Spend $50, get $25 OFF — applied automatically.
Skip to Content Skip to Navigation Skip to Footer
Start freeJoin
Join Membership
Season 1 ·

S1E08 – Do Beatmakers Need to Know the Piano

0:00 / 0:00
This media could not be played.

Resources

Never Miss an Episode

Get new podcast episodes delivered to your inbox.

Home/Podcast/S1E08 – Do Beatmakers Need to...

The question of “Does a beatmaker need to know how to play the piano” sparks a good conversation.

Depending on if you just sample music, or create original compositions, this question can tip the scale of your opinion, but at the end of the day, I personally feel it’s extremely wise to have an understanding of the basics of piano and music theory.

We cover a variety of points to help you learn the piano from a beatmaker’s perspective, but if you’d like that visual insight to learn the piano, my course Piano Lessons for Beatmakers and Producers is always available to you.

Hope this episode inspires you to learn the piano, learn to improvise, and start making amazingly composed beats!

# GratuiTous

Beatmaking Improvisation Piano

Community

Questions about this episode

Transcript

S1E08 – Do Beatmakers Need to Know the Piano

  1. Hey, this is Gratuitous. Welcome to Music Production Made Simple, the show that
  2. focuses on best practices about music production, which is based on FL Studio.
  3. If you're wanting to become the best producer you can be, subscribe and listen
  4. weekly. You can also check out my courses, which teach you the principles and basics
  5. of music production. They'll get you up and running quickly.
  6. In addition, I also have books on Amazon and tons of music on Spotify.
  7. Always feel free to hit me up at Hi at it'sgratuitous.com.
  8. So let's get into the episode.
  9. Alright, hey, what's everybody?
  10. Gratuitous here, and welcome to episode number eight in this podcast series of music
  11. production made simple. So this episode is about do beatmakers like do we need to
  12. know the piano as a beatmaker to make beats?
  13. Okay. It's a really interesting question.
  14. It's kind of like a yes and no kind of question.
  15. I'm gonna get into it in a second.
  16. I first want to share some stuff before we get into the episode, okay?
  17. So the first thing I want to share with you is I released a free serum bank.
  18. So if you guys use serum, the actual bank is called IndAo E N D O W.
  19. It's totally free on YouTube. Again, I will leave all the links that I mentioned in
  20. this episode in this episode's page, resource links on my actual website.
  21. It's 25 free free presets for you guys.
  22. It's called in DAO, and it's a free serum bank.
  23. in addition, I'm also gonna be talking about my piano course, okay, in this in this
  24. episode. And if you guys want a coupon, just use the coupon in DAO, E N D O
  25. W. This piano course has it's been like my best selling course over the years.
  26. I've had over 5,000 students enroll into it, and it's helped a lot of people.
  27. It's had amazing reviews and stuff like that.
  28. So again, this episode is all gonna be about learning the piano and from a you know,
  29. kind of like from a beatmaker's perspective.
  30. But if you want to take the course again, just use the coupon in DAO, E N D O W, and
  31. you'll save 40%. Okay. another thing I want to share is I also bought Massive X
  32. that was recently released by Native Instruments, and I kind of got a little bit
  33. excited about it because I was like, oh, this is a new you know, a brand new VST.
  34. I was actually gonna create some free presets for you guys and put them there on
  35. YouTube for you guys, just like I've done with Serum.um.
  36. that in Dow bank I just mentioned, that's my sixth free ser bank that's on YouTube
  37. for you guys but again, I was gonna do like the same thing with Massive X, and me
  38. personally, I was actually really, really unhappy with how native instruments
  39. released the product over the years.
  40. I've never really liked native instruments for myself for for products.
  41. I've just never liked you know how their actual products like looked, how it kind of
  42. integrated with FL Studio, and I don't know, I've just never liked their approach to
  43. the music industry. The reason why I didn't like Massive X was there was no
  44. visualness to it, right? That's a big complaint you'll hear with a lot of people,
  45. especially when it comes to like the ADSR envelopes and stuff.
  46. It's just it was a static, you know, and it's like this is a huge company, right?
  47. So, like you know, they're releasing a VST that's like 200 bucks in Canadian
  48. dollars, and I was just not happy with with that, you know, which is kind of show
  49. that this was a rushed product.
  50. The next thing I didn't like was there's no user manual at the moment.
  51. So, you know, again, I was wanting to learn to create you know, presets to put them
  52. into a bank and release for free for you guys.
  53. And there's no user manual, so I didn't know how to like you know put them into like
  54. a custom folder so I could just like give you guys a download link.
  55. right at the moment, all I could figure out was it was just storing into like the
  56. user folder. I just didn't like it, okay.
  57. The next thing was there was a crazy amount of CPU usage, like when I would open it
  58. up in FL Studio, like it would take a while to load, and then for example, if I
  59. would compare that to Serum, Serum would open instantly.
  60. So it was just like, hey, this is this is not cool.
  61. This is a brand new product. You guys even took extra long, like they were supposed
  62. to release it before, but they put it on hold because that you know, I guess they
  63. figured, well, we want to make this perfect.
  64. and by no means is it is it perfect.
  65. And the last thing I want to say is so I actually have two computers.
  66. So I have one, which I'm talking to you on right now.
  67. This is like my main music production computer, it's like the beast.
  68. I actually have a video. I created a video on YouTube showing how I I purchased all
  69. the parts and I put it all together with you, and I walk you through step by step.
  70. So if you guys want to check with that video, I'll leave the link in the resource
  71. section. but I couldn't even get native instruments, like the it's called native
  72. access. That's how you use their tools.
  73. You download their software and then you use that software to install tools like
  74. that you've purchased. I couldn't even get native access to work on this computer,
  75. which is a beast, right? Like this is an amazing computer I'm on right now, and it's
  76. just like I can't even get it to work.
  77. So I actually had to install Massive X on my other computer, get it up and running,
  78. and you know, it was cool, like I like the sounds and stuff, but in terms of being
  79. ready to be released to the public, I don't think it's ready, and I don't think
  80. that's fair to the users. So at the end of the day, I actually asked for a refund
  81. for Max for Massive X, and they actually honored it, which was nice.
  82. I pretty much told them my points, and I'm pretty sure that they kind of realized,
  83. like, yeah, we rushed this. So I got my money back.
  84. I no longer have Massive X. Just to give you guys a little update.
  85. The last thing I want to share before we get into this podcast is again, you guys
  86. can always support this podcast for five dollars a month.
  87. Just come to it's gratuitous.com forward slash podcast.
  88. You guys will see a subscribe a subscribe button there, and you guys can support
  89. this podcast for five dollars a month.
  90. Okay. Okay, so let's get into the podcast.
  91. So, do you need to know piano as a beat maker to make beats?
  92. Okay. So obviously, this is like a yes and no question.
  93. Many producers can make beats without knowing improvisation, but in the long term, I
  94. personally feel it's like a hindrance because you know, you're not learning like
  95. music theory, you're not understanding chords, you're not understanding.ing how you
  96. can kind of integrate, you know, the power of music, you know, like you're you're
  97. always kind of guess with these notes
  98. Like you know, especially for myself, when I first started up, it was kind of always
  99. always I was always just kind of trying to find different notes that I that would
  100. work, but I never really knew the notes I was actually allowed to play.
  101. And at the end of the day, like the longer you put it off, like really like the more
  102. potential like you're missing, and especially if you start growing and you start
  103. working with other producers, you know, like they might know the piano, they might
  104. know some music theory, some chords, some scales, all that stuff, and you might
  105. always kind of be, you know, kind of blinded to this stuff, and you know, it might
  106. be a little bit embarrassing, like the longer you go on.
  107. So it's really important so that you understand, you know, how a piano works at like
  108. a basic level, so you can at least kind of have that conversation or you know, just
  109. talk that way, okay. So I want to talk about what's the goal of a producer playing a
  110. piano. Because if we just talk quickly talk about a classical piano player to a beat
  111. maker, okay, trying to learn the piano, there's similarities as well as there's
  112. differences, okay. And the thing is if you're trying to learn the piano as a
  113. classical piano player into your beats, this is gonna be really, really hard because
  114. as a beat maker, so this is what I feel as a beatmaker when it comes to learning the
  115. piano. So we as a beat maker, we're wanting to learn like catchy loops, we're
  116. wanting to learn improvisation, okay.
  117. Improvisation means being able to just play the piano and not know you know, where
  118. you're going, but you can make it still sound good, okay.
  119. Like you you kind of know what notes you're allowed to play, and you can improvise,
  120. you can just create a song right on the spot.
  121. That is being a beatmaker, okay.
  122. You want to learn improvisation to create, you know, catchy loops, catchy melodies,
  123. all that kind of stuff. The next thing you want to know as a beatmaker is knowing
  124. what notes that you can play at what time and in what scales, okay?.
  125. How to count beats is really really important, as well as different variations of
  126. chords, which is called inversions
  127. So every single chord has three chords, okay.
  128. So, for example, you have like the root position, you have like the first inversion
  129. and the second inversion, then it goes back to the root position.
  130. This is a really cool technique to create that same chord sound, but it's just kind
  131. of like a little little bit higher.
  132. And many times that's a really powerful trick for one, just a different sound, or
  133. for two, when it comes to mixing purposes, you can play that same chord but a little
  134. bit higher, which makes it maybe easier to mix, okay?
  135. Because if all the chords are kind of within the same notes, you know, your music
  136. can start kind of sounding you know, maybe a little bit muddy, or you know, you get
  137. a lot of frequency masking. But if you start using things like inversions, you can
  138. kind of spread those chords out a little bit and you give your frequencies, you
  139. know, kind of more space to play with, okay?
  140. It's kind of a cool little trick.
  141. Okay, so that's some of the kind of things when you know when you're trying to learn
  142. the piano as a beatmaker, those are like like the main elements that you want to
  143. learn, okay. Now I just want to talk about my piano course just for a little bit,
  144. okay? Because in all honesty, like I'm saying, it's helps so many people.
  145. And I'm just want to talk about what I share and what I teach you in that course
  146. because you know, to learn the piano, it is like a visual thing.
  147. It's gonna be hard to learn even over like this podcast episode, but I am gonna talk
  148. about some things to get you going if you do just want to learn on your own.
  149. Okay, so first of all, the course is called Learn Piano for Beatmakers and
  150. Producers, okay? It's had over 5,000 students enroll and it's been like my
  151. best-selling course. Again, you guys can use the coupon in DAO, E N D O W.
  152. You guys will save 40% off the course on my own website.
  153. Again, that's for the single purchase.
  154. So on my website, you guys can purchase the membership.
  155. It's just $10 a month. You guys get access to all the course..
  156. There's no contract or anything, and you guys can cancel anytime
  157. Or you guys can purchase the single course, and this is where you can use that
  158. coupon in DAO. Okay. So what this course teaches is what notes that you're allowed
  159. to play. Okay. Because when we look at the piano, how it works is that there's
  160. you're actually you have to actually pick a scale, okay?
  161. And within that scale, you're only allowed a certain amount of notes to play.
  162. So in inside an octave, there's 12 notes, okay?
  163. And it just repeats every single octave, whether you go up or down.
  164. So for example, if you're playing a C4 to a C5, the C5 is just higher, but it's just
  165. double the frequency. Okay. So for example, A4 is an easy one to understand because
  166. A4 is 440 hertz. If you go to A5, now you're playing 880 Hertz.
  167. So it just doubles in frequency.
  168. And that is why you can play them together and they sound like kind of like in
  169. unison. So that's a really hard thing for new producers is knowing what notes that
  170. you're allowed to play. Okay. So I'll quickly talk about the C major scale.
  171. So C major is the easiest one to understand.
  172. And that's because there's only white notes.
  173. But when I would got, you know, when I first started got started playing piano, I
  174. didn't know how to add the black notes in.
  175. And the problem was I was playing in C major, which means that there's only white
  176. notes. So you can't play the black notes.
  177. And that's why it was always sounding bad.
  178. but in the course, I break down, you know, how these scales work and how you can
  179. learn to play the piano so that you know what notes you're allowed to play, okay.
  180. I teach you improvisation with both the left and the right hand, which is huge, you
  181. know, as a producer, you want to be able to know what notes you're allowed to play,
  182. how to actually improvise, and you know, for example, like let's kind of get rid of
  183. the drum loops and stuff, for example.
  184. Like you want to be able to sit here on a piano and improvise.
  185. Okay, you want to be able to play chords, you want to know what chords that you're
  186. allowed to play and just kind of flow, okay.
  187. And then again, I show you how to play with the right hand as well as the left hand.
  188. I break down, you know, major, minor scales, major and minor chords, again,
  189. revealing how you can actually use these from a beatmaker's perspective and get up
  190. and running. Okay. Now I'm gonna talk about you know where should you start if you
  191. want to learn the piano, okay?
  192. Again, all these points relate pretty much to this course as well, okay.
  193. So, where should you start if you want to learn the piano?
  194. So, first of all, you want to learn how scales work.
  195. So, scales tell you what notes you're allowed to play, okay.
  196. So, again, like I was saying, there's 12 notes per octave, okay.
  197. But a scale, you actually only have seven notes that you're allowed to play.
  198. And depending on what scale you choose.
  199. So, first of all, you choose like a key.
  200. So, for example, let's say the key is C, and then let's say we have either go major
  201. or minor. In our case, let's say we go minor.
  202. all these scales, now you only have seven notes that you're allowed to play, and
  203. these tell you the notes that you're allowed that you're allowed to play.
  204. It also tells you the type of chord, and in addition to the type of chord, what I
  205. mean is it will tell you that is that chord a major or a minor.
  206. Okay, so again, it's it's a little bit confusing just listening when you can
  207. actually visually see it, it makes it more sense.
  208. But so the first place you want to start is to learn scales, okay, and know what
  209. notes that you're allowed to play and the chords that you're allowed to play.
  210. And the easiest one to start off with is C major because there's no black notes.
  211. And because there's no black notes, that means that there's only white notes, and
  212. that's telling you that when you play your chords, you have to make sure that your
  213. chords only have white notes. You can't add black notes with those chords, okay.
  214. Really, this is probably like the most common problem with musicians, and this is
  215. where you know, for myself, like I was saying, when I first started up, I didn't
  216. know the different notes and stuff because, like I'm saying, like when I was playing
  217. the piano when I first got started, I was playing just the white notes, and it was
  218. super easy. It was like, okay, well, I can always play these chords and it always
  219. sounds good, but I didn't know how to add the black notes in.
  220. It's really simple, it was just because I was in the scale of C major.
  221. So once you understand how scales work and what notes you know you're allowed to
  222. play, it opens up a world of opportunity.
  223. You'll now be able to actually improvise on a piano.
  224. It's such an amazing feeling, okay.
  225. And I'll pass on a really really cool tip to you guys.
  226. So every single major scale actually has an opposite minor scale.
  227. And for example, like we said, C major has only white notes.
  228. Well, actually, a minor has only white notes, okay.
  229. So it's kind of cool. So every single major scale has an opposite minor scale, which
  230. kind of makes it confusing because if you were to ask the question, it's like, well,
  231. are you actually playing in C major or are you actually playing in A minor?
  232. And a really awesome tool to visually be able to see what scales are available to
  233. you and what notes are within that scale is on pianoworld.com.
  234. So into Google, just type in piano world scale helper.
  235. And this has been an amazing tool.
  236. This is actually the tool I use with you inside of the course.
  237. Learn learn piano for beatmakers and producers, okay.
  238. And I walk through the piano world scale helper, and I show you that you know what
  239. scales that are available and how to actually see the notes that you're allowed to
  240. play. And then in addition to push it further, what chords that you're allowed to
  241. play within that scale, okay? Because again, there's a difference between a major
  242. and a minor chord. and sometimes a major chord is not in that scale.
  243. Again, a little bit confusing when you're just getting started up, but again, I
  244. break it all down for you in the course.
  245. So, this is a cool little trick that I've discovered over the years is I actually
  246. recommend learning one scale and sticking to it because since we have our music
  247. programs, it's really easy to transpose like our notes.
  248. So, for example, if we always play within one scale, you know, if you want to change
  249. it to a different scale, it's really easy inside of music programs, okay.
  250. And the reason why I say that is because learning improvisation is all about muscle
  251. memory. So we want to constantly ingrain these notes into our mind because as you're
  252. playing the piano, you want to know what notes that you're allowed to play, okay?
  253. And the thing is, as a beat maker, like there's not enough time to learn how to play
  254. the piano well and learn all the scales and make beats at the same time, okay.
  255. So, why I tell you to learn one scale is because it builds that muscle memory, it
  256. allows you to practice and you can achieve your goal of learning the piano.
  257. So I'll give you kind of a little insider's tip.
  258. So I actually like to play my music in the scale of C minor.
  259. I like the sound of C minor, I know the notes, I have some white notes, I have some
  260. black notes. And the reason why I like that is because as you are actually
  261. improvising on a piano, when you have white and black notes to play, you can
  262. actually feel on the piano where you are.
  263. But whereas when you are playing C major, again, only white notes, just think about
  264. it like you know, if you put your hands on the piano and look away, it's like you
  265. have actually you have no idea where your hands are on a piano.
  266. But as soon as you start adding some black notes in, you're instantly able to feel
  267. where you kind of are on the piano.
  268. Okay, so that's a cool little tip, okay.
  269. Again, it's all about just kind of building that muscle memory, and when you
  270. practice, you'll eventually be able to start flowing.
  271. and when you first start learning, you want to learn a couple scales, you know, to
  272. see how it all works, okay. You know, so for example, like if this is all brand new
  273. information to you, I want you to actually learn different scales.
  274. You know, go to like G major, G minor, C major, C minor, D major, D
  275. minor. Like learn these different scales, learn, you know, what's in them, learn how
  276. to play with them a little bit, okay.
  277. But at the end of the day, you'll eventually want to stick with just one because
  278. again, as a beatmaker, it's all about muscle memory, it's about improvisation, it's
  279. about knowing how to create catchy loops.
  280. And if you just stick with that one scale, it's really easy to convert to these
  281. different scales, okay. You know, really if you if you really want to get intense,
  282. maybe you want to get you wanna learn like one major scale and then one minor scale,
  283. and you want to be able to play those fluently.
  284. So those are just some tips that I have figured out along the years, and it's really
  285. helped me learn the piano faster.
  286. And again, since we have our music production programs, we're we're in total control
  287. of our MIDI notes, okay. So I want to give you guys this a little bit of a
  288. background to me when I started learning the piano, okay.
  289. So at a really young age, my mom put me in piano lessons and I I hated it, I didn't
  290. like it at all. but it did benefit me because I was able to learn like the notes on
  291. a piano and how a piano works, you know.
  292. Again, like I'm saying, so you have 12 notes, and that's one octave, and when you go
  293. up to like that same note, but just up higher.
  294. Now you're up an octave, or you can go lower.
  295. And a piano just repeats over and over like that, okay.
  296. Some of the main reasons why I didn't like the piano lessons was I didn't like
  297. playing another person's music, like that's just boring to me.
  298. the next thing is I didn't like the repetitive practicing, you know.
  299. You're always trying to learn in perfect timing, but again, at the end of the day,
  300. it did benefit me. You know, I knew how to count like one, two, three, four, stay in
  301. time, you know, especially if you're practicing with like a metronome, which is a
  302. really cool thing to do.. It allows you to play your music within time
  303. But at the end of the day, like I didn't like being forced into like you know,
  304. reading this music and sitting there and playing someone else's music.
  305. So when I first got into learning the piano, these piano lessons, I think I was
  306. probably like five years old, and I think I did it until maybe I was like seven or
  307. eight, and then I told my mom like I want to quit.
  308. Like I I hated it, okay. And then music was not really a part of my life for many,
  309. many years. It was probably near like the end of high school.
  310. A friend introduced me to FL Studio, and you know, I started making beats.
  311. and then once you know, I got like a MIDI keyboard, you know, I was able to kind of
  312. hit some notes and stuff like that, but you know, I couldn't figure out why I
  313. couldn't play the black notes, like I was already saying, you know, I was and the
  314. problem was I was playing in C major, right?
  315. So because in C major only has white notes, you can't play the black notes because
  316. you're in C major. So when you're actually making a beat, you have to make sure to
  317. pick a scale and key beforehand, and then you can start making your beat because now
  318. you know what notes that you're allowed to play, okay.
  319. So again, you know, I started making beats, couldn't figure out you know why I
  320. couldn't play the black notes, and it was kind of cool.
  321. There was a lady down my street, and at the time, you know, I was talking to her
  322. about like the piano, whatever, and she gave me actually a few lessons and she
  323. explained how chords and scales worked.
  324. Okay. So now I was, you know, I understood why I couldn't play certain notes within
  325. certain scales, you know, the whole problem with C major being white notes only.
  326. And it was now up to me to practice improvisation, okay.
  327. So now I was able to understand the notes that I'm allowed to play.
  328. Now it's just a matter of learning, you know, different rhythms, different melodies,
  329. and how to incorporate kind of like the left and right hand.
  330. now the right hand was a lot easier to understand for these different chords and
  331. different inversions. The problem was it was really hard to blend like the left hand
  332. into the equation of playing like with the right hand.
  333. And the reason for that, like so you know, with the left hand, like I didn't know
  334. the different techniques I could play like for fullness, like with the left hand, or
  335. how to blend like the right and left hand together, like smoothly, and just in
  336. general, it was hard to play like the left and right hand, you know, at the same
  337. time. So, this is why I'm trying to tell you that muscle memory is extremely
  338. important. And the cool thing with muscle memory is after a couple months of
  339. practice, like you will find like there's like that one day that will come where you
  340. feel like a huge improvement in your skills, okay.
  341. And it takes a lot of practice to actually feel this result, okay.
  342. So, for myself, like you know, I usually practice the piano every day.
  343. I usually just sit down, and even if it's just like for 10 minutes, it's just a
  344. matter of just constantly keep moving your fingers on the keys and understanding and
  345. just keep practicing, and then eventually, like I'm saying, like that one day will
  346. kind of come where you it's kind of like a milestone.
  347. You're all of a sudden just like, oh, like it's all kind of flowing a little bit.
  348. I'm starting to understand. Now, I'm not saying that you're that you're becoming
  349. really good, I'm just saying that you know, for your own practice, all of a sudden,
  350. like you'll you'll kind of start to feel like this improvement come upon your
  351. skills, right? And as you continue, you know, you it will keep growing and growing,
  352. and you'll get better and better and better.
  353. Okay, so again, that's why I say, you know, you want to learn like one scale and
  354. practice it to build this muscle memory so that you can really push forward and
  355. really you know excel with the piano.
  356. Okay. So where I am today now, even speaking to you right now, so now I can actually
  357. improvise on a piano very well.
  358. I can create melodies which are tailored to beat making.
  359. So I just want to share a quick demo reel I created just yesterday.
  360. for my premium serum presets. I'm gonna be selling it on ADSR sounds and stuff like
  361. that, and in order to, you know, sell these presets, typically you need to create
  362. some type of demo, you know, to kind of present the presets and like show what
  363. they're capable of. And you know, I created this in about maybe an hour, an hour and
  364. a half. Okay, so here it
  365. is,
  366. you can't make a
  367. okay. So I hope this episode inspires you guys to learn the piano.
  368. Again, you guys can check out the this episode's resource links to view the course,
  369. the learn piano for beatmakers and producers.
  370. Again, you guys can use the coupon in DAO, E N D O W to save 40% off of the
  371. single course purchase on my website.
  372. There's also the free serum bank I shared with you, it's also called IndAo.
  373. the reason why the coupon is the same is just to celebrate the release of the serum
  374. bank. And again, you guys can save 40% off of the piano course.
  375. You know, again, I teach you all about how to improvise as a beatmaker.
  376. I've had over 5,000 students enroll.
  377. I've had so many five stars reviews to that course, and it's helped a lot of people.
  378. Okay. You guys can always email me at high at it'sgratuitous.com if you guys have
  379. any questions with any of this stuff as well.
  380. Okay. also I'm gonna be leaving a link about you know my custom music production
  381. computer, how I put it all together, and also if you guys want to check out my
  382. premium serum bank, it's called Premium Serum Presets Volume One.
  383. by me, gratuitous, okay. So I hope you guys like this episode about learning the
  384. piano. Again, it's hard to actually show you guys just by talking, but in general,
  385. that's the kind of stuff that you want to learn, okay?
  386. So you want to learn, you know, how to create catchy loops, how to improvise.
  387. You want to know scales and the notes that are within that scale so that you guys
  388. can improvise. Then like you know, like the actual notes that you're allowed to play
  389. within your beat. again, a cool trick I've just discovered over the years is you
  390. know, especially being a beat maker, is just learning one scale, sticking to it, and
  391. really building that muscle memory because it's really easy to transpose your MIDI
  392. notes to whatever you want once it's actually in your computer.
  393. It's just all about learning these melodies and creating catchy loops, right?
  394. Because then once it's in your computer, then it's up to you what with what you want
  395. to do. You can change your sounds, you can change notes, you can change their
  396. lengths, etc. etc. Right. So, again, hopefully you guys you know get inspired by
  397. this. Hopefully it improves your piano skills.
  398. I'm gratuitous. Thanks for checking out this episode, and then I will talk to you in
  399. the next episode. Thanks for checking out the episode.
  400. If you had any questions, visit it'sgratuitous.com slash podcast, select an episode
  401. and submit your question at the bottom of the page to the contact form.
  402. If you'd like to take my FL Studio courses, see my current studio and podcasting
  403. gear, read my books or are interested in lessons.
  404. Visit the link it's gratuitous.comslash learning.
  405. That page will redirect you to more info and resources.
  406. I hope the best with your productions.
  407. I'm gratuitous, and I'll see you in the next episode.
GratuiTous Radio Start free Join Membership 0:00/0:00