Tap as you say the first “1”, then again when you say “+”, then on the “3” and so on. Spend a little time just tapping this hand while counting aloud. The LH dots show the new, more developed LH rhythm. The dots down the left hand side show where the left hand plays, and the dots on the other side show the right hand. If you’ve learned songs like Alma Mater Blues, you’ll know that at this stage the count is not about being even and rhythmical, it’s just a guide to help us understand how the hands fit together. The numbers down the middle of the diagram are for you to count. We don’t want to be distracted by notes and fingers just now. Because this involves a new thought process, we will set notes and fingers aside and just tap out the rhythm with our hands, away from the keyboard. We’ll use a diagram which, if you follow carefully and very slowly, should allow the rhythm of both hands to emerge naturally. If you think you’re ready to try this next level, there’s a particular way we can tackle it. Even then, it’s not hard, but putting the two hands together is a significant leap in difficulty.
In the original, the left hand is a bit busier. When you’re confident with the RH, just play the first LH note and hold it down through the RH pattern, then repeat with the next LH note, and so on. Remember that the sequence both begins and ends on F. For those with some experience of the Accompaniment program, you’ll see they are the notes of a Bb Major chord. The left hand plays F, D, Bb and back to F.
Whenever you play with a recording, make sure it’s nice and loud so you can hear it over your own playing. Play along with a recording to start to get the rhythm. Play the top finger twice, next finger twice, then fingers 2, 1, 2 & 3. These are all the notes you need, so keep the hand in place with the fingers over their notes the whole time and you won’t have to think about finding notes. Stretch finger 2 out to reach Bb – the black key. Hold them all down like a chord, so you can see them clearly, and start to feel comfortable with that little stretch between fingers 3 & 5. Put RH fingers 1, 3 & 5 on (from the bottom up) the notes A, C and F. The key is a pattern we’ll learn in the right hand, to which we can add a very simple left hand, which we can develop a little further later.Īs always, we’ll handle one thought process at a time, starting with the notes of the right hand, leaving the rhythm aside. Working this out using note-reading would normally not be possible until you were pretty experienced, but if you follow the steps below carefully, you can learn it even if you’re a relative beginner. There’s a catchy piano theme that’s repeated right through the song, and although it may not be written exactly the same way on the page, we can learn a simple pattern and have it sound pretty authentic. But there’s more we can do with the song. You could take that on after having done a little of the Simply Music Accompaniment program. So that’s the accompaniment dealt with in a flash.
So really we just have an F chord in the RH, and F, D, Bb and F in the left. You can play an accompaniment for this song using these chords: an F, an F with a D in the left hand, an F with Bb (top of the three black keys) in the left, and then back to the F. In fact, this song is even simpler than that as an accompaniment, because, if you know a little bit about chords, you’ll discover that you can see the right hand as just a single chord through the entire song while the left hand cycles through three notes. But it’s also a lot of fun.They like to make jokes about pop songs getting away with having only three chords, but that didn’t stop Bruno Mars from winning a Grammy with this one. Paak take their cues from the master and use their voices for additional percussion, throwing in grunts, “umphs” and “yoYes, it’s all cheesy as a vat of fondue. It bounces along a jaunty little guitar riff, woozing and grooving with wah-wah licks and sassy piano rolls. There are bright jabs of piano, twinkling synths and lyrical gems: “I’m sipping wine (sip, sip) in a robe (drip, drip)/ I look too good (look too good) to be alone (woo-woo).” Now he leans into the welcoming grin of “Leave the Door Open”, laying down Marvin Gaye-style harmonies that glisten like butter on hot toast. Oxnard, by comparison, felt hard and hollow, built on a bravado not even. Until 2018’s Oxnard, executive produced by his former mentor Dr Dre, he’d captivated fans with his drolly colourful albums Venice (2014) and Malibu (2016). Paak, this is an opportunity to let loose. Album reviews: Damon Albarn, Courtney Barnett, Idles, Rod Stewartįor.Taylor Swift review, Red (Taylor’s Version) – A better, brighter version of a terrific pop album.Adele review, 30: Patron saint of heartbreak licks her wounds in a divorce album that takes risks.
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