All right, this next part for
your right hand is gonna
be a real workout for
your pinky, okay?
The pinky is the weakest
finger of both hands.
So this will be good for you, right?
Good for you!
All right, let's give this a try.
So we're gonna start with
our fifth finger on C.
[SOUND] Okay, and again, it's gonna
help you, it's gonna be hard first.
But, as much as you can,
try to get this pinky curved and
really to the tip of the key.
If you're playing with
your pinky like this,
like a karate chop, it's gonna make
this passage actually much harder.
It might feel better, more comfortable,
but it's actually gonna be harder, because
as you can see, you're gonna be involving
a lot more of your arm and your hand.
What we want to do is we want
to be able to control the pinky
by itself without involving the rest
of your elbow and arm, okay.
That'll help you play the pinkie faster.
So as much as you can try
to keep that pinky curved.
So you're gonna feel very weak and very
awkward at first until you get used to it.
Gonna have to build some muscles up,
it'll take some practice.
The idea is to try to relax as much as you
can and try to learn to move this pinky
independently from the rest of your arm.
So once again here we're playing eighth
notes starting on C and going to A.
Now the next sequence goes to B and G.
And then A and F.
Now we're going to do what sounds
like the same sequence but
we're gonna move to
a different set of fingers.
It's gonna be much easier, you don't
have to use your poor pinky again.
Do the same thing, but now we're
gonna start with the third finger.
Now it changes direction to the D here.
Look at the C here.
Now, this next note, we're gonna
take a look at a little bit later.
It's gonna move us to
the next phrase here.
Don't worry about that right now.
Again, let's just focus on what
we've just looked at here.
The pinky exercise and
then the fingering shift.
Starting with the pinky again.
Now you can move to a third
finger on that same C.
Now you're gonna change notes here.
Let's stop here and then we'll continue
after we've added the left
hand to this part.
Fortunately, even though the right hand is
really hard, the left hand is
actually a little bit easier.
So, you can concentrate, and just you
know, freaking out about one thing, and
then hopefully the left
hand won't be as difficult.
So, you can just concentrate
on one hard thing at a time.
So, left hand,
we're gonna start on F here.
Then go to a G.
Then go back to an F.
Then go back to a G.
Back to the F.
Back to G.
[LAUGH] Back to F.
Back to G.
So fortunately that's not so hard.
Okay, not so hard.
So now let's go ahead and
add that right in with your right hand.
hopefully your left hand has gotten so
used to these three-note patterns,
you don't have to
think about it too much while we focus on
getting that right hand really worked out.
>> Here we go.
Right, right hand starts with this note
by itself and then we come together here.
And to the G here.
Third finger here and left hand back to A,
F, excuse me.
>> Now here,
right hand you're gonna
jump to a three on the C.
Change the pattern to the D here,
I'm on the four finger.
Just do up to there.
Let's do this one more time.
I'm going to play it
slowly without stopping.
If you'll notice, the rhythm really
doesn't stop between the hand.
It's a constant, there are constant
notes in between every beat.
Now let's move to the next section.
Now, we're going to move into a portion
of the piece in a whole new position.
And with that, we're gonna be introduced
to a brand new accidental, the flat.
Let's find this note really quickly.
[SOUND] Ew Great Big Dog, and
it's the note right above that D.
It's an E.
And that little symbol
before it is called a flat.
The flat does the opposite
of what a sharp does.
A sharp raises a note slightly.
A flat in this case will lower that
note to the black key right below it.
So, now, we're playing E-flat.
Let's take a look at this.
E-flat, and then the space below, C.
Back to E-flat.
if you have a flat on a note,
if you see that note again,
it will stay flat.
So, E-flat again.
Now, here's a B, but again,
we've got a B flat, so instead of B,
move to here, and again the same rule,
the B stays flatted.
Let's just do that measure again
with that little pickup, okay?
E-flat, ready, and
Okay, now, we've ran out of fingers,
so, we've got a couple of options.
One option is to try to get this
fourth finger to the C, okay?
And then play the A-flat.
Lot of flats here.
And again, the A stays flat.
Back to the B-flat.
So, that's one option.
The only tricky thing about that option,
have you ever run a relay race?
And you have to kind of get your
leg over that bar or something.
That's a little what it feels like to get
your fourth finger over to the black keys,
to get from here to squish it
into that little white key space.
It can be a little tricky if you're not
used to playing in the narrow part of
If you want, again, like I said,
fingering is a flexible art.
If you want, here's another alternate
fingering for you to consider.
Instead of the four, you can just use your
second finger since it's already there.
You just have to move your thumb over.
And then, move your second
finger again to the B-flat.
So, it just involves your second and
first fingers moving positions.
If you find that more comfortable,
then squishing your fourth finger
in here quickly, you might want to
consider both of those options.
Again, I leave it up to you.
There's really no right way or wrong way,
only what feels good for your hand.
Let's review one last time, E-flat, C,
I'll do both fingerings for you.
lets do the other
fingering really quickly.
One more time.
Now, the second finger, two,
you have to move the thumb
over to the A-flat.
Then move your second finger
to play the B-flat, all right?
Either way is fine, whichever you prefer.
So, let's review what we've just done and
then we're going to continue to
the end of this little phrase.
Once again, fourth finger on E-flat.
Now, what we're gonna do is we're gonna
go back to the E-flat,
but instead of using
the fourth finger,
we're gonna use a third finger.
So, you're really gonna just jump your
whole hand over, back to the E-flat.
Okay, and then C, E-flat
and then fourth finger here.
And then, you finish off on this top G and
that's tied over into the next measure.
Remember, we were talking
about alternate fingerings?
So, that's one option that I showed you.
Lets take a look at the secondary
fingerings where we used the two
ones instead of the four.
Let's take a look at that.
Here's the fourth finger again
instead of using the fourth finger,
I can use my second finger if I want.
Move your second finger over here.
And again, it's a little bit of a stretch.
You might have to jump a little bit.
We're at the end of our phrase,
so we can jump off of that note.
Back to the E-flat.
And then, let's tie
it into the next measure, okay?
Now, let's take a look at your left
hand notes that accompany this melody.
Now let's take a look at the left hand
notes that will be
accompanying that melody.
A lot of flats, a lot of black keys.
So, let's take a look at a couple
of different fingering options
to make it comfortable for you.
First, we see that this is an A.
The very top line here.
[SOUND] And it has a flat next so,
that makes it into an A flat.
We're going to be moving up.
First ledger line above that will be a C.
Double ledger line means you skip up.
That's gonna be E when you see
the flat symbol next to that.
So, here you go.
Another E flat.
Lots of flats.
So, A flat, C, E flat, okay?
And then we have a B, which is turned
into a B flat because of that symbol.
So, same kind of three-note patterns that
we've been working with
consistently through a left hand.
Goes back to the same position.
And again, back to the B flat.
So as you can see, it's kind of back and
forth over and over again.
this instance it repeats
the B flat pattern.
Now here it moves down if you can see
the all, which would be the top line,
and moves to the note right
below that which would be a G.
Now here's a new symbol for you.
If you wanna get rid of a note that had
been previously changed by a flat or
this is a natural symbol next to this B.
So no longer, this B flat no longer
applies it now turns into a normal B.
Let's try that again,
let's play it right through.
Again with using the same fingerings
if you want on each of these positions.
So starting on A flat.
And B flat.
One more time on the B flat here.
Now to the G and the B natural.
So that's one option,
it's easy to remember the fingerings
because you're using the same
fingers over and over.
If you wanna do something
a little different to perhaps
not feel like your whole hand is moving,
since you're going back and
forth the same two sets of notes,
give this a try.
So we're gonna start with the same pinky
A flat with the pinky.
Now instead of the pinky, I'm gonna
just use my fourth finger here instead,
since it's right on top of that B flat,
and just move my thumb over here.
See the advantage of that?
So now most of my hand stays stationary.
The only part that's moving
is my thumb back and forth.
[SOUND] One more time, the B flat.
just reach down right over here for the G.
So it's a little bit more to remember
because you have to remember to switch
between the fives and fours.
But the advantage is that it
keeps your hand in one position.
So you don't have to feel
like you're moving so much.
Moving your thumb alone,
instead of the whole hand is
actually a little bit easier.
One more time take a look at
this alternate fingering.
Fourth finger with a thumb.
You can see this thumb's kind
of designed to move back and
forth like this very comfortably.
And then down to the G.
Again, you're choice either way if you'd
like to keep the same fingering consistent
between both sets, you can do so.
If you try that alternate
fingering as an experiment,
see which feels more comfortable to you.
All right, let's put it all together now.
Melody, harmony, okay.
Take your time,
really just a little bit at a time.
So let's take it the right hand,
the fourth finger the E flat,
remember this, okay?
And the left hand is going to be
moving up to the A flat over here.
Let's do it a couple different ways.
I'm gonna show you all the different
fingering options, and
you can choose whichever one
you're most comfortable with.
I would encourage you to
experiment with them,
until you find the fingerings
that best fit your hands.
So here we go.
First one we're gonna use
the fourth finger.
And the left hand, were gonna just keep
the same fingerings going back and forth.
So let's take a look at that option.
Ready, fourth finger here.
Okay then both
are going to be switching positions.
Now we're gonna move your
fourth finger into position,
left hand goes back to the A flat.
Now you move your right hand back to the E
flat, but with the third finger this time.
Now this is the one where the left hand
stays the same.
Now you move down to the G.
So that's option number one.
Now let's take a look, with the left hand,
staying the same with
these fingerings here.
But now this time, we're gonna use
the second finger, remember this finger?
Let's give this a try,
let's see how this feels.
Fourth finger here,
left hand fifth finger here, ready and.
We're gonna use the fifth finger.
Now this time we'll use a second finger.
See how I moved that over.
Jump back up to the third finger here.
this down to
All right, so now we've looked at
all two options on the right hand,
with keeping the left hand the same.
Now, let's do that again, the two
different options on the right hand,
but now this time I'm gonna
alternate the left hand fingering.
Instead of the five five pattern,
we're gonna do the five four, okay?
Let's give this a try.
Right hand E flat,
left hand pinkie on an A flat and
I'll use a four finger here.
Four finger here.
Four finger here.
Four finger here.
Same thing here.
Move down to the pinky and the G.
A little bit more to remember,
but if you can get comfortable,
it actually fits the hand better.
One more time, now this time
alternating five and fours, and
this time right hand using
the second finger, okay?
Instead of the 4th finger for
Let's give that a try.
Fourth finger left hand.
Now second finger here.
Move this over.
Right hand jump back up to
the E flat here with the three.
to the G.
So many options.
Which one to choose?
I think the best way to
think about it is this.
If you use the same fingerings with
the five five on the left hand and
the four four on the right hand.
It's the easiest to remember.
So this may be the easiest for
you as a beginner,
if you wanted to just remember
which finger comes next.
Usually, I like to stick to the same
fingering patterns as much as possible.
But If you're feeling like
you want more speed, and
you're willing to make your
fingers feel a bit like spiders.
You know how spiders have legs
that can move individually.
Then you'll want to explore those
alternate fingerings, where you're using
four three two instead of four three
four three, and the five and four.
Those options will give you more speed,
because you're not moving
as much of your hands.
As you're just depending on
the speed with your fingers.
So the general rule of
thumb is your fingers,
the smallest digits will move
faster than the larger ones.
So any time I can move my fingers
instead of moving my arms,
my arms will simply not
move as fast as my fingers.
So if you want speed,
try the ultimate fingerings.
If you want simplicity,
keep with the same fingering.
So I hope that helps you make your
decision as to which fingerings you
prefer to use.
All right, so
now we're basically at
the tail end of the piece,
and we get back to the beginning material.
So let's go ahead and
play that again to review.
Remember the right hand is
an octave higher than written.
So we're on this C over here, and
the left hand is down on this C.
with the right hand up
to this new position.
Now, let's just play the ending,
which is a little bit different
than the opening material.
So here we just finished with
the second finger on an A.
We're gonna be switching to a five, so
after finishing that we'll play
the next A but this time with a five.
Now, the next note will be a ledger line
note beneath the G clef staff lines and
because we're skipping down E, C,
this is gonna be a B underneath, okay.
So A, B, C, D, and
this goes up to the Ew Great Big Dog.
This is a G over here.
Now, do you notice my
hand was stretched open?
My second finger is gonna stay on that C,
That's pretty convenient.
Now take a look at this.
now we have a double ledger line here,
leading us to an A,
down to an F over here.
Okay, double ledger line A, single ledger
line, which is a little bit higher, B.
Stretch that fifth finger up to the G.
So let's put that all together.
A, ready and.
Move your thumb over.
Stretch the pinky a little bit.
Now, let's take a look at the left hand
accompanying finger for this ending.
Let's take a look at the left hand
notes now accompanying this ending.
Remember our new motto going down,
A, fall, so
now we're at the F-clef F over here.
Moving up to the G here.
Now this one moves down to lower to the E.
Now here we are starting on A, so
it's very close.
You just kind of compress your hand here,
A, ledger line C, double ledger line E.
Down to F clef F.
Play that again.
See that moves up to the next space above
Ledger line D.
Now we're gonna jump all the way down to
And then finish the piece.
Let's try that one more time just to
review all those notes.
And, G, E,
squish for the A here.
Going above the staff.
Go down to F and then again.
Move up slightly for the G.
Now down to a C.
So now let's hear what it sounds
like put altogether for this ending.
Let's put the right hand and
left hand together for this ending.
Right hand, again, we're an octave higher.
Here's an A.
Left hand starting the F-clef F.
Stretch to this ledger line B,
and put the left hand at G.
Down to the E here.
Squish for the A over here, your right
hand should be already near that C.
Move your thumb down to here.
Left hand goes to F-clef F.
Now, second finger, and
your left hand moves up to a G, stretch.
And then jump down to a C.
Let's do that again, and this time,
I'll do a little less commentary,
a little less hesitation.
Let's see and feel,
how it's like without all that hesitation.
Let's give this a try, one more time.
A, F, and,
now to the B.
Squish the A.
Slide over here,
Jump down to the C.
Good and that should
be really the rest of the piece.
Give this a try.
Practice it until it
feels really comfortable.
And then, go back and
review from the beginning,
and let's really work on
getting these sections so
that you can really bridge them
together without any hesitation.
Congratulations on getting to the end of
the piece and
the end of the series of lessons.
I just want to encourage you,
take your time.
Hopefully you're discovering that
even playing the same thing over and
you're playing some very pretty music.
Really lovely stuff.
Really enjoy the way it sounds,
even if you're just working on
one little passage at a time.
The key is number one, enjoy it, number
two make sure you can play it in a way
that you don't have to
remember every little detail.
So that it becomes really part of your
vocabulary, your new musical vocabulary.
You want to become really comfortable,
play it fluently, fluidly.
Again think of what a language is
like when you're learning a new word.
You might have to be grasping your
memory to say what's first, what's next,
what comes after that.
But the more you do it eventually,
it comes out as a fluid sentence.
That's the goal that we're gonna
have here for Somewhere Out There.
We want you music to sound fluid.
Don't worry about how long it takes,
take your time, review the lessons
that you're struggling with, and
just get it to the point where you
feel really, really comfortable.
Take your time and enjoy.