We are working with body and mind and sounds to create harmonious resonances and well-being this week.

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Welcome to a de-stress through music with Sarnia

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Music therapy sessions with Sarnia serve to create feelings and a chance to embrace only the present.

You do not need to be a musician to join in.

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Another great pod class from Sarnia. Check out the Tale Teller Kids podcast for 100s more.


hello piano players welcome to suzuki free school now i'm um over from the telltale club which is our main podcast um giving free lessons for all of the suzuki uh studies until this podcast no longer belongs to me because it is for sale so we shall see what happens where i could be here for a year or more um now the second study for right hand is exciting because because my friends we are starting to use different notes um so this is very exciting so cello as well today we we crossed strings so we used different notes so we're sort of working in tanda which i really like so let's have a look now then during yesterday we talked about this c the not the middle c but the c an octave higher well today we're going to use that and the d and the e and the f and the g so let's just have a little talk about these notes put your put your fingers down on the c the d the e f the g okay now your fingers should be lying nicely on the you've done is use your fingertips imagine there's a a little mouse it's quite a big mouse actually it's not a tiny mouse it's a big mouse it's a big fat mouse and he lives under your palm so and you have to work around you can't put your palm flat on the piano because you'll squash him and he'll get really annoyed okay so pop your thumb on the c your second on the d your third on the e your fourth on that f and your pinky on that g you're playing a row of white notes and just so that um you know you don't need to know the names and it's just yet but we might as well start now do you know what i mean we may as well because i'm going to be um talking about uh chords and things very very soon because that's you know as a composer which is my main job of course i work with chords and i like chord structures and i like to talk about the names of notes so we're going to be talking about the names of the notes anyway glance at the music what do you see you see a row of c's

a row of d's

a row vs a row of f's

and a row of g's and we're coming back down again

and we've got a rest at the end bravo well i imagine you did you play along with me i don't know you didn't need to i wasn't insisting at that point um what do we need to know it's a staccato so i remember my mrs chopin actually coincidentally i always wondered if she just made that up um when i was this was back in 1970 1970 or 1968 or something and she told me when you play staccato you play as if the key was hot so you you know you release as quickly as you can now with the piano you don't have to lift your finger right up and fly off in the air because at some point when you lift you're releasing the hammer back onto the string you see so you it depends on your piano i'm not there with you at your piano but you do you know you don't need to fly off and um you know then lose your place you know i i mean i do like a dramatic performance but really this staccato for the piano is is different than a legato where we would be falling into it and like a dancer and you know you see those people and they they're all curly whirly with their arms oh is it all this romantic um which of course i am i love that i love all that but with a staccato uh we're well robust i mean don't be flowery about it so hot note do you see um i think you know that's probably all we really need to talk about ah i'll tell you what else we'll talk about when we're talking about uh i mean you're going to copy me

etc so you don't need to um understand the timing because you're just going to listen and you're just going to copy but if you are concerned about timing if this is what i do i'd say one and two and three and four and one and two and three and four and do you see because the those that second little group the quavers we've got the semiquavers which are the ones with the two bars and then the next ones are the semiquavers...

Another amazing chord for film sounds and composers



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hello piano players welcome to a call today keeps boredom at bay um i was getting bored though because we were going through um our chord bible the piano advanced chord bible uh which is by jake jackson but you don't have to have it just make a note of the spellings and you're away um we were just doing all the c's we're going through it sort of uh alphabetically and i thought why am i doing that we want a wealth of information a wealth of exciting chords because when we're performing when we're improvising when we're composing we want to excite um or cause some sort of effect in our listener we want to make them feel miserable if it's a sad song we want to make sometimes we'd like them to cry thank you we want them to be happy we want them to to dance etc etc and just using the same uh root note all the way through for your chords is not going to be particularly entertaining um well music's about contrast and movement um not just uh rhythm style movement but movement in pitch and going somewhere and coming back you know that's what we're that's what we like to hear so i'm delving into some g well i'll tell you what i'm going to do every day actually i'm just going to open the book and where it falls we will be playing that one i like this idea of random chance funnily enough i've just started a a role-play game on the site telltale club and a lot of it's going to be about dice rolling and random acts of um fate and i just think this obviously it's come down upon me this idea that i like randomness um but randomness with skill because skills important and learning these you don't have to learn them by by um you know wrote if you've got a book handy or your notes handy there's nothing wrong with that there's no reason why you have to learn all these you can work them out anyway a g minor is going to be a g with a minor third so you can already work out it's going to be a g and a b flat yes um and you can work out the triad actually can't you you know the fifth it's going to be a g a b flat and a d so we're we're already there we don't necessarily know it before we play it but we look at the piano we can work it out immediately why because we do a call today and that keeps us clever you see it keeps us on our toes so let's look at this spelling in more detail we've got a first which is a g a third which is a b flat that's the minor third and a fifth which is a d lovely and that's the perfect fifth isn't it because we've got those on the cello that sounds that's that's very pleasant i think that feels like um walking in a meadow in at dusk for me but well look we're going to stick the seventh in which is this f sharp oh that's already when you hear that you know when you play all that together that's going to mess with your head oh

to see what i mean that's very interesting isn't it now are we seeing similarities do you think with the the c minor major seventh i think we are so you know what is the similarity between all these chords very interesting isn't it well i think i'll tell you what let's play some of this triad in the left hand

and let's just play perhaps a d and an f sharp in the right

interesting um what else could we do we could do the b flat and the d in the f sharp in the left yes and then with the right we could play the b flat the d and the g

do you see it's quite interesting it's getting a mood isn't it what do you think the word is your words are your words um uh i'm going to let me think i'm going to play the d f sharp with the left i'm just trying to move it round a bit to make it a bit more uh edgy i it's i think it's quite an edgy um chord to be honest i like that so that's what i'm doing i'm using the d with the bit as the bass note then the f sharp then i'm playing a b flat i'm sort of playing it backwards if you like and then with the right hand i'm going to play that d and that i play the b flat yeah i'm going to do that okay and the word i'm going to use...

hello gorgeous piano students and welcome to the music room at royal clarence it's a lovely wintry day here um i've got the french doors open because the sun is actually quite glorious and i love the winter sun because it's so low in the sky and it has a different feeling about it and i we've had some stormy weather so it's absolutely wonderful to see some uh gorgeous sunshine now then let's talk about the study for right hand suzuki book one first things first let's just do a little posture check i'm going to pop a link in the description for a posture uh exercise that i do for piano anyway but what i want you to make sure is you're sitting slightly forward on your on your stool um there's no point being too far away from the keyboard is there um at your feet are firmly on the floor or you can reach the pedals if you're already doing pedals um your feet should have your heels should be on the floor and your feet can sort of pivot uh easily so that's that's kind of where your feet should be now just i'd like you to just um move your shoulders up high and then drop them again and do that a few times just to you know get rid of any tension and lift your arms to the side as if you're a flight pretend to be an airplane and then just bring them forward and your hands should be slightly lower than your elbows if you're too high you're going to give yourself terrible back problems later in life and don't hunch over the piano keep that back nice and straight and look ahead we're going to be focusing really on understanding the feel of our music notes we don't have to be peering at them that's not to say you can't look at your fingers but don't be peering down at them um you really you want a long piano career if whether or not it's professional or amateur your piano playing does not want to be cut short because of neck injuries okay so i have terrible arthritis in my neck probably from years and years of um sitting incorrectly so and other things probably didn't do enough exercise or some such thing so let's have a look at our fancy scrolly um indicators on on this piano uh music what's that curly wurly thing that is um the indication that we're playing in the treble clef and that would be from middle c upwards okay so those are the notes that we're going to be playing i'll turn that up a little i think that's large enough um those are the notes we're going to be we're going to be using our right hand now it's not always true that you play the right hand with the treble clef but generally speaking and certainly for this this part um now we've only learned where middle c is uh but we're going to be learning some other notes now the the alphabet the music alphabet is c d e f g a b c d e f g a b c d e f g a b c d e f g a b c so it repeats so we only have to really know where a b c d e f and g are not strictly true because there are some sharpened there's a half notes as well that's what the black notes are but we don't have to worry about those things today today we're just thinking about c d e f and g

let's look at that first little exercise now that note is not middle c it's the c above and i know that because it's in a different place on the music ledger lines these the stave this group of lines is the stave and those lines are called ledger lines and each ledger line has a note that belongs there and that note is the c above middle c so can you just find that for me

have you got it it's by two black notes but it's not in the middle it's just in fact if you're sitting nicely it would be where your thumb is sort of directly in front of your hip okay that is an a c it's the same as that and the same as that and the same as that but it sounds different and that's because they're in different registers but they are the same um they are the same note so they sound very similar

you see it's remarkable isn't it and these are called an octave apart okay in fact i did a a single based on just c's

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New for the new year, free podcasts for learning the piano.
All ages and abilities are welcome and I upload about five lessons each week so they will build up over time.
I will number them to give some idea about the program but it will be flexible and you can pop in and out of classes as you wish. Last year's classes have moved to

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A little Christmas Song to get us in the mood.
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