Here, I am demonstrating the first of the two piano riffs that we will be concerned with in this course. It is the more popular of the two.

Listen very closely until you get the feel of the part. When you have learned how to play it, refer back to this passage and if you can, play along with it!

Before we even attempt to position our hands and fingers on the piano keyboard, it is of the utmost importance to be acquainted with the fingers that are to be used.

In addition to this, you should consider building up speed in each of the four patterns before you eventually move up to the piano keyboard. Tapping your fingers on a tabletop will ensure that your fingers are properly coordinated and the correct sequence is executed.

You will find it easier to achieve your goals if you ensure that you're ready before taking the next steps.

Here is a clear demonstration of what the right hand does exactly. I will first show the continuous action, after which we will be breaking it down into four patterns.

You will find that these four patterns are the ones that you learned in the previous lecture:

4 - 2 - 3 - 1 - 3 - 1

4 - 2 - 3 - 1 - 4 - 2

3 - 1 - 3 - 1 - 4 - 2

3 - 1 - 4 - 2 - 3 - 1

It will be good practice for you to master each pattern before continuing to the following pattern.

After having broken down the order of notes by groups of six notes, we now play the sequence one after the other. These are the four patterns non-stop.

I am playing the passage slowly at first (just as I would want you to do), slowly building up speed until the required tempo is reached.

After this is achieved, accents are added on the first notes of each pattern, in order to synchronize with the underlying rhythm of the melody.

You are now going to count aloud, and are again shown the complete passage. As this is in 4/4 time, we count four to each bar, six notes to each count. The accents are applied to the first note of each pattern.

The melody is then played by the left hand, which is outside of the scope of this course.

There will be two descending runs, the first one starting on the top B-flat and the second starting on the B-flat an octave below that.

Everything is explained in detail in the video.

I now demonstrate the second cascading passage of the piece, made up of descending and ascending patterns.

These patterns are going to be broken down in the succeeding lectures.

Preliminary principles of the passage. A short bird's eye view of the chromatic scale and its relevant application here.

I demonstrate what the chromatic scale is made up of, which is nothing but a series of semitones. Semitones are the shortest distance in pitch from one note to another, and their physical locations in the keyboard are detailed in this lecture. They are played slowly so that you may absorb its principle.

Watch the keyboard closely and how the notes follow each other. This sequence can be used in other pieces as well!

Just like the first passage we studied in Section 2 of this course, there are four patterns of six notes each. These are played with the following fingers:

3 - 1 - 3 - 1 - 3 - 1

3 - 2 - 1 - 2 - 3 - 4

3 - 2 - 1 - 3 - 2 - 1

3 - 1 - 3 - 1 - 3 - 1

You will notice that the fourth pattern is a duplicate of the first pattern. So essentially you will just be studying three patterns!

There is a standard fingering being used when playing semitones, but in this descending pattern, rules are being broken. Again there will be four patterns of six notes each, which you will be asked to practice in the same manner as you did in Section 2 of this course.

However in the ascending pattern following this, the notes are played with the standard fingering. It is explained in detail in this lecture.

All the four patterns now played one after the other. First they are played with gaps between them so you may process the information better.

Then they are played non-stop, as it should be played.

You are urged to start slowly and then build up speed in the same manner as you did for the first passage we took up in Section 2.

This is the final leg of our journey, where we learn how to play the ascending passage which is made up of nothing but an ascending chromatic scale.

I will show you what the "standard" fingering is for the playing of chromatic scales, as this is the same fingering we are going to use in this passage. There are rules here, and be careful not to break any of them!

This is going to be a very useful lecture, as chromatic scales appear frequently in most music.

Congratulations! I hope you will keep on practicing the stuff I have taught you in this course.

I hope you will be able to play together with the first video you will find in Section 1 of the course! Remember, there's no shortcut here. Practice is mandatory, and you will find the results rewarding.