Hello and welcome back. I'm Joseph Hoffman,
and today we're going to learn how to
play the B section and coda of "Amazing Day."
In music, a coda is a special ending.
As you know, music most often is built on patterns that repeat.
And "Amazing Day", like
most pieces, has repeating sections,
but a coda comes at the very end, and it's a
unique section that we've never heard before,
but which is saved for the very end.
Let's take a closer look at how a coda works by checking out the score.
Like we said, the coda is the special ending.
So let's take a look at the score
and find the coda.
The coda is right over here. This symbol is a coda symbol,
and you see the word code are written next to it just to make sure you know what that is.
And this is our coda. This section from
measure 26 to the double bar line is the coda.
Now, how do we get to the coda?
Well, let's go on a little journey through this piece. We start here and we go:
...we're playing along...
And then you see this 'To Coda' symbol, but
it's not activated yet, so just ignore it.
Just go right past that To Coda
going along through the song. We get to the end of page one, we jump up to the top of page two,
Playing along, playing along, and then boom,
here is a teleport station.
When you see D.C.,
you might remember we've had this symbol before in
other pieces we've learned.
D.C. stands for Da Capo,
which is Italian for 'go back to the head or the start of the piece' so it teleports you to the start.
al Coda
is what activates that To Coda symbol.
So it's saying that we're going to go back to
the start, but then watch out for a To Coda teleporter.
So that teleports us back to the start.
We're playing along,
and then now,
this time To Coda is activated. So this time we
teleport to the Coda,
and then we play the Coda,
and then double bar line we are
done.
Okay, let's review that quickly one more time. So trace along with me
point with your finger how the path
or the journey of this song goes, this piece.
So we go:
we just ignore that...
We're going on to page two...
D.C. al Coda teleports us back to the start.
Now we're activated To Coda,
we go to the Coda.
Very good.
Now, on your own can you point with your finger and show me the path of this song?
Just quickly go through like lightspeed mode, and trace
the path of the song, go.
Okay, you should have gone:
...just
ignore that...
D.C al Coda,
To Coda is activated.
Now what we learned last time, I would call this entire page, because it's all built on similar patterns.
This whole section is called the A section of our
piece.
Let's go with purple.
This section here, which is what we're going to learn
today, is called our B section,
because it's contrasting it's different
from our A section.
Okay, then at the D.C. al Coda we go back and do
part of the A section again, and then we get to our
Coda
Which we'll make green. That's the
Coda.
So we could say the form of this piece is A B A,
and I'm going to put a little
prime. That little dash is sometimes called a prime to show that there's a special ending
for this A. And that is
the Coda.
But the large form of this piece is A B A.
We do the A section, we do the B section, we go back repeat the A section
with a kind of special twist at the end.
Now let's come to the
piano to learn the B section and Coda.
So let's start with the right hand today as
we learn the B section
which begins here in measure 17.
Now, looking at the first two notes the right hand plays,
can you tell me the interval between these first two notes?
If you set a sixth, you're correct.
So for a sixth we can't just fit in our normal pattern, we're going to reach a little bit up to that B from D to B,
and then we step down, step down.
Now let's look at the rhythm. We have: rest, TA TI-TI TA
Now you try.
Good, then after that, rest TA TI-TI TA, then we step up.
Now tell me the interval from this note to our next note.
If you said down a fifth, you're correct.
What's a fifth below A?
That brings us down to D. So once again a little bit of
a reach, but no problem right?
And then as you come down to the D, let your fingers
just kind of shift over
because then we have to just step up. D E F-sharp
So let's try that measure alone. We have TA TA TI-TI TA
Now you try.
Good, now let's put those two measures together. We have rest, TA TI-TI TA TA TA TI-TI TA
Now you try.
Good, now can you name the next note
you see in measure 19 after the rest?
See how it's just a step below the middle C
line? ...