I thought that this is going to be a boring, textbook like information giving video, but I actually engaged with this video and learn lots about making music more interesting 😊
I had a big smile on my face when you played the last example with modulations and chromatic chords without even looking down onto the piano. I can't even imagine how much practice is required to feel this 'home' on the piano and in music theory. You're so skilled! Thanks for the great videos.
You’re most kind .I’ve found when writing I have to use these points (instinctively)to keep some kind of momentum going so a piece makes sense . rhythm & phrasing can make... or not make . Thank you Gareth . 👍
Thanks. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
I could watch and listen to you explaing how to modulate for hours, I've done it a few times but not nearly as good as what you do, which is why I'm here to learn
Yes it is improvised. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
come on spill the beans. you actually have a trained cat off camera playing that amazing music while you talk. So amazing you play all that in what seems largely improved AND also actively discussing it while playing.
Thanks so much for these courses, youve been making my life much easier!! You teach in another language from my native one, but i found your tutorials miles better than others.. Keep up that good work!
So true this all leads to a strong emotion in music that the listener can really feel i and be moved by it.this tools really help us have a strong toolbox of great ideas that we can build on ty.
I really appreciate how concise you are when communicating all these concepts, it's not easy and it usually indicates mastery. Great stuff, thank you for these videos!
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
I find that especially the dynamic tension can be opposite what you say in the video, especially when combined with rhythm. A fast paced piano dynamic is going to be more tense than a single forte chord or even a series of chords in a creschendo because the fast place + quiet dynamic gives a sense of suspense. Beethoven himself uses forte dynamics(actually, they are sforzandos, but since it is only 1 chord, it is as if he just wrote forte there) as a local point of release in his Presto Agitato of the Moonlight Sonata.
Thank you. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
I read recently that Bach encouraged his students to play as many notes on chords as possible on a harpsichord so as to be able to make the produce a large amount of sound, considering the rather squashed dynamic capabilities of the instrument.
Thanks. A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
I guess harmony as a whole is largely about tension and release; e.g. ornaments can make a chord more interesting (and the melody as well): an obvious example would be appoggiatura. The style of composers such as Schubert or Rossini has an unmistakable, very personal feel partly thanks to their ways of building up tension. I think a video analyzing short examples from the Classical and Romantic repertoire, focusing mainly on harmony and maybe rythm, would be very interesting.
An important and simple concept to talk about. And what makes it even simpler is the clarity of your womderful explanation!! That's why I ask you if you may explain the Chromatic Mediant (modulation) please. Thank you in advance!
Thank you. There are various ways of modulating to the flattened mediant in a major key but there’s no pivot chord. You can, for example when modulating from C to Eb majors, use F as a pivot note to which you can attach V7 in Eb.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
i love how you beautifully combined all the elements of tension and release as you got towards the end, the last bit of playing was so nice to hear! im not even a piano player or listen to classical music for the most part but it was such a great demonstration that i feel like i have a better understanding of what to listen to when i tell a story through music. thank you very much for this video!
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A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
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Gareth, I'm trying to play guitar. I don't know if you know what a pentatonic scale is or not, a scale with 5 notes; in major or minor keys. 1 question I have is how to create short pieces called licks for soloing. How do you tell a story playing what you're feeling? That's 1 thing about music is playing by your feelings. What is texture on a guitar? 1 other thing to create tension is to play a non chord tone then release the tension playing a chord tone with what chord you play.
That’s absolutely true about non chord tones and chord tones. In terms of creating licks consider the melodic shape and design, and think about choice of chords/ chord progression. Texture is about how sound is organised - thick/ thin, high/ low, chordal/ linear etc. All of this will be used to paint what you’re feeling.
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Your demonstration for #5 is wonderful. You make it look so easy. Does, the genre of music dictate how tension and release is used? For instance, would John Cage or Philip Glass use different techniques from Brahms or Grieg? Or are your tips fairly universal?
Very Good! That encapsulates a lot of your knowledge of performance, improvisation and composition. Invaluable to those pursuing a course on The Art of Course Performance such as myself! One point though..if you listen to harpsichord music while on the M6, you don't have to keep on adjusting the playback volume! 😜
@@MusicMattersGB Thank you! I have found another of your videos where you go over a bit of it. And, it talks about going to other key centers which is EXACTLY what I'm looking for!
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Thanks for your work! But we didn’t say the main thing. Each time you used a change in the pitch of the melody to create a climax, but did not say the wrong words. I think this is the most important thing.
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Hi Gareth, Very thought provoking as always. This is a similar question to one I've posted about your dynamics lesson but in this case about tempo; how far is the performer responsible for adding subtle tempo changes as part of the performance or is it all down to the composer? I would have thought a good performer would interprete any phrase marks as a guide to subtle accel. to the midpoint of a phrase and then a rall. to the end of the phrase back to standard tempo so it ebbs and flows a bit. Otherwise, it would sound like a robot playing the score. Surely it's not necessary to add these markings to every phrase? Or add Rubato to every score? Would it be reasonable (and maybe this is what the performer is expecting) that I only add accel. and rall. marks in particularly important places which I think are key and leave it to the performer to interprete tempo as they see fit elsewhere? Thanks Steve
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Oh my god are you just improvising those demonstrations? AND talking over the top of it explaining what you're doing? Incredible!
That’s kind. And yes….
The way you manage to talk out loud so clearly while playing those complex chords is mesmerising Gareth - you're an exceptional musician and teacher!
That’s most kind
Wow! The mans a genius,this is going to be so helpful with my song writing,so many great ideas,thanks gareth
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Yup he’s gold
Very kind
I thought that this is going to be a boring, textbook like information giving video, but I actually engaged with this video and learn lots about making music more interesting 😊
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I had a big smile on my face when you played the last example with modulations and chromatic chords without even looking down onto the piano. I can't even imagine how much practice is required to feel this 'home' on the piano and in music theory. You're so skilled! Thanks for the great videos.
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That example of harmonic tension was absolutely lovely!
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You’re most kind .I’ve found when writing I have to use these points (instinctively)to keep some kind of momentum going so a piece makes sense . rhythm & phrasing can make... or not make . Thank you Gareth . 👍
😀
Outstanding how you improvise complex chorales just like that!
Years of doing it!
The Harmony Part was brilliant
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Víkingur Ólafsson is genius at bringing dynamics to Bach's pieces!
😀
The improvisation on the harmony tip was amazing!!! I wanted it to end properly...
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Really nice-sounding piano-playing, even the plain examples.
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I was literally getting inside the screen on the last part hats off demonstration
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Wow 🤩 I love this lesson . Especially your demonstrations of texture and harmony ❤️🎹❤️
That’s most kind.
Yea I am 100% guaranteed going to use each of these in my songs. Thank you!
That’s great
I love the way you teach and your persona in general. You seem very patient, kind, and compassionate - all qualities of a great teacher
You’re most kind. Thank you
I could watch and listen to you explaing how to modulate for hours, I've done it a few times but not nearly as good as what you do, which is why I'm here to learn
Glad it’s useful
Wow, I love you. Hahaa, you just made so many things click for me. Thank you so much!
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Thank you
this man is an OG, respect
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Thank you Sir....
It is teachers like you who make life interesting. Jug Jug Jiyo. May your creed live long.
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Priceless... not what I thought tension was. Thans so much master.
A pleasure.
I have been applying a lot of your lessons to guitar and it has definitely transformed my playing. Outstanding lessons, good sir!
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🎼🥺🥺🥺I love the way he plays his triads
😀
This is underrated! Dude just flawlessly sung me a clean tutorial while also playing the tutorial on the piano in real time, unedited.. =O
Thank you
The ending progression was so beautiful and best of all it's probably improvised too☺️
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come on spill the beans. you actually have a trained cat off camera playing that amazing music while you talk. So amazing you play all that in what seems largely improved AND also actively discussing it while playing.
😀😀
Sir, what you played in 5th part shows how talented you are. impressive
You’re very kind
Wow! My second music request being answered! You are quite quick to get to my ideas over there, thank you very much.😊
A pleasure
This is what i needed as a composer, thank you
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How much tension and release you want in your music?
Liszt: Yes!
😀
How much tension and release do you want in your music?
Me: 🤬🤬🤬🤬🤬🤯😫😫😫😫😫
Thanks so much for these courses, youve been making my life much easier!!
You teach in another language from my native one, but i found your tutorials miles better than others..
Keep up that good work!
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So true this all leads to a strong emotion in music that the listener can really feel i and be moved by it.this tools really help us have a strong toolbox of great ideas that we can build on ty.
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I'm so glad I subscribed to this channel
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I really appreciate how concise you are when communicating all these concepts, it's not easy and it usually indicates mastery. Great stuff, thank you for these videos!
That’s most kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Woww!! The harmony section at the end is so beautiful. Kindly find some time to break it down into pieces for us.
Glad you enjoyed it.
I loved your use of examples to really prove the points you made. Thanks for another great video!
A pleasure
Great teacher on youtube.Thank you.
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the best teacher in the world
You’re too kind
Gareth, your videos this summer are doing more than some of my years in a conservatory! Thank you so much🤗
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I find that especially the dynamic tension can be opposite what you say in the video, especially when combined with rhythm. A fast paced piano dynamic is going to be more tense than a single forte chord or even a series of chords in a creschendo because the fast place + quiet dynamic gives a sense of suspense. Beethoven himself uses forte dynamics(actually, they are sforzandos, but since it is only 1 chord, it is as if he just wrote forte there) as a local point of release in his Presto Agitato of the Moonlight Sonata.
It all depends on context.
This is maybe the best music channel on RUclips, hands down. Especially for composers and musicians. Thank you for all your amazing work on here!
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Excellent musician and teacher, extremely clear and confident
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Utterly brilliant! Thank you!!!
You’re most kind.
The part you played in the beginning was just gorgeous haha. I would love come up with something like that Gareth
That’s most kind
One more type is Harmonic Rythm. Slower harmonic change is more restful and faster change is increasing tension. Lots of good tips here!
Harmonic rhythm is certainly another factor.
God Bless You Sir I been trying to build tension in a cinematic type of way and You have share some of those tools to get there 👍🙏
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Thank you for this! You're a very good teacher! I've just bought your Grade1-8 courses, and can't wait to learn much more!
That’s great. Enjoy the course.
🙏🌷 Suprême Master in Music Mindfulness-Plenitudissima Créativité, including ^°°^ Rubato's Chopin Rhythms.. ... etc..🇱🇦🇻🇳🎻🎹
😀
Needed to learn this for my compositions! Thanks Mr. Music!
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I read recently that Bach encouraged his students to play as many notes on chords as possible on a harpsichord so as to be able to make the produce a large amount of sound, considering the rather squashed dynamic capabilities of the instrument.
😀
Great lesson, im going to practice this knownledge now. Thank you
Excellent
Amo a este profesor
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Invaluable! Thank you so much for this video.
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As always, clear concise and interesting!
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Wow great playing in perfect harmony keep it up
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I guess harmony as a whole is largely about tension and release; e.g. ornaments can make a chord more interesting (and the melody as well): an obvious example would be appoggiatura.
The style of composers such as Schubert or Rossini has an unmistakable, very personal feel partly thanks to their ways of building up tension. I think a video analyzing short examples from the Classical and Romantic repertoire, focusing mainly on harmony and maybe rythm, would be very interesting.
That’s all true and we are gradually building a bank of such videos.
This! Couldn’t be more useful!
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Thank you sir
You are a great teacher
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Great lesson Gareth thanks, I love the way you demonstrate the concepts on the piano
A pleasure. Glad it’s helpful
An important and simple concept to talk about. And what makes it even simpler is the clarity of your womderful explanation!!
That's why I ask you if you may explain the Chromatic Mediant (modulation) please. Thank you in advance!
Thank you. There are various ways of modulating to the flattened mediant in a major key but there’s no pivot chord. You can, for example when modulating from C to Eb majors, use F as a pivot note to which you can attach V7 in Eb.
@@MusicMattersGB thank you in advance!
😀
So well explained. Thank you.
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i love how you beautifully combined all the elements of tension and release as you got towards the end, the last bit of playing was so nice to hear! im not even a piano player or listen to classical music for the most part but it was such a great demonstration that i feel like i have a better understanding of what to listen to when i tell a story through music. thank you very much for this video!
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Very very handy tips here. Thanks!
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Thank you Sir. You're a great Man
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Awesome lesson. Thank you
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Superb tutorial, thank you very much.
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10:20 On the texture part, it was funny seeing how his voice slowly got drowned by the tension lol
😀
Another great tutorial. Very important topic
Thank you!
A pleasure. Hope you’re doing ok.
Thank you, Gareth. You are an amazing musician and an excellent teacher. I think I'll have a look at your courses.
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one day ill be able to improvise on the piano like you 🙏
Keep going. You will.
Gareth, I'm trying to play guitar. I don't know if you know what a pentatonic scale is or not, a scale with 5 notes; in major or minor keys. 1 question I have is how to create short pieces called licks for soloing. How do you tell a story playing what you're feeling? That's 1 thing about music is playing by your feelings. What is texture on a guitar? 1 other thing to create tension is to play a non chord tone then release the tension playing a chord tone with what chord you play.
That’s absolutely true about non chord tones and chord tones. In terms of creating licks consider the melodic shape and design, and think about choice of chords/ chord progression. Texture is about how sound is organised - thick/ thin, high/ low, chordal/ linear etc. All of this will be used to paint what you’re feeling.
thank you for sharing.
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wow.....really informative! thank you very much.
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Thank you. Great video
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Another great tutorial! Plus demonstrating great improvisation examples.....oh dear ..... so far me to go yet!! Thanks.
Thank you. Keep going. It’s an engaging journey.
Your demonstration for #5 is wonderful. You make it look so easy. Does, the genre of music dictate how tension and release is used? For instance, would John Cage or Philip Glass use different techniques from Brahms or Grieg? Or are your tips fairly universal?
That’s most kind. Of course genre will affect the picture but most of the content has universal application.
Thank you so much. Very informative 💕💕💕
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thank you very much!
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Very Good! That encapsulates a lot of your knowledge of performance, improvisation and composition. Invaluable to those pursuing a course on The Art of Course Performance such as myself!
One point though..if you listen to harpsichord music while on the M6, you don't have to keep on adjusting the playback volume! 😜
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What an incredible video. I feel so inspired to try these tips out. Thank you!
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I love your videos!! Thanks so much!!
I'm having trouble understanding phrases, cadences, and their application if you have any videos on that....
We will address those subjects to amplify what we’ve already done.
@@MusicMattersGB Thank you! I have found another of your videos where you go over a bit of it.
And, it talks about going to other key centers which is EXACTLY what I'm looking for!
Brilliant!
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A real genius sir❤️
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This is amazing. Thank you so much for sharing this!
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Good tips and reminder
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@@MusicMattersGB i just successfully completed my MA Professional Media Composition, not bad at 60!
Congratulations!
@@MusicMattersGB thankyou Gareth
Inspiring!!!
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great, thank you for sharing
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Thanks for your work! But we didn’t say the main thing. Each time you used a change in the pitch of the melody to create a climax, but did not say the wrong words. I think this is the most important thing.
Sorry. I don’t quite understand your comment.
@@MusicMattersGB I mean, the climax is very often associated with the pitch peak of the melody.
Absolutely
Sir, Thanks a lot.
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Hi Gareth, Very thought provoking as always.
This is a similar question to one I've posted about your dynamics lesson but in this case about tempo; how far is the performer responsible for adding subtle tempo changes as part of the performance or is it all down to the composer? I would have thought a good performer would interprete any phrase marks as a guide to subtle accel. to the midpoint of a phrase and then a rall. to the end of the phrase back to standard tempo so it ebbs and flows a bit. Otherwise, it would sound like a robot playing the score. Surely it's not necessary to add these markings to every phrase? Or add Rubato to every score?
Would it be reasonable (and maybe this is what the performer is expecting) that I only add accel. and rall. marks in particularly important places which I think are key and leave it to the performer to interprete tempo as they see fit elsewhere?
Thanks
Steve
You’re absolutely correct. Indicate significant tempo changes and structural ralls etc but leave rubato/ rhythmic flexibility to the performer.
So impressive
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This was supremely useful, thanks so much!
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Hey, what kind of music did you play when you were showing harmonies?
Made up for the purpose
amazing end
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great lessons
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Thank you so much for sharing this it was a really nice demonstration and a high quality video as a whole :3
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Excellent and beneficial content. I appreciate the demonstration of the various techniques. Thank you for sharing advanced music topics. 😘
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11:47 - 14:10 👌
😀
Yes, yes, yes!!!
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.