Intro To Chord Progressions: Write Simple Songs On Piano | Eddie Irvin | Skillshare

Intro To Chord Progressions: Write Simple Songs On Piano

Eddie Irvin, Web Development + Coding

Intro To Chord Progressions: Write Simple Songs On Piano

Eddie Irvin, Web Development + Coding

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18 Lessons (1h 50m)
    • 1. Curriculum Introduction Video

      2:24
    • 2. What Chords Do We Need To Know?

      7:39
    • 3. Tips For Changing Chords Faster

      7:11
    • 4. Chord Progression: 1, 4, 5

      3:58
    • 5. 1, 4, 5, 6m

      3:19
    • 6. 4, 5, 6m, 5

      2:44
    • 7. 2m, 4, 1, 5

      3:22
    • 8. 6m, 4, 1, 5

      6:33
    • 9. 1, 2m, 4, 5

      7:46
    • 10. Writing Our Own Progressions

      8:33
    • 11. 8 Chords At A Time!

      9:15
    • 12. 16 Chords At A Time

      6:49
    • 13. Creating Our Own Rhythms

      5:31
    • 14. Time Signature 4/4, 3/4, 6/8

      4:22
    • 15. Time Signature Quick Tips

      4:55
    • 16. Tying It All Together: Write in 4/4

      7:57
    • 17. Tying It All Together: Write in 3/4

      7:25
    • 18. Tying It All Together: Write in 6/8

      10:20
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About This Class

Learn how to write and play simple chord progressions with excitement and confidence!

This course is all about beginner chord progressions and simple chord-based songwriting on the piano! By teaching you the fundamentals and giving you one simple step at a time, you'll be able to write and play your own simple piano songs that you're proud of! Imagine what it will feel like to be able to sit down and compose a new song right out of thin air.

The entire course is about two hours of video, but it's split up into easy-to-digest sections. If you're a quick learner, you can get through this course as quickly as an afternoon!

I give you the tools to succeed starting with the INTRO TO CHORDS all the way to PUTTING IT ALL TOGETHER: CHORDS/RHYTHM/TIME SIGNATURE. And if you EVER get stuck, I'm excited to help you get back on track.

I have a system that I would love to show you, that will make it easy to come to the piano with confidence and excitement, and to be able to make up your own chord progressions and simple songs from scratch, using chords that sound good every time!

Meet Your Teacher

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Eddie Irvin

Web Development + Coding

Teacher

Hello! I've been working on websites for a decade and a half, first by starting with my own projects and then building sites for others. I started just with basic html, and since then have moved on to use Wordpress almost 100%, and design using CSS. I know php, jquery/javascript and I'm starting to learn React Native as well to start creating iOS/Android apps!

I want to save you time, and my CSS course on Skillshare is meant to get you up to speed quickly and without the headaches!

Please don't hesitate to reach out with any questions. Coding can be super confusing sometimes, and my goal is to make it as simple as it possibly can be!

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Transcripts

1. Curriculum Introduction Video: This is an introduction to the curriculum. First things first, this course is all about getting you up and running, playing chords and chord progressions that you design from the section Intro to chords all the way through the section, putting it all together. I designed this course to move smoothly from one step to the next, best as possible. In the section Intro to chords, you will learn all about the chords that you will be using in this course. If you have just a basic understanding of piano, you should be able to pick this up relatively easily, but definitely start here to make sure you're ready for the other sections. In the section popular chord progressions. You will be introduced to chord progressions you've got to know. And you will learn how to think about chord progressions and why some chord progressions work better than others. First copy what you hear and then create your own. In the section building your first song, you will start structuring sets of courts together. You'll learn about the best structure to use for now. And a symbol box method that keeps everything tidy. We slowly build from four chords to eight to 16, so you can take it at your own pace. In this section of finding new rhythms quickly, you will learn an awesome technique to create rhythms so easily, even if you're not feeling creative. And anyway, this is a flawless way to jumpstart your creativity. Check it out. In this section, you need to know what time signature is. You get the quick version of differences in time signatures. Changing time signature is one of the best ways to completely change the feel of your songs. So it's important that you know this stuff. You'll learn some fun tips as well to feel like you really get it. In the section putting it all together, you get to watch me create a song from scratch by using time signature, rhythms and chord progressions. First copy me and then create your own. We go through a song and four for a song and 34 and we end with a song in 68. Please watch the tail end of this to the end message is very important to your success. I hope you enjoy this course. Please don't hesitate to ask any questions in the discussion forum. And I'm so excited for you because this is really the beginning of something awesome. It's time. Open up the next video and start. 2. What Chords Do We Need To Know?: Okay, so in this video we're gonna talk through all the chords that we need to know for this course. We're going to be playing in the key of C. We're not going to mess with any black notes. It should be fairly simple to get started and we're always going to use the same shape of core. This right here is called a C major chord and it's your thumb, your third finger, and your fifth finger. And every fingers got a note starting on C. So you can tell these two black nodes, three black notes to the left of the two black notes as the C. That's a C major chord. Now, you're gonna keep your hand in the same exact kind of formation and you're just going to shift your hand up and down. Okay, so you should be playing every other node. And then as you shift your hand up, it's still every other node because all of your fingers shifted up by one. Okay? And then here we go again. Let me go. And again and again, we won't play this last one up here. This is a b, it's the very end of the scale. 123456 is as far as we're going, we're not going to seven because it doesn't really sound all that good, then we don't, we'll never use it. So I'm going to explain more about what these chords are. So this is C major, and then obviously in the alphabet, D is next, E is next, f is next G. And then a minor. Now see, sees a major chord, and that means happy chord. Sounds fun and happy. This right here is F major. That's also a happy chord. When you say major, that means happy basically. And then this is G-Major. Those are the only three major chords that we'll have. C major, F major, and G-Major are all happy. They're all major chords. Now D is a minor chord. It sounds sad, it sounds dismal. It sounds, sounds like Halloween. It doesn't sound happy. That's called a minor chord, okay, that's a D minor. Next we have E minor. And then there's also a minor. The fun thing about the key of C is that we don't need to play any black notes at all in order to switch from major to minor chords. So you don't even need to worry about that. All you need to worry about is kind of, you know, where, where does your thumb go and then make sure that you that you keep you all your other fingers. Just right next door. Okay. So just by virtue of just moving your hand, you're playing a major chord or a minor chord depending on where you are. As you shift your hand up, again, C major, F major, and G-Major are all going to be your major chords. And then D, E, and a are going to be your minor chords. Now, I'm saying very quickly the letters of the chords. And if you're new to the piano, you may not know right away that this is an E or that's an a, or that's a D, You may not know that and that's fine actually, because we're gonna be talking about the math of the chords. This isn't difficult math. This is if you can count on your fingers, then you're good to go. But you need to start with, let's start talking about the math more. So instead of letters, now, I'm going to be talking about numbers. So this is a one chord. And then what do you think this is? The two chord? And then a 3456. We do not play the seventh because it just sounds horrible. We don't need it. Okay, so 1-2-3, 4-5-6, Those are the only chords we're going to need to write. Millions of songs. Now obviously when you hear a song on the radio, it's got all this other stuff going on and it's super complicated. But there's so many hits that are crafted with just four chords or even sometimes three chords. And we're gonna go through all that. But before we move on again, I really want you to get good and be happy switching from one to the next thing. You should be able to go from one chord to the next without having any trouble, okay, so you need to be able to jump all the way up from one all the way up to six, 1-2-3, 4-5-6. And keep in mind when I'm saying the numbers, that's where you put your thumb. Okay. You can move your thumb anywhere. So two minor, minor, four major, five major, six minor. Again, one major to minor, E minor, four major, five major, and six minor. We're gonna save a little bit of time and we're not going to say major anymore. Okay, so we're gonna, we're gonna say minor, but we're not gonna say matrix. And this is the one chord to minor, three minor, 456 minor. Make sure that you are comfortable switching from all over the place. Just hop around and get really good at almost freezing. Ok, so once you set, it should be frozen to the point that you can move it all over the place and then bring it back. And it should it should line up perfectly. And this is what I don't want you to do. Don't play a chord. And then changers, change your fingers. Don't move your eyes, don't change your fingers. All weird Once you get it all set, lock your hand where it is. And then basically you can just pick that whole thing up and scooted over and drop it down again because you basically locked your fingers into place. Okay. So I've literally locked my fingers now I don't even need to to change my hand when I put it back down on the piano, it's gonna play a chord perfectly because my fingers are staying right where they are. And That's how you can play fast as you lock your hand. You don't want to I don't want you to stress. I don't want you to go crazy. This isn't like a death grip, but the idea of your fingers freezing in place with your fingers curl allows you to then use the mechanism of your hand up and down to change the chord versus your fingers doing all the work. Now as you get more complicated, you're going to do all sorts of different things where you actually change the shape of your hand. But we're not gonna get into this, into that in this tutorial, we're only going to stick with this root position chord, which is where you're playing. 13. Scoots up here, 13513. We're not going to be doing any sort of different inversions or for flipping the court over, changing the shape at all. So you should move on to the next video. Once you're happy. Maybe not that fast, but at least being able to change that fast. And what will really help you to is if you can kind of call out the numbers if you know where you are, that'll be amazing if you can say, okay, I'm on a wire. I'm going to go to a foreign acts. Here's a forward. I'm gonna go to the two next to. I'm gonna go up to the five. And keep in mind that those numbers again are based on c because we are playing in the key of C. We've said now that C is going to be one, and then everything else is figured out based on that. So c is one. So this next guy is two, and this next guy is 3456. You don't really need to know what letters you're playing, although it'd be fun to if you started picking that up as well. But you absolutely need to know the numbers. You need to know that this is a four. You need to know that this is a six, and a note needs to know that this is a two. Ok, so get really comfortable with that. And I will see you in the next video. 3. Tips For Changing Chords Faster: Okay, once you have figured out all these different chords and you're pretty comfortable moving around. I want you, I want to give you a few tips to just be able to speed your, speed yourself up a little bit more. Even. What we're gonna do is we're going to play from C to F. And what we're doing here is we're just looking at our thumb to the left of the two black nodes. And then we're getting our thumb to the left of the three black notes. That's what I want you to be able to do after this. Not, not quite that fast, but that's what we're focusing on right now, changing from one to the 4. First thing you're gonna do is you're going to close your eyes. If you play the one, you're gonna close your eyes and then you're just going to jump. Can you get to four? How, how far off where you now here's the fun part. If you make a mistake and you play too low, let's say you play one to three. And you thought you were going to play four, But you're playing one to three. You know, that you guessed too short, you should've gone longer. So you should have gone farther. So that's, that's great to know. You have to, every time you make a mistake, you're not just beating yourself up. There's no point in doing that. The point is that what we're doing is we are getting ourselves feedback every single time. So if we go to shore, we're gonna know next time. Okay. We need to go either long or just spot on. If you go short twice in a row, that means you're not, you're not going long enough. You need to push yourself to go on. And in fact, if you first go short, remember we're trying to pull point of this is we're trying to get from one to four. So if you go to short, you need to make sure that you over I mean, feel free to just go away too hot. That's actually fine. If you correct and you go the opposite side of the target, then that's fine too. What's not cool is if you keep on going short every single time because that means that you're not even, you're not even getting to where the target is. Okay? If you go from one to three and then you go from one to five, at least, you know now. Oh, okay. So first I want to short then I went to Long. Now I'm going to try to kinda nail where the target is. Don't keep on going short, and don't keep on going long. You have to push yourself to make sure that you don't just get stuck, always going short every single time. So here we go again, we're gonna plays middle C and we're going to close our eyes. We're just going to jump. And what I want you to do is I'm gonna, I'm just gonna mess up now. So we're gonna play this. Again. We look at it and we see, oh, we went too long. So we try again. Once you short try again. You should be able to. It's been a pretty good feeling for how far the four is now you might not be able to do it that fast. I've been playing piano since I was five, so please don't, don't look at this and go like, oh my gosh, I'm never going to be able to do that. The only reason why I can do that faster is just because I've done it a million times. Okay, so you will pick up that speed and time. You don't need to play that fast or near that fast to get something out of this, to get a lot out of this course. But that's where we're trying to end is fraught with you, with your eyes closed to be able to jump from one to four and back from four to one. So once you've gotten from one to four, you need to try now from four to one. So we'll do the same thing, but we'll just flip them. We'll start on four and close your eyes and try to jump back. So if you're too far again, if you shoot too far, if you overshoot, then you know, I went too far and then you give yourself feedback and say, okay, I'm gonna go shorter now. And then list, you know, it's somewhere in between. Now keep in mind if you don't keep your hand Law, you don't keep your fingers kind of locked into place. This is going to be super difficult for you. I don't even think that you're going to be able to have success with this if you move your fingers all around. So if you find that you're getting, it's screwing up every time and you're getting really lost goal. Back to that. Go back to the last video and really focus on keeping your fingers locked and moving up and down. Now, this should be to the point where you can literally play a chord. Lock your fingers, walk into the kitchen, get a glass and you drink a glass of water, come back in and put your hand down. And it shouldn't change now if here, so here's another tip here. If you, if you try that exercise where you play a chord and you stand up and walk away from the piano and then come back. And it's different. You have to look at how it's different because you have to give yourself feedback. It's not good enough for you to just tell yourself, oh, I did it wrong because that doesn't help you grow. What helps you grow is when you can. And you can come to the piano and you can say, oh my pinky scooted up when I was away from the piano. I thought I was keeping it locked when my pinky actually got wider, my pinky actually started going farther away. Okay. So every time you come back and you make a mistake, you need to know what did I actually do? Because then you can tell yourself the next time you try and tell yourself to focus on your pinky and don't let that pinky get to Bay or get too far away. And what happens if you come back and now it's like this. You know, all my thumb wandered that time. I didn't I didn't pay attention to where my thumb wasn't, my thumb wandered. So every time you do an exercise, you are constantly giving yourself feedback telling yourself, okay, that happened last time. So the next time I'm going to make sure that that doesn't happen again. Okay, so with those two tips, you should be able to jump from one to four. Not quite that fast but decently fast about speed. And as you do it more and more and you give yourself feedback, you're gonna speed up and it's just going to start feeling natural switching from one to the next. Now you don't need to be able to do this with your eyes closed. Okay, this is only helpful because as you get more advanced, you're going to be, you're going to be maybe looking at your other hand are maybe thinking about who we're trying to read a lyric sheet. So the more you can have your hand kind of knowing where to go, you're going to be in a much better shape. This is not a necessity. You can stare your hand as we do these exercises. But the more that you can pull away from that, the more that you can know that no, I actually can change your words without looking at my hand. It's going to give you that much more confidence and it's going to also enable you in the future to be able to read chords office sheet better. And then as you write your song, you'll be able to focus more there versus down here, just making sure that your hand is where, you know, where you think it is. So it's basically just to inspire more confidence in you and just speed up that process of getting really comfortable with, you know, where your hand is and kind of being able to tell yourself, Okay, jump up from one to four and just knowing you're gonna nail it. Okay, I'll see you in the next video. 4. Chord Progression: 1, 4, 5: Okay, so now we know the different chords that we have and we know how to jump from one court to another. Remember, you don't need to do this blind, but being able to do it with your eyes closed is really helpful if you need more help with that. Go back to the last video and take a look at that. So first we're going to start with the chord progression 145. Now, when we started, we were talking about the key of C. This is C right here. And so c is one. We're basically just saying that we are now in the key of C. We're just deciding that because it's actually the easiest key to starting and because of that, C is going to be one. So 1234, R four is right here. Four is an F. If it helps you. To the left of the three black keys is the fore and to the left of the two black keys is the one. So 1234. And then five is right next door to the four. So yes, we play this chord progression. We're just moving from the one chord to the four chord and the five chord. Okay, that's all you're doing. You're just playing one. For. The hardest part here is to jump from one to four, which is why that last video was so helpful from four to five. It's pretty easy again, if you're not keeping your fingers solid and you're going to have a lot of trouble moving from chord to chord, okay, so make sure that you focus on them. You'll hear this chord progression everywhere. That reminds me of like fifties pop music kind of see, although that kind of thing is used a lot and not that cheesy sounding, but just the chords 145 are used everywhere. So what I want you to do is just be playing 145145 and say to yourself one 45, or sing it at the same time. Okay, so 14414. Try to get the rhythm. Assume you don't need to snap. I'm just trying to give myself a metronome. Quick tip. What I just said there. Metronome MET RON TO ME, it's just something that takes and talks like a clock, but you can change the speed of it. Okay, so there's a bunch of apps, just search for metronome and Jolla. You'll find an app that you can use. Or if you have. Actually I have one like this where you can just change the speed of it and it clicks fast and slow. So it's really helpful if we, if we want to just stay in, as you practice this, it's great to stay in time because, you know, as we go on, we're going to need to keep that beat. So just start right now trying to keep that B. If you have issues with keeping a beat, if that's difficult for you to play in time 12341234. And basically play kind of like a robot where you're doing the same thing over and over again and you're not getting off track. If you have trouble with that, then you might need to kinda take a little bit of a break and just work on clapping your hands, watching a clock, tick tock, tick tock tried to collaborate with the, with the clock or get that Metronome app and just start trying to trying to clap with it and stay with it. Okay, learning how to stay with the beat is very important here. So here we go with 145 again, when 145 chord progression. I'll see you in the next video. 5. 1, 4, 5, 6m: So in the last video, we talked all about the 14x five chord progression. And now we're just going to add one chord to it. That's the six minor that's right next to foreign fire, right here. One, 4-5-6. Now in pop songs, the one, the foreign fiber used the absolute most. Okay, there's just, if you're going to start with a pop song and you just need the bare minimum, you're going to use 145. But if you want to add the six minor, that's used a ton as well using adding the six. Now, obviously, it's not always in the same order, one to four or 56, but this is a great place to start. Okay, so I want you to just practice scan on it for 56 and we're going to do that to the beat as well. Okay? And it'll be helpful here if you can say the chords. Later on, we'll try to maybe count as we play 12341234. I don't want to confuse you hear those numbers that I'm saying right now are the cord numbers. Okay. So I'm not counting the beat. Sometimes you'll hear people counting as they play 12341234. And in that case, they're counting the beats 1234 right now what I want you to do is just get really comfortable drilling into your brain what chords you're playing, okay, so if you don't want to sing and just say it, 14561456. Now, from six all the way back to one is a really, really, really long jump. So the same exercise you did in that quick tip before, when you're jumping from the one of the four and you try not to look. It'd be good to take some time here and be able to, to move from the six all the way to the mind. But okay. It's a really, really long jump. And if your eyes are looking at your hand, it's really, really easy. So practice that in work on jumping from the sixth to the one, and that'll make this whole thing go smoother. Alright, we wonder 4-5-6, get really comfortable doing exactly this. 1414561571456. Do it over and over and over again. Now your speed is going to increase based on how much time you spend doing this. If you wanna get really fast, all you have to do is just do it and do it again, and do it again and do it again. That's the only way you're going to increase in speed. Ok, so just make sure that whatever you do, you just keep going. Everybody at the beginning of playing piano has a really difficult time figuring out how I get my fingers to, to do this. The fun part here is that, you know, kind of once we've gotten our fingers and place, it's just a matter of moving that thing around so you shouldn't have to move your change your fingers too much here or at all really for what we're doing right now. Don't move your fingers at all. You can literally just drag your hand around with your other hand. Ok. Play with that and get really good one, 4-5-6. And then I will see you in the next video. 6. 4, 5, 6m, 5: Hi, so to reiterate the whole point of why I'm teaching you these different chord progressions is that we're going to use these in our songs later. Okay, so we're basically just arranging different chords into different patterns. And I'm just trying to kind of get you caught up to speed with some of the most basic chord progressions that you can use. Okay, so this one is going to be 4-5-6, five. Now if you can imagine that just looking at the number system as if it were going from left to right. 1-2-3, 4-5-6. Just like I'm a piano for 565. Just imagine how that looks. Okay. That's going to be helpful later. 4-5-6, five. And what's fun about this is that it repeats really well too, because it's first going up and then coming back down as you repeat it. It's kinda it's kind of this windshield wiper type type thing for 5654 or 565456. Now, in a song, you typically won't change your cord quite that fast. But for now, that's our working. I'm, we're just changing our chord from four to five to 65. So practices with me for five or six by 464565465. Keep in mind if you don't have a metronome yet, get a metronome because it'll be so nice to be able to play with that ticking clock time thing to stay writing B. That's really, really, really, really going to help you. I can't stress that enough. You really need to understand how to play with the metronome and just stay with the B OK, for 56465. If you want, you can also play some of these double. Let's actually play all of them double. So 44556655. Alright. Also you can take some things out. So instead of playing every single one, we're going to skip some. Sometimes we're going to hold it instead of playing twice, we're gonna actually, let's do this. We're going to hold the five, the four, and the six. We're going to play twice, but when we get to the five, we're just gonna hold it. Hold. Hold. So once you're comfortable with that, we will move on to the next video. 7. 2m, 4, 1, 5: Okay. Now moving on to 2415. Here's how that sounds. And I want you to look at the shape as we go from one chord to the next, the to, up to the four, down to the one, up to the five. It's kind of like a windshield wiper motion but it gets bigger. So 24, but then even bigger down to one and then even bigger up to five. The reason why I explain that is going to be fun putting chord progressions together. It'll be fun to know kind of what the feeling of that is. Is it a winch symbol, windshield wiper? Is it a big jump? And then falling? Is it a big jump down and then rising? It's good to kinda have that picture in your mind. So 2415, Here we go. Play it. Let's, let's play each chord twice this time. Now let's do the same thing, but let's, let's hold every other corn. So we'll play twice and then we'll hold, play twice and then hold. Now what we're gonna do is we're going to play the first, we're going to play each one twice, but the first one is going to be loud and the second one is going to be soft. So we didn't do too much there, but even just within the same chord progression, you can do things differently to change it up. That's going to be helpful later. Or just as you get more advanced to try new things, there's always just one little thing you can tweak to give the same exact thing, a new kind of life, okay, so practice this again. Just get really comfortable with it to 405. If you don't play loud soft, loud, soft, It's going to sound like a monotone. It's going to sound more boring. Listened to what that would sound like. Just sounds flat at sounds lifeless. Okay, the only way that you're gonna get life in music is as you can compare something to something else. So when you play something louder than something soft, it makes the loud parks on louder and the soft parks up sound softer. So as you, as you go from chord to chord, makes sure that you're thinking of, you know, are you giving it life, not don't just play it, give it some sort of life. You can even do the opposite. Go soft, loud, soft, loud, or you could do some really loud and then one section slot. These tiny differentiations really make a huge difference when you, when you kind of craft something bigger. Okay, so one more time and then we'll call it. And I'll see you in the next video. 8. 6m, 4, 1, 5: On to our next chord progression. This chord progression is used, I think the most after one 45, or using the combination of 100, 4-5. This chord progression is used so much. It's crazy. This is 6415. And usually the songs, you'll hear it and they don't, they don't change from one chord to the next quite so fast. So it'll be more like 6666444411115555, or even slower, really slower change from chord to chord. But before we play it, let's, let's again get that idea of what it's going to feel like. So we start off at six, moved down to four, move all the way down to one, and then back up to five, which is right next to six, down a little bit to four all the way down one, and then back up to file that has a different feeling than the one before this, the 2415 kind of that that windshield wiper that gotten bigger or 45 4-5-6 five, which is just that tiny little windshield wiper going back and forth. Okay. So 6415 and we'll do we'll play it four times each, everyone, four times each. We're gonna do one thing now to make it a little bit more interesting, instead of playing each of them four times, we're gonna play the first two of them four times. But the third one when we're down here to see were actually willing to play that three times. And then we're going to end with playing the five chord five times, okay, so this is going to be four times, then four times, then three times, last 15 times. Okay? So what it's gonna do is it's going to give, its going to MIT, just make it sound more interesting. Instead of seeing these, instead of sounding like chunks and blocks, it's going to have a little bit of a kicker is swing or whatever you want to call it, right at the end of it. So, so take that same thing and instead of doing the S3 times, I want you to try to start moving that where you only play one chord three times. Move that around. Okay, so let's say that we start with this first quarter. We only play that three times. It makes that kick or that swing happened right at the, right at the beginning of the chord progression. So listen to this. The first quarter we play rolling in a play that three times. And then the next one we're going to fill in with five. Okay, so three plus five is eight. We were doing 44. But now we're doing 3512312345. You see how that's going? So we're gonna put that kick at the front of the chord progression. Now from the six, the six is going to be on the court that we play three times. Now, the first thing that I want to do after I play that as I actually wanna make two kicks or to swing parts from the sixth to the four. I like that, but I also want to do it from the C to the g, from the one to the five, like we were doing at the very beginning. So I'm gonna do it twice. I'm gonna do it on the, hey, we're gonna play three times and then on the C We're going to play three times. Okay, so it's going to, it's going to feel like it's kicking over and over again. And it kinda feels like you're throwing yourself off a cliff a little bit. It feels like it's tilted or it's moving versus just a very blocky 4444 or listen to the difference now. That's still moving, but it's just, it's kinda just slowly turning over. It's just the same thing over and over again. When you start putting that Lille through that kick in there by playing one of one of the cords three times and then the next chord five times. It feels like you're throwing yourself a little bit. Now here's the four keys held him, he played everything for how dead it sounded compared. So play with that and put these kicks are these little notes or whatever you wanna call it, put those in different spots and just see what you like. You're always paying attention to what you're playing and you're saying, do I like that? Do I want that to be different? You're always making up these these decision, these micro decisions, these tiny decisions of like, oh, I like that or like, well what if we try this goo? That sounded good. Oh, that didn't sound good. You're making all these decisions. And so if you don't have an opinion yet, start having an opinion about this stuff. Just started saying like, what do I like better? Do I want it to sound more just like consistent and turning over like that for we do I wanted to have some sort of kick. And as you make your decisions, just play around and you'll start seeing what you like the most. I'll see you in the next video. 9. 1, 2m, 4, 5: Okay, so you've reached the end of this chord progression section. The last one we're going to talk about today is 1245. Now, keep in mind that corporate there, there, there are endless chord progressions. I kind of just chose a few of my favorites and a few of the kind of the big places I would ask that you begin. But you can arrange chords in any sort of combination you want. That's the fun of this whole thing. So don't just copy what I'm doing here. Take your own intake maybe pieces of of mine and just wreck them and pull them apart and try putting one connected to another one or tried taking the first part of one and then putting, putting it with the second part of another one and joining them together. This one is 1245. And again, I've, the way that I first think about that is just by moving my fingers are by kinda like mapping out what it's gonna look like. 1245. That's just a gentle rise. That's the whole thing. It's just a gentle rise. Okay. Remember what the 65400, 4-5-6 five. That's just that small little windshield wiper thing. And then with 2415, that's a windshield wiper that's getting a little bit bigger, right? And then 6415, the last one we just did, that's a that's a falling and then falling down even more and then rising up a lot. Okay, so all of these have different fields that the music is really a feeling. It's kinda, kinda send, sending a feeling to somebody through audio. So that's why it's so important to kind of know what is this. Slow rise is gonna feel different than a slow descent. Okay? So let's play it now. We're gonna do for beach. Now one thing I want you to do right away is to change up loud soft, loud, soft. So first, if I'm playing a chord four times, right there, I'm doing loud soft, loud soft, but you could also do loud soft, soft, soft, loud soft, soft, soft. And that has a different feeling as well. I'm gonna go back and forth between the two so you can kinda tell what I'm doing first. I'm gonna do loud soft, loud soft. Now I'm going to do loud soft, soft, soft. And that would actually fuse a little bit slower because it only hits, it feels like it hits with that loud one every four beats versus the other one that kind of hits every two beats. So that's kind of just an interesting thing you can do if you want a song to feel like it's faster without changing the speed, you can actually play more. You can play louder notes more often. I feel like it's, it's moving faster because you're accentuating more often vs accentuate. Let's say that I do. Let's say that I only make a no loud for every eight beats. Watch this loud sound. Saf, saf, sof, suf, suf lands off. So, so sorry there I'm only doing too loud notes and the entire thing. Versus loud soft, loud, soft, where there's so many more loud notes. Watch how this feels. So it's fun how this same exact chord progression can have different kinds of life based on how you play it. Don't settle with boring, just the same old loudness for each No, it's going to sound boring. It's also going to sound amateur and more cheesy. Okay, so just try to give it your own life and try to force yourself to play loud and soft in different patterns. And you'll see that it comes to life a little bit more. Okay? So try, let's do one more thing here. Let's do the same type of thing we did for the 64 1-5, where we're going to have it kick a little bit and we're going to have, instead of playing each chord four times, we're gonna play one of them three times. And that's going to put, push us to the next chord even faster. And it's gonna make us, it's just going to give the whole chord progression a little bit of a life. So what I'm gonna do here is I'm going to do the, the f. So the four is going to have, you're going to play the 43 times, alright? And you can take that same thing, moving the chord that you play three times. You can play any of them three times, okay? The only problem there is going to be if you play the very last chord three times, because that's going to, well, I guess that would work to listen to this. Actually, no, I don't like it. So make sure if you do have, you do play the last board three times, make sure that you play the chord before it five times. So it's actually going to be an overhang. You're not going to jump to the next chord too fast. You're actually going to hold back and stay on that court a little bit longer so that you can play the last chord less. So what we're gonna do now is explaining that thing. We're going to play the F chord five times, which will then make it easy for us to play the g3 times. And then it's going to lock right in. When we're done playing the g3 times, we can go right back to the one and that's going to feel like the beginning again, okay? So they all have different fields and you have to start making your own decisions on what you like and what you don't like. Either you want to jump to the cord faster or you want to hold back on a specific chord and then, and then leak late. That's fine too. Everything is open. You know, it's all how you want to, it's all how you want to make it. So you really, you really need to start having an opinion. If you haven't really formed an opinion yet, you need to start just making opinions left and right about I like that. I don't like that. Thank you so much for joining me in this section of chord progressions were gonna go on. Now, if you need more time or you want to go back through, feel free to go back through any videos and rewatch. And decide from this section with your favorite chord progressions are okay. Pick a few, pick two or three that you, that you like more than others. Okay, so cross a few off your list and then put a few higher on your list. So that later when we put a song together, you'll have a few of those that you'd like to you'd like more than others, so start having an opinion. Okay. I'll see you in the next section. 10. Writing Our Own Progressions: Okay, it's the moment we've all been waiting for and now we get to start writing our own stuff. We've talked through a few different chord progressions, but now we're going to make up our own using 123456. We can put them in any order we want, but we're going to choose blocks of four for now, okay? So the simplest way to do it, you don't have to write all this out, but it's helpful. Make four boxes. And then we're going to just pick different numbers. What I usually do is I usually write six m. I usually write m next to the minor chord. If you don't write anything, it's usually regarded as a major chord. Okay, so this has four major, one major, five major, and then six minor. What does that sound like before we play it though? Let's do that thing we always do to kinda get the feeling of what is, what is the feeling of this chord progression. So for one 5-6, it's dropping first, and then it's jumping up and then going up a little bit higher. Okay? So it's just good to kinda, it's just good to know that it's good to see a chord progression. And then just think in your mind, what is that going to feel like? Is it going to be dropping? Is it going to be slowly moving up is going to be slowly moving down is going to be hopping all over the place for one 5-6. Simple. I like it. It's fine. It's nice. Let's make another one. We're going to do two minor sixth, minor four, and then 12641. So force it's going to start to hop up, descend, and then jump all the way down to 46 or 20641, sorry. So it's gonna go from two all the way up to six and then descend and then decide yet. Okay. You'll notice I did. There is the simple thing we were talking about before, where we're one chord was an overhang where we kind of held it a little bit more before going to the next one. And then and then also doing one should, playing one-quarter only three times and hopping to the next chord a little bit sooner than we normally would have. So that's just kind of fun to be able to do that. It has more life than just the That is so blocky, it just feels like everything is in this perfect square box. So as you do an overhang or as you do a filter, a jump, and you're playing a quarterly three times or five times instead. It's going to give them more like so and just experiment with that stuff and put that all, put that anywhere in that whole thing, choose any coordinate, do that with, remember if you're going to try to do three. The very last chord, you need to make sure that you do five for the one before, okay, so you don't want that three to jump back to the beginning of the progression for now. Just gonna put three, I'm gonna play the last chord three times, play the chord before it, five times. Okay, let's get into, we haven't used three yet. So I'm gonna end with three minor four. And I'm gonna go actually launched new 1234. Let's see what that is. That's an app that's obvious, right? 12341234. It's just going to be the slow rise. Okay. Kinda boring. They actually, that's just very boring to me. I don't really like that at all. Ok. Let's do two minor 463. Typically jumping from six to three doesn't really sound that good, but let's give it a shot. Ok, so 24632463 sorts going into moving up for the majority of it and then hops back down at the very end. It's okay. I don't I don't really like it that much. So you can you can tell it, to my opinion, kinda happens right away. If you like something, you don't. Okay, so feel free when you play something to just let yourself The first thing that comes to mind, do you like it or not? You want to play anymore? Do you not want to play it more? Come to that decision right away. Okay. I'm gonna do something that I like to use 34153 minor for 153415. This is kinda what we did to four 15 before in the last sentence in the last section of videos, this is going to be 3415. So it's, there's still the same kind of windshield wiper movement, although we're going to start with that close three right to four instead of two to four. Oh, here we go. Was that different at the end there? I think we went through the two instead. And that's kind of, that's going to bring me to this last thing. As we're playing these chord progressions, obviously we're just looping them over and over again. But when you write us on, obviously you're gonna wanna change. Every so often you're going to want to repeat certain things and then you're gonna want to break it or change what you've been doing. You want to break the pattern, right? There was kind of jarring how I played a different chord than what you've been expecting because you've been ready, you've been hearing the same pattern and over again and you've been just kinda locked into that thing. So a new pattern kind of wakes you up a little bit. Think about that when you're writing, okay, think about that. And we're going to talk more about that when we put them all together. But I just want you to understand that, that as you're playing this, this rhythmic pattern over and over again, if you just change it right away, it, it grabs attention again. Okay. It makes you want to pay attention again because it's a, it's a pattern break your, your jarring people from the rhythm that they've been in. Okay, we're gonna move on to the next video if you need more time to just like hang around and write four chords like this. Just grab a pen and paper and just, just write them out. And then that way you can kind of you can keep you can keep tabs on what you like and what you don't like. If you don't like it, just just get rid of it, just we don't even need it. It might be fun to kind of know why you don't like it. If you don't like maybe the, the tail end of it, then maybe just cross off the tail end and maybe write a new end ending for it. But writing these segments of four chords for now, okay, because this is gonna play into our bigger picture when we write our, our song altogether, it's actually going to have four lines of these four chords. Okay, so we're just getting the written, given the pattern of, of writing up four chords at a time. And I will see you in the next video. 11. 8 Chords At A Time!: So in the last video, we all wrote sections of four chords at a time. This time we're going to do the same thing, but we're going to start playing two lines at a time. Okay, so instead of having just one line repeated over and over again, we're going to actually write two lines at a time. And then we are going to play them just back to back. Okay. So I'm writing 1545412 minor 51545412 minor five. So that's an ordered like this, 1545. So we're going to jump first and then we're gonna kind of stick around that area. And then four down to warn. And then we're gonna rise. That's kinda fun. Look at that before one to five. So the first part, we're jumping down home. And then the second part we're jumping up. So then I'm just gonna play these back to back. Okay, so I'm gonna play one and then I'm gonna switch right to the other one. And then I'm gonna switch back. If you can't play the chords that fast, you can just play two times instead of four times. Okay, so you can go like this. One thing that's fun about extending this out instead of just doing the four, the four chords over and over again. Now that we're doing eight chords are actually two lines of four chords. It's just getting more complex. It's getting a little bit more complicated. The more or the less often the pattern repeats, the more complicated it's gonna sound. Now sometimes you want to just repeat the same three chords over and over again. That's fine. But it's fun to write more complex stuff because then you just feel like you're just opening up this world of, of possibilities versus just sticking with 15 four. I mean, there's only, there's only a certain number of combinations. You can play, 154541514451. But the more chords you add, and then the more, the more lines of different chords you have, obviously the more complex the song gets. Let's do another one of these eight a chord sets. We're going to do 23156415. Now, keep in mind too, I'm writing that little m right after the minor chords because it helps kind of keep everything right in my brain to minor three minor 156 minor for 15. If you don't have a little m, Then it's basically counts as a major chord. Okay, so we're basically only notating when it's a minor chord. This is super helpful when you start reading other people's music, when you read chord charts and you transfer them into numbers, this is the system that you'll be using. Okay? Here we go to three 1-5. 641523156415. It's fun these two have the same endings, 15 at the very end of both. So let's see what that sounds like. My first thought is that I hate the 231. It sounds horrible to me here. Just sounds just super boring. So I'm going to cut out that beginning part and we're going to play four to 15. So it's kind of both of them are going to be dropping and then having 15. So the first one goes four to 15 and the second one goes 6415. So they have similar shapes, you know, kind of dropping and then the 15 at the end and dropping and then the 15 at the end. But they're different. So let's take a look at that. It's okay. It doesn't really do much for me. I just I don't like the way that it repeats and we're gonna get to this in the next video doing kind of a set of four lines. The one, the five at the end always feels like it's just the same thing. Maybe that's the boring part. Let's mess let's mess this up. So we'll keep the 15 at the end here, but we'll change this four to four. We're gonna do six there for 2466415. So the first one is gonna be four chunks for six and the second one's going to be 600 were one. Okay. I like that better but it just doesn't fit. Right. Okay. And what I mean by that is it doesn't it feels like I'm just hopping, I'm just hop or wall and you know what it looks like. I am hopping all over based on just looking at how the numbers change, right? So the main thing that I want you to take from this is that as you write these different lines, these, these different combinations of four chords, you're gonna get all sorts of different feelings and all sorts of different. I mean, there's, there's so many different combinations you can make up here. So you really have to kinda start paying attention to what you like. I don't like how these go together even though I'd liked them separated and like, you know, I like the top line, would like the bottom line, but I don't link them together. We're going to talk more about that in a video a little bit later. So do one more of these, and you can do actually more of these on your own, but we're gonna do one more of these and then we're gonna move on to the next, the next video here. So I'm gonna start with one and I'm going to end with one. Ok, so my first line is going to start with one that's gonna have three chords. And then the second line, I'm going to have a few chords and I'm going to end with one. Now the reason why I do that is because one is kind of like home. So if I start with one and I end with one, It's going to feel more like I'm kind of going on a trip and then I'm coming back. It's going to feel more natural versus what we've been doing ending on five, it just doesn't, it doesn't quite feel right to me. So we're going to stick with one and I'm going to have an upwards motion first, so 1245. So that's just kind of a smooth upwards motion, not 1234 but 1245. And then I'm going to have kind of a downwards motion that first jumps down, then goes up and then jumps down again. So what did you six minor, six minor, two minor for one. Now what's fun about this is that the two minor and the four, that actually happens twice. But the first time it's going to be in the upward, in the part of the upward motion. And the second time it's kind of a part of this slow drop where it's coming down, but then it goes back up and it drops again. So let's take a look at that 100, 4-5. That makes more sense to me. I like that better. So that because of them because I'm paying more attention to the motion of it. I like it better. And also because I'm starting in one and ending on one, it just feels like it it doesn't feel like it's all over the place. Okay. I've, you know, it's not the most, the best line in the world, but it's, it's OK. It's better than the other ones where I felt like we were just hopping all over to random courts. So here we go again. And I'm just going to, I'm going to sometimes overhang a little bit and sometimes I'm gonna hop to the next chord faster too. That's pretty cool. It's fine. No foot courts together, isn't it? I love doing this. I, I did this so many times. I was teaching piano up in Buffalo and with the, with the kids, I was teaching. It was so fun to see them just kind of craft a song from nothing and make it into something bigger. And the next video we're gonna talk about doing not only two lines, but actually four lines of these chords, of four lines of four chords and kind of the thought process behind that whole thing. So I will see you in the next video. 12. 16 Chords At A Time: All right, so we got the eight chords set. Now we're gonna do a 16 cords sets. So we're gonna do four lines of four chords each. Now the main rule here, I'm gonna kinda just draw a box and then cut them in half. And then cut that box and half that in half and then that in half, that in half. And I have 16, now, 16 little boxes to, to work with. The rules for this. For now is we're going to start on, on, and we're going to end on one. And then five is going to be right in the middle. Five is going to be at the end of the second line. Ok, so in simple terms, the one here is going to be our home, right? And so the song is going to start with us being at home. And then the five, which is halfway through the song is going to be kind of like a vacation home. So we're going to start at home. We're gonna kind of land in the middle on a vacation home. And then the very end of the song, we're going to come back home again. That entire thought process of kind of being at home and going away and coming back, kind of ties everything together and really just wraps it up. So stick with that for now. As you, as you do these more and more and more, you're going to want to break that rule, right? But for now, stick with that rule. Okay, so I'm just going to start writing numbers. Don't really worry about too much about what you like and what you don't like because we're going to pay attention to what we like and what we don't. And then we're going to start crossing things out and doing things differently. We're going to like some certain lines and we're gonna knock into like other lines and we're gonna start crossing out the ones we don't like to fill in with new stuff. Okay. So I've done 1243, 641521456231. And we go, ok, first thoughts there is I hate going from three to one and I noticed this and another song that we did three-to-one, I just hate that. Okay, so we're not going to go from three to one, we're going to go from five to one. Alright, so I'm gonna change that three to five. And then also this first line, I didn't really like that much. 124343 just felt like it was going up and then it just dropped a little bit just on kinda boring. So I'm actually gonna do the first line. It's going to be going up. Here we go. So I'm gonna do five there. So 1245, the first line, we're just going to be moving up one to four. And then I like the second line six for 105. That's actually one of the, one of the core progressions that we talked about earlier that is really widely used. 245, I'm actually going to change that to 21, 5-6. So just right over your notes if you want, you can create a new box if you'd like to. Mine's kinda messy, but it works. And here we go with those few changes, see how different that sounds. No. I like it. I think I'm gonna do one more change this ending. We went from six to two and then five to one. There's a lot of jumping from six to two, that's a long way in from five to one, that's also a long way. So I'm actually going to swap these. It's gonna go instead of six, 2-5-1, it's going to be 6521. That that's just kind of a slow decline, 65 and then we jumped down to 21. Okay. One more time. Here we go. And I think the only other thing I would change there is instead of from two to one a Mexican to make that a four to one, because I'd rather have a bigger kinda jump at the end as opposed to 21 and just feels like it's kinda slowly sliding in. And I just I just didn't like it that much. Last time. We're gonna play as you can see how we can start anywhere. And then we just start carving things out and adding new things and paying attention to, I don't like that jump right on like from that core to that chord. Or that sounded kind of weird. I didn't like that, or the whole third line, just get rid of it. You're making these decisions and you're carving, you're carving it out. You're deciding what you like, you're deciding what you don't like. Ok. Last time here. I like that a lot about it. That makes more sense to me now. So do this on your own. Make multiple boxes. Remember just draw a big box and then just keep carving in half until you have 4444 to keep track of it. And remember, you're starting on one, so put one in the first box, you're editing on one but one in the last box and then put phi of the chord five at the end of the second line that's halfway through the song and that they'll feel like our home, away from home. It feels like we can rest there for a little bit. But then at the very end of the song, We come back home. So the big picture of the song is home. And then I go away from home, and then I come back home. Even though we're doing all these other chords in between, it gives us that bigger picture and it sounds more cohesive and it makes more sense, at least for now. And then once you get bored with it, you can wreck it and change it and make it your own. But for now, stick to this, okay, I have some fun with this and get creative with it. And start realizing which chords you like going from one to the next, and which chords you don't like from going from one to the next. I really don't like three minor to one. I just don't like how it sounds. Okay. A four to one works really, really well. 5.2.1 works really, really well, but three for some reason, sometimes six threes, weird, 3-to-1 is weird. Start the more you do this they're paying attention to like, I didn't like how that went from here to here. And you will discover certain things that you liked the most or even chord progressions that you really, really like. And you kinda zone in on those and keep those in a bank in your head for when you write in the future. All right, I'll see you in the next video. 13. Creating Our Own Rhythms: All right, so now you know your chords, you know, a bunch of different chord progressions. You've tried your own chord progressions. The next thing here we wanna talk about is how to create different rhythms. And there's a simple way to do that, that involves this box type thing. Again, I'm actually just going to, instead of doing maxes, I'm just going to write one through 812345678. And these are going to be, this is time instead of chords, we're not talking about chord numbers here. This is just, we're going from one to the next. And what we're gonna do is we're just gonna put axes on random numbers. So I just put an exon 1368. And what we're gonna do is we're going to count from one to eight. And we're going to play where we put the x. Okay, so I'm going to play, I'm gonna play on 1368. Here we go. 1234567812345678123456781234567. Now, that was a new rhythm out of nowhere, just because I put a few axis down and then I played as I counted one through eight. Let's try a different one. I'm going to do 12478. You should probably pick between 35 axes. If you put Xs on every single node, it's just gonna sound like that. Or every single box it goes on like this. So you're welcome to do that, but it's not going to be very interesting rhythm. So 12478, here we go. 1234567345673456781234567. And that one was totally fine. I don't really like it that much, but let's try another one. Let's do 134 and then 671234567123456781234567. So you can see that it can, it can easily turn into this idea for a song if you just put these X's down and then just play it. Now some things you're going to like in some things you're going to not say some things you're not going to like. Same way as with the chords. Now with rhythm, you have to take a chance, just draw an X and then play it and listen. And it has you listen, you're forming an opinion. You're saying I don't like that part. Right. Do you like that? Okay. Let's do another one. It's, let me recommend this though. Always put an X on one. So it really ties us down to the beat. If you don't put an exon one, it's going to get confusing pretty quickly. Okay. So for now, just do that when you're, when you're ready to break away from that, you'll know and by all means, but for now, stick with putting an x definitely on one and then choose three or four of the places that put an x. I'm going to do 147812345678123456781234567. So you can play and what I did then there's just kept a rhythm the same and then I just played around and I just chose different chords and then matched the same, whatever the note was. It did See I just played it in the left hand for now. You can just play with the right hand. If you want to do something more complicated, you're, you're totally welcome to. But that way you can hear your rhythm alone the better as you hear it kind of in a song versus just playing the same chord over and over again. It doesn't really have much life to it. Okay, so join me in the next video, we're going to be talking about time signature, which is going to really help us unlock this whole new world that you've heard all your life, but maybe you haven't known what it is. We're going to talk about for for 3-4 and 6-8. So if you're ready, if you've done with this rhythm for now, this rhythm stuff joined me in the next video. If you want to go over this again, please rewatch this. We're just on your own time. Pause the video and just write one through eight and just start putting x's everywhere and listen to how the patterns change and how it makes you feel. And I'll come up with your favorites. And if you'd like, went a lot, circle it or put a star by it. So that when we come to kind of write a whole song using all these things together, you'll be able to go back in your notes and find like, oh cool, like I liked that rhythm. I'll use that rhythm. Because you're spending time with it now you can, it's fresh in your brain, so take notes on what you like and what you don't like. So when we come back to it later, you'll be able to see see you soon. 14. Time Signature 4/4, 3/4, 6/8: Time signature, what are we talking about here when we talk about time signature? Basically, it's the amount of numbers that you will count before it kind of repeats back to one again. Ok, so for 44, we're going to count for and then we're gonna go back to one again. So 1234123412341234. It's got a very steady kinda beat. 1230 on to refrain. From 24 to 3021 to 24 to 45 to 3012. So it's that kind of feeling okay, you can play that faster, slow obviously, but it's that type of thing compared to 34, which is when you're counting to three only, and then you go back to the beginning again. So 34 sounds like this. 12312312312312312312312312312330, rows 12. So that's the difference between 4434. Last but not least, and there are actually plenty more time signatures, but we're just gonna stick with these three for now. 68 is we're going to count to six, but we're going to count to six a little bit faster than we were counting before. So it's going to be 123456123456. Here's the fun part was 68. It's kind of for for mashed up with 34 because it still has that back and forth feel of four for the rather once you G4, 1234, back and forth and back and forth. But it's chunks of three. It's basically chunks of three, you know, back and forth, feel OK. So 123123123123, back, back, back and forth and back and forth and back and forth. Okay, so 123123. Let's see what key do I want to be in here? 1212345612345612345623456123456123456 are really like 68. It's fun, isn't it? So those are the typical three time signatures you would write in at the very at the very least, just understand for for that you're counting 412341234. At the very least. 34 is counting threes. 12312312312368 is counting six, but fast. 1-2-3, 4-5-6, 1-2-3, 4-5-6. Okay, so we're going to use those when we write our song. But please take rewatch this if you need some help with this stuff because it is kinda complicated. But once you get it, you've got it. So if you're ready to move on, I'll see you in the next video. 15. Time Signature Quick Tips: Here's a quick tip about time signature as you're trying to kinda work through time signature. When you count the numbers, I want you to say one really loud and everything else not so loud. So 1234123412341234. And the reason why is because it, music is all about gravity and weight. Dancing goes along with music so well, because it's a feeling and makes you want to move. So as you, as you count with one being the heaviest, heaviest number of them all. It really, it really kinda ties you down and it gets you understand it's not just 12341234123412341234. Same thing with 3412312312312368. This is actually different. We're going to be making one Loud and for loud, remember what I was saying with 68, that's kind of a combination of 3444 together. So it's got that back and forth field, but then each block is a block of three. So 12345612, 4-5-6. So you're going to you're going to accentuate 1444681234561234. And you're also going to do it faster. 68 is faster. Here's one more thing that you don't really need to know, but I want you to just understand it. So all of the time signatures, they have a number at the top and they have a number at the bottom and then a line if it looks like a fraction, right? The problem with that is that the bottom number isn't actually a number. It stands for something. Ok. So the four on the bottom of 404, the four on the bottom there stands for a quarter note, and the eight on the bottom of 68 stands for an eighth note. Now if you don't, if you haven't studied music too much, then you might not know a quarter note, an eighth note. Basically a quarter note is a typical. If you're, if you're, if you're clapping your hands to the beat, going about this speed, that's kind of typically what wouldn't be regarded as a quarter note. You can play fast quarter notes, and you can play slow quarter notes. But it's something, it's something around there, right? But an eighth note is typically very fast type of note. You can actually put 2 eighth notes inside of one quarter note, okay, So they go faster. So eighth notes would be something more like that. Okay, so I'm not gonna get too deep into this right now. There's a whole world of sheet music and understanding rhythms by reading rhythms is a whole different world that we're not going to get into right now. But I just want you to understand that the bottom number of a time signature actually stands for something. So when you see 44, instead of seeing a fraction like you would in math class, you'd see four over four. That's, that's not what it is. Okay. So it's it's the the number at the top is how many you're counting. And the bottom is of what kind you are accounting. Ok. So basically when you see 44, I want you to see for I count four quarter notes in the bottom where it says For there, I don't want to even say for I want you to just call that a quarter note. So you're basically just counting four quarter notes. Or in the case of 34, you'd be counting three quarter notes because that bottom number, that bottom four isn't afford all. It just stands for a quarter note, okay. And with an eighth note, same thing. The top number is how many are you counting? How many? Six, right. But the bottom number, that eight, it's not a number, it stands for an eighth note. So we count 6 eighth notes. That's how you read that time signature. 68 means count 6. Eighth notes. 3-4 means count three quarter notes. For four means count four quarter notes. So what the heck would seven for B? What is 74? 74 is, remember that top number is how many? Right? So it would count seven. And then what's the four stand for at the bottom? The four stands for a quarter note. So 74 means we're counting seven quarter notes. Hope that makes some sense. It's not too important, but I want to unlock it and demystify so it doesn't seem so confusing. I will see you in the next video. 16. Tying It All Together: Write in 4/4: all right so now we get to tie it all together we are going to come up with our chords we're going to come up with sixteen cords actually ok so for lines of for each we are going to come up with a rhythm and for this first one we're gonna start with 4-4 alright the time signature for for which as you can remember four over four means we count four quarter notes because the bottom number actually stands for coordinates so we're going to count four quarter notes now and what I had to do the rhythm before I was having you write out eight and I'm gonna still have you do that but for now let's just give these chords all set so put it one at the beginning and one at the end and then put a five there I'd like you to do this along with me if you can come up with different chords just throw him in there okay so I have one two four five so it's upward motion first then I have four two six five falling within jumping up and moving back a little bit to 3-4-5 that's only upward motion two three four five and then four five four one okay let's give that a shot just playing for now let's just count four okay one two three four one two three four one two three four two three two three four one two three four one two three four two three two two okay now we're gonna take that same exact chord progression but what we're gonna do now is we're going to write out eight one two three four five six and eight and we're going to come up with a rhythm that it'll work now I'm not gonna get too deep into this but I wanted to let you know that I'm writing out a because some were selling for four but I'm writing out aid because you can come up with so many more complicated rhythms if you write out a we're basically using were basically playing eighth notes now instead of quarter notes okay but we're still in fourfold if that doesn't make any sense to you what I just said don't worry my alright so put an X on any of these I'm actually going to go with one three four and then six seven okay that's that's the that's the rhythm I'm going to use and I'm gonna go back through and I'm gonna play this with that exact rhythm okay one two three four five six seven one two three four five six seven one two three four five six seven eight one two three four five six seven eight one two three four five six seven eight one two three four five six seven eight one two three four five six seven eight five six seven eight five six seven eight one two three four five six seven eight five six seven eight one two three four five six seven eight 23456781234567. Okay, now we're gonna do something a little bit different here and we're going to talking about patterns more here. Now, every line is different for, for what we just did, but we don't necessarily want to do that when we're writing a song. You can obviously do whatever the heck you want. But I'm going to suggest to you to repeat a line, one line over and over again three times. And then the fourth time, it's going to be different. Now of these, of these lines, I'm going to, I'm actually gonna do something a little bit different. So 1245, I'm actually going to do 12 or no, wait a minute. I wanna do 1524. And then I'm gonna do that. And then I'm gonna put that down on line number three, 1.5.2 For the only difference here, I want to basically play the same thing three times in a row. But remember what we said about having five be halfway in between the song, because one is like a home cord and five is like a, like a home away from home, like a vacation home spot. And then one is home again so that the entire arc of the song is, I'm home. I go away from home to my vacation home and then I come back home. So we're basically going to copy the same line down. So it's going to be 15243 times in a row. But the second line, instead of 1.5.2 four, we're actually going to change that last guy right there to five. Just because I want that five to show up halfway through the song. Okay, so the lines are almost identical. You want to have basically the same exact thing, but you want to have that, you want to leave that five there for now. Okay. And then, and then this last line here, 4541, we're gonna sneak that guy in there. So basically we have the same line repeated three times, with the exception of the end of line to being a five because of what I just talked about. But we have a pattern that repeats three times and then the fourth time it's different. Okay, so let's take a look at what that sounds like. And again, we're using that same rhythm, okay. Playing on 134 and then 67. Once you do 456712345612345678 range 75 classes to 672.5456789 $0.10 to get five pi 67 classes. That advice into your default as excited to take that class. So you can see it. It's easier to get into it when you have repetitive part of the song because you start getting used to it sounds more familiar. It's becoming a friend. It's not becoming, you know, you're not always guessing. What's the next line going to sound like? You kind of know what the next line is going to sound like. And then when you change the line at the end, it's, it's, I don't wanna say shocking. It's not shocking, but it's just different. It's a pattern interrupt and it gets you to pay attention again. And this typical idea of doing something three times and breaking it is all over pop music. Start listening to pop music and listening to how things repeat and how they teach and when they're different. So how things are the same, the same, the same and they break listened to that and you'll start to see different patterns in pop music. But this happens all the time, suddenly repeating three times and the fourth time, breaking it. So we're going to take a break for a second. I'm going to cut the video and I'll meet you in the next video. But I want you to go through that a few different times with your own chords, okay, and your own patterns and see if you can get through that, you know, creating four lines of four chords each, just all different chords, right? And then picking your favorite line of the top three lines, choose your favor one, and then we're going to have that repeat three times. Okay, so instead of having different lines every time, we have the same line that repeats three times and the fourth time, we'd break it. So and then the only other thing there is make sure that you put a five at the end of line to go through that a few different times, get more comfortable with that. And I will see you in the next video. 17. Tying It All Together: Write in 3/4: In the last video, we talked about how to write a song in 44. Now we're going to talk about how to write a song in 34. And I need to get your, your chords all set. Put the one at the beginning, but the one at the end, and then put a five at the end of line two. But instead of writing out eight right out six this time, this, this is a little more complicated than I want to get into, but basically we're writing out the eighth notes that we're using. We can actually, instead of writing out, let's do this. Instead of writing out six, let's do 123. And that's gonna make a lot more sense right now. And what you're gonna do, so you're just going to write one plus two plus three plus, okay, so we can still count to three, but then there's these pluses in-between each number that will let us make a more creative rhythm basically. Okay? So I'm putting an X on the one and then the two and then the hand after the two, and also the end after the three. Okay, so that sounds like this. 12312, m3, N1, N2, and N3, N1, N2, N3, N1, N2, N3, N1, and N3, N1, N2. And so you get the point there. And we're going to design our chords. Take some time and if you, if you've started to recognize patterns so far, then feel free to bring in some of your favorites. I'm actually going to use 4541 at the end again because I like that. And the Michigan to repeat lines one in three. Ok, so 13 are the exact same. Then, then two. And for the second line actually starts on four and the last line starts on four. And they actually have a look at that. They have a four on the third section, the third quarter of the second line and the third quarter of the fourth line are both the same as well. So let's see what that sounds like. Member with. When we're in 34, we're counting three beats, but because we want to make the rhythm a little more interesting, we're going to say, and in between every number, so 12312, you get o. So here we go. 123 N1, N2, N3, N1, N2, N3, N1, N2 and N3, N1, N2, N3, N1, N2, N3, N1, N2, N3, N1, N2, N3, N1, N2, N3, N1, N2 and N3 N1, N2, N3, N1, N2, N3, N3, N1, N2, N3, N1, N2, N3 later. Now, for fun, let's actually just choose a totally different rhythm. We're gonna do one. 23 and then the hand after three. Ok, so 123123 and the changes that feeling right away, it's crazy how just changing up the rhythm just gives it a totally new feeling. Okay, 123. Now you might notice that I missed a few things there and in some other videos and also sometimes I'm, I've made a few mistakes. This is actually a good teaching point because I want you to understand that if you make a small mistake, you don't want to go back and try to fix it. You want to try to just go on and pretend it didn't even happen. Ok, that's very important because as you're making music, if you go back and try to replace something that you had a chance to play a rape, but you missed it. You're basically adding more beats to the song than there actually are. You don't, you can't ever add beats, okay, so you're just, you can only like a moving train. You can only be in one place at once. And if you missed, if you miss the spot back here, you can't go back and try it again. Don't don't stumble back and stop the train and pull it back and try again because it's going to feel really, really awkward. Okay? The smoother you can keep that train flowing, the better it's going to feel. So if you make a mistake, you need to plow ahead just like nothing happened, okay, so you need to forget about it and just try to make sure that the next time it happens you get it right. All right. So what's that? Don't sweat it. And actually it's actually okay if you don't play it mechanically perfect every time because music isn't meant to be just like super. And at least in my mind, it's not meant to be this super ultra precise. It's gotta be exactly the way like it's okay if it's, if it's organic and changes a little bit or you mess up a little bit. Now obviously you play something completely wrong. That sounds horrible than yeah, don't do that. But if you just like, you know, if you're playing a rhythm and you miss one of the things, it just sounds like a different rhythm. It's as if you came up with a rhythm that didn't have that b in it. So it's not a big deal. We're gonna do one more of these before we, before we call it and this one, I'm going to do one began after the one. And then I'm gonna do that and after the two, and then the three. Ok, so 123123, and here we go. 12312312312. My first impression about that is that I could never really get into it. It felt like I was just trying to think too hard about what I was playing and actually I did mess up there. If you go back and listen to that. But I kept going when I was just saying before you just keep going, you forget about it, you make sure you get it the next time. So that's the kinda thing that I'm listening for when I'm creating a rhythm doesn't feel good. Okay, you really have to pay attention to how you feel because if you don't like playing it or if you're like if you're really just trying to think of it like I was just trying to think of like, OK, I don't mess that up. Okay, how does the, what's going on in verses? When you are really excited by a rhythm, you start falling into it and you start, it just kinda like organically happens and it's easier to play. Okay, so it's easy to play and it's easy to have a good time with it. That's a good rhythm. Okay, the best rhythms, the best of them, pop music. It's, it's stuff that, it's stuff that I did. You want to dance to it? Stuff that you can't help but dance you can't help them move to it. So it's a really, if it feels awkward to you when you're playing it, it's going to feel awkward other people too. So really trust that in yourself, right? We're gonna go on to the next video. It's going to be all about the 68. Ok, so join me in the next video and we'll see you there. 18. Tying It All Together: Write in 6/8: So far we've written in 40434, now we're going to write in 68. So just like before in 34, we had six slots for our rhythm. This is going to be no different here. We have six slots here, but we're actually going to count up to six this time instead of doing the 123. And then we're just going to say 1-2-3, 4-5-6, right? And at the very beginning you're first rhythm that I wanna give you is put x's on 14. Okay? That'll just be the easiest way to start out with this. Remember that 68 is that feeling of 4-4 hooked up with the feeling of 34. So it's got it's got blocks of three to two different blocks of three, right? And so it's got that back and forth feeling. But but each each block has three in it so that, you know, baby of 4434, create that, that box. Draw a line down the middle, keep having it until you get four lines by four or four boxes by four boxes per one at the beginning, but one at the end and put five at the end of line two. So we're going to, I'm just going to do 1.5.2 four. That's going to be, that's going to be the line that I'm going to repeat. And this time I'm going to repeat. The first three lines are going to basically be the exact same with the exception of the second line. Remember that you've gotta have that five there. So I have 1.5.2 415251 to, so they're almost the exact same. And then at the very end I'm going to do 6541 at the very end, just so it kinda slowly, kinda comes down. And all we're gonna do is we're going to play on one end for, and that's it. And we're counting to six because we're in 68. And remember that the top number on a time signature is how many, and the bottom is what kinds? So we have at the top we have six, so we count six. But we count six. And what? We count six, what we count 6, eighth notes. Okay, that's what 68 means. Here. We owe only playing on 141234561234561234561234. So what's funny about that is that even though we're in 68, we're playing a very, very straight rhythm. Okay, that's what I'm talking about, where it's kind of got it's that match of a 4434. This could I mean, this could easily sound like 404 if I didn't count anything, just that super clean. But there's blocks of three within that. So as we add more things to a rhythm, it'll come alive as to what we're actually doing here. I'm gonna do, I'm gonna put x's on 1346. Ok, so 1-2-3, 4-5-6. 1-2-3, 4-5-6. That'll make it clear right away that were due playing 68. Let's go back through that same thing again and we're going to play this new rhythm. 1-2-3, 4-5-6, he would go 1256125612345612. Now, one thing I want to do just that the annual we've got the, we've got the same pattern, you know, three times in a row basically. And then the last time it changes, but our rhythm has basically stayed the same the entire time. So at the very end, just simplify it and just play those clean things that we started with. Just the kinda sound like quarter notes kind of sounds like 44. So at the very end. So just hold the no for a little bit longer at the end just to make it feel more like we're ending. Okay? We're also going to do this. So let's do that Actually what I just explained will do that for the next song, but I want to change up the rhythm for the rest of the song. We're gonna do 1246. Ok, so 124612345612345612345. Here we go. So it's fun. It has a different feel. Let's do one more. Let's do 145. Ok. 1-2-3, 4-5-6. 1-2-3, 4-5-6, P35 symptomology. Faster. Now we're going to switch every single line. I'm going to switch up the beat a little bit. Okay? So you're going to use the rhythms that you came up with a view. If you're just copying me, that's fine. If you came up with your own, that's fine too. That's great too. But I want you to just switch up your rhythm every line and see what that sounds like. So as far as the as you have written, the first three lines being the exact same, you know, having a pattern and then breaking it, you can do the same thing with the rhythm where you have the rhythm, you know, doing the same thing three times and then breaking. Or if you want to go back and forth with the rhythms, there's so many different combinations at this point. Without even getting more and more technical. There's so much more you can do with this. It's crazy. But just to keep it simple, there's still so much that you can do to just start put annexes down and start choosing numbers. And all of a sudden you have a song on a nowhere. So please don't hesitate to just go back through this again. Choose your favorite time signature and work with that one and the most, Okay, they all have different fields. 4-4 is totally different than 3-4 is totally different than 68. And I want you to just kinda settle into, to more of what you like. A lot of what songwriting is in my mind is, is aiming for, aiming to create something that I really enjoy. Aiming to create something that feels good, that sounds good, that makes me happy, that makes me want to get up and dance. That that's what you're aiming for. So basically you're paying attention to your happiness as you're, as you're writing this stuff. If some stuffs confusing or even for me, some of this stuff was convened, was getting lost a little bit. That's not good for a rhythm. You don't want to rid them to be the kind of thing that you can't settle into. Okay, good rhythm is something that you'll feel really, really confident and comfortable with it, okay? So play with that stuff and you're off and running. There's so much more you can do with this. And I hope to see you in a few, few more video courses of mine. But thank you for joining me. Thank you for being here. And if I can't, I don't think I can stress it enough that really it's all about the time you put into it. Okay, everybody, when they start, PNO is it's always awkward. It's always What am I doing and how do I do it and what's going on? You have to push through them. Okay. There's the first the first step. He's not doing anything. The second step is trying something and failing at it. And the third step is success, okay? So if you're, if you're not trying at all, that's the farthest away you are from success. And if you're failing, That's actually great because you're already on step two. You're already, you're already doing something and you're failing. And failing is good, failing is great. Failing means that you're getting closer and closer to success if you're not failing, that means you're still on step once you still have to get to step two, okay? If you're not failing, you're farther away from successive you are failing, then. Then you're just, you're one step away from success. You have to put the time in. That's very, very important. Even five minutes a day is huge. It pays off like crazy. Slow, small amounts over great periods of time are amazing. Okay. Unless you're like maybe like 95 years old, maybe at that point. I mean, you can still start piano 95. Don't get me wrong, but you have so many years left. Even five minutes a day will add up like crazy. And hopefully once you get started and you get going and it gets easier, you'll you'll really like it. It's okay if you drop it for a season, but come back to it, keep coming back to it. And every time you come back to it, you'll be that much better and you just keep building on that past success. Okay, thanks again for joining me. I will hopefully see you in one of my next courses. Take care.