Guitar Lessons New Formula Shortcut to Play Guitar Chords Part II I-IV-V Chord Family | Jim Britton | Skillshare

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Guitar Lessons New Formula Shortcut to Play Guitar Chords Part II I-IV-V Chord Family

teacher avatar Jim Britton

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Taught by industry leaders & working professionals
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Lessons in This Class

8 Lessons (40m)
    • 1. I- IV-V Chord Theory Introduction

      1:03
    • 2. The Relationship of the I-IV-V Positions

      4:46
    • 3. Demonstration of I-IV-V Chord Positions Part I

      4:52
    • 4. Demonstration of I-IV-V Positions Part 2

      5:11
    • 5. Chord Fragments in I-IV-V Progressions

      6:08
    • 6. I-IV-V : Chord Fragments #1

      6:16
    • 7. I-IV-V: Chord Fragments #2

      4:15
    • 8. I-IV-V: Chord Fragments #3

      7:40
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About This Class

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This lesson is for early stage intermediate guitarists, or guitarists of any skill level not familiar with this formula. This course builds upon the D-A-F formula to show you how to use partial chords to play I-IV-V progressions in any key.

This course builds upon the knowledge first introduced in the course : Guitar Lesson : The DAF Chord Trick : Learn to Play chords all over fretboard with one easy pattern.

You do not have to take that course before this one, although you may want to explore it for further context. Thes simple chord shapes are an effective way of playing chords in alternative positions on the fretboard quickly, and easily. If you don't know this trick, you will find it an invaluable tool to add to your jamming and songwriting toolbox!

Students should have basic knowledge of guitar chords, and at least some familiarity with Barre chords

By the end of this course, you will easily be able to identify how to play I-IV-V Chord progressions in any key using A shape, F shape, and D shape partial chords.

Meet Your Teacher

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Jim Britton

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Greetings!

My name is Jim Britton, and I'm pleased to make your acquaintance through Skillshare's on-line course platform. I have a background in music, business, and education. I have spent nearly 10 years in higher education in various roles including Director of Continuing Education and Business Training, as well as Director of Workforce Development. I also successfully served as the Program Manager of a $5 million Department of Labor Grant for the Community College System of NH. I also have 6 years on the Board of Directors of Leadership Upper Valley, for two of those years, I was the Board Chair.

I also have substantial experience working in business and industry in sales and marketing in retail, radio broadcasting, music, and e-commerce. I have run my own business... See full profile

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Transcripts

1. I- IV-V Chord Theory Introduction : Hi, I'm Jim Britain. I'm here with my guitar and I'm gonna share some of the things with you that I've learned about playing guitar in this particular lesson, What we're gonna learn about is one of the best known court progressions. It's known as the 145 Court family. I'll explain more about that as we get into the actual teaching itself, but I want to introduce you to the 145 court family, and it has all kinds of songs. Hundreds, thousands of songs have been written with simple court progression. If you've heard the term three chords on, chances are you probably have heard about 145 progressions, or at least familiar with them. In just about any key, we'll start talking about the details here shortly. In the meantime, grab your guitar. Maybe you can learn a few things along with me. Let's get started 2. The Relationship of the I-IV-V Positions: Hello, this is Jim, and I'm gonna talk to you about one of the most important court sequences in music theory. This is known as the 145 Chord family. Typically, the 145 court family is the most common core progression found in country, blues and rock. Without getting too deep into music theory, we'll operate on the understanding that the cords known is 14 and five are part of the family. If you think of a piano there, seven notes that lead up to an octave. An octopus. The same note. Exactly eight tones higher. This is what we learned as kids when we learned the song Doe a Deer. You may remember it as door Amy Fossil a Tito. The second dough is what makes up the octave guitar. Courts follow a similar progression, but instead of giving them numbers, we give them Roman numerals to indicate their courts, keeping this explanation as basic as possible. Here's the courts in the key of C, The no usually start with usually is the key you're in. So if we start on A, we would be in the key of a There's more to this, but Let's keep it basic for now, and we'll do the key of C because if we look at a piano, the key of C is the one key that doesn't have any black keys in it. There's no accidental XYZ becalmed, no sharps or flats. So let's look at the key of C C. Would be one D is, too. He is three. Office for Jesus 586 b s, seven n. C is eight. And when we get to eight, that's once in octave. So we've hit the second time around. When we go door Amy Fossil a Tedo. The second dough is an octave, so the 14 and five chords or what we call a family. If we look at a guitar fretboard in this illustration here, you'll see on the a string we've got on the third fret our first chord mark. That would be a C court directly across from it on the low e string. That's where the Five ISS. That's a G chord, and if we go down two frets, you'll see the four chord that happens to be F so in the key of C. We know that the one chord ISS see the five chord, which is directly next to it on the low e string happens to be a G, and the forecourt two frets. Lower is an F, so we recognize this pattern. We can begin to know where 14 and five are in any key. So if we go up to the eighth fret, we'll see on the low e string that are root. Note is now on the eighth fret. That's our one directly. Next to it is the four chord on the A string. That's the F chord in the key of C, so you'll note that the note C and the note are right next to each other on the E and the A strings, respectively. If you go up, two frets from the eighth fret on the a string, you'll end up with your five chord, which is G. You notice the pattern. If you start on the root note on the low E, it's going to be one with the four right next to it on the next string over count up to and then voila! You have the 5145 very simple to play, going down and looking at it from the a string. If your route notice on the au, identify where your room noted. Hasn't we've been talking about C is the corpse than directly next to it. On the low e string is the five chord and two notes below it is the forecourt. If you go with the root note on the low e string, remember that it's one and then four next to it, and then five is two frets up on the A string. If your route notice on the a string, then directly next to it on the low E is the five court. Then you can't two down. And there you have your four. Remember, one of the most common chords that's used in rock, country and jazz is the 145 progression. Any time you're doing a simple 145 progression, you've got those route notes down and you've got the whole court progression all set four. Yet so think about it, and it's grateful when you're jamming, especially playing the blues. The blues is probably the most well known form for 145 progressions. We'll talk about the 12 bar blues and variations thereof. A little bit later on in this course. For now, let's work on memorizing where those route notes are on the low E and the A strings, so that we can do our 145 progressions in a very quick and efficient manner. Stay tuned. There's more on the way. 3. Demonstration of I-IV-V Chord Positions Part I: Hello, this is Jim. I'm going to show you some of the details about the 145 court family that we talked about previously. I showed you some illustrations, gave me a few explanations. Now let's see how it looks playing it on the guitar itself. Remember, we talked about those route notes on the low e string and also on the low A street. I call them low strings because they're low in tone, not because they're low on the guitar, but because they won't. So let's take a look first at the Low Eastern. If you're not familiar with the notes on the low e string, it's a good time to learn many. Many chords are based on route notes being on this particular stretch and just for the sake of familiarity, if you don't already know this partner redundancy, we'll get to more about the 145 progression here shortly. But, of course, have opened me half have sharp G g sharp a a sharp, also known as B flat, B C C sharp D T shirt, and so on and so forth. That's the low Eastern. That's why these dots are on the side of the guitar so you can keep track of where you're at on the front board. So after a while, when you get to know these notes, we don't know him already. That third dot is where G is 15 a seventh B and then we know C is right next to it. Then we skip up to tee. We hit the double that That's an octave. That's so any chord with the root note on this Easter ring is named after whatever fret know that ISS. So, for example, that's a G. This is Hey, this is being does. If you have already learned bar courts know this, you know the G. You know that a, you know, be and so forth movable bar chord shapes based on the open court. Right that way, we'll talk about a string in a minute here. I just want you to be aware of those different route notes. Now let's look at low a stream. Courts whose root notes are on the low a string generally are played only on five strings. You continue this string if you want to, but by and large, most people just play five strings when they're playing chords with root notes on the low a string. So if you haven't already learned them, it's worth taking the time to learn those route notes. Remember the E string? We have G A on A starting with their begin up Teoh a sharp also known as B flat B C c sharp D d sharp e f f sharp g T shirt again. Another point for those of you who may not know what I assume that you know nothing but you're probably do. But just in the event case you didn't know this. There is no such thing as in Isha. Ornette Flat. Okay, we just go directly from eat f so on a string, any note that has a root note on a string That's the name of the court. And for those of you who have learned bar records, you know, the A shape Park warned that has its roots always low a string? Hence the shape. OK, start with Hey, that c g Wait, the active up today, 12 fret and and it's this note here on that, A string that's given the court its name. Okay, so now let's tie it all together and talk about those 145 patterns that I introduced you to . Here they are on the low e string. We noticed that our let's pick a I'm just picking a because it happens to be in a central location. So let's say we learned that our four chord in the 145 progression on a string is exactly great next to it and record. It has its root note on the low e string directly. Next to it is the four chord. So in this case, I'm starting today. The four chord in the key of egg, which is the core to start on, is known as the one. The four is exactly next to it on the a string that happens to be a D. The five chord is two notes up. So any time you're playing a song in a key that gives its root note on the low E, you have the forecourt right next to it, and the five Chord two frets up 4. Demonstration of I-IV-V Positions Part 2: So let's pick a right. How many years All bar chords here. You could conceivably be doing what's known as power cord. Just putting with two or three notes. That's a particle. But let's say you do know bar chords. It'll be easier to explain that way 145 in any key. In this case, we're starting on eight. So we're in the key bay. That's one. We jump up to four on a street and then five eso won 45 Starting on Easter ring is always going to be one on the root. Note more on the A string right next to it. And 52 frets up. Eso in a You're a one d is for on then use five. You don't even have to know the names of these as long as you know where to start. Okay. And same thing holds true. If we were to start on G now we're going to play in the key of G 0145 that let's jump up Teoh 14 way. No. 145 We complain in any key just by knowing where we're started, right? You don't have to just go one for five, either. You can use any combination of the 145 quarts. You don't have to start on the root note if you don't want to. This'll come in real handy when you're playing the 12 Bar blues, which will learn about in another lesson but time. Fool around with those three chords and you'll start to notice all kinds of familiar sounding rhythms and patterns that go songs that air already in your head. Because this is such a universally used court family and court grouping one quick look at cords that start on a string going to change our perspective a little bit. Okay, thistles are root Note on the A string it's gonna play d chord. Now when you start with the root note on the A String Things case of Playing a D chord, What's gonna be next to it is the five chord. So it's a little different than the low e string on the A string. Starting with a D five is right next on and then are forced to notes down, friends down. Once we start five, that's our forecourt, So we're going one for five B and we could start any killed start me. And that will be helpful when we move into talking about the 12 Bar blues. Because that will give you the chance to jam all over the place and always being the right keys. Just going from 1 to 45 all over again. Okay, so practice this a little bit worked on getting to know those notes. We don't know him already. And remember, the 145 core progression as well build songs around it. And many songs that are exist that you know have been popular for years and years and years are built on that one for five pattern. What we're learning here is the location of the 14 and five quarts, based on where we're starting. Okay, I'm that low. E string. One 451451 for five. And then on a string 151 one. Got it. Okay, stay tuned for more as we continue to talk about the 145 court family 5. Chord Fragments in I-IV-V Progressions : in this lesson, we're gonna talk about cord fragments. What? Our court fragments. Basically, they're cords that do not use all six guitar strings based on cords that were introduced in the D. E. A. F court trick lesson. We can now combine this knowledge with a 145 theory to locate three different court families for any key, including court fragments. If you haven't had the chance to check out the D. E. A f court trick lesson, I would encourage you to do so because it fits in nicely with where we're going. In terms of studying the 145 court progression and using court fragments, we can now combine this knowledge with a 145 theory toe. Locate three different court families for any key using cord fragments. Now let's take a look at the different court fragments that we have learned. We're going to combine the knowledge that we have with court fragments and then learn to play three court families in any key. First, we're gonna look a court family with an F formation in the one chord. Remember that it's important to know where your route notice so that we can use this knowledge to build a 145 court pattern in this case are root. Note is always gonna be on the high e string when we use the F formation. So the one chord is an F formation. Then we'll do a four chord using the A formation, and then we'll do a five chord using the deformations. Next, we'll take a look at a court family that has a D formation as the one court. Then the floor will be an F shape cord, and then the five will be in a shape court. Lastly, we'll take a look at a court family that has an A formation as the one court. So we start with the A formation. Then we go to the D formation as before, and then the five becomes an F liberation. Let's look at how this plays out on the fretboard. The four chord is two frets higher than the five chord with the F formation. Your one chord is going to be in the affirmation. Then your four chord is two frets higher, using the A formation. And then your five chord can be that same. A shape up. Two frets or you can play the D formation in the exact same position as your original one court. If you're using the D shape, note that the root note using the D court shape happens to be on the second string. And also in our example that you see here are one chord is on the second front to therefore they're basically in the same place. Next, if we start with our one chord in the D shape, our four chord, as you notice will happen to be in the F shape. And once again, it's also on the same fret as the root note from the one chord. If you're using the D shape and then your five chord using the F shape, you can just slide up two frets, or you can use the A shape. And in this case, the A shape is one. Fret down from where the D shape is. Lastly, if we start with our one core, being in the A shape are four. Chord happens to be one Fred above it. If for using a D shape and then the five chord, you can either slide that d shape up two frets or you can play the F chord shape. Two frets down When I say frets, upper frets down. I'm talking about the route notes and the relationship of where they are to the original court that you started with. This isn't as complicated as it might sound. Visuals should really help you if you study them carefully, you'll see exactly what I'm talking about, so don't hesitate to pause. Take a look at them, study them, try them out, use them and do what you can to make that 145 court progression work for each different shape. Now one final point will talk about the reverse. Also being true. The five chord happens to be two frets lower than the four chord, so you have to four quarts from which to choose in each court fragment and each court family, for example, in the Key of C. If we were to start with the F shape on the eighth fret, that would be a C court. That's our one, then the forecourt. If we use in a shape, we dropped that up to the 10th fret, and that's where our forecourt happens to be, which would be an F in the 145 progression. Also, we could use for a four chord the D shape down at the fifth fret. That's also in F court. So think about the relationship between these practice, um, used the visuals that you see and Burnham in. That's the way to do this vest. Then let's talk about the five chord As we look at our 145 progression, the G chord happens to be on the seventh. Fret with the D shape. So if we start with that F shape cord on the eighth, fret as a C. That's our one chord are four. Chord happens to be enough. It could be either at the 10th fret using the A shave or the fifth fret. Using the D shape. Lastly, are five. Chord is the G chord, which is found on the seventh Fret with the D shape Makes sense. Once you've absorbed all this knowledge, you'll then be able to locate three different court families for any key using court fragments. It's really fun because you can play backup Blix and solos by picking arpeggios out of the court fragments. And in case you're unfamiliar with the term arpeggio that means picking the notes of a chord one at a time instead of playing them all at once. So you'll be surprised. What kind of looks you come up with when you're using these partial courts? 145 is the foundation from many songs, especially the blues. We'll be talking about the 12 bar blues in another lesson. For now. Just understand that 145 is probably the most used chord progression in popular music, rock music, blues, music and even country these days. So you've got a different way of playing them besides standard bar chords or the open cowboy cord positions, as you will. You now know how to play these court fragments, so they got a little bit different. Sound, a little bit different flavor, and you can do some different things with him. Then you would be able to do if you didn't have this knowledge. So that wraps up this piece on the 145 theory, and we tied this to the court fragments that we learned with the D A F court trick. So if you haven't had a chance to view the D. E a F court lesson, that's a good complementary lesson to go with. This is I'm really combining these two pieces Stay tuned form or as I wrap things up and I'll give you a visual so that you can see how this works on the guitar. 6. I-IV-V : Chord Fragments #1: Hello. It's Jim again, Back with my guitar. Gonna talk a little bit more about cord fragments as we learned about them in the d. E. A f court trick. What we're gonna do now is apply our knowledge of these partial cords that we learned in the D A f guitar trick to play 145 chords using just partial courts or court fragments, if you will. Let's take a quick review of these partial cords and sharing shapes. First, we have the F court shape. Remember when we talk about partial cords were not playing all six strings. You may already be aware of power cords where just playing chords on the bottom two strings . I'm gonna do just the opposite. Here and play are partial chords on the highest four strings. So just a quick review or F court shape these air mobile courts. Once you learn the shape, you can move them up and down all over the place, just like you can with bar chords. So our first shape is the F courtship. Our second court shape is the D chord shape thin. Our third court shape is the scorching. This'd is based on the Aybar court but simpering little bark. Or you can choose to play that top string. I like to mute it and just play these middle three straight because fast, ineffective, aside, talked about previously. What we want to do now is take this knowledge and move it into the next roam and use our partial chord fragments to play a 145 progression is probably the most common chord structure used in popular music. So without further ado, let's get right into this. What I want to do is start with an F shape, partial court thistles, a G chord. Aziz. You may know it. Full bar chord. No, on that low e string. Third fret if you play just part of it. Same basic chord. Top four strings route notes. Still in same place. Now what do we do to get to our forecourt? From here? It's really simple. If we're thinking bark words if we go back to the bar chord world way, know where one is here? Third fret root Note G for us here. Root note here, See? But we're not playing. Bar chords were putting part, of course, on the top four strings we have different sound, different flavor. Great for playing looks, too, by the way. Anyway, Here's RG now to go to the four chord. What we do is simple. Is this just drop into that a position mark Work right here. I love plan that a bar chord shape with my ring finger. So, to me, it's no brainer. Mom, do it right on knowing that the five Quarterly two frets up. You can use the same exact shape. So it works pretty well and well, playing the court shape like that so I could bend in that flavor. Little slides, fun, things like that. So 145 years in the half court shape Simple. What added fun thing here is got one more choice to make it. We can go into that d chord shape. The secret here is that the d Cor chin as a five. Remember, this is a five court, so im cheol gi the four in the key of G happens to B C. Five D. So the way the pattern works here is here's one. Here's four or five, but we also have five down here and way that works is from the one court position, we could jump right to the 500 D shape down one friend. Yeah, of course. This is obvious in the keep G who doesn't know the open d chord right from 1 to 515 But this works all weapon on report. So if I'm playing in a chord, guess what I know immediately this'll d chord shape right here is also five. So that might not be a choice that you would ordinarily make. If you're playing more 45 chord, you might be just doing your regular. And after a while, you get bored if you're playing guitar. I think so. This time, no towers that just for some different flavor. Different sound. Okay. And if I'm missing around Thanks. Our shoes. I've got different choices to make So that five court could be substituted one on. Let me give you a little ditty cause I know this helps you remember it, right? Shape one. - So there you have it. Some options for playing one for five years in those partial court. Next, we'll explore how to do one for five progressions, starting with the Asian State 7. I-IV-V: Chord Fragments #2: Hi, this is Jim. I'm back with my guitar. This time around, I'm gonna demonstrate the 145 core progression by starting with the D shape. We've been talking about partial cords and playing them just on the higher force strength. So how does it work if we start with the D shape as being are one court? Let's start with the obvious open position D get to our four chord in the key of D. What we're gonna do is switch to the F shape. And actually, even though my hand is sliding up one fret See how it's going up one right here, the route notice in the same position on the second string. Here's our root note in the D shape right here. That's third fret second string. If we shift into the f court shape, our route notice still on the third threat. Only this time it's on the high Eastern things case. It's cheap. So in the key of d r. One corner on, then our five core using the F shame is simply sliding our hand up one red. But the blue note is unsafe. Fret that makes sense now, obviously, to get to a five chord from this F shape is simple. Just slide up to friends now what if we want to put the a shape in their to We want to use all three of our core fragment ships that we learned. Okay, then R f shape, which is going to be our four chord in the key of D. That's a G. Now, to play a five chord, we can use the A shape A shape becomes the five chord if you move it down one friend. So here we have the shape. Our route now is here. So we have two options with D Shape is the one we can go to our five court right away by sliding all the way up. Actually, two frets and then we can also alternatively use the A ship one friend down from a D. So let's go through this real quick in a simple, open, deep pattern is one four. Hey, is five you one way to simple that is Now let's do it in a different key, because it's so easy that open D spy. Let's go up and play in the key of e. Okay, those of you were familiar with corn theory. We already know that in the key of E the one courts in me forecourt is a 5/4 be. But we don't have to know this way. Know that our court shapes could be just manipulated the way that we want to terms of recognizing where one for five hours. So let's say we're the TV here is that you know, that's how we know this is me. But anyway, that's our 14 comes here. Fibres here. So 145 We could also do one for 14 Now we're Q B way. The court has a little bit different. Here's your beak or that's flavor one. There's your be court flavor, too. 8. I-IV-V: Chord Fragments #3: Hello. This is Jim again. We have one more open court check to look at and that is that a shape court. As you may recall, we looked at playing the A shape as a partial corn down in the open position. What we're doing is focusing on the high four strings. I'm playing it with just one finger. Here. You may be more custom playing with three more with one of the other figures. Now, this is a movable court shape. So it goes all the way up and down fretboard. And this standpoint, full court is based on and a shape Parker. But we're only playing part of it. Theoretically, we could use that top string to but again, for speed purposes. I like playing just those three strings in the middle. You always have to keep in mind where your route notice. But playing up here this is a C because the root notes down here on the third fret See partial court, see? And I love that partial a chord because I can slide it really fast all over the place with because I've demonstrated several times. What we want to get now is how does that a partial chord shape play into our 145 court theory in the key of a the 1/4 A the 4/4 de and the 5/4 e. There's a 1,000,000 sounds that are based on that, I'm sure. So I think we're going to my into you if you just play around 145 boards. Yeah, that sounds like this. Oh, yeah, that sounds like that. Because there's a 1,000,000 songs that were built on those records. That's why we're studying them, because a great foundation for bull song writing and learn to play other songs, too now, using the a shape, partial chord in the key. It's really simple because we're just basically playing all of our open court that we already now. So this is more effective for other keys. And let me explain to you how this works. Let's move away from Kiev. A. Why not? Let's just jump into sea. OK, here's our one court in the key of C. We know the route notice on the third fret. We're only playing part of it up here in fifth. Fret thistles The scene, remember? Remember, remember that this is a scene because your root note is down here. So that's the one chord in the key of C. Now what's the relationship of that? A shape to the d shit remembering rt shape based on the open DeCourcy removal corn food anywhere you want to and in the key of C, we're looking for the four chord, which would be an f. So how do we remember how to get from fishing to be shape? We simply think of keeping our fingers on the same threat. The root note changes a little bit, though. Notice how we play that open T root note moves up here to the sixth fret. Thistles are root note right here, but it is the forecourt. So from the one chord to the forecourt, starting with the Asia the's a process court, so it won't be clear on that partial chord. A shape fifth fret. See, that's the one court partial chord D shape sixth Fret is where you'll notice that's your four chord, and that is an F in the key of C in the key of C R. Five is G. So 14 we know it could get to a five. Any court shape that we use for these part for courts by simply sliding up. Two frets 12 There's five right there. Way immediately. Have that one to my pattern in a different place, and you probably would ordinarily play. What about our friend? The F shape. Partial chord number. This one thing is an acorn because the root notes on the threat. It's part of a full bar corn. But it's on Lee with top four strings, which is why they call it a partial court. Nevertheless, our route no still remains on that friend. So in the key of c R. One is right here. That's a C chord We're playing our four right here is an F court and we can play our 52 frets up before we could take that a shape. And we want to play the fire to friends down from where we have the A partial to the F partial court right there. So from 1 to 5, just using partial courts, I think of means is being on the same threat. Basically, I'm not thinking, wrote notes. I'm thinking guitar position. Okay, position, third position position, not thinking route notes, but I do know this is a scene, and this is a I know this is one I know this is fine and we know fours right here. So let's go through a one for five progression using our D A f formula with a shape starting as the one court. So is the one is the war G is the five a one talking shape their teas for de up to French. But I remember talking courtships, not court names, radio or we could play that five down here has an F shape. Actually, port themselves are C J. I see. I see way 145 progression starting with an A shape partial core. We know for one for it up right here in the ship fired slide up to or simply moved to the F shape for an alternative choice for the five court, this time in the key of D, starting with the d cor, that's our one. We go up to our four, which is G. Then there's an A F two threats or an A right here just naming cords. One for five. In this particular key, it's 141414 14 And, of course, it's always this comes in handy for playing alternative licks. Okay, thank you for joining me for the ride here. Don't forget our A shape, D shape and F shape partial cords and how they work in the 145 framework. Thanks for joining May stay tuned for further lessons.