Yoga for Musicians The Plank English Piano Teacher Free Audio Classes Adults Children.

hello musicians welcome to the yoga for musicians podcast now i'm a teacher and i always always stress upon my students to use yoga effectively and to use a warm-up a yoga warm-up if they can before they start their practice and actually consider it a bit like perhaps tuning up is it something that you just do before you practice look we don't always get time please please please do your stretches at the very least don't sit down to practice without doing some stretches but if you've got a bit more time and if you've got a routine going it's it's really a very good discipline to have a regular practice routine at a regular set time with a regular set um meditative session beforehand so get up in the morning have your breakfast your coffee whatever it is that you do answer all your emails get all that out the way do your stretches do your five or six yoga movements and then do your practice and then every 20 minutes if you can or every 45 at the very most have a break for 5-10 minutes do some stretches have a drink look out the window rest your eyes stretch sit down again and practice for the next 40 minutes okay i mean look i understand that musicians often practice six seven eight hours if you push your body too much you're going to end your career early if you push your body too much you're not going to enjoy the act of playing music as much as you should okay it's not some sort of self-flagellation and i think as musicians you know we're all so guilty of this pushing pushing pushing we want to excel and we become obsessed completely obsessed you know to the point of um you know losing friendships getting divorced um not sleeping and eventually having to retire early because we've completely we're you know riddled with arthritis and this isn't this is not a myth this happens um you know julian lloyd webb has had to retire recently for uh medical reasons you know the body can't take it so i do really try to press upon musicians that i teach that this these methods will not only allow you to practice better and to improve at a faster rate but they will also give you longevity in your in your music your musicianship okay so the stretches are absolutely durable you have you must do the stretches at any rate but if you can put together four or five yoga moves to do before your practice sessions each day that's such a cool idea and if you can get into this habit of practicing regularly at a set time um each day after your stretching and your yoga movements you will find i i absolutely promise this you will find that you improve your musicianship improves you will have to practice less but achieve more this is how it works this is how the body and the mind work okay together so i'm putting together a series of yoga movements that i think will benefit particularly musicians and the first one what i'd suggest you do by the way is is you put together your own four or five that you do um in the mornings or before your practice i mean look if you if you prefer to do them in the evenings and and wake up the next morning and just go straight into your breakfast however you do it however you work it out you work out your own um uh timetable how best suits you to um perform at your your peak you know um now this one is called the plank and the plank is um as a core strengthening exercise and the reason the core is so important for musicians is because when we're playing we absolutely need to have a strong core it's the co in the core is this center um this area that goes from your head um down to your rump if you're seated and actually down to the ground if you're standing but it's the center of your gravity um your physical um energy center if you like and the stronger the core the better your posture but also the better your balance and the better equipped you're going to be to handle your instrument you'll understand balance and you can...

Yoga for Musicians The Plank English Piano Teacher Free Audio Classes Adults Children.

hello musicians welcome to the yoga for musicians podcast now i'm a teacher and i always always stress upon my students to use yoga effectively and to use a warm-up a yoga warm-up if they can before they start their practice and actually consider it a bit like perhaps tuning up is it something that you just do before you practice look we don't always get time please please please do your stretches at the very least don't sit down to practice without doing some stretches but if you've got a bit more time and if you've got a routine going it's it's really a very good discipline to have a regular practice routine at a regular set time with a regular set um meditative session beforehand so get up in the morning have your breakfast your coffee whatever it is that you do answer all your emails get all that out the way do your stretches do your five or six yoga movements and then do your practice and then every 20 minutes if you can or every 45 at the very most have a break for 5-10 minutes do some stretches have a drink look out the window rest your eyes stretch sit down again and practice for the next 40 minutes okay i mean look i understand that musicians often practice six seven eight hours if you push your body too much you're going to end your career early if you push your body too much you're not going to enjoy the act of playing music as much as you should okay it's not some sort of self-flagellation and i think as musicians you know we're all so guilty of this pushing pushing pushing we want to excel and we become obsessed completely obsessed you know to the point of um you know losing friendships getting divorced um not sleeping and eventually having to retire early because we've completely we're you know riddled with arthritis and this isn't this is not a myth this happens um you know julian lloyd webb has had to retire recently for uh medical reasons you know the body can't take it so i do really try to press upon musicians that i teach that this these methods will not only allow you to practice better and to improve at a faster rate but they will also give you longevity in your in your music your musicianship okay so the stretches are absolutely durable you have you must do the stretches at any rate but if you can put together four or five yoga moves to do before your practice sessions each day that's such a cool idea and if you can get into this habit of practicing regularly at a set time um each day after your stretching and your yoga movements you will find i i absolutely promise this you will find that you improve your musicianship improves you will have to practice less but achieve more this is how it works this is how the body and the mind work okay together so i'm putting together a series of yoga movements that i think will benefit particularly musicians and the first one what i'd suggest you do by the way is is you put together your own four or five that you do um in the mornings or before your practice i mean look if you if you prefer to do them in the evenings and and wake up the next morning and just go straight into your breakfast however you do it however you work it out you work out your own um uh timetable how best suits you to um perform at your your peak you know um now this one is called the plank and the plank is um as a core strengthening exercise and the reason the core is so important for musicians is because when we're playing we absolutely need to have a strong core it's the co in the core is this center um this area that goes from your head um down to your rump if you're seated and actually down to the ground if you're standing but it's the center of your gravity um your physical um energy center if you like and the stronger the core the better your posture but also the better your balance and the better equipped you're going to be to handle your instrument you'll understand balance and you can...

Radio Boys in the Secret Service by J. W. Duffield 1 The Wireless Twins Free Audiobook.

chapter 1 of radio boys in the secret service this is the librivox recording all librivox recordings are in the public domain for more information or to volunteer please visit librivox.org recording by larry wilson radio boys in the secret service by j.w duffield wireless twins goodbye and good luck guy said walter burton as his twin brother with small traveling bag in one hand and amber glasses protecting his super sensitive eyes was about to step aboard a southbound train at the ferncliff station one clear crisp winter in the day send me a wireless message from europe and i'll be listing in and catch it i'd like to walt was guys smiling answer but i'm afraid that would be extravagant i'll tell you what i'll do though when we get to new york i'll hunt up vacuum tube and send you a message from his station you know he invited us to come and see him anytime we were in new york all right agreed walter when will you send at four o'clock tomorrow if he's home good i'll watch for it i'll call vt and tell him you're coming good luck goodbye this hearty exchange of parting cheer between the sturdy bright-eyed walter and his equally sturdy but sick-eyed brother was one incident in a general round of farewells that marked the departure of guy burton and his mother for england guy had been suffering several weeks with a severe infection of the eyes resulting from the flu and it was decided to put him under the care of a london specialist as the most hopeful move for saving his sight a local physician advised that this be done and the boy's father resolved to waste no time urgent business made it almost impossible for him to accompany his son and a family council resulted in the selection of mrs burton as traveling companion for guy during a period of more than two weeks the latter had been unable to endure the optical strain of light and most of this time he remained indoors with his eyes bandaged meanwhile walter did all he could to cheer his blind brother he read to him a good deal and another ways endeavored to make his own eyes do the work of four every day he led guy to their attic den where one of their wireless sets was installed and then he would proceed to the other radio station over their workshop and in these positions they would send and receive radio messages not only between themselves but in communication with other amateurs near and far away the burton twins were 16 years old their father active in two professions banking and farming was one of the leading businessmen of the new england community in which he lived but he found time to exercise real interest in the sports and aspirations of his two sons both of the latter were mechanically inclined and this inclination was encouraged by the busy businessman in many practical ways walter was ambitious to become an electrical engineer there was hardly anything in popular electrical affairs that he did not know something about it was he who first suggested that they take up the study of wireless and installed radio instruments in their home guy's ambition was not so definitely formed as that of his brother but his enthusiasm over the proposition was scarcely less than that of walter they had an ideal boys workshop which they built themselves and on the roof of this 15 by 20 frame structure was a cupula-like enclosure which they used as one of their wireless stations the other it has been noted was in their attic den the aerials over these two stations by their conspicuous loftiness advertised the brothers widely as the wireless twins of ferncliff the workshop of the twins was equipped with an outfit of tools and machinery that might well arouse the wonder and admiration of any ambitious boy the machinery consisted principally of turning lathe scroll saw and drill operated with belts pulleys shafts and electric motor the boys not only planned and constructed their shop...

Radio Boys in the Secret Service by J. W. Duffield 1 The Wireless Twins Free Audiobook.

chapter 1 of radio boys in the secret service this is the librivox recording all librivox recordings are in the public domain for more information or to volunteer please visit librivox.org recording by larry wilson radio boys in the secret service by j.w duffield wireless twins goodbye and good luck guy said walter burton as his twin brother with small traveling bag in one hand and amber glasses protecting his super sensitive eyes was about to step aboard a southbound train at the ferncliff station one clear crisp winter in the day send me a wireless message from europe and i'll be listing in and catch it i'd like to walt was guys smiling answer but i'm afraid that would be extravagant i'll tell you what i'll do though when we get to new york i'll hunt up vacuum tube and send you a message from his station you know he invited us to come and see him anytime we were in new york all right agreed walter when will you send at four o'clock tomorrow if he's home good i'll watch for it i'll call vt and tell him you're coming good luck goodbye this hearty exchange of parting cheer between the sturdy bright-eyed walter and his equally sturdy but sick-eyed brother was one incident in a general round of farewells that marked the departure of guy burton and his mother for england guy had been suffering several weeks with a severe infection of the eyes resulting from the flu and it was decided to put him under the care of a london specialist as the most hopeful move for saving his sight a local physician advised that this be done and the boy's father resolved to waste no time urgent business made it almost impossible for him to accompany his son and a family council resulted in the selection of mrs burton as traveling companion for guy during a period of more than two weeks the latter had been unable to endure the optical strain of light and most of this time he remained indoors with his eyes bandaged meanwhile walter did all he could to cheer his blind brother he read to him a good deal and another ways endeavored to make his own eyes do the work of four every day he led guy to their attic den where one of their wireless sets was installed and then he would proceed to the other radio station over their workshop and in these positions they would send and receive radio messages not only between themselves but in communication with other amateurs near and far away the burton twins were 16 years old their father active in two professions banking and farming was one of the leading businessmen of the new england community in which he lived but he found time to exercise real interest in the sports and aspirations of his two sons both of the latter were mechanically inclined and this inclination was encouraged by the busy businessman in many practical ways walter was ambitious to become an electrical engineer there was hardly anything in popular electrical affairs that he did not know something about it was he who first suggested that they take up the study of wireless and installed radio instruments in their home guy's ambition was not so definitely formed as that of his brother but his enthusiasm over the proposition was scarcely less than that of walter they had an ideal boys workshop which they built themselves and on the roof of this 15 by 20 frame structure was a cupula-like enclosure which they used as one of their wireless stations the other it has been noted was in their attic den the aerials over these two stations by their conspicuous loftiness advertised the brothers widely as the wireless twins of ferncliff the workshop of the twins was equipped with an outfit of tools and machinery that might well arouse the wonder and admiration of any ambitious boy the machinery consisted principally of turning lathe scroll saw and drill operated with belts pulleys shafts and electric motor the boys not only planned and constructed their shop...

Grace Harlowe with the Yankee Shock Boys at St. Quentin A Drive Ends Badly Teen Adventures.
chapter one of grace harlow with the yankee shock boys at sunt quentin this is a librivox recording all librivox recordings are in the public domain for more information or to volunteer please visit librivox.org grace harlow with the yankee shock boys at saint quentin by jessie graham flower chapter one a drive that ended violently what drive with you grace harlow demanded alfreda briggs why not the front is quiet on our sector jerry isn't dropping any bombs nor is the road being shelled you will have a pleasant ride out to the front lines and back and you will benefit by the change and the air grace had just started the engine of her motor preparatory to a trip to the front lines on the saint quentin sector to bring back a load of wounded men to the field hospital i rode with you once you will recall observed miss briggs i landed in a roadside ditch with one of those huge french trucks on top of me if i go out with you now i probably shall be smacked by a shell even if there is but one fire during the night from the enemy lines why i came out here to see you off and say goodbye for every time you drive toward the front i fully expect that they will be bringing you back with yourself as an ambulance case don't be silly alfreda one has accidents even in peaceful oakdale and one occasionally turns over her car out here it is war and we look for variations i am rather inclined to think that they make life interesting are you going with me if you will promise not to ditch me i will promise j alfreda in a doubtful tone wait until i run in and ask for the major's permission directed grace skipping over to the office of the commanding officer of the field hospital she was back a few moments later all right she cried the major has charged me to bring you back safely and threatens me with dire punishment if i smash you up the major said he cannot spare you until after the end of the war with all the hospitals over here evacuated for good i told him that if he got smacked or smashed it was reasonable to expect that i would share the same fate and that that would be punishment enough wasn't that liberal of me agreeing to be wrecked crushed or smashed as the case might be just because you were to me that seems perfect hospitality if you don't stop that i'll not move from this field hospital grace harlow are you trying to get my wind up demanded miss briggs using the parlance of the doughboy for being afraid hop in directed grace i must be off or the chief of my section will be putting me on report for neglect of duty goodness knows i have enough black marks against me for wrecking ambulances violating the rules of war by walking into the enemy lines and back again without asking permission of either side so if you love me get in and be lively about it grace laughed merrily and alfreda dragged herself to the seat in the ambulance as though the effort gave her pain the young hospital attendant sighed a long deep sigh of resignation as she settled down the lamb has permitted herself to be led to the slaughter say lager it is war she added with a typically french shrug of the shoulders much to the amusement of her companion grace threw in the clutch and was off with a rattle and a bang so characteristic of the type of cars that the ambulance section were using alfreda had been relieved from duty for the night and grace knew that her friend really needed a change even if that change did lead her up near the front lines where at any moment the dogs of war might break their leashes and be at it tooth and jowl she also was aware that many clashes between patrols had taken place that evening and it was to bring back the wounded from these nitrating parties that she was going out to an advanced dressing station on this occasion as she had been doing every night for the past week traffic was heavy on the road and though alfreda's heart was literally...

Grace Harlowe with the Yankee Shock Boys at St. Quentin A Drive Ends Badly Teen Adventures.
chapter one of grace harlow with the yankee shock boys at sunt quentin this is a librivox recording all librivox recordings are in the public domain for more information or to volunteer please visit librivox.org grace harlow with the yankee shock boys at saint quentin by jessie graham flower chapter one a drive that ended violently what drive with you grace harlow demanded alfreda briggs why not the front is quiet on our sector jerry isn't dropping any bombs nor is the road being shelled you will have a pleasant ride out to the front lines and back and you will benefit by the change and the air grace had just started the engine of her motor preparatory to a trip to the front lines on the saint quentin sector to bring back a load of wounded men to the field hospital i rode with you once you will recall observed miss briggs i landed in a roadside ditch with one of those huge french trucks on top of me if i go out with you now i probably shall be smacked by a shell even if there is but one fire during the night from the enemy lines why i came out here to see you off and say goodbye for every time you drive toward the front i fully expect that they will be bringing you back with yourself as an ambulance case don't be silly alfreda one has accidents even in peaceful oakdale and one occasionally turns over her car out here it is war and we look for variations i am rather inclined to think that they make life interesting are you going with me if you will promise not to ditch me i will promise j alfreda in a doubtful tone wait until i run in and ask for the major's permission directed grace skipping over to the office of the commanding officer of the field hospital she was back a few moments later all right she cried the major has charged me to bring you back safely and threatens me with dire punishment if i smash you up the major said he cannot spare you until after the end of the war with all the hospitals over here evacuated for good i told him that if he got smacked or smashed it was reasonable to expect that i would share the same fate and that that would be punishment enough wasn't that liberal of me agreeing to be wrecked crushed or smashed as the case might be just because you were to me that seems perfect hospitality if you don't stop that i'll not move from this field hospital grace harlow are you trying to get my wind up demanded miss briggs using the parlance of the doughboy for being afraid hop in directed grace i must be off or the chief of my section will be putting me on report for neglect of duty goodness knows i have enough black marks against me for wrecking ambulances violating the rules of war by walking into the enemy lines and back again without asking permission of either side so if you love me get in and be lively about it grace laughed merrily and alfreda dragged herself to the seat in the ambulance as though the effort gave her pain the young hospital attendant sighed a long deep sigh of resignation as she settled down the lamb has permitted herself to be led to the slaughter say lager it is war she added with a typically french shrug of the shoulders much to the amusement of her companion grace threw in the clutch and was off with a rattle and a bang so characteristic of the type of cars that the ambulance section were using alfreda had been relieved from duty for the night and grace knew that her friend really needed a change even if that change did lead her up near the front lines where at any moment the dogs of war might break their leashes and be at it tooth and jowl she also was aware that many clashes between patrols had taken place that evening and it was to bring back the wounded from these nitrating parties that she was going out to an advanced dressing station on this occasion as she had been doing every night for the past week traffic was heavy on the road and though alfreda's heart was literally...

The Flight of the Shadow by George MacDonald Mrs Day Begins Free Teens Audiobook

chapter 1 of the flight of the shadow this is a librivox recording all librivox recordings are in the public domain for more information or to volunteer please visit librivox.org the flight of the shadow by george mcdonald chapter one mrs day begins the story i am old else i think i should not have the courage to tell the story i am going to tell all those concerned in it about whose feelings i am careful are gone where thank god there are no secrets if they know what i am doing i know they did not mind if they were alive to read as i record they might perhaps now and again look a little paler and wished the leaf turned but to see the things set down would not make them unhappy they do not love secrecy half the misery in the world comes from trying to look instead of trying to be what one is not i would that not god only but all good men and women might see me through and through they would not be pleased with everything they saw but then neither am i and i would have no coals of fire in my soul's pockets but my very nature would shudder at the thought of letting one person that loved a secret see into it such a one never sees things as they are would not indeed see what was there but something shaped and coloured after his own likeness no one who loves and chooses a secret can be of the pure in heart that shall see god yet how shall i tell even who i am which of us is other than a secret to all but god which of us can tell with poorest approximation what he or she is not to touch the mystery of life that one who is not myself has made me able to say i how little can any of us tell about even those ancestors whose names we know while yet the nature and still more the character of hundreds of them have shared in determining what i means every time one of us utters the word for myself i remember neither father nor mother nor one of their fathers or mothers how little then can i say as to what i am but i will tell as much as most of my readers if ever i have any will care to know i come of a long yeoman line of the name of witchcoat in scotland the witchcoats would have been called lairds in england they were not called squires repeatedly had younger sons of it risen to rank and honor and in several generations would his property have entitled the head of the family to rank as a squire but at the time when i began to be aware of existence the family possessions had dwindled to one large farm on which i found myself naturally while some of the family had risen others had sunk in the social scale and of the latter was miss martha moon far more to my life than can appear in my story i should imagine there are a few families in england covering a larger range of social difference in ours but i began to think the chief difficulty in writing a book must be to keep out what does not belong to it i may mention however my conviction that i owe many special delights to the gradual development of my race in certain special relations to the natural ways of the world that i was myself brought up in such relations appears not enough to account for the intensity of my pleasure in things belonging to simplest life in everything of the open air in animals of all kinds in the economy of field and meadow and more i can no more understand my delight in the sweet breath of a cow then i can explain the process by which that day in the garden but i must not forestall and i will say rather then i can account for the tears which now i am an old woman fill my eyes just as they used when i was a child at the site of the year's first primrose a hair bell much as i have always loved hair bells never moved me that way some will say the cause whatever it be lies in my nature not in my ancestry that anyhow it must have come first to someone and why not to me i answer everything lies in every one of us but it has to be brought to the surface it grows a little in one...

The Flight of the Shadow by George MacDonald Mrs Day Begins Free Teens Audiobook

chapter 1 of the flight of the shadow this is a librivox recording all librivox recordings are in the public domain for more information or to volunteer please visit librivox.org the flight of the shadow by george mcdonald chapter one mrs day begins the story i am old else i think i should not have the courage to tell the story i am going to tell all those concerned in it about whose feelings i am careful are gone where thank god there are no secrets if they know what i am doing i know they did not mind if they were alive to read as i record they might perhaps now and again look a little paler and wished the leaf turned but to see the things set down would not make them unhappy they do not love secrecy half the misery in the world comes from trying to look instead of trying to be what one is not i would that not god only but all good men and women might see me through and through they would not be pleased with everything they saw but then neither am i and i would have no coals of fire in my soul's pockets but my very nature would shudder at the thought of letting one person that loved a secret see into it such a one never sees things as they are would not indeed see what was there but something shaped and coloured after his own likeness no one who loves and chooses a secret can be of the pure in heart that shall see god yet how shall i tell even who i am which of us is other than a secret to all but god which of us can tell with poorest approximation what he or she is not to touch the mystery of life that one who is not myself has made me able to say i how little can any of us tell about even those ancestors whose names we know while yet the nature and still more the character of hundreds of them have shared in determining what i means every time one of us utters the word for myself i remember neither father nor mother nor one of their fathers or mothers how little then can i say as to what i am but i will tell as much as most of my readers if ever i have any will care to know i come of a long yeoman line of the name of witchcoat in scotland the witchcoats would have been called lairds in england they were not called squires repeatedly had younger sons of it risen to rank and honor and in several generations would his property have entitled the head of the family to rank as a squire but at the time when i began to be aware of existence the family possessions had dwindled to one large farm on which i found myself naturally while some of the family had risen others had sunk in the social scale and of the latter was miss martha moon far more to my life than can appear in my story i should imagine there are a few families in england covering a larger range of social difference in ours but i began to think the chief difficulty in writing a book must be to keep out what does not belong to it i may mention however my conviction that i owe many special delights to the gradual development of my race in certain special relations to the natural ways of the world that i was myself brought up in such relations appears not enough to account for the intensity of my pleasure in things belonging to simplest life in everything of the open air in animals of all kinds in the economy of field and meadow and more i can no more understand my delight in the sweet breath of a cow then i can explain the process by which that day in the garden but i must not forestall and i will say rather then i can account for the tears which now i am an old woman fill my eyes just as they used when i was a child at the site of the year's first primrose a hair bell much as i have always loved hair bells never moved me that way some will say the cause whatever it be lies in my nature not in my ancestry that anyhow it must have come first to someone and why not to me i answer everything lies in every one of us but it has to be brought to the surface it grows a little in one...

Suzuki ABRSM skills Bb major thirds left hand piano one octave private lessons in music.

hi telltalers welcome to um one of our uh tool lessons for improvising really really useful um exercise for learning to improvise helping your ear understanding uh the thirds what do thirds sound like they're really important in music they decide for us whether we're playing in a major or minor key that's the biggest thing they do for us um they help us decide if we're string players if we're in tune they're really so so useful they're so important i think the the most important building block for a whole set of composer and performance skills so i like my students to start them as early as possible and although we're using the grade 8 abrsm book you'll find that suzuki used these a lot anyway from from book one and perhaps not in this key just yet but the sooner we learn this wonderful key which is used so often in in blues and jazz and um it's just a beautiful sounding key and it's not difficult um we've got a b flat and an e flat so just those two and listen to that i mean this sounds lovely absolutely wonderful

okay those are our flats that we're going to bear in mind the hardest thing really about learning these um exercises is the fingering but look lots and lots of people have spent centuries working out the best fingering for us we don't have to do much work all we have to do is commit to subconscious memory muscle memory the fingering it's already been tried and tested thoroughly and that's why this fingering is recommended because it works best okay so let's start on our b flat an octave blur the middle c and we're going to start with three and one i'm going to call out the notes um and play very very slowly up and then back down so b flat d three and one and then we're going to pass our fingers over to four and two and don't forget that e flat c and d flat

d and f three and one

now more passing over e flat and g

one and three f and a more passing over five and three g and b flat a and c now this this last bit's really good because it's all where our hand lies so you can lay your hand exactly as it lies where your digit lies okay so a and c four and two

and then one and three on that b flat and d keep your hand there because it's going to help now on the way down a and c and then g and b flat okay should we just do that little little section again so we've got the g in the b flat and then we've got the um

a and the c two and four four and two that way round and then the b flat and the d that's three and that one okay so coming back down is we can sort of cheat a bit because we're already there do you see oh it's really useful so three and one four and two five and three pass under one and three two and four don't forget the flat pass under three and one four and two don't forget the flat and then pass under one and three okay i mean it's quite hard to call out the numbers were as you're playing it um but really really incredibly useful i would suggest so there we go that's that's the fingering practice that over and over again keep listening keep learning um and then when you've got it what you can what you'll find you'll be able to do is a little bit of sort of improv on you know you'll be able to find some music and you'll just be able to do these any of these um groupings and they'll sound wonderful just you'll have to trust me on that and also it's quite nice to do that sort of you know splitting them up isn't it

i quite like doing that um so there we go i hope that was as enjoyable for you as it is for me i think that was great fun um maybe we'll we'll try and do a few more octaves tomorrow but i think keeping it to one octave for now is is a good move because the fingering is um it's the same so if you pass under and carry on so remember this this four two here um if you pass under you're you're just repeating the fingering all the...

Suzuki ABRSM skills Bb major thirds left hand piano one octave private lessons in music.

hi telltalers welcome to um one of our uh tool lessons for improvising really really useful um exercise for learning to improvise helping your ear understanding uh the thirds what do thirds sound like they're really important in music they decide for us whether we're playing in a major or minor key that's the biggest thing they do for us um they help us decide if we're string players if we're in tune they're really so so useful they're so important i think the the most important building block for a whole set of composer and performance skills so i like my students to start them as early as possible and although we're using the grade 8 abrsm book you'll find that suzuki used these a lot anyway from from book one and perhaps not in this key just yet but the sooner we learn this wonderful key which is used so often in in blues and jazz and um it's just a beautiful sounding key and it's not difficult um we've got a b flat and an e flat so just those two and listen to that i mean this sounds lovely absolutely wonderful

okay those are our flats that we're going to bear in mind the hardest thing really about learning these um exercises is the fingering but look lots and lots of people have spent centuries working out the best fingering for us we don't have to do much work all we have to do is commit to subconscious memory muscle memory the fingering it's already been tried and tested thoroughly and that's why this fingering is recommended because it works best okay so let's start on our b flat an octave blur the middle c and we're going to start with three and one i'm going to call out the notes um and play very very slowly up and then back down so b flat d three and one and then we're going to pass our fingers over to four and two and don't forget that e flat c and d flat

d and f three and one

now more passing over e flat and g

one and three f and a more passing over five and three g and b flat a and c now this this last bit's really good because it's all where our hand lies so you can lay your hand exactly as it lies where your digit lies okay so a and c four and two

and then one and three on that b flat and d keep your hand there because it's going to help now on the way down a and c and then g and b flat okay should we just do that little little section again so we've got the g in the b flat and then we've got the um

a and the c two and four four and two that way round and then the b flat and the d that's three and that one okay so coming back down is we can sort of cheat a bit because we're already there do you see oh it's really useful so three and one four and two five and three pass under one and three two and four don't forget the flat pass under three and one four and two don't forget the flat and then pass under one and three okay i mean it's quite hard to call out the numbers were as you're playing it um but really really incredibly useful i would suggest so there we go that's that's the fingering practice that over and over again keep listening keep learning um and then when you've got it what you can what you'll find you'll be able to do is a little bit of sort of improv on you know you'll be able to find some music and you'll just be able to do these any of these um groupings and they'll sound wonderful just you'll have to trust me on that and also it's quite nice to do that sort of you know splitting them up isn't it

i quite like doing that um so there we go i hope that was as enjoyable for you as it is for me i think that was great fun um maybe we'll we'll try and do a few more octaves tomorrow but i think keeping it to one octave for now is is a good move because the fingering is um it's the same so if you pass under and carry on so remember this this four two here um if you pass under you're you're just repeating the fingering all the...