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Mark M., New York

It is challenging, indeed, in a very similar (but slightly different) way to the Chester Variation. It benefits from many of the typical strategies:

Single Thought Process — what to play, doubling that bottom note, not worrying about rhythm — how to play, clapping the rhythm — eventually put together. If needed, isolate out the rhythm with counting: “1 2 3 4+ +2 3 4”

Controlling the Events / Administering the Dosage — break it down — first play only 1) RH chord w/LH finger 1, followed by 2) LH bottom note — separate exercise, play only 2) LH bottom note, followed by 2) RH chord w/LH finger 3. Practice each of those bits, separately. Get really clear that each bit is a pair of events, and in each bit the two events of the pair must learn to be played one right after the other. Finally, put them together — first bit/pair, pause, second bit/pair — since this is what the rhythm actually does. In the counting, the first bit/pair is the 4+, and the second bit/pair is +2.

Tangentially, almost all the same for Chester. Differences:
First bit/pair is 2nd-from-top-finger to top finger.
Second bit/pair is top 2nd-from-top finger to middle finger.
There is an extra note in between the two bits/pairs.
Rhythm of the FSS up/down is “1 2 3 4+ + +3 4 1” — first bit/pair is the 4+, second bit/pair is the +3.
Final two notes (“top bottom”) rhythm is “3 +” the + being right before the next 1. Originally, the final note is on that next 1 itself.

Ian B., California

I’ve gotten some “aha” moments from students once they realize how closely the LH rhythm matches the lyric/vocal. Try singing along our just playing the LH separately with the audio track.

Once the LH is learned a simple clue about the RH always landing with the LH finger 3 and finger 1 helps bring things together without trying to count.

I’ve found that even attempting to count this one can be confusing with early level students. It’s just awkward. But the rhythm itself feels very natural of matching the lyric. Good luck 😁

Mark M., New York

Ian B. Great point, I’ve also seen that help, though that’s about the first LH finger 5 of the doubled pair. I’ve seen students continue to feel challenged by the repetition of that note a moment later, since that note’s rhythm is shifted from the original as well but has no lyric to support it. This gets at the value of practicing that “second bit” I mentioned, quickly going from that LH 5 to LH 3 w/RH chord.

Leeanne I., Australia

I found that challenging too, Marilyn. Firstly, I never leave anything out. Neil has put everything in the curriculum by design. I found doubling up the LH thumb in the V section especially hard. Just keep practicing it until it clicks. What everyone else has already said, go slowly, control the events, etc.

Marilyn S., Australia

Leeanne I. No, I didn’t really want to leave it out. And I know it is there for a reason. I was just finding it hard to follow, so how could I teach it? I’ll give it another go.

Even though I have watched Neil’s video so many times, and written notes, I am still not sure of the what to play – which notes are being doubled up? (I am finding the explanations a bit hard to understand). Yes, someone needs to play it for me very, very slowly.

Mark M., New York

Marilyn S. A single extra/doubled note in each Variation. Asterisked below:

Family Tree Var, the bottom note is doubled the 2nd time you get to it: C E F G C *C E F G.

In Chester Var, the top note is doubled the 1st time you get to it: C D Eb F G *G F Eb D C G C.

The doubled note, of course, changes, depending on the position as the song goes, but the timing of the doubling remains the same.