Play Brahms' Lullaby on Gesture Synth

Map the Eight C-Major Gesture Targets

Section one is C–G7–C/E–Am. C starts on degree I in the major world with one right-hand finger. G7 moves to degree V and opens four right-hand fingers. C/E returns to degree I while changing the right hand to two fingers for first inversion. A minor then moves to degree VI, tilts into the minor wrist world and uses one right-hand finger.

Section two is Fmaj7–Dm7–G7–C. F major seventh uses degree IV, major wrist and three right-hand fingers. D minor seventh moves to degree II, minor wrist and keeps the three-finger quality. G7 changes to degree V, major wrist and four fingers. The final C closes on degree I, major world and the one-finger triad.

Practise the right-hand sequence separately: one, four, two, one; three, three, four, one. Then practise the wrist route: major, major, major, minor; major, minor, major, major. Those two short memories let each hand change independently and prevent the calm tempo from hiding a mixed or incomplete target.

• Target 3: degree I stays fixed while two fingers select C/E.
• Target 4: degree VI, minor wrist and one finger select A minor.
• Targets 5–6: keep three right-hand fingers while world and degree change.
• Target 7: return to major and open four fingers for G7.

Make Small Changes Without Sacrificing Recognition

A low-motion run keeps the hands in a stable camera region and changes only the necessary fingers or wrist angle. It does not require the hands to be close together. Leave clear space between them and keep every required fingertip visible. When moving from G7 to C/E, close from four fingers to two while the left degree moves from V to I; avoid dropping the whole right hand out of frame.

Each target still needs approximately 350 milliseconds of stable agreement. Use the 650-millisecond confirmation pause to relax unused fingers and preview the next single change. If recognition flickers, increase lighting or separation before increasing gesture size. Horizontal position and overall arm height do not select the chord, so consistency is more useful than expressive sweeping.

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Compare the Two Three-Finger Seventh Targets

At the section break, preview Fmaj7 before selecting Next section: degree IV, major wrist and three right-hand fingers. After it locks, keep the right-hand count unchanged for Dm7. Move the left hand to degree II and tilt into the minor world. This isolates the harmonic-world control because the visible right-hand quality remains constant.

The next G7 uses degree V, returns to the major wrist and opens one more right-hand finger. Close to one finger while returning to degree I for the final C. Repeat the four-target section until the right hand can hold three, hold three, open four, close one without the left wrist accidentally copying its motion.

Practise seventh-chord finger counts → · Practise chord inversions directly →

Use the Fixed 68 BPM Reference and Fix Misreads

After one stable pass without the click, enable the built-in metronome. It starts after the first detected chord and remains at the song's fixed 68 BPM. The click is a neutral timing reference, not a lullaby accompaniment. It never confirms a target, controls volume, advances the sequence or crosses the manual section break.

If C/E reads as C, keep degree I and show two right-hand fingers. If A minor reads as major, clarify the minor wrist while keeping one finger. If Fmaj7 becomes F, show three fingers; if Dm7 remains major, preserve three fingers and tilt the left wrist into minor. If G7 reads as G, separate all four required fingertips before holding.

Finish with one run that minimises hand travel and one no-Skip run that names every right-hand count. Count only the eight visual confirmations. This exercise measures quiet, reproducible browser control in classical context; it does not reproduce or assess the original composition.

Open the adjustable metronome → · Diagnose browser audio latency → · Browse all guided song studies →