Call & Response Example 2

With
Talia GirtonBuild on the first call-and-response exercise with a slightly trickier rhythm, snapping it out before playing it hands together and counting through.
What's in the course
19 lessons (0h 33m) · 1 free
01. What Is a Scale & Demonstration
Free lesson2:27

02. Call & Response
0:58

03. Call & Response Example 1
1:09

04. Call & Response Example 2
You are here1:25

05. Major Pentatonic Jamming
1:49

06. Major Pentatonic Jamming (Performance)
1:05

07. Minor Pentatonic Jamming
1:48

08. Minor Pentatonic Jamming (Performance)
0:49
Lesson transcript
Music Lesson: Example 2
Rhythm Practice
Now let's have a look at example 2. First, we'll snap the rhythm:
- 1 and 2 and 3 and 4
- And 1 and 2 and 3 and 4 dot
- And 1 and 2 and 3 and 4
- And 1 and 2 and 3 and 4
- And 1 and 2 and 3 and 4
Now let's see what that looks like with the pitches.
Left Hand Position
The left hand starts, and I'd recommend putting your five finger on A in the second bar.
- You'll need to reach your two finger all the way up to G in the next octave in the right hand.
- Go ahead and get your one finger ready on the note A, which is going to be the A below middle C.
Counting Practice
We will practice the counts again:
- 1 and 2 and 3 and 4
- And 1 and 2 and 3 and 4
- And 1 and 2 and 3 and 4
- And 1 and 2 and 3 and 4
And we'll display the sheet music on the screen so you can hit pause and take a moment to practice.
Tips for Practice
Make sure to take this slow and practice with counts.
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Meet your guru

Meet your guru
Talia Girton is a musician and HCPC-registered music therapist, and the founder of The Cycling Music Teachers. Her work brings together music therapy, counselling and education, and she tutors internationally on the music therapy training course at UDELAS in Panama as well as contributing to professional development with the European Piano Teachers Association (EPTA). On MusicGurus she teaches the Piano Method and Piano Foundations courses, guiding complete beginners from first steps through rhythm, both hands, theory and performance.























