Super excellent explanation. It clarified the whole process. You have the gift of simplifying what can be a difficult process, not so much in understanding it but executing. Thank you.
Playing duplets in one hand and triplets in the other is really challenging. I have been self teaching and one time Iwas working on Schubert’s Serenade which had duplets and triplets.on that arrangement..I wasn’t aware that I was playing wrong for a long time.until my son drew my attention. I really worked hard to repair Now Iunxerstand I still must improve by playing the second note in the duplet faster right after the second note in the triplet. Thank you. I will practise with the metronome.
On another channel, it was recommended to say out loud, “Nice…cup of tea” as the rhythm and it helped me soooo much! Both😢 hands on “nice”, right on “cup” and “tea” and left again in “of”. Thanks for the video. Very good.
Thank you for the theory, following the count and played really help to understand from start to end that way it helps the adult beginner like me to remember easier and longer! I have been watching your UA-cam videos I found them very clear, easy to understand and not too fast as others videos. Thank You very much ❤
This is a fantastic video. Thank you for the great explanation. I am a jazz musician and it is often maddening when someone puts a chart in front of you written in 4/4 and then say's 'oh this one is in a 12/8 feel' -very often they think that makes it more bluesy . As a rhythm guitarist and banjo player, my right hand is very much geared to simple time and at most tempos is rock solid keeping time. Oh lordy the shenanigans with drummers and bass players all interpreting a compound feel slightly differently. Some will rush, others drag and results are usually awful. 'Gee Baby Ain't I good to You' is a classic example. Anyway, it happens a lot so I'm now trying to get used to thinking 'just imagine the crotchets are all dotted' as they are advising. Sounds like total garbage to me, but ok, I'm not too set in my ways to learn something new. Your video has already helped a lot. My question: How do you feel/hear/conceptualize in 4/4 crotchet triplets in RH while giving a 12/8 pulse in the LH? Can it be done consistently? The example song I'm working on with a piano student is Blueberry Hill (1940), which has mostly crotchets in the melody, but many phrases end with 3 crotchet triplets. To summarise - where would you feel the two hands coinciding for beats 10,11,12 (3 eighths) against 3 crotchet triplets in the melody? The temptation for each hand to follow the other is so strong and I can't explain why or how to lock them in. The student instinctively adds extra beats to the left hand, throwing out the groove. Appreciate your thoughts on the matter. cheers. Liam
Ha ha- I think I have it. The right hand quarter triplets become duplets - fitting perfectly into left hand compound eighth notes 9-10-11-12. (Making them feel like they’re grouped in 2).
9:45 Thank you so much!! This is what I was looking for. I am working on Chopin Nocturne No. 20 in C# minor. The first part of measure 15 , I could not get it. ... This video is a big help!!
Merci beaucoup for this very British presentation. I only started 6 months ago after my retirement, and this is something that I've left for later. After this explanation, I'm ready to tackle them. I live in a French speaking area and quickly saw that I had to have a music vocabulary in French. I have a La Méthode Rose book for children in a bilingual form. But they use British terms. So now I have to be trilingual, French, British and American. I have a good friend who is a piano professor at out local Conservatoire and we had a laugh at the terminology.
Thank you for this very professional, clear and informative presentation. I would have preferred to have heard what the beat/rhythm sounded like at the start of the presentation, so that I could get a handle on what it sounded like before having to wade through the theory first. Other than that, it was great.
@8:46 Clair De Lune has such duplets - I arrived at your video to understand how to count them - thanks! However, you did impart some "swing" in playing the bass dotted quarter notes.
Philip Glass: Opening has duplets against triplets, too. Very hard to get the rhythm right. Together - right - left - right is just the beginning of the problem ;)
6:13 am I crazy is this part being played wrong? You're not playing triplets here, you're just playing three 16th notes and then cutting off your last quarter note one 16th beat too early...
You can. But the music has to be slowed down substantially and counting would be a nightmare. You can do that to initially understand the polyrhythm but you have to go with the feel at a faster speed.
I’m working on Claire de lune at the moment and oh man, I was totally out of my mind with duplets out there. Thank you for this video!
Clair de lune has also brought me here 😅😅
Claire de lune is bringing me here too haha
Super excellent explanation. It clarified the whole process. You have the gift of simplifying what can be a difficult process, not so much in understanding it but executing. Thank you.
video starts at 9:53
😂 Rel
thanks, that was helpful!
Playing duplets in one hand and triplets in the other is really challenging. I have been self teaching and one time Iwas working on Schubert’s Serenade which had duplets and triplets.on that arrangement..I wasn’t aware that I was playing wrong for a long time.until my son drew my attention. I really worked hard to repair Now Iunxerstand I still must improve by playing the second note in the duplet faster right after the second note in the triplet. Thank you. I will practise with the metronome.
You can do very small subdivisions in your counting too which i forgot to mention in the video. I will probably publish an update for that soon
On another channel, it was recommended to say out loud, “Nice…cup of tea” as the rhythm and it helped me soooo much! Both😢 hands on “nice”, right on “cup” and “tea” and left again in “of”. Thanks for the video. Very good.
yes, that’s a good sentence as long as you say it rhythmically.
@@pianotips2623 Thanks!
Thank you very much for your simple explanation . I have found it very helpful
Very nice explanation! Thank you!
Great lesson, thanks
Thanks a lot sir. I have always wondered how to play correctly a triplet in the right hand and two eighth notes in the left hand at the same time.
Thank you for the theory, following the count and played really help to understand from start to end that way it helps the adult beginner like me to remember easier and longer! I have been watching your UA-cam videos I found them very clear, easy to understand and not too fast as others videos. Thank You very much ❤
Thank you for explaining that so well. It's something I've been puzzling over for a while.
Always helpful. God bless you.
Thanks man...really helpful
Your videos are helping me a lot,thanks,please keep them coming,Dave.
On 10 minute the info I was looking for! Thank you! It was helpful!
This is a fantastic video. Thank you for the great explanation.
I am a jazz musician and it is often maddening when someone puts a chart in front of you written in 4/4 and then say's 'oh this one is in a 12/8 feel' -very often they think that makes it more bluesy . As a rhythm guitarist and banjo player, my right hand is very much geared to simple time and at most tempos is rock solid keeping time. Oh lordy the shenanigans with drummers and bass players all interpreting a compound feel slightly differently. Some will rush, others drag and results are usually awful. 'Gee Baby Ain't I good to You' is a classic example.
Anyway, it happens a lot so I'm now trying to get used to thinking 'just imagine the crotchets are all dotted' as they are advising. Sounds like total garbage to me, but ok, I'm not too set in my ways to learn something new. Your video has already helped a lot.
My question: How do you feel/hear/conceptualize in 4/4 crotchet triplets in RH while giving a 12/8 pulse in the LH? Can it be done consistently?
The example song I'm working on with a piano student is Blueberry Hill (1940), which has mostly crotchets in the melody, but many phrases end with 3 crotchet triplets. To summarise - where would you feel the two hands coinciding for beats 10,11,12 (3 eighths) against 3 crotchet triplets in the melody? The temptation for each hand to follow the other is so strong and I can't explain why or how to lock them in. The student instinctively adds extra beats to the left hand, throwing out the groove. Appreciate your thoughts on the matter. cheers. Liam
I should clarify that it is a piano student.
Ha ha- I think I have it. The right hand quarter triplets become duplets - fitting perfectly into left hand compound eighth notes 9-10-11-12. (Making them feel like they’re grouped in 2).
9:45 Thank you so much!! This is what I was looking for. I am working on Chopin Nocturne No. 20 in C# minor. The first part of measure 15 , I could not get it. ... This video is a big help!!
Glad it helped!
SAME LOL!
Excellent course, thanks for your video . from Mauritius
Thank you SO OOO OOH much Sir, for your video. From Mauritius
Merci beaucoup for this very British presentation.
I only started 6 months ago after my retirement, and this is something that I've left for later. After this explanation, I'm ready to tackle them.
I live in a French speaking area and quickly saw that I had to have a music vocabulary in French. I have a La Méthode Rose book for children in a bilingual form. But they use British terms. So now I have to be trilingual, French, British and American.
I have a good friend who is a piano professor at out local Conservatoire and we had a laugh at the terminology.
Thank you it was helpful
Do recommend counting the triplets 1-2-3?
Your videos are amazing keep posting more videos like these thank you very much god bless you and your family
You are so kind
Very good, thank you!👍🏻
Thank you for this very professional, clear and informative presentation.
I would have preferred to have heard what the beat/rhythm sounded like at the start of the presentation, so that I could get a handle on what it sounded like before having to wade through the theory first. Other than that, it was great.
Wow this helped so much with fantaisie impromptu thx
Thank you very much
@8:46 Clair De Lune has such duplets - I arrived at your video to understand how to count them - thanks! However, you did impart some "swing" in playing the bass dotted quarter notes.
Love your hoodie!
Thank you!
Yay Ty 😊
Very nice sir
Cool!
11:54
Scarlatti Sonata in F minor K.466 has this vexing problem! But it's such a lovely piece I'm determined to master this!
F MINOR?!
That's going to help...lot's! Ta!
Good
Very nice lets see if it helps
Is there any easy way to play quarter note triplets on top of eighth notes?
Philip Glass: Opening has duplets against triplets, too. Very hard to get the rhythm right. Together - right - left - right is just the beginning of the problem ;)
6:13 am I crazy is this part being played wrong? You're not playing triplets here, you're just playing three 16th notes and then cutting off your last quarter note one 16th beat too early...
It’s kind of like carol of the bells the triple 8th note
Do you have any tips for me to learn sheet music
Practice 40 hours a day
How to count? The last part
so it’s 2:3?
At 11’55 your timing of the triplets isn’t accurate - you are extending the second note in the triplet groups 😁
10:14 this is killing me atm
Thanx
TIL Brits call 8th notes "quavers" 🙃
It still sounds rhythmic from your explanation, sorry.
This is very misleading, by doubling the values through tied notes you can get the exact timing.
You can. But the music has to be slowed down substantially and counting would be a nightmare. You can do that to initially understand the polyrhythm but you have to go with the feel at a faster speed.
16th NOTES!!!!!!!!!!!
not everybody knows what a quaver is, or a semihemidemiquaver!
Oh Quaver=Quavo 😂
Simplify sir .
boring long intro...
is this a talking lesson?