Right, so this is a lesson for piano on say something by a great big world It's a it's a fairly pop progression in the sense you have The use of the one five six four in this case It's a six four one five so it starts on the minor and they are playing the song on the D major scale So the six of D major as I've marked out is B minor right B minor is the sixth So it'll be B minor then the four which is G major then the one Which is the D major and lastly the five which is a major so the entire song is pretty much on that however the pianist does some interesting variations here and there and I can also give you some more variations of my own which you can try and check out over the song the first thing to realize is To try and have a triplet feel while while you go about learning the song So even though you're playing something as simple as this One way to count it could be you know one two three four one Two but a nice way to count could be with triplets one two three one two three one So you could land on some of the additional notes here and there one two three one two and so on So you need a triplet feel while you're playing the song So during the verse and the chorus the chords are identical. They've chosen the exact same chord progression, right? So When you start the intro as you know in the song, it'll just be single D two four and And so so you need to do three D's one two three two two three three two three four and So the last D is played twice gently at the end of the bar. So So that's pretty much the intro So what he tries to do and what a lot of pop songs tend to try and do is to keep the root of the scale in this case D major Ringing throughout the progression like literally throughout the song if you think about it. So you'll do D and Even though it's B minor you're trying to highlight the D on top So how he plays it is B minor in the left hand probably with the root and the fifth And the root and the fifth of the scale Which is D and a will be played on top and you try to showcase the high D. So you go D But sorry B in the left hand And G and Then a So I'm just gonna play you in one way This is the first chord B minor you could have also played it You know, like how we normally play B minor, but that won't sound as cool. So he plays Like this and you can even play D there if you wish But I think this is good. This is a good way to play chord number one And then the second chord which is a G major he plays probably like this as Gd Gb G and Then the third chord you can move your hand or your thumb here And if you want to add the F sharp you can do it here Or you can do it like this or if you want a deep D you can play it like this and the last chord will be an A So what I heard in the recording is he also sneaks in the seventh, which is the C sharp One reason why it's nice to have it here is because when you played in the left hand It sounds too muddy in in my opinion. So a lot of pop songs have the C sharp on top It's quite a nice sound So let's do the whole thing So I think this is how I'll be playing it and I'm trying to sound like the original but you have guys have to understand that it's a little difficult to hear Exactly what he's doing, you know Which chord which inversion which hand is playing which note? So this is just to give you an overall feel of the song I hope it's pretty much right and I hope you are happy with it But this is pretty much the feel you play this is the first chord again B minor So I I wouldn't play B minor normally I would play it in that way then you do G major like this nice and deep and then D major very deep and lastly a major With that C sharp on the top Creates a very very interesting pop folk kind of sound So let's do it with the track And remember that triplet feel one two three one two three right you can keep bringing out that feel Slightly softly with your with your two thumbs in the right hand and left hand right you have two thumbs so you go Five six can also add to that rhythm Five six So you spread out the chords a little more you'll be needing your pedal while you do that so So on all you could keep it simple Sounds really nice There's one more section In the song where they do a duet right where the duet first enters So there we have an interesting chord which is D major first. He starts with D major Then he plays the same D major with an F sharp bass So the same D major you just keep the chord fixed in the right and then you add the F sharp here And then D with a and then a major so these are what we call slash chords in music So you'll have a chord with a Different bass so you can just go over those chords where I've written in the pre-chorus Where you have D major? F sharp D with F sharp bass Then G you can voice it like this And you have D with a bass And then a let me play that for you again F sharp D with F sharp And G major with that a sticking on top And D with a and then a with that added C sharp try to follow it once more, please the D with F sharp Major with the added a on the top D with a bass And then a with a normal major Okay, so that's between your verse and the chorus you have that really interesting pre-chorus section so most Most songs which you'd ever learn, you know when you hear it or when you Google the chords It'll generally tell you something like you know B minor G D major and a major And you may play them on the guitar or the piano, but it may not sound exactly like the original That's because the artist is doing something unique with the chords and there are a lot of other bands who do it and all of these are Songwriters who play the piano and sing or play the guitar and sing An example of a guitarist who does something really cool with chords could be John Mayer So whenever he plays a B minor, it's never going to sound the way Anyone on earth plays a B minor, you know or Elton John for piano Or this band, which we are learning right now, right? Lady Gaga is also an incredible, you know piano player Freddie Mercury from Queen So whenever you listen to songs and try to learn the chords Don't just play the chords as what we call a block a block shape is this B minor B D F sharp Yes, we all know that but You you want to also try to sound as much as the original as possible. So That's where artists who are more experienced at playing their instruments Tend to go beyond a block shape and try to explore some other ways Like I showed you playing the root and the fifth in one hand and then playing the bass note so you sort of have to watch the video and just Write down what I played from bottom to top or top to bottom as you see fit and play So, yeah, I hope you had some fun learning this song and now it's time for you to find a nice singer or a friend who sings or maybe you can sing play the song and Release it and you know, send it to us. That'll be a lot of fun to hear. 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Husiwch, mae'n rhaid i ddyn ni eich cymryd yn ddylch i ni? Mae'n fy ychydig yn ddysgwyl i chi. I fair yw hwnnw, ydych chi'n gael eu cyfrifiadau am enghraifft. Dwi'n cael ferfynu? Fe fyddwch chi'n gwahod o. Dwi'n gael'i'n ddysgwyl i chi eich dod iddi. Beth chi ddiddorol yn llhywun ar eu casio. Roeddwn i'n gweithio, ma o'u gweithio'r panoedd, Which we started off with the ICA. So if you are in the ICA, is absolutely fine, but then we were on tour in Nottingham and we thought we'll go ice skating, we're full counting out. We got to the middle of the ice and thought all this is funny and then we realised, we were surrounded by a lot of young straights all going eehhh. It was very difficult to run with ice skating so we want to do this.yn ni'n ymdweud ar y cyfnodd hwn yn ysgol yw'r ysgol yw'r ysgol yn ein hynny'n eu ardal? Felly mae'r hyn o'r hyn yn gwneud. Mae'n meddwl am ymddangos? Mae'n meddwl am ymdweud. Nod. Yn ymdweud. Ie, Byr Ndo. Byr Ndo, mae'r cyfnodd hwn yn cael ei ffordd? Mae'n meddwl am gyda'r ysgol yw'r cyfnodd yn ymdweud. I was very lucky. I had fantastic teachers and was surrounded by a group of radical feminists who were my friends and they taught me that phrase. But yes, that was always the case. I've always thought that was self-evident. But I've always tried to explore that, what that actually means. How does that actually pan out? But sure it was. I mean I don't think any of us ever thought I must make a statement today. But as it turns out we were. I mean I'm an artist and my colleagues were all artists. I don't think any of us ever thought we must address such and such an issue. That was just part and parcel of what we were doing. So what were the kinds of things that were driving you forward in your work then? One never really knows. I think you pick up a series of obsessions which are in the air, in your own mind, in your own heart, running around something that's in the air at the time. And then it crystallises around dynamics. The question for us always and for me always is what's the next show? I mean that's all you ever think about. We've done that one. What's the next one? And then someone comes with an image or a story or sometimes a person or a performer and that triggers. And then afterwards people say oh I see you addressing the question of female empowerment, the AIDS crisis, whatever it was. But I didn't you know when I was creating a vision of love with Robin I don't remember us ever sitting down and saying we need to talk about X, Y and Z. It was just we found this extraordinary painter who no-one seems to know about. Let's make a show about him. And this picture has been destroyed. This picture was drawn on a pavement outside the Brompton Corridor and it has been destroyed by the feet of people shopping. This picture has faded. There's almost no one left of it. You're going to have to look very closely. What is this picture of? And so I came out of the National Gallery. I looked down and saw him on his hands and knees on the pavement and I said my God, my God I never expected to see you like this. I looked down at his hat with the loose change in it and I well I said to Stephen when I got home that evening I said listen love there but for the grace of an eye well I'm sorry I just reached into my wallet and I gave him a fiver. I'd like you all to know that this is a real fiver. Well all right I will give you this fiver but you've got some promise to try and pay me back as soon as you can. I often wonder which of us are going to end up like he did. I mean which of us is going to be as happy as he was. On line 63rd birthday. Happy birthday to you. On line 63rd birthday I won't be falling down dying of drunkenness in the streets outside the workhouse.  I should invite everybody I've ever known to this party. And of course even at 63 I should look completely fabulous and even at 63 I should still be turning out in drag. I'll just know I will. I should be wearing white floor length. The Lenciar began with an enormous train and beautiful medieval sleeves. A button up to the wrist but I should wear them on the button so that they hang down and tray it on the floor. They look completely stunning. I should arrive very very late at this party. My own party. And I should also leave extremely early because I do think it's so tattled to stay around for too long. Even at your own party and falling over drunk late at night is just too incredible. And I should be walking down the road surrounded by flowers. A great halo of flowers all around between but actually hard to get to carry all the flowers. And the lights will be cast up from the streets and they'll be reflected off the flowers and all the colours will be flashing into my face and I should just look too ethereal for words. I should get a mini-cap because I always get a mini-cap at home. And when I get in the mini-cap the driver will say to me, where on earth did you get all those flowers from? And I should say what I could say. Well it's funny you should say that to me actually because I'm just about to ask you to take me all the way to Wilson Jewish cemetery. I know it's four o'clock in the morning but I just want to take all these beautiful flowers that I've got and I just want to lay them on the grave of a man who I've never met I just want to sit there with the flowers at dawn, watching the sun come up and all the flowers around me, me and the graves all on our own. Of course you think I was completely insane if I did that. So I could say, actually darling, that's a you but that's ever said tacky because it would sound like I was picking him up and I wouldn't want to do that really. And anyway, I mean they're not for him actually, the flowers on my line. So that's what I'd say to him, I'd say actually darling, they're my flowers. Yes, I'm 63, it's my birthday. This is my dress, these are my shoes, these are my gloves and my jewels, this is my hair and this is my thing. So why don't you just stop the camera, getting beside me. Well, I met him, I actually beat me seriously and sold him. Yes, I did my girlish, yes I did. And I can tell you exactly what it was. It was a year ago, I'd just come back from Russia visiting my estates and the troika was waiting for me outside at the stage through all the black cat public house camp in town and I was Russian down the stairs. Doesn't always work that joke. That's what I'm carrying on. And I was running down the stairs and I tripped. There were a couple of bottles of vodka in the hem of my chaperonelli gown and how they got there, I had no idea. And I pushed my way through the thrones of fans waiting for me at the stage door and Dimitri handed me up into my troika. I put the sable around me and we were up, up into the Christmas night hair, the bells were jingling, the horses hooves, striking up sparks on the frozen ground. The chill winds were making my cheeks glow like a 17 year old, 17 year old. And as we hurled down the Kentish town high road NW5, there he was! Pissed out of our screens with a red in the dustbin. I said, what? The troika? We skidded to a stop. I lept up through the sables on my shoulders with what was left of the vodka in one hand and I'm very funny looking forward to find any other. I looked at him.  Once in everybody's life you get hurt. And it's nothing to be ashamed of. I feel, well let's face it, on a night like this night, after a year like last year, in a city like this city, ladies and gentlemen, this next song is dedicated to everybody here tonight who's ever been hurt. It's alright darling, you don't have to lie to me. I don't even know you.   Actually, in my case it was my father. Look at me. Standing here. I'm 50! I'm 50! And it still hurts me! Hurt so much sometimes you can hardly walk.  And this is what Mr Simeon Solomon had to say in 1869. This is what he said girls. The hurt that has been done to them passes by. They are made whole for love. Slowly but surely heals them in his arms of the broken of spirit cherished. And when he holds the hearts that are cleft, to his breath, ladies and gentlemen, this next number is dedicated most respectfully to the woman who first sang it one hot August night in 1886, Miss Marie Lloyd. Come on girls, it's Marie Lloyd.