In this lesson, we enrich the arrangement with a harmonised bass line using the 'sweet' third/tenth/sixth interval and walking-between-roots lines.
Here's the finished lesson performance.
Here's the full teaching video. You may find it more convenient to study using the split-up sections below.
The third is the 'sweet' interval (pair of notes); a sixth is a third upside down, and a tenth is a third plus an octave - and puts the harmonising into the bass as promised.
Walking step-wise between the lowest notes of the chords is another way of making the bass line countermelody interesting.
Turning a third upside-down (inverting it) produces a sixth, which is also a harmonious interval.
Handling the line three C chord. You can hear how the left hand is filling up with faster semiquaver notes - but these are optional.
You can get the big C chord arpeggio (run of notes) in the last line by copying the MidiPiano performance or from the Concert Variations music (next lesson), or you can leave it out and just repeat the Line Three version.
The left hand texture is filling up with semiquavers, but you can play a countermelody version 'without all the fuss' using the second Lesson Six accompaniment pattern.
The scrolling-MS video/portion of the video shows just the countermelody without any of the semiquaver texture (like the music above and in your download notes).
Make sure you understand and can play this before you start filling in the gaps with semiquaver ('&') accompaniment notes. It's a stand-alone performance anyway.
The final lesson in this series talks you through the Concert Variations performance, showing how it's built up from the tricks and textures you've learned in the Greensleeves series of lessons.
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The MusicartaA methodical approach to keyboard syncopation for