Lesson 278

The Song of Twilight: B Section: Right Hand

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Hello and welcome back. I'm Joseph Hoffman, and in this lesson we're going to be learning the right hand part for the B section of "The Song of Twilight", by Yoshinao Nakada. Let's check out the score to get started. Here's the score for "The Song of Twilight." Today we're going to be working on the B section which starts here in measure nine. Now, before we tackle the B section, let's review what happens with a first and second ending. When you see this symbol right here, that's called a first ending, and I like to think of it as door number one. Let's pretend my finger is going along through the music, and I get here and this first ending I'm going to pretend is door number one. So I'm going to go in that door and play the first ending and then when I get here to the repeat sign, that teleports me back to the start of the song, and I'm going along again, and now I'm like hey, can I go in door number one? Sorry, can't go in door number one again, they say. Ah, come on! Sorry, go to door number two. So, instead of going in to the first ending again, I teleport down to the second ending, which I pretend is door number two, and then I play, and the double bar line tells me the song is done. Now, so let's come back here to measure nine, and check out the rhythm. Remember, we have this new way of counting: 1-e-&-a. If you'd like you can pause the video, and I'd like you to write in the counts for measures sev-- sorry, nine, ten, and eleven, and then press play and we'll take a look at it together. Okay, let's check out the rhythm for measure nine. I'd like you to count the rhythm out loud while you tap or clap the rhythm together with me. I'll count 4 beats, and then we'll start. 1-e-&-a 2-e-&-a 3-e-&-a 4-e-&-a, 1-e-&-a 2-e-&-a 3-e-&-a 4-e-&-a Great, if you need more practice with that, you can always pause, try it again, otherwise let's go on to measure ten. Once again I had to really squeeze it in here, but it's important to remember that on a quarter note, we need all four subdivisions because each of these subdivisions is a sixteenth note, and four sixteenth notes fit inside one quarter note. So this last quarter note is 4-e-&-a. Let's try clapping the rhythm here in measure ten. Ready, go 1-e-&-a 2-e-&-a 3-e-&-a 4-e-&-a. Remember, each time we have eighth notes that & is where we play that second quarter note. Now here I showed you another way you can write in beats. Eventually I want you to be able to just imagine the e-&-a's and just remember where to place them. Remember, these eighth notes are going to fall on the &, and every single one of these 16th notes is going to get a subdivision: 1-e-&-a So let's try clapping the rhythm for measure eleven. Ready, go: 1-e-&-a 2-e-&-a 3-e-&-a 4-e-&-a Now let's look at measure twelve. Remember, the counting will help us not rush these quarter notes. It's very easy to rush these longer, slower notes in a song where we have 16th notes. So the counting can help. How long do we hold this quarter note? 1-e-&-a We need all four of those 16th notes, and then 2-e-&-a, and then how long do we hold a half note? 3-e-&-a 4-e-&-a Okay, so let's try clapping and counting measure twelve now together. Ready, go. 1-e-&-a 2-e-&-a 3-e-&-a 4-e-&-a Repeat sign teleports us where? All the way back to measure one. One last thing I'd like to look at before we try to play it is where all the sharps are. Remember, because of our key signature, we know we're in A major, which has these three sharps: F-sharp, C-sharp, and G-sharp. So looking at the B section, which just goes from here in measure nine, to the repeat sign. Can you pause and circle any notes that need to be sharped? Like this C, this F, this G. Pause to find all the rest on your own, then press play to go on. All right, here are the notes you should have circled, which are the notes that we have to sharp. F's, C's, and G's. What do you notice? Almost every single note is sharp. Look, in this measure there's only one key that isn't a black key. Just that A. Everything else is a sharp. Same thing here. I hope you remember that with a key signature it doesn't have to be this C. Any C, high or low, on this staff get sharped, so this high C way up here has to be sharped as well as this treble C needs to be sharped. And once again we have a lot more sharps here, and here's a measure with all three notes sharped. I find that this can be a useful way to prepare before I try to play it, to just hunt for, find all those sharps. Now, let's try to play it. All right, here in the B section we've got our right hand starting here on C-sharp with finger 1, then finger 3 is up on this F-sharp, and let's look at what we have in measure nine. We have 1-e-&-a 2-e-&-a 3-e-&-a 4-e-&-a. Now, pause and work on measure nine on your own. Be careful of the notes, the rhythms, and the fingerings. Work on that on your own, then press play to go on. Okay, in measure nine you should have had 1-e-&-a 2-e-&-a 3-e-&-a 4-e-&-a Now let's look at measure ten. What do you notice about these first four notes? They're the same four notes that we just played in measure nine, but what's different? Now the fingering is different. Now instead of a 1 3, the sheet music is encouraging us to do 1 2. Huh, why would that be? Usually something like that is going to prepare us for something that's coming, and it turns out in this case it's got a finger 2 on the F-sharp so it's easier to go up to that high C-sharp. 1-e-&-a 2-e-&-a 3-e-&-a 4-e-&-a 1-e-&-a 2-e-&-a 3-e-&-a 4-e-&-a Now pause the video and work on measure ten, then press play to go on. Now let's put measures nine and ten together. We had: 1-e-&-a 2-e-&-a 3-e-&-a 4-e-&-a, 1-e-&-a 2-e-&-a 3-e-&-a 4-e-&-a Pause the video and work on putting those two measures together. Be careful of fingerings, be careful of notes and rhythms. work on that on your own, then press play to go on. Now, what do you notice in measure eleven? Check out these first four notes. Are they the same or different from what we just played in measures ten or nine? If you said the same, you're correct. Now this time since it doesn't give us a number here, we usually can assume it's going to be the same as what we just did. So let's try 1 2 3 4, and then we'll see that works out with a 3, then we need a finger 1 on the F-sharp, and that's going to prepare us to go all the way up to this next note. Can you tell me the letter name of this next key starting on beat 3? How do we figure out ledger lines? Well I like to use flag F. I know that the top line of treble staff is F, and then every ledger line up is just a skip. So we had two ledger lines up plus a step. So we know that's a D, and then we step down, step down. So measure eleven we get 1-e-&-a 2-e-&-a 3-e-&-a 4-e-&-a. Now pause to work on measure eleven, then press play to go on. Now, take a look at measure 12 and tell me the letter name of the first note of measure twelve. Again, using our ledger line trick we know the top line of treble staff is F. We skip up, ledger line one, ledger line two, we know we're on a C there, but it's C-sharp because of our key signature. We drop down an octave, and then what interval do we go up from there? If you said a fourth, you're correct. So we have C, C, or C-sharp, C-sharp, F-sharp. And these are staccato. 1-e-&-a 2-e-&-a 3-e-&-a 4-e-&-a Now because of the gentle nature of this piece, I wouldn't make those staccatos too quick. 1-e-&-a 2-e-&-a 3-e-&-a 4-e-&-a I'd make them a bit gentle. Not so rushed or so clipped. Make them have some gracefulness maybe. Like one snowflake dropping. Now let's put measures nine through twelve together it will sound like this: 1-e-&-a 2-e-&-a 3-e-&-a 4-e-&-a, 1-e-&-a 2-e-&-a 3-e-&-a 4-e-&-a 1-e-&-a 2-e-&-a 3-e-&-a 4-e-&-a, 1-e-&-a 2-e-&-a 3-e-&-a 4-e-&-a Now I’d like you to pause the video and work on measures nine through twelve while counting the beat out loud. Be careful of the sharps, be careful of the rhythms, be careful of fingerings. Lots to think about, but good thing you're getting this advanced so that you can think about all those things. Carefully practice measures nine through twelve on your own, then press play to go on. Now once we finish measure twelve what do we do? The repeat sign sends us all the way back to measure one. And we play again from the beginning. Just like before, and then when we get down to measure seven. This time remember we can't go into door number one again. We teleport all the way to the second ending. So let's look at the second ending. It's just one measure long, so this is going to be the finale And the ending of our piece. So here in measure uh, ten, eleven, twelve, thirteen. The second ending we have 1-e-&-a 2-e-&-a 3-e-&-a, we can just hold extra long because of that fermata. Now why did I slow down in beat 2? Do you see this rit.? That stands for ritardando. Say it with me: ritardando Remember, that's our italian word that means gradually slower and slower. It's like someone turned on the slow motion machine. So at the ending we get 1-e-&-a 2-e-&-a 3, And then we can hold that until we're done. Okay, pause the video to work on the final measure, the second ending, just right hand alone, then press play to go on. All right, now you know the right hand part for the B section, and you've learned the second ending right hand part. 1-e-&-a 2-e-&-a 3 As you're practicing this week, I really encourage you to do the counting out loud and that will help you master this new more advanced way of counting. 1-e-&-a 2-e-&-a 3-e-&-a 4-e-&-a It's a tool that I want you to get used to and to master. So take the time to practice it as you play. Another thing I'd like you to think about is playing with beautiful phrasing. Don't just hammer out the notes. Try to make a beautiful phrase out of these notes. 1-e-&-a 2-e-&-a 3-e-&-a 4-e-&-a Remember, the last note of a phrase is usually one of the softest notes of the phrase so play those last notes With a beautiful floating motion in your wrist. 3-e-&-a 4-e-&-a 1-e-&-a 2-e-&-a 3-e-&-a 4-e-&-a See how my wrist kind of floats up as I play those last notes of the phrase? Great work learning the right hand part for the B section and second ending of “The Song of Twilight.” Thanks for learning with me and happy practicing! Hey Scuba, since we've been learning “Song of Twilight”, what do you say we do some night time jokes? You bet! Okay, I'll go first. Why did the meatballs tell the spaghetti to go to sleep? I don't know, why? Because it was pasta bedtime! Hahahaha Okay, I got one now. Okay. All right how does the moon cut his hair? I don't know, how? Eclipse it! Get it? Hahaha