7 tricks that will make you sound good at piano

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Today I'm going to reveal you 7 little you can keep in your toolbox that will include that extra flair and design to your playing!

And, an extra unique thanks goes to Douglas Lind, Vidad Flowers, Ivan Pang, Waylon Fairbanks, Jon Dye, Austin Russell, Christopher Ryan, Yu Kyung Chung, Toot & Paul Peijzel, the channel's Patreon saints!.


0:00 Introduction.
0:28 black note glissando.
2:36 white note glissando.
5:02 grace notes.
7:00 arpeggios.
8:25 .
10:19 pedal point.
12:46 semitone progressions.
15:49 putting all the together!

7 tricks that will make you sound good at piano

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    1. Here’s a neat way to merge tricks 4-6: Rick Beato’s 12-tone triad technique. (see his video for more details) The chords you use in pedal point can be arpeggios, but can also be logical and generally planned out. Here are 5 examples Rick has of 4 chords with no common notes: (i.e. whose aggregate *is* the chromatic scale)
      Cm, Dm, E, F#
      Csus, D, Esus#4, Absus
      C+, E, F#m, B°
      Csus#4, Esus, Absus, Bb
      Csus, Dsus#4, Bb°, B

  1. Was waiting for a code to get the course. Started going through the music theory one recently. Already helped a lot. Thanks!

  2. Dang it, they’ve reverse engineered all my tricks again! Gotta think of new ones… beats actually learning songs…

  3. The biggest problmes with
    David’s videos is that
    It ends.
    I hate that.
    He is such an awesome pleasure to listen to.
    His insightful content packed videos need to be long.
    And shud never end.
    Or perhaps end only when the sun decides to end itself.

  4. That was great. Thanks once more for a fabulous video. I’ll definitely have a go at the glissando. It was interesting to see number 7, the semitone chord, as that is what I’ve been trying to do for a while, I just didn’t have a name for it!

  5. I really like your music theory videos and I was wondering if you could do one on Primus or Diablo Swing Orchestra. It’s both kinda “weird” because Primus is very dissonant and Diablo Swing Orchestra mix metal and orchestral music and it works well but I was always wondering why exactly their music still works and what concepts of theory could be applied to them.

    1. a video on primus would be great, lalond and claypool work so in sync despite being so dissonant

    2. @Grief And the bass and drums are also perfectly in sync. Like in Tommy the Cat, bass and drums are an incredible foundation and the guitar just does whatever yet it still fits so well into the song somehow.

  6. Merci beaucoup, David. You helped open up my world to music theory after 65 years thinking that I was tone deaf. You bring eyesight to the blind, quoting Pete Townsend.

    1. @David Bennett Piano I want to thank you as well. I did receive classical piano lessons as a kid but the older I got the less interested I became and the more it was my parents’ wish.
      But as an adult you have opened my world to music theory and it’s just awesome.

  7. The semitone chord trick was great. Sounded like Moonlight Sonata. I’ll have to try that on the guitar. Thanks, David!

    1. Yes, it’s a good thing Beethoven isn’t around to make a copyright claim, ha

  8. Great stuff David, useful and quickly applicable for us beginner/intermediate pianists!

  9. Happy New Year David. Thanks for sharing your genius. One of the best piano lessons I’ve seen.

  10. I’m mostly a piano player but I sometimes play the pipe organ at church, and I use the semitone “trick” for when I’m just playing quiet instrumental music as people are arriving. Whole notes sustained on the organ with one note moving down at a time create some interesting chords and voicings on the organ which sound nicely contemplative.

  11. Very impressive presentation, David. Thank you. Pedal point was clearly my favorite. Cheers

  12. Thanks David, it took me a long time as someone playing around in Logic and my keyboard, to figure out the simple semitone change was what my ear craves. No idea why but it just makes music magic 🙂

  13. Oh! I was just learning “Comptine d’un autre été : L’Après-midi” by Yann Tiersen and wondring how he came up with the left hand. Then I see your video and understands the semiton chords. This will be a huge help for me when I want to come up with melodies. THANK YOU!

  14. I always watch your lessons, adds to my music theory . Seminole chord tone is an excellent one .

  15. 8: (Rick Beato’s 12-tone triad technique, blending 4, 5, and 6)
    Over a consistent pedal, for example C, arpeggiate chords (in any order and direction) such as Cm, Dm, E, F#. This covers all 12 unique notes! In general: the minor chord built off the pedal and the one a whole step higher, and then the same for major triads starting a major 3rd above the previously mentioned pedal. Rick said this trick covers every note every time! In fact, he used a 12-tone row from one of his formulas (first shown in the 12-Tone Triads video) as the Everything Music intro for a while.

  16. I love how when you showed how to do the black note glissando you didn’t just show how to do it but instead explained why it sounds good

  17. Notes for myself

    2:36 White note glissando
    Minor 2nd dissonance less obvious with higher notes than lower so do the glissando upwards.
    Glissando and resolve on the note C.

    6:37 Acciaccatura – grace note

    8:12 Use an arpeggio to add flourish to something.

    9:06 Chromatic scales are not in a key. Can be used in all keys.
    9:29 End chromatic scale on a chord tone. Demo of playing the scales with some chords.

    10:19 Pedal point. E.g. always playing C in the bass. F# chord (tritone) over C. Making it sound intentional is the resolution to the tonic.

    12:46 Semitone chord progressions demo. Simple trick that makes it sound interesting.

    These are all good tricks to pull out the bag.
    16:12 Demo of all tricks put together.

  18. I would love to see a similar video about piano melody arrangement tricks to back a singer (including oneself) e.g. you know the melody and the chords but you want to make it sound more interesting with something in the left and right hands that is more than just playing root notes in the left hand and triad chords in the right. I’ve been looking at Carole King’s arrangements and been wondering if she actually played those arrangements as she sang, because they look quite difficult to do at the same time, though not separately.

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