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Saturday, January 7, 2023

Suzuki with Sarnia French Song Piano ๐ŸŽน Book 1 How to be a great ๐Ÿ‘ Musician


hi guys welcome to the piano room now um I'm doing this Tick Tock thing I've just started it I've been rather remiss actually uh in uploading little videos for various reasons you don't need to know that but I'm in full swing now and I'm going to be doing a podcast for this radio show The Telltale Club podcast but also I'm going to be doing a little Tick Tock video and I'll be talking about the same sort of thing but one's watchable and one's listenable okay and I'm going to try and keep them short so I was looking at the French children's song which this is Suzuki book one so I'm going to follow all the Suzuki books for it they're nice and straightforward and um they're very thorough I like them because of their thoroughness but they're also fairly easy for children to learn and that transfers to adults just as well so let's have a little look the French children's song is it's a French folk song and a popular French folk song so it's it's quite well known the Melody's in the right and the rhythm is in the left and I was thinking about the Rhythm and I was thinking about how if you've got a digital piano and you don't use a sustain pedal I have got a sustain pedal I don't really use it I prefer to hold the first note down and that just can you hear the difference if I don't hold it down

if I do hold it down

the sea is still playing do you see do you hear that it's really wonderful isn't it so I have got a bit of a habit of playing in the way that I want to play but if you've got a straightforward piano and you want to be um and you're not a pedal user but you want to play as written you might think about playing this in a rather Jolly way almost detached it's up to you everybody has the right to choose how to perform a piece of music it s not set in stone we follow the guidelines in music the other thing about music when you're learning to play a piece is to really feel the pulse and I find exaggerating the past it's quite useful so for here we've got a one two three foot pulse and I would automatically play the first note of each bar in a stronger way than the other notes and the third actually technically you'd probably play this hard soft slightly hard soft so you're accenting the third note as well so you've got that real pulse sometimes when you listen to music it's hard to hear the pulse and that's because the pulse hasn't been played the pulse is theoretically integral to a piece of music but lots of people don't put a pulse in or have a vague pulse or have a moving pulse Jazz and Blues and things like that they're quite Adept at changing the pulse and of course live music is is always about change and response responding to your listener in the audience so we can really play around with that and I like that so let's just go through the right hand all the way through I want you to play really slowly when you start doing these pieces actually there's a preparatory study along the bottom which you could do first but really the sooner you get onto the actual piece the better so have a little practice at this this is the Preparatory left-hand study down at the bottom of the page

when you lift your fingers up don't lift them up high in the air you want to guide your fingers to where they're going to go and they're not really moving they're on the same notes except here and your fingers are already on the notes so keep them there just don't push down do you see so let's go all the way through French children's song Left Hand only I'll lift that c [Music] and back to the beginning

like a bit fun in it a little bit louder if you want

now we can slow down because we're getting to the Fini the end okay so that's uh a bit difficult because we've got to learn about reading music now where's it where it says it looks like fine in English DC alphony and that means go back to the beginning and play until the second end if you like Finney which is where the double line is with the thicker second line in bar five six seven eight end of bar eight beginning of Bar Nine okay that's where you end the piece it happens a lot in music if they go back to the sort of main um uh riff lyric or whatever and then draw to a close we know when there's a close because usually the performer would slow down slightly or you come to the end of the lyrics it's the end of the poem quite often and also we're back to that keynote which is the C so this is in the key of C and don't be confused by that c um sign at the beginning there which means that's common time and that means four four times it doesn't stand for K of C slightly confusing until you get to know these things okay um the only other thing I would say is it's helpful to pop the fingering in and don't worry about not putting fingering in or making yourself too reliant on the fingering because what happens is your brain stops looking at the fingering after a bit so it doesn't matter if it's there or not you just don't bother looking but when you first start learning a piece it's really important to sort out that fingering and you what happens is your brain saves it into muscle memory bank and then you just know automatically when we walk somewhere we don't think right oh how do I walk I remember I pushed this muscle and I bend this knee or whatever we don't think like that do we we just do it so have a play around but make sure you're using the correct fingering and you stick to it it doesn't have to be the fingering that they tell us either if you found it easier uh let me think where would I find it easier no this fingering is is pretty straightforward but um you know sometimes what about if you hurt your finger or your um if I just put my fourth finger on that c I can do that and then move the second I can do whatever I want okay these are guidelines of course when you're doing the Suzuki books and you're working through you should do really what Mr Suzuki suggested because Mr Suzuki was a very very clever a clever man who's clever not just as a musician but he was a clever clever teacher and he knew about training and he understood the way the human mind works and he understood about getting musicians to perform there's some accusation to Suzuki method about performing in a slightly wooden way and I would agree with that but by the time we've done Suzuki book three four and five we'll start going on to much more advanced pieces of music and we're going to do just teeny weeny bits every day because you know we can get our 10 000 hours in but we can get it in in a most enjoyable fashion um and a little bit every day is much better pop the kettle on sit down at the piano play a bar or get that bar right really lick it really have it really know your muscle memory but also enjoy it have some fun with it and I'll be doing lots of really silly funny things on my Tick Tock okay so catch you later guys