Hello and welcome back. I'm Joseph Hoffman,
and in this lesson we're going to learn the left hand part for the B section of minuet in G major by Christian Petzold.
Let's get started by checking out the score.
So we're working on the left hand part today.
Let's quickly review our key signature.
What sharp do we have in the key of G major?
If you said F-sharp, you're correct.
So can you scan this line and point to any F's that automatically will have to get sharped?
If you're pointing right here, you're correct.
So in your own score you might want to circle this note,
or you could draw a sharp symbol in front of it. Something just to remind yourself, look out that note's got to be sharped.
Any other F's that need an automatic sharp on that line?
Nope, there are no more F's.
Let's also identify a couple of intervals.
Can you figure out the interval from here to here, and from here to here?
Let's start with this first one. What interval do you see there?
If you said a fourth, you're correct.
So I'll just put in a 4 there,
and by the way what interval do we have here in the measure before?
If you said a third, you're correct. We go up a third, down a third, then up a fourth,
and then what interval do you see next?
If you set an octave or an eighth, you're correct. That goes from A down to low A.
Now on your own, place your finger 2 on this G, and I'd like you to pause the video and try and learn this line on your own.
And then press play and we'll look at it together.
Okay, here's the left hand part for the B section starting in measure seventeen.
If you like, you can play along with me, or you can listen.
I'll count 3 beats, and then we'll start here with finger 2 on G.
1 2 3
1 2 3, 1 2 3,
1 2 3, 1 2 3
Now pause if you need any extra practice with that, otherwise let's take a look at the next line.
Now let's circle any notes on this next line, starting in measure twenty-one, that need to be sharped.
Can you point to any notes that need a sharp?
Well, this C has a sharp right in front of it, so I'll have to remember to sharp that C,
and then any other notes that need a sharp?
If you're pointing right here, you're correct.
That's one of our automatic F-sharps from our key signature, so don't forget to sharp that F.
And then why do we need this natural symbol here?
Well, this is one of those courtesy accidentals.
Remember, a bar line automatically cancels any sharps or flats that are placed in the measure.
And so this C is already cancelled, but sometimes in music
an editor will place a natural, or a sharp, or a flat sign, just as a courtesy to remind you,
hey it's not C-sharp anymore. The bar line already canceled it, so technically we don't need to place a natural there,
but it's just a courtesy reminder.
Now here in measures twenty-three and twenty-four we have a lot
of bigger intervals, so I'd like to take some time to actually analyze these. time to actually analyze these.
Every two notes with a line in between,
I'd like you to analyze the interval. So pause the video, and in your own music,
can you write down the interval between all of these notes in these two measures?
Then press play and we'll look at the correct answer together.
All right, here are the correct answers for these intervals. We have D,
down to F-sharp which is a sixth,
and then up a third. Sorry my 3 got a little smudgy.
That's a 3, so that's a third up,
then a fourth up from A to D,
and then an octave from D down to bass D, then up to C natural is a seventh.
Now I'd like to add some sticky staccatos to match what we did in our right hand.
So on these five quarter notes that your left hand is playing,
I'd like you to make those
what I called last time a sticky staccato.
So just kind of separate each note. Don't make it too quick.
Just kind of a sticky staccato, and then on this last C
I'd actually like you to make that legato. So I'm going to draw a slur mark to show you're going to make that legato to lead us in
to this next section, which is marked mezzo piano. A little more gentle and delicate here.
Now on your own I'd like you to try practicing this. Note that here you're starting on a finger 1 on A, and then your finger 3 has to cross over to this B so you can reach this D above middle C.
So now pause and work through this. Be very careful of the fingerings.
Try to do the these sticky staccatos.
Don't forget the sharps. Work all that through on your own, then press play and we'll look at it together.
All right, starting here in measure twenty-one, finger 1 is on A. This is what it's going to sound like.
1 2 3, 3 crosses over and then our sticky staccati.
And then that flows right into measure twenty-five. Notice we have a finger 1 on this middle C, and then finger 3 has to play the B, so our finger 1 is available to make it to the D, which we have coming in twenty-five.
That's why it's important to watch those fingerings.
All right, now if that's what it sounded like when you played it, you're in good shape.
But if you need to fix something, you can always press pause and work on it, then continue on when you're ready.
Now if you're ready to go on to the next line, let's look at measure twenty-five through twenty-eight,
and I'd like to challenge you to figure out this section on your own.
We've already said that it starts with the finger 3 on B,
and pause the video and see if you can figure out the rest of this line. Be careful of notes, be careful of fingerings,
and then we'll take a look at it together.
Here's what measures twenty-five through twenty-eight
should sound like. Left hand part.
1 2 3
Now if that matched what you played, great job.
If not, just pause to work it out and then continue on.
If you've got that left hand part nailed down, then I'd like to challenge you to work out at least part of this line
hands together, even if it's just like the first measure.
Remember, it's very helpful to do it hands alone once, just right hand,
and then left hand
And then when you put it hands together, notice where the notes line up vertically.
That's where they play together. TI-TI TA
You might do it five, ten, twenty times,
then maybe go on to the next measure right hand alone,
left hand alone.
And then together.
Pause the video to work on at least one measure hands together.
If you want to tackle the whole line, that's great too, and then press play to go on.
Okay, we've made it to the final line now.
Can you find any notes that should be sharped on this last line? Point to them.
If you're pointing here, you're correct. That's an F, which is automatically sharp thanks to our key signature,
and there's one more right here.
Any other F's?
Not on this line, so those are our two F-sharps.
And now a little bit more interval analysis. So can you identify the intervals between all of these notes?
Pause the video to figure out these intervals, then press play and we'll look at it together.
Okay, here are the answers. We're starting on this G, it goes down a sixth to B, up a third,
up a fourth,
down a fourth,
and then down a fifth. Ah, that one got a little smudgy too. That is a 5.
Okay, we finished by down a fifth.
Now did you notice that in this measure these intervals are the same that we had up here on this line.
But we're starting on a different note so we've got a little pattern going on there
for the left hand.
And to kind of match the style of what we were doing before I'd like to add some sticky staccato markings.
By the way, sticky staccato is not a technical term. These are staccati.
Staccato dots with a tenuto mark, and that's one way you can show this kind of baroque
staccato
where you're just separating the notes. You're not trying to make it super quick like a regular staccato.
So these are the four quarter notes that I like to play with this kind of
detached sound, a sticky staccato if you will.
Now pause the video and on your own try and learn
uh measure twenty-nine to the end starting with finger 5 on D.
Pause to work that out, watch the fingerings, watch for the sharps, watch for sticky staccatos,
and then press play and we'll look at it together.
Okay, the left hand part here goes 1 2 3
Then we have to switch to a finger 1 here.
1 2 5
Now pause if you need any extra practice on that.
Otherwise, let's take a look at these last two measures hands together.
The right hand does TI-TI TA TA 1 2 3
Now your turn. Can you review that? Go.
Good, pause if you need more practice on that right hand part. You need to be very confident with it,
and if you're ready let's look at the left hand part. We have TA TA TA 1 2 3
Now your turn just the last two measures, go.
Pause the video if you need more practice on that. You need to play it a hundred percent confidently.
Like that.
Now if you're ready with both hands very confident,
very slow motion we're going to put it hands together.
TI-TI TA TA 1 2 3
It's going to go super slow motion at first. Be careful of the fingerings.
Finger 4 has to cross over to that F-sharp so you're in position for that chord.
Pause the video and work on those two measures hands together super slow motion,
then press play to go on.
Good, now on your own this week I encourage you to do lots of hands alone practice to get confident with the right hand alone, confident with the left hand alone,
then when you're feeling confident it's time to start putting it hands together.
When you go to hands together, do very short sections.
Choose just one measure at a time.
Make sure you've got that mastered.
You can do very short sections.
Master it then connect that to another very short section.
Gradually small sections grow into larger sections until you can do the whole B section hands together.
If you're feeling stuck on one part, try to zoom in on that one section.
Maybe this measure, measure twenty-three, is tricky for you.
So just do that like a hundred times
until you can do it in your sleep, right?
And then connect it with the next measure.
Whoops.
Even Mr. Hoffman makes mistakes.
That's why I practice too.
Here's the entire B section hands together.
And then repeat.
Great work learning the left hand part for the B section of "Minuet in G Major".
Thanks for watching and learning with me, and happy practicing!
What's wrong?
I-- I feel like I'm never going to become a ninja master.
I've been practicing and practicing, but it still doesn't feel like I'm doing it right.
Oh.
It just feels like I'm making a bunch of random noises, hi-yah and all that.
I hate to say it, but that's kind of what it seems like to me too.
Don't feel bad, no one masters anything overnight.
You know what you need?
What?
A teacher!
Huh?
A teacher, silly.
Do you expect to just become a ninja master without someone to guide you?
Of course, a teacher!
I need a sensei. Princess, you're a genius!
Do you want to be my teacher?
I don't know anything about being a ninja! You need a real master.
Oh, right.
Where can I find a master who will be my teacher?
Well, in every movie I've seen they always live in a really hard place to reach like a
forgotten swamp or the top of a snowy mountain in the middle of nowhere.
That does it! I've decided!
Decided what?
I'm going on a quest!
I'll climb the first snowy mountain I find and keep searching until I find my master.
Well, just because it works in movies doesn't mean in real life.
Remember? We've proved we're not in real life.
Don't you remember with s-h-a-r-k-y?
That spells Sharky!
Aaahh! Of course you can spell.
I'm a highly intelligent shark.
I see.
I hear you want a teacher.
I can help you.
Wait, you know a ninja master?
No, but wherever you need to go to find one I can help you get there much faster.
Really? How?
By chasing you!
Aaaaah!
Scuba! No, go the other way! There's a nice big mountain the other way!
Good luck!
He's gonna need it.