Introduction to Blues Rock Piano - A Gateway to Playing Like the Greats | Will Blake | Skillshare

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Introduction to Blues Rock Piano - A Gateway to Playing Like the Greats

teacher avatar Will Blake, Professional Piano Entertainer

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

16 Lessons (1h 43m)
    • 1. Introduction

      2:57
    • 2. What is Blues Rock and Boogie Woogie?

      11:37
    • 3. Chords: The Basics

      5:11
    • 4. Left Hand Bass Lines

      6:40
    • 5. Left Hand Bass Lines Continued

      4:08
    • 6. Basic Right Hand Riffs

      8:27
    • 7. The Blues Scale and Basic Improvisation

      6:45
    • 8. Rumba Blues

      8:14
    • 9. Rock 'N' Roll

      6:34
    • 10. Rock 'N' Roll Continued

      2:29
    • 11. Slow Blues Part 1

      5:35
    • 12. Slow Blues part 2

      7:58
    • 13. Intros and Endings Part 1

      6:14
    • 14. Intros and Endings Part 2

      3:57
    • 15. Advanced Right Hand Riffs

      7:33
    • 16. Chord Progressions Final

      8:33
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About This Class

On this course, expect to learn the foundations of Blues Rock and Boogie Woogie piano. We'll be looking at the mechanics of the left and right hand and how to put them together, as well as exploring the different styles within the genre and learning about some of the artists that helped to create it. 

This course is aimed at people who either have never played piano and are looking for a straight forward way to get into the instrument, or for people who play piano and are looking to diversify their style of playing. That said, there are some more advanced lessons towards the end of the course that should challenge anyone looking to get into this amazing genre of piano playing! 

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Will Blake

Professional Piano Entertainer

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Transcripts

1. Introduction: They wanted to learn the genre of piano music that gives you adaptability, high-energy, and transferable skills all at the same time. What Blues, rock and boogie-woogie piano does precisely that as a standard plane that allow me to express myself as a musician without any restrictions or barriers of any kind. On this course, we'll be exploring the basic mechanics and subtleties that when put together. It's incredible genre, blues rock and boogie woogie piano will be exploring the styles of great artists such as Gemini birth, doulas Holland, Johnnie Johnson, Alba amines, Fats Domino, Otzi span, you name them. We're going to be looking at what they do, what makes him to his assets. And ultimately that how their styles will come together to create this amazing genre. Most importantly, we're going to be looking at straightforward ways to get your habits working together. Using beginner to intermediate right-hand riffs and baselines. As well as all that. We're going to be looking at different chord progression. Submit your playing as varied as possible, so it doesn't always sound the same. And we're going to be looking at how to bring those chord progressions and the various improvisational skills from believes rock, Google, you can add into more modern styles such as Pot. By the end of this course, hopefully, you're going to be able to improvise to reasonable standards with your right hand. You could be able to play confident based signs of your left hand. And ultimately there's going to be this magic that starts to come together between your two hands. Ultimately, we'll work at different paces. This course is going to do is give you the basic skills to start that journey with me. A little bit about me. I'm a professional musician. I've been working on for years in the industry doing function, Gabe's running quires, teaching lessons, forming with originals groups, writing my own music and really seeing it. My roots are in blues and rock and roll piano, and that's what I want to share with you guys. So come on guys. What are you waiting for? Let's click that button. Let's get you signed up to the course and let's start this journey together. 2. What is Blues Rock and Boogie Woogie? : Hi guys. Welcome to my course on blues rock and boogie-woogie piano. It's great to have you with me. I'm sure we're going to go on an incredible journey together. And that by the end of this course, you're gonna be playing piano like you never dreamed you'd be able to. But to start that journey in this lesson, we're going to be looking at the roots of blues rock can be doing music. And we're going to try and get a basic understanding of how we put this incredible music together. So before we get into any of the technical stuff, I'd like to give you a list of some of my favorite artists that you should check that account before you do anything, you need to sit down and listen to these artists taking what they do, really get ingrained in the genre of music and listen to as many of these different artists as you can. Because getting inspiration is half of the job ready when it comes to learning this particular style of music. Because that's how you develop as an artist and it's how you develop new skills that you may have heard on particular records that you enjoy this into. So in that particular order, artists that I would list Ray Charles, Jerry Lee Lewis, Albert Emmons, Dr. John O to span Johnny jumps and Charles Brown, professor long hair and so many others. Okay, So highly recommend listening to those. So brief history of blues rock and boogie-woogie, piano. Boogie woogie started in the 1920s with the first trapping pine talks boogie woogie, which you should definitely check out. It's an amazing track. But in the 1920s it starts to get a lot faster and it just traditionally it was a solo piano style, but as more and more musicians got involved, the groups get bigger and bigger until you end up with big band. So you how big band groups such as the gamelan orchestra in the 30s and 40s, really came to the forefront. But then mixing those two genres together, do you the, the, the blues music and jazz and country and western music as well. Of course, you shouldn't forget that you have an intellectual diffidence. You then rock and roll music, waves or the other artists coming forward such as Geraldine births and Fats Domino performing incredible songs such as HOLAP shaking, going on, great balls of fire, Blueberry Hill, Shake, Rattle and Roll. You name it. Even if you listen to some of the guitar driven songs from us, It's like Chuck Berry. You'll hear Johnny Johnson in the background on track such as Johnny, be good. But there's actually an amazing kinda quiet part in the background. So you probably never listened to the songs in the same way again when you go back now. But I highly recommend you have a good listen to all of those different types of genre is going way back to your twenties and coming all the way through to the late 1950s. Moving on from there into the 60s, you how artists like Ray Charles coming forward and mixing gospel in creating modern soul music. So that's artists. Now we talk about the technicalities, big movie or blues music on the piano. Gemini driven by a baseline and the left-hand pressures on the right idea but to the baseline of the left-hand and right-hand riffs and rhythms which accompany it. Okay? And the way that it's been described to me by incredible Kenneth layer, by the way, should check her out. Her name is Don rocks, which is awesome. But shout out to her. Baselines are the buoy. And the right hand step is the woogie. The left-hand which place the baselines and keeps the music going. It provides the rhythm. The left-hand provides us that. That is the Boogie. Okay. And then the right-hand, your woogie, that is the lead refs and the rhythms that are absent table to be human, loose rock, piano today yet Bu union. Okay, so it's a great way to think about it. You've got a Boolean, the left and the movie and the right. Okay, so now I'm going to sort of break that down for you and show you how it comes together. First things first, when talking about loose and boogie-woogie piano. And that is the 12 bar blues. Now, 12 bar blues is clearly made up of 12 buzz. So it's 12,004. Okay, so those of you that for many of the music will understand that fourfold timing is common timing. And in most music that you listen to, 44 is the time signature on it. We can start off in the key of C, because that was where I started off with blues and boogie-woogie piano. And I think that would be a good way for you guys to start off. So we're going to start with the left-hand here on the base. And we're gonna do four bars or C. So we're going to go 1, 2 3, 4, 2, 2 3 4, 3, 2, 3, 4, 4, 2, 3. Okay, So there's our four bars or C. Alright, And then we're gonna do two bars of F, 1234234, okay, And then we're gonna go back to another two bars of C, 2342234 again. And we're gonna do two hours of G on the top and 2342234 and then back to tumor buzzer, see different job 1234234. Okay. Now that baseline that I'm using that as a shuffle baseline, which we're going to learn in one of the later lessons. So make sure you check that out. The shuffle baseline, that'll be in the left-hand baselines section of the course. But yeah, let me just show you that again. But with some right hand in there as well. 2333234234. And up to the F chord. Again back to C 2342 to the e, to the j, to remember to C 234234. Okay, that is how the 12 bar blues is made up. Obviously, there's lots of different variations on that. At the end of the 12 bar blues, you might want to go too far and then an f 2, 3, 4, and then, and then two hours and see. All right, So that's most blues, rock and roll and Bill you, your tracks tend to be made up of that quote Patton roughly with a few little changes in there and we'll look at some of those changes, the code patterns, but that's basically how that's put together. So assume, for example, that was the shuffled baseline, the left-hand. We're now going to do a quick example of a boogie-woogie baseline. So here we go. This is a left-hand boogie-woogie baseline. Hello again. Okay, so that would be a boogie-woogie baseline. And then I'm going to give a quick example of what we call a rumba baseline. We've got a whole lesson on rumba blues coming up later in the course as well. Don't worry if this is all going a little bit fast for you because we're gonna be breaking all this down in the future lessons. But today's lesson is just to give you a rough overview of some of the stuff we're going to be looking at. So here is the rumba blues. Okay, so that's run the blues-based sign. Some people have read, read into a number of these. I particularly love it. It's very common with astrocyte Dr. John. So check out some doc John if you enjoyed that. One. Other stuff that we got coming up in the course, we're gonna be looking at some slow blues. So because music is obviously one of the more traditional forms of blues, so it often starts with something along the lines of it. So there's my left-hand slow blues baseline. Okay, so that's our slow blues. What are the next things we'll look at is a walking bass line, okay, and remember this is just a very brief overview. We will be breaking all this down, but here's an example of what we call a walking bass line, often associated with the double bass, but it's actually very common on the piano when it comes to boogie woogie and rock and roll, which means you can actually save yourself a lot of money if you regularly pay a bass player because your left-hand can basically take over. Nothing gets basically as though I would always recommend having a double bass player in the band for any double base pairs that are watching. But here we go. You gave us that as an example of a walking bass line for you. And yeah, so that's kind of focusing on the 12 bar blues and the left-hand. But obviously, you guys are probably excited about doing some of this right-hand stuff, which is a lot more of the flashy stuff. The left-hand holds it all together, but the right hand is where you really get you cakes with the improvisation and playing lead formats. Okay, so let's have a look at a couple of right hand refers just to give you an example. So we're gonna get back to the shuffle baseline because it's sort of a nice way to learn blues I find. So you might want to try something like this. And certainly been an easier one of the first groups island or something. Give me a trust and right-hand rhythms as well. Okay, so hopefully guys, that was a nice introduction to blues and boogie-woogie and rock and roll piano. Okay, we haven't looked at the rock and roll so much, but that is all coming your way later in the course, I promised. So I hope you've enjoyed this video and I hope that you are going to progress onto the next lessons because that's where it's going to get into the nitty-gritty and we're going to break it down, make it nice and easy. And I'm going to explain to you all the ways in which you can gradually put your hands together and begin to play music is you've always wanted to. So here we go. 3. Chords: The Basics: Hi guys, welcome to my blues rock gambling rule, because this is just an intro lesson to try and give you the foundations where we're going to start out. Because otherwise when we get into the later lessons, you're going to really struggle in terms of knowing what I'm talking about. So this is little introduction because just so that you can learn the basics of how it's all put together. So we're going to start off with three chords, which you could then become essential throughout the course. And that is C Major, F major, and G-Major, okay, so I'm gonna get straight onto it. So C major, it's made up of the letters C, a, and G, the notes. Nonetheless, it's the notes of C, E, and G. So you've got your C major chord. This is the C reposition. So you've got C with your thumb or your finger 3, and g with your finger five. Okay? Now there's three ways of playing a major chord. You can do it in the root form like this. Or you can try what's called the first inversion, which is where you take the C from the bottom and you put it on the top instead to move your little finger up to the top, see. And then you cover the energy with 12 now and certainly like that. So you've got Sea Route and then C first inversion. Right now, the third and final way you're playing in C major it with your right hand is to move up the piano and you're going to put the C in the middle this time with your finger three. And you're going to play E with your finger five. And your thumb is gonna go on the G. So it's still a C major chord, C, E, and G. But that's the second inversion. Okay, so let me just recap that you've got your sea route, and you've got your C first inversion, and then your C second inversion. Okay, So give that a go. And now the other two chords that we're gonna be learning today aren't F-major at G-Major, and these are very much the same as C major, three different ways of playing them. So again, with F, you've got F major route scientists. So you've got your thumb on the F. Third thing on the aid and your little finger on the C. Okay? And then same as soon as you've got a first inversion. So if you take your f and pop them on the top instead with your little finger and covered the a and the C with 12. It gives you F major. And then finally, you've got F second inversion, where you take the f with your third finger instead you put it in the middle and the geothermal in the sea, and your little finger on the a. Okay, so that's your three ways of saying F major effort. First inversion, second inversion. Okay? And then the third and final chord that we're going to learn today, because these three chords will honestly make up the basis for what we're going to learn throughout the rest of the course. Because we're going to learn everything in the key of C as this is a beginners course for blues rock ambiguity. So we're going to take g Now, G-major, we've got our root position where you put your thumb on the G, your middle finger on the big, and your little finger on the D. Okay? And then same process again, we're gonna take our g and we're gonna put him on the top and then with our little finger. And then use b and d underneath. As the rest of our courts, you've got your g first inversion. And then we're gonna do the same as we did before. We're gonna take the bottom note and pop it on the top, that's B and G goes in the middle. So you've got to be on the top. Third finger, mom, G, and then your firm on the day. So as G major second inversion, everybody, so we've got G major second inversion, G-major first inversion, G-major root position. Okay, so that's your three chords. And then the next few lessons we're going to be learning about 12 bubble is where you put these together with the left-hand baseline. So I'm gonna give you a quick demo of that and then we're gonna move on. So little demo of 12 bar blues in the key of C. Sorry, I've gone and they might so RC Cola, G4 folder trusted inversions now because our Segal and the f curve. Now C and then up to our GE. Again body. So that is your basic three chords that we're going to be learning for the rest of the course. I really hope that was helpful. Let's crack on plants and blues. 4. Left Hand Bass Lines: Hi guys and welcome to Lesson 3. This one is on boogie-woogie and blues baselines. So today we're gonna be looking at three left-hand baselines which are going to be essential for you when putting together your blues rock. Do you improvise patients and also doing composed compositions as well? So we're going to start off with the shuffle base, which we touched on briefly during the previous video. But it goes a little bit like this. So as before, we're going to start off in the key of C. So we're gonna put our left-hand here on the bottom, see finger on the thermal energy. We're going to play it in a kind of swung rhythm like this. So it's 12341234. Okay. And then once you've got the hang of that, when you take it a step further and we're going to move our thumb up and down between the G and the a. So we're gonna go, okay, so that's sort of shuffled baseline G, G, G. Okay, so it's as simple as that. All we do when we change chords and you go to the F chord is we're going to move it here. Little finger on the F and the thumb on the sea. And we just got the same pattern. We're going to go 1, 2, 3, 4, 3, 4, and then back down to the sea. Okay, So then we get to the G chord. We're going to move up. I'm going to put a finger on the G and the thumb on the date, right. So and I'm going to go like this. And then heading back down to our C. Okay, so that's the 12 bar blues with the C shuffled baseline. And we're going to show you that one more time. Some people find it more comfortable to use fingers 12 on the G and the a. Those of you that have got a classical background might prefer that because it's probably the technically correct way to do it, so you can try that. Okay. But personally, I prefer using the thumb because it's just more comfortable and it seems more natural to me. Okay, so one more times. 12 bar blues format. Here we go, 123. All right, so that's your shuffled baseline for the left-hand guys. So that's the baseline number one. Give it a good practice, see how you add on. And now we're gonna look at baseline number two, which is the walking bass, okay, and there's two different ways to buy this. We're going to start off with the easy way. And then at the end I'm going to show you the hard way to do it. All right, so we're going to start off by this. Again, we're going to stay and keep C because it's just keeps things simple for now, but we will look at playing different keys later on in the course. Okay, So left-hand finger on the C and we're going to go five. And the C finger three on the a finger to, on the G, and the one on the a. Two on the B flat. And then coming back down again for the thermally a U2 on the GI. I think it's really only IV and finger five on the go. So I'm sure that again, so it's 53212123, K C E G, a B flat, a G. Okay. So let me just be that a little bit for you guys out into your four bars, then we just do the same, but we started an app instead. So we're going to do the same fingers but different notes. So we're gonna go 54321 to three, or at a, C, D, E flat, D, C, a to C. Okay, and then we're going to try something a little bit different. We're gonna have our little finger here on the D, and we're going to go five, then four and the three on the second line, the F sharp, and then some on the G. And then we're just going to work our way back down the white notes. So F, a, D, C. Okay, so that's the last way that we show that one more time. That's D E, F, F sharp, G, F, E, D, C. Okay, so that is your walking baseline. And let me show you that time and gang up a little bit of right-hand with it as well, just to make things a bit more interesting. Okay? And then you just keep that going round as long as you can. Just get used to playing it. Again, displaying it faster and faster until we get to the part where we make it slightly harder. Everybody. 5. Left Hand Bass Lines Continued: So this is how you do the walking bass, but make it a bit more complicated for yourself. You use the same notes, but the difference is you do it with an alternative. So we're going to do an octave Cs little finger on bottom seat, and the thumb on the C above it. And we're just going to walk up and down. And we go. I even made a mistake there. Okay. Exactly the same as we were doing before. But octaves apart, so it's a little finger against, that's a slightly harder way of doing the walking bass. But I would recommend that you don't try it until you've got really, really confident with the first method. Because that's almost as effective. And give the most of all things that we have fun. So stick to these you want to begin with. And then if you feel that you really want to challenge, give the octave walking bass ago. So that's walking bass. And now onto our third baseline, everybody, now there's lots of different BU, you will eBay signs, but we're going to choose the person favorite of mine today because it's firstly, quite simple and secondly, really effective when you want to really rock and roll it and just keep it really up-tempo and fund. So it goes like this. Okay, so the way we play that is C, C, a, C, G, C, and then a third. Then, see you've got 553525 and then 12 sets c, C, the C, G, C, a G. And you'll do that really solely because appreciate some people might find this a bit fast. So we're going to go C, C a, C G, a, G, C, C, The C, G, C, a G, C. C, a C, G, C, a dream. Okay. And then you just take that up as we did with the other baselines for 12 bar blues. And we're going to go to F and F, a, C using and c. And then we did the same iPhone G, back to C. Okay, so a blues music, it's more about the shapes of it is about the individual notes if you've gone. And that allows it to blend different keys because the shapes tend to be the same. But we're going to stick to see for now. So let me show you that one more time in the key of C with some right-hand, just to show you how it works. So as your boogie-woogie baseline, which I highly recommend you give it a go once you get your hand role in UB away. Thanks so much for watching this video on baselines. Next video is going to be on the right-hand riffs. So check that one out and we'll see you there. Yes. 6. Basic Right Hand Riffs: Okay guys, welcome to lesson four of my blues rock ambiguity piano course. In this lesson, we're going to be looking at right-hand riffs. So as you can see, I've got my tripod to the top into the piano. Nasty. You can get some nice close-ups on what my right hand is doing and pick up on the different metrics that we're looking at. Today. We're just gonna look at three basic riffs that aren't too difficult, just going nice and straightforward so that you guys can really start to get that right hand. Moving to put with your baselines that we learned in the last lesson. Ok, so we're just going to jump straight in. First drift that will go into the cat, goes a little bit like this. We touched on it briefly in the original brief video, so it goes. Okay, and that's using the sea blues scale, at which we're going to look at in the next video. But for now, just think about it as C, C, E-flat, G, F, E flat, C, D flat, C, C, B flat C. Okay, so you got, okay, So to your first riff, let's give it a go with a baseline underneath it so you can hear it in context. Okay. So that right-hand let me take you through it against got 1135 and then 431 member to the crossover thing to, to, to be flat. And then C, C, D flat, C. Okay, so let me show you one more time. Here we go. On a bit slow. Okay, so there's rough number one, okay, That was the first riff I've learned in my right hand that I was able to put with my left hand because they're sort of working in time in sync together. So give that one a go. Now the next, uh, the right-hand ref is a little bit more tricky, but I didn't enjoy. It goes like this. Okay, now display this photo to get all five fingers roll in together. So a good way to sort of practice it prints the movement is just by moving your fingers in this noise and on the piano, just trying to scan in from the finger and the sliding down, including the thumb, so okay. And then you have to do it on the piano. We go. Okay. All right, so give that a well, and then we cross over, we think to remember thumb goes on the E. And then we're gonna go to the G, three on the a, and five and the C. Okay, So it goes. So at the end group playing a C chord, which again, you'll know from when we did our introduction to courts. But classes C, first inversions, you'll see the thumb on the, a second analogy. I'm going along the sea to finish off. Okay, so let me show you that in context with our baseline again. Okay, so that's our second RIF. Give it a go home. I'll slow it down one more time for you. Okay. So that is your second right-hand leaf and bloody, and now fund the riff number free. Myth number 3, everybody. Yeah, This one is quite complicated, but you should manage it. If you've managed the other two, then this one shouldn't receive bad for you. So it goes like this. Okay, I'm going to try this with the walking bass this time just to show you guys have a different baselines work with V. So you got, Okay, so we're gonna start with the second finger on a G. So that's the first bit, G, B flat, D, F. Okay? Okay, then we're going to crossover. Okay, with finger three or two doesn't really matter. Onto the E-flat. And then we're going to jump down without them. The G. And second thing won't be thought. And then two C's. Okay, so I recommend crossing it with the three. Because then I can go second finger on the sea, foam down to the G. Okay, I'll try that the shuffle baseline as well just to mix things up for you guys. Okay, so that is our third and final right-hand read for today, guys, if you can master all three of those right-hand writhes and put them with basic shuffled a sign or a walking bass line, or even the boogie-woogie baseline. You can speed them up a bit. Okay, so that's your three riffs played with big league based on little bit faster. And so I hope that's been helpful guys. Give me some feedback, let me know how you got on it. Make sure you post different attempts at these reefs yourselves and show me how you get on so that I can give you some feedback. I look forward to hearing for me. That's how Ultimate next lesson. 7. The Blues Scale and Basic Improvisation: Hi guys, Welcome back. So today we're going to be looking at new ways to improvise. We've already looked at our left-hand baselines, which the foundation for our blues rock and boogie-woogie skills. And we've looked at some simple right-hand riffs as well. Now today we're going to look at something called blues scale, which may be familiar to a lot people, as it's very commonly learned quite early on in music. But the blue scale is really important because rather than just repeating riffs that we've heard before from other players who would listen to. Fuschia enables us to learn our own riffs and intravasation skills. So you can take a little look at that today we're going to look at major blues, minor blues, and also going to look at some basic improve using those. All right, so here we go from the top. So we're gonna keep in traditional again, stay with what we've been learning so far. And that is to stay in the key of C. Okay, so starting on the sea blues scale, I will start with the Minor Blues scale goes like this. You've got C, then E-flat, then F, F-sharp, crossing under the thumb to the G, and then the B flat, and then the C on the top. Okay, So come back down now to the B flat, a, G, G flat, F sharp, then the three on the F and E flat, and then the C. Okay, so let me show you that again. From okay, so that's the blue scan or z as you start to play a little bit quicker again and see that it starts to turn into very much blues improvisation. So let me just give you an example of how some blues in Pro using the scale might go. So now green onions, red, orange, Let's do that. Right? And so that is how we improvise with RC, Blue scale, add mine boo scale. But you don't want to just jump straight into it like that because it's very tricky to just go from naught to suddenly improvising. So what we're gonna do is instead of using the whole blue scale, we're going to take three notes from it. I would recommend you start with C, E flat, and B flat. Gays, he got down. You can use these in any order you like. And you can just start creating improvisation. Just literally get the baseline going. And just stopped by an electron randomly. Take it down and obstacles you don't see the three nights I'm using it actually see from C, E-flat, B-flat. Okay, and then right when it once you've gotta kinda got the hang of using CBT for any fired recommend you add a fourth note and just add a new dynamic. And the one I recommend you put in is probably G, because naturally you can play it with your thumb. And then that means your second finger, I'll be fat. Third on the C and forth on the E flat. Okay, so you can start rising before notes. Ok, and it's just really just getting hanging off the different rhythms that you can use. Which probably sounds very bland, but it is very much just a case of listening to as many different artists as you can as we mentioned before. And then using the blue scale to try and create your own little riffs and just follow what you think sounds good. There's no rules when it comes to blues other than try and use the notes from the key that you're in and the scale that you're in. But other than that, pretty much anything goes. And then obviously you can start to add the other notes in as well. So you've got G, B flat, C, E flat, but then you've also got f sharp, which again, create whole new way of playing. So you've got form, it's off. It's neither a breath. Okay. So I mean, obviously don't, you don't just use notes from the blues scale. You can check some other notes and if you think it sounds good, just follow, follow your ears really, really lesson. And you'll work out what is the right thing to do. So that's minor blues. A slight difference with a major blues is that you literally but an e and instead of an E-flat, although you can still aside of the E-flat if you want to. So you've got to go. Okay, So your major blues in C, you get three different sounds. You'll see that there's much happier because it's obviously a major blues. Again, similar sort of thing. You probably just want to start off with your C and an E natural and B-flat. And then just gradually work your way up, adding an extra note at a time until you get used to using them and coordinating with your left hand, which is obviously very few bit. Okay, so we've got guys, that is the blue scale in the key of C. I hope that's been useful for you. And see you the next lesson. 8. Rumba Blues : Hi guys, welcome back. This is lesson six of my blues rock and BUT course. Today we are going to be looking at rumba blues. Now this is a startup that I'm really passionate about. It's very common with artists such as Dr. John and Chrome OS. It's like our amines, professor long hair as well. Professor Wong has really into this style. So definitely was getting into. And what's great about it as well is that if you're struggling to combine your two hands together at the moment, then this is a really good way of getting around that. So let's give it a go. Now with remember blues, the first thing I want to start with, as with the other styles, is your baseline, okay, but it's quite different to other styles, so we're going to give it a well now here's your left-hand. Remember blues baseline. So stickies that 12 bar blues format for now. Okay, and so the way you do that as a finger five on the sea, then sliding up from an E-flat to an E with your third finger. And then finally hitting the G with your thumb. Celia. Okay, et cetera. So then what we do is we start putting in some little riffs with it in the right hand, or even just some basic rhythms will start off with a rhythm for now as we're just going to try a bit of, okay, so you've got eight hits per run on the banks are gonna go 1234567812345678123456781256781234567812345678. Okay? And the chords we're going to using other dominant seventh, so that's a, C, E, G, and B-flat. Okay? It creates your C7 chord. Okay? And that's for me the easiest inversion to play it with. But as we talked about in our courts lesson, yeah, seven inversions for each chord. So if you wanted, you can move down to the first position and try to beat your forefinger with Josephus and version. Or you get under the reposition and play C major and then just put the B flat on the top. Okay, So let's just run them through that again. So you're gonna go 123456781234567812, viruses to evolve and six, so 12345678, et cetera. And I'm just gives you a really nice rhythm. It's just key role in bandwidth. All right, so you just plain background was to guitarist is doing a solo ever taught over the top. Then doing that rhythm like that is absolutely spot on. But I imagine that lots of you are going to want to try doing some lead generous with this. And this is where it gets fun. Because you don't necessarily have to be able to play with both hands together on this one in order to have fun with it. So we're going to look at this little riff, which will sound a little bit tricky to start off with, but once you've got it, it's really good fun. So it goes like this. Okay, so or if he did it fast together, right? So start this, we're going to break this down because this riff really is quite straightforward once you've played it a few times. But at the beginning, it can come across as a little bit daunting. So we'll start with 35 on the E flat and G. And we're going to move on to the E whilst keeping our little finger on the G. Then we're going to move both fingers up to F and a. And then we're going to come down and spread our handout. Octave G's, with our 23 in the middle on C and E flat, and we're going to go by that. So just down from your little finger, then the third, then the second and the first. Okay. So it's clear from the beginning. Okay, And then we're gonna go over referring to two f And we're gonna jump down again to EPA. Then we're going to play the E with our thumb. And then we're going to hit the rest of our C7 chord like that. And that's the whole riff. So you've got the just like that. All right, we're going to try that nice and steady now. And I'm going to show you how the baseline works with it. Okay. So let me just show you that again. This is how the hands were to get her hands worked together to create gene. They're not actually bind together at the same time. So you've got the riff. Okay, so you guys can see that is my right hand doing something slightly different when we get to the G chord, which might confuse you a little bit, but it's quite straightforward. It's actually easier than the rest of the gym because you're just going to say up here on the energy, you're going to go. It says 1, 2, 3, 4, 5, 6, and then come down to the E-flat and the F sharp. And then come down again to D and F. And then there's the symbols that the original graph. Okay, So that's a basic Griffiths and remember blues are right, and I would encourage you to have a little go experiment and give it the blue scale, come up with some of your own riffs. Let me know how you get on with that, but must appoint me. Just try that one ref and enjoy yourselves great getting gradually more and more confident and gradually increasing the speed. I'm gonna show you one more time. Okay guys, so that is your rumba blues. Really hope you enjoyed practicing that limit and I get on. And I'll see you in the next lesson. 9. Rock 'N' Roll: Hi guys. Here we are again for another police rock, the rock roll counter lesson. Today we are going to be focusing on rock and roll. Rock and roll is music that was, it became very popular in the late fifties and then moved on to influence the Beatles. And pretty much every musician since then in some way, shape, or form. Anyway. Here we go. Here are some examples of some rock and roll chins. So you might want to rethink where some of the classics like great balls of fire then invaded my Burning Man, man saying, partner with a lot of really taking off and the grays is great bows. And the answer is that this is a greatest vowel, the buyer, okay, so as a class, It's on my journey, this. And then you've got songs like Blue Suede Shoes, which are made popular by people like Elvis. So words waterfall model to our show. Sorry, Sorry, yes. Okay, So you've got to craft the Rock and Roll genes there and we're going to focus on those today because we're going to talk about the difference between straight rock and roll and swan rock and roll. Very slight differences that they make. All the difference when it comes to playing. So to start off with, we're going to look at a straight baseline. The streets broken role-based sign, which you might use for something like great balls of fire, all droning be good or something like that. So here we go. We go. There's a straightforward withdraw street. Not straightforward, but straightens in terms of timing. Bernoulli or rock and roll baseline. So we're going to play that is a, C and G. And I'm going to hit an a and an E flat. And then back to RC in the Jade map to see you again. And then FNA. And then the energy again sets. Ok. And for those, that thing that's a little bit too tricky, that's absolutely fine because appreciate that. So what's taken? You can try and much more simplified version of it, which is the same as the baseline we looked at in our baselines lesson, which was the shuffled baseline. Instead, what we can do is just make it straight down so you can go. Okay? And now I'm ready to rock and roll. Although it was very complex genre, lots. Taken from it. When it came to the piano side of things, although you had some simple riffs filling on the top, it was mostly just driving rhythms. So in great balls of fire, for instance, you just sad very much sort of thing, very Jerry us sort of style of playing as you just find, call them on top of this one, which is the classic Jerry Lee Lewis, cause you've got your thumb covering the G and the a, then you'd have a second finger on the C and the third on the E-flat, and then G on the top so that you can just take the c out and makes it even easier to go. Okay, So you've got a very straight off the road. Okay. So it's a 100 than there, which we're going to move on to next. So that right-hand rhythm is not so just similar to some of the stuff that we've been looking at with our baselines where you've got C, E, and G, and then C, F and G. So just working between us, see record and second inversion. You're still unsure about those chords and go back into the chords lesson and recap. Highly recommended to do that. But for now you're just sliding thumb. Then this genie was solely with the flat and you try to manage your thumb. And then the F and genomics on either. Yeah. I feel very strict Rock and Roll. Again, not forgetting the B flat when I'm going on the arithmetic. Sliding off the a flat to the LLC, then back to the thumb on the F. And then 3 and 5, we're going to hit this b flat order pair. Okay, So let's try it one more time so you can see it. All right, so that is your straight rock and roll guys for you to have a go at. So I'm going to say the genes like greetings and buyer journey, good. And then illustrate lots and lots of genes have been gone. And then we're going to quick look at some swung more control. 10. Rock 'N' Roll Continued: Okay, So that again is going to be very much more attitudes such as teddy bear and Rock Around the Clock, Blue Suede Shoes, some of those classic fifties rock and roll genes. Very much giant music in this KFC, same as usual. So this is very much better having a bit of a swing with the hands to do it. Rather than straight mute, straight music beam, do-do, do-do, do-do, do-do, do-do, do-do, do-do, like this. It sounds silly and it's more of a skipped. So if we were to do that, to do that, do that, and that's the same on the pianists ago. Rather than going to which certain genes do dude like mess around by Ray Charles. But that's very much a straight rhythm. If you want a swung rhythm, then you'd be going more like. So a good way to think about it is if you had your hands on the table rather than them going up and down like a seesaw. Like this. They're more coming down like a scale like this. And that's how you get your, is how you get your escape rhythm. You're somewhere with an acid goes. From negative three there is your S1 brought them over and we get introduced the rhythm, the baseline that we were using before for that endured and becomes like a facet shuffle reading. Okay, so that's basically the difference between straight rock and roll and song rock and roll. If someone tells you to play with the swing, that's what they mean. Hopefully that's helpful, but it's not essential in your brain to start off with at the end of the day, you're learning the basics fundamentally down and in place. So hopefully I'll just be simpler to think about. But let me draw it out, guys. But now we're gonna move on and look at the rest of the stuff. 11. Slow Blues Part 1: Hi guys, Welcome back to another lesson with me. We'll break force and blues rock ambiguity in Canada. Today we're gonna be looking at slow blues now, slurries is obviously not the traditional form of blues. As lot more chilled out that it can also be really high energy. If you're looking at artists like Gary Moore, he hit check out his version of red house. That's obviously a guitar player, but the energy that surveys can produce and the passion as well, because it's a music that you really just have to feel. Anyway, we're going to give it a go. I wanted to start off by learning math time baseline. And then we're gonna look at some right-hand rhythms. And then I'm going to start teaching you a tune called after hours as well. Later on there's isn't. So stick around because this is going to be great. So here we go. Left-hand. Baseline goes a little bit like this. Case is more of a walking bass. And it's very chilled out and got this lovely little stride in there. So it's there in the key of C. You can see I'm using the MS 5321. Okay. So that's our left hand bass out and do it one more time, just nice and slowly so that you guys can listen. So there's C, then the G, a, G, C, G, a G phase. That's when you're playing the chord of C. Hopefully you guys have got the hang of the 12 bar blues format by now. So when you get to the F chord, you're gonna get a, C, a, C, C, okay? And then the G chord, when we get to that one, It's gonna go G, B, D, DG. The do, the DNA back to the ciliary body. And that is your left-hand slow blues baseline, alright, And in the key of C. And now we're going to look at some rhythms to go with that in the right-hand. Now, here's where it gets tricky. I'm going to start with a C7 chord, which I think we looked at in one of the other lessons. But for those of you that are, I wanted to recap on that. There's a thermal energy. Second thing that on B flat, the third finger on C, and your fifth thing on a, okay, and we're gonna play this in a sort of 6 8 timing. We're gonna go 1234, 6123456123456123456. Okay, and that's going to go over the top of our baselines. It's gonna go. So second cord, those and F7. And we've actually C7. And going up to, I've probably been playing the F, so important, I highly recommend it, but wouldn't be emphasis on E-flat. So it gives a bit more the bluesy field trip because that's the seventh note. Notice is a rootless G7 and right-hand here made up of f, b, and d. So all we're doing is we're taking the g out because if it was a full G7, you'd have the g in there as well. But if you take the g out, there's Benji on the bottom. It just makes quite a nice blue sound, so they just take it back to see everybody. Okay, now you can think of a slow blues songs such as red house by Jimi Hendrix. There are so many, but you're after hours. You've got pretty much heartened rules, oms by BB King. And you've got stormy Monday. I've got lots of times where Muddy Waters, lots of classic blues acts, just check them all out. There's so many certainly these challenges tunes that you can put to want to teaching you here. So it's nice, versatile. Started the plan and it's also really nice to them, this background rhythm part of it because when you playing in a band and you want to sit back and let someone else take a solo, then this gives you opportunities to do that. So I'll show you one more time. Taken to RF, putting emphasis on the effect that we see. Egn, what do you and the AV node C. Okay, now that lasts, it will refer shady. There was a little turn around it as a classic slide. Please turn out that you hear in lots of different songs. So I'm going to show you that next. 12. Slow Blues part 2: So you've got, now there's two different ways of playing this. You can do it like that, or you can try it like this. Okay, now the second way is probably the easiest. We're going to look at that first. So you play your C code, first inversion. And then he failed again twice. And then you do the same amid the E-flat, G-flat, still keeping your little finger on the C. And then human fingers to one down again to F and D. And then down one more time, just C and E. As if people that don't have quite as big fingers, you might want to just leave that last one out and go. Okay, the last chord you could take your finger off the sea and just move down to C and E. Okay, so last little bit is when ticket to a G chord. This looks like a complicated corporate is not this just a G chord. I'm holding down a gene and F on bottom with my thumb. And then you can see I've got my first version of G on the top plate with 25. If you haven't got very big hands and he might struggle to stretch all of that. So I recommend you just do normal G7 in that case. It sounds almost as good. Okay, So you've got to know your left hand is going a little bit different. Here. It's gonna go and octopuses. And then the F sharp, F sharp, G. And then you jump down and play the octopuses below that. Okay. And then you just put that with my hands. So octopuses. Then to ease the C chord, two Fs. And these two fingers down to E-flat, G-flat, and then move them down again when he goes to the F sharps in the left hand. And then you move up to the G was that I found and down to see an E in the right hand. And then everybody moves down in your play, a big G chord, G7 chord. All right, so guys, that's a blues turnaround. And you would put that at the end of your 12 bar blues or possibly at the beginning, depending on how you would like to start a gym. But we're going to look at introductions in the next lesson. So don't worry. Again, lots on that. Moving on now, we're going to look at after hours, which is a classic slow blues chin. If you'd have a little play with, and it's nice. It's got a little bit more structure than just improvising slave lives. So we're going to give it a row. A row now. Now games as the basis of it, that's after hours, everybody. Okay, so there's about three or four different craftsmen not going to look at ordinance able. We are going to come look at the basics just so you can start having to play with this. So the riff we're going to start with goes like this. Okay, so that was a tremolo. They're just kind of shake your hand on the device and let your dominated often indented hardware also in the code in the middle. And then we're going to try this very bluesy chord here, which is a, C, D-sharp, and j. Okay, It's, it's for my Sandra and it goes so you just plan according pieces. It was moving a little finger and your forefinger, alternating between the G and the F. Okay, it says the first bit, let's just roll them through that again. Was thinking when I left him the same just I'm not slogan whose baseline? Now we're going to have assembled again, but we're going to just roll down it. So that's a, G, E flat, C, and a, and B. And it maps a vector f. Okay? And then the last bit, so that's a, D, E, and then this is what we call a D minor seven chord. C got D, F, a, C, and a. C to start on the finger three on the D, D at D0. And then when you play the F, that's when you feel your chords, you're going to go. And that's our G7 chord we talked about before. Okay, And then the last little REF goes like this. Okay. And so that afternoon right under good, do the same thing. They're both going to go see the chief math is C, T, and G 71. Yes. Okay. So let me show you that one more time and go from the D, We're gonna go walking out with our left hand. So from the top, everybody here is you're after hours once more. And carefully roll on a minor chord, D minor seven. And in now, just keep rolling around your slow blues and probably wondering now how do I end it? Well, that's quite straightforward because we're going to do as intros and endings lesson next everybody, so stick around for that. It's coming up in just a bit. Thanks so much for watching. That's an introduction to slow blues. I hope that was useful if you have any questions, just leave them in the comment section and I will see you soon. She's a boy. 13. Intros and Endings Part 1: Hi guys, Welcome back to another lesson. Our blues rock and boogie-woogie piano with me will break. Today we are going to be looking at some introductions and some endings because this is how we've really put more finesse and our style of playing. And it's what people remember. There was remembered by the startup piece and the way that you finish a piece, as it's really important that we get these down. Okay, so I'm not going to ramble on, we're going to get straight into it. Here is the first introduction rate. So with the big pieces when the faster they often start with this one. Okay? And then you go. So it's quite straightforward. It looks harder than it is. The most important bit is this first bit. And you've got G day and see that you start with you. And then you would change it to an F-sharp eight and senior. And then I would recommend you go. All right, so there's lots of different ways of doing it. So octopuses on bottom and she would just stab with it. And alphabets. And then send again. All right, and then you're in. Now with these introductions is important to remember that they often take up your first four bars of C. So when you come in on the rhythm, you want to come in on the F chord, or I or the fourth chord if you're in a different key, but the F chord, right? So, all right, now that was an ending that we're going to look at. But before we get to that, we're gonna look at some other introductions, some different styles. So for instance, slow blues we looked at in the last lesson. So please, you might want to start this. Right now. It's really straightforward and it's really easy to learn. It's just, it's got a popular slow blues introduction. You'll often hear it played on guitar by people like BB King. But again, one of the most simple ways to open a slow blues numbers. He got G, G, a slide with a flattening of the a, and then C. And then slide from event E with your little finger, and then back to G. And I knew this level is okay. Now with something like run the blues that you're given is that in a different lesson, you might want to start with an introduction like this. All right, now it's actually the same roof as we learnt, except you started without the right hand and just coming on. But again, you might have to start a rubber blues with more of a tremolo sort of accordion Julia, introduction, technical terminology here, guys goes like this. And then you can come in on the F chord. Okay, So you've tried different causes. A tremolo. That was just a C7 with an E flat on the top. So say cc that I found and feminine in saving energy. Third on B-flat and fifth and the E-flat. And then you just kind of schrodinger hands away is when you're going out to an F7 chord of just taking an atmosphere that literature in the field and then you go straight into the F chord. All right, so suddenly else that you might want to start a piece of it is on shuffled the mountain to start with more of a. So. And this one's a bit tricky because you're gonna be using fingers 24 and going down from ICT in the middle on the right hand. So C chord and then stretch out the octave and the second one and you go. So it'll be fun GI events and see, I kept for B flat and G and G foreign aid. Still, alternatively, the sea, then down to F and a flat. Again stills and as you can see, and then playing the C code again. So and in pain that forever the G7 chord, which I seem to use all the time, I've noticed through doing this course with you guys. But and then you're in with your shuffled blues. Okay, so that's a slow blues introduction and shuffle blues introduction, a bill you an introduction, and a rumba blues introduction, I think. Yes. So you've got four introductions that to try out guys. Right now we're going to have a little look at endings. 14. Intros and Endings Part 2: So guys, Here we are for part two. Now we're going to look at some endings for somebody with pieces now, not too dissimilar from introductions or fails rule. The endings you want to have that kind of finality of which obviously mean it's the end of the piece. So listed four things to have a good ending chord. Now, the code that I normally use to end most of my bluesy boogie woogie pieces tends to be this one. It said that it gives that really nice bluesy finished to Jim. So you've got, again, the left hand for this C, G and C are some octave. And then in the right-hand, I'd play an E, G, a B flat, and a D on the top. So it's just that lovely, beautiful, warm sound that you get on this court. And often before we get to that forward, we'll play different core, which is a bit dissonant. And that's this one. So you have C sharp, G sharp, and C sharp in the fountain. And then the right-hand by F, B, and D sharp. So those sounds a bit strange. Then you can go from nothing to the first chord that we talked about. Let's say I love the entropy. So I'm gonna go round one of your introductions, but then just put that chord at the end and it becomes an endings. Have we looked at the shuffle lending? Right? Yeah, I love the end. Now let's say I want that shuffle ending sounds a bit about the shuffling. Try it and that's right, it is, except that you end up those courts which gets at the end rather than going into the GC is obscene here. And here that g of x you want to continue. But when you take it to the c at the end, make sure that the audio identity, okay, So it's a chef lending and you can use that for pretty much any of them is just comes down to the rhythm. So if you were doing a shuffle, all right, it looks for that as well. Sometimes you might not want to end like that. For celebrities, for instance, you want to go. Now if I'm in here in the key of C, lovely. Notice to hit on the way up the piano. Are actually notes from quarter d. There asked me why this works, but when you're playing the C chord at the end of the DNA, where it really nicely to just have that the piano and that kind of fades out the piece in a different way to, rather than going through the ending it, you can just go to play a C major chord at the end of that subset of C major 7. And then just woke up piano on DNA. And the sounds lovely. Okay, There's a couple of ideas for some endings as you guys hopefully that helpful. They're not. I mean, you can use introductions and then things pretty much as you will. But the main difference is that January of an introduction, you take it to the G and an unending, you take it to a C chord, or roughly equal that I showed you a second ago. Okay, So guys have heard that it's helpful. She into the next lesson, which is going to be on some advanced right-hand ribs. Okay, so lots coming up. See you there. 15. Advanced Right Hand Riffs : Here we are again, everybody. Now, this is one of the final lessons in the course, and it's one of my personal favorites because in this lesson we're going to be looking at advance right-hand riffs. These great fun to play, that really impressive. And I must emphasize these are three more advanced players. Because they actually jump straight to this. You won't know. What Let's do is make sure you go through the basic lessons that when you've got those really nailed them, have a go at this stuff to finish off and see if you can manage any of them. That Zeplin look at three advanced right-hand riffs for burglary and blues rock can play. And let's get started. Now, this is a classic video here if that you'll hear in chins by amines, particularly and pretty much people at Pete Johnson as well. I meant misled. I just found all the traditional media players use this riff. So it goes like this. Okay, so that right, a 100 for that, we're going to go Starting on the D, certain key of C, everyone. So we're going to start the day. There's our first three notes, D, D sharp, E says thumb, secondary or batch them. And then we're going to stretch out within the string five, numbers a, then D and B flat. And that's the again. And then see you there. So my final time would just keep going up to the C and E three times and then come down again. So you've got All right. So the whole roof over time, you've got good. Now we take it to the key of F, So we're going to go. So asylums, G, Again, it's scientifically about a third. Let me stretch up to F and a, and a and dam come to G and again and then the F and the DEA, and then go back down to the sea. And now it gets tricky because we're gonna do the bundle at the end. So we're gonna go to G. Okay, so we looked at G and B with our thumb and one was stretching into g with little finger. Okay. Let me move down with them. And second mega to be an a sharp and then Fnatic. And then up to F, the finger, back to F and a, G and a. Okay. I guess that's rough number one. Okay, Good luck with that. One is pretty tricky. Now we're gonna move onto number two. Now this done, this is fantastic for running down the piano and showing off in a filled, during a piece. And it's very, very similar to the rubber blues riff, except we keep it going down the piano. All right, so the way we do that, we start up here, we're gonna go fill in the sea. Then we're going to get E flat G with fingers during five. So that's the E flat G. That in G, still it's revoked and then up to F and a, and play our thumb on the C. And then we come down C, C minor over with our second finger to F. And then we put our thumb on the seed. And then I'll just do it again. Okay. So you want to do it in the film like the Civil War. So then you're always rocking, albeit we believe based on all walking, based on or whatever you might want to use that. So let me show you one more time. That's c, then f and g, that EFG, that FNA of them on the Sie, Dann, the C minor chord from everything it is the F. Then put your thumb on the C, and then you start again. Jay-z, industry go all the way down the piano if you want. Okay, So the trick is that cycling on the F to the thumb on the scene and then started off again. All right, So guys, then we've got our third and final recap for this lesson. And this one again is just showing off ready, but you can roll up and down with your right hand. And this one is done if people with big hands. Sorry about that, but this one is C minor chord, so G, E flat, C, G, and then moving on a little thing up to a. So the rest of staying the same. Your little finger is moving up and down between G and a. If it were small hands there, there is hope because you'd go. You can use your thumb instead. Keep your three fingers on the top, on G, E flat, and C. And you can just move your thumb up and down between G and a is always good case. You want to just try that in a rhythm. Again. We're getting out is your three advanced dry hundredths. I hope you have fun with those. They're pretty tricky. But once you get the hang of them, then makes a difference. Hi plane comes across because you can really start the show off and let it figure amazing. All right, so thank you so much. See you for the final lesson, which is going to be different chord progressions. So learning to play who's a big movie in different forms as well. Part of it is, as a music fan, different genres as well. They see you that. 16. Chord Progressions Final: Hi. Hello. Hi guys. Welcome back again to my final lesson of my Skillshare course. I hope you enjoyed all the other lessons. This the last one. And to finish off the course, we're going to be looking at different chord progressions that you can use other than the 12 bar blues. Just to try and vary your style, make things sound different. And also, it means that you can apply what we've learned so far to the songs that just pop songs, rock songs and whatever. So it keeps things nice and varied or I, but today we're just going to have a look at two chord progressions that are different to the 12 bar blues. Now the first one you may recognize is the same progression. Songs like rock this town by the stray cats, or when the saints go marching in. Plenty of other tracks that have similar chord progressions. Okay, so the first one we're gonna do is six bars of c instead of four, we're getting, so you'd be going at least three to 456. Then you go to G, okay? For US IS, is two bars of G. Okay? And then we're gonna take it back in to see him and go to F. And then we're going to play this difficult, which is a D major chord, which is D F-sharp, a virus, the core of D-major. And then we're going to play an F sharp on the bottom version, is that with the sound. So you go from the ethics to D with an A-sharp and the base, and back to C again. And the GI tract to see you again at the end of which because if you take that in the context of something like when the saints go marching again, go like this. Oh, when the sense of stem, center of mass unit, standard procedure where those savings through Z. And that brings you to the tooth row law. So that is the F than they do with their shopping base. And then back to the sea where those school and a G and G. Okay, so let me just take you through those chords again. So you got 0 when the cells 2342234, so 2.45 to 246232323422345 to be in that F2, F3, F4, then all change back to C to the 4, 2, 2, 3, 4 obese, again, a 1234. Okay, so it's as simple as that goes. If you want to try that with a shuffle baseline. Now, okay, so I think a good example of that, another one that is used, that chord progression would be this train. This train. This train is bad at drawing this chain. This strain is bound to blow over here. This strain is strain remains bound. Broad. Rebellion, the whole, this strain about restricting. Okay, there's usually quite a lot of gospel songs as well as blues. And, BUT, so that's it for the first chord progression. Now the second one is different. Again, there was lots of different chords in this one. So you might recognize this one is a similar chord progression to Georgia by Ray Charles or a nobody's business, or some quite few swing numbers as well, like straighten up and flying, right? Yeah, use coercion progression very similar to this one case. So this one is going to go to this, you're going to get it from C. That's an E7 map II coat of E is made up of E, G-sharp B. And if you want to E7, then add a D as well, which it E7. And then we're going to go to a minor. And a minor is made up of a, C, and E. Okay? And then we're gonna take it and to the D chord or the F-sharp that we did for the last called rationality. Okay, And then we're gonna do a quick change, half a bar for each of these x courts are going to go C to a. C says a C sharp and D. And D major, G major, which you know. And then back to C major again, your slaves produced and around us. To see you already go evaluate want to go to church on Sunday? Yes. Go ahead and go back on Monday. Okay. Nobody's business. If I do. As a nobody's business, There's lots of different versions of that song, but a highly recommend, the one by OTs Span Reader equal version of ain't nobody's business that Charles different ways frame the stoke Triton stride format. We could try and run the blues format today. Okay? And now guys, when you're using different chord progressions, keys or the thing to remember is that you are staying in the same key throughout the whole tunes. So the step you're doing the right-hand, pretty much as a rule is going to be fine. So you can just stick with all the same the risks that we talked about and see you go. All right, and you've got the same. So you can use the same advising techniques that you would do on a 12 bar blues. And just apply them to a different chord progressions. And that means that you can do the same with pop songs. Save you take something like really well-known pop song, something like Mr. Bright side but the killers. Because the href and that if you use the beginning, it's an x. So that is gonna be because of salary, how that can be 750 about some effect is that the result is that for every a kind of gives you guys an idea to have that helps you guys get an idea of how versatile the genre, blues, rock and roll Canada is. Because once you have the skills, now that we've learned throughout this course, you can just apply that to pretty much any other style planning. So guys, I hope you've enjoyed this final video in a different chord progressions. Please leave any comments and feedback in the comment section, and I will see you on the flip side. J is.