Lesson 78

Ode to Joy (Unit 4)

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Hello and welcome back. I'm Joseph Hoffman.
Today is an exciting day because we're
learning our first piece by a truly famous composer.
We're going to be learning the melody "Ode to Joy" by Ludwig von Beethoven.
Let's listen to an excerpt of this very famous melody from his last symphony number nine.
What you see right now is an orchestra.
This orchestra is playing Beethoven's Ninth Symphony.
Symphony is a rather long piece of music composed for many musicians to play together.
So, let's learn how to play this famous melody by Beethoven.
This melody uses a new kind of
rhythm, so let's get started today at the heartbeat mat.
For "Ode to Joy", we need to
learn a new way to draw eighth notes.
You are already familiar with this version
of two eighth notes.
TI-TI
Let's try speaking a rhythm together.
Can you point and say it with me? Ready, go:
TA TI-TI TA TA
Well, instead of drawing two eighth
notes like this, we can also draw it like this.
And it means and sounds exactly the same.
We call these two eighth notes with a
note head, a stem, and this time a flag
instead of this beam.
So, just like before
it sounds exactly like this: TA T-TI TA TA
So again, we call these flagged eighth notes. They sound exactly the same as beamed eighth notes,
just another way to draw it.
Let's try another rhythm.
With our new flagged eighth notes.
And again, that will sound the same as if we drew it this way.
Let's point and say this rhythm. Ready, go:
TA TA TI-TI TA
You may also recall that you can beam a group
of more than two eighth notes together
like this group of four, which takes up
2 beats: TI-TI TI-TI TA TA
We could also draw that as flagged eighth notes
like this. This would sound exactly the same as this row.
TI-TI TI-TI TA TA
Uh, Mr. Hoffman?
Yes Scuba?
Well, why do we need another way of drawing eighth notes? Why not just use the regular way?
Beams!
Yeah, with beams.
Great question Scuba.
The reason is that sometimes a composer
may want to use just
one single eighth note, not two,
and to use a beam, you have to have at least two eighth notes.
But with flagged eighth notes, it's possible
to have just one by itself.
But wait!
If you only use one eighth note, that would
leave the other half of the beat empty!
That's right.
Excellent observation,
and that makes room for another new kind of rhythm:
The dotted quarter note!
Ooo!
Quarter notes can have dots too?
Yes Princess.
Does it get 3 beats like the dotted half note?
No, not 3.
You're right that the dotted half note gets 3 beats,
but the dotted quarter note gets 1 1/2 beats.
Adding a dot to a note increases the note's total
value by one half
of whatever the note was worth before.
Oh!
So, regular quarter note
equals 1 beat.
Dotted quarter note is 1 beat plus an extra 1/2 beat.
So now we can put the eighth note
Flagged eighth note,
in that other half of the beat! It's a perfect fit!
That's right.
So this dotted quarter note for 1 1/2
beats together with this eighth note, which is flagged,
together takes up a full 2 beats.
Cool!
What's this new rhythm sound like?
Well, like this.
Here, I'll draw it a couple of times.
This rhythm would sound like this:
TA-A TI TA-A TI
Notice how that dot adds that little extra half a beat of A. TA-A TI
and
then in the other half of the beat we get this single TI.
TA-A TI TA-A TI
Now, you guys try
it with me, and everyone watching at home try it too.
Ready, go.
TA-A TI TA-A TI
Let's try one more.
Here's a slightly trickier one.
TA-A TI TA TA
TA-A TI TWO-OO
Princess and Scuba, why don't you try it with me,
and everyone else at home as well.
Ready, go:
TA-A TI TA TA TA-A TI TWO-OO
Awesome, now
let's take a look at the sheet music for "Ode to Joy"
and see if we can find this
new rhythm the dotted quarter note
with flagged eighth note.
Here's our sheet music for "Ode to Joy".
As always, you can download and print this from our website,
and then you'll have your own copy to work with as well.
First, let's see if we can find our new rhythm: the dotted quarter note with flagged eighth note.
Can you find and point to it on this first line?
If you're pointing right over here, you're correct.
And in your own music at home,
why don't you pause the video and see if you can find and circle
any other times you find the dotted quarter note eighth note.
And then press play and we'll look at them together.
So in your own music, hopefully you've
also found this one as well as this
dotted quarter note with the flagged eighth note.
So now let's try pointing and chanting the rhythm will use our rhythm words: TA TA TA TA
or TA-A TI TWO-OO Can you point and say the
rhythms with me? Ready go:
TA TA TA TA TA TA TA TA
TA TA TA TA TA-A TI TWO-OO
Now that we've explored the rhythm, let's take a look at how the notes are moving up or down on the staff
so we can figure out how to play it on the piano.
"Ode to Joy" 's in the D major pentascale,
and it starts with finger 3
on F-sharp.
But before we try to play it, can
you tell me how the notes are moving?
Tell me if they're stepping, skipping, or repeating.
One note at a time.
Say start for the first note
and let's stop when
you get to the last note of this measure 2.
Ready,
go: start, repeat, step up. Now keep going on your own.
The correct answer is start, repeat, step up, step up, repeat, step down, step down, step down.
Now, let's keep going
on to the end of the line from here.
Can you do it again? Say start for this note
and then continue.
Start, now go on by yourself.
The correct answer is start,
repeat, step up, step up, repeat, step down, repeat.
Great, let's try to play it on the piano.
As I mentioned, we're in the D major pentascale for "Ode to Joy".
So go ahead and place your right hand finger 1 on the D a step above middle C. Finger 3 will be on F-sharp.
And now with how much you know about reading
notes,
I'd like you to take a stab at figuring out measures one and two by yourself.
Just use your eyes, and if you see the notes repeat,
play a repeat. If you see the note step up let your finger step up.
Pause the video, try to play measures one and two
starting with finger 3 on F-sharp,
and then press play and we'll try it together.
Here's what you should have figured out.
Finger 3 starts on F-sharp and we play:
Now, will you try playing that with
me?
Finger 3 on F-sharp. 1 2 ready go:
MI MI FA SO SO FA MI RE
The tricky thing is to notice where the repeats happen. It's mostly steps,
but those
repeats are a very important part of the melody.
Press pause if you need more time to work on that, otherwise let's go on to measures three and four.
On beat 1 of
measure three we step down to DO or D.
So starting here on this D I'd like you
to pause the video again and see if you can figure out
measures three and four.
then press play and we'll try it together.
Don't forget the TA-A TI rhythm.
Press pause to work on those measures on your
own, then press play to go on.
Here's what you should have figured out: DO DO RE MI MI RE RE
Now let's try to play that together starting on DO, ready go:
DO DO RE MI MI RE RE
Pause the video if you need extra time
to work on that.
If you played it great then
let's try putting all four measures together.
From the start we have: MI MI FA SO SO FA MI RE
DO DO RE MI MI RE RE
Pause the video and work on putting measures one through four together then press play to go on.
Now, in a later lesson we'll learn this
left hand part,
but today we're just focusing on the treble staff or right
hand part.
So let's go on to line two now,
and I'd like you to look carefully at
each note and tell me
if it's the same as line one or different, or some of both.
What do you notice?
If you look very carefully,
and it's important to check every single note, you'll notice same, same, same,
here it's different.
What's different?
Up here as we go from measure three to measure four across the bar line, you'll notice a repeat
but what
happens here?
Aha, this time it's a step down.
That subtle change may be easy to
miss
if you're not watching carefully.
That's why I always say to check every
single note. You can't assume
that because these three measures are
identical, that that's going to be true
for the last measure as well.
Sometimes composers like to shake things up,
and here we have a slight change. We step
down, step down, repeat.
Let's try that on the piano.
Let's start here on measure seven
which is the third measure of line two
which starts here on DO DO RE MI
and then as we come across the bar line remember to step down this time.
RE DO DO
So altogether we get: DO DO RE MI RE DO DO
Now your turn.
So let's go back to the start of line two
now and put it all together.
MI MI FA SO SO FA MI RE
DO DO RE MI RE DO DO
Now it's your turn.
Pause the video towork on line two on your own.
Don't forget the one note that changes. Be
very careful there as you go across the barline
from measure seven to eight.
Remember this step down this time
which used to be a repeat, now we're stepping
down.
Pause to work on line two, then press play to go on.
Now we're ready to look at line three.
Is this the same or different from lines one and two?
This is an entirely different kind of idea.
In music we like to use capital letters to show
the form of a piece. We could call this first line A,
and the second line, because it's almost exactly the same as the first line, we could call it a with a little
mark there that we call prime.
A prime tells us that it's mostly the same
with a slight variation.
This line, if you look at the notes and how they're moving
and the rhythms, is completely
different. So we'd call this line B.
Now, can you tell me the steps, skips, and repeats for these first two measures?
Say start for the first note then keep going on your own. Go, start
The correct answer is start, repeat, step up, skip down, step up, step up, step up, step down, skip down.
I'd like to mark where there are skips.
Sometimes with a little line, and maybe I'll put the
interval there because that helps me remember
when I'm playing to watch out
to make sure I skip down there
skip of a third from MI to DO from MI to DO
Now let's keep going and saying the steps, skips, repeats together. Go, start,
step up, step up, step down, say it with me,
step down, step down, step up, this time
there are no skips, and then here
this is called a half rest.
You'll recall that a
quarter rest gets 1 beat. A half rest gets
2 beats of rest, and instead of
drawing two quarter rests,
musicians like to save time, so we have this symbol that
means 2 beats of rest.
So we have 1 2, and then on 3 4
the melody doesn't go in the right hand. It actually jumps down to the left hand so we'll actually use
our left hand today just for this one note. We're learning the melody line
TA TI-TI TA TA TA TA TWO-OO
Our left hand will help out with the melody right
here on beats 3 4.
You'll notice the left hand has a half rest here
to give beats 1 and 2
the left hand rests while the right hand plays,
and then the left hand
plays while the right hand rests.
Let's try playing line three on the piano.
Let's work on line three together.
Can you tell me the letter name of the first
note the right hand plays on line three?
If you said E, you're correct.
What finger plays E? Tell me the finger number.
If you said finger 2 you're correct.
So we'll start with finger 2 on E, and we play:
RE RE MI, and then we skip down to DO.
RE RE MI DO
Now you try.
Good, now let's look at the rhythm
for the next measure.
TA TI-TI TA TA
Can you sing that with me? Ready go:
TA TI-TI TA TA
Now to play it, we once
again start on an E.
TA, then two step ups.
TI-TI, then step down, skip down. All
together:
TA TI-TI TA TA
Now you try.
Good.
Now, take a look at this next measure, and tell me
if it's the same or different from the previous measure.
It looks the same,
but hopefully you looked very carefully and hopefully
I've trained you to check
every note, because you'll notice this last note
is a step down instead of a skip down.
That's very important. In fact, in your own music you might want to circle that note, because
in this measure we skip down, and then if you're not
careful you might do that again. This
time you have to step down, step down,
step up, and then our left hand has to come in
to play this A with finger 1. That's part of the melody.
This is the only note we'll learn for the left hand
today. All the other notes we'll learn in a later lesson.
So, let's put all of line
three together it will sound like this:
Go ahead and have your left hand ready.
I'll demonstrate once for you.
We have: RE RE MI DO
RE MI FA MI DO
RE MI FA MI RE DO RE SO
And that's low SO for the left hand.
Now, pause the video and work on line three,
being very careful where the skips are,
where the steps are,
then press play to go on.
Now let's check out the right hand part for line four.
Can you tell me if this is the same as our B or A prime or A?
Check every note.
If you look carefully, you'll see it matches note for note
our line two which we've called A prime.
That brings us to the end of this section.
Remember, this is an arrangement for piano
of Beethoven's Symphony which has
violins and trumpets and oboes.
This is a simplified version. Just a section of the
full symphony, but this section has the form
A A B A
A couple of those A's
of course have slight variants at the end.
Now let's put all four lines
together.
Let's play the entire melody, these four lines put together, for "Ode to Joy".
I'll play the right-hand part,
and you're welcome to play along with me if
you'd like to challenge yourself,
or if this is your first time and you'd like
to just listen that's okay too.
I'll count 4 beats then we'll start
with finger 3 on F-sharp.
1 2 3 4
You might have noticed I started with
just my right hand. I probably should have
had my left hand already ready
from the beginning. I had to sneak it up there
on line three.
I recommend you have it there from the start
so you don't have to be like me and sneak it up there
last minute.
Allright. Now, last thing I want to look at with
you are the dynamics.
You may recall that dynamics tell you how loud or how soft to play.
Dynamics can make music so much more exciting if you'll use them.
Now,
this is a joyful song.
It's called "Ode to Joy" after all. So as you're playing it,
make sure you have that
joyful feeling inside, and that you're playing it joyfully.
And so that's why the the piece starts with this forte mark.
Remember, that fancy F means forte.
I'm going to play with lots of joy.
Now, when we get to line three,
just for fun, sometimes joy can be quiet too, like an excited whisper Christmas morning.
So we're going to get soft, but then you'll see
this symbol:
c r e s c . stands for crescendo,
and a crescendo is to gradually a little bit at a time get louder, louder, louder, louder.
So, not all at once we're going to start piano,
then crescendo a little bit at a time.
By the end of the line we're going to be
quite strong, and
then the last line is forte again.
Those dynamics can make this piece so fun
and exciting to listen to.
So once you feel like you know the notes,
start paying attention and adding into the dynamics
as well.
And finally as you're practicing,
don't forget to be careful on these new rhythms. You have to stretch out that dotted quarter note.
TA-A TI TWO-OO Don't rush through
them.
Remember that dot stretches out that note extra long.
TA TA TA TA TA-A TI TWO-OO
TA-A TI TWO-OO Stretch that note out and that makes that rhythm really exciting.
Great job today learning to
play the melody of "Ode to Joy".
Don't forget we also learned about dotted
quarter notes!
And flagged eighth notes!
That's right guys,
and we learned about what a symphony is.
It was a big day.
Thanks as always for watching and learning with me.
Happy practicing and see you next time!
Presenting the symphony of birds
performing ode to joy' conducted by me.
Thank you.