Transcripts
1. Introduction: Hi, This is part three
of my course series, the ultimate piano keyboard course from total
beginner to advanced, where you will learn how to
play the piano keyboard, how to play by ear, and how to read music. My name is Martin Cohen. I'm adjust blues
and rock musician, composer and piano teacher, and I teach already
more than 25 years. This is the third course of the course series
that's consists of ten courses in total. In the description
of this course, you can see all the ten
courses in this series listed. For each of the ten courses, you will find a link
to that course, as well as a detailed
description of what you will learn in
that particular course. If you have done part 1.2
of this course series, then this is the
right course for you to continue
your piano journey. If you're a total
beginner on the piano, then please don't
start in this course, but start in part one. So in that case, go
to the description of this course where you will
find a link to part one. If you already have some
skills on the piano, then look in the description
of this course if you should start in an other
course of this series. Important however, is that
I assume in each course that you already have
the knowledge and skills of the former courses. So what to expect in
this particular course? So part three of this series. In this course, you
will start to play into tonalities of B-flat
and E-flat major. You will learn to B-flat and E-flat major spheres and play
songs in dose tonalities. You will also learn
to B-flat and E-flat. Major courts in
older inversions, start playing songs
with those courts. In this course, we will also start to dive a bit deeper into some music theory
because we will study intervals and
the circle of fifths. Now, don't be afraid, since
I explained the theory in a very clear and
simple way so that really everyone can
totally understand it. Okay, I'd like to thank you
for checking out my course, and I hope to see you very
soon in the inside of this course or in any one of the other
courses in this series.
2. The Bb major scale - Theory: Hi and welcome to part three
of this course series. Now before you start
in this course, I wanted to quickly give you
a reminder that you should download the resource files
that go with this course. And as usual, you can
do that by going to the projects and resources
tab of this course. And then you go to
this file here that says link to the resource
files part three, you open a PDF and
you just click on the link to download
the resources. Okay, Are you ready done. We will start now
really with the course. So as I said in the last scale lesson that we did that it was the
scale of B major. We didn't go fifths up to the F-sharp major scale to
have a scale with six sharps. But that we were, that we would first go to scale
with a flat nose. We've seen now one scale
with flip notes, well, with one footnote, that's
the F major scale, which we did quite in the
beginning of the course. And we're now going to do
the B-flat major scale. You will see why I chose for B splits instead of
another scale in awhile. So we start on B-flat, we go up a whole tone,
another whole tone. Now, we need a halftone, so E-flat than a whole tone. Another whole tone,
another whole tone to a. And finally, a halftone
up to our roots, an octave higher, B-flat. Okay, so our B flat major
scale is flat, G, B flat. So you see that the B-flat
major scale has floods. Watch out, don't count
the B-flat twice. So we have a B-flat in the
beginning and then B-flat in India and an octave higher. So that's counts only
as one flattened out. So we have to be flat and
E flat as flat nodes. So two flat nose. Now, that's actually the
reason why I choose for the B-flat major scale
because it has two flats. So we have now, for the major
scales with flat nodes, we've seen the F
major scale with one flat and B flat major
scale with two flats. Now, again, why is this not a sharp and is not called D-sharp? Well, of course I could have started calling this a sharp, but I call it the B flat. So that's one reason why I call it B flat
and not a sharp. On the other hand, I said I
would do scales with flat, so I obviously don't
start on a sharp. If I say that I will do
scales with flip notes, of course I started
to be flipped. But this not stays. Why isn't this a D-sharp? Why is it an E-flat? Well, again, you
know the two rules. You may not leave a
gap and you may not have the same letters in a row. Now, you can apply them
yourself to see that this has to be E flat
and not a D-sharp. Now, perhaps you remember
that debt for the skills with sharp notes that every
time I went with my root, the fifth up, that I had one more sharp in my major scale. Well, how was that? The flip notes. Well, let me put here the C major scale
in the middle of the screen. I first will display all
the major scales with sharp nodes on the right side
of the Sea. I will do that. First. We had the G major scale, one-fifth up from C, So that was one sharp
than one-fifth up from G, we have the D major scale with two sharps
than one-fifth up, a major with three
sharps than one-fifth. E major with four sharps from E15 up to be major
with five sharps. And the last one we did, we didn't see yet, but I will still put it here
is the F sharp major scale, which is the a fifth up from B. That would be a scale
with six sharps. On the left side of the CLL, put the scales with flats. Now. The first one is the
scale with 1 ft. So that's the F major scale. Now remember that
the F major scale had only one flip note. Now we've seen the
B-flat major scale, so I put it on the left side of the F major scale
with two footnotes. So you see that in this scheme that I have
here on the screen, from C every time one
step to the right. So that means,
means one-fifth up. I have one more
sharp in the scale. And from the sea
going to go left, every step is one more
flat in the scale. But we know that when we go to the right of the C major scale, we have to go a fifth up
every time for every step. How was that when
we go to the left? Well, have a look from C to
F. How big is that step? Well, I can see it from
the perspective of F. In the F major scale, which is F, G, a, B-Flat, C, D, E, f. C is the fifth note. So seen from F, a fifth up, I arrive at sea. So also on the left side of c, When I go a step to the
right, it's a fifth up, which means that if I
go step to the left, it's a fifth down. From the F-major scale to the B-flat major scale
is also a fifth down. Well, how can you see that? Well, because in the
B-flat major scale, if fifths up to fifth note in the B-flat major scale is
the note F. The problem is, when I would ask you now, what is the next major scale with three flats
that were doing? Well? You say, Of course, yeah, just go with fifth down. But the problem is, how do you know how to go
a fifth down from B flat? Because the only thing
you know is that B-flat will be the fifth
note of that scale. But what is that scale? Well, in that case, we have
to apply another trick. Let's first return to
the piano keyboard. Let me see how many semitones or half-tones a fifth
up or down is? We know that from
C to G is a fifth. So how many half-tones, how many semitones is that? When we started to
see, That's 34567. So seven semitones
or half-tones, up or down, is exactly a fifth. So what I have to do to find
the scale with three flats. The major scale with three
flats is to go a fifth down, or seven semitones
down from B-flat. B-flat, 2345, 67e flat is my next major scale. The major scale
with three flats.
3. Playing the Bb major scale on the piano: Okay, so now that you know the notes of the
B-flat major scale, it's time to play
it on the piano. Now, the B-flat major scale, it's a little bit different than the other scale
since we start with our finger to eventually
three on the B-flat. So let me just show you. So
let me start with finger two. So we start with
finger to the B flat. We go down with our thumb
with finger one. We go on. Then when we arrive with
fingers three on the E-flat, we go with finger
one on the F and continue till we reach
the next B-flat. So I repeat. Okay, So, um, that's
one octave up. Let's go one octave down. So we start with finger for. We reach finger one on the F, and we go with finger three on the E-flat till we reach with our thumb to see and that
we go over it with finger to eventually figure
three on the B-flat. So again, okay, so that's the
B-flat major scale, one octave up and down
with the right-hand. Okay, Let's do two octaves. So we start in
exactly the same way with finger tool
or a finger three. So we do exactly the same thing. This is still the same
as with one octave. Now to go on with
the second octave, we just go with our thump on the sea and we continue
in exactly the same way. So when we arrive as D E-flat
with our middle finger, we go with their thump and F until we are at with
finger for the B-flat. So let me repeat
the two octaves. So let's go down to two octaves, which is always the
same as going up, but in reverse order. So we start with finger for, with our ring
finger onto B flat. Until we reach the
f with our thump, we go done with our
middle finger on the E-flat till we
reach with our thumb to see that we go with our ring finger over r
sub E to the B flat. We do exactly the same thing. Let me repeat that. So that's two octaves with
the right hand up and down. So let's start with the
left hand. The left hand. So we start with our finger, three, so our middle
finger on the B-flat. So let me start with
this B flat now, but getting started on
any B-flat, of course. So three, we go with finger for, with our ring finger
on the E flat. When we end with
the thump on the a, we can go with finger, or eventually figure
three, the B-flat. So let me do that again. You can start with, you have to start with
finger three, of course. And with finger two or three. So when we go down, we start with our fingers
three or finger tool that you use your finger to now all the b flat with a thumping. Just till we reach
with our ring finger, the E-flat that we go
with our thumb on, the continued till we reach
the B-flat with finger three, with our middle finger. So again, we start with eater
finger to finger three. Before this time though,
start with finger three. So that's one octave up and
down with the left-hand. Let me do two octaves now. So we start again
with finger three. We do exactly the same thing. Now we have to use finger three to go on with
the second octave. That we do exactly the
same thing here we go with her ring finger on the E flat. And then when we reach
the a with our thought, we can go either
with art finger, index finger, or fingers, three or middle finger
on the B-flat? Yeah. So let me do that again. So end with either
finger to finger three. When you go on from one
octave to the second octave, you'd have to use
your finger three, because otherwise you cannot, you cannot go on
with the next octave with finger three on the B, B-flat, sorry that
you can go on, etc. So let me go down
to two octaves. So I started with finger
or fingers, three. Fingers, three for now. And the E-flat with
your ring finger done, you go with your thumb under
your ring finger on the D. Of course you do
exactly the same thing. So thump on a finger,
three, B-flat. So let me do it again.
They'll let me know. So take a second finger down. Sod your index finger. And that was their left hand. Now, to practice, you can of
course, use your metronome, but you can also
use the play along files in the resources
which come in three speeds, 60 beats per minute, 90 beats per minute, and
120 beats per minute. And also two versions
because you have a version for one octave and you have
a version for two octaves. So in total you have six. Play along tracks. Let me first show you how
to play with the metronome. Because e.g. if you start with the play along track
on 60 beats per minute, and you want to speed it up
and go to the 90 beats per minute version might be a little bit too big step
60-90 beats per minute. So in that case, you have to use
your metronome to go slightly up in steps F, 60-65 to 70, etc,
until you reach 90. So it's important that you also know how to play
with the metronome. So let me just show you how
to play with the metronome. So I will put my metronome on. I put it on 60 beats
per minute now, but you can put it
on, on any speed. Of course, what we do is we
let it count first till four. And then on the next
click off the metronome, we start to play in
exactly the same tempo. Is that a metronome Clicks. So e.g. There we go. 234, we do going down. You can also do two octaves. Okay? Now, let me put
it the metronome off. Now if you hurt, well,
the metronome gives every four clicks a little bit. Click in a higher pitch. That's count one, and
done the other three. Click with a little
bit lower pitch. And let me put just a metronome onetime more on so
that you can hear. Listen to the first click is a higher pitch than the
other three clicks. You've heard that. So the
first week is encountered one. Now, if you note as well, the second time I went up to the B-flat major scale
for two octaves. I didn't really start
on the first click, but okay, it doesn't
matter so much. But normally, if you do it
well, you should start. Of course, on the first day, I showed only for 60
beats per minutes. Of course, you can speed
it up as you like. What I wanted to show you is how to play with the
play along files. Oh, yeah. By the way, I
did only the right-hand. Now, you should also
practice your left hand. Also play alone files. I'd show it only
for the right-hand. Left-hand works in
exactly the same way. So I don't show you that. I
only show the right hand. I will first show you that
60 beats per minute version. Later I will show you
the quicker versions. I will first do one
octave version. Now, important is first thing. It also starts with four clicks, 1234, and then you start to play in exactly the
same tempo as those clicks, but then the bend
will play with you. That's one important thing to. Second important thing is. That each time you played
up and down the scale. But once you provide That's
the top, that's the B-flat. You read the B-flat, go back. So the B flat at the top
has to be played twice. Let me just show you and
you will hear it yourself. So 60 beats per minute version. There we go. 34. Okay, let me put it off. Now to play along file lets you practice this
exercise four times. But I put it off now because the other three times every executive is
exactly the same thing. So I don't have to show you now, but be aware that you
can practice it four times with one play along track. Let me do 90 beats per minute
version. So there we go. Let me put it off. Because also here you
can practice four times. Let me now show you that 120
beats per minute version. There we go. Let me put it off. Okay, So that's the
one octave version. So let me show you also the two octave version
of the play long treks. Those are a little
bit different. It's different because
it has to fit exactly. To pay long track, the rhythm
of display long treks. So what's the difference? So we've, of course, for acrylics, exactly the same thing as with a
one octave version. After the fork case, you
just start to go up to scale quickly to where you are
right at the high B flat. You hold it for two clicks. So all the times two, and then you hit it again for
just one click and go back. So you don't, then it's all tied to you go down. It's a little bit different
than the one octave version. Again, it's so that it
fits the play along track. Let me just show you and you
will see it for yourself. So there we go. 60 beats per minute. Oh, okay. Let me put it off. By the way, it is some
two octave version. In this two octave version
display a long file has two times the exercise, so you can do it two times with the same play along track. The conversion was four times. The two octave
version is two times. Okay, so that's how
you can practice the B-flat major scale by either the metronome or
the play long treks. I didn't show you
the other speeds. For the two octave
version did 90 beats per minute and it has 120 beats
per minute is version. But I think once you've seen
it for one octave version, that you have to count to two half for it to open
version, you know how it goes. So I don't have to
show it to you. Again. What I didn't
tell you either it was that the left hand. You
have to practice it all. So I didn't show you,
but the play along tracks work in
exactly the same way. You count to four and
you do your exercise. Okay, so that's it. I see you in the next lecture.
4. Twinkle Twinkle little Star in Bb major: Twinkle, twinkle in the
key of B flat major. Fingering is not very difficult. But of course you
have two flats, B-flat and E-flat, and
they're both in the melody. Let's start first part. So that's B flat, B flat, F, G, a, G, F. F is the fifth note of
the B-flat major scale, and G is the sixth note of the B-flat major scale,
fingering, 1144554. So that's part one. Part two. So we're left with four on the F. Now we go to the E-flat, which is the fourth note
in the scale of B flat. We do with third finger, so with our middle finger. So you see that we have the same finger positions
as C major, G major, etc. So three on the E flat, E flat, E flat, D, D, C, B-flat. And the finger
positions are 3322112. And that's part two of
Twinkle, twinkle, part three. So we start on the fifth
note of B flat major, which is the f,
with finger five. So f, f, e flat, E flat, D, D, C. And the fingers, 5544332. Again, part three, is it twice? And then we do again, part one and part two. So let me play the whole song. Again. Do it with the metronome. Start at a speed that
is good for you, e.g. 60 beats per minute.
5. All my loving - Bb major: So for B flat major, we are again doing a similar,
The Beatles, all my loving. It consists of a
verse and a chorus. Oh yeah, one more
thing about the song. This song, we play it in B-flat, but originally it's
not in B flat, just that, you know. So let's start with the reverse. First. Play it. That's the whole verse. So you see that two parts of the verse
are very much alike. Only the end is a bit different. So let's meet first, do the first part. I will first again play
it only the first part. So that's the first
part. I will also this first part break
up into pieces. So the first part
is E-flat, D, C, D, E flat, F, G, a, B flat, B flat, a, G, D. So that was the first line of the first part of the verse. The second line of
the first part. So that's G, G, G, F, E flat, D, C, B-flat, C, which makes for the
first part of the verse. Let me play it with
the metronome. Now, we play it at 150
beats per minutes. Now. It is, again not on the first count
that we start about. Count three on beat three
of the of the measure. So I will leave it for
123412 and then we start. So you will hear as six times
the click of the metronome, which is 123,412.3.
We will start. There we go. 123412. Okay. So that's the rhythm,
the fingering. I haven't told you that. So I think the best, as always, you can find
out your own fingering. But I think in this case, it's still the best to start
with three on the E-flat. Actually, this is based on the B-flat major
scale which you play. So you are already with
finger on the E flat. So we start with
finger three with our middle finger on the E flat, 321 231-234-4321. So the first part,
I will repeat it. 321 231-234-4321. And then I go with
five on the g55, 54321211, more
time, 555-43-2121. So that's the whole first line of the first part of the verse. The second part of the verse. It starts in the same way. So that's exactly the same. And then lastly line is
a little bit different. Only the end is a
little bit different. So the second part of
the notes are E flat, D, D, E-flat, F. G, a B-flat, B-flat, a, G, G, G, G, F, E flat, D, C, B-flat. For the fingers.
Also, almost the same as as before, as the first line. So 321 231-234-4321, again with five on
the g555, 4321. And that's the whole verse. Let me play it. Let me play the whole verse
with the metronome. So, you know, six clicks, which is four plus 2,123,412.3. We start. There we go. That's the verse. Let's move to the chorus. Our first play it. And that's the whole course. So what are the notes? B-flat, D, D, C, B-flat, C, D, F, D. And then again, B flat, a, G, D, D, C, B flats, B-flat. Okay, now the finger positions. So we start with finger
for the B-flat, 4321. And now what I do
is I have my one on the D and the second
time I go on the D, I will do it with finger two. So our change, 2121232. I will do it one more time. 432-121-2123. And then the second time, 4321. And again, I do the same thing. I go with finger tuna
on the D to 11 to two. I will do it again. The whole chorus, 432-12-1212, 3 243-212-1122. With the metronome. Again, we start on beat three, so you will hear 123,412.3. I start. There we go. What's the chorus? You end the song with onetime,
the whole course. And after the
course, you do this. So what did I play here? After the course, we repeat this line which
you already know. B flat, a, G. And then you go to the high D, D, C, B-flat, C, D-flat. And then the third part, G, F, E, D, C, B-flat, B-flat. And then the very last line, D, C, B-flat, B-flat. Which rhythm? Let me play it with
the metronome. So again, 123412,
and then I start, and that's the end of the song. So for finger positions, this is known her for 321. And then yeah, you could do
it with finger five or finger for I do it with
finger for 43232. Then I can go with
my little finger, finger five to the g543, 2121, and then the
very last line, 32211. Okay. If you have an alternative fingering for you, that's fine. So debts, the whole sung. Now, this song consists of
two times the verse, chorus. Then there's a little
guitar sono verse chorus. And then this ending
which we just did. You will learn more about
that in the next lecture, where you're going to play all my living together
with the bend.
6. All my loving - Playing together with the band: In this lecture, I'll show you
how to play all my loving. As you know from
the former lecture, we play at 150 beats per minute. So the file which you will find in the resources
is at that tempo, 150 beats per minute. Of course, when you practice, start slower and be sure to, to play the melody well, etc. Once you mastered well, you'll go up with a tempo till you reach 150 beats per minute. Once you, once you reach
this 150 beats per minute, you go practice with the file. Okay, you one more time, the order of verse,
chorus, et cetera. So you start, of course, it starts first with the four plus two clicks
from the metronome and B23, you start as a 123,412.3. You start. You will see that later
when I play it for you. And then you have the
verse after diverse, you play again onetime, the verse after the
second time verse. You play the course. After the course, watch out. You don't play because
there's a little guitar solo. You leave the guitar, play what he has to play. And after the guitar solo, you start again with the verse. After diverse the corners. And after the quarters. You have this ending
line or ending lines, I should say this ending part that we did in the
formal lecture. Okay, so watch out for the solo. In the solo you don't play, you will see it once. I will play it for you. So let's start. Verse. Chorus. Solo, guitar. Verse, chorus. Here it comes to last
line, the ending part.
7. The Eb major scale - Theory: Okay, yeah, as we've
seen last time, when we did the
B-flat major scale, we saw that when we
went fifth down, or seven semitones
down from B flat, we arrived at E-flat. E-flat has one flat more
in the scale them B-flat, B-flat, which has
two flats in scale. So E-flat, we expect it to have three flat
notes in the scale. So let's start. We
start on E-flat. Of course, we go one
whole tone up to have another whole tone to
G. Now we need a halftone, a flat, a whole tone to
B-flat, whole-tone to see. Again, another whole tone to D. And finally, halftone up back to our root and
octave higher, E-flat. So the B-flat major scale
consists of the notes G, a flat, B flat, C, D, and E flat. And you see that the E flat major scale
has indeed three flats. E-flat, A-flat, B-flat. Again, don't count the E-flat twice the low E flat
and the high E-flat. E-flat, of course,
so three flip notes. Now, what would be
our next major scale? A major scale with
one more flat, so with four flat notes. I'll leave you check
it out for now. I would say pause the video and in a few seconds I
come back with the answer. I hope you found it was
not so very difficult. From E-flat, we go a fifth
down, or seven semitones. So that's 1234567,
and that's a flat. A flat will be our next major
scale with a flat notes. But I will do the
a flat and all the other major scales
with more flip notes. Later on in the course, we will first do minor chords, minor scales, and
seventh chords, and we do some more songs. And later in the
course I come back to last three major scales
with more flats. Since they are a little
bit more difficult.
8. Playing the Eb major scale on the piano: We're going to play the E flat
major scale on the piano. Also, E-flat is like B-flat, not as the old, the other major scales where we started on the thump
note also here, we start either with finger two or with finger three
on the Eastland. Let me start with finger to
finger to on the E-flat, we go with our thumb on
the F and we just go on till we reach with
finger for the B flat. And then we go with our thumbs under our ring
finger on the scene. And it's continued
till we reach with finger three, the Eastland. Let me do it one more time. Okay, let me go down one octave. So again, I start with
the finger where I ended with us or with finger three
with the middle finger. And I go down until I
reach with my thump to see that I go with
my ring finger over my thumb on the
B-flat and I go down until I reach my thumb. Dad, I can go with either finger to finger three, duty E-flat. So let me do it again. Or with finger three. So that's one up to,
let me do two octaves. So we start in
exactly the same way we started with finger
tour finger three. Exactly the same. So this is still exactly the
same as with one octave. Now we go with our thumb
on the F. We just continue in exactly the same way as
we did with one octave. So that's easy. So let me do that again. Okay, let's us go. Don't know. So we start
with finger three. Go till we reach the sea. Go with our ring
finger on the B-flat. Now, if we continue, we can not go with
our finger tool. Note on the effect. We have to use our finger three. And we do exactly
the same thing. Now we can add, of course, with finger to finger three. Let me do that one more time. So that's the right-hand.
One octave, add two octaves. Let's meet, do the
left hand for you. So we start with finger
three of the E-flat, go up until we reach with
our thumb, the jeden, we use our ring
finger on the A-flat, and we can end with either finger or fingers
of the efferent. So let me do that again. Finger to finger three. So let me go down here. You can start with either finger to or finger three,
I should say. Okay, let me do
fingertip to now. Answer. What did I do? Know that we are with finger four on the A-flat. We go
with our thumbs. Under our ring
finger, all the g. We reach effects
with finger three. Let me do it again. Let me
start off with finger three. Now. That's one octave, two octaves. We do exactly the same way, the same thing exactly
as we're doing. Octave. Only thing is that
we can not go on when we use our index finger, finger number two, we
have to use finger three, our middle finger
where we go on with the second octet.
So there we go. Three for the rest of it's
exactly the same thing. And you could add either
a finger to finger three. Let me do it again for you. Do only thing is
that you have to watch out is that when you
did your first activity, you don't answer with
your index finger, but you have to use your middle finger
in order to go on with the second octave. Okay, let me go down. So we start with either
finger or fingers. Three, the E-flat Done. We go with our thump
on the D. We go, we reach the eighth fret with our finger for the ring finger. Then we go on with
our thumb on the G, till we reach E-flat
with our middle finger, finger number three, and we
go with our thumb on the G. We do exactly the same thing. So let me do it again. Let me
now start with finger two. Okay, so that's how you play the E flat major scale
with right-hand, left-hand, one up
to two octaves. Now of course, you
practice with the play along tracks that you can find in the resources
of this lecture. And of course with
your metronome, I don't have to
show you now how it works because I did
it already before. And if you don't remember,
you just go back. Okay, So that's it. I see
you in the next lecture.
9. Twinkle Twinkle little Star in Eb major: Twinkle, twinkle in the
key of E flat major. Okay, We will have
three flat nose. Now, the E-flat, A-flat, B-flat, as you know from
the theory lecture. Okay, Let's have a look
how to play Twinkle, twinkle in the key
of E flat major. We start on the first, on the roots of the E-flat, which is the E-flat. The fifth note of E
flat major is B flat, sixth is the c, So we start as follows. So that's E flat, E flat, a B flat, B flat, C, C, B flat. And the finger
positions, 1144554. Okay, not too difficult, but two flats already
in the first part. Let's move to the second part. So we were with finger
for the B-flat. Let's move with finger
for the A-Flat. So that's still the same
fingering as for C major, G major, et cetera. So a flat, a flat, and G, G, F, F, E flat. And for the finger,
finger positions 3322112. So that was part two. Part three. You could do it as follows. Five, on the fifth note of
the E flat major scale, which has the B flat, B flat, B flat, a flat, a flat, G, G, F. And for the finger
positions 5544332. Now, the only difficulty
when you're coming from the A-Flat with finger for
and moving with finger three. So your middle finger on the G? Yeah. I don't know. It's not very comfortable.
You're a bit in between. But when you bend well your, your fingers, It's possible. An alternative way would be to start with four
on the B flat. B flat, B flat, a flat, a flat, G, G, F, and a. That would be with 4433221. The only problem is
that when you're going back after having
played this two times, this part three, when you're
going back to part one. And yeah, we want
it to do that with our first finger with our thump. So when you're
happier thump on dF, he would have to jump
to the E flat now. Okay, yeah, it's
possible of course. But yeah, when you want
it to be linked together, both nodes, the F and D E-flat. You could, if you choose
for this fingering. So for 4321, you could go with finger two instead
of finger one on the E-flat and undo as follows. And then with four as
usual on the B-flat. Okay, that is an
alternative fingering. It's up to you what
fingering you choose. Let me play now the whole
song in the key of E major. There we go. Again. As always, use your metronome
and that's very important. And start e.g. at 60 beats per minute, as usual, or an OT or speech
if that fits you better.
10. You raise me up - Eb major: So for the sign E-flat, I chose for the song
you raised me up. Very known, very nice song. So we have three flat nodes, as you know, in the
scale of E flat major. Let me first play the verse. So there's a verse and chorus. So that's the verse. Let me break it up in
pieces, of course. So we start with the first part. So the notes are
B-flat, E-flat, G, E-flat, E-flat, A-flat,
B-flat, E-flat. Now, the fingering, Yep. Don't always have to
take the same fingering. It's urine, the whole song, a lot of different
fingerings are possible. I will just do one fingering. You, you'll probably have to
choose your own fingering. You can, of course,
take my fingering and see if it fits
for your hens. But of course not all
the hands are the same and some fingerings are for some people
better than other. So you have to find a bit
out your own fingering, but I will just
give one finger in my fingering and you can
do whatever you want. What I do is this. And even I don't even do always the same
fingering, to be honest. So if you see me
one time due to one fingering and one times
the other, That's normal. What I do what I did
here was 135-343-3124. Okay, Let's move to the
second part of the verse. So that's D, E-flat, G, B-flat, flats, B-flat, E-flat, G, F. And a possible
fingering would be 12342544 to one. But again, if you find a better fingering for you, also fine. Then the third part. So that's B-flat, C, D, E-flat, G, D, C, B flat, a flat, B flat, E flat. So what I did I do
for the fingering. Well, you could do it like this. 234-15-4323. Okay, um, one more parts. That's as follows. So that's E flat, F, G, B flat, G, F, E flat, D, E flat. So how did I play it? Either you're starting
to work on three. Well, as I said, you can find out
your own fingering. You could do it as follows. 345-15-4323. But again, you can take another fingering
if that fits you better. So that was the verse. Now let me play it
with the metronome. I forgot to say what
tempo we will take. We will take 70
beats per minute. And that's also the tempo
that we will choose once you, once you will play
it with the band. Now, the song doesn't start at the first beat
of the measure. It starts this
time at beat four. So what I will do. Is starting to metronome. Leave it for accounts, then three more accounts, which are the three first
accounts of the measure. And then count for
we will start so it will be 1234123, etc. So let me just begin. 1234123. Okay, that was diverse. Let's move on to the chorus. So let me play it
first. It's as follows. So let me break this
also up in pieces. So the first line is as follows. So the notes are B flat, C, D, E flat, G, B flat, a flat, B-flat, E-flat. And a possible fingering would be 1, 234-154-3231. Then the second
line of the chorus. So that's B-flat, G, a G, F, E flat. Now we're lower, one
octave lower, G, D, C, B flat, a flat, B-flat. Possible finger positions for the second line are as follows. 254-315-4323. Then we go on with
this third line. So that's B flat, D, E flat, G, D, C, B flat, a flat, B flat, E flat. Possible finger positions
are 245-154-3235. Again, if you have better
fingering for your hands, feel free to do that. The last line, this as follows. So that's the following notes. In E-flat, F G, a, B-flat, G, F, E flat, D E flat. And for the fingers,
345-15-4323. Okay, let's do it with the
metronome, the whole chorus. It begins also on beat four, so I will leave, I will do the same thing as
with the verse. I leave the metronome
for accounts. And on three counts of
the second beat, 1234123. And then on four, we start. Here we go. 1234123. Okay, and that was
the whole song. Now, perhaps you saw me when
I did it with a metronome. Sometimes take some
little other fingering than what I proposed before. As I said, Well, there are different
fingerings possible. So I told you already I will not always perhaps do
the same fingering. So you self also feel free to take the fingering
that fits you the best. Okay, So let me play
now the whole song. So verse and chorus
with the metronome. So you can see how you
go from verse two cores. So again, seven accounts, which is four plus
three before we start, so 1234123, and then
on the four, I start. There. We go. 1234123.
11. You raise me up - Playing together with the band: Okay, you're going to play, you raised me up
together with the bend. Now, just some things to say
before we, before you start. First of all, the song starts
normally the original, the original version starts in D. Then in the
middle of the song, they go up a half
tone to E-flat. And then for the last
part of the song they go up to E. So of course, I chose to do only
the middle part. So to E flat part because
we're doing E-flat now. So we're not doing
the whole song. It's only just one
verse and one chorus. So that's the first
thing I wanted to sing. So as I told you already
in the former lecture, the metronome does
it four beats. And then in the next four beats, you start on beat four. So 1234123, and then four, you start to play. Now here, there is a piano intro which just does four plus three, as if it were four plus
three beats of a metronome. So it's not even a metronome, it's a piano, but it's
of course, all the same. I will let you here. So here it comes. Here comes the theme
before the intro, the piano intro before
you start to play. Okay, So I left it even a little bit more
than only the piano intro. I also started with a bend. So you heard a gap between the seven times that the
piano plays and the band. Now in this gap, you have to
start to play That's beat for beat four is the gap. Dare you start to play. Well, you will hear it once. I will play it for
you. There we go. Now the course.
12. Exercise: Scales C to B, Bb & Eb: Okay, In this lesson
you are going to practice with all
the major scale, starting on a white key route, including the two major
scale that we've just done. So B-flat and E-flat. So in total, nine
different major skills. To do so go to the
resources of this lecture, you will find a PDF file. Just click on the link in the PDF file to go
to the exercises.
13. The Bb major triad: Okay, How was the B-flat
major triad looking? Well, we're going to find
that out in this lecture. So remember that a major
triad was always formed, but first, the third and the fifth note of
the major scale. So the root and a major
third and a fifth. And you see here to
B flat major scale, this plate, the first, third, and fifth notes into B-flat
major scale are B-flat, D, and F. So B-flat, D and F together is the
B-flat major triad. Now we're going to play it
on the piano, of course. And here you have the B-flat major triad
in root position, where the root is at the bottom. This is the first inversion of B flat major. The major third. D is at the bottom. Here. You see the
second inversion of the B-flat major triad, where f, two fifths
in the scale of B-flat major is at the bottom.
14. Blowing in the Wind in F major: We're going to play blowing in the wind in the
key of F major. So as always, we
have to look forward to one to four and
the five chord, so, well, we have to look at the key of F
Major, F major scale. Of course, f is the first
node of the F major scale. So f also played the one chord. Of course. What's the four
chord? Well, let's go. For the fourth note in the
key of F major is the B-flat. So our forecourt is B-flat. And our five chord, well, five fifth note in the
scale of F major is C, So let's simply C major. So in this version of
blowing in the wind, so diversion in F major, you will practice too. Old cords also had a C major
and the F-Major chord. Nothing difficult, of course, as well as you know, I will not play it
again for you because the principle is exactly
the same as we did before. I will just show you quickly
the exercises you could do. So you could first do all the root positions, F and C. Then you could do also
other inversions. And you can make
combinations of inversions. So e.g. you could do e.g. start in first inversion. Then you can do B flat
in root position. And then in second inversion. That's a possibility. You can, of course,
also start with F in second inversion
than you do e.g. B-flat in first inversion. And then you can
do either see in first inversion root position or you can try also other
combinations that you know it. Of course, you can practice
also with your left hand. First, just the root notes. So F, B-flat. See, I took now
another inversion, but you could also just simply seeing your left hand while you're playing
the courts to try it in your right-hand. And of course don't forget, very important to play. Also. They try it
with your left. So F, B flat, and C trial. So other inversions. Well, this is a bit
low and my piano, so let me take it here. So that's the,
that's the B-flat. I should start with
the f. So e.g. this one, that's
second inversion of f. First inversion of B flat, and C, e.g. in root position. Well, you understand the
principle or you just try to combine as many
possible inversions with your right hand,
with your left hand. You pay also, left and right
hands together has so left hand bass notes and the
right-hand, the courts. Okay, that's it
for this lecture. Practice it well, and I
see you in the next one.
15. The Eb major triad: The E-flat major triad. So again, we need to do root
the major thirds and fifths. And you see here the
E-flat major scale. So the first, the third, and the fifth note, our E-flat, G, B-flat. E-flat, G, B-flat together is the E-flat major
triad. On the piano. Root position is
played as follows. Route, E-flat is at the bottom. The first inversion. First inversion is G major third in the scale
of E flat major bottom. That's the second inversion. There. The fifths, which is B-flat in the scale of E flat
major, is at the bottom.
16. Blowing in the Wind in Bb major: So blowing in the
wind in B-flat major. So again, I'm going to show
you what 214.5 courts are and I'm going to tell you
what exercises you can do to practice those three
courts with this song. So obviously, we're in
the key of B-flat major, so we're going to
B-flat major scale. Well, the one chord is always the one on the roots
of that tonality. Yes, so B flat is of
course, B-flat major. B-flat major triad
is the one chord. Now in the key of B-flat, 1234, the fourth note is E-flat. E-flat major will
be our four chord. Okay? And, um, 12345. So the five chord is F major. So that being said, let me tell you what
the exercises are. It's always the same mass, so you do several
combinations of what well, first you can do, of course,
to the root position. So B flat, F-major. You can do combinations as always has so well,
what could you do? E.g. let me start with this one. E-flat in first inversion, E-flat in root position, and the f also reposition, or you can go,
went when you come from the E-flat
in root position, you can also reach out to me
in second inversion, e.g. you could do totally
other inversions. So let me say e.g. you start with a B flat in root position
than you can easily go to E-flat in what is
this second inversion, and F in first inversion. That's also a possibility. Let me see what other
possibilities are there, e.g. we can start with B-Flat,
second inversion, E-flat in first inversion, and then either disposition. So that's the first inversion
or reposition. Work. Well, those three combinations that I showed you
are there. You do. I think you do all the
inversions more or less. Of course, you are doing
also the left-hand. What I mean is you will
play the bass notes as so. E.g. you could
also played lower. Now, you don't see Today's
here on your piano. You could play that one also. Or you can also play this. Okay? Anyway, you play the bass, debates nose with your
left hand, B flat, flat. Okay? And of course, very,
very important. I say it every lecture
because it's so important. Try also to try it's
in your left hand. Or another combinations. You have enough to practice. So I see you in
the next lecture.
17. Exercise: Triads C to B, Bb & Eb: It's time to
practice the triads. So we're going to do to try
it's from C to be sold. White key routes, including the two triads that we've
just seen in this section, and that's B-flat and E-flat. So in total, nine triads, but in older inversions, so nine times three is
27 different shapes. To do so, go to the PDF
file and the resources of this lecture
and just click on the link to go to the exercise.
18. Which intervals do we already know?: Now this next section
is about intervals. It's a quite
theoretical section, which means that you're
not practicing a lot. So I would advise you to do alongside with this
theoretical lessons, to keep on practicing on the
piano and do the exercises. Do your scales, do the songs. Go on with your
exercises while you do this few theoretical
lessons, intervals. Now you're probably
perhaps remember that in the beginning of
this course we did already three
different intervals. That of halftone or semitone, a whole tone, and an octave. So just very quickly, what was the
halftone? Halftones? That's the interval
between a node. And to denote just next to it on the right side or
on the left side. So between C and C
sharp or D flat, or between those aren't
halftone or semitone intervals, also called half-step intervals. Another example, B flat to B, G to G sharp, well, E2F, etc. Then the whole-tone interval, remember that was to Halftone
intervals edit together. So e.g. for C to D, or from F sharp to G sharp, or from B to C, or from E to F sharp. Well, I hope you remember. I had an octave that was
the interval between a node and the next occurrence
of that note on the keyboard can be
between every note. Of course, that is
also an octave. This is an octave, etc. Know, perhaps without knowing, we did two other intervals. Remember that in our lessons, I will spoke of the third
major third, and two fifths. Now you say, hey, but they are notes, they're not intervals. Yes, they are notes, but they are also intervals. Let me look at a
very easy scale, that of C major. We look at a major
third, That's this note. We also call the interval
between the root, which is c, of course, the major third, a major third interval. So other example from G to B. Why? Because B is a major
third in the scale of G major. So the interval
between the root and the major thirds into G major scale is
also a major third, a major third interval, in this case, or between L and D. Remember that the
E flat major scale is flat. A flat, B flat, E flat. So the root and the major
third, or the E-flat, and the interval
between the root and the major third is also a major third, major
third interval. So a major third is
also an interval. Same thing for a fifth. So e.g. let me go again to the C major scale to
make things easy. The fifth note in the
scale of C major is the G. As we know. We call it the fifth. But we also call the
interval between the roots are C
and G, The fifth. Other examples, the
interval from G to D. Because D is the fifth note. In the scale of G-Major, we call also the
note D, the fifth, but also the interval
from g to the fifth, or e.g. in E-flat. Now the fifth note in the
scale of E flat is the B-flat. B-flat is the fifth
scale of E flat major. So the interval from a to
B is also det, of a fifth. So again, which intervals
do we already know? The halftone or half step
or semitone interval? The whole tone, or also
called whole step interval. The major third, the
fifth, and the octave.
19. The other Intervals I: So let's look at the
other integrals. So the ones that we
haven't seen yet. And to show you that, let me display a part
of a piano keyboard. And as you see, I only
display a little part of the keyboard totally up because I will need a lot of
space below the keyboard. To start, I will look
at the intervals from the notes C to the other
nodes in the C major scale. So that means from c to the other white notes
on the keyboard. So we will first look at
the intervals from C to D, to E, to F, to G, to a, to B, to C, an octave up. Let me put the names of the intervals that
we already know. So that's whole tone, major, third, fifth, and octave. Now before you ask, Hey, we also know the halftone. Yes, that's true. But as I said, we will only look
to white keys now. We do all the other keys, all the other intervals
that full on black keys. We do it a little bit
later in this lesson. Now, you see that
three intervals are missing in this scheme. And that's the
interval from C to F. F is the fourth note
of the C major scale. So we call that the
interval is simply the force from C to a. Well, hey, is the sixth
note into C major scale, so we call it simply the sixth. From C to B. B is the seventh note
in the C major scale, so that's simply the seventh. Now, just to be sure
that you understand, I talk about notes
and about intervals. An interval between the root, so between C and denote e.g. from C to E, we call it a major third. But I also called a
note a major third. So the E in the key of C, I also call it a major third. So I can call the
interval a major thirds, but also denote a major third. And that's the case for all the intervals and all the notes. Now, the fourth, the fifth, and the octave are
actually special intervals because we call them
perfect intervals. So we say the perfect fourth, perfect fifth, and
the perfect octave. Now to be honest, I
very often keep calling them simply fourth,
fifth, and octave. So without perfect, but officially I should call
them perfect fourth, perfect fifth, perfect octave. So you see that we have
three perfect intervals and we also have one major
interval, the major third. Well, actually there are
more major intervals. We call the 6th, actually the major sixth and the seventh. Major seventh. So what about the whole tone? Well, the whole tone is actually an alternative name and the
official name is second. In this case, the major second. And its logic that it's called a second because it's a
second note in the scale, as is the case for
the third, fourth, and fifth, etc, Also, of course. So we've now completed
the intervals between C and D. Other nose
of the C major scale. And they're all either
major intervals or perfect intervals. Let's now have a look at
the intervals between C and all the notes that
fall on a black key. To do so, know that major intervals can become
minor intervals. So e.g. the major third, we also
have a minor third, C to E-flat in this diagram, the major seventh, there's
also a minor seventh. So from C to B flat, There's also a minor sixth. So that's of course, from C to a flat. And there's also a minor second, which is from C to D flat. And you see that we've had
now all the black notes without the F sharp or G flat. So would it be a minor fifths? No. Major intervals can
become minor intervals, but perfect intervals cannot
become minor intervals. Okay, so we've seen
now all the intervals, only the interval
from C to G flat. I will speak about that later. But you can say, Okay, we've now seen the intervals
only from this note C, but you can have
an interval from any node to any other node. So how to do that? Well, let me illustrate this. From the node a, e.g. you can first look in the a major scale and put all the
intervals that you know. So that means from a
to B, a major second, from a to C sharp major third, from a to D. The perfect fourth, from a to E, a perfect
fifth from a to F sharp, a major sixth, from a to E, G-sharp, major seventh, and
from a to a, an octave. After that, you do
all the other nodes that are not in
the a major scale. So from a to B flat minor
second, from a to C, a minor third from
a to F minor sixth, from a to G, a minor seventh. And again, the one missing
interval from a to E flat. I will speak about that later.
20. The other intervals II (overview/important intervals): So we're going to speak
again about intervals. This time I wanted
to make for you an overview in a
table. So here it is. And in this table there are some intervals that
I want to add, that which I haven't
been speaking of yet. And I will start with
the very first one, totally on top of the table. And there you see that I
have the interval between C and C. Now that's
a bit strange. How can you have an interval
between a node and itself? Well, yeah, it seems a little bit strange at the beginning, but why not just an interval of zero tones and interval
between a node and itself. We call such an
interval a unison. And it's also a
perfect interval, so it's a perfect unison. Then perhaps you remember
that we haven't seen the interval from C to
F sharp or G flat yet. Well, we call it
interval a tritone. Well, you'll see that in the
second column of this table, I put a number of tones. And you see that for
this tritone interval, the number of tones is three. Well, tritone is exactly
what that means. Tri means three. So three tones, tri-tone. Now you see that this dry, I put it into column
alternative name. So what's the official name? Why didn't I have a name in the name of the
interval column? Well, you'll see
that in that column. So the name of the interval, that there are only perfect
minor and major intervals. Well, the tritone is
not a perfect interval. It's not a minor interval and
it's not a major interval. So I cannot put it
in that column. Later, we will see that you also have diminished and
augmented intervals. And we will then
put an extra column in our table for the augmented
and diminished intervals. And dare, we can put
an official name for the tritone interval. The special thing about to
try it on interval is that it splits an octave
exactly into equal parts. An octave is six whole tones. A tritone is three whole tones, so that's exactly half of six. So when you go from C to
F sharp, It's a tri-tone, but when you go from F sharp
to C an octave higher, It's also tried on, since the tri-tone splits the octave exactly
into equal parts. Something else you
can see in this table is that in the third column, the interval between
the notes column that I put everywhere, with the exception of to try
to an interval flat notes, you don't see any sharp
nodes. Why is that? Well, let me explain that. E.g. with the interval
of a minor third. So the interval
from C to E-flat, why didn't I call it the
interval from c to d sharp? Well, if I call it the
interval from c to D-sharp, D is the second letter after C, So it has to be
something with a second. But we call that
interval a minor third. So third implies that we have to use the third letter after C, C, D, E. So we have to use letter e. So it has to be an E
flat and not a D-sharp. The same is for all the
other minor intervals. That's why they are only
flat nodes and no sharps. Does that mean that the interval from c to d sharp doesn't exist? No, the interval from
c to d sharp exists. But then we have to call
it an augmented interval. And as I said before, the augmented and
diminished intervals, we will see it much
later in the course. And finally, why did I
call the interval of a tritone the interval from
C to F sharp or G flat. So there I have a sharp node. Well, that has everything
to do also with augmented and
diminished intervals. So that's also for later. Now perhaps all of this
isn't a little bit confusing because it's all
fresh, new knowledge. And you've never
seen this before. And perhaps you say, Oh my gosh, I can never learn
all those names. Well, don't worry. You don't have to know them all. For now, I've highlighted the intervals that you
should know by now. So for the half tone,
semitone half step, we will not use
the official name minor seconds
because half-tones, semitone half-step
is used much more. Same thing for
whole-tone, whole step. We use that rather
than major second. Other intervals that you should know are the minor
third, major third, perfect fourth, perfect fifth, minor sevenths, major seventh
and to perfect octave. Again, instead of perfect
fourth, perfect fifth, perfect octave, I normally just say fourth, fifth and octave. Now, you can download this table into resources
of this lecture and eventually printed
out so that you have a good overview of
all the intervals.
21. Characteristics of Intervals - Inversions: In this lesson, I'd
like to show you some special characteristic
of intervals, and that's the inversion
of an interval. Let me show you what I
mean by an inversion of an interval. Let me take e.g. the interval from,
let's say from C to F. A perfect fourth,
as you know. Now the inversion of this
interval is when I take the bottom note and
put it at the top. I then have the
interval from F to C, which is the perfect fifth. Can you see that? Well, C is the fifth note in
the F major scale. So anyway, any
version you make by taking an integral and it's
placing the bottom note. So we see that the inversion of a perfect fourth
is a perfect fit. You can also say
that when I take two intervals that are
each other's inversion, that they add up to an octave. The perfect fourth. Perfect fifth. Or together an octave. Let's have a look at
other pairs of intervals. Debts are together an octave and sold at our inversions
of each other. I will start with the
smallest interval, halftone. But let me call it for
now, a minor seconds. When I take the bottom note, an octave up, I have
a major seventh. How can I see that
it's a major seventh? Well, the easiest way is when you take both nodes of this
interval halftone down, you have the same interval. And the interval from c to b is, as you know, a major seventh. The minor seconds. And major sevenths
are inversions. The next one whole time. But let me call it now, a major second goes together
with a minor seventh. Oh, can you see that
this is a minor seventh? Well, you could either do
the same trick as before. In this case, you have to
go with both D and D to C, two semitones, or
whole tone down. The low note, the d becomes a. See the high note that
the c becomes a B-flat, and from C to B flat
is a minor seventh. Which you also can do is count the number of
semi-tones between D and the C. That is ten
semitones or five whole tones. So a minor seventh. The next one is a minor third, goes together with
this interval. What does this interval? Well, what you don't
see it directly. Let's go down in half-tones. Hey, that's a major six. So a minor third. And major cities are
each address inversions. The next one, a major, has this as its inversion. What does this interval? Well, it's a minor six. Well, you can see it when
you know the E major scale, of course, that this
is the major six. So this must be the minor six. If you don't see it,
go down in half-tones. You see this is a minor six. Major third and
minor six. Together. The perfect fourths
and perfect fifths. We saw it already a while ago. So the next one. Yes, it's not a minor
or major interval and it's also not a perfect
interval as we know. So let's call it by its alternative name that
we know, that tri-tone. What is the inverted interval? Well, it's also a tritone. How can you see that?
Well, a Tritone, as you know, is
three whole tones. We know already
that from C to F is one pole to hold times
three whole tones. That's no goal
from F sharp to C. One whole tone to whole
tones, three whole tones. So the inversion of a
tritone is a tritone. You see also, a tritone divides the octave
exactly into equal parts. This is three times, three times three whole tones. Okay, I can go on of course, but you will see that we get exactly the same intervals with their inversions that
we mentioned already. Because the next node
would be a perfect fifth. But the inversion is
a perfect fourth. And we saw already
that the person had to perfect fifths were
each other's inversions. So a perfect fifth and
the perfect fourth URL, so each other's inversion. If you don't see that there's
a perfect fourth, well, C is the fourth note
into G major scale, so it must be a perfect fourth. Well, you will see that when we check all the other nodes, that you will get exactly
the same intervals as that we got when we did all the notes till
the tritone interval. Let me try one more to show you. E.g. from C to B flat, which is, as you know,
a minor seventh. Well, the inversion
is a whole tone, or in this case, I prefer to say a major seconds. Now why is this important, those inversions of intervals? Well, it can be very handy because going up from one tone, a certain interval is the same thing as going
down from a tone, the inversion of the interval. So e.g. from C going up a fifth, a perfect fifth is the same
thing as from C-D going down a perfect fourth. Remember also that
when we were looking for the minor seven, e.g. the minor seventh in the
key of C was to be flipped. We said, we can also go
from the root a whole step, or major seconds down to
find the minor seventh. Anyway, we have
now here the table with all the intervals
with their inversions. And what do you see? You see that the inversion of a minor interval always
is it major interval. And you also see that
the inversion of a major interval is
a minor interval. The inversion of a
perfect interval stays a perfect interval.
22. The circle of fifths: I hope that you remember
that when we did the E flat major scale, the major scale with three fled notes that we
arrived at this diagram. Where on the right
side of the Sea, I have the major skills
with sharp notes. On every step I go to the right. It means one-fifth up. And on the left side of the Sea, I have the skills with flats. And the last scale we did, as I said, was the E-flat
major scale with three flats. What we also saw in this lesson about the E
flat major scale is that the next scale would be the a flat major scale
with four flips. So I put it also in the diagram. Now, I said to you that A-flat and the other major scales
with even more flat, we will do that much
later in the course. That's true. But for the purpose
of this lecture, it's good to know which
are the next major scale. So with more flip notes
that we're going to do. So to determine that on
a flat will go down, which means seven
semitones. So there we go. Hey, that's D-flat. D-flat major scale
with five flats. When we go from D flat, another fifth down,
or seven semitones. So let me take this
D flat now, 1367. Then we arrive at G flat, a major scale with six flats. Now, six flats, that's like
the case with the F sharp, where we have six sharps. That seems impossible
because we only have five sharp notes or five flattened cells
have five black keys, if five different black
keys on the piano keyboard. But I said, once we
will do dose scale, so F-sharp with six sharps
or G-flat with six flats. You will see how
that works. Okay? Now, this is our completed
diagram with all the, with all the major scales. And when you look well, you see that the
most left scale, so the G-flat scale with six flats and the
most RightScale, the F sharp major scale with six sharps are actually one
and the same scale. Why? Well, because F-sharp and G-flat are exactly
the same notes. They are enharmonic
equivalent notes. I hope you remember
what it means. Now we did that in the
beginning of the course. So F-sharp and
G-flat are the same. Knows, hey, the soda left
side of this diagram is totally the same note as the total right
side of this diagram. Well, that means that I can display this diagram
in a circle. There it is the circle. And you see that's totally
down on the circle. We have F-sharp and G-flat on the same place because
it's the same note. Now, do you remember
that when we had those major scales still
displayed in one line, That one step to the
right was a fifth up and one step to the
left was a fifth down. Well, one step to the
right corresponds in this circle with
a step clockwise, and step to the
left corresponds in this circle with a
step counterclockwise. So this means that in
this circular diagram, that when you go
one step clockwise, you go One-fifth up. When you go one step
counterclockwise, you go one-fifth down. That's why this
circular diagram is called the circle of fifths, also called the cycle
of fifths. So e.g. when you go from a to
E, it's a fifth up. But also when you go e.g. from D flat to a
flood, well, etc. Now remember that in the
last lecture where we talked about inversions
of intervals, that a fifth up is the same
thing as a force down, and a fifth down is the
same thing as a fourth up. That means that a step counterclockwise is
not only a fifth down, but also a fourth up. And a step clockwise is
not only a fifth up, but also a fourth down. That's why you
sometimes also see the name circle of fourths. The circle of fifths gives
us a very good overview of all the major scales
and their number of sharps or flats
in this scale. You can also very quickly see two notes that are a tritone
away from each other. They're both on exactly the
opposite side of the circle. So e.g. C. And F sharp, or G flat, or a tritone away
from each other. Or eight and E-flat are also exactly a tritone
away from each other.
Martin Cohen, Teacher, musician and composer
