Live from Atlanta, Georgia, it's theCUBE, covering AnsibleFest 2019, brought to you by Red Hat. Welcome back everyone, this is theCUBE's live coverage for two days here in Atlanta, Georgia for AnsibleFest. I'm John Furrier with my co-host, Stu Miniman, Andreas Benokratis, who's here and Senior Principal Product Manager at Ansible. Welcome to theCUBE, welcome back. Thank you. Good to see you. How was the 2019, you were last on? Red Hat Summit? It was basically the introduction to Ansible Network, basically, so. So much has gone on, one of the things I'm really impressed by this event and why we're here is configuration management and super important, part of the plumbing. We all know DevOps as infrastructure as code, but as the evolution of cloud and software has changed in the game, you start to see visibility into where automation's coming in. This is the whole focus of the event, automation for all, that's the theme. And this is about the core infrastructure, so it's not like it's just a random thing. Sixth most popular GitHub project out of millions. This is real. It's real, it's quite real. And especially on the network side, this is something that came out organically. The birth of Ansible Network was, because it was agentless, honestly. You know, simple, powerful agentless. The agentless piece was the piece that really made it really fly for Ansible. And configuration management, by the way, on networking side, when we talked about this before, is the most important, because that's where it's the most static, has been the most, where it's been the most static. I mean, we all know networking, right? But as networking becomes policy based and moves up the stack, we've seen something like Cisco trying to figure out their DevNet. It's like, you're starting to see the networking mindset moving up the stack. This is super huge change. It's a huge change, but the nice thing is that it's easy to get into. So all the network operators and network engineers, they're still used to using command and config modules with their iOS devices, their EOS devices, Juniper, all those things, right? They don't have to throw away everything they've learned for the past 10, 15 years in order to get with Ansible. And then when they go beyond that, then they can start seeing the real power of the Ansible platform, which we announced today. So going from command line to programmability is kind of what's happening. Yes, absolutely. And what's the big, what are the big key factors right now that are driving this? So a lot of key factors are, I mean, you saw the keynote this morning with Microsoft. That's our, that was a huge, and they've been doing this for about two years. So they started from nothing. It shows Ansible. And they quickly saw that the power of automation for the networks, but they had to grow at scale. So that was the big problem was, how do we do this at scale while still using all the knowledge that we've learned? So day zero, day one, it's extremely important. And obviously we know that, but as we were going on the journey with them from an engineering standpoint, day two became extremely important. And that's what we're focused on now. Yeah, it was really interesting. Microsoft really talked about that cultural shift. You know, we've heard in the networking space and in the team forever, it was like, you're all going to need to become coders. You're going to need to be able to do this. To tell us how Ansible is really impacting some of those cultural shifts and how has that discussion changed today versus what it might have been a few years ago? That's truly half the battle is the culture. What I like to call it is, everyone's talking about digital transformation. In the network world, this is an analog transformation in all honesty. This isn't anything about the bits and bytes. You can automate anything today. There are lots of point tools to automate networks today, but how are you going to actually move that into a world where culturally you can have people buy in from the bottom up organically as well as from the top down from the IT managers? It's extremely important. So on the platform announcement, the key announcement was the Ansible Automation Platform. Where can you just help us understand the relationship between network automation and the automation platform? Because obviously you need to move things around the network, but there's a lot of other things being configured as well and automated. What's the relationship between the two? So before we had the platform, actually Ansible Network was an actual product. It was a separate SKU, it was a separate offering, and we treated it as such as a platform. We were like the first guinea pigs I like to think of. We were the ones that said, let's treat Ansible as a platform and let's move it that way. So we actually went out and built roles, we built modules, we built a network engine, which is a parser, similar to like TextFSM, those kind of things. We put those in Galaxy, 22,000 downloads later. We proved it. We know that everything that we're doing in Galaxy today for Ansible Network proves the fact that people are using it as a platform and we were successful in doing that. And then how many years is that just track record-wise? What was it, how many years? Oh, that was a year. So 2.7 was when we released Network Engine for parsing CLI commands. And that moves into the next generation of what we call the day two operations for networking is typically we see network configuration as been a one-way street. So you would pull configuration data from a device, you would have to parse it, you put it in an SCM, it's in an SCM, and now you actually have to put it into a template and then you push it, right? This has been a one-way street typically. And Ansible is very good at one-way streets, but we're moving towards an Ansible 2.9 coming soon is making that a two-way street. So integrating the fact collection from modules, so when you pull facts from iOS, EOS, NXOS, et cetera, treating that data consistently across the board and using that for it. Networking's one of the tracks here at the show. What are some of the more popular things? What, where's the focus? The focus is, well, it's across the board. Again, you have people that are IT managers that have been doing Ansible for years and now they're saying, hey, look, they're seeing network automation is extremely pervasive. How can we get that into our pipeline? We have ticketing systems. How can we integrate Ansible Network with our larger business processes? And then top, like top five use cases, the typical backing up systems from backup, restore, and then doing a lot of sorts of truth things there too. So making sure that you have all of your network configuration data off the box. A lot of people are fetching configurations from thousands and thousands of devices. That's pretty hard to do. So let's make that easier for them. What's been the customer interest on the growth path for network automation? Because obviously that makes sense. I see the different product, but now that the automation picture's getting wider and bigger, what's the interest from customer? What's the key focus area down on that? Well, we've typically focused on to date and from the marketing slides is the number of platforms we've supported. You can always see up to the right, right? We support 10 platforms, 20, 30, we're up to 65 platforms supported. I think we've pretty much proven the fact that I think we can pretty much work on anything. So it's going beyond that making lives easier for the network operators and engineers holistically. And this event here, what's going on here for you guys here? What specific tracks you're doing? Right, so we're actually- What conversations are you having? Yeah, we're talking more about the actual resource modules that are coming in 2.9 that I was talking about, which is bringing fact collection and the modules together as a two-way street. So as people start moving at these day-to-operations, we have a lot of experts here and they're hitting stumbling blocks around. They're managing five underlined ginger templates like on a daily basis. Nobody wants to do that. So we're getting to a place where the people that are really relying on Ansible in the expert field making it much, much easier for them to go forward. We had Greg on earlier and Robin, we'll talk about the glue layer that Ansible provides. For the folks that are not using Ansible, what's the big message that you'd like to send them? What's the real attraction from the customers and why should people be using Ansible? Well, yeah, I mean, it's for everything.  I mean, it speaks for itself, but it breaks down the barriers.  And you can get things done more quickly and more efficiently that way, so. One of the other things we were talking to the community about is the feedback loops that you have with the community. Tell us a little bit about what your team's hoping to get from the users attending and participating here. Oh, absolutely. On the Ansible network side, everything is done transparently in the community. We have a community meetup. We've had this for a long time. Everything's out in the open. Everything's in GitHub.  I don't know if you were here on Monday. It was focused on network. We're pitching this idea around resource modules and the forward strategy of the platform as it relates to network. Everyone, including the contributors, developers, the partners, all of the people that you could see that half the vendors here on the floor are network partners, so they're invested as well. They want this to succeed. So we're extremely proud and happy that we're there along for the ride as well. All right, maybe explain to our audience what an angry potato is. Was it a tater? It's an angry tater. Yeah, it's the mascot for AWX, I believe, and yeah, they're fun. The sticker isn't a little plushies. So we're going back to our plushie rules. Get our stickers, help yourself. Keep stickers. I appreciate it. What's the coolest thing that you've seen this year that you think people should know about? Oh, wow. I think a lot of focus around testing and development, so a lot of developers are writing code, they're re-vending the wheel themselves, so developers are writing the same stuff over and over and over again. So how can we scale that to say, hey, why don't we all get together and write the same code, and then about testing? So once you actually have the code, you have a lot of vendors here on CICD testing quality, so we at its Ansible, we can talk, and this was Greg, I don't know if you mentioned earlier, but Greg DeGonisburg said, we're really good at making sure playbooks and roles and modules are correct, but we want to make sure that the vendors and the developers like focus on the functionality. We can give them guidance around syntax and correctness, but we want to make sure that the innovation really comes from them. Andreas, talk about this Ansible Fest this year, 2019. As we were on into 2020 coming up towards the end of the year, fall here, why is this year different? What's important about this year? This almost seems to be an inflection point this year. Why is it so important this year? What's going on right now that makes this event so popular? You're seeing convergence in a lot of different activities. The silos around you typically say, I'm a, I'm a, you know, I do Kubernetes or I do network or I do cloud. You're starting to see a lot of these people like, okay, well I have to do a cloud, I have to do a cloud VPN connection using containers and automate the network. So you're starting to see a lot of these different traditional people having to think outside of their traditional areas and have to start thinking about other areas to, like whatever their technology silo is in their head, they have to start learning or they're being forced to learn around a lot of different things. It's a systems architecture. Absolutely. Systems has consequences. You can't just think in a silo, that's the issue. Absolutely. That seems to be the core issue and also culturally, it's collaborative. I mean, who would have thought configuration management will be the next social network for enterprises? Turning it out to be. Yeah, absolutely. And not social network, literally, like Facebook, but you know. Okay. Thanks for coming on. Thanks so much for having me. We're breaking all the action down here at Ansible Fest where DevOps is being operationalized, cultural change within organizations, but capabilities much more of a systems view. Now obviously the networking is a key part of it. I'm John Furrier, Stu Miniman, back after this short break.


By the way, I'm gonna start making videos around my content translated into Portuguese just for you guys Do you know why I'm going to do that? Because I love you What's up guys? So Ricky here. I'm on the streets of Sao Paulo, Brazil right now And I've been talking to the locals and kind of hanging out And there's one thing that I found really interesting about the trip down here so far and that is relationships are universal People just want to know that you care about them not just a deal not just money They want to know that you care about what their bigger reason is behind why they want to do business with you And they will do business with you That's how you turn somebody who Is gonna use you into somebody who does business with you I want to thank Ricky for this fantastic opportunity to bring this knowledge from outside to us To tell you that the real estate brazilian These are the opportunities that Remax brings to our directors here in Brazil Thank you so much, thank you And follow them on social media It was amazing, it was an interesting day And it brought us a lot of good things Thank you With the presentation of Ricky's great experience That brought us a little bit of your way of success of working I was very happy, I was very learned It was a very rich afternoon Thank you Remax Brasil For this course that has brought us a lot of learning A big hug to all and see you soon Incredible energy that wouldn't let us take pictures on the inside But we did go in there and check it out And it's legit This is an old ancient temple Where people worship And it's just amazing to see this firsthand We're gonna go check out another one Okay guys, so here's the second temple that we're gonna visit today It's the Fu Gang Shen Temple We're in the courtyard right now The temple is behind us So this place is even more amazing than the first temple we went to And let's get inside and see what we can find out So I just took a walk down the little walkway here And I found that there's actually a second temple And we're also not allowed to take pictures or video Or maybe we could sneak one or something But there's a window that goes in there And you smell nothing but incense coming out of it It's pretty incredible Okay, so we did make it inside the temple We got stopped from filming and taking pictures But we were able to set the camera down And get a shot of me actually kneeling down praying And then I got in trouble for having shorts on So we're learning all these rules Which is why we came when I learned some stuff But I was actually praying for my unborn child To have a really safe and healthy development To the pregnancy and birth So that was pretty special to be here We did catch them up in our film Because we set the camera down on the table They don't know about it So pretty special moment that we captured Brandon got to stay in there and pray Because he had long pants on So we learned about the shoe thing in the last temple And this time we learned about the shorts So we're learning things as we go here In Conyacin Brazil in Conyacin You're right I'm here at Menace At the Remax convention I'm here with Riki to say a message to you What's up guys? Riki here So here's the thing You guys should have been here Because you're really really going to miss it I hate that we're going to miss you guys But here's what's up I'll go ahead and give you the cliff note So you don't even have to worry about it anymore Business is 100% unlimited Closing happens every day Regardless of market conditions Competition does not exist You just got to put in that work Get out there and talk to enough people To find the ones that want to work with you Quit trying to convert every last lead And get out there and find the people That want to do business with you And everything will work out And you'll accomplish your goals and your dreams And remember Put relationships over transactions Every single time And out work everybody Everybody Thank you Riki Absolutely Guys, who wants to know a little more About what Riki said Thank you Big hug Thank you Absolutely man Yeah, yeah Absolutely Thank you, absolutely Yeah, good to see you guys Yeah, come on, come on Come on in here guys Get off Okay, thank you Yeah, absolutely man Big hug You're welcome Okay guys, we are here This is Thursday night Really the first night of the convention Tomorrow is the first beginning of the convention For the agents And we just had dinner And we're fixing to go to the opening session Of R4 This is supposed to be something Incredible There's supposed to be big surprises And some kind of big secret thing So we're really looking forward to it I wish you guys were down here in Brazil Because this place is amazing Climb that door over there Bang and try to get in here This is what Riki has achieved And we'll go hands with her But do you want to just kind of tell the audience A little bit about yourself I've been in real estate for 17 years I've been number one in Alabama three times Won the Diamond Award Several times Making over a million dollars a year As a single agent I could have made it anywhere But when I combined what I was doing With Remax That's what took me to the next level I'm going to treat them like family And in three years When the market rebounds And these properties are worth more Those, my clients Are going to sell the foreclosure property And buy another property And refer all their friends and family to me And if you quit chasing deals Then the people in your market That you want to do business with Will love you Thank you guys so much


Previous MMS programs covered the first four basic elements of MMS. Roadway inventory, work procedures, work standards, and work program. This program covers the fifth element, work authorization, and scheduling. The next program will cover the last element, work reporting, and control. A work authorization is a formal approval through written or electronic media to perform certain maintenance activities. It reduces or eliminates problems in resource utilization. It prevents foremen from doing what they merely want to do or think needs to be done, a decision based on personal opinion. It also provides an element of control over the budget. Schedules help management to get the best combination of resources, doing the right kind of work at the right place and time. They tell field supervisors and foremen when work should be done and translate objectives and planning elements into action. The schedule can also provide a basis for comparing planned versus actual results. In this program we will go over the basic concepts of scheduling, workload distribution, and basic scheduling procedures. What is effective scheduling? It is realistic, it is logical, it is flexible, and it is in writing. There are two levels of scheduling, annual and short term. The annual work calendar covers longer term scheduling. It identifies in broad terms when certain activities should be done throughout the year. Supervisors use short term schedules to assign specific work, usually in a week or two week period. For both long term and short term scheduling, the same basic concepts apply. The scheduler's job is easy as long as there is a kind of advanced preparation covered in previous programs, such as inventories, an identification of needed resources like labor, equipment, and materials. Still, a scheduler must apply common sense. He must be realistic. He must base the schedule on the approved annual work program and make sure there are sufficient resources over each period of time to cover the assigned work. The scheduler must consider logical priorities, like seasonal changes, and he should keep the schedule flexible by listing several types of activities, such as normal scheduled activities and alternative activities to do in bad weather or when there are equipment breakdowns. Finally, the schedule should be in writing. That's the only way to make it clear and to communicate it to all involved. An effective and efficient work schedule distributes the workload throughout the year. A workload bar chart will show the scheduler if he is remembering seasons and maintaining a uniform staff level. With the workload level, the scheduler can create the work calendar. The work calendar is a long-range schedule for all maintenance work. It identifies times to do specific types of work. It is a primary tool for effective work scheduling at the local level. Different types of work activities require a different approach to the calendar. There is fixed maintenance work required throughout the year at specific times. These activities include some emergency activities, such as pothole patching or guardrail repair. There are seasonal activities, such as mowing performed on a regular schedule, but only during certain months. And there are some repetitious activities, such as litter pickup and blading unpaved roads. These require a minimum amount of work throughout the year with more substantial amounts during certain seasons. And other activities, such as street and bridge deck cleaning, may be performed uniformly throughout the year. There is also semi-fixed maintenance work. Activities done anytime the weather is favorable. They include bridge and culvert cleaning and crack sealing. In a moderate climate, this is done anytime it is dry. Finally, there is variable work. Usually low priority work performed anytime there is slack in the workload. Let's look a little more closely at workload leveling. A manager begins by preparing a work calendar for the whole work period. He should list all activities called for in the work program and organize them in groups by type of work and importance. Next, he should divide the calendar into useful time periods, usually months. Then determine the number of work days per month and remove any holidays and weekends. Now he can identify specific months or periods where certain activities have to be done. To do this, he can rely on historical usage, specifications which determine climatic requirements, experience of field personnel, organizational policy and finally engineering judgment. Next, he must calculate resource requirements for each activity for each month. He does that by multiplying the number of times the activity is to be performed each month by the requirements per crew day. He should ensure that planned work level has been scheduled. Now he should summarize workload for each month. He should do it for manpower and equipment. Then compare monthly manpower and equipment requirements with current resource availability. If the need is within or close to what is available, that is acceptable. If there are peaks and valleys, he should shift some activities to different months to level out the workload. Before working on the next year's calendar, management should review its maintenance priorities. With the overall schedule and workload arranged, the next effort involves crew scheduling. A crew schedule has short-term assignments of crew to specific routes and activities, usually one or two weeks depending on geographic area covered, the size of organization, and other organization policies and procedures. A district maintenance engineer or area supervisor usually makes up this schedule at the end of each scheduling period. To do the job right, he must know the features in his geographic area. Then, using the annual work plan, calendar, and performance standards, he develops the short-term schedule. First, he looks over the work calendar to find out the number of crew days for the given period assigned to each activity. Next, he should review the status of the overall work plan and ask himself, is the overall schedule being met? Are any activities ahead of or behind the planned targets at this point in time? Now, he can make a list of needed work. He should base it on leftover work from the current schedule in priority order, his routine inspections, and complaints and field reports. With the list complete, he can make a worksheet showing activities down the left side of the schedule and days when his workers will perform the activities using the performance standards as a guide. He must also calculate the resource requirements. After totaling the resources needed for all activities on each day, he should compare what is needed with what is available. If there are not enough resources, he must cut activities or reschedule them. If there are extra, he can add some additional activities. Now, he can make the crew schedule. It will show activities to be done, work locations, crew days needed to do the work, and the number of people assigned to each activity. Communicating work schedules is just as important as creating them properly. The manager should meet with supervisors and foremen. They should review and coordinate all schedules, establish priorities, and identify critical resources. The manager should encourage feedback from field personnel. Next, the manager should post the schedule on a bulletin board and hand it out to crew foremen. In addition, the schedule should go to other managers who have a need to know where crews are and what they are doing. Each day, foremen should use a crew day card or work order for each activity on the schedule. If there are special assignments, additional discussion may be necessary. In this program, we have gone over the basic concepts of scheduling, workload distribution, and basic scheduling and work authorization procedures. Schedules help management to get the best combination of resources doing the right kind of work at the right place and time. They tell field supervisors and foremen when work should be done and translate objectives and planning elements into action. They also provide a basis for comparing planned versus actual results. What is effective scheduling? It is realistic, it is logical, it is flexible, and it is in writing. The scheduler's job is easy as long as there is the kind of advanced preparation covered in previous programs such as inventories and identification of needed resources like labor, equipment, and materials. Still, a scheduler must apply common sense. He must be realistic. He must base the schedule on the approved annual work program and make sure there are sufficient resources over each period of time to cover the assigned work. The scheduler must consider logical priorities like seasonal changes and he should keep the schedule flexible by listing several types of activities such as normal scheduled activities and alternative activities to do in bad weather or when there are equipment breakdowns. Finally, the schedule should be in writing. That's the only way to make it clear and to communicate it to all involved. Communicating work schedules is just as important as creating them properly. The manager should meet with supervisors and foremen. They should review and coordinate all schedules, establish priorities, and identify critical resources. The manager should encourage feedback from field personnel. For more information on this or other IRF videotapes, write to the International Road Federation or call the numbers on your screen.


James Hughes, who's from the undergraduate faculty program. He's a faculty member at Elizabeth Town College in Lancaster County, Pennsylvania. And together with his wife, James has raised three children, two of them are autistic spectrum disorders. I'll mention that the intended audience for this talk is mathematicians with an interest in music. So if you don't have an interest in music, just pretend for five minutes. Okay, okay. Music theorists are using mathematics more and more explicitly in response to the new music of the 20th and 21st centuries. My goal here is to inspire involvement of more mathematicians in this wonderful interdisciplinary endeavor. Reading music is converting notation to performance. Transcription is converting performance to notation. Transcribing multiple simultaneous musical lines is hard and even harder to automate. Notating music is inherently mathematical. For example, this 13th century manuscript represents musical pitch and time by vertical and horizontal location. The articles listed here, fast-forwarding a little bit, show a variety of approaches to automated transcription. Do, re, mi, fa, so, la, ti, do. Do, re, mi, fa, so, la, ti, do. Do, do, do. Every eighth pitch in the scale gets the same name, and every eighth white piano key gets the same name. So we say notes with the same name differ by a whole number of octaves. Notes get the same name because their frequency ratios are powers of two and thus resonant. The resulting equivalence relation leads to the term pitch class in music theory. Associated group actions and covering spaces are also useful. The seven white keys and five black keys in an octave on a piano keyboard occur in a peculiar pattern. Why? More generally, why are certain subsets of the 12 pitch classes preferred among composers as scales or chords? Well, there's a big industry in music called set theory, unfortunately, which is the study of subsets of a 12-element set with lots of extra structure from music. Commentarial approaches have revealed many important properties sets can have two are listed here. A chord is a set of pitch classes sounded together and an interval is the distance between two pitch classes. The interval content of a chord is a big deal musically. A tool used heavily by music theorists is a kind of discrete Fourier transform. The magnitudes of its components measure the strengths of the various intervals. For musicians, it shouldn't come as a surprise that an augmented chord has a stronger major third component than a major chord. The 12 note chromatic scale is standard in Western music. What's so compelling about 12? One answer is symmetry found in all art. Symmetric things are alike enough to seem familiar but different enough to be interesting. And symmetry means group theory. Groups acting on a 12-element set can have a lot of structure for their size and have long been used implicitly by composers. Explicit study of transformation groups is now another big industry in music theory. One, two, three, four, five, six, seven, eight. One, two, three, four, five, six, seven, eight. One, two, three, four, five, six, seven, eight. Okay, pretty compelling, huh? For you, Andrew Lloyd-Reber fans. Yeah, a little more complicated, but still pretty compelling. The cool thing is combinatorial approaches that work for pitch-class sets also apply to rhythmic patterns.  On the right, a motif and a translate of its retrograde form a tiling canon with every pulse sounded exactly by exactly one part. Composers make heavy use of tiling canons. Classifying rhythmic tiling is another big industry in mathematical music theory. Tools used include combinatorial word theory, Gaoua theory, discrete Fourier transforms, and cyclatomic polynomials. Now my favorite. Modeling chords geometrically is my favorite because I love harmony and chords are the carriers of harmony. With more and more tuning systems in use, modeling chords using continuous spaces makes a lot of sense. We represent the pitches of n voices by Rn, mod by octave equivalents in each voice to get a torus. Chords are unordered sets, so we mod by an action of the symmetric group to get chord space. When n equals two, this is a mobius strip. Voice leading is the assignment of particular pitches to voices in order to form sequences of specific chords. It's an old issue in music theory. Josquin composed the excerpt shown here over 500 years ago, and it shows some interesting voice leading. Can we model voice leading mathematically? Of course. In chord spaces, voice leadings are paths suggesting the use of topological tools. For example, path branching at singularities corresponds neatly to voice leading through chords with doublings. Finally, I would be remiss if I didn't mention an effort led by Gorino Mazola to frame musical problems and solutions in terms of category theory. That's all, thanks. All right. Thank you.


Hi guys this is Jason from Nathaniel and in this lesson part of our series on how to embellish a melody on the piano we are going to look at octaves which is a very very powerful tool and a very easy tool at least to understand. So an octave first of all is very easy to form you take a D for instance and to find its octave you just go to the next D. Okay I would advise you if you are a newcomer to the instrument try to look at the shape of D. D is formed in between the twins try to play it without any reference point and then you have the octave so otherwise it will become a more one by one or a stepwise or a linear approach which I don't quite recommend so this is D this is D also try to get used to the hand width of playing the octave okay and also relax your hand while playing the octave you don't want to tense your hand I understand some of you may find it difficult but you can also adjust your wrist adjust your wrist so that it's easy and flexible to play and if you're not a really really young kid watching this video I think all of you should be able to play octaves it's a very very important thing on the piano so this is how you do octaves now an octave can either be visualized as something above the root or something below the root that I leave to you but ultimately it's the same thing so first off if you just take anything if you just play anything on the piano it just sounds a lot more richer and fuller and embellished right away using octaves right so I'm taking D major for this demonstration so if I do sounds a lot fuller than doing maybe that so the octaves allow the piano to compete with all the other harmonically dense instruments you know like the saxophone or the flute or the trumpet and so on and so forth so the octave again and let's first look at a few ways in which we can play our octaves one way is of course to play it bang on that's D with D head on the other way is you can sort of echo it okay I also call these as glass octaves right so before you start playing your melodies and stuff like that with the octaves maybe it's nice to do a few exercises first of all yeah as I showed you up and down the scale is nice another thing would be go up the scale and down the scale in threes in sets of three for example and what I'm trying to do here is I'm glassing the first accent and not playing the glass effect or the flam effect for the other one so normal accented flam normal normal flam normal normal flam normal and so on down another nice way to practice octaves is with some skipping in this case I'm skipping thirds I'm going upper third from everywhere D's third is F sharp maybe going down right and a great way to start improvising with octaves is just take that concept and just maintain like a fifth chord played in the pulse so that's one two and try to look at octaves first with maybe minims or even slower whole notes which last four counts you know and just improvise find some notes and change it and then you can go a little faster slowly it becomes very melodic change the left hand maybe do a little faster maybe a pulse any melody you know or enjoy and the more you skip like that's going to be a lot more tricky and while you play octaves another thing which I am doing which a lot of people do and as teachers sometimes we forget to mention it is we are always using that sustain pedal quite cleverly so in other words if I don't use the pedal sounds good but it doesn't have that richness it doesn't have the harmonic content which is needed to make it really rich and full so with the pedal so because there's no way I can kind of make this transition smooth right well I can do something but it it'll really look look and feel very messy so it's always good to use the pedal when you're playing octaves especially when you play it in the right hand and the pedal generally as a rule of thumb can be held on unless you're changing the chord right so just before you change the chord you need to lift the pedal and then play whatever you want with the pedal held and then lift it when the chord changes and the the the process continues and if you practice it hard it will get natural do watch my video on how to use a sustained pedal it'll be very very helpful for you where I've isolated the work of the pedal and what it can do and so on and so forth so if I go with pedal try to improvise I'm on the D major scale right and just practice all sorts of movement you could also move around the left hand to float around and play different fifth chords fifth chords will be a nice start so this is a fifth chord this is another fifth chord fifth root fifth an octave or if you're not so clear you can just play a D fifth right and as always with the octaves I'm either playing it normal or with a flam so improvise okay and another thing you can do with octaves if you watch the earlier lesson is you can add or stack up a third along with the octave and it's going to be a huge sound so if I take D D's third is F sharp right D E F sharp so you could add the F sharp along with the octave and you get a huge sound a very thematic sound and you don't have to play octaves all the time you can go to another section and then at the main part or the main epic chorus like part you can go octaves it really makes that part stand out a lot in that song so well so that's what you can do with octaves was play them you can flam them to make it more unique sounding and you can add third stacking up with the octave and last but not least along with the octaves since you have more notes to play with or at least one note at the bare minimum extra to play with you can add some rhythmic elements or some rhythmic embellishments as well and that should be your main outlook when you're looking to embellish a melody on the piano don't only look at fancy trills and all that which we are anyway is going to do in a future video but just look at the same melody and stack it up harmonically and rhythmically because how many and rhythm are things which our instrument is very very able to do let's now try and work on some rhythmic flavors so I'm just taking a D major chord in the bass and I'm just going to play D as a quarter note or a pulse okay so to make this more groovy I can sort of scatter the two notes and keep the pulse going here right and just add this as an extra almost like a ghost note and I'm also sneaking in another ghost note here you know in the left hand if you can otherwise you could practice something like this right it's still with octaves but octaves with rhythm and mind you I'm just playing one hand the next hand comes into play as well right so I'm just going to improvise a little bit and hopefully try to bring in all the elements which we've discussed in this lesson into some context some thirds so the octave generally will be taking up your thumb and pinky but then you can add some of the other fingers as well to bring in the thirds and then you dissipate the pinky and the thumb to create rhythmic effect so let's recap we started with an octave played around a scale obviously like any music is built on and first of all give yourself a few exercises to get a grip on the subject do some three sets do some thirds and so on and so forth right just get to terms with it then you have certain variations you can either play the octaves in a glassy way or in a flam way like that where you delay it slightly you can also do it with an added third making it a lot more thicker you can even add rhythm to the octaves and even arpeggiate it if you have the thirds in the middle right so this is about octaves yet another exciting way to embellish a melody and don't forget that the sustained pedal also comes into play even though you don't see me using it you don't see a lot of pianists really using it we tend to use it so you need to get used to pressing that and lifting it so stay tuned to the rest of this series on how to embellish a melody and if you haven't already don't forget to subscribe to our channel turn on the bell icon for notifications and also leave us a comment if there's anything you'd like to learn in specific cheers


I really do. What was this? Hey, I'm testing out some code from Carter. He made a co2 sensor. This is a IR co2 sensor. So it's a true co2 detector that detects parts per million. And this is a matrix portal, which is from our old adobox a couple months ago, and an RGB matrix.  We thought this would be a cool project because we're seeing a lot of teachers and students. They want to build something like this for their classroom or their workspace so they can tell when it's time to open up the windows because they need more ventilation. Or when there's enough ventilation, and maybe they can close the windows a little bit. So I'll try it out by breathing on it. You'll see it goes up from 800 to pour over a thousand.  So this is a cool all-in-one co2 detector.