home stretch, measure 59.
This should be familiar cuz we
already looked at this, remember?
There's one difference though.
That C flat that just goes right through
Did you notice that?
So what I would do instead of jumping
two four, jump to a one two so
you can prepare for that gorgeous
C flat dagger in the heart note.
One two and then you play this here.
And make sure you hear it.
Reposition your hand, right hand to five
three to get ready for the next part.
You should remember this.
Now, this is a little bit different,
we're we to go to an A flat here.
Here, remember this melody?
But now, we add another
dagger in the hearts C flat.
See how that works?
One more time, measure 61.
C flat in the third finger here.
I love that note.
Tied on top left hand B flat here.
Fourth finger and the top here.
you can just move your
thumb over left hand.
Right hand continues as well.
Go down in measure 63 to
F in the left hand here.
Right hand is gonna play this.
you can just jump to a whole position.
Just move your hand over.
One, two, five, two B flat,
F and D flat, and
then whatever fingers you wanna use for
the next note chord here.
Whatever you'd like.
I like using this four two one.
So one more time remember
this left hand is tied.
Same two notes here becomes
the top two notes here.
Left had moves to a E flat.
Right hand moves to a G flat,
D flat, B flat.
You play this like this and
now jump to a new position.
Bottom two notes become
the top note of the next.
Don't spend too much time holding or
doing anything again the pedal
will take care of it.
So as long as you know
that these are three E
you could do any fingers you want to reach
Now, we're gonna do something a little
bit interesting here in measure 65.
Sounds simple, but
we got three against two rhythm.
So one, basically the left
hand is doing the duple, but
the right hand is doing
the triplet rhythm.
And what's even trickier is that the right
hand doesn't play the very first note, so
you've got this weird bizarre
So again, as I love to do simple,
That's the way you do three against two.
So the first note, buzz, bumble bee.
Did you see what happened at the exchange
between this first note of the right hand?
The next note of the left
hand comes in behind,
in between exactly in between the second
and third notes of the triplet.
Buzz bumble bee.
Buzz bumble bee.
There you go.
The most complex rhythm that Yanis
can learn, three against two.
[SOUND] Solved in five seconds.
Buzz bumble bee.
So it shouldn't be too hard.
Buzz bumble bee.
Now, the left hand does this gorgeous
thing where you jump over your right hand,
aim for the three black keys here.
The one in the middle's the A flat.
That's what I do visually,
I just kinda look.
Three black keys,
boom right for the middle.
You have to be comfortable with
playing this chord with the pinkie, so
you have that octave here.
Then just jump to the F here.
Think of this C as the middle of this next
See how that works?
Buzz, bumble bee.
And this goes over this.
You come back down to this A flat
over here with your right hand
completes this gorgeous chord.
Let's practice again, buzz bumble bee.
Now, let's end this.
[FOREIGN] I can't,
my French is actually
terrible but I pretend.
anyway basically we're dying to the end.
The sound is gonna be slowly,
little by little, dying away.
So, here we go.
Left hand, D flat major,
D flat, A flat, D flat,
A, this gorgeous D flat major arpeggio.
F, A flat, D flat, now we go to the F
octave left hand, A flat, C, F.
Back to this, so back and
forth between these two.
Now you're gonna have to jump here to this
C flat and A flat here, octave.
And then like I like to do, I wanna
cheat and take this with the right hand.
C flat, F flat, G flat.
And what I do here, is I play these
three notes with these three fingers.
It's a little awkward.
If you wanna really cheat,
you could do that, okay?
So, now the way I play it,
I just usually play with one hand.
Five, four, and two, but
that's a pretty advanced fingering.
You could just play the bottom two
notes with right hand here, and
reach over with your left hand and
play that right-hand note.
All these tips and tricks, isn't it great?
And it looks cool, so,
you can try that.
Same thing here happens, a octave higher.
Here the notes are a little bit different,
You have this A flat, C flat, okay,
C flat is here, F flat goes to here.
Okay, go through a full
octave with the A flats.
And then I'm gonna cheat and
use the right hand to play this C flat,
F flat, and then the B flat here.
68, measure 68, watch how this connects.
Back to the D flat, back to the F.
Okay, C flat, with a five four.
Hold this, because that's being tied over,
this F flat here.
And do it again.
Okay, left hand is gonna move to the bass
clef, F clef, F flat, which is this note.
Now an octave higher, A flat in F.
Left hand, couple of options,
you can either do the open hand fingering,
which goes like this, five, three,
two, one, and four, two, one.
Four, two, one,
Okay, that's one option.
Another option is to do the octave.
The smaller octave fingering.
That's an octave, then jump to a five.
And then continue with four two one.
And if you want to, you can start
taking over this with the right hand.
Actually with the two four.
So that's the other option.
and then cheat, move to the two,
four because you're gonna take over this.
Now this last chord is
the coolest chord of all.
The way it's written
you take this really awkward tenth.
And do it.
This was an octave to the right hand.
The way I play it,
I play this as an octave down here.
Take over the top of the left hand with
the right hand.
And play that octave, and
the left hand does this
really cool ping at the top.
So that's why if you want to do that
alternate fingering that I just showed
you, with the octave here, pinky here.
Four, two, one.
And then the right hand coming over and
taking over these two notes.
You'll be in position for that, [NOISE]
And again the idea of the run,
is to accelerate to the top.
You wanna practice getting that even, then
then adding one more note.
And then adding one more note.
And then, what are you adding?
Now, you'll also want
practice this, by itself, okay?
Try to do it softly, okay?
And the way I, I always like to try and
do a follow-through instead of
just playing with a dead arm.
I, the follow-through is very
much like playing baseball or
golf or any kind of sport.
The follow-through actually does a lot to
prepare what happens before you actually
hit the ball or hit the note.
So, if I'm thinking about just stopping,
I'm going to have a certain
sound that comes up.
But if I have
a follow-through with my arm,
[NOISE] I'm going to have the velocity
before to hit it gracefully.
[NOISE] See what I mean?
So this isn't just for
me just showing off.
[NOISE] It's actually feeling the flow
of the grace of the notes and
the sound [NOISE], okay?
Practice that and
just see if you can get it.
[NOISE] If you wanted to,
you could play the slow in the beginning,
speed it up towards the top there.
The trickiest part is gonna be getting
the timing between the last note
of the right hand and
the last note the left hand, [NOISE] okay?
I wanna, wow we could play this
piece all day long, have fun.
Congratulations on working through all
of the lessons in this
series Clair de Lune is
a phenomenal piece to have
as part of your life and
as part of your repertoire library.
Be sure to practice with the pedal.
The pedal is key to understanding
really how the piece sounds, especially
in relationship to all the chords and the
things that you are supposed to be held
which are not practical to be
held with just your fingers.
Be sure to be flexible about
the fingering options I give you,
and don't feel like you're locked
into even just those options.
If you want to explore other ones,
feel free to do so.
I'm just here to provide some
suggestions and some alternatives, but
do what feels comfortable.
Make sure you work a phrase at a time.
Don't get too bogged down with trying
to get to the end of the piece that you
forget to feel comfortable
with the various passages and
the various technical challenges
that this piece offers.
So work a phrase at a time.
Use your pedal constantly.
The other thing that I want to just
emphasize is use a light touch.
Think of the piano as the most
delicate set of bells.
So you shouldn't really push in and
hold your notes too long.
This piece works best when
you give it a light touch.
You just set the sound in motion and
Keep your technique relaxed.
Keep your arms and fingers light and
you're going to have a wonderful
time learning this piece.