Chords 104: Putting Everything Together | Elvire Boelee | Skillshare

Chords 104: Putting Everything Together

Elvire Boelee, Pianist

Chords 104: Putting Everything Together

Elvire Boelee, Pianist

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7 Lessons (42m)
    • 1. Introduction

    • 2. Recap

    • 3. The Dominant 7th Chord

    • 4. Learning Intervals

    • 5. The Sus2 Chord

    • 6. The Sus4 Chord

    • 7. Improvisation

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About This Class

What you'll learn:

In this final course of the series we're learning some special chords: the dominant 7 chord, the sus2 and the sus4 chord.

We're also taking a look at all the important intervals of the piano to make sure that even after watching and applying the knowledge you've learned in this series, you're able to continue learning more complex chords on your own. 

In our last lesson we're going to take all the knowledge from the whole course series and make a little improvisation using all the chords we now know. 

Course Layout:

Lesson 1: recap: In the first lesson we're taking a look at everything we've learned so far in the series, the major chord, the minor chord and all their inversions

Lesson 2: In this lesson we're going to learn the dominant 7 chord, which is a very often used chord. We're also going to learn it's three inversions.

Lesson 3: We're going to take a look at all the important intervals of the piano which you can use after finishing this course to find any other special chord on your own.

Lesson 4: We're going to use our new knowledge of intervals, namely that of the second and use it to find our sus 2 chord.

Lesson 5: We're going to use our knew knowledge of fourths in order to find the sus4 chord

Lesson 6: I'm going to show you how you can improvise using all the chords that we've learned in the course so far.



* For the cheat sheet I mention throughout the course, I have attached it in the project section.

P.S. I'd love to see you upload your own little improv in the project section:)


Meet Your Teacher

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Elvire Boelee



I started playing piano at the age of 6 and basically I've never stopped. I started winning prizes in competitions at just 11 years old, and at 19 I started studying at the Prins Claus Conservatory in Groningen (the Netherlands). I received my Bachelor degree in Classical Piano, and I've been teaching at the Music School Kunst&Coo (Art&Co) since January 2014. There I'm teaching piano to a little over 30 students of all ages and levels. It's from my students that most of my ideas for my Skillshare courses come. 

I've been drawing since I can remember. After choosing the Conservatory over Art school, art has been a little on hold, but I've recently started up my dream of trying to improve my art skills so that I'm able to depict all the stories and images music gives me.&... See full profile

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1. Introduction : Hi and welcome to the fourth course in my chord series, chords 104 putting everything together. In this course, I'm going to give you a quick little recap of everything that we've learned in the course series so far. We're going to quickly take a look at major chords, minor chords, and all of their inversions. After that, we're going to look at several special chords. We're also going to explore intervals, which means that even after watching this course and getting the hang of all basic and most common cores, you can go ahead and go out on your own and find any course that you like because you have knowledge of intervals. In the last lesson of this course, we're going to put together the knowledge of all chords in a quick little improvisation. The special chords that we're going to learn in this course are the dominant seventh chord, which is a beautiful and very often used chord. And we're going to learn both the sus2 chord, which is a favorite of mine, to give a little color if you have to play repeated chords. And the Sus4 chord. These are all nice and simple chords that you can use in-between your major and minor chords to give your composition or your improvisation or whatever you're working on to give it some extra color. After watching this course, which is the last of my series, you will have the most basic and most commonly used knowledge of chords. Of course, theoretical and practical knowledge are different, so don't forget to practice. I wish you a lot of fun with this course, and I hope you'll join me for the first lesson in which we're going to take a look at everything we've learned so far. See you then. 2. Recap : Hi and welcome to the first lesson. In this lesson, I'm going to give you a short recap of everything that we've learned in this series so far. Now let's start with a major chord. The major chord or the major triad. I will use these words interchangeably. So they mean the same thing, whether I'm speaking about the major chord or the major triad. The major chord consists of two thirds. So in order to explore the major chord, first, let's refresh our memory as to what Thirds are. A third is the distance of three. So if you count from the first node, for example, if you started to see that's 123, this is a third. Now you have a large third, a major third, and a small or minor third. And you see that the major third, the larger distance in Psalms heavy, and the smaller distance in Psalms sentence. So we have the major third that we have the minor third. Now to help you count the major and the minor fared very precisely. I always say that a disk, a major third, has the distance of two whole tones. So that means between the C and the D whole tone. We can see that because there's a half tone, a black key in-between and between the D and the E is also one whole tone. So the major third has two whole tones. The minor third, that's a distance of 1.5 tones from the c to the d is one, and from the d to the flat is half tone. I will add a little cheat sheet for you so that you can always check to if you forget, if you happen to forget what was the distance of a major third? What was the distance of a minor third? I'll add that for you. So until you remember, until you learn it by heart, you can always check that little sheet that I make for you. Okay, so the manger triad, it starts with a major third first, followed by a minor third. He's seen as a distance of a half. There's no black came tween. And the distance of the F22 that g is a whole. This is a minor third and our major third, if you stack those on top of each other, you get your major chord. The major chord, and that's immediately jump to what we've learned in our previous course, in course 103. The major chord can be played in three different ways and we call those inversions. We have the basic position. Then we have the first version. The first version, you'd find it by just putting this lowest note and making it the highest note. In other words, just put your thumb on the second note only and the second node of the major chord. And make sure you pay the same notes. So once more, because I think that was a bit quick, we have our major triad, and now let's add this note, the lowest note, and make it our highest node, which means we have to move the whole hand. That's our first inversion. And now, in order to find our second inversion, we take this note and we put it up. We play the same note. We can do it in three different ways. In all three of those cases, you play scene. G, E, G, C, But there's still the same, it's just a different order. And G, c, e. So all the same notes in a different order. And why do we play? Inversions will dance because this sounds very disconnected, whereas this sounds very beautiful and very logical. So that's the C major chord inversion of G and a C major chord. And this was just a C major chord, G major. And so when they're far away from each other, they sound disjointed, they don't sound logically connected, and that's why we have inversions. Okay, so we've discussed the major chord and we discussed the inversions of the major chord and the minor chord we find in almost the same way. We just changed the order of the thirds. So instead of having a major third first, we have a minor third first, followed by a Major third. So both are major ender minor cord. They consists of a major and a minor third. So they have a mix of both. It just matters which one comes first in the major chord, the major third comes first, that's quite easy to remember. And then in the minor chord, the minor third comes first. Let's take a look at that real quick. Now, in order for us to find our C minor chord, we just find a distance of 1.5. Once again, if you don't know it by heart, Jed, just look on the treats, shoot, every time you're trying to find a chord. First, find that this is a one between the C and a. D is one because we have a half tone in between. That's how we know that this is the whole tone. And then from the deed to the E-flat is a half tone. So 1.5 tone that forms our minor third, followed by a major third, because otherwise you could do to minor thirds is going to sound on. So our major third, we are trying to find out because we have to find a distance of two. So we go from the effect of the ESA half tone, from the e to the m is a half tone, you see, because there's no black key in-between, that's intelligible. A whole tone, we need one whole tone more because we need a Major third. So from the F to F sharp is a half drunk. We have 1.5 tonal, 1.52 more to go from the F sharp to G is a half joan. That means from our E-flat toward g, r, two whole tones, that's our major third. So first comes the minor third, then comes the major third, and that is our minor chord. And as with our major chord, with our minor chord, you can also play the inversions. So we have the basic position and then we have a first inversion. By putting this lowest note Pi, we're still playing the same notes. We're still paying E-flat, G and C just in a different order. And the next one we found by putting this E flat on top. So we're still playing the same notes to the G, the C, and the E flat, just in a different order. We have that basic position, first inversion, second inversion. Okay, so that was in a nutshell, what we learned so far in this series. Now in this course, in the next lesson, we're going to explore some special chords. So the major and the minor chords, they're very, very useful and they're the most common. And you can pretty much play any song with them. But if you want to make it a bit more interesting and a bit more specific, your after more specific kind of sound. You also need a little bit more complex chords. And I'm going to teach you one of the most common, but a little bit more complex chord in the next lesson. See you then. 3. The Dominant 7th Chord: Hi and welcome to this lesson. In this lesson we're going to go and we're going to learn a more complex chord, the dominant seventh chord. The dominant seventh chord is one of the most US and more complex courts, but I promised is not that difficult to learn. All we need is our knowledge of major and minor thirds, and then we're good to go. Okay, so let's explore the dominant seventh chord. So the dominant seventh chord is a type of seventh chord. There are a lot of seventh chords. The seventh chord is simply the stacking of three thirds on top of each other. For our major and minor chords, we have a stacking of two thirds on top of each other. For a major chord, we have a major third and then a minor third. So those are two thirds stacked on top of each other. If you add one more to that, you have a seventh chord. Now depending on which thirds you stack on top of each other, you are seventh chord will be different. There are tons of seventh chords simply because we have a very large culmination of which thirds to stack. And I'm not going to teach you all of them simply because they are more common in a lot more complex time of music, I'm only going to teach you the most common of the seventh chord. And that is the dominant seventh chord. Okay? So in order to find our dominant seventh chord, it's very simple. We're gonna take a major triad. And on top of that, we're going to add a minor third is makes up our dominant seventh chord. It sounds so cool. Now I know that one a little bit fast, so don't you worry, I'm gonna do it again. We have our major triad, so don't do this with a minor triad on two because that's chord. It also sounds organized, but it's a different chord is not the dominant seventh chord is a seventh chord however, so feel free to experiment if you love how this sounds, just stack different types of thirds on each other, you'll get all types of different seventh chord. But whenever you see a seven in the top corner of a core, that means they want a dominant seven because it's the most used of the seventh chords. Okay, so let's take our major triad and we're going to stack on top of this. So on top of the upper node we're going to stack a third, minor third to be specific, and I'll remember to find our minor third, we always have to travel 1.5 tone up. That is the easiest and best spill proof way to do it. So one tone between the G and the a is one shown. Remember whenever there's a black key in between the white keys, there just one tone. So that is our whole tone up. Now we just need a half tone word. There we go. That is our dominant seventh chord. Really cool. Now of course, you might have already come to the conclusion that just like our major and minor triad, our seventh chord can also be played in inversions. But remember, because we have an extra third, it also means we have an extra inversion. So let's explore those inversions now. We have our basic position, and now we do exactly the same thing as we've done before. In order to find our first inversion, we're gonna put the lowest note up high. So we're going to move our hand. The second note, the E is going to be where our thumb is this time. And we're going to make all the same nulls. We're still playing E, G, B flat, and C. We're just saying them in a different order. That's our first inversion. So we have our dominant seventh chord, and we jump on over to our first inversion. In order to find our second inversion, all we have to do is put our E, a bunch. We're still paying. It's where big G, B flat, C, and E. Now, I remember that I in the beginning had a lot of trouble remembering actually which notes I had to play. So I would write them down on a piece of paper for myself while I was practicing. So I could always check if I was playing the right inversion enough, just some other cool chord. So feel free to write for yourself just on a little piece of paper, the notes that you make up your dominant seventh chord on C-Major. So is your C dominant seventh chord, which is C, E, G, and B flat. So just write them down if you're having trouble, like me remembering is the beginning. So we had our dominant seven. We had our first inversion, second inversion. And now we're going to go to our third inversion. Remember we have one extra inversion because we have one extra third stacked on top, so we have more possibilities. Let's put this lowest note, bone high. That is our final inversion. You see what happens if actually I put this nodal pi here. We have the basic position again, just an octagon, an octave higher. Okay, so practice around with that practice around finding all kinds of dominant seventh chords on all kind of notes, because we did it with C Major. Now, always remember that you have to use a C major triad. We did it with C Now, but you try it out with G, tried to find a dominant seventh chord on D. And also experiment with different types of inversions. And like I said, if you need to write the notes down, feel free to do that. It's all about getting the hang of it. It's all about practice. And B next to yourself while you're practicing. Practicing should be, you know, it's hard work, but it also should be pleasure. So feel free to use any kind of help that you need. I think that was all for now for the dominant seventh chord. And I hope that you're seeing that once you learn the distance of a major and a minor third, that is very easy to find different courts. And that is why in the next lesson, I'm going to discuss intervals with you because that means that even beyond watching this course while you're getting the hang of all these basic kind of very common cores. If you want yourself to go further and to find all kinds of special chords, if you have the knowledge of intervals, you will be able to do that by herself. That's why we're going to explore intervals in the next lesson, I'll see you there. 4. Learning Intervals: Hi and welcome to the third lesson. In this lesson, we're going to explore intervals. And we've already explored intervals throughout this series because we've been talking about thirds, but thirds are only one of the many intervals that we have on the piano. And it's very useful to get to know these intervals so that you can later play around with more advanced chords yourself. Learning intervals is actually not that difficult. I, however, it might be a bit tricky to remember all of them at the beginning. So I'm gonna make you a cheat sheet, just like I told you at the beginning, I'm going to make you teach sheet with the distances of all intervals. And you can practice them with this cheat sheet until you know all of them by heart. Let's dig in. Ok, let's start exploring the intervals. The first major phone that we see is called a prime. And it consists of only one note. So I would say they're saying that that is the easiest. We of course never use it. The second interval is called a second. And that's pretty easy to remember. Now, just like with the third, we have a small second, minor second, and we have a large seconds, a Major Second. A small second isn't just a half tone. And don't you worry, I'm going to write these down for you so you don't have to remember them at once. 2.5, that is our minor second. Major second is a whole tone. I told you that we're going to explore interval so that you can later on, if you want to find more advanced chords, just have an easier time of that. But knowledge minor in a major second we're going to need actually in our next lesson already. So after the second we have the third, the minor third, and the major third we've already discussed is the minor third has a distance of 1.5, and the major third has a distance of two whole tones. Ok, so after the third, we get the fourth. The fourth is a distance of one. So between the seen the a0 is 1.5. That is our fourth. This week called null fourth, we call a perfect fourth. You can also have an augmented fourth, which means half a tone higher, so three whole tones. But that's not very often used. So I'll write it down for you if you ever need it. But I want you to remember for now just perfect for perfect fourth is a distance of 2.5 tones. We move on to the fifth. And as with the fourth, we also don't speak of a major fifth. We speak of a Perfect fifth. This is our perfect. That is a distance of 3.5 tones. So we go a whole tone. Another whole tone, that's two whole tones, plus a half tone, 2.5533. That's our faith. We can have a perfect fifth. We can have a diminished fifth, which is half a tone lower, or we can have an augmented fifth which is half a tone higher. Now, just what I told you with the fourth, you don't have to remember these. I'll write them down just in case you need them with advanced chord searching. But they're not very common, so don't worry at first about them. Okay, just let's remember the Perfect Fifth. After that, we have our six, and that is a distance of 4.5 tones. We have this, we do call the major again major six, and we have a minor sixth, which is half a tone smaller. After that we have our seventh, which is sounding quite a bit dissonant, and which is just before architect, you've seen just half before our Octave. And we have a major seventh. And we have a minor seventh are minor Symphony is actually the distance between the first tone and the tone of our dominant core. Do you see this or didn't go too fast? So if you look at the distance between our first tone in our last tone in our dominant seventh chord that we learned last lesson. You can actually see that we have the distance between the first and the last tone is a small seventh. That is why we actually call it a seventh chord because the, the, the lowest and highest tone makeup a seventh. That's our dominant seventh chord. And after our seventh, minor seventh are major seventh, we actually go back to the octave, and Octave is just octave. There's no large or small Octave. We're diminished or whatever, it's just an octave. Now we'll, distances are very useful. But as you know, I learned all chords and intervals byte here. And I do think that you should definitely try to hear how your interval sound. And in the beginning you might feel like you want to count them out, but later on you might get used to how they sound and you might more rely on your ears. And eventually, the step that you want to get to is that you know them all by heart, all this, neither are only useful if you don't have to spend ten minutes counting out every interval. But be patient before that happens, count them all. Use your ears. And yeah, just break this a lot until you load them by heart. That was all for this lesson. Don't worry, I made this little cheat sheet. You could always check it out. I'll write the distances down for you. And in the next lesson we're actually going to put your new knowledge of intervals to use. Hang on some knowledge of the seconds and of the force we're going to, we're going to need them in the next coming lessons. And in the next lesson, I'm going to discuss one of my favorite chords with you. See you then. 5. The Sus2 Chord: Hi and welcome to the fourth lesson of this course. In the first lesson, we had a quick little recap of all the things we learned about courts so far in our previous courses. In the second lesson, you learned one of the most common cores that isn't a major or a minor chord, the dominant seventh. In the third lesson, we discovered all the intervals, all the important intervals of the piano. And now in this lesson, we're going to use the intervals that you've learned in the previous lesson. We are going to use them. Find two chords that I like to use very much, the SIS, two chord and the sus four chord. In this lesson we're going to learn the SIS two chord, the SAS to corn and the sus four cord. They both are, the SIS stands for suspended, and that is because they are chords that one to resolve. So the SIS two chord wants to resolve to a normal C-Major chord, for example. So because it, it creates some kind of tension, you know, you create tension and you resolve it. And the tension you create, you call the suspended core so the SAS, Sus chord. So let's see how we can find this chord. Okay, so if you remember previous lesson, we learned what a second is. We learned what a minor second isn't what a major second is. So I want you now to put the video on pause. And, uh, once you to see if you can find the second major second from the C, I'm going to give you time for that and then I'll come back to you. Okay. So I'm assuming you put it on pause and found your second, our second from the sea or major second is the dean. Because it is a distance like if you want, you can use the cheat sheet. It's a distance of one tone between the SI unit is one whole tone. You want to find a minor second is the distance of a half tone, but we don't need a minor second for assess chord. For our two chord, we need a Major second. So this is our major seconds instead. So the second you're paying, instead of the normal C major, normal C-Major would mean deaths, right? But instead, the third, you're playing a second, you no longer have the distance of one note in between, like you have with a major or minor chord. You don't, you actually have a different set of distances. You see you have no distance between the first two nodes and you have two keys in the distance between the second and the third note. So one more time, instead of a major third, you're playing in major seconds. So you still have free noughts, but they're divided differently and you create a suspended, you created tension. So you create some nice engine. You can resolve into the C major chord or into another court. And it's that simple. You see with your new knowledge of thirds of seconds of fourth, fifth, sixth, seventh, with the distances, you can easily find whatever special chord you want to find. Even though I would advise you first practice really hard the courts you've learned in this course so far. So the major chords with all their inversions, the minor chords with all their aversions, the dominant seventh chord with all its emergence. And now the SIS two chord, if you feel like you've already got a hang of all those major chords talking about convergence actually, let's see the inversion of our six chord. Now. If you want to find the inversion of our S2 cord, all we have to do is the same thing we've been doing until now within versions, we're gonna put this one, we're going to put it on top. And then you get a very beautiful suspended inversion. We want to see that this one's very much to dissolve to this one, to our G-major. So this one wants very much to do solve that way. These chords, that's why I like them very much. They create a lot of color and variety in your plane. For example, if you have to play three times Major chord, right? C-major, why not play C-Major sustained two. And then C major, it just creates a lot of more variety. You know, it's fun to play with these things. And they're easy to find now that you know your intervals. And let's take a look at our next inversion. So we had the, the bass line write the basic position or first inversion. And then to find our next inversion, all we have to do is put this lower note, put it up here. And let's see, it wants to resolve again. It wants to resolve to the G major dc. This is our D Major chord. So we have our SIS two chord with its two inversions. And because we have three notes, we have two inversions. Because we saw that with the dominant seventh. Chord. Chord has four notes. We have more inversions of course, but we have only two versions for discourse. So we have root position, first inversion, second inversion. And they sound so beautiful. Play around with that, I would suggest, but don't play around too long because in the next lesson we're going to learn the sus four chord and then we're going to combine them altogether. And that's where it becomes really fun. See you in the next lesson. 6. The Sus4 Chord: Hi and welcome to the last lesson of this course. In this lesson we're going to learn the sus four chord, which is very similar to the two chord. And which is also like I explained in the previous lesson, a suspended chord, that one's very much truer zone. It's not a coordinate, you can just leave hanging in the open. I mean, a C major chord sounds kind of like a good beginning and end, but the suspended chord has to go somewhere. Okay, so let's take a look at how we find our sus four. And it's just as easy as how we found our suspended to court ourselves too. So we're gonna take a basic C major chord. And remember with our previous, with ours chord instead of the third, we actually played a second. That was how we founded our SIS two chord. And what we're gonna do the same thing, but instead of with a second, we're going to do it with a fourth. That's why it's called a sus four chord. So take a basic, or we're drinking C-Major. And instead of the third, instead of the, instead of the third that we're playing, we're playing a forth. Now in order to find our fourth, we need to go to and a half tones from the sea. We have to count 2.5 tones from the C. If you have really great ears, you can just find a fourth. But I would always recommend because sometimes it's a bit difficult to hear. I would always recommend to count it out, because counting will go very fast once you get the hang of it. And it's a really great way to make sure that you're getting the right chord, that you're playing the right intervals. So count out 2.5 tones from your seat in the c to the d is one shown from the d to the e is two toned and a half tone is the f. Remember, because there's no black key here in between. So that's our fourth. And remember we're taking the basic C major chord and incentive the third remain the force, which means that this is our SIS for court. Let's do the same thing now, but with a different chord. Just to practice, let's try it with G-Major. Okay, here is our G-Major chord. Let's do the same thing now. Let's find, so instead of the third, we're supposed to play it for. Now. Remember fourth is a distance of 2.5 from the lower note from the g. So from the G to the a is one tone from the age of the bees to tomes. And from the b to the c is half a child. But this is our SIS for, but this time it's in G major. Now let's take a look at the inversions of our sus four chord. I'm going back to C major again. Let's find the first inversion. We do that by putting this lowest note up high here. And now we have our first inversion. It wants to resolve to our C major once more. You see that this is C Major. Now this is a real great exercise for you. You see here we're combining in this course all the knowledge from the previous courses. Our sus four chord, C major, C major sus four chord wants to resolve to the first inversion of our C major chord is C, this is the first inversion. How do I know that if you put this upper see, ride back down here, you get to our major triad. I hope this is not getting too complex for you bond. I promise that if you practice it will all become more clear. And don't forget that if you have any questions at all that I'm very happy to help you just leave a comment or send me a message. Okay, so we had our basic sus four chord. We had our first inversion. It wanted to resolve to our first inversion, C major. And now let's find the final inversion we were hearing. This was our first inversion of the sus four chord. Let's find all the final version by putting this one at pi. And this once again to dissolve to the second inversion is time of C-Major. Oh, see this. This is our second inversion of c major because if you put this g up here again, have a major triad. Okay? So we have our SIS for, we have, are such for 4 first inversion. We have our SIS for second inversion. Now it's time to put them altogether. Let's play around. 7. Improvisation: Okay, now let's do a little improvisation from everything that we've learned. So let's use all are chords that we've learned so far. The major, the minor, the Sus chords, and the dominant seventh chord. So I'm going to start just in a comfortable tonality and want to start with C-Major. And like I said, if you have to repeat several times C major, why not mix it up with some Sus chords? So that's also, of course a lot more interesting than just. Also sounds nice, but it doesn't sound as colorful. So let's do an a. You can start with the subsidy board. So I'm doing SAS to C major, C major. C major, C major. And what I'm doing in the base is I'm playing the octave. I'm playing the octave of the court I'm playing. So if I were to play a G major, I would play the playing a G in the base, as you see I'm playing Now, the first inversion of G-Major. You see that if you put this one back here, who just get the root position, the basic position of G-major. And if I were to be playing a major, I would be using an object in the base. Of course, you could do anything, you can play, anything you like to play in the base. But playing octaves is kind of a beautiful and basic way, easy way of filling up your sound. I suggest you start with playing octaves and later on experiment you can also play, for example, if you want to make false, if you want to make a vault, then that's the way to go. And you could also, that's a broken C-Major chord. You know, you blinked, you play the C verse and then you made the rest of the chord. So you can experiment around with that. But I suggest start with the Oxo. I use it most often when I'm playing chords. I usually just throw in my oxygens and it always sounds beautiful entities. Okay, so where were we? We were at our C major chord. And to spice it up a bit, we were using some subsequent words. Now let's move on to a minor, throwing a minor chord. Okay? So I'm repeating the same Petra and I'm doing against cis to and sus four. But you see that just doing it in a minor chord, just doing an into different chord. It sounds very different. So let's start off again and our C major. So as for the name of Miner, SAS to a minor, so s4, a minor. Let's go to you see how I'm doing this by year I did. This is not all script. I'm just improvising something. And I thought that after a minor, I would like to go to G. But I find it a little bit too mellow. So how about we try to go to F-minor instead, I like the sound of that. So two plus four. Let's now throw enough dominant seven. That's our dominant seven sounds paradise. And where are we going after this? I don't know what would some lines let me try. Yes. So you see I, this one, F, one, F, sorry, F dominant seven. Then G, And then, so that's a little bit too simplistic. So let's play around with that a little bit. I just realized I said F-minor. I'm sorry, I meant F-major. So after miner. So to answer square, this is F Major. I apologize. Instead I've monetary, it's carrying major. If you are doubting by the way, because, you know, some people can hear that some people can't. But just do something to compare it to. For example, make a minor. And you hold it here to difference. You've seen some courts have a very distinctive minor sound and some courts have a less distinctive minor sound. And that's why I always advise to count it out. It's failed proof, you never can fail. This is 1.5 after the eight lambda. Uc is your mere Weiner, your F minor chord. And if you make it to hold, It's your major, F at major. So we were start over. We were going to from the F dominant spectrum, the gene. And we can also make it a dominant as I'm doing now. And you see that I'm actually making the notes together. So I'm hoping this would have been in that way. You can make a melody out of them. If you play, could play a broken chord, you can play a melody out of them. You can also do that by the way, with the subscore. So instead of paying, you complain. In that way, you can create a melody and we're just improvising now. But of course it's also comes in handy if you're trying to write a composition yourself. If we were still at the F dominant or something like that, I'm not completely satisfied with it, but because it's just in broth, we're gonna leave it at that. Let's do it altogether now. Or you saw I did a wrong base note there. It's good that you actually listen to what I'm doing wrong. The reason that didn't sound good is because instead of an, i was playing an F dominant, I should have made an F in the bass, but a bit accidently, the Gs, and that's why they sounded weird. Okay, so let's do it one more time is half mistakes, of course. Something like that. You know, this is a really fun way that you can play around with the cores that you've learned. So I think that was a real nice improvisation in which we could see how could you use these chords in practice. So not only can you play pop songs, because they are usually revolving around very common, very basic chords, usually just some major and minor chords, Those are the most common. You do see a dominant seventh once every once in awhile, but that's about it. Most pop songs are revolving around pretty simple courts. But you can also make up your own songs or just sit behind the piano and improvise, you know, these chords give you a real kind of structure to work with. And you can always, I'll list a few chords that sound beautiful next after each other, but you could always experiment. That's also the fun part. So that was it for this course and this course series also. This was the final lesson of the whole course series in which we learn the major chords, the minor chords, the dominant seventh chord, and the four and SAS to court, we also learned all the inversions and we took a look at intervals which will come in handy for whenever you want to find more chords. Because there are still a lot more courts. But as far as course goal, I really think that these are the ones that you need in order to do the most things. Unless you want to compose real complex music like Debussy or the human enough, then you really need advanced chords. Otherwise, I never need more advanced corps than this. That's it for this course. Thank you so much for watching. If you have any questions. Please don't hesitate to ask me. And as far as your project goes, just as with the previous courses, you can upload a link to the project section in which you're playing some of the course that you've learned in this course, you can get one of the dominant chords. You can play some of the Sus chords. Or what would be really fun is if you actually make your own little mini improvisation or composition using the chords that we've learned in this series, in the whole series. So using the major, the minor, the dominant, and the SAS courts, that would be really awesome. I hope to hear from you and I hope to see many, many projects. Thanks so much and see you in my next course.