The Ultimate Piano/Keyboard Course from total Beginner to Advanced-5:Independant hands/sustain ped.

1. Introduction: Hi, This is part five of the ultimate piano keyboard course from total beginner to advanced. My name is Martin Cohen. I'm a musician, composer and piano teacher. Now, as I said, this is part five of the course series. So if you're a beginner, I would advise you to start in part one of the course series. In the description of this course, you will find a link that leads you to part one of this course, of course series. Now, if you're not a beginner, you might want to start in this course or in another course of this course series. You will find all the links to all the other courses in this course series, also in the description of this course. So what will you learn in this particular course of the course series? Well, two main things. First, hint independence. And second, the pedal, the pedal, the sustain pedal. Independence. I have a special four-step method. Of course. You will also play songs where you will apply the techniques for hint independence and for sustained pen. I would like to thank you for your interests in my course. And I hope to see you in the inside of this course or in any other course of my course series. 2. The 4 step method and exercise 1: Hi and welcome to Part five of my core series. Before starting the lessons, it would be good to download the resource files that go with some of the lessons in this course. To do so, just go to the resources and projects tab of this course and look for this file that says all the resources, part five dot zip. Just download it, unzip it, and you will find all the resource files needed for this course. It's time that we start to play hence together. We already started a little bit by playing hence together by playing the root notes in our left-hand, but playing hence together, it can be so much more than only playing root notes in your left hand. Now playing hence together means that your left hand and your right hand should move independently. In the left hand you play something, and your right hand should be moving independently from your left hand. Now, that's not always obvious. It's not so very easy. So that's why we start to do some exercises to help you develop this left, right hand independency. Now I have for you ten exercises which will gradually become more difficult. But for each exercise, we're going to follow some steps. And these steps are for all the exercises the same. There are four different steps, and those steps will help you to play those exercises. The first exercise is very simple. Let me just play it for you. Well, let's set the right. You can go on and on. Of course. You see nothing difficult. Actually for this exercise, we don't really need the steps that I said. There are four steps. But just to explain the system, the four steps, I will still do it with this exercise so that we can use them also for more difficult exercises. You shoot. This is step one. Let's go to step one. You should study your hands first separately. Right hand, left hand. To do this, we will use the metronome. Why? Well, because you need a very steady rhythm. Alright? You need really something like that is not steady. So with the metronome, you're going to try to make it very steady. I will put it for some 50 beats per minute. You can choose another tempo if it's too slow or too quick for you. Of course, I will start in this example with 50 beats per minute per minute. I'll let its count four times and then I start 234. Well, etc. You hurt your hurt that at every count of the metronome, I play two notes, 341234, etc. So first, practice that with your right hand, It's not difficult. Then your left hand does the following. 2341234, that's a win. The left hand plays the courts and the right-hand desk for notes, etc. But I said we would first do in step one, the hands separately. Let me just quickly show it with the metronome. So I put it on 3424, etc. So once you get it really solid, you can already, if you want, put the metronome higher and higher to practice it quicker and quicker, but it's not really necessary to go to the second step. The second step is actually be sure that you can do the rhythm with both hands together now, but not on the piano, but tapping on your knee. Why is that? Why? Well, because you will do only the rhythm then you can concentrate on the rhythm and you don't have to concentrate on the notes you play. So what is the rhythm? It's as follows. 1234. 1234. Now you see that on the one end on the three, my left hand hits my knee. And 12, and so on. Every beat you have two times the right hand. You can say 1.2 and 3.4. And let me do it with the left-hand also, 1.2 and 3.4 and well, etc. So that's step two. Step two is tap it. Tap just a rhythm. Your hands on your knee. Okay. Once you've done that, you can go to step three. Now, I think, again, this exercise is not very difficult, so you can do it directly on the keyboard. Of course you should do it with a metronome, but okay. But when it is very difficult, That's just in case we have a later exercise which is more difficult. You start just with two nodes and you practice it several times. Then you add a third note. When you can play that, you add the fourth note. Breakfast that several times at you, at the next node. Be aware that when we hit the G, You should play again, this court with your left hand. Add another note. Well, you get the picture at you add every time one more note, deal. You can play the whole example. So that's step three. Step three is add every time one more note. And step four, What's that for? Well, just speed it up. So we started at 50 beats per minute. Put down your metronome at 55 to the example again, 60, 65, 70, and so on. Till, till you can play it anymore. Actually. At that moment, I would say leave it. If it's too quick. Go one step back, play it against several times, and then leave it and come back the next day or two days after and try to speed it up even more. So that's step four. So I go over again this exercise with the four steps. Step one, hand separately. Practice with the metronome and be sure that it's very solid. In the first step, you do it with your right hand. With your left hand, of course, with the metronome, step to tap the rhythm with both hands on your knee. Of course, you can also use the metronome. I think it's even better to use the metronome there so that you will be really very steady with the rhythm. Step three. Start slowly at first, only two nodes, then three, then four, then five. Well, etc. Every time at an extra node. And step four, speed it up with the metronome. Okay, those four steps are for all the exercises the same. I just wanted to show it with exercise one. In the next lesson, we're going to do some other exercises with the same four-step system. 3. Exercises 2 - 10: Okay, so now you know the system, the four steps, how to attack those, those exercises. Let's move to the second exercise. Actually, the second exercise is just the reverse of the first exercise. What I mean with reverse is that U inverse left and right-hand. The first exercise we did. Now, we will play the courts in her right hand and the melody in our left hand. So what we're going to do is this, etcetera. Okay, So let's start. Well, actually, I don't have to explain so much because you will just follow the four steps that you learned in the last lecture. So let me quickly go over the four steps again. First step with the metronome. You study left and right-hand separately. So let me put on the metronome. And there we go, four counts before it starts. And I will start with the right-hand, 234124, etc. After that, you're going to do your left hand. 234, et cetera. Okay. So when you can play that, the tempo 50 beats per minute, you can either first speeded up already. But you can also leave it on 50 beats per minute and go to step two, tapping the rhythm on your knee. So be sure that your left hand is doing now the quick notes and your right hand, the slow nodes. So it's 123 for 1.2 and 3.4. And you can do it with a metronome. Let's try that. 234. Okay. I wasn't totally steady in this one, but okay. So that's step two. Step three, adding notes. So first step, already two notes that add another note to one more note, one more note than one. Dad. And 4.1, 234, etcetera. Okay, it didn't show this with the metronome, but you can do this also with the metronome, Of course. Yeah, step for speed up the process. Put your metronome and 55, 60, 65 to 70, etc, till you hit the wall, then go back one step. I had a wall was when you started to make mistakes. Then go back one step, play it the exercise again correctly without mistakes, and leave it for the next day. Okay, instead that was exercise two. So let me do directly already exercise three, which is a variation on exercise 1.2. Remember exercise one was now the difference is in the left hand. You see that in the left-hand we played two times the C triad in root position. What we'll do now is first play the C triad in root position for two beats. 2.4 beat 3.4. I will go to, you see what this is. This is a G triad. In first inversion. This would be root position. It's a bit low, but okay. So what we're going to do that, so first, exercise, both hands separately. Well, the right the right hand is still the same. So if you know how to play it from the former exercises, then you don't have to practice that anymore. But the left hand is now been 234123 for that. And together it sounds as follows, etc. You follow the four steps. You know now what they are. I will not explain again step-by-step for this exercise because I think by now you know how to do it. Which leads me to exercise for, at exercise for is again, reversing both hands. So we're going to play the melody with our left hand and with the right-hand, the courts. And so we're again. You start with step one. Got it. Very solid, etc. And your right hand will now be 12341234. Step one, practice them separately with metronome step to tap the rhythm. Your knee. Well, you know it's step three. Add notes. Step for speedup with the metronome. Anyway, it has to sound as follows, etc. And of course, I didn't show it with the metronome, but you know, the principal, you do it of course, with the metronome. Start slowly and speed it up. Okay, exercise five, again, a variation on the former exercises we're going to do is playing the courts not only on B1 and B3. So 123412. No, I will play them on every beat. One. You see that two times on the G, the C, the C triad, it's two times the g tried. 1.2 are on the C triad at 3.4. G drives together with the right-hand, that will be etc. So that's exercise five. You follow the steps as usual. And excess six. Well, it's a game reversing. Left and right hand. Right hand is going to play the courts 12 and 3.4. And to the left hand. Well, the same thing. So let me play it the, let me play the final results, et cetera. So that's exercise six. Exercise seven is a little bit more difficult. Why? Because the rhythm is a little bit different, the freedom in the melody. Till now, we did very straight. And two, and 3.4, and I put it the ends in-between. When I don t, it would be 1234. I very often we put at the end in-between to make it easier to count. Listen what we're going to do now. You hear the difference. The first note is always longer than the second note. Let me play it with the left hand. Together. The exercise and your left hand is just on the beat, and then you hear it better. Now I forgot to go through the G, So let me do it right. Now. How should you count that? You could actually in your head, divides every beat in four. So it's 123-412-3434. It's not the right way of counting because of course this is 1234. What I do is dividing each beat into four. So it's not the actual way you should count, but in your head, you can count like that. You divide each beat into 4333434. Let me show you one time with the metronome. And then I will again do it with the four steps. But just for the end results with the metronome. Hear how it sounds, etc. Okay. So I think it's very important to just show you how to practice the right hand melody. So step one, make it very solid. With the metronome. Listen well. And I will count one-two-three-four, one-two-three-four, one-two-three-four, one-two-three-four, one-two-three-four, one-two-three-four, one-two-three-four, one-two-three-four, One. Okay. This counting, it would only in your head. Actually, it's not the real 1234 because it's not the beat. Each beat I divide him for. But you could, you can do whatever in your head you do in your head. Just to divide each beat into 412-34-1234. Exercise eight is the reverse thing. So with the right hand, you're going to do very steady on beat 123.4. I take here only deceit issue to play. The g1234, etcetera. And then with your left hand. Let me play it one time with the metronome and then we will move to the next exercise, etc. Again, follow the four steps. Okay, exercise 9.10 are quite more difficult than the former exercises. Now, when you cannot do exercise 9.10, when it's too difficult, that doesn't matter at all. You just go on to the next lesson, let it be and you will play exercise 9.10. Another time you come back later. What's exercise nine? Exercise nine, actually, you do the same pattern in your right hand as we did before. But in your left hand, you do just a steady rhythm. And then it goes like, okay, let me do it with the metronome, 50 beats per minute. Okay, that's exercise nine. Now, of course, try it first to have very solid in left and right hand. Well actually, you already did the left and right hand in the former exercises, so you shoot know how that works. Step one, step two, tapping the rhythm. Your knee, so etc. Step three, I think is now very important. So let me just do, let me just show you step three. So you start. Those are the first two notes. Two notes in the left and two announcing the right hand. You see that's the right-hand comes a bit later than the left hand. You can, if you divide each count into four, you have again. Then the next we add to the next note. You see that those are again at the same time at the C and the E are exactly at the same moment for left and right hand. Now when you can play that, then you add the fourth note. Let me play that again. And then you add the next note. Those two Gs are again at the same time. One more time. And so on and add the next node. And so on till we can play it. Perhaps you have to put the metronome even lower than 50 beats per minutes. But again, if you cannot play, it's no problem at all. You can just move to the next lecture. And of course, the last exercise, exercise ten, reverse left and right hands. So now the right hand is doing the steady rhythm and the left-hand. So it will go, I will hold it slowly, etc. Now, this exercise is very difficult. You will have to try it at several times before you can do that. And if you can't, doesn't matter at all. Anyway, you have ten different exercises for independence. And I think as I said, when you play the first eight, you're ready to go for the next lecture. You don't need 9.10. But if you can do them, well, you're quite prepared for some more difficult stuff. 4. Twinkle with left hand root movement: Okay, so now that we know the four-step method that we did some exercises, it's time to start with some songs. And I will start very simple. And I actually will start with a song that you already know that you already did, and it's Twinkle, twinkle. And then we'll start just with Twinkle, twinkle in the key of C. Now as you know, the first step, That's just the left and the right-hand separately. Now, right-hand, you already know. If you don't remember, I will quickly play it for you. So that's 1234. Okay, if you wants to concentrate more on this right hand and if you forgot how to play it, you can either watch at how I did it here or go back to the lecture in the beginning of the course when I did the C major scale. So I will not go again to, I will not do more about this right hand. I will concentrate now on the left hand and I will start really, very, very simple. Actually. I want to show you above the virtual piano here the courts that go with the, the melody and the chords. So we're going to play them with our left hand. And you see, they're only C, F, and G major courts. I will play, Try it to C, F, and G major triads. Now, for the very first time, we will play only the roots. So this chord symbols that you see above, well, you know, four major triads. The chord symbol is the same as the note. It's sometimes a little bit confusing. But for now they're chord symbol, but we're going to read them first as notes because we're going to play only the roots of the notes. I will first played for you so that you see how it sounds. Okay, So it is the very first, very simple step, just routes with your left hand. And you see, I only played roots of the chords, major triad C, F, and G. So you see it also clearly above the virtual piano where to play the C, F, and G. So first, as I said, the first step is to play left and right-hand separately. Well, the right-hand, I said we did it already. So let's have a look at the left-hand end. To follow the melody you could sing along with the left hand if you want. That's it. That's the first little part. It's so simple. I would say, just look at how I do it and then just repeat it. You don't have to sing with it if you don't feel comfortable with it. But I will repeat it. I continue. Okay. I agree. I don't seem very well. Okay. So try that first, either with singing or without singing. Or you can just imagined a melody in your hand while you're playing your left hand. So that's step one. Know how to play the right-hand, know how to play the left hand. Okay, so what's step two? Step two was the rhythm. So that means that pure, hence both together on your knee. And you could eventually sing with it. Actually, when you sung, well, when doing the left-hand, you did already a little bit also step two. Okay. So you do That's the first line. Just dry first, that's first-line. Self tried it several times and then we go to the second line. Right here, your left hand just doing a little bit more than in the first lane. So and the third line, remember the wholesome exists of three lines there and stay repeat. So to the third lane is repeat. Okay. When you know how to tap both or all the three lines, you can tap the whole song if you want. But that step to know how to, how to do the written by tapping your hands on your knee. Then step three. Then you start to play both hands together on the piano. And you should start with only a few nodes. You could start very simple. Only this four notes in your right-hand and only one node in your left hand. Then when you can pay this, just adds those two nodes in your right-hand, adds the F in your left hand. Play the whole thing. Okay, Let's then do the whole first line. So it's only adding one node in your right hand and one node in your left hand. That's all. I actually played already quite quickly because it's not so very difficult. If you have problems, then you do it very slowly. You dad speed it up. Now, I now do it without a metronome. To be honest, I haven't connected my metronome for this recording, so, but since it's so simple, you can do it yourself with a metronome if you want. And then that was then later speeded up. But first, let's first finish this step three, hence together on the piano that so that was the first lane. What's due? Next line? That's what's du. And then combine it with your left hand. First, just those four nodes. Repeated several times and now you add more notes. I do it several times. Now you add the last note. Delay deadline several times. That's the second line. Then the third line. Already dose for notes that you add more nodes. You had the last node, then you'll have the whole third line. Okay? Then when you know how to play those three lines, again, I played it quite quickly, but you can do it very slowly, of course. So when you know how to pay those three lines, you play the whole song. So that's the third step, was again to fourth. Speed it up. Now of course, if you have a metronome, you should do it within Metro. But again, I don't do it now. But you should do it with the metronome so that you have a steady tempo. You first put it very slowly. Then when you can play the whole song at low speed, you slightly speeded up. Deal. You can play it well at what tempo? Doesn't matter, how far you can go, how far you feel, comfort, comfort, comfortably. You don't have to go. That's not nice, of course are either. But that would be a nice final tempo. Okay, so that's very simple. Only two roots of the courts in left-hand. Next lesson, we will play the whole court. The rhythm in the left hand will not be different than debt when you only play the roots. So we can perhaps in the next lesson, just skip some steps and do it a little bit quicker. But first, just tried it. Just routes in your left hand and that's all. Okay. See you in the next lesson. 5. Twinkle with left hand chords: Okay, We're going to take Twinkle, twinkle one step further because we're not going to play only the roots of the courts in the left hand, we're going to play the whole courts or triads, I should say. So that means you tried, I've tried Jeep drives, all major triads. Now, you see that if you go from C to a whole job and can quickly make mistakes because you can hit the wrong notes when making such a big step. So we will do that later. Let's first take inversions so that you don't have to move so much with your left hand. So what we're going to do is take C root position, second inversion, and g, first inversion. Let's follow the steps. So the first step was left and right-hand separately. Again, right hand, we know, so we don't have to do that. The left hand, it's very simple because their rhythm is exactly the same, of course, as when we were playing only the root notes in the last lecture. You can do it while singing. And if you don't want to sing out loud, you can do it in your hand. Had so we do it more slowly. I use you play and tried it several times. I will not go too much in detail because it's very simple. If you, if you don't see directly, you can always go back in the video or play it slower. So the first line, let me go to the second line starts with the escort. The courts are do it again, but slowly. I've tried that also to several times. First, very slowly than speed it up. Of course, I don't do it. We hear with a metronome, but you should do it with a metronome, of course that. But I clipped my knee, my hand on my knee as a sort of a metronome and it would be okay. Third line. That's it. That's the courts. Me do it again but slowly. When you can play the three lines, then you can play the songs, since the song consists only of those three lines. Okay, so that's the first step. Play left and right-hand separately. Second step, tap the rhythm on your knee. Well, it's exactly the same rhythm when we were playing our leader root notes. So we did that step already in the last lecture, so I will not do it again. Now, let's move to step three. Step three. Yeah, that's playing both hands together. Notes, burnout. Well, note for note. Let me start with just four nodes. Now you see that the courts doesn't change during those four notes. Tried it several times, then you add the next two notes so you can play down. We have done that. You just add the last note, which is just g, with the words and your left hand. So then you can play the whole line for slowly, of course. Again with the metronome, of course. And then slightly speed it up. Second plane can start only with those two nodes. Then you add the next two nodes. So you see that here. The first chord of the line only lasts two notes in the right-hand. Just only those two notes, four notes. Then you add those two notes with a G chord in your left hand. You can play that. You've had the last node, and then you play the whole line. Okay, so that's the three lines. And that was step three. And of course, step four is speeded up. Again. You don't have to pay it. That's not needed. If you can play it in this speed, It's okay. Don't have to go where? Wickard and that's even slower it would be okay also. Okay. Now I want you to take as its first try all of this, of course, when you can play that. So with the chorus versions, then we will go to play chords, root position. Now, of course, the rhythm stays the same. The melody and the right hand stays the same. The courts stays, stay the same only that you play them in root position instead of in other inversions. It's not very much more complicated, but you have to watch, especially from C to F. So first of course, step one, play the chords with the melody in your head. I will do a little bit quicker now because you understand the principle that so it's the first line, then the second line. That was the second line. Then you go to the third line. So when you can play that, I did that quite quickly because it's all the same. Now you understand how it works, then you can play the whole song with your left hand with a metronome. Okay? Yeah, Again, Step two is not needed because tapping on your knees, it's the same as we did before. Then. Step three. Now, I will not play it here because we're too close with our hands, especially when we're doing here, the f and g, you see they're too close together and even overlapping. So play the melody and octave up. Web page. Just first dose notes at the F chord, the C chord, so that you can play the whole first line. Then go to the second line, starts with the F chord. First. Just those two chords. You have to make a big jump from the C chord to the G chord. So try it at first. This line, you have all the big jumps. So be sure to play it correctly. I didn't add the last seat, especially in this line. You have to move a lot with your left hand. I will play it slowly. You do it all so slowly and then speed it up. Let's move to the third and last line. Starts with a C chord. First, just those notes, those four melody notes. Again, you have to make a jump. Then you add more nodes. Then you add the line for slowly. Of course, with the metronome so that you keep the right tempo and steady tempo and then speed it up. You know, the three lines. And of course, when you speed it up and you can play it nicely, then you have followed the four steps. And again with the metronome. Okay? Now, of course, this is not the nicest way to play. Twinkle. They are much nicer methods, but we will see that in next lecture. So see you in the next lecture. 6. Twinkle-Left hand chords arpeggiated-I: We're going even one more step further with Twinkle, twinkle, we're going to make the left-hand even more challenging. But it's very good for left right hand coordination when you can play this. What we're going to do is to to arpeggiate the court. So what's arpeggiating when the court is C, instead of playing whole court. And once you can do this, so then you arpeggiated chords, you could even do this. What we're going to do is this. So bad for f, That would be for G, that would be D. Now, this is quite challenging because your left hand is now moving faster than your rights have. Actually, what you're doing is when the right hand is playing one note, your left hand is playing two notes. I will just play played for you so that you can hear how it sounds. I play it one octave higher so that I don't have a conflict between the two. Okay. So the last court didn't arpeggiate the court I just played the seat. Try it. Yeah. So that's why in the last lecture, I did the root positions because you see, I always start on the root of the chord. Now, why can't you do e.g. to start with being the inversions? Well, of course you can. And if this is difficult, you can start with this. But I think that when the left-hand place, some, actually it's a sort of a baseline. And then it's important that starts on the first beat. Always had the first beat of the measure. Always On the root note. That sounds nicer than when you start on another note as when you play the F chord and you played, you would play the inversion, second inversion. You started the course with a C. You can do it, but I think it's nicer. You hear better to court when you start it with the root node. So that's why we jumped with our hands. But if it's too difficult, then just start with the head to do the whole same thing as what I do in root position, but start with the inversions. To just breakfast. This movement of your left hands. Okay? So first step one, both heads separately. Again. Write heads is unnecessary, stays always the same. So left hand. You could start by just practicing. He couldn't do it first. Slowly. Now you see, I stay for now, just on the court's see, of course, the song, you have to change, but just to have this feeling in your left hand of the movement, your fingers of your left hand. And then later you can try to follow really the courts. So that's two times the seaport F4. Again. Instead of playing the whole courts, you arpeggiate them. Now. Again, you could practice this left hand while singing with your while singing out, singing out loud. Or if you don't want to sing out loud, seeing it in your head. Of course, the secrets. Of course, when you go from one core to the other. Notes. Nice together but no problem. I will talk a little bit more about that later. So that was the first line. Tried it several times. First very slowly. Then go to the second line, starts with the F chord. Was a line where you had to jump the most of all the three lines in the song. So you really should practice that very well for slowly and then slightly increase the speed. As always with the metronome. Again, I don't have the metronome now here. But you understand the principle that you speed it up. So that were the first two lines. Let's move to the third and last line. I do it slower. Would even, even slower hit you, take the tempo that's comfortable, comfortable for you, and then slightly speed it up. You can play those three lines. You can play the whole song. So first just your left hand and sing along with it. Okay. Yeah, The Tipping is here. It's different than what we did before him. So sorry, it's not easy. So actually, for most of the nodes in your right hand, you do to collapse with your left hand here. So do it slowly first, the first line. You see that for the first notes is the whole time when you clap your right-hand one time you do it with your left hand two times already. The last note, your right hand is for collapse with your left hand. And yeah, it's actually the same for the second line. Down. First and second line, exactly the same. And the third line is actually also the same. So the three lines are for rhythm in left and right hand, exactly the same. So that's step two. Then you do step three, you start on the piano. I do it an octave higher, right? To not have problems with the hands. The hands overlapping. Just dose to Melody. Melody notes. Try to several times. Then you can add the next two Melody, melody notes. Also tried several times. Then add the next nodes. What shout, the left hand goes to the F chord. Now. So try that out. And again. Then you add the last one. Of course, you do slower than what I do now, but slightly increasing the tempo, and that's the first line. Now, the next two slides are not much more difficult, perhaps the second line because you have to jump with your heads, but you're already a little bit used to that. So let me do the second line. Just start with this. Then pads. So then you add started with the thought that linked them together. And then the last note. First, slowly. You speed it up. The third lane. Or perhaps a little bit too many notes together is four. So first, first just breakfast dose two notes. The notes then adds them together. That adds the next two notes. Try it again. Nonetheless. Linked up together. I will do slowly. Those are the three lines. Only thing. You play it and all the lines together. I mean, you play the whole song. And after that, so first very slowly with the metronome. And then you speed it up. So it becomes then, Yeah, GFS. During the steps. The last, the last chord can be just. But you understand the principle how you just, so you can ask that last core to your left hand just as a okay. You practice this doesn't have to be quickly. Just take your time. 7. Twinkle - with use of the sustain pedal: In the former lecture, I told you already that when we went from the C chord, the F chord, that you cannot nicely link the E and the F together in this E. Going to this. That'd because we are with our middle finger on the E and then we have to go with the f. Well, this cannot be linked together, but you can link it together in an other way. And that's with the use of the sustain pedal. Now to sustain pedal, you find it on acoustic pianos, totally on the right. And on the electric pianos, be sure to have a sustained pedal. They're not very expensive. You can buy them and very often they're just they come with the piano. Be sure to plug it into the right connection now, The, into one further sustained pedal. The sustain pedal. Listen. I will let you hear what it sounds like when I use the sustain pedal. And then later I will explain how to use the sustain pedal. So first, we did listen. Now with the sustain pedal. See very nice links together. And not only did you hear that notes keep ringing when I do this, let me just do the C chord. Nose keep ringing. When I keep, when I take my foot off the pedal, then it stops, Of course. Now, how do you link now the C chord with this F chord together? First of all, I press the pedal, I make my arpeggiated chords. Then I go to my F chord. And the moment I hit D, F with my, with my pinky, I take off my foot from the pedal and directly press it again and leave it pressed. When I go back, e.g. from the escorted back to the C chord, I have to pedal the whole time pressed though. When I hit the C chord, at the same moment, I leave my pedal and directly hit it again. So again, I press and I hold it. Now. You see I don't even have to link those together because it's like this. Keeps ringing. So I play my C court and I have my pedal the whole time pressed. When I hit the pedal and directly headed again, keep it pressed. Then when I go to a next court, let me say, I'll go now to G chord. That at the moment that I hit the G, I leave my pedal and directly hit it again and keep it pressed as long as the court lasts. As long as the court lasts. You keep the pellet, breasts, breast. And when you go to the next chord, the moment you hit the first note of the court, you leave the pedal and directly hit it again so that you have it ready for the next courts to ring. Be sure to not leave your pedal too early. It isn't what happens if you leave it too early? It's not linked together. That'd be sure that when you go from the sea or whatever quartet to another courts have been. Now from the C2DM, if I hit the leaf, leaf to pedal and directly hit it again, be sure that there's no gaps between the two. Perhaps you have to practice this, this a little bit. Go from C to F. Of course, very slowly, yeah. Back to see. I will do it even slower and tell exactly what I do with my, with my fruit out on the panel. I have it breasts now. And I hold it. I go to the F. I still haven't pressed, hit F and leave the pedal and directly press it again. Hi, hits the leaf to peddle directly press it again, et cetera. It's a good exercise to do this. Week are good exercises, e.g. from C to G to F, et cetera. Increase the speed. As always, I always start slowly. Now, listen, what happens when I use this? For Twinkle, Twinkle, I will just do the first part, the first line. First, without, without the pedal. Now with the pedal. Sounds very nicer. Okay, so be sure to do this exercise, f from C to F to G to F to C, et cetera, with the pedal. When you master that, try to use it for Twinkle, twinkle. Okay, in the next lecture, we will use even in other, other arpeggio, I will tell everything about it in the next lecture. And of course, we will also use the pedal. So see you in the next lecture. 8. Twinkle-Left hand chords arpeggiated-II: So as I said in the last lecture, I will take this left-hand part to the next level. Now, if you think, okay, this is enough for me, I want to go on to other songs. No problem. I mean, it's not important. It's just that it's a nicer version than the version that we made before. So if you want to play Twinkle in an even nicer version, then keep on looping. If not, just go on to next lectures. What we're going to do is, I remembered the last lecture. We are patchy. Record. Still arpeggiated chords. But look, what do I do? See? I still use the same notes. C, E, and G are the e. I put an octave up. When I use the pedal. Sounds very nice. That's all right. What do I play? Root, fifth, third, major third. Of course, I do the same with the other courts. F chord, root fifth, third. The G chord also. Third major third. C sounds very nice app. Now, of course, when your hand is not big enough, well, be sure that you can use the pedal because eventually my head is big enough so I can, on those notes, all the chords, you can take your hands to the next node. Of course, it's a little bit more challenging and more difficult. If it's too difficult, as I said before, just move on to next lectures. Let me show you how it sounds. See that sounds much noisier. So even a simple song as Twinkle, Twinkle can sound really very beautiful in that way. Okay? Yes, So you should follow the steps here, which means step one. Both heads separately again, right hand, there's no necessary. So you shoot, your shoot. Practice this. I do it now with the pedal pressed, sustain pedal. So that I don't have what I don't do it. But it's nice when the paddle is present. And try moving from this Court's to the next court, which is then an F chord. Let's try going from C Corp to the export. Now remember, I rest. And then when I hit the F, leaves the petals dresses directly after and hold it again. When I'm back on the sea, I press the pedal, press it's directly and hold it. You go into try this when you can make that change, or you can also go from C to G. Exercise. Of course, I do it very quickly. You should do it much slower and with the metronome, etc. Okay. Now of course, this was not the chord progression for a wrap for Twinkle, so let's concentrate now on the song. First-line twice to see, once the F and the C corps that, so that's the whole first-line, of course, slow. Even slower. But you know what a principle. The metronome on the second line starts with the effort. So that's the F chord. Once, the C chord. Let's try it at several times slowly. Of course, that's already with the f we start year-to-date. I used a pebble. Okay. So that's the second line. Third line. So that's the F word again, once the G chord. So you practice that several times. You speed it up. Okay? Now step two is exactly the same as in the last lecture. It's always two clips with your left hand, with one clip in your right hand. For most of the cases. If you don't remember, go back to the last lecture. It's exactly the same. Then hands together. There we are at play again. An octave up. Only this. Then you add the next two notes. Stay the whole time on the C chord because it's twice here. Then you add the next notes. Be aware that you use to peddle directly in practice that several times. Slower. Then adds the next last note of the melody and then play the whole line. That's the whole first line. The second line. Already dose to Mendel melody notes. Then you add the next student melody notes and go to C chord in ELF in your left hand. Use the pedal. And again, I will do it slowly. Your pads the next one. Try it at several times. Sorry. Adds to export the last word of the line. Okay, third line starts with C and left-hand C chord. First only the secret adds to two nodes, two Gs in your right hand. Then you add with the F chord in your left hand. Use the pedal, pedal in slowly. Then you add together your left hand. Again from the beginning. When do you add the G chord? Sorry, he wants the whole line again. And those are the three lines that you need for the song. I know this is quite challenging. And again, I said, you don't need to do this in order to be able to continue with the next lectures. But if you make it, if you'd like to challenge, why not? Okay, yeah, practice as well. And in the next lecture, you can take it even to a higher level. Well, the song stays the same, but we can even play it in other keys. And we learned Twinkle, twinkle in 12 different keys. Now, of course, you can say, OK, Stop, Stop, Stop. This is enough. This was the purpose, was to learn hand coordination. I stop here. Okay. No problem. For those who want to, one's really the challenge. Go on and try it in other keys. I will tell you in the next lecture. 9. Twinkle in other keys: Okay, In this last lecture, we had this nice version with the broken chord in C major. Now of course, we did Twinkle, twinkle in a lot of other keys done only in C major. So you can use this trick, of course also another keys. Now I'm not going to show you here in this lesson how you're going to play Twinkle, Twinkle with the arpeggiate its courts in all the other keys that we did before. But let me just take a key. We will play it in a major, e.g. now, how do you transpose it's to a major for the melody, you know already, if you don't remember, go to the twinkle, a major lecture and the beginning of the course. But what about the left hand? Remember that when we played Twinkle, twinkle in C major, we used a C chord, the F and the G. Now to see courts, and the piece is in C major. So we start with the sequence. I will use, I will call this C chord the one chord, because it's based on the first note of the key in which we are playing in the key of C. And C is the first note of the C major chord, or a C major scale. So that's the one. I was. Well, f is the fourth note, note in the scale of C. So I will call f four chords, G. Then, of course, the five chord fifth notes in the C major scale and we're playing, hear the song in C major. How was that? In a while, the one chord is obviously a major. So our first court will be a matrix below here, right here. That's the one chord. What's the forecourt? Well, we know the a major scale. Well, that's a D. So D major is our forecourt. And what's our five chord? Will the next node is of course, the fifth note in the scale of a. So e is the five chord, so I have one court. For part D, five chord, E, both played that high. And we will, of course, are paid, arpeggiated the courts. So what did we do when we arpeggiated? Let me first look to see again, it was a major third. How was that in a root fifth. Major thirds. C-sharp. With the pebble. Okay, that's a. The four chord, root. D chord, root, fifth. Third, major third is the F sharp. F sharp. I know you need big hands for this one, but when you hold the sustain pedal, you could eventually, when you have small heads. Now you can do this. If your heads. I get my hand on adult. You hold the sustain pedal, so no problem. Okay, let me go to the fifth major third. So that's G-sharp. Okay, That's quite challenging. The melody. Again. Now, remember, we do this. Now if you don't remember, you can go back to the twinkle, a major lesson. Now, to be honest, I made this twinkle a major listen some years ago, and I didn't look at the lesson before recording this video, so I don't know if I do exactly the same fingering, but yeah, I do base it in the first line from one. Three and then four. I think I do the same thing in this video, but I'm not sure. Then I do 133. And then this third part, I do 554433. Those are the three parts. But if you find a finger positions that are easier for you, you can do that, of course. Okay, there we go. So well, that was part of the first step. Right hand, left hand. You should be able to play this. After two times. You go back to a quarter, that's the first line. Twice the a chord, once the D chord, and once the aqueous. So practice that I do it slowly now. Try that several times. If it's too difficult to just go back into video and watch it again. Now, I go to the second parts. That's no, no, no, no, no. The thought I dadadadada. That is dadadadada. Yeah. So that's D. Let's try that. I do it, we'll do it slowly now. So again, that's the D chord. Then a, then E. And I'm back to a second line. That dadadadada, they're not dadadadada. Then we have are dadadadada. So that starts in a that's a that's a D. I will do it slowly. A court. The court a court at E. You see that I used a pedal. That's do it slowly and then speed it up. So that's the first step. The second step. Well, it's the whole time to say math. Yeah, go twice as fast for most notes with your left hand, your right hand. So let's go to the third step. Note burnout. So there we go. Let me first do this. Dan, you can add more notes. Slow, very slowly. Then adds the next nodes, 0 from the beginning. The last four. I don't play the whole line again. Once. That's the first line, then you go to the second line. Only this ad. Tried it again. Practice that several times. At the E chord. Again. You add, played it again. Okay, That was the second line. For slowly than speed it up and use the metronome. Then third and last line. First of all, he does two notes. You can add the next ones. So again, victim together several times. That first day chord, a chord. And then at the last notes with the court and left hand. And I played the whole line. Now what if you know, the three lines, you know, to wholesale? So let me play it once for you. There we go. Okay. I missed a little bit up with the fingers in the last part. You know how to play it now. Use your pedal. And yeah, you know how to do it. Look for the one, the four and the five chord into tonality. You want to play it in the key, you want to play it. Done in each court, take root fifth, major third. And in this way you can play Twinkle, twinkle in all the other keys. 10. Let it be - Step 1: After Twinkle, twinkle, we will do a second song in which we will use the four-step method to play hands together. Now, perhaps you noticed that in Twinkle, twinkle, that we always played on the beat. Left and right-hand plate, always the same note at the same time and on the beat. Now, in this next song, and the next song is let it be from the Beatles and let it be, this is not always the case. We're also going to play nodes in-between the beats. And that means that left and right hand are not always playing at the same moment. So this is a little bit more challenging, but very good for left right hand coordination. In this lesson, we will only do step one of the four-step method, and in next lessons we will do the other steps, 23.4. So in this lesson, I will teach you how to play the left and the right-hand separately. Most of the lesson will be to the right hand because the right-hand is playing the melody. And that's the most difficult part. It's not very difficult, but it's more difficult than the, than the left hand. Because the left hand is playing only courts. And the courts, that's very simple because those courts are always four columns, so they are very simple to play. There is just 123434 capacitor whole time 1234. So that's not difficult at all. So we will mainly concentrate on the right hand. Step 23.4. We will do that in the next lesson. So let's go now to start. I will just play it for you and I will play already both hands together. Suddenly you have an idea of what the, what the result will be. So just have a look and listen. That's diverse. And normally that's paid twice, but for now just one time. And the refrain is as follows. So you will be able to play this as well. At the end of that, Let It Be lessons. Let's start with the melody, the right-hand. In order to play well, the right hand, we have to count very well. Now in the lessons about playing with two hands and two last lectures, I told you already that we count. It's very often 1.2 and 3.4. And instead of 1234, Why is that? Well, that is because we also play notes in-between the beats. The one-two-three-four, That's the beats. And the end is always in-between two beats. So if e.g. 1.2, then the end, that's in-between b1 and b2. So we're going to count this way. I will talk more about this in the lessons about reading music. But for now, just 1.2 and 3.4. And the melody of let it be actually doesn't start on account one, but it starts on count for. We play this note, G is on beat one and the E which I play is on beat four. So actually what we do is 123. So you already see for so long before you start. And then in-between beat four and the first beat of the next measure, we have the end. So 1234. We start like this. I will count it once again. One, I do it slowly. 1231. You see? I hold my finger on the GI. Well I say N1. So the first is when I hit it on the end of four. But I hold it into the next measure where I say 112314. Okay. That's a little bit more. I will put the metronome on and I will put it now on 75 beats per minute, which is not very much, it looks like very quickly, but it's not. You will see. 123. Okay, so first tried it, I will do it one more time. Three. Okay, So dos first two measures, a measure that's just 1234. I will talk more about that in the reading music section. Okay, So when you can play that, Let's move on to the next measures. I will do it now with counting. I will not use the metronome, just count with my voice. And I start at the beginning, 12 312-341-2134. Okay, that's it might seem a little bit more complicated, but you can see above the virtual piano, you can see that I put exactly where you have to, to hit the notes. I say either beat 1234 or the ends in-between. So try to read with what is written above the virtual piano and to listen well to what? To how I count and how I play. Once again, 1234234. Okay. If you didn't get it the first time, just rewind the video and go back and read, well, where do the one-two-three-four and where the ends full. While I'm counting and playing the melody. That's the first line of the verse. Let me go to the second line of the verse. I will start with counting 1234. And then I start, I will first do the first two measures and then the next two measures. So the first two measures are 12341. Alright. I will do it slower. 123-412-3123. I will do it with a metronome. Okay? I will do the other two measures also. They're much simpler, so I will just repeat the first two measures of the second line of the verse and go on into the last two measures of diverse. So there we go. 1, 2 3 4, 1 2 1 2 3, 1 2 3 4, 1, 2 3 4. So the last two measures are just 2341234 hesitance, simple. You hit only the 1/1 and then you hold it to four and another measure of four guts. So let me play it again, the whole line with the metronome. Okay? And what I will do now is play the whole verse to let you get used to the metronome. It starts at before, but I will let it first do four counts, four beats, then another three beats and then start beat four. So you will hear it seven times, 1,234,123.4. I start. There we go. 123. Okay, so that's the verse. First, start with the first. Try to learn it as well as possible. And yeah, start e.g. if 75 beats per minute, but you can, if you find it too difficult, of course, start with a lower tempo, or if it's going very well, start at a higher tempo. Let's go to the refrain and re-frame starts on the end of three. So it also doesn't start on the one, but you'd count 123. So it starts on the end of three. Let me do this, the first two measures. And so this little started. Let's, let's go. I will count 12343. Let's do it a little bit slower. 12323. So read well above the, the virtual piano where the beats are and where the ends are. You can rewind the video, of course, if you want to see it again. Let me, let me, let me play it with the metronome. There we go. So those are the first two measures. Then measure 3.4, 4234. Let me do it slower. 12344234. Okay. Let me do the whole first line of the reframe. 123-243-4234. We'll do it with the metronome. I will leave it to four counts and done 123. And I start on the end of 31234123. Okay, last line of the re-frame. First two measures. So that's 123. Okay, it's a bit tricky. Let me do it slower and repeat with the, um, with what I've put above the virtual piano app. 1231 more time with the metronome. Okay, it was not totally solid. Let me do it again. 234. Okay, and then the last two measures are exactly the same as the last two measures of the verse. So that's what just 12341234. Now this whole last line of the refrain is then, and then we'll count slowly. 123-34-1234. Let me play the whole re-frame with the metronome. There we go. 123. Okay, so now that you know, verse refrain, I would say breakfast them will the right hand. I will quickly tell you what the left hand is averse and re-frame. It's very simple, so it will not stay very low on the left hand. Now watch out. I will put the chords that you have to play above the virtual piano. Watch out the letters mentioned above the virtual piano are not single notes, their courts or triads in this case. So if you see C, It's not to denote C, It's the court or the triad C. Okay? So there we go. Well, I choose for the first chord, the C, this conversion. Why? Because we're playing the melody here. If I were to play it here. And in the way my right-hand, even if here. So I play it for the first time here. It's very simple. Every court is always four beats and that's all. So I will do quickly diverse and I will count with it. Remember that if you play it, you have the it starts on the first C Corps. So here we go. 234-34-3434. 341-234-3434. That was diverse. I will not explain it again, since it's very simple and you can always rewind rewind the video if you want. Let's go to the re-frame. And, um, also dare, this comes after the 123 deceit Dan, the a minor starts. We will see that more in detail once we will play your hands together in the next lesson, soda steps 23.4, so that courts are, and you can read above differential piano to see the names of the court's 3434, 4342, 3434, 3434. And that was a reframe. Now, practice it. Well, of course, I didn't do it now with the metronome because it's very simple. You do it of course, with the metronome, 75 beats per minute. After that, you can try to speed it up. Okay, see you in the next lecture. 11. Let it be - Steps 2, 3 & 4: So finally, we will bring our both hands together. So we did step one in the former lecture. So breakfast, right hand and practice left-hand. So that is really solid, really steady going with the rhythm. So be sure you can do that at least. Well, let me say 75 beats per minute. And we're going to do step 23.4 in this lesson. So step two, what was it again? Yeah, it's stepping to rhythm on your knee. You can do that. The best is perhaps to do it with your metronome. So put it on 75 beats per minute or lower if you want, if you wanted to start. But you know, that's the left-hand is actually very simple. It's always on the 12341234, etcetera does or the courts. So it's always on the one. So let me just try. In this case, you could, instead of clapping their rhythm with your hand, with your right hand, you could also play the melody and just collect always the one with your left hand. So that would be. But of course, you can also collaborate with both hands on both needs. So that was the first line of the verse. I will do it for now so that it's more recognizable with the melody in the right hand and clapping my left hand. So let me do it with the metronome 123. Okay, so try that yourself. If you want to rewind the video just to look how I did it, feel free to let me do the re-frame. We're still in step two, so two clipping. And again, I will do the melody with the right-hand instead of clapping. But of course you can do the clipping also with your right hand if you want. Here we go. Okay. So try it out yourself. Be aware that when you collect your left hand, so on the one, it's not always together with your right hand. Most of the times it is, but not always. Look good. How I play it and do it and look at above the virtual piano, what I wrote there. Okay, so that's step two. Be sure that you can do that. And let's go to step three. So now we're really going to play both hands together. And I will first do it without the metronome, but you should, of course, do it with a metronome. But if you want to start with, It's also good. So what we'll step three, that was adding a note at a time. Now, since the left hand is so easy, perhaps, for this special song, for this special arrangement, you could do it measure, PRE measure. So let's try to do that. Now you could just do this, go from, going from the first measure to the second measure. So from the port to the G chord, you see that they're not together to g in your right-hand and the left-hand tail, you hit the note G with, you're left with your right hand on the end of four. And then on the one who hits the court or with your left hand and right, you see that? You can go on until now what we've done, Let's do that. Here, e.g. if you've done that, you can go on the end of measure three, in the beginning of measure four. Be aware that also here, the note in your right and your left hand in measure four is not at the same moment. You don't hit them at the same moment. Yeah. It's a whole first line is. And of course you should do it with the metronome, so let's try that. So that's the whole first line. Let's do the second line. Now. I did the whole four measures together, but of course, step three is doing a note at a time so you can split it up into smaller parts. So you can do first. That's just still beat one of the next measure. Once again. You go on with the rest of measure two. Then the last two measures is just simply to hold it till the end of measure for that. And once you do bit by bit, you wrote a whole second line. Once you've done the second line, you play the whole verse. Let me play it with the metronome. Okay, that's the first. Let's go to the re-frame. So again, step three, That's note for note, I asked, but you start 1234. You could just start with only this 1234. You can either count out loud or you can put the metronome on. But be sure that you do 123 and start on the end of three. So 123 and then go to this measure, then build it up bit by bit. As you know in step three, I go until here. And then later you can add those two nodes. You have ended here. And then finally, you add the last measure of the first line of the refrain. Then play the whole first line, 123. And of course, as always, you should do it with the metronome. So let me show you how to three. So same thing for the second line of the refrain. So start just simply. That'd be sure that the board is not together with, well, Ebola hits denote in your right-hand because what you're doing is necessary and so forth. And then directly the end apparatus, you can just try that. One more time, slower. And then you add the, the, the other nodes. So we ended on, sorry, three, which is 12341234. Well, you understand that you just build it up bit by bit. In this case, you don't have to do it note for note, but you can take groups of notes. Let me play the whole reframe with the metronome. There we go. Okay, we're almost there. Step four. Well, step four, you know, it it's just speeding up. Now the question is, where do you have to speed it up? Well, the play along file in the next lesson, because in the next lesson we're going to play with the bend is at 180 beats per minute, sorry, 160 beats per minute. Now that's sounds like very much 160 beats per minute, but it isn't it's not debt quick. Of course you're not going from 75.1 Time to 160 beats per minute. You go slowly towards 160 beats per minute, but I will just show you the results. And I will put my metronome on 160, my moment 160 set and we're ready to go. So let me first play diverse. And directly after that, I will play the re-frame. I will pay now only ones diverse. And once the re-frame, normally when we played a song, you will have to play it twice. Diverse and sometimes one, sometimes two eyes every frame for now just wants to diverse, wants to reframe and play them just after the one after the other. One thing to watch out is that I will play, I will start to play the end of 3.4 of the refrain. So 123, those two nodes, I will already start to play in, play them in the last measure of diverse because that's what really happens in the song. Also know that the last two measures of diverse Ardi, 34123, and then I'll do an I started with the refrain. So the where the refrain starts on the end of 3.24, I all ready play them in the last measure of diverse. Okay, I will do 1234123 and then with the metronome and then I begin. Okay, So if you're used to the 75 beats per minute, and now suddenly I play it at 160 beats per minute. I can imagine that you say, whoa, whoa, whoa, whoa, that's great. Week. That's very quick. But if you do it very slightly, it might take some time, of course, but if you do it slightly, then of course, it will not be a problem to play a duck quick, just breakfast. Well, be sure you can play it at this tempo at 160 beats per minute. And then we can go to the next lecture where you're going to play it together with the bend. 12. Let it be together with the band: Okay, Can you play, let it be at a tempo of 160 beats per minutes? Did you practice it well, in that case, you're ready for this lesson because in this lesson, we're going to play, let it be together with the bend. First, I will give you a listing of intro verse, chorus, et cetera, how to Beetles played. Now I will divide this into different parts. You will see why. The first part, The Beatles play only the piano. The piano is the only instruments playing at that moment. Then in diverse, There's a base together with the piano, chorus and into quarters, then starts to play. You play together with the bend in getting their meds odors. Olivia bend who plays and you don't play. Then verse two times Coors, ones, verse twice course, three times, again, piano plus band, so the band will accompany you. And finally, there's an outro with only bands so you don't play there. So you'll see there are two places where you don't play. Now. This first part, so intro verse twice course and onetime verse where there's only piano. I decided to skip that part. Why? Because it's very difficult to play on your own and then be ready exactly where to base starts in the second part. So I thought for you to play, let it be, it's perhaps better when you start together with the base. So in part two. Okay, so before we start, I have something important to say about the metronome. First of all, you know that you start with the verse on count for on beat four. Note, since it comes very quickly, I decided not to do the metronome just 123 and you start on four. I will do one session of four accounts before that. So you will hear the metronome 1234123 and then on before you start. So in total you were here, it's seven times four plus three. Another thing is that in the prior two with the base, I decided to let the metronome on because there's not a whole band is playing and it's a little bit more difficult to stay at the right rhythm without a metronome. Wants to bend, start. It starts in the chorus. Then of course, I leave the metronome out and to bend your metronome, another thing is that once the metronome count it, it's seven times for you to get started to play together with the base and diverse. I started at once the base starts. So once you start, you also start to play that the metronome counts not at 160 beats per minute, but only at 80 beats per minute. Because otherwise it would be very busy. This metronome together with the piano and bass. So be aware of that. Anyway, let me show you how this goes. So this four plus three counts, and then the, the, the piano plays together with the bass clef my hand with it for the beginning so that you can see what I mean by this seven metronome counts. And then the metronome counts at only 80 beats per minute instead of 160 beats periods. Here it comes. 1234123, etcetera. Okay, I think that's quite obvious. So, yeah, let's play it together with the band. So here it comes. 13. Michael row the boat ashore in D major Version 1: Okay, you're going to play Michael Row the Boat Ashore in the key of D major. Let me first play it once for you. And then after that, explain you in detail how you have to play it. So there we go. Okay, the same thing as played in the chorus and the verse. And it repeats itself over and over. Now, let me first start with the right hand. So the first line would be, so the notes are D, F sharp, a sharp, a, D, F sharp, a, B. So for the rhythm, let me play it with the metronome. Now I put the metronome on 100 beats per minute. You can, of course, start in a slower tempo. It's up to you. Well, actually, I don't play this song with a bent. You play it totally on your own. So you can yourself play the tempo that you want. Anyway, as always, start slowly, of course. Now, when using the metronome, and actually the song starts on the third beat of the measure. What I will do is I put the metronome on four beats and then it has to count to 41234. And then again 12.3, I start so you will hear the metronome six times 1,234.12. There we go, 123412. So that's the first line. The second line is as follows. So the notes are F sharp, F sharp, G, F sharp, E, D E, F sharp. I will do it again with the metronome. Again, I start at beat three. So you will hear the metronome six times 123412. Now we go 123412. And that's the whole song. Okay, let you pay it. The whole prefers, whole course if you want, with the metronome 123412. Okay, Now, the left-hand I will play also the right-hand with it, but concentrate only on the left hand. So the first court is the D major chord. I will play it now in root position, but on some pianos it might sound a little bit low. So you could also play it in, first, in version, but let me first play it and you will see. So actually you start when you play the a, because this was count beat 34. And on the one of the next measure, you start with the court. And on the D major chord. And then you go to the G chord. You see that I played here in this second inversion. Because from here to here, you don't have to move, move very much with your hand. Then back to the D in root position. I will play it from the beginning. G, d. Then we go to F sharp minor. I think the best is here in root position. And then we go to E minor. And then C, I have a problem now because I end it with my thumb on the E. I should have it with my with my index finger. Doesn't matter if you land here, you can always go with your second finger. Here about the fingering. You find out your own fingering. Okay, let me start from the beginning again. So that was a D chord, G, D, F sharp minor, E minor. You go to a court. My blade here and let me see second inversion. And then back to d. Now, the end, you can pay it actually in two ways. I choose for the simple way. You could play it all say. So from D to a to D. But I think it's the same prayer to play like this. So I will keep this version once more. There we go. D major, G, D, F sharp minor, E minor, D. Okay, so some major courts, some minor courts. All try it. Yeah, and that's the whole song. I will play it once more with the metronome with two hands. So, yes, you should start first to do your right-hand node, a melody with your right-hand. Dan, do the courts in the left hand. So tray, those are the course. So once you master your right hand, once you master your left hand, bring them together and try to play the song with both hands together. Let me first do it very slowly for you. It could be the first step. You have only one course, the D major chord in root position. Then you go to the G and back to the d. So the first line is not too difficult. It's only in the left hand and this in the right hand. So once you master debt, you go to the rest of the song. And now you have to jump a little bit. Yeah, you could eventually do this. Sounds a bit too low. On this keyboard, perhaps I'm Europe ERP, I know it sounds right, but I prefer to take the F sharp minor chord here. It sounds. It sounds better. Then go to the E minor. And I'm back with my thumb on the e, doesn't matter. So sometimes you have to jump a little bit with your left hand. So be sure that before you begin to play both hands together, that you master really well, your left hand that you know what you're doing. Okay? Step by step, slowly. And then it will be no problem. Break it up in pieces. Especially when you have to jump from, from here to the F sharp minor with your left hand. If it's difficult, than really go to that particular point and only practice that. And once you've mastered that, you can, you can go on. In the next lecture, I will show you another way of playing the same song. 14. Michael row the boat ashore in D major Version 2: Okay. Again, Michael road to build. Sure. But played in a different way. Now, let me play it first for you and just watch well, what I do. So you see what is different than the first version? Now it was quite obvious. You saw that in the right hand. I didn't outdo only the melody. I did only DID also the courts. And with my left hand, I actually only played the roots of the court. Sometimes I doubled it. Sometimes I played only with one finger, the root of the chord, just how it comes. Okay, so let's go for it. How can we play it? So I will first do only the right hand. So actually, that's courts and to melody together. So what did I do? You see D, F sharp. And I kept the F sharp and then page to D and D again. So I have the whole court here in root position. I played the melody at the same time. I played it again. So again, the first part, which, well, I will play it slowly. D Court. Only a part of melody. Again, D chord, melody, and then the G chord. And devote the court. Okay, let me do the whole first line. So sometimes there's no court. When I play. Again, I do the court. Courts. So this is root position. This is second inversion of the G major chord. Root position. Then the second line. I play no court at all. And then I play the F sharp minor chord, also in second inversion. So no courts here. And an F sharp minor with my highest, highest note, that the a, which is in the melody. And I can either play the E minor, I can also do. You see that? So I went from F sharp minor in second inversion to the F sharp minor in first inversion. And I can also leave the court like this or as you want. And then we go to the E minor chord, which is that first inversion way at the top, the melody notes. And then there are don t need to play a chord. And I play the a chord. But you see that normally a chord would be this. I leave out the e, and instead I play the F sharp. Well, why do I do this? Well, because the F sharp is in the melody. The E isn't. Well, I could play. Yeah. But I think just don't play the E here, which is the fifth of the chord. First, third, major third, and fifth. Just don't play it. It comes in the second note of the melody. And then last chord, D, which is in first inversion with the melody note, note at the top, which is the d. Okay, so that's their right hand and the left hand, well, it just place the root. You can do it with one finger so you can double it as you want. If you find it's more easy to play only with. With one finger, so no problem. Let's go. So at the moment that we put the court here, we also start to put the root. As said, you can also play only one D. It doesn't matter, it's all the same. You can repeat it. Or you can leave just a D, then G. And back to D. You see? All I do is this. Of course, if I double the bass note that the root, I have to make a jump. And that's perhaps more difficult because you might be concentrating on the right hand and you don't know exactly where to lend with your left hand. So perhaps it's easier to do only one node. And then you go to the F sharp minor. So in the left-hand F-sharp, If you want, you can double it up to you. And then the E minor. You can double it. You can play only once or here, it doesn't matter. And you play only the a in the left hand. And the or here, or both as you want. Okay? As always, when you learn something new and might be challenging in the beginning, you can, of course. First, start with the right-hand, hadn't. That's already a challenge because you have not only to play the melody, but also the courts. So practice that well. And then practice the left hand. So that's D, G, D F sharp, F sharp. And then the E. Yeah, I played a Sharpie and then the E here. I could also play the F sharp here, and then the E here. It's up to you or I can double it. So practice that well and then bring both hands together. One more thing to say. It is very nice when let me just play it and I will then explain it. You can see that I went to G instead of E in the bass. Now, why did I do that? Because you come from the F sharp. Then it goes normally to the e and n to the a. But what I do is F sharp, then the G instead of the e, and then the a. Well, this makes an up-going line. And that sounds very nice. You can say yeah, okay, I didn't play the root as a base note would normally be the case, but yeah, okay. It sounds a little bit like as if you were to play the E minor in first inversion. Here. Also, you have the g as the lowest note. Yeah, it's still an E minor, but with a G in the bass. And that might sound very nice. Okay, let me play it now for you with the metronome. I put it at 100 beats per minute. You start slower and you speed it up slightly. You can go to 100 beats per minute. You can go even to 120, 140. It doesn't matter. You choose it yourself at the tempo. You want to play it and you can play it, of course. So again, four beats before I begin, and then the first two beats start on beat 3123412. Okay, let me to finish at play one turn one more time. The version where I play the G in the base of the E minor chord instead of the e. So you can hear how that sounds. 123412.