 Hi guys this is Jason Zach from Nathaniel School of Music. In this new year lesson we are going to take the new year theme All Lang Syne. We are going to play the song on all the 12 scales. Now if you if you want to turn off the video please wait because it's going to be all the 12 scales and 12 different patterns at different skill levels. So think of it as a really good challenge to take yourself into the new year be it from single chord roots to chord inversions to arpeggio patterns to the blues which I never leave behind in my videos for the most part we look at some folk styles some voicing strategies we'll also try and make it sound very jazzy and advanced with some secondary chords diminished chords extended chords and then we'll go on and on with things and see how it goes. So it's going to be 12 scales and 12 different styles or patterns or genres depending on what we'll call it and we'll also move in a kind of an incremental way. So if you're an absolute beginner you're still going to be able to play this song so stay tuned and if you're an advanced player still stay tuned you can follow through so if not anything you should be able to play this particular song in as many keys of pretty much the same scale the major scale so that's 12 keys and hopefully all of these different techniques and skills to play on multiple scales will equip you for the new year to help you tackle a variety of music which you'll find along the way be it stuff you're trying to compose be it collaborations covers or whatever it may be and before we get started it'll be awesome if you would consider heading over to our patreon page all of the 12 variations are notated the melodies are there and even the patterns are there for those that need it it'll also be great if you could consider hitting that subscribe button and hit the bell icon for regular notifications let's get cracking so it might be a good start to first start the melody and then we will move the melody to different keys and if you see my notes I'm going to write the melody super imposed with the scale degrees so you can then use the scale degrees to move it to pretty much any of these scales right so especially for beginners let's try and develop just the melody line on G major scale I know you may be expecting C major but as always this channel doesn't like C major so if you take the G major scale one sharp F sharp so let's look at it intervallically as well I've written it down I've mapped out the numbers as well as the notes so let's look at the melody and if you're a beginner I'll show you some very simple stuff you're going to be able to play this even if you've been playing piano for about a month or even lesser you should be able to do this so line one so let's get that done should all acquaintance be forgot and never brought to mind let's look at the fingering now some people also do should all acquaintance you could do either which way I'm just sticking with a static G there so that would be five one one one D G and give yourself a couple of free fingers to play the top B I would play thumb index ring on B it's actually G major in second inversion so you can remember that shape A with the middle thumb middle all acquaintance before now second line now take your fingers away from the thumb to allow you to go even higher so let's get that line one again okay let's continue now middle finger before God all the day so cross your finger there whenever we cross it's always over the thumb and whenever the thumb crosses it's crossing under other fingers okay let's do that again okay and then the next part where we go it's a higher E so you're ending the first part with a pinky on G now you want to come to that pinky again on E so to do that just apply a little bit of a trick keep the sound of G ringing but shift your finger or flip over your finger this is a problem you also have your nose you can press your nose as well I tend to not do that very often but if it works for you well and good so that allows us to play that high E and then you can finish the song so you're pretty much in this region let's do that okay let's finish the piece for doing same crossover whole melody I'm just playing it with a simple G bass which is the root of the scale it works pretty well still G maybe every one and three of the bar you can even bring back your thumb under that finger and then you don't have to flip over you can just directly go to your pinky now let's get some chords going before we play chords why not just focus on the one the four and the five roots of the G major scale the one is G which is actually a very good representation of the full on G major chord so you can do one G four would be C five would be D so let's look at some chords G D which is the five back to G four so that G D G C so look at my left hand it's G pinky D with my thumb C with my index finger so maybe we can hold this shape C C major back to G D G one more time again I am keeping a simple one two three four one you can even do on something more punchy I know you're thinking what about chords well that's going to be in the next scale so stay tuned pulse or minims C G and the same chords go with the second part of the melody so that's all lang syne on G major let's now move on to another scale and play the song on a major so a major three sharps namely C sharp F sharp G sharp so let's first get the melody going as we go further and further the melody will be notated for you on that scale so you don't have to rely on what I am doing I may skip ahead and just focus on the pattern but understand that the melody is there same fingering and you have to write it down on each scale using maybe the scale degree of each note okay now let's bring in some chords so on a major we are going to add some chord flavor so the first chord would be a major which I am playing as E A C sharp this is the second inversion that's to give room for the melody okay and then the next chord will be E major which is the five chord back to A major you can do you can do D major as F sharp A D E A C sharp E major E G sharp B that's a normal D major D F sharp A D major back to A major so I like the starting inversion of A major let's do that again remember I can do either or A major D major A major E major D major I can end with whichever inversion of A major you prefer let's do that again slowly you can continue also with the same chords A major with chords in the left hand and the chords are being played as inversions inversions ensure for correct voice leading makes the harmony guide well to the next chord and it also makes it easy to play on the piano so learn your inversions and now let's do B major scale B major five sharps all the black notes are part of the B major scale so what I thought we'll do for B major is bring out probably the most important or the most famous arpeggio pattern there ever is for the left hand which could go this one let me just show you on B major chord B so it's essentially low note high note middle note high note octave high middle high so you could even start with L H M H if you're not able to get that octave now add that octave L H M H L H L actually I write it as L dash because it's the octave of the low note in the first place low high middle high low octave high middle high so good way to start this would probably be to sing the tune and keep this arpeggio running okay let's look at what the inversions are doing in the left hand B major played as B D sharp F sharp B the second chord would be F sharp major because F sharp major is its five but the way we've notated it for you would be starting on the A sharp and then copying the A sharp on top if you want to add the octave to the arpeggio it provides for good voice leading for all should all acquaintance be forgotten they were brought to mind how am I playing E major B E G sharp okay and the days of all let's bring in some melody in the right hand pretty much exactly what I sang and an important trick as you're transposing remember your start your first note is not the root of the scale it's the five of the scale so that's F sharp F sharp is the five of B left hand pattern these are your chords all lang syne on B major so let's now do all lang syne on C major and what shall we do on C major so let's do it in a blues style it's quite a diplomatic thing to do because almost everyone on earth love the blues however there are some people who are obsessed with it so if you don't play it in the blues way they may not even be your friend or something so you need to play it always you have to play everything with blues so maybe this will teach you that technique you should be playing anything with blues so a good pattern which will work for you would be take the chord so I'm on C major C major has zero sharps or flats it's C D E F G A B C and the chords will be C major but instead of playing it like this on the piano in a blues style we go one five one six you can do other patterns but this tends to make anything sound bluesy and we would also like to swing the melody should all acquaintance be for if you don't swing well it could also work but then it'll be more a rock and roll version of the song so blues is a bit slow and swung rock and roll is fast and straight no swinging so what are the chords the same chords so when you play C major your pattern will be one five one six so C G C A when you play F major pattern will be one five one six so F C F D if you play G major pattern will be one five one six so G D G E so okay and wherever possible since you're trying to make it bluesy wherever you have an opportunity you could sneak in a blues scale or play a lick on the blues scale so if you take the C blues scale major blues scale C D E flat E G A C where does the melody not exist you know where does it slow down you can squeeze it there it's nice to slide a few notes in the melody it tends to make the song pretty bluesy so that's about a blues version of the new year's song let's now do it on D major D major has two sharps namely F sharp and C sharp right so what we are going to do for D major is I'm going to introduce you to a couple of folk ideas a couple of ways to make the song sound like a folk song so let's first play it with the D with the chords and the melody simple version on D so let's now start arpeggiating the chords so one way to convert this into a very folkish sound would be let's say let's say you want to play it very close with your thumb of the right hand add another note of the chord so if it's D major like this for adding this extra note which is not a new note it's it's still D it's part of the same chord so and it doesn't come combat or clash with the melody so it adds that folk 16th note articulation in four so let's get that one line together I'm sure you can do the rest left hand's doing L H M H okay so continuing could also use octaves in the right hand along with that groove one more time all about this without that without that thumb ghost note as we call it it sounds back to normal but with the ghost note sounds kind of like a banjo player playing right now that's one way to develop a folk style on the piano with these right hand 16th articulations with the thumb you can also do some scale movement in the left hand alongside the right hand so so you could kind of keep a fifth chord bass in your left hand you could also add thirds so you're not thinking of chords you're thinking of just thirds harmonic movement is actually more melodic than chordal so to speak so if I just float around the scale in thirds so this folk style you don't really even need chords you don't have to play D major G you're just thinking melodically actually like a counter supporting melody to the right hand so let's now move on to E major scale E major as we know has four sharps F sharp G sharp C sharp D sharp let's just get quickly acquainted with the melody on E so what shall we do on E let's play all the chords in a spread style so spread chord will allow you to play a lot more deeper if you observe our earlier versions had all of the stuff on the higher side because the chords the notes of the chords would clash so on E major I've specifically chosen this spread shape so let me explain that so if you take E major chord E major chord normally we play it as E G sharp B but in the spread position it will be E B G sharp you take the third and move it up the octave so it gives you a lot of room for the notes to breathe and it also gives you an opportunity to play the melody on the lower register of the piano which I personally like so you get so that's your B you can go all the way down here and play B so the pattern is three four one two and three and four you could go one and two and three and four and one and or if you want something a bit simpler I'm sneaking in an E seventh there slowly get in some chord sophistication so E major E seventh how am I playing E seventh E D G sharp and all of this we are trying to do with the sustain pedal on because the gap is a lot on the keyboard so so so don't forget that E seventh chord which is in there let's play it with the tune seven okay that's spread chords which is a very useful technique in the left hand moving on to E flat major where the challenge for you is to say bye bye to the left hand and get the whole work done in the right hand and after the right hand already sounds pretty good we can bring in the left hand to add more depth so E flat major three flats namely E flat A flat B flat do not call them as sharps they it's a flat scale E flat A flat B flat so let's first get the tune real quick okay that line should do now the challenge here is step one be able to play the melody in the right hand with not more than these two fingers because all the other remaining fingers have to do something else so ring and pinky get used to playing it with just those two fingers first and what are the remaining notes going to play well the chords but inverted chords so that the top note is going to ring as the melody so that's E flat major but the melody line is singing E flat so I have to invert E flat so that E flat sticks on top to play it I'll do G B flat E flat shifting my inversion B flat major new chord so I don't have to harmonize that I just have to wait for the actual chord to come which is E flat no no B flat E flat A flat E flat B flat B flat A flat B flat so your ring finger and pinky finger are playing the melody still don't forget that E flat you can add the seventh and then A flat E flat B flat A flat E seventh you may think where's the rhythm gone the rhythm's not gone anywhere we we just didn't add rhythm so we can add maybe a simple arpeggio very banjo like and once all that is done in the right hand your left hand can just play simple simple chord roots and since you freed up your left hand your left hand can also groove if you're able to maybe generate a simple groove like this so that's what what we are calling as chord melodies in the right hand so good exercise would be to maybe practice the E flat major scale in just melody with chords like check that out I'm playing either the one four or the five chord which goes with each melody note on top that's so there we go whatever's at the top ultimately becomes the melody okay so let's move forward to the next scale okay so let's move forward to the next scale B flat major we just have a few more to go we're almost done with our 12 our set of 12 B flat major has two flats namely B flat and E flat so let's get the tune going first with basic chords B flat one B flat B F E flat B flat so what's the pattern here at the end of the day you want to serve or suit the modern day audience or generation so what better to do than the thresio or the dance style so I'll show you that with one chord on the B flat chord so what's the pattern one E and a two E and a three and a four E and a so let's try and get the tune with this first sing it so the pattern I'm doing in the left hand is I'm playing the root of the chord first always and then adding the other two notes B flat remaining B flat remaining pattern would be 16th notes dividing by four one E and a two E and a three E so melody coming up for this variation you can play the chords in root position this pattern will definitely test your hand coordination to take thresio a bit forward you can maybe play the song clave rhythm which is one E and a two E and a three E and a four E and a one E and a two E and a and now so to take this a small step forward instead of doing the thresio we can play the song clave which goes one E and a two E and a three E and a four E and a one E and a two E and a three E and one E and a two E and a three E and a four E and a one E and a two E and a three E and a One E, two E, one E, two E, three E, none none none none. One E, two E, and a three and a, just continues. So you can do either the Thresio or the Songtlave and make the New Year theme sound very modern, you know, pop and very dance like in nature. Moving forward, so let's now do F major and now it's time to create some interesting harmony. All through we've just been doing the one four five chords. So let's look at some options. So this is for those of you who know chords in general, how to shift between them. Some knowledge of seventh chords would be helpful or follow along. You'll definitely gain something or at least you'll find the concepts interesting and you can apply it over the year to come. I'll play it and then show you. Okay, let's break that down. First of all, F major one flat namely B flat. So the melody once you've got it under under the right hand you can go F major. I'm playing the relative minor D minor seventh which is a great kind of substitute chord for F major. Especially when you do a D minor seventh instead of just a straight D minor. I like that sus in there. I wanted to put in a sus chord. That's a nice connecting secondary diminished chord. That's a C sharp diminished seventh. Let's do that line for F major D minor seventh C sus four C sharp diminished seventh. Instead of C sus four you could also do a G minor seven. That would make it a bit more a mellow I guess. I like the sus. So moving on come back to maybe a D minor adding that F seventh there which is the tonic seventh secondary dominant of the four which is B flat major seven and then a connecting diminished chord B diminished seventh with a D on top. Okay let's do the first two lines together sus diminished D minor seventh F seventh B flat major seventh there has that A connecting secondary diminished chord B diminished seventh last time let's do that again slowly F major D minor C sus C sharp diminished seventh back to D minor seventh F dominant seven B flat major seventh D diminished seventh and moving forward one of my favorite slash chords F major slash C so C in your left left hand D minor now we are doing a two five that's G to the C you can do G minor seventh C seven two fives work a lot in rearrangements the chords again that's F over C D minor seventh G minor seventh which is the two I'm playing a C seven but I'm also adding the nine and eleven in there oh that's a connecting secondary chord a seventh over C sharp for it's a nice connecting chord B flat over C you can do a like a at the word for if you're repeating it which I think you are at least once play a C augmented chord C augmented let's do the whole thing again slowly F major D minor chords changing faster diminished D minor dominant diminished seventh F over C minor seventh minor seventh C nine sus four a seventh over C sharp D minor B flat over C C is definitely adds a lot more emotion if you think about it than the earlier versions where it was just one four and five so those are just kind of survival chords these chords can bring the emotion out of the theme or the lyrics of whatever you're composing especially the secondary chords the when you add extensions when you add more chords rather than just the one four and five right so that was kind of a reharmonized version on the key of F major we have three more scales let's finish them off really quick I guess you've got the gist of this and this is a lot to practice over the new year ahead I hope you're all gonna be at it and we will continue to release videos on our channel with all these subtopics as well and you can also leave us information in the comments as to what you need to learn or what topics would interest you we'll be sure to plan some lessons around that so let's journey forward into D flat major D flat has five flats namely D flat E flat G flat A flat B flat all the black notes so what shall we do here we can play a technique which I like to call as double arpeggio so what you do in the left hand play that old arpeggio technique which is LHMH LHMH and in the right hand we go remember the technique where I told you play the melody and the harmony together in one hand well that technique is there the speed of that arpeggio can be double of the left hand so then the notes will never clash rather they will add beautifully well this is what you could call as double arpeggios double-handed arpeggios so and just off the top you could practice this drill left hand could go LHMH right hand could go HLML their counter to each other so they add some nice harmony to each other and what if the right hand plays double of the left hand now you get some rhythmic flavor now bring in the squeeze in the melody was like two banjos playing together now so that's what the piano can do you can do a slow arpeggio here so just in a nutshell slow arpeggio left hand and then fast arpeggio in the right hand left hand arpeggio starts from the bottom L right hand arpeggio starts from the top H so very powerful technique for players I use this a lot when I'm playing solo stuff you spread out your left hand chords more sound even more richer right so that's about all langzine on D flat major I think we're pretty much done or maybe we have a couple more F sharp major let's look at F sharp major F sharp major has six sharps as the textbooks tell us even though there are five black notes it's a bit tricky to understand theoretically F sharp G sharp A sharp C sharp D sharp we call this F as E sharp can ignore it and just call it F that's also fine so you could ignore that e sharp and just call it good old F so F sharp major melody so to embellish this or to harmonize this the approach I have which we haven't discovered in the other chapters would be just add thirds to every note you play in the right hand for all this at the one right so you write down your F sharp major scale in a line under that you can write down the thirds and you should get some options to stack up the melody there we go and the left hand could pretty much play the roots of the chords it doesn't have to do anything great because the right hand is already creating most of the chordal harmony even add close thirds so there are two kinds of thirds you can play the upper third but then that sounds very high so instead of playing it there we played that note we bring it down here you can also do the lower third and play the harmony that way or the lower third is also called as the alto harmony while the upper third is also known as the tenor harmony which you don't play above the soprano we try to move the tenor back down there tenor alto so just choral harmony you using thirds can be enough to harmonize old Lang Syne you can just ignore the chord progression just follow thirds and see how that goes so that's F sharp major for you and last but not least we have the key of a flat a flat major let's look at that a flat major has four flats namely a flat B flat D flat E flat that's about it so on a flat I thought we leave it as an open playing field to kind of destroy the song in as many ways as possible it should kind of sound like it but it's more a new year wish you want to send to annoy someone or maybe just use it as an exercise to push your skills you know and just transform the song what are all the ways you can destroy this song first of all it's on four by four I don't like that let's make it three by four let's see how that goes so we are on a flat one two three so your job is to somehow squeeze the notes within this wall structure that was good okay what about some six eight in there five eight in there three four five one three so keep the time signature in your brain with a basic pattern try singing it or humming it these seven would be better don't like changing and messing with time signatures you can do something a bit more subtle by messing with the time feel you're not messing with it you don't even know what it was in the first place so if you have come back to four by four let's say now my mind is dividing the beat into two so the time feel is just quavers but why not maybe look at semi quavers where you divide by four money and a tool so in your brain you're looking at all those four semi quavers for every beat there we go what if we swing those semi quavers why divide by two or four we'll divide by three it's still a four by four song but the beats are being divided by three just imagine a horse galloping and try to follow that like so all of this is what you could call as a time feel so you could do that you could change the meter and then you can completely destroy it if you want to change the actual scale in the first place so what's the easiest scale to go from major to minor right so how is major and minor different from each other the minor will have a flat 3 a flat 6 the harmonic minor would have a normal 7 natural minor would have a flat 7 so all you are doing is changing those intervals so instead of which is a C that's a major third I'm doing a B which is a minor third also known as C flat E flat minor it's a nice exercise to kind of transform it will train your theory as well and you can have a lot of fun doing this the the ways to create your own versions of songs would would be these radical things like meter immediately it's your own version for sure time feel immediately it's gonna be your version and then you're changing the scale the scale itself is going from happy to sad so you can make these subtle differences or even some serious differences like we saw now for the a flat major scale right guys so that was all lang syne the new year greeting song which most of us hear across the globe on all 12 scales and I've tried to kind of scale it up for different skill levels on the piano so you may want to go through parts of this lesson we've put chapter markers in the description that you can go through to you know you want to learn it on G you can hit G C and so on so try to use our chapter markers try to get the notation on our patreon page and don't forget to stay tuned to our channel you can do so by hitting that subscribe button turning on the bell for regular notifications and as we are doing this lesson around the time of the new year thanks so much for all of your support it means a lot and you have inspired us to keep going strong and we hope that you will also keep going strong along with your family and other loved ones in the coming new year practice your piano hard and I will see you in the next one cheers