Dear pianist friends, hello and welcome to this new tutorial that will be devoted to one of the peculiarities of the piano, I mean the technique of the independence of the hands. So this independence is at two levels: the first level is a rhythmic independence, and we will work two VS three exercises. What does that mean ? simply that we will have a left hand for example binary, so two notes, against 3 notes in the right hand in ternary, or conversely : ternary in the left hand, and binary in the right hand. But the independence of the hands is not just at the rhythmic level. We will add to this two against three, an independence of phrasing. This means that one hand will play staccato, and the other Legato, or conversely, Legato against Staccato. So if you’re ready, we’ll go right now! So before starting this tutorial it is necessary to make two small clarifications. In order to succeed in doing the 2 against 3, and therefore the independence of the hands, it is necessary to be based on a tempo, ie a metronomic tempo, a pulsation that will be: quarter note equals 60, in other words, 60 beats per minute. We will put this metronome for each exercise. The second precision is that before each exercise we will have four small pulsations that will give you the tempo before starting. So before starting these exercises of hand independence with the technique of 3 against 2, we will first understand how it works. So we see it on the first small diagram here, we have up so a group of three and down a group of 2, which could correspond up with the right hand and down the left hand for example. So we see it right away so the first two notes here vertically of the two groups match. These first two notes will be played simultaneously, then comes the second note here of the group of 3 which will be played alone, then follow the second note here of the group of 2 which will be played alone, and finally the third note of the group of 3 which will be played equally alone, before finding on the time following the two notes which will correspond therefore one under the other vertically, to continue the same pattern. So before working with real notes on the piano, we will first beat this correspondence : right hand-left hand, three against two, on the piano wood, and we will start with a group of three in the left hand against a group of 2 on the right hand. So the exercise is first to loop for two bars the group of 3 in the left hand, before getting on the third measure the group of two notes each time with the right hand … We will now reverse things and we will take the group of 3 on the right hand and the group of 2 on the left hand, We will start by looping the group of three on two bars, before entering the group of 2 with the left hand on the third bar … So since we have understood theoretically how the two groups of three and two are superimposed and what are the rhythmic correspondences between the notes of the right hand and the left hand, we will now apply it on the white keys of the keyboard. that is to say on notes essentially drawn from the range of C major, without any accidentals to simplify things. So we see it in this first exercise here, we have up the right hand which develops eighth notes and so we will need two eighth notes for 1 beat of this simple four-beat measure, and the left hand so eighth note triplets worth so 1 beat each, and so that will be made on different notes so the scale of C major. At the top we will have three notes C-D.E… to represent the binary rhythm of the right hand, and down for the left hand, we will have four notes C-D-E-F to represent the triplets of this ternary rhythm, and we are going to start as before by looping these eighth note triplets in the left hand for two bars, before getting here the binary eighth notes to the right hand on the third bar… OK, here it is, then in a second little exercise here we are going to reverse things, that is to say, we will find the eighth note triplets in the right hand, that is to say, the ternary rhythms on four notes: C-D-E-F, and in the left hand, we will have the eighth notes, still with three notes in a single beat, from this scale of C major: C-D-E, and we will start as before by playing on the right hand, these eighth note triplets then on four notes and over 2 bars, before entering on the third bar, the eighth notes on the left hand this time… So in a third exercise, we will add one more note. In other words, we will start with eighth note triplets in the left hand on four sounds: C-D-E-F, and then the eighth notes of the right hand on five notes C-D-E-F-G. So we will begin by playing triplet loop over two bars, before entering the eighth notes on the right hand from the third bar… Well, at this point we are going to reverse things now as for the previous exercises, ie we are going to have the triplets this time on the right hand, on the four notes C-D-E-F during two bars, and get back on the third bar to the eighth notes on the left hand, on these five notes : C-D-E-F-G, … as I told you so in the introduction of this tutorial, the independence of the hands is not only rhythmic. The independence is also a phrasing and touching independence, and we will see here in a fourth exercise, how to add to this two against three, different phrasings in the right hand and left hand, in other words, for example, on the right hand we will have binary eighth notes that will be played Legato, that is to say linked, against the left hand with triplets so ternary rhythms played staccato, that is to say detached. And we will start, of course, to loop these triplets detached on the left hand for two bars, before bringing the binary eighths linked to the right hand on the third bar … So we will reverse the process, and this time, the triplets played Legato will be located on the right hand, and the eighth notes staccato, will be, this time, placed in the left hand. We will first loop the triplets on the right hand for two bars before entering the eighth notes on the left hand, from the third bar … So as you have seen in this tutorial about 2 against 3, the rhythmic independence of the hands is not an easy technique. It is therefore necessary to practice the exercises that I have given you, in a loop way, and to do it daily, in order to go from a theoretical, thoughtful and intellectual performance, to something more fluid and above all more natural. So in our next tutorial, I hope you will be at the rendez-vous, we will work on a a little more complex technique , that is the 4 against 3. So I tell you very quickly ! 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