Play Happy Birthday on Gesture Synth

Follow the Happy Birthday Chord Targets

The sequence moves F–C7–F–B-flat, then F/A–C7–B-flat–F. In degree terms, F is I, B-flat is IV and C is V. The right hand uses a basic triad for F and B-flat, four fingers for C7 and two fingers for the F/A first inversion.

Keep the key selector on F and read both the chord and Roman-numeral displays. B-flat may be shown with a flat symbol, while the hand mapping still uses degree IV. The exercise tests harmonic gestures, not the sung rhythm or melody.

• F: degree I with a basic triad.
• B-flat: degree IV with a basic triad.
• C7: degree V with a four-finger seventh quality.
• F/A: degree I with the two-finger first inversion.

Isolate C7 and F/A Before a Full Run

Practise F to C7 five times while keeping right-hand height and thumb position unchanged. Then practise F to F/A by holding degree I and changing only the right-hand finger count from one to two. These two mini-drills separate a degree change from a voicing change.

When both transitions are reliable, run the first four targets and pause. On the second section, prepare B-flat before the final F and let the hold indicator confirm each pose. Local match statistics are feedback for the current run, not a permanent score or account record.

Browse every guided song and drill → · Practise chord inversions directly → · Practise seventh chords directly →

Build a Steady 88 BPM Practice Pass

Enable the metronome after one accurate silent-click run. Use small movements and prepare the next degree during the current bar. Avoid marking every beat with hand height because height changes volume and can make the chord pulse unintentionally.

If you want a slower version, use the generator to record the I–V–I–IV pattern at a custom BPM. This tutorial's reference arrangement remains fixed so repeated attempts can be compared under the same target order.

Learn BPM and count-in controls → · Record a custom loop →

Correct Flat-Key, Seventh and Inversion Mistakes

If B-flat does not appear, confirm that the page is still set to F and that the left hand shows degree IV. If C7 becomes a simpler C chord, spread all four right-hand fingers. If F/A becomes F, make the two-finger quality shape clearer without moving the left hand.

Keep both palms visible against a contrasting background. If the chord labels respond but no sound is heard, check tab mute and audio output; if labels do not respond, check hand detection, lighting and camera permission.

Hear the two four-target sections as different routes back to F. The first, F–C7–F–B-flat, moves from tonic to dominant, returns home and then opens toward IV. The second, F/A–C7–B-flat–F, begins with the tonic in first inversion before the dominant and IV prepare the final root-position F. Rehearse the first chord of each section as a pair: one right-hand finger for ordinary F, then two for F/A while degree I remains unchanged. When that voicing contrast is clear, practise B-flat–F as the closing cadence. These comparisons focus on the page's inversion and flat-key goals without implying that the chord exercise reproduces the sung melody.

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