all together: Putting it altogether, there's not a lot to talk about it here. I just want you to practice. Was metronome. Use carefully that pedal. If you have one and pay attention to what you pay in your right hand, using them melody. In your left hand. You might want to play. You might want to play this complex written, or you might want to play only this. You might want to play one of those. You might prefer, simplicity over complexity. It's not problem. I just gave you all the options. You can choose whatever you want. You can't play any song at an advanced level using those techniques. Don't feel forced to play a certain technique or to play, for example, the 10th and the code. Oh my God, and you have to play this. Play everything. No, just keep it simple and try to play other songs using this. For example, the 1000 year. For example, stay with me. Don't forget that you can also play using their rhythms like date like this. Oh, you can't pay it like this. For example, when playing no sleep for modern character, for example, you can't hop rhythm and make it sound better or funky or like this. So maybe I play, I don't know what song it is. We will come back into the improvisation part. But for now, try to make, try to make a certain rhythms that make, that seems opera, for example. And the perfect Azure. You can play literally whatever you want and it doesn't matter what you play. I just want to tell you to enjoy your, your planes and try to have font as much, as much as possible in it. And keep in mind that it takes time to actually get used to those techniques. You don't expect yourself to directly finish this and directly play it. It needs a practice, you need to practice it. I'm telling you because most students think that they can directly play it right off the bat. For you and your case. Try to repeat it. Repeat as much as you can. Repeat patterns, try different songs. Try the songs that we made, and I guarantee you that you'll be able to pay those at the end of the practice that you did. 105. Play the pop song: ABCDEFU -- GAYLE: This is a brand new song. It's called a, B, C, D, E, F. And it's the song that many people are singing it and I January love it. So I tried to play it on the piano and it sounds amazing. And I'm going to show you also how I am using the tips that I told you to play this song and you are going to do this right now. That melody is like this. The course I like this. This is the E flat minor, major scale. How I knew it because of the thirst scores. So it started being easier for you to know the scale. For me, I knew it directly. It's E-flat minor and maybe they try on one. He just talked to play a lot, of course by ear. You start to not have any essential way to find code. So finding the scales will not be something as essential as finding the course. For me right now, I'll teach you adjust my freestyle tips. Suppose we have those scores. First Gore, second chord, chord, forced score. I'll teach you how I play the chords in my right hand and the melody in my right hand. All the way along with my left hand. And making this song sounds beautiful. So first I don't play chords like this. I play the octaves and fifths. It's already sounds beautiful. It sounds more beautiful already. To continue, I want to pay a lower octave and then please the upper one. So I added the lower octave and that tense. So I feel like this. You see, I incent off blink like this. I play plus, instead of this upper octave, I asked that. I added like the middle of the court. The court is E-flat major, the middle of the scored as GIF, I add that deep. I start matching it to the rhythm. There's no, there's no exact true to play it, but I sought match. You get to the rhythm so I couldn't sleep. This. There is no need to play an exact fit into an exact like there's not an exact scheme on how to play it. I mean, I just want you to experiment. This was yourself. So coming to the right hand, I adjust, don't play all the time codes. I tried to play also the melody because this amount is hard to read played with the course along the way. So I don't bet like this, I felt like this. I did this. Because this and this are part of the court. This is the chord, E flat major. So I don't play like this. I add this note. I don't play like this. I asked them. I said this whole code, I could play the whole court. There's no rules. I'm telling you. The whole court. Then I stopped playing octaves. My secret is, I start by adding often and fifth and my left hand. Then maybe add some tense. Instead. If I pay this in my right hand, I sometimes play the whole court like I've been saying, this whole core job, mom and your sister and your job and your gas, that shed to call. What I'm trying to do is just play any court and versions that sounds familiar with my right hand, so I need you to try it on your own. And femininity arise with the chords. What CORS, or try to experiment with yourself and you'll be able to play it. 106. Welcome to Day 11 - Improvisation: Improvisation. It's something that I've been so excited to start with. And I want you to give me your full concentration because we are going to use every single knowledge we had an older course in order to be able to improvise right now, I need you to focus intensively because this will be an intense video. We will not go much in depth into improvisation because there's a lot of areas we can, we can work on, but I'll be giving you the basics of it in order maybe you want to play some certain songs or play at the concert or anything, or in front of your friends or your family. And so this will be a good thing to start with improvisation. I will give you some basics of it and you can apply it directly after you finish this video. Why watching this video? If this interests, you, please dive in deeply into this unless stop. So we are starting by obviously the left-hand end of the course. Why I'm starting by the course. If you want to have a certain song and improvisation, remember it's all about creating your own melody. I wanted to play, for example. It's all about being able to create your own melody and your own chord progression. You will not make special codes. You will not make special cords because there's a limited amount of code you can play. There's a limited amount of coarse or over the piano, but what you can create is create another chord progression. For example, all people are playing the chord progression 1456, for example, maybe you will invent the chord progression 14 to six. Maybe I don't know. It's all about how great you can make courts progression and not chords. 107. Vid 2 - Improvisation for beginners: Starting with our left hand, we could play, for example, accord. But what are we doing? Something special? If there is a limited amount, of course. What can I do something special there is cause of a, B, C, D, E, F, G, or H, flat minor or major. So there's a limited amount, of course, what you can do great about improvisation is not about the chords, it's about the course progression. You may think that there's only one for five-sixths, or the three chord progression or the, I mean the one, for example, 1356 chord progression. But the trick here is to being able to play a beautiful quarter progression and not a beautiful chords. The course are the same, but the trick here is to play a beautiful chord progression. For example, 1245 doesn't really work. For example, in the scale of C major. It's nice. But there is a nicer chord progression. For example, there is a nicer also chord progression, 1345. If you get the point, the point is, if I play a chord progression that is ugly, your whole song will be ugly. But if you play a chord progression that is beautiful, maybe the melody will follow it and it will be beautiful. So we start with our left hand and my left hand, I mean, the chord progression. So we really need to focus on the core progression and not the courts. So starting, I want to make the simplest improvisation and it's on the C major scale. We shouldn't have to choose a scale. I will choose the C major scale, starting with our first chord, I will try the score. I will try that chord progression, 1645, okay? So always the core progression 1645 goes one, goes than six, then four, then 55. I could fit like this is the same. I'm going just back. After that. I tried to make a melody so its source to make sense, it starts to seem great. Let's make a better melody. It's not great melody, it's not a great melody. This, this, this note and this chord. Let's try another melody. Great melody can make it sounds better. I want to pay octaves as my right-hand. So great melody. Now, why not change with the core progression? So let's change the chord progression. If I change the chord progression, Let's try 1345145. I'm sorry. Sounds better. Question is how I'm coming up with them entities? How am I inventing those melodies? And the answer is, I'm trying to look at my chords. I'm trying to look at my chords from my code's, take something, a melody or randomly. So the first code, I have a C major chord. I was playing the octave and fifth because it sounds way better. But I thought that I have the C major chord. So why not play one note from the score? So I have the C, E, G. Why not play? The E software? Then the next chord is E, G, B. Why not pick? I could pick it, but I already picked it. So why not pick the gym? So now I'm going up. Why not playing the chord F? With the court? I pick the a. I pick this node because this is the chord G major. And why not from the chord G-major? Pick that Donald Gene trunk and other examples. For example, I want to make another melody using the same chord progression. What I did, right, You, I added something magical and set of playing single notes, for example. What I did, I started putting all those together. So I said that I can't play all the notes I want I can't play all the notes. I won't, but that is one condition. I have to end up with the note of the chord. I explain what I mean. So the first chord is C major and the second chord is E minor. So the rule is I template any node between the C major and E major, not between it. I mean is the time between it. So if I play this in that time that I switch to the E minor, I have, I can't play any notes, so I can't play. Then when I switch to the E, I have to land on a note that is from the chord of E minor. You get the point. I explained more. So what I did is I played any random node, any node. But when I play the chord of E minor, I made sure that in my right hand I landed or I pressed a node that is included in this court. So let me play it in a more beautiful way. You see it. Now, I want to switch to the court to F-major. F-major is made from between that, between the time that I paid E minor and F major, I can't play whatever melody I want. But the rule is that when I play and press this F-Major chord, I have to land in my right hand on a node that is included in this note in this course as known as F or a or C. So I can't play any melody I want. I landed on the node a that is already included in what court and the court F major that I played. You see what I did? I played any melody, but made sure that when I land on the chord G-major, I play a note that is included from the chord G major. And this is how I think in terms of core progressions, I play any melody I want. But I make sure that every time I switched to a court and press it and play it in my left hand. I play and the right hand. And note that is one of the three keys from this chord. I make sure I put it in my right hand, a note that is included in this court. So either this or this or this, if it's not included, it still sounds great. But of course it's better if it's included. So maybe you want to play. It sounds great, but it don't work for all cases. But in the rule I told you it works for everything. I only did the simple rule that is land on a note that is included in this court. One of the things that I also do, and it's so our first step was, our first step was after making your own chord progression, maybe you want three or four or five tried to experiment with this, okay, There is no best core progression ever. Every chord progression is great for a certain kind of song. So our first step was that try to create the melody based on what chords you used as known as try to land on a node that is included in the code. Our second tip is white paint her right hand. You don't want to make it boring. You have to try to play the chords and their methods were used in the previous videos. You have to create a melody that is based on cords. How do we do that? We simply do. For example, let me start from the C major. How I chose this because I wanted to play a CMR right hand. And they continue with view of the court and the also write on the same core, but inverted. This is the curl of F major that I was bringing in my left hand. Okay, then for example, I want to play now octaves to accentuates, to make it, make it scream. This is how our child to make my improvisations. One great tip is play your right-hand based on the code. The second tip is try to play chords and inversions with it with your right hand. And if third tip is, try to change scores in the song. So how do we change scores in the song? But we've picked a specific chord progression. How do we change this chord progression? Well, I have the answer. For example, when I play, let's suppose I wanted to pay on other and on another scale. Okay? What is the hardest scale? For example, let's pick that speak. E-flat minor. E-flat minor. Let's play a melody on E-flat minor. Let's improvise on E-flat. E-flat minor. I wanted to solve with the first-degree. Why are sought from this node? I started randomly at Gustaf on this. I started playing guitar, playing, Call me. What does my second core that I want to play? That suppose I want to play the three chord progression 13 for the source with 134 is so powerful it makes you emotional. So let me play the CIA played a melody that is included in the left-hand. So this is the court. The court, a flat major. And I played the note C that is included in the court. Now played that temps and my left hand, I played that tenth. See how I'm changing core progressions. I'm always trying to think that, okay. This is, for example, how I know, how I knew that this score is for this. This is how I know my core progression. So you have to be very careful when picking a chord progression because sometimes in the middle of the song, you start feeling that you want to change that chord progression. And how do we change it based on them? I want you to experiment this with yourself. And this is our third tips. And my final tip is try to always make, use the pedal first and try to sometimes play in a relaxed way and sometimes make it scream. For example. Now it was scream. If you're asking yourself how I played all of this, I use everything we don't. I played dance, I played octaves. I played it normally and then make the song sounds stronger. And I used the rhythms. So see how I'm playing with them. I'm trying everything. I'm putting everything possible to make the sound sounds, drink that song sounds great. I'm putting the pedal and everything. Maybe this is not the perfect guide to improvise. But what's sure about this is that it can help make bachelor chord progressions and play better by ear because I started playing by ear by making some improvisations. This is everything for improvisations. This is not the perfect guide for improvisation, but this will definitely help you while playing by ear. 108. Day 12 - Start reading notes!: Reading notes. While we are going to learn how to read notes, obviously, there's no reason that a piano player is not able to read notes. Therefore, it's essential to know how to read notes. Although you can play by ear, but sometimes you get stuck and you can't find a certain node of a certain piano song. And therefore, your only choice is to go on the Internet and search how to play this. And when you search how to play this, you are directly see that you are going to face something hard and it's reading notes, and you don't know how to read notes. Therefore, reading notes makes it easier for you to, if some, sometime you will not able to play something by ear. You can directly search on the internet and find the music sheet online to read the notes and played on the piano. You will learn how to create this in the right-hand and the left-hand and then pay together, you'll learn everything from a to Z of freely notes. So I want you to sit and relax. So we learn together how to read notes. This will have a bit of memorization since there is many nodes and there's many positions of the nodes. And this will be more than a tutorial to read notes. This will be something to help you to memorize it. I will not directly tell you that this is the node C and then this is an app and then this is this, no. I will tell you the name of the notes and then I will give you some tips on how to memorize it to make it easier for you. If you're interested in, dive in and let's learn how to read notes together. 109. Vid 2 - Treble clef / G clef: Let's get started with reading that g plus. So as you see in front of you, this is something called the G-Clef to start, don't worry about this. This is just a number that we will later on worry about. This is the G clef. And as the middle of the G-Clef, there's denote g. Why? Because it's called a G clef. Or if we zoom in a little bit, we have this centre of the G clef right there. And if we go directly right here, we will see that g is actually laying on this line. That line that is the center also have that G because it's called G-Clef. Therefore, this is the g. And this is the first node that we have to memorize. Actually, we don't have to memorize it. Actually. It's on the G-Clef, so you have to understand it that this is the node gene. Now what is this strange node laying around? This is, as you see down there, this is the node, see the famous node C that we did everything about it. Whether the C major, we did the C major scale, c major chord, if we did everything around the node c, Therefore, this is actually the node C. We had so far, C and G, two nodes that you shouldn't find it so hard to memorize because, I mean, they are like a chord if you want. But to add something more fun to it between them, Let's get stress structure. Guess what's between them? We have C, D, E, then E, F, G, between C and G. That is, denote it exactly in the middle. As you see in front of you exactly in the middle. I will place the node. We have C, E, G, repeat after me, C, E, G, and one repeat after me. Look at the staff right there, the stuff, the whole one. Look at the lines right here, right here, and you see a, C, E G. We have C, E G. I'll make you a mini quiz, Just a quick one. Try to guess this node, then this node. Try to guess it. Bother video. Okay, So this is the note G. Why? Because it's actually here on that G-Clef right there. You see the mouse. And this is the node E. Why? Because it is actually between the nodes C and G. Between the node C and G is link between C and G is ln. You see here we have C, G, and between them we have the note E. Let's jump to another node. We have the node. Also if we skip something is if you skip a line, we have the node B. What I'm trying to do here is to show you that every time we skip a line, I mean, we go up a line. So we went up on this line. We had the E. And from E we went up on this line. We had that gene. From G. We went up a line. What nodes do we have? Take a look on the piano keyboard. We had the node B. Therefore, what conclusion can we have? Every time goes, every time we go up a line, we skip two notes. Let me explain it to you. We have, let's take this node or actually let's make it on a new one. I had this whatnot it is, you should have memorized it that this is the node E. Every time I want to go up a line, not here, not here between the line up, line up alone, up, align up alone, down a line, down a line, down a line. So every time I want to go up and line, I skip a note. This is the node G. You see the difference? If I was playing this, let's suppose I was playing this from here to here. I just moved a line. From here to here. I just move a line. Therefore, I just go up normally. If you want to see the rest, I can, I can't do it for you. Here. Here. You see it right here. We have e, then f. This is highlighted in blue, and then G, then a, then B, then C. Okay, but for now, we are just trying to skip the line. So we are trying from here, we have the E. We go up a line. We go up your line. What note we will have, we will have that G. Then I go up, align what note I will have, I will have that. And if I go up also align, try to guess what node I will have paused the video and guess what node I will have. Hope you did well, if I jumped a line, I will become on denote dy dt, I'll become up. Why? Because I had just moved from here to here, here at 1234 and I go up and out and sell jump alone. But what is the interesting part right here? The interesting part is that I can memorize it from skipping lines. So if I have, for example, this node, how do I memorize it? This note, you should automatically memorize it, that it's that gee, why? Because it's on the center. So if you go right here, we will have the node G. But let's take another note. I have this node, for example, this node. How do you know what it is without looking at a piano keyboard? How do you know what note it is? You start saying to yourself, this was if the note was here, we would have a G. But I skipped a line, so I went up a line. What I do, I skip through notes. If I wanted there, I jumped a line. So I skip this node. I was here, I was here. I jumped a line. So what node I had to skip? I had to skip this note. Let's have another example. We have the node to this node. How do you know what note it is? Not denote what node. This is C. We have five lines, 12345. This is on the first line. Do you have to count what line you are? No. You have to see that we have above this node, what nodes we have above this node? We have the note G. Above this node we have the node G. And therefore, if we go down, if we go down a line, what I have to do, I have to go down through notes from here to here. I went down to nodes one, true. So every time you can't see it this way, every time I skip a line, I go up to your notes. Let me show it to you here. Do you note C? This is D, E, F, G, a, B, C, D. You see, and on and on and on E, F, G, a. You still go up and notes and you can see it right in front of you. We are skipping through nodes. From this concept. You can't, you can understand great amount of nodes. But moving on to other nodes, let me delete all of this. Actually only this. We have other nodes. So we learned the node C, E, G, B. How many nodes we learned from the scale 1234, we still have 123 notes. How to learn it. The same concept applies here. Whereas, whereas the node D, that staff, well it's between the node C and E. It's between it. It means that we go from here. Let me zoom this n. From here we go. The E, D should be between them. So right here that you should be. So what we do, Let's put a try them. And G is the node d. It's striped between them. And the same concept applies. We can go up, actually, we can go up in one line. So when we go up this one line, we will skip two notes and have the note F. And where we go also up a line, we skipped two nodes and have denote f. So you see what code we will be having, will be having a special specific chord, which is the D minor. When we go up between the lines, we also go up through notes. The same concept applies for every single node. Let me try this for you. If you have, for example, this node, how do I know what it is? How do I know what note it is? For me? What I do is see that, well, this is if we had note like this, for example, if I have this, this would be the node D. I go D and I went up a line from here, I went up to here. What not, it should be, it should be the anode F because from D, I went up alliance to it should be the note F. I mean this, let me make a very small quiz, a very quick, quick one. What is this node? This node, let me go up and lines. So if I wanted to go up, this is I take reference from g. This is g. If I go up, if I go up, for example, a line, I'd become here. I become here where this is only the B. Why? Because from G, I skipped a line. I become under that g, become on there be I mean from G, I skip a line, it means skipped through notes and become on that bead. From the B, I need a small push up. Become on the C. Actually, if I play the B, This is from G to B. And from B to C, I need to just move a line because it I'm not skipping through notes. I'm going, normally I'm going up and notes, therefore, this is the node C. So I need you to try to practice those and I'll write those for you. And here we are, C, D, E, F, G, a, B. And repeat the sea. Here we are. This is the note C. We jump through notes or we go up the line. We will have the e, we will have the G because we jumped to your notes and we will have the B right here. But if we skip individual nodes, C, D, E, F, G, a, B, C, or you can think of it like that. This is the d. And if I go up one line, I don't become here. I become here, actually here because I went up between the lines. And then we have d, f. And finally we have denotes, see it that is repeated. This all takes a bit of practice and every time you see the notes more, you start being familiar with those. Try to if you didn't understand, you could try to practice those individually or try to see them like this. But this is everything you need to know for the G-Clef. Later on there will be, it will be some challenges that I'm going to put it for you to make sure that you understood everything. But yeah, this is how you should memorize the G clef. 110. Vid 3 - Bass clef / F clef: Coming to the bass clef, cold also G clef. This G-Clef has this symbol right here. As we had in the G-Clef. We had, for example, that G here, because it's on the same line of the G class. We have also on the F class, we have a node called f, right here. If we zoom in, we can see that the same center is also F. But the G-Clef case, we have the G in the center because it's called G clef. In this case, we have the F clef because it's on the center of the F clef. Every time you see a node right here, you can decide that this is directly F because it's on the center of the F clef. But the main difference is that if I have, for example, here, I have this note, which is the C and the G-Clef. If I play the same position of this node, if I play this note right here, it's the same position. It will not be the same node. This is the note E, but this is the node C. How would that? And the answer is, it's the difference between the two keys. So I wish I could say to you that you could memorize the same positions from here to here, but it's not like that. If I have this note right here, it's not the same as this node right there. But how do we do that? Well, there's a good knew that it works the same way. We learned up there to learn how to skip notes. We learned that if we skip lines, example here, this is e, I skip a line. So I go up two notes and I skip also align. I grew up two notes. The same applies for the F clef. I have this note, which is in this case C. You have to memorize at this position, we go up align. What node will we be? Whatnot? I will go up alone. I would be on the node E because I went up from here to here. So as you see in front of you on the piano keyboard, I went up from here. Every time I go up align, I go up through notes. The same applies when I continue. I go up from here to here and I become, so from here to here, I become from E. What is this node? Try to pause this video and guess this note. Yes, This note is that because I went up from here through here. So if I go up also one line, what note I will be, I will become on the B. So I runs from here to here to here. You see the difference between those. Try to take a look in front of you. Go from C, skipped N-O-T, it skip, skip. Be. The whole conclusion is you have to be good at skipping. When you are good at skipping, you can easily read notes. Because if I give you this node, this node, how do you know what is this node? In this case, you could have two choices. You can use the skipping technique. For example, say that I don't know what this node, but I can't figure this out using that skipping technique. So you go down a line and you go down to the line. Therefore, if this is a note, okay, I go down the line and go, and I go down another line. This is C, All the, all of this. You have to imagine it in your head. This is see. If I go up align, I become to the end. And if I go also up online, I become too then our gene. Therefore, this is the note G that playing right there. But you have another choice. Instead of thinking about all of this, you could easily say that, well, this is, I don't know what note it is, but I know that this note, this node that I'm playing right here is the note F. Why is this anode F? Because I can't actually go to the left and see that I have the note F on the bass clef. This is F. If I go up from half a little bit to the right, I will have the node G. Having another example. If I want to know what is this note, how do I know what this note is? Well, I can't take reference from the F clef. So I know that this note is F. Therefore, if I skip a line going up, I mean, I go up a line from year to year. I have to skip one node from F. I skip an old and become on the note. So if this F, I have to imagine that piano keyboard in front of me and know that from escaping become on the node a. And to finish this, we will wrap up by showing you what is the relation between F clef and G-Clef. If I saw by here. So let's start by this. Play this right here. I go on. A, B, C has something in common that this is the same see as here. Do you see this? Is this see if the same see as this. So those are the same. Why? Because this is the relation between them. We have, we go up from C to C and then continue from C to C. If we play it altogether. And of course we can continue up here, can continue up whenever we want, or we can continue down from the G-Clef. More. Unusually, everything that is from, everything that is from this G down. Here, maybe the lowest note is played with the left hand. And everything from, from C. And going up is played with the right hand. I want you to take your time and try to point your finger on a certain node and say, try to guess what note it is. Try to repeat that process over and over again and try to use the tricks that I've told you taking reference from that genome. And F note that C nodes, those one through one, that you should memorize and taking reference from skipping the lines. So skipping the lines as the most important tip that I want you to focus on. Because when you skip the line, you can't actually no notes easily. Maybe in G-Clef or an F glass. 111. Vid 4 - Sharps and Flats: Sharps and flats, how they are written on the desktop. So we have the F, and if you want to do it sharp, we put the sharp at the left of the F. Always put everything at the last of the left. At the left of the F. Don't confuse between putting the sharp on the left and actually going to the left. So we put every annotation on that I have. So if you want the G flat, we also put the flat on the left, everything we put it on the left. But sharp means we go up, we play the F and go up. And the flat means we play that G and go to the left. And it applies the same for the G-Clef and F clef. One important thing that you should know is that if we have, for example, many notes and the same, a measure, what is measured is from here to here, from here to here, from here to here, from here to here. Every time we have a line, we have a different measure. And so if we are skipping note, if we are playing the same notes, for example, from the measure, let me give you an example. We have F, F sharp, then this, and then we have this and then this, maybe this, Okay? Okay, here we are. So we have F sharp, then G. And then if we come down to this F, I'm sorry, if you come down to this F, It's also F-sharp as you can see in front of you. Why? Because we are still the same measure. What's the conclusion? If we have f and the same measure? And one of those F is in sharp, everything after it will become sharp, except when I switched measure. So when I switched measures, so when I jump measure or change measure, this F becomes F natural, F normal, no sharp, no flat hour. I will repeat. Every time we have the same measure, it becomes as we had here, F flat, this becomes F flat, F, F-sharp, this will becomes F sharp, but this rule stops when we change measures. To understand more, I will have another example. Consider those nodes right here. We have a flat and C, then G, then a. Is this an eight flat? Or pause the video and try to guess. This is an a flat. Why? Because we had previously and a flat right there. But what's interesting if we change the measure, if we change from this measure, you see right here this measured as highlighted. This measure here it's highlighted. We don't have right here an, a sharp. We came back to the a. And the same applies for this a right here. But if we had an A-sharp right here, this automatically would be an a shop. This applies to that G-Clef and to the left and to the F class as well. 112. Vid 5 - Chords and Octaves: As we have on that piano, keyboards chords. And the difference between those chords is eight nodes with one repeated and it's the C. Or maybe the d depends what chord you can't, you are playing, or what octave I mean, you are playing. We have the same here on the notes, on the stuff. The difference between here and here, you have to train yourself to see that this is a knocked him. How to do it. I will tell you. We have, for example here the note E, YE, because above the E there is the C. We are skipping lines. Therefore we are skipping two nodes. So this is C and the above one is e. I have e. You have to try to analyze that. Well, this, the distance between here and here is inactive. Try to see it. They are literary the same. So we have F, F, G, G. I'm trying to point out that the difference or the distance from here to here is the same as from here to here, and the same from here to here. The same from here In video. Therefore, I want you to try to see and analyze the distance between those. And I will show you also the left-hand or the F clef, because usually the F clef is Platon the left hand. The same difference between chords. So we have C and C with having, this is C and this is C. And those shoes, he is, those C2C is that I'm highlighting in blue are the same. We have also D, D, we have E and E. The interesting thing is that those ie, those D, I mean D and D, Those are the same. This d is the same, that the one that played right there. I'll prove it through this. This is the also, you see the node highlighted in blue than old highlighted in blue is the one that I press on the screen right there. So this d is the same as this d. This d is the same as this knee. So if we zoom out a little bit, the difference between this E, This E is the same as the difference between this E, This E, y because this, sorry, this, these are the same. This, and this are the same. And the same thing goes for other nodes, F and F. F and F, those are the same f, f, the difference between here and here is an octave. I will highlight those true here and here. The difference between those two is inactive, as well as the difference between this and this, because this and this are the same. Coming back to the courts. The courts as they are played on the piano keyboard, they are the same. Read it on that stuff. We have, for example, the chord C major that you know it already. So C, E, G, C, G is played while skipping lines. The interesting thing about chords, that it can help us recognize the different nodes. For example, I want the cord, let's say G major. So I played G, skip a line, and skip a line. D, I will have the chord D major, C major, G major. Another record, for example, let's do it in the right and the left hand, or the G-Clef. I want the core Major. Here it is. Oh, it was played with this. Why it was paid with this? Because everything in the left-hand and the right-hand are played together. So if I want to play a chord, I can't play C here, and G right here. I will play this and the left-hand. Those two and the right ten. Another one. I wanted to make a big court. For example, I do like this. I play F here and play F here. F here. And I want to play maybe. See here, Listen. You see what big court I'm playing. I'm playing all of this. The conclusion here is when I play chords or anything, I just play the right and left hand. And the main thing here is that PNS read usually from left all the way up to the right and fry to scan, then also from here to here. So if you have, for example, this, see what I'm playing. What you have to do, white playing the piano is read this and play together. And play together this and play together this unpaid together. So what I'm doing is scanning from here to here, from here to here, from here to here. So this should be played together. Let me highlight it for you. Those should be played together on the piano. Then those should be paid together. Those should be paid together. Then those should be played together. And on and on and on every time you see something. Let me give you another example. I have this and I play them together. I played it like this. If I have another one, for example, let's have a G. I played together. What is the role of chords right here is that I can't play a court all over the self, so I can't play, instead of playing the C major like this. I could play the C Major like this. The same, but it's down an octave. So instead of playing like this, take a look here on the piano keyboard. I can play it like this. Like this. I play a lower octave. I played in the left-hand and the right-hand. I played the two nodes, E and G. It's all going around the same concept that left, right and left-hand and right-hand our plate you gather if they are above each others. And we could, we could play chords from it, and we could play everything from it. And courts can really help us understanding the 3D. Notice we could have this nodes. For example, it is played like this. Later on we will play chords and octaves at the same time. 113. Vid 6 - Challenge 1 and correction: For your first challenge, I want you to play those on the piano. This is a CT. This is another court. This is also accord. This is the core, this is accord, but those down below our octaves. So I want to first to try to play those in your right-hand, this group right here. And after that, I want to play those octaves right here using only your left hand. Then play all of those together. Try to pause the video and play all of those to correct it. Okay, So were you successful? Let's discover first, let's sound how it sounds like. Sounds great. How are we going to do that? Just all you have to do is very simple. Play this and your right hand. And your right hand. Then this annual right-hand end after this, this, this, and this, and you will have all of those. If you want. I will show you each individual one how it is on the piano keyboard. This is a C. You can pause the video whenever you want to see if you play the tribe, then this is e, e, be it splayed like this. Then this is F, a, C, then this is the chord of C major. This code. Try to see how it split all over the piano. You play in your left hand, this octave. You play a right-hand, you pay the court. Then you play like this. You play E and E. And right-hand you play the chord. And then you play F and F. And your right hand, you play the score, and then C and C. And why this is not y. Here we had six nodes, we have five node 1312. That makes five notes. But here why we didn't have five nodes, why we had only four nodes, 1234, because this C, this C are actually the same. So this C and this C are actually the same. This is why we only have, if you played on the piano, you will, you will have your fingers crossed with each others. So you have this thumb right here and your left hand thumb, and your right-hand thumb, you will have them on each others because this is the same node. What is that solution? The solution is to replay this node, this CH3 right here is replete with your pinky and your left hand. And this chord played with your right hand. Your left hand thumb will be free, or you can do it wherever you want. Okay. It's up to you, but all I want from you is try to play those scores. 114. Vid 7 - Challenge 2 and correction: Coming to our second challenge, and it's playing everything, everything you see in front of you on the piano keyboard. You start by playing the right-hand. All of this, play the right-hand, then move on to the left hand. Fracture plate alone. Then try to play both together. How are you going to read those notes? It's so hard. Well, it's up to you to start counting. So we started on this. I'm telling you this is E. So you go down, you start going down to C and then go down to a, and go down to D. And then after D, What comes? You go down one node and it will be E. Or you can memorize it that this is the active form. So you can see that this is E, and you can analyze that well, this is the octave of e. For the same thing applies for this one. You can see what note it is and then apply the octave of this. You can try to do this alone and we will correct it after this. So pause the video and try to do it alone. Let's correct it. How are you going to read those notes? Maybe you were not able to read those nodes and played on the piano keyboards. How are we going to do that? Well, for the chords, they are pretty easy. You just, in the course. This is the code of E minor. This is the code of G major, chord of D major, and this is the code of a major. You can see those in front of you of the screen coming to the octaves and the left-hand, which are pretty easy and pretty hard. They are in the middle. You can see that this is the node E. Then we have an octave below that. This is END and you play in your left hand. You pay this together. Both hands. You play this on the piano keyboard. You play here. Is this. And why I'm not showing you my camera from the piano. Because using this, I want to show you how to read notes and at the same time played the piano keyboard. So I guess I'll count on you to actually do those challenges and do it in front of you of the piano keyboard. This is the first one. It sounds like this. Coming to the next one, which sounds like this. We only have to play the octave of G and G. How did I know that this is G? Well, here, right here I have the note F, because it's on the F clef. Therefore above the F, we have the node G. So G, and this is the octave of G. And if you did not know that this is the octave of g, All you can do is skip nodes or skip lines. So this is G going back, we have E going back, we have seen going back, we have a, below the a, right below the a, we have the node G. You can see it in front of you on the piano keyboard. We have right here, we have G, then going down and then see going down because we are skipping lines. We are I mean, because we are going down lines. So housekeeping, skipping notes. Then we have, we have the a because your R script from here to here. And then below the a, we have the gene that's remove those and jump into the next one. We have right here we have 2D, because this is the D. And if you go up also in lines, you will discover that this is also d. I'm trying to train you to see the octave, piano octaves of this. You can't see the piano octaves of this. And then we have here an a and a. So all of this together sounds like this. And I replay this year. Here we are. And if you want to pause the video to see how this played, it should play like this, like this, like this, and then move into like this. Then like this for sure in your left hand, you pay those off to the annual right-hand, you play that chord. Then it finishes like this. 115. Vid 8 - What is key signature?: Coming to the key signature, what is a key signature? First, let's understand both worlds. Key is when you are talking about a specific keys. So when we have a scale, for example, in the C major scale, we have multiple kids. We have C, D, E, F, G, a, B, C. There's something wrong with that. When I play the F. Why did it play F-sharp? Why didn't they play F normal F? Well, here comes the magic of key signature. What is signature? We know what is key. Now, what is signature? Signature is something that composers leave behind them. In order to know that, hey, when we come to the f, we put F sharp and not F. As you can see in front of you. We have something here. What is this? This is the key signature. The key signature for now, the easiest one is the F-sharp. Let me introduce you to how first replay one of their key signature. As you can here. We had an F-sharp one plane. Why didn't we have a G sharp or a sharp? Because there is no f or there's no G-sharp or a sharp onto the key signature. To explain more in details, here, we have the note F. This node enough is the same as this sharp right there. We were getting used to seeing the sharp right at the left of the nodes. But right now we are placing the sharp here, right after the G clef and the F After the F clef. This is the F clef and the G-Clef. Why is that? It's a symbol that every time we come buy enough, it doesn't matter if the F was here, was here, here, or here, or here, or here. I don't care where the f is. Every time we come by f, we play it sharp. Now let's remove those. Let's remove those and make it clean. We have this. So every time you come by, if you play it sharp. Another example, let me put other key signature. We open the section of key signatures and we have all of those. Let me place for example, this right here. Let's best to try to you. So it gives me some small error. So let's delete all of this and start writing the notes again. We made another key signature. What does this mean? It doesn't mean that every time we come by C or F, we place a chart. How I knew that this is c and this f, I'm going to tell you this is C because it's the same level of the sea. You see the center of this sharp right there. The center of this sharp is at the same level of the VC that I just played. And therefore, this is a C-sharp. And how I knew that this is F, well also taken at the same level. So we have C sharp, F sharp. And as you can see it, when I play C, a, it gives me the C Sharp. And when I play the F, it directly gives me the F sharp. The same thing applies in the left-hand. Zoom this out a little bit. If I play a C, which is at the same level of this is at the same level. When I play F, which is also at the same level of this, we have C-sharp and x. But what's, what's interesting? If I also play F from not from the same level. So if I play F from a different level, for example, this F, We have also F-sharp. You'll ask me why this is F-sharp If this is not at the same level and the answer is clear. When we have a key signature, it applies to all positions of f. To all F. Maybe there's an f here, maybe here, maybe here, maybe here, here, here, here. It applies to all F on that piano keyboard. So every time you come by F or C, you will place a chart and I will prove it to you. Place any C on the keyboard. You see, they gave me see sharp and let me put one C here. C-sharp also, once a year. Here, we have C-sharp. C-sharp everywhere. We have C sharp everywhere. We can't play C natural because there is a key signature right there. To understand more, I'll give a final example about that. If I, if I'm about to change the key signature to a flat one. So I'm putting this right here. That's interesting because now we have more and more key signatures. We have, let's analyze it together. We have the OneNote, this is the B. Let me prove it to you. This is why, because if we go, if we skip lines, so I have I demonstrated in the beginning so that I have C, G and then be, so take a look at the score. This is, this is 14. But why am I playing this B-flat and E-flat? B-flat? Well, because it is the key signature, I have the key signature of B flat, E flat, a flat. How I knew all those nodes? Well, because I memorize the position of the nodes. If you didn't memorize the position of the nodes, I recommend you to go back and videos and watch that positions of nodes. I know that this is the position of E, this is the position of B, and this is the position of a. And therefore, every time I come by node, or a note or a node a, I directly say that this is a flat. And the same thing applies for the F clef. And by the way, if I have something, a key signature and the I'm G-Clef. A diarchy applies to the F clef. The good news is that you don't have to analyse the F clef key signature and then analyze the G clef key signature. They are 100% the same. So it would be enough if you just take a look at the G-Clef key signature, you say that, okay, I have to memorize that every time I play something, or E, or B or a, I will play it flat. Maybe our campaign, and the same thing applies for all measures. Maybe you play this or this, or this a, this, this, any note you play all in all the measures. It all comes back to flats and said if we didn't have any key signature, if we had Nokia signature, let me delete all of this. If we had no key signature like this. If we had no key signature, if I play for example, B, I have to put it manually. I have to put that this is flat. And if I switch to the next measure, it no longer becomes flat. This is flat. If I switch to the next measure, it doesn't become flat. Instead, if I put a key signature of B flat, there's no need to write flat on the beam. I can put B and automatically, because I have a B flat here, I can suppose that on all the measures, we have a B flat, and it applies to all the measures. So B flat, B flat, B flat. And said If I had no key signature, I have to put manually that B flat. For example, like this, I put a key signal, I put No key signature. I removed the key signature. So the software automatically puts me an E-flat and set if I if I put a key signature, it removes all of those. Why? Because I put it right there. It went. I remove it. You see automatically. Let me paste this automatically. It puts a flat on all of those because I have to put it manually went. I have no key signature. The same thing applies for sharps. When I have multiple shops. This key signature that are scary honestly like, take a look at this for example, this key signature means that all the F, C, G, D, a, E, B have a sharp. Or they mean that every key, all the keys, any key that I play, have a shop. This is a bit difficult. We will not face this right now, but I want you to let you know that we can have many key types of e-signatures. We can have one with sharps, we can have one with flats. And we'll learn how to know more about key signatures. 116. Vid 9 - From key signature to scale: This is the song perfect for achievement that we previously played. I'm sorry for the bad quality. But the point here is that we want to know what scale it is using the key signature. So right there we have the key signature of B sharp. We can see right here that we have the b Trump. How to know if that scale using the key signature jumping into here, we can see that this is the B-sharp. And previously we learned that we should memorize in order for the flats. And it's ba, DG, CF. When we look at this, we have that B. We start seeing that we have a B. Okay? Do we have a? No, we don't have, so we stop there and we know that every time we have AB, if you want to go back, there is no node to go back, and therefore, it's an F sharp. So as we memorize previously, every time we have only be flat on, only be flattened the song. And in this case it's written on the key signature. We have an F major scale. To understand more, I will give you another example. Let's suppose we have three flats. I'll show you that this is easy to know. We have three flats. What is the order of flats? We know that the order of flat is B, E, a, D, G, C, F. Take a look right here. We have b, e, the same as the order of flats. We have b here, and then B and E, and then a. And the same thing for the F clef B, then E, then a. So if we add more, take a look on this where they could have done this. If I put the maximum of flats, we have all of the flasks and order. So B, this is B knowing from the, from when I put like this, okay, So this is b, this is e after B, then D, then G, then C, then F. So B, E, a, D, G, C, F. This is the order of flats. And the same thing applies for the F clef. What I'm trying to prove to you is that everything that we learned in playing by ear and knowing what scale it is applied the same when it comes to reading loads. To give you an example, how do I know what is let me delete this. How to know what is the key signature of, I mean, what is the scale of this song? I have this, for example. How do I know what is the scale of this song, even though this is not a song. But let's suppose it is. This song have on the key signature B and D. How do I know what scale is this? Take a moment and try to think. Pause the video, and then go ahead and see the correction. How do I know what scale this song is? Take a look right here. What Flats Do I have exactly the same when I was playing by ear. When I was playing by ear, I was analyzing what flats I have. And then go back to the left as this photo right here, it says Me. I have, for example, B, E flat. If the last flat I found is a, then I go back to the left and say that it's an E flat major scale. In this case, I have b, e, a, and the final one is D flat. So I have the flat going back to the flat order, I have B, E, a, and D flat. I have the flat. What I do, I go back to the flat major scale is an A-flat major. I go B, E, a, D. That D flat is the last flat I have. Because it's the last flat I have. I go back. Therefore, it's an E, I mean, a flat major scale. Let me give you another example to understand more. We have this key signature and we have a random song, airplane, random walk on the moon. How do I know what scale is this song? I directly look at the key signature. This is B flat, this is E-flat, and this is a flat. What is the last flat that I had? A flat? Without even looking at the flat order, I can say that this is an E flat major. Why? Because I simply go back one flat. This is 100% the order of flats. This is the same order of less than that I gave you. So this is B, E. And we have later on, D, G, C, F, We have the same order of flats. Therefore, if the last flat I find is a flat here on the key signature, without looking at the keys or anything, we only look at the key signature. The last one is a flat, therefore, the scale of this as E flat major, but what about the sharps? What about the sharps? Let's do an example. Let's have this complex one. We have the order of sharps, which is F, C, G, D, a, E, B in here you can see it more clearly. So F, C, G, D, a, E, B. And in this case, do not look at this. In this case, what we have right now, we have F, C, G, and D. We arrive to that D sharp. The last one that we had is D Trump. What we do in this case, we have D-sharp, we go up because it's sharps. We go up a half-step and you will have E major. So our repeats, we have the F, C, G, D sharps. The last one is the D-Sharp. What I drew, I go up, it has step, but in this case, it's not the C-sharp, D-sharp. I'm giving you this example to remember you of the example that we took in the previous videos, we had, we had a C-sharp, so we went up a half-step to have the D-sharp. In this case, we have that D-sharp, we have the D-Sharp and set of C-sharp. We go up a half step and we will have E major. Let's take another complex example. Let's take this. This is harder and harder, but the concept is as easy as it sounds. What chops do we have? We have F-sharp, C-sharp, G-sharp, D-sharp, A-sharp, E-sharp. The last one is E-sharp. What I do, I read the last one and because it's about chops, I don't go back one node. As I do in flats, I just go up a half-step. So E sharp, E sharp. What is the half-step up from E-sharp? It's this, so it's F-sharp. Therefore, the scale is F sharp major, yes, F sharp major. As also we said in the playing by ear section, if we have no key signature, then it's the scale of C major because it has no key signature. This is how you transpose from key signature to scale, to know what scale it is from the key signature. 117. Vid 10 - Let's read some notes together: Let's read notes together. I have this song and let's listen to the song before planting, before reading it. Okay, let's stop here. Let's start by analyzing what is the scale of this song. So we have, here, we have an F sharp, we have shot and ignore this. Try to ignore this, ignore this and this, and this and everything. Take a look at the key signature. We have an F sharp, how to know what scale it is using the key signature. In sharps. When we have and sharp when we have charts, we look at the final sharp that we found, which is in this case F sharp. There is no other one. We go up a half step. So F-sharp, This is F-sharp. We go up to half step. We will have G. Therefore, this is a GI, a major scale. One thing that make us sure that this is a G major scale is that the song actually started with a G major chord. This is a clue to make sure that our choice was dried. We said that it's a G major scale, and therefore, it's true that this is a G major scale. So let us try to sing it together, or at least without singing get, Let's try to read it together. We have this measure and this measure, we will try to read it. Which node it is. Which note is that the way I analyze it as that we have a G here. We have a G here. And why this G, because it's the center of here. So above G I jumped a line. Therefore, I jumped two nodes from G. Here. From G are jumped two nodes, I become the B. Therefore, this is a B, this is a B node, B, B. This is C because right above the a, B, C, D, D, it down C, B. And then I'll go down then G, G, B, B. You will see this in the PDF that I attached down below. I want you to continue and read the nodes of this song. Try to do it alone, okay, don't worry about what is this and this. I mean, what is this point? And this thing right here highlighted in blue, try only to read the notes without worrying about everything else after you've finished reading it denotes come back to the PDF also, where there is also then nodes written. Or you can go back to the video, whatever you want and check if those notes that you said were right. This is just an exercise to make sure that you understood everything. So pause the video and go to the PDF, try to read the notes. To read the notes, make sure they are correct, either from the PDF that contains the names of the notes or from the video that we explained together how to windows do not worry about the left hand. We will do that nature on and discover what you are doing in the left-hand. 118. Welcome to Day 13 - What are rhythms: As usual, we start by asking ourselves that simple question. What are rhythms? Rhythms is so similar to patterns. Remember when we had piano pattern, for example, repeated and repeated a piano node, and therefore we had a piano pattern. And the same thing applies to rhythms. When we had rhythm, we have amount of nodes that is repeating itself. How can it be repeated in something called measure? So we have something called measure. This is measured when I zoom in, you see this little bar highlighted in blue. And every time we skip a line from here to here, here to here, every time we skip a measure, I mean, we are resetting the rhythm. Rhythm is like a counter. It's counting for me 1234123412341234. If I press the button play right here, you will see four boxes playing 1234. So 123412341234. This is something called rhythms. Why we resumes? Because sometimes when we want to read music, how can we know what is the length of a node? So if I'm holding a note a, how can I know what is the length of the node a? How much do I have to hold this node? 1 second, 2 seconds, three seconds, five seconds, or 2.5th. How do I know how much I want to hold it? Therefore, learning what our limbs are essential to be able to read notes. Therefore, in this chapter, we are going to dive in, into everything you need to know about freedoms and order to play musical notes. If you're interested in, Let's do this together. 119. Vid 2 - The Map of Rhythms: We had a small idea about what our rhythms, it's something that is repeated, but what are actually rhythms and how we distinguish one from another. Here I have something called a whole note. A whole node is a node that fills all the measures with fills all the space. It leaves no space for other nodes. It's the biggest rhythm that you could possibly see at the beginning. Then the whole node can be divided by two and we will be having half node. So this is the symbol of the half node. If we divide a whole note by two, we will have to have notes. We also divide the half node by two. We will have two quarter notes. Therefore, two quarter notes here, true quarter notes here, we will have n total four quarter notes from a whole note. Now, why everyone have a different design? How can I distinguish when I see in front of me a whole node from a half node from a quarter note. This is where the design comes in. And to understand it, I want to give you a way to facilitate for you memorizing how those are divided. The whole note is a whole note. It's a complete node. As you see it in front of you. It has no vertical lines, no black things. It's only is circle. And if we want to divide it by true, we will have 2.5 notes. This half, half node have something special about it. It has something vertical. You'll see this in front of you. It has this vertical line. This vertical line says that I'm dividing this by true. How I'm dividing this by true. Later on, you'll discover that this whole node is four bits. When we divide this by two, it becomes true beats. When we divide this also by true, it becomes one beat. But how is it that this is a quarter note and this is one beat. Why quarter and won't beat? This is the confusing part and I will clarify too later on. But for now, what I need you to concentrate on is that design of those notes. We have a whole note without anything. Then we have a half-note with a vertical line. Then when we divide this half node by two, we will be having something black in the middle and something black in the middle, black, black. The quarter note differs from the half-note that it has something black filled inside. So if for example, I want to draw a half-note, how do I draw it? I start by drawing a whole note. Irr, draw a whole node, then add just this vertical line on it on the right of this node. For example, I wanted to draw a quarter nodes. How do I draw it? I draw a whole note and I add this vertical line. Then I color inside of this in black or in the pen you're using engine. What's important also is that each hole node gives four quarter notes. As you see, this is the division in front of you. To make things more complicated, There's also something called eighth note. So each quarter note is divided into 2 eighth notes. As the half node is divided into two quarter notes. The quarter note is also divided into 2 eighth notes. And if you see in total, we have four quarter notes, 1234. And each quarter note is equivalent to 2 eighth notes. Therefore, four times two gives us 812345678. The point of this is not to overwhelm you with math. The point of this is true. Make sure that you only food. What is the concept of quarter? An eighth note? Quarter note is a quarter node, is a node that was initially divided by half. The eighth node is the node that we also divided by half from the quarter note. So a quarter note divided by half divided by half, quarter note divided by half divided by half. Quarter node divided by half divided by half, quarter note divided by half, divided by half. So the quarter note is equivalent to 2 eighth notes. And don't worry, we have also 16th note, 32 node. So we can keep going dividing on and on and on without even ending. We will see that later on in the scores. But what's important about the design is the difference between quarter notes and eighth note. What is the difference in the design? I will tell you. You see this little something here. This thing is called a flag. Why we call it flag? Because it hangs out like this on the right of the eighth nodes. All I'm trying to do is to facilitate for you memorizing that design of those nodes because we will use it later on in the course. With a quarter note was initially filled in black from the half-note. And how can we distinguish the ACE node from the quarter note? It's very easy. All we have to do is add a flag to it. For example, let's go back from the whole nodes. How do I transform whole node into an eight nodes? Let us do this together. First, we arrive this down, we write this as a whole note. Then we add a vertical line to it. Then we fill it in black. Then we add this flag thing right there, and we will be having eighth nodes. The more we want to divide by half, the more we start adding flags. And you will discover that later on. For now, just understand that a whole note is like this. Half-note is like less quarter notes and eighth note. To end things up, I will let you see that this core to node can also be divided into through eighth note in this design, as you see in front of you, those two things are nothing but through eight node. Let me go back to the previous one. We had 12345678, the same exact thing, same thing as right here. We have 12345678. We have the same amount of quarter notes. But what's difference right there? Why is it only one group, one, group, one, group, one group? Well, it's because we grouped them in something called beams. Beams is when we connect 2 eighth notes together. So those are the 2 eighth notes. But we didn't connect those with beamed. We only put individual flags. We wrote this H node with a flag. We just put a flag right there. But if we want to make it better, better looking, we want to make sure we have a great design. And therefore, we put eighth notes and reconnected with something called beams. Beams are when we connect those 2 eighth notes together. Therefore, the same concept applies. A quarter notes. A quarter note is divided into 28 node. But the difference here is that we put a beam to connect those two eighths node. And as you see in front of you, to eight nodes means two times those eighth notes, it's 100% the same. And therefore, if you want to write in music eight nodes, one near each other, you write it like this, not like this. You write it like this. 120. Vid 3 - Seeing Rhythms Together: To understand more, we have to see things in front of us. Therefore, I will put in front of you the difference between whole note, half note, quarter note, eighth note, and even when we go smaller and smaller. So the first thing I want to show you is the whole node. Let's take for reference the node G, the easiest node. When we have g as a whole node, it means that the whole measure is filled. And to prove that, let me play this node. You see it takes all the measure. When we switch to the next measure, it stops. It stops. And if I put another node, for example, I will play G. And as I expect that G will play all this measure and then stop, then switch to that B. B will play the whole measure and stop. If we keep adding more nodes, that's the C, then that D. And we keep adding, this will play until here. And then we'll stop. Then we switch to the B, then we switch to the scene, then switch to the D, C. Now switch that div. If we keep adding, we keep doing the same thing. But music is boring with having only whole nodes. But the trick is here, if I want to add more than a note and measure, what can I do? If I want to add, for example, the node b and the measure where Thai place denote the whole node is occupying the whole measure. If you can't see the software in front of me, is not letting me place and another B node only I can place it up that genome accomplished as a double node. So it can be played only at a double node. I can place another node after the G, except when I switched measure. How do I place it? Well, here we come to our division that we just saw. One whole note is equal to half node, so it's equal to one through, one through. This half-note is also equal to four quarter notes. One through three. For this quarter note is also equal to to 8 eighth notes, 1234567 aids. These are the divisions of the node. And to have some fun, Let's take a listen. It's like it's building up and it's getting faster and faster. Want to have more fun, left divided more by half. This is the whole note. This is the half-note. This is the quarter note. Never mind about this. Number five is just for the keyboard shortcuts. This is a eighth note. Please don't confuse with the number four because it's only for the keyboard shortcuts. And when we divide more, we become to the 16th note, then to the 32nd note. Let's have some fun and write it in front of us. We had this 1234567 eighths. And as you guess, each eighth note is equal to 2 16th note. So 12345678910111213141516, if you're based on their beliefs from the beginning, 341234141341234. You see how it's getting faster from here. If I want to have more fun, I'll make it faster and faster. I can add this, I can still add at the end. Let me play this. This is the end. Let's take a listen to this. Why am I having fun? Well, here comes the interesting part. I didn't do all of that just because to put meaningless nodes and have fun with those. I put all the nodes for a reason for me to show you what is the deal with those lines? What are those lines? Why don't we have, for example, a single eighth note like this. Why don't replace a single eighth note like this? Here is the answer. Why are we connecting them with BIM? Why those two are not connected? Why those who are a single one? Here is the answer. Here. We placed a single eight nodes, but here we placed double eighth notes and we connected them with something called beam. This is a flagged, this highlighted and I'm sorry, this highlighted in blue is called a flag versus this highlighted in blue is called a beam. And therefore, the difference between a flag and beam is that flag is used for individual eighth notes and beams is used for double eighth nodes. If we have 2 eighth notes to write it one after another. For example, this G, G, the software automatically connects, connects those 2 eighth notes into a beam. The more we add, the more, oops, I didn't put an eighth note. The more we add, the more it's connected. You see, I connect one after another. I connect those one after another. Now why those two are not connected? Well, here it comes, it's very stylish, and it comes to the design. The design of those two notes is better. When we don't connect it to each others. We connect at maximum, we connect only four nodes. The same thing applies for the thirty-seconds node. We only connect 1234 and we connect those n triple box. But from here, we have a problem. Why I have here a single beam, and here I have a double beam. You see there's two beams. Here. I have a triple beam. Why is that? Why they are adding beams? And let me answer this question. I will delete those to make the area seems clear. When we have a whole node, we replace a whole note and it occupies all the measure. I can put anything here. When we replace half-note, it occupies, have them measure. So I can place two nodes. But when I play quarter notes, I can occupy also for places in this measure. But when I place eighth node, I can occupy eight nodes in this measure. But let me highlight you something. The difference between this and this here is that I added a flag. And so the more, don't worry about this number. This is just the measure number. This is just the measure, normal measure eight. This is a measure, 12345. This is the measure of five. This is six, this is seven. This is the Measure H, so it is not related to the eighth node. I deleted this to make it clearer for you. Let me delete this also. We have here the eighth note. And when I add a flag, this is called flag. I divide the node by half. So this node, this node Friday, there, is half the value of this node. If I want to divide more by half, I add also, I add also the 30 seconds node. You see every time I divide more by half from here to here to here, I add a flag, 112123 flags. So every time I need to add a flag, I divide by half. And the answer is, this is, this flag is, I will zoom out a little bit, is the same as those flags because it has one flag, this has one flag, this has one beams. So flag is related to beams. This has doubled flag. This have double beams. Therefore, this is section or a progression of those 16th notes. This is also a serie of 30 seconds knows. To prove this to you. Take a look here when I pick this node, because I had this, okay, I'll delete this matter. When I pick this node or this node five there, and I place it right here. I pick the same node. I will pick the same note and place it right here, but multiple times. So 1234124, we will have those single beams as we have one single flag. Let me do another experiment. I will take this node, this node, I will take this one and place a try there. I will pick the same node. So I'll pick the same node. Here we are the same one and place multiple ones right here. 1234 are not tried more just to make you see, here we are, we have double flags and here we also have double beams. The same happens if I pick this node, I pick this. Thank you. It has three flags and I place this right there, 1234. And I have triple beams. This was everything related to the design. If you didn't understand it, make sure you go back to the video and understand it. Because later on we will move on into other things. 121. Vid 4 - Counting Rhythms Together: Now the interesting part, counting rhythms. This is a melody that we are going to do it to capital. But before do it, we have to know how to read those rhythms. How to read those. First thing, let me tell you to not worry about this and also not worry about this. So suppose that those two are deleted, but our keep them in order to explain later on something about those. Only what I want you to take care of to be careful of is the whole notes, half notes, quarter notes, the eighth nodes, and everything. Before starting to do those, I want to analyze this melody. I have here to have nodes. How do I knew that this was a half-note? Because, well, I have here directly a whole note. I have a whole note. And the difference between them is that we add something vertical. Now you will ask me why we didn't add those from the upper part or from from below? Why those are from above? Those are from below. The answer is that every time I have let me delete this to explain to you. Every time I have something above the a. If I have the a, I put this normally. If I have an a or D or F, I put this normal, I put it, I put this above. But when I start getting up, you see automatically when I have the a, it's, the vertical line is up. But when I go up to be, the vertical line automatically gets down. Why? Because if I keep going up and up and up, that design of this node will not be better than having this flag down. And so it's better to have a flagged up when it's, when it's from a and going downwards. So it doesn't matter maybe f, d be anything bound. This is always having a flagged up. But when we are talking about having a, when we are talking from having from B and up, the flags keeps getting down. You have to memorize it as a logical one. Every time we have the flag, the node above the B, the flag will be getting down. And don't worry, you'll get used to this because it's an easy concept and you will not even think about it. To get back to what we had. We have this node, this node, this node, and now let me zoom this out to analyze this text. We have 2.5 notes and we have one whole note. We have here four quarter notes. And we have here two nodes. And we have here 1.5 node and two quarter notes, and on and on and on. What are the difference between them? The main difference is that they have different designs. But when it comes to rhythms, they have the same functions. They all fell the measure. Here we come and something interesting and it's essential to know how to count freedoms. Here we have two quarter notes. Here we have one whole note with this whole node is supposed to be four beats because let me count with you. I will play it and count together. 123412341234123 for one through three. For all the bars has the same length. They have a length of four beats. Here. We have a whole node that is counted as four beats. This is why it fills the whole measure. What above those two have nodes? Well, those who have nodes are counted as true beats. So this is four beats. This is derivates tributes. And as you guess. Those quarter notes, rather there are each one counted as one beat. So this is for B. This is B. This is one beat. Every time we divide by half. We divide also that be It's, remember the photo that I showed you when having a whole note. This whole node divides into 2.5 notes. And this head through this half-note divided into four quarter notes. Well, this is the same four bits. Bits, two bits, 1111 bit. Let's try to read this together. We have C, C 1212, and let's listen to this. The same as I said. And here we have E 234. Here we have D, D, D 1234. Here we have two. Here we have a to a. So why is this? Because we are having 1.5 note plus quarter note and a quarter know. So two beats plus one plus one beat mix four beats, the same as here. We have half a half note plus quarter note. Quarter note gets one beat, one beat. Here. We have B, it's tributes. Here we have four beats. Every single measure adds up to four bits here we have two plus one plus one makes for two plus one plus one makes for every single beat, makes four beats. I mean, every single measure makes four bits. Here we come to the lakhs, to the last one. The last one actually, we have something interesting. We have eighth notes. We have 12345678 fifths. If we divide it, we have 12 half beat, beat, beat, beat, have half, half, half. They all add up to have a four beats, and I will prove it to each quarter note is equal to note. Here, we were having A's notes, eighth notes. So how do we count it? We counted 12341234124. And we have finally, we have this thing right there. We have a quarter note, quarter note, m plus a half note, which adds up to 411 plus two equals four. 122. Vid 5 - Dots: We learned what our whole notes, half notes, quarter notes, and eighth notes. Now it's the turn to advance a bit more and load. What are dots? This is equal to two beats. This is a half node. As you see, we have two Bs, but this is three beats. How is that? How is the same node? One equal to two B's, and one equal to three bits. Whereas you see in front of you, we have this dot right there. We have this little thing right here that is making some changes. And I will tell you the secret of this. When we have a beat, when we have a dot, I mean, we add up half of the value of the previous node. Here, we know that the half-note is exactly two rupees. Where we have this, when we have a dot, we add bits plus the half of this tribute, which is one bit. We make them two plus one equal three. To understand more, we will have another example. We will have this example. This is one bit, this is a quarter note because it has a vertical line and it's filled with black. This quarter note is equal to one beat. But how is this equal to 1.5 beats? Well, we can see in front of us, I'm sorry for the bad quality, that this is equal to half-note plus a quarter note. You can see clearly that half-note, dotted, we call a dotted because this is called...com. This is called a half-note. Dotted is equal to this half-note plus the quarter note, which is half of the value of this. The same thing applies to the second example we saw. We have this equal to one beat. By this is equal to 1.5 beats. How is that? Well, here, the quarter note, dotted is equal to a quarter note plus the half of this quarter note, which is in this case the eighth nodes. The same thing comes when we put two dots. When we have two dots on the quarter note, It's equal to quarter notes plus half of the quarter note, which is an eighth node, plus the half of this eighth nodes, which is in this case a 16th note. And it all adds up to be quarter note, double dotted. The same concept applies here. When we have, for example, half-note. Let's say we have a half-note, but let's make a half-note dotted. So I select that dot right there and place a half-note dotted. This has the value of two beats. Let's lesson. Silence. Silence, silence. But this will have a value of three beats, one sign. This counts beats and silence. The bat here has three bits and Simon, the main difference is when we have a dotted, dotted half note, let's put it there. It's equal to what? To a normal half node. Plus the a half value of this node. What is the half of this value? It's obviously the quarter note. I mean this, this is the same as this. And to have more examples, I wanted to show you this. This a quarter note dotted is the same as making this plus an eighth note. This and this are the same. Let me play this for you. Why did they play one then another? Well, because, because we have B, then B, here we have B. The main difference is that this B has the same length as this be, this p was played two times because it's written two times. By this B was played only one time because it was written only one time. The same thing applies for this. And there is other also notes that can be dotted, but this is true that you will see the most, and especially the quarter note dotted. So every time you see a dot, you imagine in your head, okay, I have a quarter note dotted. What I do, I place this quarter note plus half of the value of this quarter note, which is, in this case, that eighth note, this plus this is equal to this. 123. Vid 6 - Rests: In the previous video, we saw what is the difference between the dots and the half notes, and quarter notes and average mean. But I wonder if you paid attention to those symbols. What are those different symbols? This and this, this. What are those symbols? This is something called rests. Rests mean silence. The previous video we've played this silence. If you listen, 123 silence. And then here. So one to one silence, there's this weird thing and it's called the silence. And to understand more, I will delete everything to start from scratch and explain signs what our rests or silence. They have the same function as the whole notes, half notes and everything. If you have, for example, this nodes, let's have an old, for example, what nodes do we have to pick this beam? This is the node d, and this is the equivalent of this using rests. For example, I will give you the node, the whole node D also. This d is the equivalent of this when it comes to rests. But how do we actually know what is the equivalence of one another? How did you know that this is the same as this length? First? To be on the same line, we have to make a deal that this is playing. This is playing also, but in our head. So this is d. Stop. So we say it as, as a silent or S, or silent or rest. So those are the different ones. There is more to come. Let me open this workspace. Yes. Note inputs right there. There is this section of rests. As you see the point out that this is our place, the node, the whole node D are placed randomly. And now I want to place the same node, but this time in rests. So I press the button and look what happens. Something shows here. What is this thing? This bar right there. This bar right here is the equivalence, the equivalent of the whole node. And if I place a try tier, boop, place itself up. Why? But I placed it right here, so I want to try it here. Why it's placed right there? Take a look. I'm putting this here. Why did it pays itself here? Well, the answer is, as we have positions for the nodes, we have also positions for the arrests. A whole rest is placed on the fourth line. It's based on the fourth line and from below, yes, it matters if from below or above, because we will discover right now something called a half rests. So I will select the half note and place it Try to you. And at the same time, I will select the rest of this half note and place it right here. I'd wanted to best try it here. Why did it place itself here? Why this is here? This is E here. Well, this is how is the designing of those threats? As we learned that the wall node is like this. Without the vertical line or anything. The half-note is a vertical line. The same thing applies to the rest. The rest is all the four slides exactly on the fourth line. So 123, fourth line from below, this is the whole rest. This is. The half rest, it's from the third line. But above this line, if you want, you can take it as a reference that Let's take a look. This is a half rest. This is a whole rest. This is the difference between both. One is from above. Okay? So the force line above the fault line, one is below the fourth line or above the third line as you wish. You can consider it as you want. But don't worry, we will make some exercises about it later on to be strengthened from those. But this is not everything as we have whole dress half rests. And if you can see here, we have to have rest half rests. Why? Because it's like, it's like having 2.5 notes. So here we can have 2.5 notes because it's considered two beats, 1212. Here. We also have one to, one to bud and silence. So 11. Being silent, we also have a quarter rests. As we here have the node D, for example, interval. We can place four quarter notes because each one is considered to be a one beat. We also templates if I select that beat or the rest section, I mean the last section, it automatically shows me this symbol. You see this symbol right there. This is the symbol of the quarter rest. It's written like this. It's written like you go you go like this, then this, then this is exactly whatever you want to do with this. So I select this and let's put a two right here. I want to place it here. Why did it pays itself right there? Well, it's also because the position of this quarter rest is in the exact middle of the staff. And we also want to place another one. And as you see automatically, it places me for, because it's the equivalent of the quarter note. So we have here the whole dressed. It's divided into 2.5 notes, or this whole rest is divided into 2.5 arrests, which is above the third line or below the fourth line. As you want to call it. This half-note is divided into true quarter notes. And the same thing comes for the half. Each half rest is divided into true quarter rests, which are written like this. You want to also know more. There is something called an eighth rests. And as you know, the eighth stress is matching to the eighth notes. So we have one through 41234. Same thing applies to rest. So if I select the rest section, it shows me it also different symbol which is right there. It's written like this. This is the symbol of the eighth rests. If I put it, for example, I want to place a try it here. It doesn't let me, it automatically place itself on the third line or between the third, fourth line. Let's place it all over the measure to see more clearly. So we have this. We have also this. If you're wondering how I'm placing this, I'm just pressing on this to activate, pressing dynodes and then selecting what unit I want, then selecting the rest. So this is the whole map in front of us that we made together. The first map I made it with you, I made it automatically on, on some slides so you can understand more. But right now there's no need to make it because we made it together. Forget about this. Let's forget about this. It has about dots and stuff like that. This is the map of the rests. As you can see. Here we are. Let me position this. We have whole note, half note, quarter note, an eighth note. Here. We also have whole dressed half rest, quarter rests, and eighth rests. You're wondering what about the 16th rest? Well, I will I will do it for you. Wait. Let me place this and I want this because it's cold. It's written here, the 16th note. And I want to place many nodes. Strike here. Okay, Let's paste my notes right here. For the rest are select one and start placing. 1234 are suppressing whenever I want to fill. This whole measure was 16th. Press. So here we are, having the whole rest. The whole rest, half, quarter rest, eighth, eighth rest eighth, and 16th rest. What's interesting is that every time we divide dress, we add something a little here. So we add a flag to the rest we added instead of having one dot, two dots. Therefore, every time we divide, for example, if we divide this also, it becomes like this. You see it has a three, it has three dots, but you will, but you will rarely see one of those because it's so much, it comes too much in classical music and stuff like that. You will not see all of those, but it's great to know about girl maybe you want of times we saw one of those. So if you don't know them, all right now I recommend you to pause the video or take a look at that PDF, for example. There's this attached and you can see what is happening in those stuff. Then don't worry, we will make some challenges to make you understand and even memorize all of those. 124. Vid 7 - Time Signatures: Time signatures in this number that you've been seeing since the beginning is what we call a time signature. Have you ever wondered why we call four beats or we count four beats, not 3-bits. Why did we decide that a measure is equal to four beats? Why didn't we say that? Well, this measure is equal to three bits. How do I decided? Well, this all comes to the time signature. Right there. We have something weird. For four. It's like a fraction inside. They are saying, we have something four out of four. What is the deal with this? It's pretty easy. All they are saying is that we have guys, for That's count 41234, we have four units off the quarter note. So the upper number means that we have, for the lower number means that we have a quarter notes. I will explain more. Here. I played 1234. Why is this measure? Let me place four quarter notes and not three-quarter notes. Right here. We have three for the measure or the software is letting me place 13, only three quarter notes. Why is this letting me place four quarter notes? This letting me place three-quarter notes. What is the difference between those? The main difference is the key signature of S dot time signature of this. That time signature on the opposite of the key signature is not something related to what is the nodes. Or if we have sharps or flats, the time signature is not something we're right up there. The time signature is a number that we write on the beginning of the measure to indicate what is the unit that we are going to do in this measure when we have 44. And it's the same in the F class. So any 44 is the same in the F clef. When we have 44, it means we have to play for four watt. How do we know if we have to play four quarter notes or who, or for war nodes or 4.5 notes. How do we even know? It means here that we have to play four quarter notes. Here. We mean that we have to play three quarter notes. The same concept applies sometimes, but it's very rare. We will be having, for example, let us choose between that time signature. I will have less lead this measure first. I will choose to four. What do you think is 2424 is actually meaning that, okay guys, we have to play only two. But what two nodes? Only two quarter notes for means quarter. Two means half. Do not this to the other two above. For example, I had a two. So if I have two above and two below, it means that I can play 2.5 notes. But this will not come in our way because it's the same as for form. Forget about that. Just worry about this. 24 means that it only can allow me play one quarter notes. It's for the single reason that the time signature is writing true for the same thing, of course, applying the left. And for the F clef, You see I can't, I can't place any more notes right here. I only can place and then I measure. I only can place on the next measure, and then the next measure I only can place beats. So moving onto our key signature for, for that, we saw a lot. This for four means that we only can play four quarter notes. What about changing that? What about if we change that? Drew for example, 64. Try to pause this video and gas what is the key signature? 6464 is nothing other than the ability of being able to play six quarter notes. So this is the four units. It means that we can play quarter notes. We can't play six quarter notes. And to prove that outlet you, I selected the quarter note 1456. I can't play one through 456 quarter notes. And of course, the same thing comes with it to the left-hand. I can play simultaneously those notes. So let me play this from the beginning. The same thing applies of core forests. I can only place, for example, I can only place six quarter rest. Let's try one through 3456. It's six quarter rests. This is everything you need to know about time signature for the basics and six for you will not see it. You will see the most for four. Okay. Or another time signature that we will discover later on. You'll see when I when I was on the sixth four let me delete this. When I was on the sixth floor, they were letting me play six quarter notes. But when I am I placed the four for the directly change that to four. So they remove the last two notes and placed it the next measure. But what about playing other than quarter notes? What about playing half notes? If I can't play four quarter notes, what does it mean? Four quarter notes or the equivalent of 2.5 notes. So I can play and set of four quarter notes. I can't play 2.5 notes. But you will ask yourself, why is it that they are writing for four means we have to write four quarter notes. The answer is yes. You have to write four quarter notes, or the equivalent of those four quarter notes, which is in this case 2.5 notes. Or we can play one whole note. This war for that was been laying around the whole time is nothing then the ability of being able to pay for quarter notes or its equivalent. So I can play a whole note, 2.5 notes, four quarter notes. Or I can play also 8 eighth notes, 1234123. Let me move this for the equivalent of this, of the equivalent of four quarter notes is also 8 eighth notes or 16th note. I will not try this again because it will be too boring right now. But the concept is you have to play for four nodes or its equivalent. And later on the challenges, we will see how we were able to play the equivalent of those while still having the same time signature and experiment. We'll also other time signatures. 125. Vid 8 - Reading Notes Together: It was fun listening to this. But now we are going to sing it by our own versus, or at least read those nodes while maintaining the certain rhythm. Before this, we have to analyse those rhythms. Also before analyzing the algorithms, we have key signatures and we have time signatures. We have this called nuances. And we call this the time. We have the name of the song and something I download this from the official side of MuseScore. You can check that out. We have codes and the left hand, we have something called crescendo, and we have mezzo-forte here. And we have many things, many interesting things. But before doing all of those things, we have to look at the key signature. Key signature, then times signature, because this is the key signature indicates us what sharps and flats there are. This is the time signature. We look at key times signature and then began to see what is the song? What is the key signature? The key signature is F sharp. How do we know what scale it is? Pause the video and think of what scale the song is. Even though we did it previously. But yes, this is the scale of G major. Why? Because the last chart we had, we add a half to it. So we add a half and will become on the G major scale because this is the F shrunk. So this is the G major scale. We have a time signature of four by four. It means that we have for one to four, if we have four nodes and those four nodes are quarter notes. And if you can see on the left hand, we have a court, but this code is made from whole loads. So let's meet from three whole notes, one after another. On the piano keyboard, we clearly can see that we have G, B, D, and it's the chord G major. We have this chord which is made from whole course. Then this code, this code is at D. So it's clearly the court of D, F-sharp a, but inverted. The play the inversion. Both the score. Why they play this inversion? Well, because it said of removal instead of playing the root position, which is this. In this case, the PNS has to move his hand from here to here. It's a long distance from the G to D. So we have to move his finger from here. Imagine it from here to here. It's a long distance, even though it's playable for sure It's not that hard, but it's better if the pianist only removed his hand with the inversion. So he moved from G to F sharp to remove himself from G to F sharp. And it's easier, he's just reposition his hand and then go back to G major scale. This all that we are doing is trying to analyze more what there is in the song. And later on we will come on and this node, tragic pause this video and guess what is this node? It's the note D. I guess you didn't directly know it because it's a note that is down below. Okay. So down and it's normal if you didn't know it, but I will give you a tip on how to know it. You simply have to imagine what nodes I have to be skipped, skipping in order to know what Me personally I think of it in this way. So I don't know what note it is. I just go up in lines. This, I went up, then I went up. I went up. What is this chord? This note I'm in. This last node highlighted in blue is the node C. That we should memorize it because it's in the left-hand and the F clef. So this is the node C, This is the node C. And if we go down, we come down from C to E, to F and finally to D. So from a, from C to D, this is the node d. Did this all, this is denoted d. This is also the node D, D, G, B. This is also the node B. This is the, this is one more time, the same set of nodes. And you see here that pattern. So they are playing, let me delete this. I will delete this and listen to this. They are playing a set of nodes as a repeated pattern. This is also a pattern we learned the Apache when playing piano by ear. And this is also what we call pattern repeated this node, then this score, then this score, then this code, then this node and this code, etc. Let us go down below also. We have something here, and it's the C Sharp. Why we didn't put C sharp in the key signature for the simple reason that the composer doesn't want us to replay C-sharp all the time. He wants us only to play F sharp all the time. And when he puts a C sharp on the specific C. But for the F sharp, you want us to play F for all nodes that are in this music than this song. Then we have this chord and this chord. Here we come to the final one, or we have this to see it before. This is the dot, the dotted quarter note. So we replace the note which is a in this case, plus a dot plus the quarter note. So this, this, and this also of course, the dot mix up two beats. Why is it two beats? Because this is 1.5, because one plus half in the scale of this is that dot plus the 1.5. We have 1.5 plus 0.5 makes up to two beats. So we have two beats right there, plus two beats right here, and makes up for B. But what's interesting is that the composer placed this note with this node. What is this symbol? This symbol that you see right here. That you see right there. The symbol that I keep holding those nodes. I keep holding those nodes from here to the end of the song. When I come up by this node and this score, I hold those nodes, 12123 or four. So I hold it in total of six bits. Were worried about that when we come to play the song. But for now, we are going to see how the song goes and how to get, or at least say it was the rhythms. Let's read those nodes together. We found everything that GSA nurture the time signature. And we analyze different notes and chords and stuff like that. We start, this is b, b, c, d, c, b. Then we come to the same one. So g, g to repeat D, D C B a, G, G, a, B, B, B. It's like 1.5. Now faster. Let me slow this down maybe to 17. Yes. To see if it grows better. Yes, it's better. So 1.51, There's how it goes. Then I go back to the normal one quarter note, quarter note. And here it comes. So G, G, G, G, 1.5 G G. Or you can count it one, G, G one, and G, G. I will write it for you to make it clearer. 1.5 or let me place 1.5. Then here we come to the two, then three, then four. We have right here we have 1.5234 G. G for this is how you should do it. We have also for the next B, G a B C, B G a B, C B a G. This, we have one, 1211 because we divided by half-life there. So we have 11211. You know why? What is the reason? Because this is an eighth note. This right, there is an eighth note connected with a beam. Therefore, we say that this is 11 to one. I mean, I'm sorry, 1121111211. Let's listen it. 1121. Okay. Then we continue. 1.511111111111111121234. This is how it ends. So what I want from you, stop the video and go back, try to read those notes. Try to read as I did, b, b, c, d, d. In this way. At first, it will get boring and you may make some mistakes, but focus the most on those measures. This measurement, for example. This measure, follow at focus as you, as you can as on this measure, you will find this and the PDF that I left for the left-hand. Don't worry about the left-hand, Just don't do it and don't worry about those MP and stuff. Just try to read this. Then jump back to the next video. 126. Welcome to Day 14 - Start complex key signatures: Let's learn some complex time signatures. So we have in front of us, the 6868 is one of the most common complex time signature. Let me give you an example. As we had the 34 or the 44, we have a signal to give for notes at a quarter note. So we had to do a quarter note four times. This time. It did this before. This time we have 68. What does 6868 mean? We have six nodes. We have six nodes. But what six node do we have in this measure? How many times can we repeat the node? Six times. But what kind of note? Is it? A whole note? Is it a half-note? Is it a quarter note? Eighth note, 16th note, 3030 seconds node. What kind of node it is? The answer is simple. We have 6 eighth notes. We have 6 eighth notes. As for here, for example, we have three quarter notes. We have two quarter notes, and the same thing. We have 6 eighth note. Let us test this. What is the eighth node? Is the node that has a little flag, something on itself. So let's try to write m. And also, if we play it, It's a bit fast. But what's important here is that we have 13456 eighth notes, quarter note. We don't have six score to nose like this. In fact, it only can size up to three quarter note. Why? Because each quarter note is equal to 2 eighth notes. If you have three quarter notes here, will be having on maximum, will be having 6 eighth note. Not forget that the same thing applies to the last ten or that G clef. We also have, for example, to delete this, I am playing very random. It is, if we have 1356 eighth note, this is pretty easy. But don't forget that this 68. You may face it a lot, a lot when you try to read notes. If you try to play everything by ear, then you are fine. You will never see that. But if you're trying to sometimes kind of song, you'll face the sixth, eighth. Pretty easy. As you count the 441234. Here you count it. 123456123456. Let's switch to another complex time signature. Let us see what we have right there too. And to make sure we pass through them all, we have that ready for. That reform is nothing but playing quarter notes. So true, because we have two and a quarter notes. Let's try another one. After deleting this, we have the 34 that we did previously. We have the 44. We have also with a 54, which is kind of weird. I've never saw that. We have V64. You rarely see those. Okay. So I know what those does, but I have never played and the 54 or Salesforce, you be honest because you barely see one of those. What you see is 34 or 404, or 68, or you can see it 128. Those are the most common ones that you can see. To continue with our tour right there we have the 38. Pause the video and try to guess what? The 38? Yes, the 38 is playing 3 eighth notes, 123. Or we can play the equivalent of this, which is a quarter note but dotted. This. I can't play a quarter note that as dotted, which is the equivalent of 3 eighth notes. And the same thing applies for the left hand, of course, switching to the 68 that we recently did. Into the nine-eighths. You rarely see that because it's not common in music. We have 9 eighth notes, 123456789. Okay, you will not use it, but it's nice to know them. You know. We have also the way that I said that you may see that we have something here. It see, how do I know what is this symbol? Before telling you our experiment this with myself, maybe I'm trying to guess, maybe C means that we have to play 5 eighth notes. Let's try it. 12345. No, it doesn't. How do we know what is left for us in order to have the scene? So my point is, I don't know what is the scene. I don't know what time signature is the C? The C is either 24344454643868981 of those. But how do I actually know what is the scene? The easiest way is to experiment. So I tried to play five-eighths nodes and it didn't work out. What I do is try to analyze what do I have left at the end? I have this stressed, I have this rest. What do I have left? In order to fill this measure? We already learned that this is the equivalent of the eighth note. This is the equivalent of a quarter note. This is the equivalent of a whole note. But we don't want this. We only want this and this. This value is equivalent to a quarter. Note this right there. So its value is one. This value is actually 0.5 because it is the same value as this. So we have 1.50. It means that we have 3 eighth notes left or a quarter note with dot. Let us test this. We need only this left. It works. Or I can simply let me remove this. It's not removing yourself. So I could simply add 123. That's it. I needed to add 1.5, so I did it. But finally, we have the answer. What is the C? Let's count it. We have 0.5.55.5. We have two right now so far. Then we have another true two plus two equals four. Therefore, this C is equivalent to four beats. Now how do we know, for example, how do we know the upper number for the time signature and the lower number? Well, here, I can't really know until I memorize it. C is 100% the same as 44. And you will see because when I drag and drop this, stay the same. Nothing changes. When I drag and drop the C. Nothing changes. Therefore, and I'm telling you the four-by-four is the same as C. We learn that C the same as playing four by four. Let's press on more time signatures. We have the 7878. It's interesting because go around the same. So we will have 7 eighth note and let's count it, 124567. So it doesn't matter as much we go up and complexity. But what's important though is the sixth eight that we just did, the 44 or the c times signature. 127. Vid 2 - Annotations in music: Let's go back to this and read those annotations that we left for later. We have this key signature that you already know what it does. Let's remove this. We have that time signature. We know what it does. We know everything except some things. What is this? M P, NP, signs for mezzo, piano, manager. Piano is a word that means piano, but common in the middle. When you played, you don't play B, B, C, D. And creamy way, you just paid in a gentle way. This means that B column, B column one thing this be calm when playing this, don't rush and don't play aggressively. Here we have mezzo-forte. It does mean that you can make the song a little bit stronger, so regressive. Even though it doesn't seem so much obvious own best software right there. But you will sometimes see m, f, which science for mezzo forte. And it means that play a little bit louder than the mezzo piano. And if you can't see it right here, we have something called Crescendo. Crescendo means that I can go up in volume. So all this measure right there, I was playing calmly from here to here to here to here to here. Then I came here. I have to start making the song louder to arrive into mezzo forte and make it a bit louder. There's also right there. We have that decrescendo. Here is the crescendo. Decrescendo. You don't have to know the names, you just have to know the symbols and as its signs, you just make your just turn down the volume if you want. It's like a TV controller. You can make, go up the volume and go down the volume. This assembles classical music PNS use, uses a lot, and you rarely see, see this one. You're playing normal music or pop songs or anything. Okay. We have also this thing right here, this bar right there, and we have this double bar also right there. What does this all stands for? Now, just to tell you something that this is nothing. This is just for the application to skip lines may be, I don't know, this is nothing. This is just to make you, when writing the song, skip the line, so don't worry about this. This is nothing. And of course, you know, what is this the name of the composer, and this is the name of the person who did the arrangement and everything. But let's go back for our double bar lines. What are those? To be honest, this and this could not be there. So you could simply placed, let us open rather than this tried to there. And we have, let's search for those, for those bar lines. And we could simply place a single bar lines. I think that it would make sense to place a single bar line because there is no need to replace their last place, a single bar lung. There isn't composers best. A double bar line two, a signify that this is a new starting. Here. There were signifying that. Okay, take a deep breath and go back to planning. For example. Now a new starting and then when they finish through here, then gone back on me. But I think that it's better to not place it because it may confusion. But the important thing here is those two at the end. Well, every time I finished piece of song or piece of music, I always finish with double measures. So with double bars. So I can't finish like this. I can't finish like this. Like this means the song is not finished yet. When I did this thing right here, it means that I just finished my song. Now coming to the interesting part is when we place this right here. When we replace this, we have the two dots are the two points. It means that we are repeating the whole song, repeating from the beginning. But what's more interesting? If I will remove this from here right there, I put, for example, this stripe here. Let's paste that right there. I constructed. What this means is that I pay normally I play play, play, play, play, play, play. When I arrive to hear, I just repeat the song from the beginning. Then continue, continue, continue, continue and continue the song with by ignoring this, I'll repeat one time and then ignore the repetition and the second time, I will prove it to you. Take a listen to this beautiful song. No attributes. Now it continues. Sounds interesting. And it continues until this song ends. I can't put this whenever I want. I can place it right here, right here, right here, right here whenever you want. But this important, you know, coming to the final thing, this tempo right there. This just means that for the measure, I have a tempo of 140 beats per minute. Every minute I will have 140 beats. And if you count it wrong to say 45678910111211, you keep counting in a minute. You will be having 140 minutes. This is just a unit for the metronome that I think that you should not worry about. Because in most songs they will tell you what's recommended to play the song. And maybe 150 would be better and anything would be better. But I recommend you to not worry about this number, but just know that this is a metronome symbol. To know that when you open dimensional place 140 on this metronome. Here, I opened the online metronome and we have dimensional on 140. It goes like this. Now I opened new score to check if this is the same. So I tried to do it. Yes, it is the same. When we have something right here, we have a symbol of a metronome. We go to that metronome and put it on 140. Again, there's many metronomes, but all metronomes work the same way. So it's enough to put it on 140. And maybe you have an option to place quarter note on 140 or a half note on 40, your truth, the quarter note on our 40. But again, it doesn't matter. Just pay on them so that you are comfortable during it. 128. Vid 3 - More Annotations: And having more annotations, and I will make it treat Greek. We have something called a natural note. What is a natural note? Let me delete this measure. So I'll delete this. Having the F sharp key signature, our place a note F, F, F sharp, and not F, because I have the key signature F. But what if the composer wanted to play F, not F-sharp? Still wanted to have the key signature right here. That composer needed to. For example, play F-sharp. Make that pianos play F-sharp for most F sharps, but there is only one or two F's. The whole music and the whole music composition or the music sheet that he wants to make natural. What does he do? What can you do? So the only thing he can do is place something called natural. This means neither sharp nor flat as natural. So it tells us that it's true that we have F sharp on the key signature. But Mr. please, we have to play right now the F natural rule. If for example, I take it on another measure of our ticket on this measure, you need this right there and place. Then a, then C, then this particular f, I wanted to play it natural. What I do, I place then natural symbol. And this signifies that I'll pay like this. You see that as node was F natural and not F sharp, because he would have at the time signature F-sharp. And here we want to play F natural. And it's important to know because maybe you will face it one day and see that this is important to know the F natural. Now coming back to our original piece of music, I wanted to show you all the dynamics that we use. Here. We have pianissimo super pianissimo. Ppp means how can I play this? I, maybe I can. So what does this mean? Let me try to place this. They are not letting me. Bpp means that super pianissimo that you play super colony. Bp means that a bit more loudly. P means it's you still call, but you can increase the volume. Mp mezzo, piano mean the middle, and M, F means l bit stronger, F strong FF stronger and stronger. Fff stronger and stronger and stronger. It means destroy the neighbors. So this is the difference between those. We have many more. We have VPPP, PPP, we have everything and FF, FF, FF, we have a lot of things that are going on. But of course those are not important to know when it comes to playing this kind of music. 129. Vid 4 - Can we play jazz with the knowledge?: How do you play this kind of song? If I tell you that this is pretty easy, you will not trust me. But actually this is pretty easy. The only way to know how to play those songs is to be able to play jazzy chords. As you can see, what I did is I played jazz chords. And instead of playing this, I play this. I played the seventh chords that we learned previously. That number one secret to pay this is to replace seven cores. But those ones replay the seven chords. How can we know what seven courses we actually play? How do we actually know what is the chord progression that we should be playing? This is what I'll be teaching you during the next videos. We will learn how to play those progressions if you're interested in, dive in, and let's do this together. 130. Vid 5 - Play Jazz Songs: How to play a song like this? First, we have to know our chord progressions. But to know the chord progression, we have to know that scale. First, we have to decide what scale we are playing. In. My case, I'm playing the scale of G major. So what I know is that I only can play F sharp. So I can't play G-sharp, D-sharp. I only can play F sharp. Therefore, this can help me more while picking my course. Now after we chose G major, I want to pick my chord progression. What is the chord progression that I'm using? As you see in front of you over the screen. We have 4536251. Now, I know this sounds hilarious, but were you asked yourself that every time I have to play a jazzy songs, do I have to pay those core progressions? Know? But you have to listen the one tip that I have for you in order to make it sound jazzy. But those scores make a great example of how to store, play a bit of jobs. But the songs are usually made from four chords. Yes, they are, but not jazz songs. Just songs can be made from more than four cores. Even also pop songs or, or other songs can be made from more than four cores. And therefore, here we are going to play this chord progression. But that's not what is special in this song. So Joseph, we know how to play chord progressions. Why are you teaching us how to play those chord progressions? Well, I'm here to teach you how to play a specific kind of course that we already learned how to do it, and it's the seventh chords. But we did not learn how to exactly use it in song. So the sound jazz. I'll pay the song without making the seventh chords. And you will see that it will not give that vibe of jazz as let me play this for you. But if I added the seventh chord, which is instead of this, I play this. Let's do this. It sounds more jazzy. How to use those? It's very simple. Instead of playing this chord progression using the normal chords, I use, I play it using seven chords. But be careful, not all courts can be played using the seventh chords. Some course, you will have restrictions from playing those scores because of the major scale. For example, I will have my first code, which is the fourth degree, G, a, B, C. So I have the D major scale, That's the C major chord. So how do you play it using decimal code? Usually the seventh chords are made from a third major, third minor, third major. But how I tend to see it as that instead of playing C, E, G, C, and instead of playing the chord and the anode, I, just this fifth finger, I go to the left. Here we have a jazzy chord. So instead of playing like this, like this, see that trick here. The thing is, is instead of playing like this, I'm playing like this from here to here. Now let's start with the first chord. The second chord is D major. So instead of playing this, I play this. Does it fit with the scale? Is C major, C. C-sharp. Fitting with the scale? No, We are just allowed to play F-sharp. We can't play C-sharp replay normally because we can't play C sharp. So our first two ct, Our third chord is the third degree. I played like this. I didn't play this, and then went down a half-step. Well, because here we have also a third minor, third major, third. A minor. So it's inverted because it's a minor chord. This sound complex, but for this score, take it from me and play like this. Don't go into the seven core theories and etc. Just played because we are here not to learn how to read notes, especially or anything else. We are here to learn how to play the piano. Therefore, you need to break the rules sometimes and just play it even though there is a specific rule for this. But just for now, break the rule and play it. Then our force court, which is the 1234566 degree. We also break the loop and play it like this. Then we have, you will see the course in front of you. You'll be able to play chords. Let's repeat again. Those are the cores of this song. But I made something special, although the sound already jazzy arpeggiated. So I paid, I paid like this. Instead of this, I paid like this. See here we are using the API jetting that we learned previously, and we are using the seven chords that we've done previously, and we are using the core progression that you also learned previously. Such repeated. I mean this, if we add the left-hand, if we wanted to do it better, we can't do like this. What I'm doing in my left hand. I'm playing like this. I'm playing the octave. Instead of playing. Our first court should have, should be, should be like this set. I'm going let me play it up there. So our source code would be like this. Set I'm going down and playing this. Okay. I'm sorry, this is not our first court, but one quart of this. So our first course should be this octave and fifth. Instead of playing like this, I'm going down than going up. So the set of planes, this I'm going down. Then. So to repeat it, I want you to pause the video and try this on your own. Let's do it again. But I will add something. What I did is try to play on the rhythms. So 1212121. I made two things in my right hand. I paid on their rhythms and I played on the inversions. I changed and rhythms and I changed and inversions and set of blank this. Then this iPad, this I paid it normally. Then instead of pink this I paid this like this normally. Then instead of laying like this, I played this first inversion, second inversion, third inversion. There are certain versions also an seven cores. So I mean this then this, then this, then this. I made a special code. It's called dominant seven. You don't have to run and fight now. So then I started playing or spamming my right hand. I wish I could give you a guide or a blueprint on how to play directly jazzy. But I couldn't, because there is so much ways and so much stuff to do. And it needs a lot, a lot of hours of explaining on how to exactly play your own jazzy chord progression. But what I can know is that I can use the knowledge that we had in this course and give it to you right there in this video. This is what I did. So all you have to do is play those scores as you see in front of you. The second step is to actually play the, play that jazzy cause of it or make it seven. The third step is to play on inversions, see what inversions fits you. And the fourth step is make rhythms sounds better. We jumped from this, This try to invent on your own because throughout this course you had a lot of knowledge Using improvisation or course. I wanted to try it on your own and try to do whatever you can make from those core progressions that I gave you, that I made you be creative. Try to have more creativity using it, because there's no blueprint using the improvisation. 131. Vid 6 - Read Notes and read them directly : You know how to read notes, you know how to play the piano, you know, you know how to play chords. And now it's churn to read a sheet of music together. We'll be reading this thing right here and playing it at the same time on the piano. This is a three-line. What you want to do is first, we have to read the first line and right hand. Then right hand, right hand, right hand. We read everything related to right hand, and then we move on into the left hand. Then finally, replay all those together. Let's start with this set in front of your piano keyboard. And let's do this together. We have began ink. Let's zoom in here. We have the key signature and it's B flat. And we know that every time we have a B flat, then directly, it's an F major scale. We have an F major scale. We want to play this piece of music. Let us first see the time signature. We saw that key signature. Now it's time for that time signature. For the time signature we have 44. It means that we have four quarter notes, 12341234. Therefore, this will become, for example, 221212. But this is what, this is the dotted half note. And therefore, how do we count it? We just say that this is a half-note. Therefore this is bits plus we add the data to one. It means we add half of the value of this half-note. Two plus one equals three. Therefore, this has three beats. The next node, which is in this case, g, is equal to one beat. Three plus one equals four beats. How do we do it? G, 1234. If we hear it in front of us, 12341, like this, 1234, then I play the next one. We're continuing to the next one where we have a and F. Nothing special here, we have all quarter nodes, so we d, e, f, g. But then after that we have two quarter notes and one whole node, which is 12121212. And here comes the interesting part where we have this thing right there. We have quarter notes. Because how we counted 1123412341234567812345678. But in my case, I don't count it like this. I just count like this. 1234123412341234. And I continue in the whole song. We have some interesting things after that, but let's start with this. I want you to pause the video first. Take your time and try to play the first line using your right hand. Don't play that often. Only play throughout. And so pause this video and try to do it on your own, then come back to correctly together. Okay, so we start by 1234. Oops, we don't play this. Replace this because we have a B sharp on the key signature. So 1234123412341234123412341234123412341234. This is how it split. We continue by playing the next one. This and it's like the same thing. So 123112311241234. Then I continue 1234. After that we continue by 1234123412341234. Then couch each individual one because we're going up. So 12341234 now doubled. So 12341234. This is how I'm counting. I'm getting back to this 123412 for then I double the time because it's a eighth notes. It's the half of the quarter notes. 12341234. It takes time to do it on your own, but you can't do it. Then I come to here. I mean, here. Then 12341212344. Then after I finished the right hand, I want you to pause the video and play this right after me. Try to pull it from the beginning to the end. And if you were successful doing it, then congratulations. If not, try to repeat it until now moving to the left hand, there comes something interesting that you already learned and there's no need to read notes right here. Because I'm going to show you a small trick that I did here while trying to make this sheet music. What we have right to you. We have F, c. F. Did you see something special in here? Do you see that this is f, c, f. This is the root fifth octave. And then we have 1234. We have the octave and fifth that we already learned how to play it by ear. So we could easily just take a look right here at the F. We could read the F, know automatically that the two nodes after that is CNF. So you have to count the rhythms. 121212. Oh, I made a mistake here. I have to go up 41212121212121, I mean, this 1212, then one more time. I made also a mistake. Keep careful. Be careful because I have to play it. 121212121212. If this node true. Let's continue. So what mistake did I make? I played that beer, not be a flat. Don't forget this as B flat. And because we have the key signature right here. So we finished the first line. I want you to pause this video and play at the first line again and the left-hand alone. Then continue to the other left-hand remaining lines I wanted to do prior to to try to play those on your own. After we finished that, of course, you have repositories video. You come back and continue with me to correct this. You get them. Let's continue with this together. We have this which is the node G. Then again GSR. Then we continue with the quarter notes. Be careful. Did I paid it? All right, I'll repeat it. I thought that this was the C major scale, but this is not. Why? Because I have a flat, 1234123412341234. You see the jump from here to here. One from here, 12341234. Then I have this, this, and this. It's an octave, 12121234. All right guys. Now let's go for the hardest part and it's playing all of those together. I want you to, again, pause this video and try to play both hands together, wars and ending. Coming to the fun part. Let's do this together. We have to be careful of the rhythms and also be careful of both hands. I wanted to date and a very slow way as we'll do it right now. I started by positioning my hands. This is the S because this is the middle C. Okay? I'll place a middle C in front of you. This is the middle C. This C is the same as this c. Okay? So this is the same as this c, and this is on the middle of the piano. So this f is directly above this scene. Let's see, did this press Delete and press Delete. Here, I have this F right there, and the F not here, but down because this is the normal ef, the F class. Okay, Let's see that digital piano in front of us. We have this f right here. This f is, this right here is not this one. It's the one above. I mean, below this F is right there. We have two Fs. Okay. We have the one here, below, the one here. Then we have the middle seat, which is right there. And then above the middle c, we have the F, which is right there. So let's delete this and play it. Let's start by doing it. We count 123410. I made a mistake also. I'm not playing guys here. Let's stay down. 412341234. You see what I did and my my last term, I just keep holding the whole measure. 1234 and my last ten, I don't remove it, but in my right hand I play 123412341234. Then I switched to be 1341234 because here we have 12 and C four, the same thing here, 1234. So let's do it. This one. For he is a bit hard, so I want you to concentrate. I just keep holding my left hand in play, that right hand. So what happened dry at all that we did here in this measure? We played the eighth notes. We played right as we did in the right-hand and the first place. Then the next measure. I went to play a whole note and my right hand four beats. Then here, my left hand, I divide. But here I have three beats and my right hand and then won't be. So I have to play 12311231 and not 12341234. This is how we do it. I suggest you to pause this video and repeated F did not do so. If you did so let's continue with this. And then we continue with this here, right there. Let me highlight it for you. We do it. 12341234. Year my two fingers will be crossed, we'll be right there. Then. This is so forth. But I want to hire us something important right here. Here, as we've seen in front of you, we have the C and C. Then we have also the C and C. You see that box is growing. Then we have the C and E. So this zone right there that is highlighted in blue should be played together. Then after we finish this, we move into the C and F. You see this box right there. This strikes. There is a zone is the next one, the next box is another. If you play those together, why? Because there is three bits, three bits up there, and three BS1, 11 down below. So let's play it. You'll see when I did this, I play this and then continue. Let me do it again. So you see when I play this, three nodes, C, D, play together 123 and then this, and this alone, because this is 123, then the four here. And the same thing applies here. So I play the C with those 123 and then 123 alone up there and then go back to this stretch to the next line, that final line here we have something cool. So this is not included. Again. So once we did right here is something cool. Played eight note and quarter notes. We had eight nodes, one to four and quarter notes. But each one has different numbers. So we have here for eighth notes from here, highlighted for you. From here to here. Wait a second, let me do the thing. Yes, here are from here to here. Is it played together? No. We play all of this from here to here. We played together in the left-hand. But what if I divided this by half? We had here a whole note. I had a whole note. Let's delete it and insert to have notes. If I have like this, I'll be able to divide from here. I'll divide it to here. For example, from here to here. From here to here is a box alone. I play. Then the other one is another box alone. So I repeat altogether I will have, because this makes two bits have, have, have, have. So now that you are done with this, I can erase this. Let me read this and place and set a whole note as it was at the beginning. This was not deleted, so I press here and press Delete, and then press through having a new note and place it. And here we are. Let's do it again. Let's do all of this measure again. We press the left hand, the left hand and the CVE keep it. So 123 or 410, I made a mistake. I pressed the two times, I should've pressed at one time. So here comes our hardest part from the song. It looks simple, but it's not. It requires you to count well in your head. Then what we have, let us understand that structure for us. First. We have 123, we have three bits and one-bit. We have one through three beats and one-bit. But here we have two bits, two bits up there and the right-hand, it's divided by 31. Down below it's divided by two to how we play it. 1234, but here 1212, how we pay all of those together? You have to count, well, so this is an octave of the B flat, and this is an optimal policy. So let us do it for the final measure. So true, 345. I repeated one. Then I want to pay this. Then this. They are in order. If you can see here we have this together, replay the a and the code of the octave of a B flat, you get there. Then after that we have the optimal c. Then we have that single node. If you can't see it, you can see each in each individual node together we have this, then we have this. We have this alone, then we have this alone. We replay this box. Then we go up to this box. Then we go to this box. And as you see, this box fills only this part. This box fills this part. So this should come with this, but this should be played before this. Try to differentiate and try to see it on your own. I'm sure with practice you'll be able to do it. So let's play it. Finally, 1241234. This is the whole song. Let me remove that piano, digital piano, keyboard and zoom out to a final time. Again altogether. You will face a lot of difficulties when trying to play it and it's okay. My only tip or recommendation is replete slowly, as slow as you can and you will finally be able to do that. Try to manage your fingering and what fingers replace, and don't worry about anything. You'll be able to play it at the end after your practice. 132. Vid 7 - Some abstract reading notes: Maybe know how to play by ear. But sometime maybe you will not be able to catch the melody. Maybe you will try to find something close to the malady. Much you will not be able to catch exactly the melody. What you can do in this case, maybe you knew everything, but you didn't know how to play the exact melody. How do we know this? Well, we know how to read notes. We go onto the Internet and in front of me I have the song loss and knew. But I don't want to play exactly step-by-step all the nodes. I want to be able to play freely. Maybe the best choice would be just treat the nodes from my right hand and know what are the nodes. After doing that, I just play with it. The code. I adjust trade. What is the melody? Then? After I do that, I play the code. What happens if I do that? But the problem is, you still have little experience with playing, with doing notes and play it by ear. Maybe. You've been playing piano for a week or 42 or for three months. But the problem is you have to train yourself how to know how to read the notes and the right hand and play your own codes. And that's what we will be doing right here. We will not be, we are not going to play the song exactly how it is, like the notes, because I don't do so that the good choice is to just play the right-hand using the melody that they have paid us right here. And play the chords from our strategy and provides our own codes. Or have a small idea from the cords that are in front of us. I know if this doesn't make sense a lot, but using the practical side, we will use it. And so that's now discover how and what are we going to do it using the sunk. Okay, So we listen to it. It sounds like this. If you want to listen on it on YouTube. But our point is not here. Our point is we want to only read them out of that. We don't know. We don't know what is the melody. We just know how it sounds much. We don't know exactly what are the nodes and the right hand. But we know that we are able to discover the chords. So first, let us identify the problem, our repeat the problem. The problem is, I know what are the codes, but I don't know what are the exact notes to play in our right-hand unique normality? I know what is the song sounds like, but I was not, I'm not being able to play the melody by ear. I want the help of piano sheet music. I go on and search laws are new and see this in front of me. Let's start playing it. First. We have to discover that courts, but here there is no exact gourds. I'm seeing all of those in front of me. It's going up, down, up, down. How can we actually spot? The course. Well, it's pretty easy. Let us first discover what key signature is. We have this, we have that B-flat, E-flat, A-flat, D-flat. What we do is go back one, from the flat, we go back to a flat. Therefore it's a flat major. After that, I start seeing what then also that they are playing. So here I have a small trick. The play, the B-flat. B-flat. Is this flat? No, it's not a flat. Then in B flat again, then an F flat here. But then they played a D flat after that. How can we know what chord it, it is the first course, so this is where you move that repeated notes. We have this. Those notes are a bit, so remove it. We are left with this. This is the first core. This is our, our first goal. What is our second chord? This is our first chord is B flat, okay? Our second court is E-flat. Then after E-flat, you are reading the notes, the note B flat. Then you flat again. But then we have B flat. But here we are reading the node Gn, so we remove that repetition. So we have E flat and E flat repeated. It becomes right here. What court is this? It's this score. So then we have this, those notes right here. So we have first chord, the second chord. And our third chord is F, C, C are the same. Or a flat. I mean, we have this, we have those, and remove that repetition. And we are left with this. What is the score? We have first, second, third code. Then what is our fourth chord? Let us search. We have this measure. We have F or I mean f here, and then I have C, then F then seed. But here I have a flat as the same. The same. So for now we have only three calls were only discovered with the court's going to the right hand. We see here this is the node d, because if you actually go up and lines and start skipping lines, you can't discover that this has been OD. And actually I memorized that this is the Nazi. This is a bit above the C, therefore it's an OD. So I played the first one. I don't know what is this note exactly, so I don't bother playing it. And I can continue without even paying it because I'm playing the main melody. So what I did right there, I just played in my left hand the octave and fifth. Instead of playing the single chord, I paid up to 1 fifth and my right hand. And because I know, I know somehow the melody, I started seeing, oh, this is, this is D. This is CAN. I started seeing that? Okay, here we are talking. I started discovering that, oh, this is the melody, so start making sense. I stopped playing chords and my right hand. I know that sounds a bit abstract, but when we continue, it will make more sense. If we continue to here. We have like this. We have like this. I listened to the melody and I started discovering, oh, we have the C, F, C, F. Then this weird thing that we don't know how to play. Then this, then this, how to actually do it. First, I stopped by mastering the course, so I play my left-hand pattern. Then I actually add the right hand. So I'm just trying to show you that for the whole song. You can try that on your own. 133. NOTION: The software I used (optionnal): As we mentioned, notion is not Moscow to install. But I made a grid amount of work on Notion throughout the scores. And you could do everything on a panel of paper. But if you would like to do everything digitally, you prefer doing everything on your PC, your phone, your laptop, anything like that. It's a great idea to install lotion, although you could do all of that on the pen and paper to install lotion. Or you have to do is head onto your browser and type in notion, installer, type and Notion and solar. You will have this right in front of you. You go and install, download for Mac or download for Windows. It depends what operational system you have. And in my case, I will download for Windows. It will help you to this. And after it's finished, you open Notion. So after doing everything, maybe setting up Notion and depend on your operational system. You keep clicking yes and yes, if they are asking for access and anything for signing n, you enter the application as either drag. Now, you enter your e-mail address to sign up. So after I put I put my main just click enter and they will ask me that they sent me a temporary sign up code. Be check your inbox and paste the sign-up code below. There will send you a code on your Gmail account or your Hotmail account wherever it is. And you just copy and paste that code right there. Finally, you will be headed right there. Getting started the quick note, personal home, task list, journal ring list. And we don't want to all of those so you can delete them or do as I'm doing right now at a page. This page will be the page that we want to work on. But I already prepared a page. What you have to do is to simple, you go to the link that I just left you in the PDF. You can check that out and copy this link and paste it on your browser. Here I am, I'm pasting the link as it is on the browser. And now we'll be headed directly to that page that I made. Here we are. I had the payer that I made and everything. What I have to do to place this page on my Notion account. This page is still on the browser. I want to place it on my Notion account. Maybe I want to open it offline. So I'll just plus duplicate easily. And after I plus duplicate, I will be asked to log in with my account that I just placed on the Notion app. This is the Notion app. And I logged in with my e-mail and the password, I have to log in on the browser using the same email. The same email and password are just log in using the e-mail that I used already in the application. After that, I will be headed to my page. And as you see, this is the empty page that I created. I will be head to my empty notion page. There's everything right that I have, but this time it's on the web and not on the application or software that you install. What I do is click another tab, open another tab and paste that link that I had this time. But this time I will be, I'll be able to directly duplicate this page. Here we are. Duplicate the page I press Duplicate and I will directly be directed to my online notion page. Here we have my online notion page, as you've seen in front of you. We have the playing by ear challenge, but this is on the online version. And when we open notion that software that we downloaded, we can directly see in front of us that we have this section of playing by ear. I will close this sidebar right there. By pressing this button. After that, I can go down below and do whatever I want. For example, step one, finding the scale, right? All the nodes that suppose I have found F sharp and a C-Sharp. I don't know any of that. I press it tried here and sing the melody. I write whatever I want and whatever I want whenever I want. And I can highlight this by pressing, by selecting this. And I leave the mouse automatically. Something will show up right there and I select text color, yellow background. I could go go select green or gray background, blue background. I have all those options, options. So this is how you use Notion and you could do it for using the link that I have to the PDF down below. 134. MUSESCORE: The software I used (optionnal): Coming to installing our second software that we use, it's called Mu score. Although this is not important and this is not necessary for using the course. But if you prefer, using everything digitally and doing everything on your PC, Mac, whatever it is, you could install MuseScore. It will be a great idea. So I had to MuseScore installer. And after that I press Install. Here if you wanted to, you can press installation on MuseScore and install on Windows, whatever you have. And what's important and that you will see this page right here or this button right here. You press software. You could download it for Windows, for Mac, for Linux. You could do whatever you want. I press this and you will be headed right there. Your download will start automatically. And here we are. We are going to wait, So it's finished. So in my case, I stopped the download because I already downloaded. And don't forget that right here. After you it after you directly press on install on Windows, you could directly see in front of you what to do right there. You, after you install it, you press on the downloader and you have the spanner right there. You just keep clicking Next, Next step and accepting. You just keep going on and depend on your personal system. You keep going on until you have finished MuseScore and everything. After opening MuseScore, I'll be headed right there. And automatically, I'll be headed to this page right there. I have to create a new score. Name it for example, my first score. I choose what I want. I could choose treble clef. I only have the G-Clef, the bass clef, I have only the F clef or the grant stuff if you want, we can start from this. Then press Next. Choose what key signature you want. I don't want any key signature, or I could drill this case initial for example, but for now I don't want and press Next, choose how many measures you want. 32 is a lot, so let's place ten. What is your time signature? 44 is the same as c. And see with this vertical line cut time, maybe you don't want to use it. So for me I'll choose 44. Press Finish. Here we are. We have this right there, opened my first score. Now, to use this. There's couple, there's some stuff that you should know. You could zoom in and zoom out whatever you want. And for showing the piano, you just press the keyboard. On the keyboard P. You press P, you will directly be having the keyboard shortcut. I could, for example, press right-click right there in this area and not here. Because sometimes it doesn't work. I've pressed right here. You will see in front of you all the options that I have. I could select that piano keyboard. I could select the palette that I have right there I have. I can change clef key signatures by easy dropping, dropping this. I could easily do it. And I have time signatures, everything, everything that we use throughout the scores. You could find it right there. The problem is, let's leave this. You could easily easier press on anything and deleted even the time signature. You can delete it. I want to tell you how ours placing the nodes. So every time you have to place a node, you have to press right here and select what node to have you want. For example, I want a whole note. And after that, you just come and press. Whenever you want. You could do it on the G, we could do it on the D here we have the code. When you want to play. Just read second, I removed everything. This should be write this in front of it because I removed all of those that are left. Just a minute. Okay. You should say, you should see musical arrive there. I'm sorry. For the misconception. Maybe you, maybe you'll, you'll be having those of you at the beginning. What you want to do is every time you want to print something, just press here. I mean, every time you want to put something, press here and select what you want to play. I now want to play, for example, this. After you've finished, you deselect this right there. Press and the beginning of the measure. And press Play. This is how you do it. Or you can learn the keyboard shortcuts. So I recommend you to learn the keyboard shortcuts. I have the keyboard shortcut M. I use it to select everything. So instead of heading here, let me remove this first. Instead of heading here. Heading here, and pressing this button, then selecting the measure, I could easily just, okay, I'm hanging here over. I could easily just press N on the piano keyboard and it will automatically select this. So I just have to select the nodes that I want. For example, I want the eight nodes I press. Could do whatever I want. And you will ask me, how can I place the left-hand? Well, it's easy as it sounds. You just sell drew the same steps and play the notes. And then as you could do that, or you could hang around the piano. You could easily do that. How to place sharps and flats, how to play strokes and flat? Well, there's an easy answer. There's two ways. You could press N, for example, and select the node you want. I press G on my, on my, on my keyboard shortcut. I go up, I press the arrow up. I will have G sharp, or I could press the arrow down. I'll go down to G and then press G flat. So I go up. You see, I'm just going up and my my keyboard arrow. You, of course you will be having it on your laptop or a PC. You could go up or down. Or another way. I could just press N and select what I want. Then go to a node. Let's suppose I want the a. What I want to do is press the Enter again to deselect this. So I need to press on this node, try there, and just place sharp and front of it, or flat or natural. I could do whatever I want. So I recommend you to try this. And if you want to play with this, or you have another choice to purchase some, some musical sheets. If you prefer doing everything on the paper, you could head into Amazon.com and you'll be headed right here. You just can write music. Papers. Papers were staff line. Here we are. Just tried it and you have all those options right in front of you. You could purchase any one you want. I personally don't have any recommendation for you, but it seems that this is great because it's the first one. Maybe you could purchase this easily. Or in my case, you can just use the digital ones. It's for me. I prefer using the digital ones. If I, if I wanted to pay something and you could experiment a bit with those and adjust easily to play on the software. This is everything you need to know about how to write the notes and how to do it. How I did that throughout this course. If you have any question on anything, don't hesitate asking me on that platform any question. 135. Thanks: Now you finally are able to play the piano in a professional way. First, I want to thank you for watching this course. It's a pleasure for being able to teach you a whole piano course. I know this has been a long one. Not very easy, but I'm sure with practice, everything gets a bit better. What to do next? You can try to find popular songs. You'll have two here, and try to play it on your own, on your panel, you can use some sheet music. You can do whatever you want. You can now have fun because you have everything it takes in order to play a song by ear or have a new song. Maybe if a new song comes out, you can just hear it and maybe play something or played by ear whatever you want. Feel free to do whatever you want and enjoy your journey. If you have any question or some suggestion or anything, make sure you leave it down below and let me know. Yeah. Thank you. This is everything and have a great day. Bye-bye.