The Ultimate Piano/Keyboard Course from total Beginner to Advanced - Part 1: Playing in C, F & G

1. Introduction: Would you like to play piano like this? Well, after following this course, you will be able to play this and much more. My name is Martin Cohen. I'm a jazz, blues and rock musician, composer, piano teacher, and I teach already more than 25 years. I actually started as a science teacher, but I'm already many years now only teaching music. My experience as a science teacher, however, makes that I can explain even complex things in a very simple way so that you will advance in the most efficient way possible. So what will you learn in this course? First of all, you will learn a lot of salts like e.g. this one, this one, and of course, many more songs. Secondly, after this course, you will have a thorough understanding of music theory that will enable you to independently advanced in your musical skills even after completing this course. And I know the word theory frightens a lot of people, but don't worry. The theory is explained in a very clear and detailed way. With animations. You will train the theory with interactive exercises. You will learn everything you need to know about courts. You will know how to play all the major and minor chords, all kinds of seventh chords, diminished chords, saas, courts, slash courts, and more. So that you will be prepared to play any song you like on the piano. And Thursday, you will learn how to read music so that you can easily play songs from sheet music. Also here, you will train with interactive exercises and of course with songs that will go from simple songs to more and more advanced skills. So that you will finally be able to play with confidence from sheet music. Not only will you play all the songs in this course with play along MP3 tracks, where a whole bend accompanies you while you play, but also an exercise like e.g. scale exercises. You will be accompanied by a whole band. You can practice the theory with interactive exercises, which makes learning theory fun instead of something boring and difficult. Also, you will get detailed PDF files with chords and scales, with finger positions that you can use as a reference together with this course or for later. Now, after completing this course, you will be taken from a total beginner to someone who will be able to read music, who has a thorough understanding of music theory. We can autonomously play new songs from sheet music and also play the most beautiful popular cell from lead sheets with just Chord Symbols and all that on an intermediate to advanced level. By doing this course, you will save yourself lots of money because instead of spending thousands of dollars on private lessons, you will get the same result for only a very small fraction of that brace. Now, this whole piano course is presented as a series of smaller courses, which this course is the first course. So if you're a total beginner or if you have already played some piano in the past, but you want to refresh your knowledge and skills, then this is the course for you. If, on the other hand, you are already a bit more advanced, but you want to reach a higher level of piano playing. Then just have a look in the description of this course in which of the courses of this series you should start for the best results. I would like to thank you for your interest in my course. And I really hope to see you soon in the inside of this course. 2. How to follow this course: Hi. First of all, I'd like to thank you very much for your interest in my course. Before we start, it's important that I tell you a few things about how to follow this course. As you probably know, this course is a very large course and is therefore divided into a series of ten smaller courses. You're now in the first course of this series. So if you're a total beginner than you are in the right course. But also if you already did some piano playing in the past and you want to make a fresh start, then it's a good thing to start in this first course of the series. Now, of course, in this series is about how to read music. I put this course almost at the end because I've seen that a lot of people are having difficulties to learn too many things at once. So many people want to just first learn how to play the piano, and only later they want to know how to read music. But if you feel that you can handle to learn how to play the piano together with how to read music, then that's perfectly possible. In that case, you could do course nine in this series about reading music at the same time with learning how to play the piano. But in that case, start with reading music only after having done this first course. When you finished this first course, you can start with reading music together with the other courses in this series. Another thing is that if you already start with course nine about reading music at the same time with learning how to play the piano, is that you will probably not yet be able to play the practice songs in Course nine, because those songs are too difficult when you're only starting to play the piano. But for the rest, you can without any problems, start with the instructions on how to read music. Okay, one other thing that is important is that in a lot of lessons you can download resource files. Sometimes those are PDF files with the scales or chords. Sometimes those resources will be MP3 player, long files that you can use to have a whole band to accompany you while you play a song or a scale exercise. Now, in order to obtain those Resource Files, go to the project step and download the PDF file that says link to the resource files dot PDF. Once in the PDF file, just click on the link that enables you to download a zip file with all the resources. Then unzip the files and you will see a lot of subfolders. Each subfolder corresponds with a lesson that has resource files. So let me just double-click e.g. on this folder that says finger exercises on the piano. And you see that insight. You have three MP3 files to do the finger exercises in the lectures with the same name. You see that you can do the exercises in three different speeds, 60 beats per minute, 90 beats per minute, and 120 beats per minute. Now, be aware that the numbers that you see before the lecture names don't correspond with the numbers of the lectures in the course. So you might ask, why is that? Well, I put in those numbers only so that the order in which the folder appear is the same order in which the lessons intercourse appear. So you will have to look at lecture name instead of the lecture number. Okay, that's it for now. And see you in the next lecture. 3. Introduction to the piano keyboard: In this lesson, I'd like to quickly introduce you to the keyboard that I'm using for this course. As you can see above this keyboard, you'll see the virtual piano on which you can exactly see which notes I'm playing. Sometimes when I'm playing, you could not always clearly see which notes I'm playing because my hand is in a way, but with the virtual piano that you see here above this keyboard, you can exactly see which notes I'm playing. You see that when I play, the nodes are also displayed on the, on the virtual keyboards that you see here above a real keyboard. Now, to be honest, you don't see my whole keyboard because as you can see, this is the lowest note. This is the highest note. But I can go even lower. And this is my highest note. I can even go higher. So I show here only a part of my keyboard because this is enough for the course. Now, this piano that I use for this course has 88 keys, which is as much as a normal acoustic piano. Maybe you have a digital piano that has, that has less than 88 keys, but the principle is always exactly the same. Now, a very obvious thing for most people, I guess, but I still like to say it. Low tones are at the left side. The high tones at the right side, at, before you go to the right, the higher in pitch the notes are. Okay. As I said, for most people, is to completely obvious, but just to be sure, I just tell this so that everybody knows from the beginning. This was just a quick introduction to the keyboard that I'm using for this course. In the next lecture, you will know more about the correct body posterior behind the piano and the correct hence position. Both of which are very, very important when you start to learn the piano. So, see you in the next lecture. 4. Body posture and hand position: It's important to adapt the right body posterior when you play the piano so that you can play in the most comfortable way possible. For that purpose, you should have bench that is adjustable in height. The height of the bench should be set in a way that when you play the piano, your arms are horizontally or eventually slightly down towards the piano keyboard. Your arms should not go up. You keep your knees slightly under the keyboard with your feet flat on the ground, near or on the petals of the piano, your back should be straight. Now, this is very important. When you just start to play the piano. You might be a bit nervous or even stressed, especially when it comes to exercises that you do for the first time. And that seemed very difficult in the beginning. In that kind of situations. A lot of people tend to adopt a stressed body posterior. And that's of course not an ideal situation for playing the piano. Be sure to relax, relax your muscles, relax your body and your shoulders. When you're not stressed. When you're relaxed, you're piano playing will get much easier. Now, your hand position is at least as important as your buddy posterior. It is important that you don't play it with your hands in a flat position like this? No. You should put your hands as if you would hold a little ball in your hand like this. So not flat, but as if you hold a little ball in your hand. And that's of course the case for both hands. Back, right? Arms horizontally or slightly down, feet flat on the ground, your hands as if you would hold a little bowl and relax. Now you're ready to play. 5. Finger Exercises On The Piano: Okay, In this lesson, you will get your fingers used to the piano keyboard and you will learn how to play fluently. And what I mean by that is the following. Imagine that I would play Amazing Grace in the following way. Well, that doesn't sound very nice. I could also put it in the next way. Well, that's something much nicer. Now, what's the difference? In this case? Already, I just used one finger. That's what we normally don't do with the piano, but your hurts, the notes were not connected together. When I do this, you hear that the notes are, notes are nicely connected together. Well, sometimes we want this effect to, perhaps not in this song, but in another song. We call it playing staccato, so that the notes are not nicely linked together, but mostly we want to nicely connected together. So you're going to learn how to do that in this lecture. To do that, we will do several exercises and we'll start with the first one. To do that. First, you look for the middle of the piano. So you go from both sides more or less to the middle of the piano. Then you look to a group of two black notes on the piano. And you will put your thumb on the white key that is just on the left side, to black keys. And your middle finger on the note that's just on the white key that is just under right side of this group of two keys. What you will do with your, with your thumb and your middle finger is just played those two notes in a way that's denotes nicely connected together. So they may not overlap like this. Here they overlap. Don't let them overlap. Also don't play them as single nodes. Here denotes are not nicely connected together and so play nicely together without overlapping. But you can try it yourself and you can stop the video and try that on your piano. Okay. Now that we've done it with our right hand, we could also do the same thing with our left hand. Now, because the left hand is mostly playing more low notes into right-hand, we're going a little bit lower. So if we were playing first here with the right-hand, we go to the next group of two black keys. We're using now our pinky. The white key that is just on the left side of dose to black keys and our middle finger on the right-side of those black keys, we were doing exactly the same thing. Linkedin notes together, don't overlap, Don't let themselves as single notes. And always be sure that you don't put your hands flat and not like this but nicely as if you would hold your head. Okay, stop the video and try it out yourself. And then we go to the next exercise. First of right-hand. Alright, so first we used DOS, two fingers have middle finger and thumb of those two white keys we're using now also our index finger on the note in-between. And we're just doing, again. Linked denotes nicely together without overlapping. Okay, try that out yourself. We do the same thing with our left hand. So first we had our pinkie middle finger goes to white keys and we're now using our ring finger. Just in-between. Add. Well, let's try that out yourself. You can pause the video. And the next exercise. In the next exercise, we're going to use all the five fingers of our hand. First, the right-hand. The thumb, index finger, and middle finger stay on the three notes we used before. And your ring finger, you put on the next white key and your pinky or the next one. So what we're going to do is just play Just as always linked and nice together. Your hands as if you were holding a little ball, never flat. If you can play that triad also descending. When you can play it, descending, tried to play it ascending and descending like this. And then the next step would be played over and over, up and down and up and down like this. Well, etc. You understand? Now, I do it quite quickly. If it's difficult for you, you can do it slower as well, etc. So try that out yourself. You can pause the video here. And of course, our left hand is as important as our right-hand. So first we had pinkie, ring finger, middle finger on those three notes. We're now using our index finger here on this white key and our thump on this one. And we do exactly the same thing as we did with our right hand. Fingers going up nicely linked together all the nuts. Haden's as if you are holding a little ball, never flat. So try that out and then you go. Then you go up and down. When you can play that. You repeat it the whole time, etc. So pause the video herself and then we're coming back for the next exercise. And the next exercise. Well, actually it's the same exercise, but the fun part of this exercise is now going to play it together with the band, which is much more fun, of course, as simply playing up and down this little riff. So I will show you how we will do that. I will just put on the band. But before I do so, I will tell you that There's a metronome clicking four times before it begins. And after those four ticks, you're going to play the notes in exactly the same tempo as the metronome Clicks. Metronome would do this, it will be 1234, et cetera. You go on in the same dead box. So I will put, put the band on and we will play together with the band. Okay, now, you can find this MP3 file that you can use to play along with it to do your exercise into resources of this lecture. Now, there are three versions at 60 beats per minute version. 90 beats per minute version and 120 beats per minute version. I know used to show you this example, this exercise, the 90 beats per minute version. But of course you begin with a 60 beats per minute version. And if that goes well, you can go up to 9,020, but it's not needed. If you stay at at, at 60 beats per minute, it's totally okay. Of course. You do the same exercise also with your left hand. I can show it. Let me just put it on again. Okay. So that's exactly the same thing. So no. So try it out yourself, how you can pause the video. So now we come to our last exercise. We still use the same fingers on the same five notes on the piano. But what were, what were you going to do is to play the next milliliter I will first played for you and then explain it. We repeat it. And on and on, well, etc. So let me just explain you exactly how to play it. The first thing is that you use thump, middle finger, pinky. In this way. Try it out yourself. Hagen tried it several times. If you can play that. After this comes. After that, you use those three fingers, ring finger, middle finger, index finger. Always with your fingers on the same keys on the piano, so that's easy. And then you link them together. You could play that. You can play the same melody over and over as follows. No, I don't know if you noticed, but this last note is twice as long as all the other nodes. Let me just clap my hands on my knee with it. And then you can hear that with all the nodes. I clip only once, but with his last note, you have two times clipping on the knee too. Two, etc. Okay, Now the nice thing about this last exercise is that you can play it with exactly the same play along track as that we used for the former exercise. So let me just put the band on and let me show you how we played with with a bend, with the play along track. Be sure. You here first, four clicks off the metronome S before. There it comes. Okay, try it out yourself. You can pause the video. And after that, we're doing left-hand. Same exercise, left hand. As always, we use the five fingers on the same five keys on the piano. First you're going, so we play the same thing. So first you do this melody with pinkie, middle finger, thump. You tried it several times. And then after that you play with index finger, middle finger, ring finger. Then you link them both together. Perhaps I go, I'm going a little bit too quickly. You could do it slower, of course. This note twice as long. Same thing as with the right hand. You can play that. You can do it with the play along file. So let me put it on. Okay. Those were the exercises. Practice them Well, as I said, you don't need to play them at 90 or even at 120 beats per minute. But for those of you who say, Wow, this exercise went very well. It was actually quite easy. I will do the 90 beats per minute version and even 220 beats per minute version. No problem. But if it was difficult enough and you're more or less able to play it at 60 beats per minute. It's also okay. Now, if you think why ad was also easy, I want a more challenging exercise. Do it with two hands together. First, the third exercise would be centralized, or the last exercise, etc. But again, you don't have to do that. Only if you say to yourself, I want some more challenging exercises. But I think most of you, if you're a beginning piano player, both hands together, it's just a little bit too difficult. But if you want, why not? So that's it for this lesson. And I'll see you in the next one. 6. Names of the white keys: Hi and welcome back. Now, I hope you enjoyed the last lecture where he could play together with a bent. You saw that in the last lecture, I said, take the nodes left over to black keys and etc. It's of course, much easier when you know the names of the notes. And that's exactly what we're going to do in this lecture. In this lecture, we're doing only the white keys. In one of the next lectures. We will do also the black keys. For now. The white keys. When you look at the piano keyboard, you can see a sort of structure, especially in the black keys on the piano. What you see is that you have groups of three black keys and groups of two black keys, etc. Now, for us, now is important that we look at a group of two black keys. I could take every group of two black ones, but let me take this one more or less in the middle of the piano. Now when we go to the white key that is left on the left side, those two black keys. This one, which we, in the last lecture, we also played with our thumb pad. We call that node the sea. Now, all the nodes, all the white notes on the white and the white keys on the piano have names in alphabetical order from a to G. Now if this is the scene that we just go on to the right due to the G. But as I said, we go from a to G. So we don't go on with H or something like that. No. F, G, we start over at the beginning of the alphabet a, b. And you know that in the alphabet after a and B, come see what exactly. You see that before a group of black keys. So that must be C. Now, of course, every time on the left side of a group of two black keys is a C. So I have many season this piano. In the same way. I don't only have d here, but I also have a D here and I have a D here, well, etc. An E here and E here, and E here and E here. It's for all the notes, of course, the same. You see that the pattern repeats itself. So I repeat, how do we find the names of the white keys on the piano? First, look to a group of two black keys. The white kid just on the left side of dose to black keys, is this c? That's the first rule. The second rule is all. The key names are from a to G in alphabetical order. So here's a C. Well, you can also, could also go back hat from C to B. And then you have from a to G in alphabetical order. And you can go one. So remember those two rules. Left of like keys. You have a scene and all the node names are in alphabetical order from a to G. When you remember those two rules, you will always find the notes that you're looking for. Of course, when you're playing the piano, you cannot always think, oh, where is my e.g. whereas an F, Then I first have to find the C and then I go to D, to E to F. Of course, when you were making music, that's not possible. So that's only for the beginning that you need to dose two rules to find your notes on the piano later. It has to go automatically. Now, later on we will do some exercises, some interactive exercises that will also help you to find the names of the notes. Okay, that's it for now. See you in the next one. 7. Exercises with the white keys: So now you know the names of the white keys. Now, it's very important that you exercise with it so that you master really all the note names and their placement on the piano keyboard. Now, to do so, I have an interactive exercise. To go to the interactive exercise, you have to go to the resources of this lecture. Now if you don't know how to go to the resources of this lecture, go back to the first lecture of this course with the name how to follow this course. They're explain exactly how you gets the resources of this lecture. So in the resources of this lecture, you will find a PDF file. And as you can see, I'm now in the PDF file. And there are two exercises. And the only thing you have to do to go to the exercise is to, is to click, to click on the links. So let me first go to the first exercise. So I click and you see that this page opens on your web browser. And you just go to do the questions in this quiz. Now, you see there are 12 quiz questions. So now the first question I will do for you, you see this is a C, so I click on the answer, click Done on check answer, and it says correct. To go to the next question, I click on Next question. And as you can see, this is an E, but let me make a mistake now. And let me say this as a b and check answer. It says incorrect. The right answer is E. Okay. So you got the first two questions of me already. So we have ten questions left. When you go through the whole quiz, let me do it quickly. So quick that you can't see it. Otherwise, you would know all the answers. So there we go. Okay. So here we are. Just all the 12th questions. And with the one question that I made a mistake in, it gives me 11 out of 12, correct? 92%. Okay, let me go back to that PDF file. Let me go to exercise two. So let me click on it. And again, another pitch will open in your web browser, you have a little explanation here, instructions, but let me just quickly start. So I click on Start quiz. And you see that here it says G. So what you have to do is to put in the right answer. You do that in this image here above. So I click on the G. If you make an error, you just take it away. If e.g. I've made this error, I put this note, I said, oh no, it has to be G. So I click again and down on the G. Then I click on Show Answer to see the answer. I can show and hide as you see. Okay, Next question, F. Okay, now, let me take this F for now and click on Show Answer and you see that an other note is highlighted. Does this mean that you made a mistake? No. Because look, this is an F before a group of three black keys. It's also the case here. So you just clicked on the oven octave higher. So you didn't make a mistake. If you click on a note that this is an octave higher or lower than indicated in India answer, then of course, you just clicked on the right answer. It's not a mistake that you made. After that, you just click on Next question. A, B, of course, Show Answer, etc. No. The computer always chooses a random question and it doesn't have an end to this quiz. So you can go on as long as you want. So how long do we have to continue? Well, as long as you like, as long as you think is needed to master dose node names on the piano keyboard. Now what can happen, of course, is that the computer chooses two times the same question after each other. In that case, you just click on the exhale. Let me see. No, it's asked for C now. It asks for D. Now it asks for G. C again, D 0, C. I click twice on Next question. I have two times f. If that happens, of course, you go, just go on by clicking on Next question now. Okay, so that's it. And exercise, do this exercise. It's really very important that you know the note names and then I see you in the next lecture. 8. Middle C: In the former lecture, we've seen that every note occurs several, several times on the piano keyword e.g. if you have a C here, you have a c here, is c here or even more down. Or if you have any other node, G, also, you can find it here, you can find it here, you can find it here, et cetera. That's for every note. The same thing. Now, let me talk about to see. Quite low C, As you can hear, is quite high. As you can here. This is still quite low, C quite high. I see there is one that we consider the middle C. That's C, that's not high, It's not low, it's just in the middle. And that's on this keyboard, this C, and you can hear that this C doesn't sound too high. It doesn't sound like it sounds in the middle. And this C is therefore considered the middle C. Now the question is, how can you find the middle C on a piano keyboard? Well, that depends a little bit on the keyboard. It depends on the number of keys that your keyboard has. A normal acoustic piano has 88 keys. There are also keyboards, digital pianos that has 88 keys, but you also have keyboards that have less keys, e.g. 76 or 61, or even 49 keys. And there are even other numbers of, numbers of keys. But let me say that those are quite common numbers for keyboards. How can you find the middle C on those keyboards? Now you see the D4 sorts of keyboards, 887,661.49 keys displayed here on the video. And the middle C. Normally, you can find it by going to the middle of the keyboard. And I will show you the middle of the keyboard here with this red arrow. You'll see it for all the four keyboards here. And the middle C is normally the sea that is just on the left side of the middle of the keyboard. So you'll see that indicated here in blue. Yeah, only for the keyboard with 49 keys, you see that the middle of the keyboard corresponds exactly with the middle C. Now, normally, you see very quickly on a keyboard where middle C is high because you don't even have to measure your piano to exactly see where the middle is and then go to the left to C to C. Now you just see it directly. And that's for every keyboard, the same you see now on those four keyboards. But if you have some are exempt e.g. a. Keyboard with 73 keys, which I didn't display here. It's the same. You just finds the middle see by just going through the middle of the piano and going a little bit to the left. So that's how you find the middle C on any keyboard. 9. Names of the black Keys: So you've seen the white keys, you have seen where to middle C is. So it's not time to see what the names of the black keys are. And let me just take one. I will start with this one. And this black, as you see, is exactly between the C and the D. It means that the pitch of this node exactly between the pitches of the scene. So you can see it either as a c that is a little bit augmented in pitch, or as a D that is a little bit lower. Now, you can call this node a C sharp. And the sharp sign actually means that the pitch is slightly higher. Now of course, this is not the only C-sharp that you can find on the piano. It's like with all the other nodes. You can find sharp here, here, here, etc. In the same way, you can say that this node here is slightly higher than the D. So this D sharp in the same way, and he is sharp, and here's a D-sharp, et cetera. In the same way we can go on. Well, on the right side of the e, you don't find a black key. So I can go on to the black key, to this just on the right side of the F. That's an F sharp. And here you find a G-sharp. This isn't a sharp. Now, as I said before, sharp keys are in-between two white keys. So this C-sharp that we found here, you can see it as a seed that is slightly higher, but as I said before, you can also see as a D that is slightly lower in pitch. So you could say this is not only a C-sharp, what we call it also a D flat. The flat sign means that the pitch is slightly lower, in this case. Then the d. So this is a C-sharp, but also a D-flat, and of course here, flat and here's the flat wall, etc. In the same way we can go, one is slightly lower than e, So this is not only a D-sharp, but also an E-flat. Well, etc. You understand this is not already in F sharp, but also G flats because it's a little bit from lower than the G. This is not only a G-sharp, but also an A-flat Because it's slightly lower than the a. And here, the last black key that we have is not only an a sharp, but it's also a B-flat Since it's a little bit lower in pitch than the B. So you see that every black key has two different names. Let me just take one, the F-sharp and G-flat. You say that F-sharp and G-flat are enharmonic equivalent notes because they are actually one and the same note. The same way you can say that a sharp and B flat are enharmonic equivalent nodes are sharp a D flat and are enharmonic equivalent notes, well, etc. So now you also know what enharmonic equivalent notes are. So that's about the black keys. You now know all the names of all the keys on the piano keyboard. 10. Exercises with all the note names: Okay, to go to the exercises of this lecture, again, you have to go to the resources of this lecture. You have a PDF file. It works in exactly the same way as the exercises for the white key notes. So just go to the PDF. To the PDF, you have two links, two exercises. It works in exactly the same way. So do the exercises, and I'll see you in the next lecture. 11. 3 Important Intervals to Remember: In this lecture, I want to talk about three different intervals between notes. First of all, what does it mean an interval? Well, an interval is just the difference in pitch between two different nodes. The most simple interval that you can find is the halftone interval. Half tone interval is the interval between a node and a note that is directly on the right or the left side of it on the piano keyboard. So let me take e.g. a, G. When I go to the next note on the right side of the GI, then it's the G sharp or a flat. If you prefer. This interval from G to G sharp, we call it Halftone. You can also call it a semitone or a half-step. Same thing between G and G flats, or F sharp. That's also a halftone. Another example, from B flat, a halftone up, your own be halftone down. You're on. A is an interval of a halftone, always between a white and a black key or a black key and the white key? No. Okay. The E When I go a half step up, then as you know, there is no black key between the E and the F. The next note right to the E is the f. So this interval from E to F is also a half-step, or a halftone or a semitone. Same thing between B and C. Also, this interval between B and C is called a halftone. The second interval we will see is the whole tone interval, also called the whole step interval. And the whole step interval or the whole tone interval is simply to Halftone intervals added together. So e.g. when I'm on and I go to half-steps up to, then I arrived on the note G. So the interval between F and G is a whole tone or a whole step interval. Another example, from D to E. Because you go from D two times halftone up to arrive, to eat and to Halftone intervals is a whole tone interval. But you can also have a whole tone interval between two black keys, e.g. F-sharp, go up two times a half. Step. One, you arrive, you arrive at G-sharp. From F sharp to G sharp is also a whole tone interval. You can also have a whole tone interval between the black and the white key, e.g. if you're on B-flat, you go to half-steps up 12, and you were arrived at to denote see, so the interval between B flat and C is that of a whole tone, or a whole step, or between whites and the black key. When you're on the E and you go up two half-steps. One, then you see that the interval between E and F sharp is also that of a whole tone. The third and last interval we will see in this lecture is that of an octave. When you're on to see and you go to the next C on the keyboard. Then you call this interval an octave. Why do we call this interval between this and this octave? Well, first of all, octave comes from the word ate. And when you're only looking at the white keys, you can say that this is k0 y34, 5678. So that's where the word octave comes from. Now of course, from this to this, you also love to. But of course, an octave is not only between two seats, it can also be e.g. between an atom and the next f. That's also an octave. Or between the D and the next day. Or between F sharp, F sharp, or G flips, etc. Now, there are many more intervals. Does that exist? But for the beginning, we will only use those three intervals. 12. Introduction to scales: Introduction to major and minor scales. But what are actually scales? The word scale comes from Latin and actually means letter. A scale is a set of notes. When you play them in ascending order, like this. It's like going up a letter. Or you can also play it in descending order. And then it's like going down a letter. Now, scales are very important in music. Set the mood of the music. The two most important skills in Western music, art, major and minor scales. Now listen to the difference of a little piece of music played with Major harmony and a piece of music played with minor harmony. I will first do the major harmony. Now, almost the same thing, but in minor harmony. Now you hear the difference. The major harmonies sounded much happier and demeanor Melody had a sadder, a darker or more melancholic mood. Well, of course, I played in minor harmonies slower to accentuate even more of this effect. But you can still hear that major sounds, happier and minor sounds darker, more melancholic or tragic. So to sort of scale is very important. It sets the mood of the music. We will first start doing major skills in all the keys. That means all the 12th different keys that we have on the keyboard, and every key will have its own majors get done. Later. We will do older minor keys. 13. C major scale Theory: In this lesson, we're going to do our first major scale, and that's the C major scale. Why do we start with C major? Well, because it's the easiest major scale, It's the only major scale with only white keys on the piano. That means that the C major scale, it starts, Let's see. We're doing all the white keys till we reach the next C, an octave higher. That means that our C major scale is simply g. So that means that you use all the white keys as shown here on the virtual piano. Now, how many different nodes do we have in the C major scale? When you count, you would say 12345678. But note that the c is played twice. First when we start at scale and dad, when we ended the scale. So we will not count to c2 times. That's why we only have seven different notes. You can play the C major scale in ascending order. But you can also play it in descending order. It's very interesting to look at the intervals between the consecutive notes of the C-Major Scale. When we go from our first node, C to D. Then the interval between those two notes is that of a whole tone. From D to E is again, a whole term. From E to F is a halftone. From F to G. A whole tone from D to a. Again, a whole tone. From a to b, again, a whole tone. And finally from B2C Halftone. You see the next structure, 11 half, 111 half. Or I could also say, Hold on, hold on, Halftone. Hold on, hold on, hold on, Halftone. Now, this structure is very important because this structure is for all the major scales, not only the C major scale. Now with this exact structure, we're going to find out all the other major scales. You will see that when we apply exactly this formula, hold on, hold on Halftone, hold on, hold on, hold on halftone. Dots. In other major scales, there will appear black keys, but that's for next time. Anyways, it's important that you remember this formula. One one-and-a-half, 11, one-and-a-half or hold on, hold on, Halftone. Hold on, hold on, hold on Halftone. Since we're using it to find all the other major scales in the future. 14. Playing the C major scale on the piano: Okay, So now that you've learned the C major scale, it's time to play it on the piano. Now, of course, you could play C major scale just with one finger up and down. But yeah, you've seen in one of the first lectures of this course, that's not the way to do it. You cannot play it smooth. Those are single notes, they're not tied together. So in order to play it smoothly, you have to use all the fingers of your hand. But we have a little problem. Look. Now, if I wanted to go further, I have to lift my hand and there's a gap. And we didn't want gaps. So what's the way to do it? So that's what we're going to learn in this lesson. Now, before I'm going to show that on the piano, I want to number the fingers because it's easier to say, take a finger number 123 than to say take your thumb or your index finger. So that's where, what were you going to do now? So have a look at this image. And you'll see here at the left and your right hand. Now we take the thumb and we call that finger one. That's what it's for, left and right hand to same index finger, number two, middle finger, number three, ring finger number four, and number five. So that's what we're always going to use in this course. Not only in discourse, it's, it's, it's January everywhere. Piano players communicate in this way. One, fingers, 12345, thumb, index finger, middle finger, ring finger. Pinky. So let's go back to the piano and let's see how we can play the C major scale on the piano. Now, there's a special trick. We start with our thumb, finger number one under C, D, and E. And what we do next is that we go with our thump. So finger number one under our middle finger. So under finger number three on the f, c. This way I can go on. Let me just do it several times. You can do it also several times to play it smoothly. Just dried this several times. Don't leave gaps. Blade smoothly. If you can play that and you can pay its movie that we go on. So while one, that's the finger numbers that I see and you see I have the rest of my fingers. And you'll see that I can use now to end my C major scale, 234.5 on the sea. So 12312345, that you might want to do it slower. 12345. That's how you can play smoothly the C major scale on the piano. We don't pay them. The C major scale only app. We also play it down. When we played down, we do always the same thing as that we went up but in reverse order. We ended with our pinky on the c. So we start now with our pinky on the sea and just go down. So five on the sea to one. And now I have to go with my middle finger. So finger number three over my thump to the E. So E, D. And I'll see you guys. So you see it's exactly the same way as that we went up, but then in reverse order. So try that several times. Perhaps you have to especially look here. That's this. So from the E that you can pay it smoothly without leaving a gap. And then you continue till your C. Be aware that you have always to keep your hand as if you were holding a little bowl. Had don't put your hands flat on the piano. Always. As if you were holding a legal ball. Okay. All right. If you can pay that you compete down. No, I do it quite quickly now, but of course, now the principle, how you do it First slowly, you could use a metronome, had to do it. Put it first on well, let me say 60 beats per minute. Let me do that and show you how that goes. There we go. First four counts before it begins. So 1234. It could go back up and back down. Well, let me put it off. Okay, so that's how you use the metronome. Now, of course, we can not just go up and down one octave. We could do two octaves. So how does that work? Because when we went up, you see that we ended with her pinky. Now to go from your pinky back here, that's almost hurts my head, so we're not doing that. Let me show you how we do that. We start the same way, 1231234. Now, instead of going with our pinky on the sea, we now go with finger one. That's worth thump on the scene. And we do exactly the same thing. So we go on through here exactly as that we were doing with one octave. We're back with finger one on the F. And we can continue to, until we are the next. See, you could even do three octaves, but in that case, you do again, etc. But I think two is enough. So I repeat, we do 31234 and then instead of using finger number five, so our pinky on to C, we go now with our thump under our ring finger on to C, we do exactly the same thing as if we weren't used to. Okay? So try that out yourself. Then, of course, we can also go down and going down. There's always the reverse thing as going up. So we start with our pinky on the c54 321, go with our middle finger over our thumb. Just the same thing as with one octave. Now, if we want to go on with the second octave, we go now with our ring finger, finger number four on the B. And we continue in the same way we're used to. So finger three. So that means that you have to move your middle finger over your thumb on the back to the c. So let me do it one more time. 5 432-131-4313. Okay. So that's one octave and two octaves up and down with your right hand. Yeah, I didn't show it now with the metronome, but it's the same principle of course, as if you would do only one octave value. You put your metronome on e.g. you start on 60 beats per minute. If it's too quick, then you start on a lower speed. It's up to you which speed you choose. You let it count 1234. And then on the fifth count, which we actually call again count one in music, we normally count 12341234 in most songs. So 11234, and then you start, et cetera. Okay? So if it's one octave or two octaves, you can use the metronome in the same way. So you don't practice only with your right hand. You also practice with your left hand? Now, I started here. I didn't say that, but I started on the middle seat. See, Yeah. I can start of course, where I want. I could have stopped here or here, etc. I can start wherever I want. I now start with my right hand on the middle seat because usually we break play with our right hand in this region from middle seat and up, doesn't mean that you never play with your right hand. Those nodes here under the middle C, Of course you do sometimes, but mostly here. Left hand. Let me start one octave doubt. Of course I can start again where I want. Now the left hand. Let me start here around this. See, we started with something and we just go up. So that's 54321. No, I don't have any fingers anymore. So what I do is I go with my middle finger over my thumb on the a. So that's the 32.1. That's what, that's for one octave with. The left hand, again, 32132. Things that you have to think of is first, put your head as if you were holding a little ball in your hands, never flat. And second is that if you come here, g, that you had your present, perhaps you have to practice this several times. Don't leave a gap. Can just do this. Okay. So that's up. Let me go down. And also with the left hand going down is the same thing as going up but in reverse order. And we ended with our finger number one on the seat. So we will now start with finger one to thump on the sea. So there we go. Three. And now we go with our thumbs under our middle finger on the G figure, 12345. And let me show it one more time. 12345. Okay, so try it out yourself. And then we have to do two octaves. Again. You can do it with a metronome, but you know two principle. I don't have to show it again. Yeah, there we go. We start in exactly the same way as with one octave. Sorry, 54321321. Now, if we want to go on, yeah, so this was exactly the same thing as with one octave. Now we go with art, ring finger, finger number four over our thumb to the D. That perhaps you have to try that several times. So perhaps it's best to take this node also. Make it smoothly. Don't leave any gaps that so once you're on the D, then just go wrong with finger 321. Add you to exactly the same as with one octave. You go with your middle finger, middle finger, and your thumb. On the age of 3,082.1. I'll see. Okay. Let me do it one more time. I will call well-named a finger numbers 54 332-432-1321. Okay. I'm okay if you don't remember, you can always go back into video. That's easy. So let me now just go down with my left hand. Two octaves. Always the same thing as going up, but in reverse order. So we start with finger number one with our thumb on the sea. Three, justice with one octave, you go with your thumb under your middle finger on the g1234 it but now, instead of going with your pinky on to see what's the case with one octave. You go Now with your thumb under your ring finger on the sea. You do the same thing as we did before. Has a 1335. So let me do it one more time. 1, 2, 3, 1, 2 3 4, 1, 2 3, 1, 2, 3, 4, 5. Okay, so now you know how to play with left and right hand. One octave, two octaves, the C major scale. Now, you could ask yourself, is it so important to play the scales? Because it's, it's not a very nice exercise. It's running up and down to scales. Drew. So first of all, why is it important to know how to play the C major scale? And later we will do either others, also other scales. So why is it important to know all those scales and how to play them? Well? It's needed for a better understanding of theory. For a better understanding how music works. In that case, you can, e.g. if you play a piece, you can expect what notes will come next when you're playing your music. If you're in the key of C, you know which notes to expect. Also. It's a very good exercise to learn how to play smoothly to not leave gaps for your hand position. And it's just a good finger exercise. Now, as I said before, running up and down the scale is not very funny. No. For that reason. In this course, you're going to play the notes of the scale, of the scale, of a scale, in this case the C major scale, but later also other scales in songs. So I choose some songs that are in a special key, e.g. in the key of C major. And in that, in those songs, you're going to play the notes of that scale. Now, of course, it's not in this order. Otherwise all the songs that would sound to say no, it's another order and you're also going to use other finger positions. It's not so that you're always use finger one on C, C to D of E, one on F. That's only in the scale's, not in songs, but at least in those songs you will learn the notes of that scale. So that's one thing. How we make practicing the skills more fun just to play them in songs. Second thing is that we will, we will do in the next lecture, we're going to play those scale exercises that we just did. Right hand one out of two octaves, left-hand, one octave, two octaves with play long files. So there's a band that's going to accompany you with those exercises, with going up and down to scales. At those exercises, you're going to do them. You can do them in three different speeds. 60 beats per minute, 90 beats per minute, and 120 beats per minute. You don't have to do all the speeds. If you can play it at 60 beats per minutes, you could go on to the next lecture. But if you can play it well on 60 beats per minute, you can after that to do 90 beats per minute. Now, that's a key thing in music. You always start slowly. Mixed mistake that a lot of people make is that they want to play so fast from the beginning. No, never do that. Always start slowly. So it's playing the scales. We do also do that. We start slowly. If 60 beats per minute is too quick for you, then first take your metronome, start at, I don't know, 50 beats per minute or even less. So in the next lecture, we're going to play these scales with play along file. So see you in the next lecture. 15. Practicing the C major scale on the piano: So in this lecture, I will show you how to play the C major scale with the play along track at 60 beats per minute, 90 beats per minute, and 120 beats per minute. That play along tracks come in two versions. Aversion for one octave up and down, and a version for two octaves up and down. So together with the three tempos, this makes six play along tracks for a C major scale. And you will find the play along tracks and isn't resources with his lecture as usual. Before you begin, be sure that you know how to play the C major scale, as explained in the last lecture, so that you can easily follow the play along tracks. Okay, Let's start. Each play along track starts with four clicks of a metronome. After the fourth click, you start to play the C major scale in the same tempo as the metronome clicks. Okay, so let's start by playing the C major scale one octave, and it has to do to be played up and down. Now, especial thing to keep in touch, let it fit on the play along track is that you play the C. Let me just play it. We go up. Hi, See you play it twice. So you play it once when you arrive at the top and you played one more time, when you start going down. That's just the way how it fits with the play along track. Let me just start. So four counts before it starts. There we go. Let me stop it. Because on the track you can play it four times, but I stopped it now because I think at one time is enough. So you can just leave the track on and wait for the next four columns of the metronome. Do it again four times, four times 41 octave version. Later we're going to do to the two octaves version. And there it is. Twice. There. You pay twice up and down in the play along track. Okay? So that's 60 beats per minute. Of course, you can do it at 90 beats per minute version. You can do to 100, 120 beats per minute version. So let me just quickly show you First 90 beats per minute version. There we go. Okay, let me put it off. Well, let me also show 120 beats per minute version. There we go. Okay. Now this 110, 120 beats per minute version is not needed. Even at 90 beats per minute version is not needed. If you can play it at 60 beats per minute, it's okay. You can go on to the next lectures. You can always speed it up later. So I told that we also have two octave aversion. Now, the special thing about octet version is that if you end on the high seas, end of the last C, Now you remember the one octave version. We had to play the C twice. Here. Also, we have to play the C twice. But when we arrive, where we went up and we arrive at the high C, we count to two. So it's the whole time. But one, type, one counter 12. Then you go down to the sea where you arrive. When growing up accounts. And Dan, you go down with the C You played for the second time, only one count, etc. Again, this is needed so that it fits with the play along track. Let me just put it on. I will do the 60 beats per minute version. So there we go. Okay, let me put it off. Because as you know, it's played twice on the play along track. Now, of course, I can show you the 90 beats per minute version did 120 beats per minute version, but it works in exactly the same way. So I don't think I have to show you. I already showed it into one version. Now. So the important thing here is that you watch out when you arrive at high see here, it's the whole time. Two and then 11, etcetera. If you don't remember how it was exactly, just go back in the video and look well at how I do it. Okay, so that's how you play with the play long tracks. Very important. I've shown you now how to play your right hand with the play along track. But don't forget to practice also your left hand, you can of course, use the play along track also for your left hand, it works exactly the same way. So finally, I'd like to say that it's not needed to play at the highest speed. So 120 beats per minute. If you're able to play it well at that speed to tenants, great. If not, it's also good. If you play it well at 60 beats per minute, that's already okay to continue with the next lectures, you can always speed it up later. Remember that it's better to play it well slowly than to play it quickly, but full of mistakes. 16. Twinkle Twinkle little Star - C major: So after the C major scale, it's time to do a song in that scale. And I thought that Twinkle, Twinkle Little Star is a good one to start with, since everybody knows it. Yeah, it's a simple song, so very good to begin to play the notes of the C-Major Scale. To be honest, there's only six of the seven notes out of the scale that we play. There's one note that's missing has, or when we play the C major scale. Actually all the notes that we need for Twinkle, Twinkle Little Star, so we miss the beat. But that's only one node. And we use all the other six nodes. So I think it's still good to learn the C major scale. But before we start to do Twinkle, twinkle in C major, I'd like to say two things. First, I'd like to say this in the resources of all the lectures with songs. So also this lecture, you will find a PDF file with sheet music. Now you might say, But wait a minute, I can't read music. So what do I do with sheet music? Well, I added the sheet music because a lot of students that's already know how to read music asked me to add sheet music, so that's why you find it in the resources. Now, if you cannot read sheet music, Well, can you use those files? Yes, you can. Only you will not read the sheet music, but you will see that in those files under the staff and the staff that are dose five lines, which you can write the notes under the staff, you'll see the notes written out. So you can just use the notes that are written out. And that's not all above the notes. You find the finger positions. You can use those files for denotes and two finger positions. And for those who can read music, well, they just can use the notes on the staff. Now, I did this up for all the major songs so that you can see all the older nodes and older finger positions. But after all the major songs. But it's already very far in the course. I don't do it anymore because I think that then you're used enough to do it yourself. The second thing I wanted to talk about, It's about to finger positions. Since, you know that into C major scale we use two fingers. So thumped, index finger, middle finger on CDE. Then we moved with her thumb under the under the middle finger. So finger one on the F and a, three on, a four on and fight on C. Will we now use exactly the same finger positions in Twinkle, Twinkle. So exactly 1312345. No, no. Why did we learn those finger positions for the C major scale that well, because those finger positions where to best to play the C major scale, but those finger positions are not the best way to play. Well, in this case, twinkle, twinkle, or it's the same for any other song. So you will not always use the thumb will see, you will see that mostly we do it in this song. And 23 on D, E, and F, etc. It's even so that not every piano player would play the same finger positions in this same song. There are other possibilities, but let me play, let me talk about that a little bit later. Okay, after this very long introduction, let's just begin with a certain song consists of three parts. And those parts are all very easy to play. But let, let me first just play the song for you. And perhaps you noticed that I used the notes G naught to be and not the high C. Okay, this song consists of three parts. Let me just play those parts for you. The first part is this little musical line. That's the first part. The second part is. I will later explain them better in the third part is this. That's the third part. And as you know, the third part is repeated. Then we go back to part one, the first part of the song. And we end the song with part two. So the order is part one, parts to both once, part three, twice, and I'm back to part one once, and then part two again, once, and that's the whole song. So let me go into detail to do the three parts and I will start with part one. Yeah, I play it one more time slowly. So those are the notes, G. G. And you see that are used the fingers. But 44554. You can try it yourself. Now. You might ask yourself, why don't I just use five? Well, that is because assume I would do that, then I would use my pinky finger five on the G. I have to go to the a, then I have to make a jump with my pinky. Then you cannot really play the notes smoothly, or you cannot tie them together. Now to be honest with, to the same notes, really tied them together, either the G, But when going from C to the g, you can tie them together. And when going from the G to the a, you can also tie them together and you can only do that when you use this dose fingers. One on C for G. On a. Neurotic possibilities. Of course there are, he could even do this. But this is not the most practical way. And that is because we have to move from part one to part two. We will see that later. So for now we do just ring finger, ring finger. Pinky. Okay, try it out yourself. Then we move to part two. At the end of part one, we learned it with our ring finger, finger four on the G. So when we want to link part one and part two together, it's the easiest to go on with the middle finger, finger three on the F. Because part two, I will play it for you. That's which are denotes f. And I use the fingers, 33221. So what I do is when I go from D to C, I go with my index finger over my thumb to the sea. Are there other ways to play it? Because it's a bit complicated, not really complicated, but you have to go with your finger to over your finger one, yes, there are other ways to play it. How well e.g. to just to use for fingers 432.1, 4433. But now you might ask yourself, why don't you do that? It's much simpler. Well, actually that is because at the end of part one, I lend it with my ring finger, the G. So when I wants to link part one and part two together, it's easier. What the best way is to use then my middle finger on the F. That's why I'll end it with three on the F. Well, when I go down then with one on my D and then I still have to use a finger for deceased. So that's why I do this. Now. Can't you play for three? Yes, you can. But in that case, you will not really link part one and part two together. Is that a problem? No, not really. Because part two is actually a new musical phrase. And it's like a singer who needs to breathe a little bit and leaves a little gap there. And I would say that within one musical phrase, It's best to not leave gaps, but when you go from one meals look raised to the second one. It doesn't matter so much. But for the purpose of learning to play everything together, I thought by myself, okay, when we go from part one to part two, Let's try to link everything together. So that's why when we learned it on the end of part one with our ring finger on the G. I continue with my middle finger on the okay. That was part two. So that was prior to hello. Again. Now we go to part three. And part three is so those are the notes, g. G. And I use the fingers, 554433. So that's part three. And as you know, part three is played twice. So when we paid for the last time, for the second time, dad, we go back to part one, which we already know. And we finished the song with part two that we also already know. Okay, so that's the whole song. Okay, Well, I will do know is that I will play the whole song with the metronome. And it's good to use the metronome to get yourself used, to use the metronome because it's the only way to learn it in a steady way. And before I use the metronome, it's good that I say the following, that, well, let me just illustrate it with part one. You see that the last note lasts two times as long as the, all the other nodes. Let me say that every note is one count and the last node is then two counts. 11112, same four parts to one. But to also dare to last note is to cows. Same thing for part 3111112 or all three parts. All the notes without the last note last for one count, and lastNode always lasts two counts. Okay, when we will play with the metronome first a few things. I will put the metronome on 60 beats per minute. I think that's a good speeds to start with. If you have problems, you start on a lower tempo, have e.g. 50 or even lower, just what fits you. Other thing about the metronome. We start, we count to four in this song. And the metronome will also start with four counts and then we start to solve. So here, 12341. And done. You start to song. Okay, let me put the metronome on and then we start. So it counts first 24 and then we start 1234. Okay, that's it. Let me put the metronome off. Okay. So try it yourself. Start with e.g. 60 beats per minute and then slightly increase the speed. Alright, when you master it at 60 beats per minute and go to 65. When you mastered Etico to 70, go to 75, 80. Well, where do we have to stop? I think you can stop where you want. Of course, don't do this. That's far too quick and it's not, it's not nice. You know, yourself at what speed you should stop. Okay? Now, last thing I wanted to show you is that you can also play this song with a backing track with it play along MP3 file, which by the way, you can, as usual, find in the resources. This backing track also starts with four metronome clicks for a metronome counts. And then the song starts exactly in the same way as we did with a metronome. The song is played three times on the backing track. So you can go from one time, the second time to the third time playing the song. One important thing to say is, you know that when you've finished the song, that's part one, part two, twice part three, then again, part one and part two. So we end with part two, which is so you end with your index finger on the sea. Now when you start with a second time with his song, you notice should use your thumb under C. And so when you add the salt, you end with your finger to, and then you start again with finger one. So that's at the end of the first time and the end of the second time you play the song. Okay, Just let me just play it. And Dan, you can do it yourself. And by the way, later we will play Twinkle also in other tonalities. That means not only in C major, but also in GED, whatever major scale. And also dare, you will have play along tracks. And it works exactly in the same way. I show it now for the C major scale, but it works exactly in the same way for the other major scales. And I will not repeat it because it's always the same, but you will find the tracks for the other scales also in those lessons. So let me put it on and just start time. Third time. Okay, that's it. Practice it yourself first with the metronome and done with the backing track. 17. Morning has broken - C major: Okay, in this lecture we will play the song, Morning has broken. So this is a song in the key of C, C major. So the notes of a C major scale we use, it's a little bit more difficult than Twinkle, twinkle. But let's start. So the first one is, okay, let's first do this part. Now, you saw that for the fingers at it, this which is 12345. And so the notes are C, E, G, C, D. Now, I can do it with my hands because I've quite big hands, but other people might have problems. So an utter finger position is possible. You could start with two on the sea, then go with your thumb and your index finger on the e124 and then five. So that's also possible. Now, to be honest, the finger at positions are perhaps less important. It's more the melody that counts. Perhaps for the whole song, all the finger positions that I will do are not good for you, so you have to find out your own fingering. So I do it as follows. 12345. Then the second part, 321 to three to one, which are the nodes B a G, a, B a G. So again, be a G, a, B, a G. Think of the rhythm also. So the whole first part is C, E G, C D, B, a G, a, B, a G. And again, you could start also with finger two on the C and then one on the E to G, and then for C, etc. This is the first part of the song. Now I will put on the metronome. But you'll note that in Twinkle, twinkle, we did four counts before we started the song. Now, with this song, I will do three counts. Why? Well, because this song is in a three-quarter time. Now what that means, you will learn it later in the part about reading music. So for now, just to take it as it is, three guns, I will even do two times three counts to give you more time. Be prepared to start the song. So there we go. 123123. Okay, that was the first part. Now, you see that I put the metronome much higher than what we had before. Of course. You can start lower at a lower, lower tempo. Now, 60 is really very low. I would start, yeah, at least at 80 or 90 or so. This is quicker. So again, one more time with the metronome, the first part, which well, listen well, also to the rhythm. 123123. Okay. Let's move to the second part. That's as follows. Okay, again, so the notes are C, D, E, G, a, G, d, d, d. D stays for long time. We will see with a metronome how long? But first, again, the notes C, D, E, G, a, G, D, d, D. And for the finger positions. 123-45-4222. You could eventually end with 4111. That's up to you. Okay. Let me do it with the metronome. Again. I do two times, three counts before I start 123123. Okay? Now, very important is how you play the rhythm. So perhaps you, you're hurt that the last D, I did it two times. Three counts. We have 111-12-3123, 111-12-3123. And also the G and the a are both three counts. Once more. 111-12-3123. 111-12-3123, once more with the metronome and countered with the metronome 123123. Okay. So that was the second part. Let's move on to the third part. So I will first play it. Okay? Now, again, the finger positions, you can find out perhaps better finger positions for yourself. What I do is this. First denotes G E, G, C a G E, C, C, a D. And the finger positions, I take our 312, 543-212-1213. You could also take 1212 because then you're prepared, prepared for the next part. You will see that later. So again, 3 1 2 5, 4, 3 2 1 2, 1 2 1 2, 1 2 1 3. Perhaps you saw also that when I went on to see that I changed my finger from one 1-2 because when I'm one and I want to go to the a, this is not good. So you prefer to do it like this. So I went down, I came down from the G like this. And then the second time, see, I use my index finger. Okay, let me do it with the metronome and listen well to the rhythm. When 23. Okay, I'll show you once more the rhythm. So most nodes are just one count. I will count with it. So you will see what to do. Rhythm is 11 112-312-3111. Okay, this last part was a bit strange because it's not exactly on the count. So it's so just try to follow it with the metronome. I'll play it once more with the metronome. Here we go. 123123. You see that his last part. Not all nodes are exactly on a beat on account of the metronome. Okay, Let's move to the last part. That's as follows. Okay, So the notes are E, D, E, G, a, D, E, D, C. And the fingers. 32345 to three to one. Again, you see that in the end, for accounting for the written, it doesn't fall exactly on the beat. We will see it with a metronome. Let me put the metronome two times three counts before I start. 123123. Okay? So we do this. 1, 1, 1, 1 2 3, 1, 2, 3, 1, 2, 3, 1, 2, 3. So this little part, I didn't count because it's not exactly on the beat, not exactly on the click of the metronome. One more time with the metronome and listen well to the rhythm. 123123. Okay, let me, let me play the whole song now with the metronome. So listen well. And look well to the finger positions and the notes and listen to the rhythm. There we go two times, three counts before I start, 123123. Okay? It's perhaps a little bit more challenging than Twinkle, twinkle. And you will need a little bit more time to study it. But it's much more fun because it's a longer piece. And in the next lecture, you will play it together with a guitar. 18. Morning has broken - Play together with the guitar: Okay, in this lecture, you're going to play together with a guitar. So in the resources, you will find two files. One file with a guitar and a click track. So that means you can use the guitar to play over. But together with a click track that will help you to follow the guitar. In the other one, the click track will only play the 123123 and nothing more. You have to start yourself then. So watch out. Now. In this lecture, I'll show you how to play it. And well, watch out for the one that has only the click track for 234-12-3123 and then nothing more because it will click two times three times. Two times three counts, I had to say. And then you'll have to start yourself without the aid of the click track. Now, the guitar starts a bit later. So the song starts like this. And the guitar lead starts when you're playing this high, see? So when the click track plays, or the metronome, I should say, when the metronome place 123123 here to guitar starts. So you play totally on your own without a click track, without a guitar. So listen well to the metronome, to the click and follow its rhythm. I am not there on the files in the resources to say one-two-three, one-two-three, you have to do yourself. I will play the metronome and then you'll have to start yourself. So like This, et cetera. Okay, let's see how to play over. Morning has Broken with the guitar. Okay, and now without the metronome, the metronome will give only two times, three counts in the beginning for you to begin playing. And that's it. 19. Imagine - C major: Okay, I guess you all notice some imagined from John Lennon because that's the next song we're going to do. Yeah, and there's not, as always, how you look on YouTube and you certainly will find it there. So it's an easy song, It's not very difficult, and it's in C, So we're using only white keys. Let me start. There is a verse, there's a re-frame. It starts very easy. So only three notes, G, G, G, B. So two fingers, 111332. That is repeated four times. Now, I have to say here that it's not always exactly the same. It depends a bit on the words that John Lennon sings. Sometimes he uses four times g, especially in the first sentence. Imagine there's no heaven. Now you see four times g. Sometimes it's two times g, But I write it this way. So be aware that it can change from time to time and even to beat sometimes it's only one time. So be aware of that. Even if I write it to the whole time the same way. Then. So that's the first line which is repeated four times. Then the next line is as follows. With the fingers, 13135541. So first breakfast, your first-line four times, then the second line and then try to link them together. So I do first, the first line, I will play it only one time. And then I go directly to the second line. Even if it has to be played four times, then we go to the third line. So that's b, b, b, c, d. And with your fingers simply 2234. And then the last line of the verse, G, d, c with the fingers, 35321. So that's the whole verse. As I said, it has to be played first slowly and then slightly increase the tempo. Now the final tempo at what we're going to play, it is 72 beats per minute because that's the tempo which we will use in the next lecture when we go into play it with the bend. Of course you start slower. You can start at 60. Now, there's not a very big difference. 60-72. You can start at any temperature like of course. The important thing is that you have to be able to play it without any mistakes. And when you can play it at a certain tempo, you get condensed slightly increase the tempo until you are at 72 beats per minute. I will play it with the metronome. I will directly put it on 72 beats per minute. Now, it's important to count. Well, you know, when, you know, just so you know, there is in the intro that goes something like that. Then after that, you begin with this. Now, of course this intro, you don't have to play it. It's the Bantu place it. But just to show you, show you how it starts, because there is when you count with it, It's 12341. 34 123-412-3412. See that I started on to that. So you have to start on two. So when I will play it now with a metronome, I will not play the intro Now, when I show it to you, I will just pay the metronome. It will it will count 1234. Then again, 1.2. It starts. Let me put it on. Okay. Yeah, I'll put it off. So that's the verse. Now, after the verse, you normally play another verse and then it comes to reframe. But let me start now with the re-frame. So that's the following. That's the first line of the re-frame. That's denotes a, b, a, b, c. With the fingers that seems simply to finger 3 4 and 5, 5, 3, 5, 4, 3, 4, 5, 5. That's the first line. Second line. That's the notes. Now two fingers, 3544331. Let's go to the third line. So that's the notes a, B, B, a, B, C, a, G, two fingers, 354-43-4532. The last line of the refrain is C, C, D, D, C, D, E. So that's the fingers. 334-543-4533. So again, only those three fingers, 345 on C, D, and E. So that's the reframe. Let me play it with the with the metronome. And again, you have to start on count too. So you hear the metronome 12,341.2. I start let me put it on. Okay. As I said, you have two times diverse, a onetime the refrain and done again verse, refrain. Now, very important. How do we go from one verse, the second verse? Or how do we go from diverse did refrain or from the refrain verse? So let me talk about vents. Now. Let me go to the last line of the verse, this one. And I will then go to the next verse. And it goes very quickly. Okay, let me play the last line of the verse and go back to diverse. So that's as follows. 1234. So you see I, I go directly back to the reframe to diverse. Sorry. I don't wait, don't make it pulse. I will do it once again. I will put the metronome on. Okay, let me do the same thing for going from averse to re-frame. See it's exactly the same thing. You start on the same moment. I don't count two. You start with the first note of either diverse or the refrain. So let me do again this last line of diverse and go back to the reframe. Now you hear there's no pulse. You go directly from verse to verse or from verse to reframe. Let me put his off. Okay, from refrain back to diverse. So we have this last line of the refrain. So there's a longer pulse. So how do have to count that? So let me count it for you. 12341234. So it's a longer pulse. Let me do it once more. Let me do it with the metronome actually, etcetera. Okay, practice it well. And as I said, you slightly increase the tempo till you are at 72 beats per minutes. And then you go to the next lecture where you will play it with the bend. So see you in the next lecture. 20. Imagine - Playing together with the band: So let's finally try to play imagined together with a bent. So as I said before, 72 beats per minutes. So be sure that you can play it on 72 beats per minutes. And then you can start to play together with a band. A few things are important. Some of them I already said in the last lecture, but let me quickly repeat them so that everything is clear. So for the beginning intro, we have no metronome, how I did it. The intro, which is played on the piano is the metronome had this part. Let me play it. Let me count with it. And then directly go to the, to the playing, to the melody we play. So that's as follows. So be sure to start count two. So that's one thing. The other thing to pay attention to is when you go from verse back to diverse, you have this line here. You go direct, directly back to the G of the versa. Same thing if you go from verse to re-frame directly into the a of the verse and what does it one more time. Then when going from the re-framed back to a diverse, you have a pulse and it's a bit longer. What was it? It was like this. Sorry. 23412. So you count after this last seat, 2,341.2, you start again with the G. The first note of the verse. The order of the song. Diverse is played twice. Then the re-frame done again, diverse and the reframe. And that's it. So are you ready? Let's try it. I will put the band on. All right. 21. The G major scale Theory: In this lecture, we're going to do the next major scale. Our next major scale is G major. Now I hope you remember the major scale formula. And even not, doesn't matter. Here it is 11111 half, or if you want hold on, hold on. Halftone will hold on, hold on, hold on half though. So we're applying this formula G. So we start on our route, which is now the G. So we're going up first a whole tone to a, another whole tone to be, then a halftone. To see a whole tone to D, Another whole time, to E. We need another whole tone. But if I go to the F, you see that it's only half tone. So I have to go to this black, which is the F sharp. And finally, halftone. Back to our root. G, or G major scale consists of the notes F sharp, G. And you see that the G major scale contains one sharp node, one black key on the piano, which is the F-sharp. Now you might wonder, why did I call this note, this black key note an F-sharp? Why didn't I call it G flat? Because they're one and the same note, of course. Well, imagine I would have called it g flat. Then my G major scale would have been G, a, B, C, D, E, F, G flat g. Now, what do we see? First of all, when we go from E to G flat, there's a sort of a gap. Now, what do I mean by a gap in this case? Well, the letter, the letter f is missing. You'll see that all the other nodes are in alphabetical order, okay? Not from G to a. That's the only exception. Exception because we went with our notes from a to G in alphabetical order. But in this case, from E to G flat, I go from the note E to something with a note, with a letter g. Of course it's G flat and not g, But the G-flat contains the letter g. Now, this is not possible. You cannot leave a gap in the scale. So that means that instead of G-flat, I should call it F sharp. And now you see that the letters are in alphabetical order. E, F sharp, G, which I'd let us e, f, and g. When I don't look at the sharp sign. You could also say, imagine again that's denoted as a G-flat. If instead of a F-sharp, instead of seeing there's a gap, you can also say, Hey, the last two notes are G flat and G. They both contain the letter G. Now it's not logic to have in a scale to the same letter for two consecutive nodes. So the only way to avoid that is to call that note and F-sharp. Dan, I don't have two G's, but I haven't F and a G, F sharp, but when I don't look at the sharp sign. So that's why this note should be an F sharp and not a G-flat. I remember you could see that either by looking if there is a gap in the alphabetical order of the notes or if direct to the same letters. One of both rules you can use to determine that it's F-sharp instead of a G flat. So that is the G major scale. 22. Playing the G major scale on the piano: So let's now play the G major scale on the piano. Not to be honest, this is not difficult at all when you know the C major scale. Why? Well, because the finger positions are exactly the same as dose for the C major scale. So the only difference is of course you don't start on C But on G. And you have now one black key. And that's the only differences. So let me do it quickly. Let me start on this G now. So slightly under the middle C. So you do exactly the same thing. So 133. What shout sticky note, Dutch, the black key, and not the, not the F but F sharp. So once, once more. For fun. Exactly the same thing as with the C major. Scale. Down. Same thing in reverse order. I do it a little bit quicker because it's exactly the same thing as with C major. Let me do two octaves. So where we started exactly the same way, yeah. For instead of using your pinky ago with your thumbs knock 112345. I will do it once more. 3 341-231-2345. Okay. Let me go down. Same thing. Reverse order, 532-314-3213. That one more time, 513143 to three. And again, if you know how to play C major, you'll also know how to play G major, only two differences. You start on G instead of a C, and you have now one black key. Okay, left hand. Let me start here. What octave? Three. Also here, left hand is also exactly the same thing as with C major, the same finger positions. Three. And back. 312345. Once more, 13234. I keep saying this, that you have to put your hand as if you were holding a little bowl. Never flat, you know it now but it cannot repeat it enough because it's very important to octaves. 533. So this is still the same as with one octave. And now 3321. More time. 54331213. Same thing as with C major. Okay, back 1231234, Node.js, your pinky, because we're going on with the next octave. Use your thumb. 312341, more time. 123133. Okay, Did this much quicker than with C major? It can, because it's exactly the same thing. So if you know how to, how to play C major, you know how to play G major. And again, I repeat, I think I said for the third time. Now, the only difference is you don't start on C, But on G, and you don't have all the white keys, as was the case with C major, you have now one black key, heady, F-sharp. Okay, so that's how you play G major on the piano. And also here, like was the case with a C major scale. And like will be the case for all the future skills in this course. You can practice the skill with play along files. Again, you will find play along files for one octave and two octaves, both in 310 bows, 60 beats per minute, 90 beats per minute, and 120 beats per minute. And of course, you can use to play along files for your right and your left hand. Now, you will not find a separate lecture how to use the files, since it works in exactly the same way as explained for the C major scale. The only difference is that the play along files for this lecture are for the G major scale. That's the only difference. If you don't remember how to use the files or if you didn't see the lecture how to use them, I would advise you to look again at the lecture named practicing the C major scale. By the way, you will of course, find the play along tracks in the resources of this lecture. 23. Twinkle Twinkle little Star - G major: Okay, we're now going to play Twinkle, Twinkle Little Star again. But now we will play it in G. Now, how is that possible? Because we first said it was in C and now suddenly in G. Well, listen, in C, we get this, etc. So we started on the C, G, a G. Let's now start on the G and the same melody. You see that indeed you hear that it sounds the same, but a bit higher. So we can play the same melody. But starting on the G. Now you can see that when we did it in C, we started on the first note of the C major scale than the fifth note. And then the sixth note. One fifth note, a sixth note, fifth note. We can do the same thing in G. The first note is done of the first note of the G major scale is done the G. The fifth note of the G major scale is the D, and the sixth note of the G-Major scale is the E. So we still play first note, fifth note, six note, fifth note. And it sounds in a way this same, just higher. Now we call this process transposing. We can transpose Twinkle, twinkle from C major to G major and play the same song. But higher. This can be practical for singers. Some singers can not seeing in C, but can sing it better in G or vice versa. That's possible. So a singer can say, I cannot sing this song in C major pieces played in D major, E major or whatever, then you transpose this song. So what we're doing now is transposing twinkle, twinkle to G major. So there we go. Again, we have three parts. The finger positions are actually the same. So that's easy. So I can do that quickly. It's the same as for C major. We start with our thumb on g, done ring finger on the D, little finger on the E, and back finger for the D. And that's part one. Part two starts on the sea with finger three, finger to finger one, and back. With your index finger over your thumb. G. Once more. So in notes that was c, c, b, b, a, a, G. In fingers. 33221122. Sorry. So three-to-one, two. And that was part two. Part three. Same finger positions as for C major. Five on the D, for the C, three on the B. And two only a 5544332 and again d, d, c, b, b, a. And then we're back to part one and part two. So now let me do it with the metronome. As always, I start at 60 beats per minute. There we go. 1234. I did this much quicker than for C major because you know how it works. The finger positions are exactly the same. It only starts on G instead of unsee. So you can see part one, part two, part three, all the notes just to try it in G Now, start with 60 beats per minute and slightly increase this beat. 24. Whiskey in the jar - G major: Okay, We're going to play Irish traditional song in G major. Whiskey in the jar. Perhaps you know it. Okay, well, I will split this song in parts and each part individually. Let's start. I will perhaps first play the song runtime. Okay, let me now break it up in parts and so start with the first part. The first part is this. What did I do here? D d, d, d d b, b d E D F sharp B. So again, I will do it slower. D, D D E, D B, B, D E, F sharp, B, B. Okay, the fingering. Now, yeah, I give here a fingering that I do, but perhaps you prefer something else. I think this is a good one, but yeah. If you don't want, you don't have to stick to this specific fingering. It's up to you. I do this to two to three to 112-333-3431. Let me do it with the metronome. So I use the metronome at 84 beats per minute. That's the same as what is in the next lecture when you're going to pay to get it with the guitar. So I will do for accounts before this starts, 1234. Okay, That's perhaps a bit Greek. But once you try it first slowly. Now the rhythm is of course important. So let me do it again. But now at 60 beats per minute to show you so that you can try it first on 60. Dan slightly increases Pete as always, and you go up until you get 841234. So you see that not all counts and not all notes are on the beat. So if you don't understand, just go back and try to follow that rhythm and then slightly go quicker. Okay, let me move to the next part. That's this. Let me do it again. So that's D E, D E, F sharp, G, G, F sharp, E D G, F sharp, E, B. No, with a fingering. 2 3, 3, 3 4 5, 5, 4, 3 2 5 4, 3 1. Let me do it slowly and listen and watch. Let me do it with the metronome. I put it, it's 84 beats per minute. Again, I will do it slowly at 60 beats per minute. There we go. Okay, So start slowly 60 beats per minute and slightly increased speech to 84. Now the next part is the same as the first part. So exactly the same. So I don't have to explain it again. So we go to the fourth Bart, and it starts the same as the second part, but then it goes a bit in a different way. So let me show you okay. Once more, one more time, but slower. So the notes are D E, F sharp, G, G, F sharp, E, D, D, G, F sharp E, D, B. And to fingering is 2333, 4554, 3254, 3212. So here you go with your index over your thumb to play the G. Okay, let me play it with the metronome 1234. Okay, let me play it within a matrix with my metronome at 84 beats per minute. There we go. Now. The next part is, remember, we end it with the index finger, so fingertip on the G. And the next is go with your thumb on the a. Now, the original version I play, I think it's easier to play this. But it's up to you. You can do whatever you want. So with finger one and then it continues. Now watch out what I did with my index finger, finger on the B. Then I go back on the a with finger one finger to be, and then I go with my thumb and my index finger on the sea and two on the D. So okay, so from the a, B, B, a, B, C, D E, D E, F sharp G. So that's for the fingering. 1, 1, 1, 1, 1 2, 2, 1 2 1 2 3, 3, 2 3, 4, 5. Let me play it with the metronome. Okay, let me play it now with a metronome at 60 beats per minute. Okay, And then the last little part is this, only this line, and then that's the end of the song. So I played D, B, a g32, 1221. Okay, That's easy. Let me do it directly on 84 beats per minute. Okay, let me do now the whole song. So with the metronome, let me first do it at 60 beats per minute. Okay, so you'll also start at 60 beats, beats per minute and under slightly increase the speed. As always, you go to 84 because the files that are in the resources of the next lecture that enable you to play together with guitar and order without a click track are at 84 beats per minute. So that's Try it again at 84 beats per minute. Okay. I agree it's not always easy. Try just if you don't understand, you can always go back in the video and see it again. You have the notes. I will also put them in a PDF so that you have them in the resources, so that you have them so that you can read them all ways. And yeah, well, if if it's not possible to do it at a higher temperature or if it's not possible at all to do the song because it's too difficult. It doesn't matter at all. You can just continue to do all the other lectures. 25. Whiskey in the jar - Playing together with the band: Okay, so here it comes, the fun part. You're going to play whiskey in the jar together with the guitar. Now. You will play with, you can play it with the metronome or without the metronome. So I have both versions. Once with the metronome over the whole piece with the guitar, and once with a metronome, only for the first, for the counting before you start to play. So counting to four and then it starts to play. Are you ready? There we go. Okay. One more time. Whiskey the jar. But now with the Metro holy For accounts before to solo starts during the soul. No more metronome, only guitar and piano. There we go. 26. F major scale Theory: The next major scale we're going to see is the major scale of F. F major. We're playing again, our major scale formula, which you can see above, the virtual piano here. And we start on our root f. We're going up one whole tone to G, another whole tone to a. Now, I need to go up a halftone. So rife, I arrive at this black key, which is a B flat. Then a whole tone takes us, see, again, a whole tone, another whole tone to e. And finally a halftone vectorial root F. So the F major scale consists of the nodes, flat, C, D. Okay? You see there is one black key in this, in this scale, and that's B flat. Now you might wonder, why is this a flat note? Why don't we call it a sharp or B flat? Well, again, you can think of the two rules. By the way, you have to apply only one of them. But let me show you the two rules again that we saw when we did the G major scale. Remember the first rule was, there may not be a gap. Now imagine, we would call it a sharp instead of B flat. Then we would go from the A-Sharp directly to the sea. Well, you'll see there's a B, the letter B is missing. So that's not possible. Or I could apply the other rule. You need only one of the two rules, but let me show you how it is with rule two. Rule two was you may not have the same letters. Well, when the note is called a sharp, then I have an a and an a sharp next to another. That's not possible. So the only way for this fourth note in the scale of F major is that the note is called B-flat instead of a sharp. So that's the F major scale. 27. Playing the F major scale on the piano: Okay, Let's play the F major scale on the piano. You know that for C major and G major, we had the same finger positions. Well, for F-major, this is not the case. Anyway, not for the right hand. The left hand is the same as you will see. Now, why is F major? Why are the finger positions for the F major scale not the same? Well, I would say try it out. You will see, let me show when you do also, as was the case with C major and G major, when you do one and done one. Oh, look, now you have to go with your thump on this B flat. That's very difficult to see how your risk to slide your finger on the other nodes. It's very easy. It's very difficult, not too easy. It's very difficult to do it in this way. It's possible, but it's not the most practical way. So that's why we go on with finger for the B-flat. Let me just show you that. So 1234. And now we do the same trick as we did before. Now we go with our thump under our ring finger on the sea. See, that's much easier to use the thumb on a black key because you have to turn your hand too much. It's not a practical way. Not it's almost not doable. That's a 12341234. That's the way how to do the F major scale. Okay? So just try it out with your thumb, under your ring finger. And then of course, back down. Same thing but in reverse order. So you start now not with finger five. What shout, as we did with the C major scale and the G major scale in F major, you start with finger 4321. And then you go with your ring finger over your thump on the leaflets for one more time. That's F-major with the right-hand one octave. So let's do two octaves now. You start in exactly the same way, 1234123. Now, instead of going with your ring finger only f, you're going with your thumb. So under your stamp, under your middle finger on the app, and then you go on in the way that you were used to. So I have 12341234. Yeah, let me do that one more time. 23 and then again 341234. Okay. And down. Same thing but in reverse order for ESA, watch out. Don't start with finger flight, but with finger for 4321 and have to go one. You go with your middle finger over your thump on the E. Three. To continue. Here, you continue in the same way as that you were used to. Let me do it one more time. 321. Now. Again. 321. Okay. So that's the right-hand. Let's do the left hand now, the left hand is the same thing as was the case for C major and for G major. So that's easy. Let me do it quickly. But i, so that's one octave and I don't think I have to repeat it because it's exactly the same as that we're used to. And back one. Okay. So if you don't know how it was, just go back in the video and you can watch it again. Let me do two octaves. Again. It's exactly the same as that we're used to with C and G major. So this is still here. It's exactly the same as with one octave, but then we go with our ring finger on the g43, 213. Exactly the same thing as with C major and G major. So I don't have to repeat it. I think. Let's go down 131234. Now your thumb on three down, of course, exactly the same as with C major, G major. So that's how you do the F-major scale. Right hand is a little bit different than what we were used to, but the left hand is exactly the same as that we were used to with C and G major. Okay, Also here, of course, you can practice with the play along tracks that you will find in the resources of this lecture. Again, have six play along tracks, three speeds, sorry, yeah, three speeds. One version for the Fourier, one octave and a version for octave. So that makes six play along tracks in total. Okay, see you in the next one. 28. Twinkle Twinkle little Star - F major: Twinkle, twinkle, in the key of F. This is again, an easy one. Same finger positions as C, G, etc. So of course, we start on F because that's the first note of the scale of F-major. The fifth note is C, the sixth note is D. So we start as follows. So that is F, F, C, C, D, D, C. Fingers, 1144554. That's part one. So let's move to part two. So we were on with finger four on the sea. So we go with the three on the B-flat. B-flat is the only flattened note in the F major scale. So B flat, B flat, a, a, G, G, F, and two fingers, 3322112. And that's part two, part three. So we start on the fifth note of the F major scale with our little finger, so with finger number five. So that's C, C, B flat, B flat, a, a, G. For the fingers, 5544332. And as you know, part three, we have to repeat it. And then we're back to part one and part two. So the whole song is as follows. Okay, practice it with the metronome. And we'll start with 60 beats per minute or whatever fits you. 29. Bad moon rising - F major: Okay, For the song in F major, we will do that moon rising from Creedence, Clearwater Revival. It's a very, very simple song. And of course, f major has only one black key, so the B-flat only one flat. So that makes it also very, very simple. The only thing is that the tempo is, well, the metronome goes very high, 184 beats per minutes. Now that sounds like, oh, I can never make it. It's impossible. Well, you can, because the song is so simple that you definitely can. So let's start. There is a verse and of course, let me do first diverse. So that's, and that's played twice. So you see very, very simple in the verse is no black note yet. That's, that will come into course. So what did I play? Aaa, f, g, f, f, f, f, f, f. And that's played twice. And that's the whole verse. So very simple, only three different notes, F, G, and a. Let me play it with the metronome. Okay. For accounts, let me do two times four counts because it goes very quickly. So I will not count with the metronome count for yourself. So two times, four counts. So I already played it twice. So that was the whole verse. And it's as simple as that. So you see, it doesn't even go depth quick, even if the metronome goes at 184 beats per minute, which looks very quick. Well, the notes are not that quick. Okay, Let's do the corners now. So the notes are as follows. I will first play it. And that's all. So what did I do? B flat, B flat, B flat, F, G, a G, F, G, a G, F, F, F, F. And that's all. Let me do it with the metronome again at 184 beats per minute. I will do two times, four beats and then start. There we go. Okay, so that's it. Now if it went too quick, you can of course, always go back and see it again. In the video. Perhaps you noticed. Did I didn't say anything about finger positions. Now why? Because it is so simple. You're actually only playing those four notes, F, G, a, and B flat. You're not paying any other nodes. So two songs consists of those four nodes and the fingers, well, it's always one on F to G, 3.4 on B-flat. And that's it. So practice it. I think it will go quicker than all the other songs, even if it's at a high tempo. Still start slower. Well, not at 60 beats per minute, of course, because that's really far too slow. But, well, what can I say? Perhaps 120 depends on you. Perhaps slower, perhaps quicker. Perhaps you can do it already at 184 beats per minute. It's totally up to you. Anyway, it's simple. So in the next lecture, as always, you're going to play it with the band. And I see you again in the next lecture. 30. Bad moon rising - Playing together with the band: Okay. You will know play Bad, Moon rising with the vent. So how is it done? The bend first does an introduction, a very short introduction, and then it starts, well, let me here. So it starts as follows. Here you start with diverse. Okay, so now you know how to start. Now, how is the structure of the song? So it's, you pay once diverse, once the chorus and again verse and chorus. Then there is a guitar solo. You don't play. During the guitar solo, you leave the guitar play It's solo. How long is that? Well, it's a half verse and the chorus verse and a whole course. Then after the guitar solo, you start again to play the verse and the chorus twice. So you end by playing the chorus two times. And that's the end of the song. So I repeat verse, chorus, verse, chorus. Then their guitar solo, which has a length of a half verse and a whole quarters. Then you start again, the virus. And after that first two times the course, and that's the end of the song. So I would say, just look and listen how it's done. And after that, you're going to try it yourself with the file in the resources. Chorus, verse, chorus, solo. One more time. Tours. 31. The C major triad: In this lesson, we're finally starting to learn courts. Now courts are very important in music. Perhaps you note it. Guitar players, they can already very quickly played her first songs by just learning a few courts. Well, this is possible with the piano also. So that's why courts are very important and they allow you to very quickly the company songs. Now to kind of courts we're going to discuss in this lecture are the so-called triads. Now what does it dry it? A try. It is simply a chord that's consists of three nodes. Now, this doesn't mean that every court that has three notes is a try it. But we will learn more about that later in the course. But the courts we will discuss in the beginning of this course are triads. Now in the beginning of the course. So also in this lecture, we're starting with major dry. It's later we will see also minor triads. But first, as I said, major triads. A major triad is formed by the root, the third, and the fifth note of a major scale. Now if we take the C major scale, which as you know, are the notes C, D, E, F, G, a, B, C. Then the first, third and a fifth note, our C, E, and G. So those three notes together, C, E and G, blades together form the C major triad. Now again, as you know, the C is called the root, in this case, the root of the C major triad. The third note, the E, is called the third, and more specifically it's called the major third. Now when I say major third, so this implies that a minor third also exists. And in fact, a minor third exists also. But we're not going to discuss that in this lecture. We will see that later when we will discuss minor chords. So we have root major third and the fifth note is simply called the fifth. The root major third and fifth together form the C major triad. When we look at a piano keyboard, It's simply C and G and played together. This is the C major triad. Now, in this section of the course, you will learn two more try. It's the F major triad and the G major triads that will be in the following lectures. But you will also learn how you can play the C major triad and the F major triad and the G major triad in different ways which allow you to make more variations of the courts. So that's it for this lesson. See you in the next one. 32. The F major triad: Okay, Now that we know that recipe, how to make a major triad, we can apply that to the F-major scale. To make the F major triad. There we go. So again, we take the first, the third, and the fifth notes of a major scale to form the major triad. So if we take the F major scale, which is F, G, a, B-Flat, C, D, E, F. Then the first, the third, and the fifth notes are F, a, and C. So the three nodes, F, a and C together form the F major triad. Well, it's as simple as that. So when we look at the keyboard done It's simply a and C. And those three notes together, or the F major triad. 33. The G major triad: And of course, the G major triad is just as simple as the C major triad and the F major triad. We take the first, the third, and the fifth of the major scale, which indicates of G is G, a, B, C, D, E, F sharp, and G. So the first, the third, and the fifth notes of the G-Major scale arc G, B, and D. And those three notes, G, B, and D, form the G major triad on the keyboard. It looks as follows. This is the G major triad. 34. Inversions of triads: Okay, you know, three courts, three trials, the C major triad. Now let's have a closer look at the C major triad, C, G. What happens if I place this seed that is at the bottom of this triad? At the top, I still have a C major triad. Why? Well, because I still have the notes C, E, and G, okay, in another order, E, G, and C, But it's still, it's still a C major triad. I can do the same trick one at a time. I take the E, the lowest note and place it on top. I then get Discord. It's still a C major triad because we still have the three same notes. In this case in the order g, C, and E, but it's still a C major triad. When I do this trick one more time, I take the lowest note, which is now a G, and place it at the top. Look what we get. Again, a C major triad. It has the same shape with C at the bottom as that we started with. So we have three ways of playing the C major triad. With C at the bottom, the root with at the bottom, or with g at the bottom. Again, this one is the same as this one. So three different ways. We call this way of playing the C major triad. C major triad in root position, because the root is at the bottom. We call this way of playing the C major triad when E is at the bottom. So the major third, the C major triad in first inversion. And we call this way of playing the C major triad when g is at the bottom, the C major triad in second inversion. So we have three different ways of playing the C major triad. C major in root position, c major in first inversion, and c major in second inversion. Of course, I can do the same thing for the F and the G major chords. We quickly go over them. This is the F major chord, as we know it, with the root at the bottom. So this is the F major triad in root position. When we place the f, the lowest note at the top, we get the F major triad in first inversion. And where we put the a, the major thirds at the top, we get the F major triad in second inversion. Same thing for g. This is the G major triad in root position. Since g, the root of the chord is at the bottom. Where do we place the root at the top? And we have the major third at the bottom. We have the G major triad in first inversion. When we now place the lowest notes to be the major thirds at the top, we get the G major triad in second inversion. 35. Notation of major triads: When we read sheet music, very often you see Chord Symbols at the top of the music. We need them also for our triads. Now, the notation for major triads is very simple. It's just the capital letter of the root, which means that the C major triad is just notate it as a capital C, D, F major triad as a capital F, and the G major triad as a capital G. So that's simple. But you might say, hey, but that's confusing because for the simple notes, so not the courts, not to try it, but the notes C, F, and G. I also use the capital letters C, F, and G. So if I see e.g. the capital letter F, How do I know if it's denote f or the try it, The major triad F. Well, you can't know because the notation is exactly the same. So how do you know? Well, in most cases, it will be clear if you're dealing with the court to try it to major triads or with the note when in this course, it's not clear. I will clearly indicate whether it's the court or denote. 36. Exercises with the C, F and G major triads: Okay, it's time to practice with a, C, F, and G major triads in older inversions. So go to the Resources, download the PDF file into a PDF file, you'll find a link to the exercises and for the rest. It works in exactly the same way as you're used to download the PDF and do the exercises. 37. Blowing in the Wind - C major: So now you have learnt some riots in root position first and second inversion. It's time to practice them. Now. Practicing only the triads is sometimes a bit boring. So I thought it is nice when you can try it with music. So that's exactly what we're going to do in this lecture. So I chose this song, blowing in the wind. And we're going to practice in this lecture, I have blowing in the wind in C major. We practiced with the C major, the F major, and the G major chord. Now, normally the song consists of more chords, but I simplified it a little bit. So only C, F, and G. So this song is very good for practicing those three triads. Now, in following lectures, I will transpose the song to other keys so you can use it to practice also the other major triads. For now, you're going to practice in C, F, and G major triad. In this song, which is in the key of C major. Now, the C major triad is built on the root of the key of C. The first note of the scale of C, which is the key of this song. Now, because it's the triads built on the first note of the scale. I will call it the one, dry it. So the C triad is the one. Try it. Now, the F triads, since in the key of c1234, the fourth note is the f. Now we'll call the, the F triad. The four try it. In the same way. I can call the G, which is the fifth note of the C major scale. That's the five, dry it. Now, as this lecture is about practicing triads, you will know not play the melody. Anyway into practice file, the melody is already present. You will only play the triads, either with your right hand or with your left hand. Think of it as if you would accompany a singer. You then only have to play. Only triads are courts and no melody. For this lecture, print out the lead sheet of blowing in the wind in C major. It will help you to know where to put the right triads. If you don't know very well the song, listen to it on YouTube several times. So you get used to it, which I'll do in this practice file. The order of verse, chorus, etc, is not as in the original song. So I will play it now for you. For reference, again, hold the printed out lead sheet with you. I will first play all the triad in root position. Oh yeah, one more thing. I will show to try. It's above the virtual piano. So the C, F, and G, be aware that those letters represent dry. It's not single notes. So I will start. And as I said, I play them first for the first time, only. In root position c, f. Okay, let's do it. Okay? Now, this is a good practice to practice all the roots positions of the court. Now, I did it with my right hand. You can, of course, later do it with your left hand. So to practice, all the chords are all the triad in root position with your left hand. Very important because later you will play the melody with your right hand and the triads with your left hand. So be sure to also train your left hand. Now, we don't limit ourselves only two root positions. You could do a second session and do all that. Well, let's say first inversions. C, F, G. You could take the gene also here and the F up to you. Then also, of course, with your left hand. Then you do them all in second inversion. So you keep practicing all the inversions. Then the next time I will play for you, now, I will do a mix of inversions. I will do it in a way that I don't have to move my hand. You see this? The moving of my hand, especially from the sea to the F and the F back to the sea. It's easy to make mistakes. So it's better to have all the dry, it's close to each other. Look what happens if I take the C major triad like this and the f like this? I hardly have to move my hand. Well, actually I don't move my hand at all. I only move two fingers. So see e.g. in root position, and then you take the F and what is it in second inversion? The G here, or here, done is easy. Vectors is C. So I will show you now how to do a mix of inversions so that you don't have to move your hand a lot. There we go. Okay. After this one, be sure to do this with the right and the left hand, especially the left-hand, is very important even when I didn't show it to you. But you can do it yourself, of course. No. Very nice. It's also if you don't play on acoustical piano, but on an electric piano and you have a nice Oregon sound. You know that a piano sound, after a while, it fades out. This one, this sustains quite long, but not all piano sounds have a long sustain, so they fade out. So then you have to repeat the same chords twice or three times. When you have an organ sound, normally Oregon sounds don't fade out. So listen to what I'm doing next. Dare I show you how to paint with an organ sound, and dare you keep the whole time the court. Then, when going from e.g. the C2, the F chord, what I do is I leave the c and then only move those two fingers. I could even do it like this. And you see there's no gap. And that makes a continuous Oregon sound. It's very nice. So like this. And then I go here, and then I could, even when going from F to G chord C, I leave a little bit the three nodes and that e.g. dose two nodes I can leave and then with the other three fingers go to the G chord. So Okay, you will see that no. Also gives one. Try it with your left and your right hand. Take other inversions, take other mix of inversions. Don't go too low when you're playing here. This will not sound nice. Be reasonable. We'll go more in the middle region of or a little bit in the high region, depends a bit on the sound that you choose also. Okay. See you in the next lecture. 38. Blowing in the Wind L and R hand together: We're going to play blowing in the wind now with two hands together. Now, don't worry, because we will do a very easy version. What we will do is we'll just play some simple bass notes in the left hand. I will talk more about it a little bit later. That there are actually a few ways of playing with both hands. Not only blowing in the wind, any song you could play, e.g. the courts and your left hand and the melody in your right hand. Now, this is especially done when e.g. you're playing solo, you're playing alone piano, there's no one else playing. You're not singing, so you actually need the melody. So in that case, with your left hand, you accompany with courts the melody that you play in your right-hand. We're not doing that now because it's for now a little bit too difficult. When you're playing with a singer, e.g. who sings the melody. You don't have to play the melody. You can just play the court's order when you're playing with a bent and there's a singer or there's an other instrument. I don't know what Trump pair to guitar player or whatever, who plays the melody, then you don't need to play the melody. Also in that case, you can just play the courts in our case to try. It's a way to do that is what we're going to do in this lecture. Very simple. With the right hand, we just play the chords C, F, and G. Took some inversions, inversions that we did last lecture also, I think your left hand, you're just playing the root nodes of the courts, which means with a C chord. You just, when you pay the secret in your right hand, with your left hand, you just play the note C. And when you pay the F chord, this case. Secondly version, you play the F in your left hand. While you play the G chord. In first inversion, you played a G in your left hand. Now that sounds much fuller than just the courts with only your right hand. Just listen to the difference now I do it without left-hand. Now with the left hand. And it sounds much fuller. So that's what we're going to do. Now in this lecture, I will show that in a while with events together for the rest of everything stays the same. So this is very, very simple. Of course. You have to think of both hands together, so it might not be that simple in the beginning. So first you breakfast it very slowly. What you could do is practice just those courts. G. You can don't do those inversions. You can also do just the root positions. Problem is, of course, when you do the root positions that you have to move this hand. And when you're concentrating on both hands together, it might be difficult to, to move your hands a lot. So perhaps it's better to do, to do the conversions. What I'm also going to do, the play along File, Place, verse, refrain, verse, refrain. What I'm going to do is in the first time, first reframed, I'm going to play the inversions that we also did in the last lecture. But when diverse and the rephrase frame our plate for the second time, I will do other inversions. I will do this now. So it is a C in first inversion, root position, G in root position. Why I do that? When they went to version to reframe our play through the second time. Why do I play it in another way? Well, first of all, it's nice to not to whole time play the same thing. And secondly, it's also nice when you go towards the end of the song that you lift the whole thing a little bit up. Way to do that is to play it a little bit higher. Of course you could do this one. Derek, lot of possibilities of which inversions you can take. But I will do for now, for the second time. In first inversion and G, both root position. You see that I don't have to move my hand. Okay, yeah. Um, I will put the band on and so let's start. So try that out yourself with the play along file. And I see you in the next lecture.