hi Tale tellers welcome to our new book for piano for the suzuki method and we're going to skip right off with a scale exercise in c major i think we'll just do the right hand and we'll come back and do the left hand tomorrow i don't think anyone should do too much at one sitting i think we should do a little bit of theory and a lot of practice and good fun things but for today because we're starting a new book let's just start with the right hand and let's play it a few times so you're going to start on middle c

and then you're going to play d e and you're going to put your thumb under on the f right up to that top c and you're going to come back down again now look we've run out of fingers third finger over

let's do that again focusing on the fingering i'll call it out

one two three one two three four five four three two one over three two one now you try i'll do it slowly and see if you can join in

should we try it one more time

now it's very important that you hold the c's the thumb c and the pinky c for a count of two beats and that's because it's the keynote it's the name of the scale and it helps our ears understand the key that we should be playing in and we can really hear if we make a mistake so it's really important to do that it's important also that you practice your scales slowly they should never be rushed even when you get really good don't play them too fast we need to understand exactly what we're doing when we practice and that means slow practice is the best way to learn and to improve

well that's it for today i'll be back tomorrow with the left hand and oh yes some cello we're doing some suzuki cello in the music room today which is rather exciting bye

Let's play jazz together, simple lessons in a fun way with the Tale Teller Club

hi tail tellers welcome to um the tertiary club and my first class which is a jazz class from um really what i will describe as a classical perspective so i'm assuming that you've got a little bit of uh knowledge but you don't actually have to have that much knowledge to do these uh classes with me but it would would help if you had a piano in front of you but you don't have to have a piano in front of you and you can play whatever instrument you've got to hand because i'm going to tell you the names of the notes so today we're going to talk about the different triads a triad is a group of three notes um and they really are the the the grounding of all sort of jazz and improv work you know if you know these basically you're going to be able to play anything but the purpose of today's uh little mini lecture is to understand what these triads what they sound like so that you can predict what they sound like so when you're improvising you you know whether you want to play a particular triad before you're even your hands are even there okay so we're going to talk about major triads minor trads diminished triad and an augmented triad like some japanese gangs or something doesn't it so let's start off with the major you're going to need a c an e and a g okay now it might be said that the major triad major key you know songs in that key tend to sound um a bit more upbeat it's a it's a little bit of a um a catch-all you know there are lots of ways of describing it another way could be bold i like bold better sort of i've just jumped out of a cake i'm marilyn monroe

do you see it has that kind of sound about it it might have been a bit loud for the recording apologies um now a minor minor keys and chords are accused of being sad but i think that's a bit sweeping as well um melancholy and pensive are good words and perhaps um verging on a little it's very slightly uh um sorrowful or mournful let's have a listen so you'll need to see the e-flat oh very different and all together ah yes i've got it can you hear that

here's the major and here's the minor there's only one little semitone difference in the middle there and it's really

uh it's a sort of uh oh sound so you jumped out the cake oh no i've forgotten to put my clothes on do you see a little bit worrisome isn't it a little bit like oh goodness me now diminished um triad this is uh it's one of my favorites actually this sounds really dramatic as as if something is really going on um it's agitated let's listen to it we've got the c and that e flat still we're going to play a g flat now they don't sound much apart but what happens when we play them together oh that's very interesting isn't it

now what that's so we're starting to think what are we thinking is awesome wells or there's some sort of um danger you're going to get caught uh coming out the cake it wasn't your cake you're at the wrong party yeah let's do all three of those the major the minor the diminished

can you hear the difference i'll stop

talking and it was what are we starting we're starting to feel a little bit unresolved don't we a little bit um ordinary we were playing we'd have to come back to the sound cheerful and bold um triad if we'd started in that it just depends what song you're playing there's one more

well there's many more but there's one more for today one more chord and that is the augmented okay now this one sounds um a little bit um mystical i suppose and uh ethereal a bit up in the clouds so let me play it we're going to go back to the e we're not uh flattening the e anymore and we're going to sharpen that g okay it's had an augmentation a bit like um well i don't like to name names i'm sure you so know somebody who's been augmented c e natural oh let's play this together

how interesting let's play everything the major...

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