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Popular Piano Lessons: Fur Elise - D-E Section

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So, we're finishing up
this previous section.
[SOUND] Now, left hand is in the G Clef,
the Treble Clef area.
So, just don't let that throw you.
Might be good to practice
your right hand alone.
To learn these notes [SOUND] we're gonna
use a lot of thumb to just climb up,
[SOUND] up.
[SOUND] It's just gonna be
rocking back and forth.
And then put your thumb here.
[SOUND] Three.
[SOUND] One.
[SOUND] Thumb, [SOUND] thumb,
[SOUND] thumb, [SOUND] climbing up,
[SOUND] thumb on here, E,
[SOUND] three, [SOUND] three,
[SOUND] and
then replace it with a four here.
[SOUND] So let's put that, let's take
a look at the left hand notes now.
[SOUND] There's a 16th rest, [SOUND]
jumping down to the F clef, [SOUND] for
these two notes, and then C,
in the G clef play the C.
Jump back up.
[SOUND] Jump down to the bass Clef,
[SOUND] the F Clef, [SOUND] and
then you have this G sharp.
[SOUND] You can either do it with
the four finger if you want, [SOUND] or
with the third finger,
whatever you're comfortable with.
So, let's do it from measure 30.
Double, [SOUND] double [SOUND] speed,
[SOUND] make sure you get
that transition though.
Keep the double speed,
[SOUND] double speed,
[SOUND] one [SOUND] and
two, and three, [SOUND] and
one [SOUND] and two, and three.
[SOUND] So, you wanna make sure you
understand how the 16th counts work
relative to the 30 seconds you just left,
and entering back into these 16th notes.
So, I'm gonna do it again slowly.
Going straight through, and
I'll count it out for you.
One, and two, I'm counting,
the large beats are the eighth notes.
If you look at the times
signature to being the piece,
the time signature is three, eight.
We're counting three,
eighth notes per measure.
So, one, two, three, when I say and,
those are the 16th beats.
One, and two, and three.
And [SOUND] One, [SOUND] and
two, [SOUND] and three.
[SOUND] And [SOUND] One,
[SOUND] and two, [SOUND] and three.
[SOUND] And [SOUND] One,
[SOUND] and two, [SOUND] and three.
[SOUND] And [SOUND] one,
[SOUND] and two, [SOUND] and three.
[SOUND] And [SOUND] one,
[SOUND] and two, [SOUND] and three.
[SOUND] And [SOUND] one,
[SOUND] and two, [SOUND] and three.
[SOUND] And one, [SOUND] and
two, [SOUND] and three.
[SOUND] And [SOUND] one.
[SOUND] So, we understand, be careful when
you transition out of the 30 seconds,
don't rush the 16th notes.
Now, we're gonna take a look
at some musical articulations.
Starting at measure 37,
we see some curved lines
connecting two notes.
Now these are different from ties.
Ties are lines that
connect identical notes.
So if you have an E and another E
connected by a line, they would be tied.
And then you would play the first one and
then hold for a duration of a second.
These lines are different,
these are slurs.
And as you can see two note
groups are being slurred.
So for what happens here, is that you have
two notes [SOUND] that are a unit and
then the slur breaks.
And then you have two more notes
[SOUND] that are connected and
then another two notes [SOUND].
And then another two notes [SOUND].
So you hear just a little break in
between the end of one slur and
beginning of the next.
What that's trying to do,
it's trying to simulate what it
sounds [SOUND] like to do this.
You can certainly do that, so
that's an option.
Actually some auditions that I've seen,
actually write it out,
so that one hand does this [SOUND].
If you like this technique [SOUND],
wanna show off, be my guest.
It's certainly fun to do, the wipe on,
wipe off, the karate kid kind of maneuver.
[LAUGH] [SOUND] But, you can just
as easily do it with one hand.
So you just connect [SOUND],
lift, down, up, lift, lift.
It's the same kind of sound
as this is as if you were doing
this between two hands.
I can do with one hand.
Just breathe.
Again, no pedal.
[SOUND] It's just a down, and
then you use your finger
to lift it off the keys.
So, it's a beautiful effect.
Try to do it with one hand if you can,
if you prefer both hands,
you can certainly split it up.
Now we're back to the beginning with trio.
Brighter sound because it's major but
then gets back to minor.
Remember we're gonna split this,
right hand.
No pedal.
Now here.
I remember as a kid I
hated this section.
It was so hard.
I saw three, two, one, [SOUND] three, two,
one, three, and it was just so difficult.
So, I'm gonna give you a couple options.
[SOUND] If you like this effect, I, now
that I'm grown up, I love this [LAUGH].
It's alternate fingerings for
repeated notes.
[SOUND] It gives you a lot of control and
really helps make sure that
the notes repeat evenly.
[SOUND] So the only tricky thing
is remembering three, two, one.
[SOUND] Three, two, one.
[SOUND] Three, two, one.
[SOUND] Three, two, one.
[SOUND] Three, two, one.
[SOUND] Three, two, one.
So that's one option.
If you really don't like it,
you can just do [SOUND] this.
You just want to use one finger.
Pick up a finger that feels really
comfortable to repeat it with.
You can do three or two,
whatever you prefer.
I'm going to do the repeated fingering.
I think it's good practice [SOUND].
I really like how this keeps my
hand stable in one position.
It's like wipe on, wipe off.
[SOUND] Wipe, wipe, wipe, wipe, wipe.
I think the hardest thing is the three
because it's moving in at a different,
your thumb is designed differently
than the rest of your hand.
So [SOUND] just be aware,
it's gonna have a different wiping
motion than the other fingers.
Takes a little bit of practice.
Again your pedal can help you make
it sound more connected if you
want to have the pedal down.
You don't have to be
holding it down to do this.
Just nice, light wipes.
So again,
you can do [SOUND] repeated fingers.
You can do the same finger if you prefer,
whatever gives you the most control.
Starting measure 61,
we have our chords in the right hand,
This chord here,
I'd like using a fourth finger
cause then I can connect that top note to
the next chord here with a pinky, okay.
Now for the thirds that come up next,
jump to a four, two, five, three, okay?
And then collapse onto a four, okay?
Now the trickiest thing,
of course, is coordinating that,
especially if you're using
repeated fingerings, okay so.
Remember, the three starts each measure.
Here you gotta be careful.
Three, two, one.
You're gonna come on
the second finger here.
Okay, so you just have to count that out.
Three, two, one, three, two, one,
three, two, one, three, two, one, okay?
So when you're doing
the repeated fingerings, don't get
lost with what you're doing here.
Now for this next part,
hopefully, you'll use your pedal.
You have these sixths.
What I like to do is just keep
my hand in the same shape,
I don't like messing around
with complicated fingerings.
Keep your hand in the same shape,
and your pedal will connect for you.
So just kinda let your hand, stay
the same shapes all the same interval.
The only difference is that middle
note there.
And then the rest of them are the same.
Pretty simple, okay.
Of course here in the left hand,
you can't help it,
you have to repeat everything.
You can use a fourth finger if
you like here.
And the third finger.
And then,
you can use the second finger for that.
Now here,
some interesting options for you.
You can either use a thumb, thumb, thumb,
thumb, thumb, thumb, okay, or one, two,
one, three, two, one and
get back to the three, two one pattern.
So, either thumb, and
then get your third finger
here if you want, one option.
Or, one, two, one, three, two, one, okay?
And then you're back to this.
Same thing we just did.
We're going to the B-flat, okay.
Now we have this sixth coming down, okay.
Because the pinky is shorter,
now you could do this all the same,
but the problem you got a short thumb,
short pinky.
What I prefer is to do this,
four, five, five, four.
So I'm using my four
finger on the black keys.
And you can even use your
four finger here if you want,
and then use another four finger here,
really up to you.
If you like all fives, be my guest.
If you wanna try this four finger and then
just have the pinky on the white keys and
then the fourth finger on the black keys.
That's a more traditional fingering.
Another crazy fingering you can do.
Don't even do that.
That's too complicated.
And collapse it to a four here so
you can use a three here.
B natural here.
One and two and rest.
Now here, note how short this is,
rest, rest, with the eighth rests.
All right, now we're going
to get to the nasty section.