Chord Construction on the Major Scale for all Instruments | Rey More | Skillshare

Chord Construction on the Major Scale for all Instruments

Rey More, Beginner to Pro Guitar Lessons

Chord Construction on the Major Scale for all Instruments

Rey More, Beginner to Pro Guitar Lessons

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4 Lessons (43m)
    • 1. Chord Construction on the Major Scale for all Instruments Introduction

    • 2. Chord Construction on the Major Scale 3 Voices

    • 3. Chord Construction on the Major scale 4 Voices

    • 4. Chord Construction on the Major Scale 5 Voices

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About This Class

This class will help you to understand in a very easy way how to construct chords on the Major scale starting with triads  Major, minor and diminished, then 4 voicing Major 7 , minor 7 , dominant 7 and half diminished Chords and 5 voicing., Major 9 , dominant 9, minor 9 , minor 7 b9  and half diminished b9 . This is only the theory you must then apply your knowledge to your instrument. Great for those who write songs. for those who wish to learn how to improvise , start getting a clear understanding of the keys and how chords interact

Meet Your Teacher

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Rey More

Beginner to Pro Guitar Lessons


Hello, I'm Rey More (aka Remo Moretto). I'm a professional musician ( song writer, guitarist and singer)

I have been teaching guitar for more than 35 years and am an RGT registered guitar Tutor ( RGT is the registry of guitar tutors at the London Collage of Music UK).

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1. Chord Construction on the Major Scale for all Instruments Introduction: Hello, everybody. I am rain more and I'm here to present you a new glass. It's called core constructions on the major scale. Um, I've been playing for more than 30 years. I've been teaching for more than 30 years. I'm a Argenti registered to order my guitar teacher. I've played other instruments also, but my instrument is the guitar. But this course here, this letter does not regard guitar records. Every instrument is how to construct chords on the major scale. Okay, we'll be doing three voices, four voices and five voices or three notes, four notes and five notes on the major scale Will be constructing. Oprah Note will be three videos that we have a three video session here. Okay. And each video. What will explain how to construct the cords on each on each on each note and in a simpler way. And a lot of teachers teach people talk about intervals. Eso they start saying major third post minus 30 equals major court. We're not gonna be doing it that way. Mine is a little bit is a little bit more looking at the keys of the notes in themselves and from there developing the court. Okay, so, uh, I'm inviting you all to join and participate. Spread the words your friends, if you need instruction on how to construct courts will be doing other classes with the minor skills also. But let's start off with the with the major skills first, and we'll see in the next video, okay? 2. Chord Construction on the Major Scale 3 Voices : Hello, everybody. This is Rehme or and today we'll be talking about corporate structures On the major scale. On duh will be three videos here. So the first lesson will be regarding three. Voicing or try as now we're constructing on the diatonic major skill or the C major scale. That's the first scale Everybody learns and we'll be talking about intervals in this case will be talking about or major intervals minor intervals or, uh, fifth perfect fifth intervals diminished with dentals. Okay, now the first thing you have to know is your 12 major keys. It's fundamental to follow the way I teach court constructing that. You know, you're 12 major geese because a lot of teachers will show you major third plus minor Third will equal major court. Now, we're not gonna be doing it that we were doing +13 and five, as you see here on each will use the pointer. Just assure you we have 1357 etcetera nine, etcetera etcetera will be constructing today 13 and five. So the triad and a ZAY said in the C major key. So we'll be talking about one and three and then one and five. So will be construction on each chord. Okay, so I need to know. Sorry, not only scored on each note. So as you see down here below, I'll show you. Here we have the what is that? A C major, right. See, and hear is starting off with D. So every time we start with a different will always be jumping and also 1/3. And then we'll go 1/5 above that. Okay, So if we're talking about lines, if a note starts on the line, you'll have three lines. If a note starts on a space, you'll have three spaces. Okay. Now, the first thing you have to know is here the trouble clef. Now what's written beside the trouble left? Nothing. So we're harmonizing the notes with natural notes. So that's the fundamental thing. This is what is going to be commanding all the time. Now, let's just take a look right away at the 1st 1 here, So let's get rid of that. So, the 1st 1 here, let's get a little bit bigger view here. We have the sea majors. See, major court. Okay. I've already done the court for you. Have you seen. We did that with 13 and five. So C major. So I, C E and G 13 and five. Now, the first thing when you do the court construction is one and three. This will tell you if the court is major or minor. So if it's a major third, it will be a major court. If it's a minor third, it will be a minor court. Okay, so what I said before regarding Sorry. Let's go down here. Regarding our are key here, we have to know our 12 major scales. But here we know that we're using all natural notes to harmonize these notes. So this is see, Let's go back here. Now zoom in again for you. So Okay, so this is C. Then we have e. And then we have G so c natural e natural and G natural. Of course, the first thing you have to know is what is in your C major scale. The C major scale contains seven natural notes journal, sharps or flats. So C and E is a major third interval. Okay. The whole idea is when we're talking about interval. So you say major. Third, Angela C to D is a tone and D t is another soldier. There's two tones this sense from those two notes. If it was a tone and 1/2 it will be a minor interval. But we're not. Once again, we're not going to be talking about tones, half tones. Uh, we're not going to doing it that way. I'm gonna show you the way it's understand. That's using your major keys. And this is fundamental using your major keys. So the C major key has all natural knows. We are harmonizing it in that the c major kill. So So everything is natural. So see, on E are a major third. Okay, then our next note would be G, so C and G is 1/5. Is that a major? Is it a perfect fifth? A diminish rift or are not manner Fifth, Once again, it's be natural. In the C major scale, the B is natural, So it is a perfect fifth. So major third and perfect fifth. So this is a major chord. Okay, All three notes are part of the C major scale. That's what you want to know. Okay, if this was an e flat it would have been a C minor chord. If this was a B flat and e flat, we would have had a diminished chord. Now, we'll get into that after now, we're gonna go to the next known and that way you'll see this better. So let's just zoom back in on onto the thing here and we'll get rid of the We get rid of that and let's go to our next chord, which is D. I've already written for you what the note in the court name is. But now I'm gonna show you how you get to that. Okay, so we're gonna zoom in again here. We have de f at a their all natural notes. Remember here there was nothing inside, right? We said that before. We have no Okay, Sharps or flats. So D and F, we have to know if that's a major third or minor Third in the D major scale, we have two sharps f sharp and C sharp. But here we have d f natural. So being f natural, the it should be sharp. If it was in the d major scale, it would have been a major third. But being an f natural. It's flattened, so it's a minor third. Okay, this is how you have to Does not want you to understand. How you doing this. So, like I said, there's a lot of teachers that teach major Third plus minor. Third is a major court. We're not gonna do it that way. We're gonna know Archies, and we're gonna zoom in on each key individually and then relate to the key that we're harmonizing it. Okay, so D f natural is a minor third. Then we have d and a natural in the key of D. The A is natural so automatically, this is a perfect fifth. And this is how we assume so Mayer, Third and perfect fifth de miner court. Okay, now let's go back and to the next one. Let's go to do E. Zoom in on the enough. So Okay, here we go. Now, once again, I'm pretty sure you get the idea of how to do this. I'm gonna explain them all for you because we're gonna get to the last one. That's a little more complicated, but it's not that complicated. Anyway, you've already understood how to do this and what that's What's gonna be your exercise at home? We're gonna do the same thing for all 12 major keys. Okay, so if you're gonna do doing in G major, your first note will be G toe harmonize. Right. And you'll have an f sharp key. So all your efforts will be sharp here. Like I said, we have all natural. Okay, right. So let's go here all naturals. Okay, Now let's go back here. Keep zooming in here, okay? So let's start off. We have e and G natural, so e natural and ji natural. So we'll be talking about the e major scale. Now, the e major skill has four sharps f, c, g and T. So the G should be sharp if I wanted a major third in this case here, the G is natural, so I have a minor third. Then we go to the B, which is a B natural. So e and B natural is a perfect fit because in the e major scale, the B is natural, So it will be a perfect fifth and we come to the point of major third and perfect fifth e minor court. Okay, now next court. Pretty sure you guys already understand how to do this? As I said, it's not hard. Uh, after you have to do, of course, do them in all 12 keys without transposing I don't want you to try, so I want to sit down and write your notes on a piece of paper and do this writing it down . That's the whole idea if you do it writing it down, um, even though you'll have the same results every time because that's that's the whole idea. The results will be the same, but you'll start understanding your keys better, and you'll start understand course. But at that point you can start developing your courts on your instrument. OK, not let's go to the F here. Let's get a bigger view here now. F major scale has one flattened. That's B flat. Okay, here we have F natural, a natural and see natural. So space space space. Remember I told you when we're jumping thirds to construct the court? If it's a line, it's always a line. If it's a space, it's always a space. So f A and C okay, F an A natural or a major third F and C natural are a perfect fifth because both notes are natural in the the F major key, and that's what we want. So it becomes an f major chord. Now, if you see I didn't write major here because when it's a major, go where we don't have to write major or minor, we just leave the note like that. And it's obviously assumed that major chord. There are other symbols I'll show you in one of the one of the probably the last lesson of this regarding the core constructions. Where, uh, I'll show you them some other symbol forces right now minor will be mining minus like m i n minor. Okay, the diminished symbol will be this symbol here. Let's go to our next one. Our next one here is the G skin. Okay, so in the G major scale, we have one sharp. It's f sharp. But of course, once again, we are harmonizing in the C major scale. So where have you the G, the B so G natural be natural and d natural. So G and B are a major chord Major third, Sorry, G and D is a perfect fifth. So this will be a G major court. Okay, remember, always think of two things. The key that your harmonizing that okay. And the key that the note originates from. Okay, let's go to the next one. A course I've already written. Teoh written for you. The, uh, minor thing. Right? So he's a minor court. You ready telling us? Yeah, I'm telling you, I'm just showing you basically how toe develop them. So next one a c and e natural. They're all natural notes in the a major scale. Don't worry about what I wrote here. This is mine isn't accord, but in the A mate, because always referring to the major skill of the notes where that no comes from that well will come from a major scare from its own major scale. A major. We have three sharps f c at G. Okay, now we have three sharps, but here A and C are natural. So it is a minor third, if it was C shovel have been a major there, but it's a steam natural. So it's a minor third and A and e's of perfect fitness. E is natural also in the a major scale. So here we said, Where we have all natural notes, right? So that's what we want. And what happens is we have on a minor scale, a minor court. Sorry. Okay, now final symbol. Let's take it here. Outline it nice and big here, and let's zoom in on that. Okay, so there you go. Be now zooming in. Obviously this towards a bit. But we're gonna have be D and f, right? So B d and F B an f natural. All natural. The B major scale has five Sharps f see g de a. So be de natural is a minor third, be an f natural is a diminished fifth. So minor, third and administrative form a diminished chord. And that's why we have be diminished now. We could also write, diminished or dim next to it, or use this little small zero appear next to the note to indicate the diminished court. OK, so that's the symbol for diminish major and minor. So minor weaken, right? I m I n or put a minus sign there. And, major, we could put also a major or the word major next, but we don't have to with the majors because they remain major. Okay? we'll see you in the next message will be adding on the fourth voice into this. And that way, you'll, uh, start to understand everything a little bit better. Okay, even though I'm pretty sure you already understood everything here, the whole idea is to get to the to get to the the court construction, Uh, for your instruments. Even if you're playing a model fonet instrument like a clarinet, you'll still be able. You also have to construct cores. You'll play them as Arpege ALS one note at a time, but you'll still be playing them. Okay, let's stop it here, and we'll see you in the next video for the way. 3. Chord Construction on the Major scale 4 Voices: and welcome back. And this is gonna be court construction on the major skill with a four voice seen construction. So we're gonna have phone for notes in the court. We've already the three voices. Try as before in the previous lesson. Now will be looking at the four voices. So basically, what we have here, we'll be doing one, three, five, and seven. Okay, so you see all these lines underneath here? 1357 Okay, we'll be adding on the seventh what we've already done. So let's just, uh let's just pick the 1st 1 here in this room a little bit on it. Harry, go. Unless on that. Okay, let's take a nice look. We have C e g m B. So we've added to the C major chord the seventh, which is a B. And this is a major seventh, because in the scale of C major in the key of C major, the B is a major seventh. We have major sevenths and minor service. This is a major seven because it belongs to the scale of C major that he of C major. So this would be called a C major seven court Now we have to add the word major here because we would just put C seven. It will not be considered a major court. It will be considered a dominant seventh chord where the minor seven will be in there if we just put C seven. So see, major seven in the case, I will have a beat natural in the Gord C seven and said will indicate a B flat. Ok, now let's get out of this one. Let's, uh, jump right to the next one. We have the D minor seven court here. Okay, Now, we had in the previous, obviously had a d f at a which was the D minor. Now we're happy that we're adding Sorry, a C see natural, Because when we look at the notes, we have to look here, here It says that all notes or natural. So this is a C natural. But in the the key of D, we have f sharp and C sharp. So are see, here would be a minor seven, and all we have to do to the name of D minor is at the number seven. If it was a major seven, we would have had to write have written D minor, major. Seven. Okay, it's very important to understand that when we have this next to D minor, we know that inside of the cord Yeah. Excuse me. Inside of the court, we have D f A and C. We have four notes. Okay, Now we'll move to the next, uh next, which is e minor seven. Okay, way go. Zoom in on that. A little bit. Not e natural. G natural. Be natural and d natural. In the key of E major, We have a d sharp. Here. We have a d natural. So we have another minor seven chord. Remember that? I said what I said before, This is a minor seven. So we just put the number seven there. Let's go to the next one. We have f major seven. This is still a little bit better, but that f major seven up way we're adding an e no to the f major chord that we had in the three. Note the Boise. Okay, Now we have f natural. A natural see natural at e natural in the f major scale. Remember, we are always talking about the major scale of the note that we're starting with and from there will analyze the notes if they correspond to the major skill or not. In the major scale of F, we have any natural. So this is an e natural. So this would be a major seven. If it was an E flat, it would have been a minor seventh, so we would have just written F seven has explained before with this. See, it's the same thing here. Here we have a major seven. So we have to write F major seventh. Or we could also use a triangle instead of major. It's another way of in the kitty, major. Okay, uh, away their symbols that we use to indicate Major ITT's Goldman. But do not use the plus side. This is fundamental that you people understand this. A lot of people mistake the plus sign for a major side just because they think that the minus side his minor plus will be major. No, it does not work that way. Plus, sign means argumentative. That means we're raising augmenting a note. We use it on the five men. Fifth, we do not use it on the seven. We cannot augment the major The natural seventh free Documenta Natural Seventh will be having the eighth note, which is the octave of the first. Okay, it is fundamentally understand that some people make this classical mistaken. I've been seeing this a lot people putting plus signs instead of major and wanted me to understand that that's made that is wrong. If I c f plus seven, I'm gonna understand f augment accord with the minor seven fr managed cord means my sharp five source f sharp 57 That's what I would see if you put F plus seven there. I would understand that I will not understand Major. Okay, it's fundamental. Do not use the plus sign in case of a major. If you wanna use a symbol used a triangle there. A small triangle indicates Major sign. OK, now let's go to our next here we'll be starting with G seven. So in the G major scale, we have an f sharp here we have a f natural okay, and now was this an F natural? That means it's a minor seven, but we have a major seven, a major chord based so 13 and five is G major so g b nds d major were adding a minor seven . So all we have to do is put number seven next to the cord. Do not put major here because it's not major. It's not a major seven chord. It's a dominant seven court. We call them dominant. Seven goes. That means my seventh is flat When I said dominant seven. Okay, I do not have a natural seven. I have I don't have a major seven. Call the major seven. We have a minor seven there. So the base of the court is major, but we have a minor seventh. So we put G seven. Okay, let's go to the next one, which is a minor seven now. Same thing here were added g saying What's happening there were added in the G. This note here g natural, not G sharp in the key of a major. Because remember, we're always always looking at the major key of the first note and from there will analyze the other No. So if g made is ah natural and we need a G shop, that means it's a minor seven. So we already have a minor based all we have to do is put number seven if it waas a major seven instead, we would have had to write a minor major seven. This is fundamental to make people understand what cores you're writing. You have to all the time, right in the correct way. I see too many errors on online and people who are studying even teachers that teach the wrong thing. That's wrong. You do not do that. Okay, now we'll go through our last one here. Okay? If you see on top of here, let's go here. Let's just get the whole thing in way. Have half diminished symbol. So this symbol, this zero, that's a little bit low, but it should be a little bit higher, but I 10 with a line going through it means half diminish. So let's just look at the court first. It was a minor. It was a diminished chord because we had B and D, which is a minor third be at F, which is a diminished fifth. So it was a diminished chord, and now we're adding 1/7 year, which is a minor seventh. Okay, a flat seven, because in the key of B, the A is sharp. We have five Sharps in the key of the major, but here it's a natural. So we're adding a a minor seven. At this point, the core becomes B minor. Seven flat five It is not, and I repeat it again. It is not. It is not, um, to be considered a diminished chord anymore. It's called 1/2 diminished. OK, but the minute scored, the diminished seventh chord is is different from this will be seen those when we when we have a new class on harmonizing the minor scales. But until then, don't worry about that. What's important is in this case here it's called B minor. Seven flat. Five be half diminished. Okay, now I I think that's enough. That is enough. It's that I think what is important again. You have to continue writing these down by yourselves. It's very important that you write them down in different keys, but do not transpose them just right the cores on sit down and write note for note. Okay, so we'll see you in the next video 4. Chord Construction on the Major Scale 5 Voices : Hello again. And this this list video now eyes our final video on the court. Construction of the major scale will be doing five voicings today in this lesson. Okay, we've already done 113 and five Onda. We did 135 and seven. Now we'll be doing 1357 on nine now. Nine is also our second notes, but we used number nine in the court construction. Okay, Some people do use to indicate the ninth note. It's correct because it's telling me what I'm so mostly played, but we must detect. Technically, it's correct. Theoretically, we use number nine. Okay, So some people will have the, um that idea of putting the the two instead of the nine there. Okay, what's important is understanding what you're playing. Okay? That's the whole idea. That's what we want to know. We wanna okay, what? What you have to do when you're constructing court. So let's just get back right back into the court. Situation is so let's go here first. Let's get big up here. Okay? Now, here we have our C major seventh chord. We're adding on the ninth in the C major key. We have one major, third perfect fifth major seventh. And now here we have the D, which is the ninth. OK, so 13579 And it's a major second major, ninth in this case here, we just right number nine instead of putting seven and nine. Okay, we're gonna put C major night because this automatically tells me that in the cord we have all these notes here. 13579 If we were just adding the ninth to the cord, we would write C major at night or C at nine. In this case here. Okay, There wouldn't be 1/7 in the way. Didn't want that. Seventh in the court. The major Sabbath in the court we would put or the seventh in the court. We would just put C at nine. Okay. No, next one. Let's take this one. We had a D minor seven once again. Here, we're adding 1/9. OK, so 13513 minor. Third, we had a perfect fifth. We had our minor seventh. Okay? And we have up major. Second major nine. Okay, So major, second interval major. Nice. Sensible. And we'll be using just number nine again will substitute putting the 2nd 7 there. So it was a minor that the seventh was flat. It was a minor seventh, Right? Because it's see natural. We're just adding another note to it. So we're not gonna use both numbers. We're just going to number nine. And when you see it written this way D minor nine or D minus with a minus sign nine. It means that we have the team minor. Seven D minor, 79 chord. So 13579 Okay, Now let's go to our next. Wanna zoom out a little bit first and then we'll zoom back in on this one. Okay? And now here we have minor seven, flat nine. Okay, now 13 minor. Third, we have were perfect. Fifth, we have our minor seventh, and then we have the flat nine because F is natural here in the e major scale efforts sharp . So it is a may a minor second or minor ninth. OK, so flat nine is what we have to put that in this case here, we would write e minor seven flat, nine, dedicated or e with a minus. Sign seven flat nine, and I we automatically understand the notes that er inside that court there. Okay, Now let's go to our next one. This is this one here. That's just Suman from out of bed and zoom in on this one. They're just to give you, uh, okay, F major night. Our court previous court was F major. Seven. We're adding G natural in the F major scale of the G is natural. So it's a major second, major, ninth. OK, so, f major nine. Remember? We don't have to write seven. Okay, let's go to our next court. Now here we have a jeet nine chord. Okay, so we had our G seven court, so we had one S o g b, which was a major third g d, which was a perfect fifth g f natural, which was a minor seventh because effort sharpen the G major key were always referring to the major key of that note, remember? And we're using that note that we're harmonizing with that here. In this case, it would be a natural. Then we have G A, which is a major second major night. Okay, Once again, we don't have to put the seven and we just put G nine. And whoever reads that cord will know that he has 1357 and nine in the court. Okay? And he will have g natural be natural d natural f natural and a natural if it wasn't f sharp. Okay, it would be a major seven. Obviously, it would be a major nine at that point, OK? And if it was in this case here, it was a B flat. It would be a minor course of G minor nine. Okay. Or if it was a minor chord with a major set will be G minor. Major seven 90 g minor G minor major nine at that point. OK, way. Don't were not encountering those those cores. Right now we're counting just these cords here. And if you transpose all these courts, all the other kids will have the same type of court My major minor, whatever it is when we, um I will do in a class regarding harmonizing on the the jazz melodic minor scales and the harmonic minor because of two different classes, they're also stay tuned for those. They'll be coming up very soon. Okay, Now, let's go back here. Let's go zoom in on the A here. A minor nine. Okay, are minor. Seven record might. It was a minor seven. All we did now was at our nine again. So 13579 Which is a beat natural in the a major key. We have three sharps FC N g R b is natural. So it is a major second, and we just put number nine there. Okay, so one flat three because it was a c natural against that C sharp. And we have the perfect fifth. And we have a g natural, which is a minor seven. Okay. And then we have a B, which is a major second, or in major nine. A minor night. Okay, let's get rid of this. I assume out a little bit and just been on the last court here. Okay? If I could get a bigger that's a little bit blurry because of the more bigger I get, the blurrier this sign gets. But anyway, let's get that in a nice way also. Let's do it from here. Okay? Okay. So we had our half diminished flat five chord gets a minor seven flat five chord before What we're doing now is adding another the life. And in this case here, let's see, Natural in B major are Caesar Sharps because we have five sharps. Okay, but we have a c natural here, so it's a minor second, we would break flat nine. So or we write be the half diminished sign with the flat nine or we write B minor seven flat five, flat nine. Remember, half diminish means minor seven flat five. We're adding a flat nine. So be minor. Seven flat. Five flat night. Okay, now, um, that wraps it up. Basically, for our our core construction on the major scale, we can go on ahead and add even the 11th. We can add the 13th. Um, what is important? What is important? Um, well, I'll do a lesson regarding courts like that after because 11th cord will have the seventh inside the cord. So seven plus fourth is 11. So the for the 11th is also the fourth, right? So that's the whole idea of intervals. But we'll be doing that in another lesson regarding all the other types. Of course, we've only worked up till the night because, um Let's say we start to have a nice complete court here for those of you who study instruments that are not polyphonic like it's ours are pianos. But you're sending clarinet, sax or whatever type of instrument. Having your car construction will be done with Arpege ALS so you'll start doing your pigeons. 13579 And a good thing to do for everybody. And this is for guitarists, for piano players, for re players, whatever you're playing. 13579 and then come back with this one here. 973 Okay, 97531 Then you go up with this 13579 And come down with this one. Then go up with this one. Come down with this one and then go up with this one. Then you go backwards and do it all over again. But doing the same thing until you get to the last AARP. Egil. So your first our vigil Going up one and coming down there. So rehearsing were on your instrument plane from one court to the other. Okay, in AARP, Egil form is a very, very good exercise and it will help you give you a clear idea of those courts on your instrument? Whether you're playing piano, whether playing gets are whatever instrument you're playing, these these type of exercise will help you to play. So, um, remember, develop all these scales on you're out a sheet of paper. Don't just transpose the cords into another key. It's always better to sit down and write what we just learned. That way it sticks inside of your head. Okay? And when you're playing, that writing will have helped you to understand better, and you will be playing with everything stuck inside your head. There's a muscle memory. Let's put it that way. Okay. Okay. So we'll see you in the next class. Our next class will be core construction on the jazz melodic minor. And I'll explain that better when we start that class. In the meantime, work on these and start working on them, even on your instruments. Okay. Remember, just grab urine. If you're playing guitar or if you're playing the piano, you can work on the cord formation by yourself, finding all the notes together, put them together and form in accord. Or, as I said another way is doing it in AARP, Egil forms a 13 playing 13579 maybe on the guitarist have a guitarist. So 1357913572 octaves and then go back, coming back with the other one. Eso from C major nine. Walked as you go back to D minor. Nine. To Walk doesn't go back to e minor Flattened and what I'm doing. Lessons on these also with For the guitar players, it's handy for for all instruments anyways. But it's just Ah, let's just say and suggested I'm giving to all you Okay, Thank you for joining this course. Please spread the word and have a great great night. Great week. Great. Whatever you're doing to take care.