Jazz Piano - The Ultimate Beginners Course - A simple step-by-step guide to jazz piano | Arthur Bird | Skillshare

Jazz Piano - The Ultimate Beginners Course - A simple step-by-step guide to jazz piano

Arthur Bird, Piano Teacher & Session Player

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97 Lessons (7h 36m)
    • 1. Jazz Piano - The Ultimate Beginners Course

      4:01
    • 2. Welcome

      1:18
    • 3. The Basics

      0:29
    • 4. The White Keys

      6:04
    • 5. The Black Keys - Sharps & Flats Explained

      4:33
    • 6. The Finger Numbers

      0:58
    • 7. The Degrees of a Scale or Key

      2:53
    • 8. What Are Chords?

      1:24
    • 9. Diatonic 7th Chords Four Part Block Chords

      4:57
    • 10. Diatonic 7th Chords with Left Hand

      2:22
    • 11. Its Time to Play

      3:14
    • 12. What Are Major and Minor Chords

      6:08
    • 13. The 251 Chord Progression

      5:22
    • 14. 251 Chord Progression Left Hand Practise Play Along

      2:46
    • 15. The A Minor Pentatonic Scale

      3:28
    • 16. A Minor Pentatonic with 251 Chords

      3:42
    • 17. How To Use The Sustain Pedal Correctly Edit July 2020 1

      5:10
    • 18. Jazzy Finger Hand Strengthening Exercise

      4:42
    • 19. The Difference Between Major 7, Minor 7 and 7th Chords

      3:10
    • 20. How to Find any Major 7, Minor 7 or 7th Chords Update

      4:55
    • 21. 7 and Dominant 7 Chords Jazz

      2:14
    • 22. What is a Minor 7 Flat 5

      3:35
    • 23. Finger Strength Technique Exercise Jazz Course

      7:29
    • 24. Autumn Leaves Let's Learn a Song Using the 251 Chord Progression

      7:36
    • 25. Autumn Leaves Right Hand Melody

      4:31
    • 26. Autumn Leaves - Both Hands

      2:31
    • 27. Autumn Leaves - Part 2

      5:02
    • 28. Seven Three Chord Voicings

      5:55
    • 29. Autumn Leaves Using the Seven Three Chord Voicing

      7:48
    • 30. Autumn Leaves Seven Three Chord Voicing Practise Jam

      3:53
    • 31. Autumn Leaves - Full Song (Extracurricular)

      15:00
    • 32. Playing with Both Hands - Jumping Left Hand Exercise

      6:02
    • 33. Jumping Right Hand Exercise

      2:27
    • 34. Pentatonic Hand Grips

      7:34
    • 35. DAE Pentatonic Hand Grips With II V I Chords Exercise

      4:31
    • 36. Triplets and Swung Rhythms

      4:31
    • 37. Pentatonic Hand Grips Exercise with Swung Rhythm

      3:56
    • 38. A Jazz Classic with a Swung Rhythm Fly Me to the Moon Part 1

      7:49
    • 39. Fly Me to the Moon - A Jazz Classic with a Swung Rhythm - Part 1

      7:46
    • 40. Fly Me to the Moon Part 2

      5:47
    • 41. Fly Me to the Moon Part 3

      4:45
    • 42. Fly Me to the Moon - Part 4

      3:59
    • 43. Fly Me to the Moon All Together

      2:18
    • 44. Alternate Left Hand Using Chord Inversions Fly Me to the Moon Update

      11:25
    • 45. Bossa Nova Rhythms Straight Rhythms

      4:50
    • 46. Pentatonic Hand Grips Add a Tritone Make it the Blues

      4:39
    • 47. II-V-I Chords With D,A,E Pentatonic Hands Grips Exercise (Crushed Notes)

      2:49
    • 48. Mixing Up the Hand Grips Avoid Notes

      3:18
    • 49. Adding Another Hand Grip B Hand Grip Using notes from C Lydian Mode

      4:10
    • 50. D, A, E and B Hand Grips with 251 Chords Using Swung Rhythm

      4:41
    • 51. DAEB Hand Grips with II V I Chords Triplet Rhythms Exercise

      5:17
    • 52. Finger Hand Strengthening Exercise Using 3rds

      6:47
    • 53. Cantaloupe Island by Herbie Hancock - (Main Piano Riff)

      9:09
    • 54. Walking Bass II V I Chord Progression Skillshare

      9:43
    • 55. Walking Bass Line with Pentatonic Hand Grips Exercise

      5:01
    • 56. Walking Bass Line with Pentatonic Hand Grips using Triplet Rhythms

      5:27
    • 57. Walking Bass Line and Mixing Up the Hand Grips and Rhythms

      2:36
    • 58. Comping The Alternating Syncopating Swinging Rhythm

      6:03
    • 59. Comping Using Another Swung Rhythm

      2:27
    • 60. Pentatonic Hand Grips Adding Arpeggios

      6:51
    • 61. Hand Grips with Arpeggios Top to Bottom

      3:16
    • 62. Mixing Up the Arpeggio Hand Grip Patterns

      1:53
    • 63. Improvising Playing and Resting

      3:43
    • 64. Extended Chords 9, 11 and 13 Chords at a Glance

      4:08
    • 65. 9 and 11 Chords in Open Position Sharpening the 11th

      1:52
    • 66. How to Find Major 9 Chords

      4:45
    • 67. How To Find Major 11Th (Sharpened) Chords

      7:04
    • 68. How to Find Minor 9 Chords

      4:17
    • 69. How to Find Minor 11 Chords

      4:17
    • 70. How to Find 9th Chords

      3:00
    • 71. How to Find 11th Chords

      3:39
    • 72. Altered Chords

      5:15
    • 73. Minor II V I Progression Using Chord Extensions

      8:33
    • 74. Rootless Chord Voicings

      5:02
    • 75. Smooth Jazz 2 Chord Jazz Progression for soloing using Rootless Dm9

      5:32
    • 76. Adding a Melodic Minor Scale into the Mix

      5:06
    • 77. Smooth Chord Progression with D Melodic and Pentatonic Scales

      5:42
    • 78. Smooth Jazz Chord Progression Right Hand Solo Practise

      5:25
    • 79. Quartal Harmony Chord Voicings

      8:54
    • 80. Quartal Tones So What by Miles Davis Part 1

      6:41
    • 81. So What Part 1 Practise Play Along

      4:05
    • 82. So What Quartal Tones Part 2

      5:38
    • 83. So What Part 2 Practise Play Along

      3:05
    • 84. So What Part 1 and 2 Practise Play Along

      5:05
    • 85. So What Left Hand Bass Melody Part 1 Em7 Dm7

      5:06
    • 86. So What Left Hand Bass Melody and Chords Together - Part 1

      2:44
    • 87. So What Bass Line Melody Part 2 Fm7 and Ebm7

      3:15
    • 88. So What Left Hand Bass Melody and Chords Together Part 2

      1:03
    • 89. Jazz Form and So What - All Together

      5:09
    • 90. Pentatonic Hand Grips Creating Tension Using Tritones

      6:14
    • 91. The Tritone Hand Grips in Practise

      3:58
    • 92. Adding a Root Note Underneath the Hand Grips

      1:30
    • 93. Bringing it All Together with Walking Bass Line

      3:21
    • 94. Mixing Straight and Swung Rhythms

      3:19
    • 95. Bringing it All Together With the 251 Block Chords

      2:44
    • 96. Applying What You've Learnt to Solo with Autumn Update

      7:46
    • 97. Jazz Course Goodbye Video Skillshare

      0:29
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About This Class

Jazz Piano - The Ultimate Beginners Course will get you playing some cool jazz sounds in no time at all!

Most methods of learning Jazz piano don't cater for beginners. This course takes a fresh look at learning Jazz by following simple steps that anyone can use.

It starts with the basics, and so you don't need any previous knowledge to be able to follow along. Even if you have learnt piano previously but would be considered a beginner in Jazz, this course is also suitable, as lot's of the methods throughout the course aren't taught in traditional/classical learning environments.

Want to be able to improvise Jazz on the piano?

Throughout the course you will learn specific scales and arpeggio's, and I have designed special exercises that build in difficulty as you progress, ultimately giving you the skills to be able to improvise over the top of classic jazz chord progressions.

Wouldn't it also be cool to be able to understand and play all those complicated jazzy chord symbols on lead/chord sheets?

Using simple and understandable methods, you'll learn all about jazz chords, chord extentions, quartal harmony, chord voicings and much more. We even take a look at some lead sheets (sometimes known as fake sheets) so you can see how you can make rich jazz sounds by just following chord symbols. You'll also learn about comping, exploring using different rhythms that you'll eventually be able to use with songs of your own choice.

What else?

One of the best ways to truly take on board what you are learning, is to apply it properly, and so throughout the course you will get the chance to learn famous jazz songs such as Autumn Leaves (famously covered by Bill Evans), Fly Me to the Moon, Herbie Hancocks Cantaloupe Island and So What by Miles Davis.

I have transcribed the scales/exercises and songs onto sheet music for anyone who can read music, but again you don't need to be able to read sheet music to take the course as I have written out the names of the notes for those who can't.

Extra help with your learning!

The course comes with supplementary material in the form of PDF's that you can download and print off to have handy at your piano or keyboard. This way it makes it easier to practise the songs/exercises etc by being able to have them up on your music stand, as well as having the lesson info/chord finding methods easily accessible so you can continue to learn outside of the course.

So why not enroll today, and learn Jazz piano the easy way?!

Transcripts

1. Jazz Piano - The Ultimate Beginners Course: okay when people want to live in just the often spend money trying to learn from various books, which is usually laborious and complicated to use. Or this try and learn from videos on YouTube, where they find themselves jumping from one unrelated video lesson to the next. Missing the vital ingredient, oven organized method of learning. One thing is for sure, though most with is out there aren't aimed McGinnis and expect you to know every scale and every card in every key before you even get started, not to mention the amount of theory required to understand what they're talking about. The problem is, just is such a huge subject with so much to learn, I'm so I hopped on the heart but for you and created a simple, step by step method that beginners on the piano can feel safe using as well as people have learnt the piano previously, but want a gateway into just music without it being too theory heavy too early on. Let's just face it way all just want to be able to play. Don't be. I have designed this calls to give you just the right amount of information at the right time in order to get you playing some cool just sounds as quickly as possible. In the course, you'll dive straight in learning to play just cards in a simple and understandable way, as well as using them in commonly use just car progressions. You will also learn various scales, and I have created specific exercise for these fails that make them sound exciting and fun but gradually build in difficulty, ultimately giving you the skills to be able to improvise solos of the classic 251 car progression. We'll take a look at comping called Placings walking bass lines and much more. But most importantly, you get the opportunity to apply what you're learning. Doesn't famous just songs. I believe that applying your new knowledge is the best way to learn, and so, throughout the costs will take a look at songs such as Autumn Leaves Fly Me to the Moon, Be Hancocks, Cantalupo Island. I'm So What? By Miles Davis. I have also transcribed all of the scales, exercises and songs onto sheet music for anyone that can read music. But don't worry. You don't need to be able to read sheet music to take this cause, as I have made it suitable for beginners by writing out the names of the notes in order to meet your learning process even easier. The video lessons come with supplemental material in the form of pdf's that you can download and print off the Have it your piano, making it easier for you to refer to the information when you need it. Why not give it a try and hopefully I'll see you inside the cause. 2. Welcome: Hi, My name's Arthur on. First of all, I'd like to say thank you for signing up to my cars. There were just a few things I want to talk about before we can get going. The cast builds up in difficulty gradually as you progress. Andi, I'd just like to advise that you practice and get full control over each scale. Exercise our car progression or whatever the lecture is about before moving on to the next war. This may even mean learning the particular part over a few separate practices before continuing this way, when you do move onto the next lecture, it will feel like a comfortable step up. I understand that everyone learned a different speeds on, so feel free to rewind the videos. If you need to go over anything that I'm talking about, that's everything for the moment. So you're now about to embark on your journey in jazz. This cost took me a long time to put together, so I really do hope you enjoy it. Click continue and I'll see you in the first lecture 3. The Basics : This first section is for complete beginners. What? You learn the basics, such as the names of the keys on the piano about sharps and flats on about finger numbers. If you already know these, please skip this section. If not click continue on we can get started. 4. The White Keys : right, Let's get started. I want to get you playing the piano as quick as possible. But if you're learning from scratch, I need to go through a few things beforehand. First, let's look at the names of the keys. Can you see on your piano? There were black notes and white notes on the black. Notes are divided into groups of twos. Language of threes on that pattern repeat itself up and down the piano groups of two or three in groups of twos, on getting down here, threes, groups of 2 to 3 teams. So all the way up and down the piano, I should say, When I say up, I mean to the right. So is to the right I'm gonna say it down. It's to the left, so up on dumb now to go back to the keys. So depending on the size of your piano, a keyboard, the amount will differ. I'm using a full size keyboard, which has 88 keys, but I have zoomed in on the center of the piano just so you can see the notes easier, so it doesn't matter if you're using a smaller ball. I would need to find the group of two black keys in the middle of your piano. So in mine, the middle of my piano is here on. There's a group of two black notes there. If you go down to the note directly to the left of these two black notes, this is middle C. So the scent of the piano the two black notes into the left is middle C. I want you to think of this as your anchor point, so when you sit down at the piano, you should line your belly button up with middle C. So you know you're sitting in the correct position, so two black notes into the left is middle. See if you go to any other groups of two black notes and to the left of it, it's philosophy. ISI City. Go to another group of two black notes, and to the left, this is another. See, go to another group of to bat notes, and so those are all sees, but the seas with different pictures. So going to imagine Whitney Houston singing a high pitch see here Onda, a big, burly opera singer singing low. So these Cesaire, the same notes on a piano, but with different pictures. High pictures on low pictures on the ones in between they get Now we've talked about these C notes to the left of the two black nuts. I want to talk about the alphabet. So a normal life There are 26 letters of the alphabet, but in music we just use the 1st 7 So a B, C D E f g. And then it repeats itself So it goes to the start again. A B C D e f g a b c d e f g That pattern repeat itself. Book Putting down the piano on Here's how to use it. So let's go back to middle C on. But if you go down so left to white notes for less ago one Teoh that will land you on an A OK on then I need to do is go through the 1st 7 letters of the alphabet, moving to the right up, and I'll give you the names of these notes. So hear his name being soon? Dean E. Like I said before, the pattern repeats itself so it doesn't go to hate. It starts CNN A. So you wanna G Let me go a B c So the pattern repeats itself all the way up and down the piano. You could start on. Let's find a C first. Okay, so too bad looks into the left on you Come down to the left to our backwards, through the alphabet. So C s u can count up from there a again they the genes they see all the way and down the piano. So with that knowledge, he confined any notes on the piano by just counting up and down the cardinal e. So if you found to see wherever you are on the piano and just go up and down the alphabet from a to G. So let's do a few more together. Let's say you want to find the name of this. No see, go to the two black notes nearby. Find the sea on. You can count backward. So see, let's do another one. Let's say you want to find this not here. Start on middle C and count up from sea to sea. Let's do another one. Let's say you want to find this not here, which is in between these two seas, so if you need to count backwards if you see B a then to the last night of the seven, which is a G or it might be easier to go from underneath. Circle Teoh see down here and come up C D E F G. So that's how you find the names of the white nuts and a piano. You got the 1st 7 letter that the alphabet on. If you know where to find a C, you can count up and down accordingly. That more you go through that process, the quick you'll find it on. Eventually, you won't need to think of told you'll just know. 5. The Black Keys - Sharps & Flats Explained: Now you've hopefully got to grips with the names of the white nuts will move on to the black ones. But first I need to explain the meaning of a couple of musical words that are used quite a lot. The first is a semi tone, so a semi tone is the smallest movement you can make on a piano. For example, if you here and they go up to the Blattner there, that is a movement of one semi turn. So here to hear it, it's a meter here to hear Senator Senator, to these at smartest movements, semi tones, it is also known as 1/2 step. So from that is 1/2 step. And here to here is 1/2 day. Have to have to have to have toe after So the called senator and 1/2 steps. OK, Thea. Other word is a tone. Now a tone is to seven tons. So from here did you going up one to suffer from here to here is a full turn to go in one to sell from here. A full tawn is not to there because that's just once in eight on or half step sort of full tone is here. Teoh here on again, full tone from here is not to their cause. That's one semi tone. It's there is one too. So it's to them that sometimes also known as a full step. So you could say hot that there's 1/2 step there. Today is a full step, are semi tone on tone. So now you know what terms and semi, Tonda, Our steps and half steps I can teach you about the black notes. So each of these but nuts has two different names on It depends on where you're coming from On the piano toe, what are called will start off with what we call shops. So if you start off on the middle C and we move up by one centimeter, that is called a C shop, that you can see this shop sign looks like Ah, hash tag. You've got to see on up to the right a c sharp. If you are a bigot book to the right one semi term that is called a d sharp. Never go to this s here to the right to the Butner eyes, Afshar. So if you got a gene here, look to the right is a t shirt on then, eh? Up to the right isn't a shop, so think about it. It's becoming up to the right. You sharpening. Okay, now, that's if you come in up to the right. The other name that could be called a flats. And it looks like a slightly squashed be Okay, So the flat is when it coming down after the left. So this see show could be called a D. Go in down to the left. So it's got two different names a c sharp, and also D flat. So let's go to this. Not here. This could be a d sharp. Also coming down to the left of the E. It's me flat. So this one here, if you're on a G and you come down to the left, it's a G flat, this one here from an A and come down to the left on a flat. On here you want to be, you go down to the left B flat. So there were east got two different names, depending on where you coming from. And how do you know which name to use the but not well, that depends on what the key of the song you're playing is or what cards are using tractors like that. But we will look at that in Martita later on in the cast. So for the moment, you just need to know that each Buttner has two different names. 6. The Finger Numbers: in piano. Your fingers are numbered one through 25 Sometimes you will be asked to use specific fingering on certain scales are songs your thumbs accounted his fingers on. So it stops one with your some and then it works its way out to three. So on five, the pinky also, it could be first finger, second finger, third finger, far finger are then fifth finger. So 12345 12345 7. The Degrees of a Scale or Key: way before we start playing, I just need to explain a few pieces of musical theory. So what I'm talking about makes sense, But don't get too home upon the theory I'm about to mention, because we will keep on revisiting it later. The 251 car progression is the most common progression found in jazz. On is the foundation of a lot of mainstream jazz harmony. The Roman numerals 251 refer to the 2nd 5th on first degrees off a key off scale. For example, if you take the C major scale So what is this scale? A scale is a series of notes played in order. So I just played through the steam made a scale which goes from the scene all the booth three. If you give each of these notes a number from one through to seven, these numbers are called the degrees of this scale. So you've got 1234567 and at the top is another one again because it the same note. That's the starting note. See, just one octave higher on. In case you don't know. On active is eight notes locked. Eight. So it's just a way of counting of any scale so we could take those Roman numerals and apply them to any scale. For example, that d made to scale on Don't worry, you don't need to know this scale at the moment. I'm just using it as an example, so you could take the D major scale, which is this, and apply those numbers 1234567 and then won again so you can apply. These numbers are degrees of the scale to any of them. Now I'll just say one thing. Don't worry. If you can't read music, I will be writing the letter names out next to the music notation. I'm using the notation as a visual aid. You don't need to be able to read music in order to take this cast, although if you can, that's just extra bonus 8. What Are Chords?: a card is more than one note played at the same time. For example, technically, this is a card, but usually cards and Martin three notes played at once. For example, this is a card. This'll is a card. You can get bigger carts, more dissident cars. Even this is a card. It's just a cluster card in pop and rock music. More often than not, simpler colors are used. For example, this is the C major card, which is made up of the first fifth degrees of the C major scale. Jazz often uses more notes to create richer and more diverse sounding cards. On. In the next lecture, I'll show you a simple way that it can play some of these riches sounding just cards. 9. Diatonic 7th Chords Four Part Block Chords: Let's start playing some jazzy seven calls. But first of all, I need to teach you a word. And that word is diatonic. Diatonic means belonging to a scale are key. So remember that word diatonic in just four part cart are more commonly used as they give a richer and more diverse sound under often referred to as seventh cards. Because the I made up of 1st 3rd 5th on seven intervals. When I was designed in this cast, I was very aware that lots of other methods of learning just a very theory heavy very early on. And so I want to flip this on its head. First of all, I want to get you playing some really cool just cards right now on. Then you're going to learn the theory afterwards. So I will be using some terms like Major seventh Minor Seventh. But don't worry. I want to get you to play this card first and then I want to tell you what it means in the lecture after, Okay, just so you can get going and feel like your plane tonight. Cool, just cards. So let's dive straight in on do the theory afterwards because to play these seven cards are any to do is learn one pattern. So for the moment to play these cards, think about it like a pattern. Put your thumb a middle C, then skipped the D, but your second finger on the get the F third finger on the G. Skip the A on and put your fifth finger be. Can you see that you are playing a key missing a key playing a key missing a key. Frankie missing a key and then planete. This is made up of third Interval. For a moment. I want to think about the seventh cards with this pattern Planes, planes thing even he can't read a meeting notation. All you need to do is move that pattern, but one step to the right and you'll be able to play the next card so you can play that C major seven card. And another said, explain what these different kinds of seven cars means in the lecture afterwards. But for the moment I need to do is moved every single one of those white kids one step to the right, so it kind of keep your hand locked and move them all by one step. So your thumbs on the day and you've got the place getting place. Kit place. Get play. You can move the same ship again to the E minus 777 77 when it can keep moving up. G 775 and C major seven. I'm aware. Yes, I was saying all those different kinds of seven cards, but other said I will explain afterwards. So So let's just go back to that word diatonic. So diatonic means belonging to the scale are key on. These are wrong white keys to the Arbeloa to the C major scale. That's what makes this easy because you're not having to worry about any black keys or anything Are different spacing between them. It's just that same pattern You can see all these calls built using notes from the scene may just be Oh, so these diatonic seventh cards are moving up through the degrees of the C major scale, so this could be the secret, but also the one this could be the D got off to three of the way. The five on the G six on the A seven on the B on back to the one on the up, tipsy on top. Have a go up playing these seventh cards going book and down the degrees of the scale with your right hand. 10. Diatonic 7th Chords with Left Hand: now have a go at playing those cards, but with your left hand. So with your right, we're starting from Bill ISTEA. Now you're gonna have a go with the left hand, but opted lower, so eight notes down to the sea below. Andi just need to use slightly different fingering for this. You need to use your 5th 3rd 2nd 1st So it's exactly the same pattern. Play skip planes get place, Kitt, play is you don't appear, but you're starting with the five. The fifth finger. Identifying the card with the five now? No. With your so like in your right hand, the sea was with your thumb. D starts with some left handed. See the around. Tow five on the sea Can be the same person up. Five in the day. Now five on me. Okay, So have you got going up those seven cars, but with your left hand? C major seven. The G minus seven, U minus seven seven, G seven a minor seven B seven flat. Five on. Then up to the C major. Seven on top and again with the numbers are the degrees of the scale. Three, 567 on. Then won't e go back down. Uh, so have a go at those cards. But now with your left hand on to try and keep a notch in your hands on your fingers When you're playing this dot play with flat fingers over to you 11. Its Time to Play: As I said before, I want to get you playing the piano as soon as possible, and that's what we're going to do now. We're going to have a play around using the left hand carves on this C major scale in your right hand, and it's not going to be any rules. We're not gonna worry about any kind of timing on. We're not going to have any kind of specific odd of cards in your left hand. We're just going to have a play around. So all they need to do is play any white key with your right hand, along with any of those cars with the left on. This is just to give you a chance to get playing the piano, for example. - So all I was doing there was playing any of those left hand Dytrt seventh cards on. All I was doing with my right hand was playing around with C major scale, which is just the White Keys, and you don't have to go up in steps all the time. I was jumping around here and there. I've just one suggestion you left undone, was playing in this area, isn't it him so if I were you, I go one upped it from middle C and play around in more this area with your right hand. So what? I said, don't worry too much about the fingering. I mean, you could even just use one finger to make this sound cool. Yeah, so don't worry about anything like that. You could just use one finger a few one. But you just have a play around on one of the suggestion. If you've got to sustain pedal, which is the one which makes the nurse ring out, try pushing it down when you're having a go at this, because sounds quite nice when the notes are ringing out post. Oh, but that's just a suggestion. So from a play around now on, don't worry too much about what you're playing. Just have a go and see what happens. 12. What Are Major and Minor Chords: way. Now we've had a chance to have a play. I'd like to fill in a few gaps in the theory that I've been leaving physical, major and minor coughs. So festival a triad is a card made up of three notes. For example, see major 12 and then I want you to think of major cards is sounding happy on minor carts or minor tried card is sounding so major happy. Minor soothe Court symbol for a C major would just be seen. The cart symbol for a C minor card would be a C with a lower case. I'll give you a few more examples, so F major, happy sounding, minor sounding d major, happy sounding d minor Samsung one Ma a major happy sounding a minor sub sounding. So sometimes when I'm teaching people this, tell them distinguish between the two. I ask them to imagine a minor, an actual minor digging underground in the dark, and it's all gloomy and cold on. Maybe they're sad, so it's minor, so natural. Minor might help you remember the sad. Are the dark sound a supposed to be? Oh, happy major sound. Now I'm going to teach him a quick trick to be able to find every single major and minor called on the piano. So, first of all, the C major cart, it starts with a C on the bottom of it. So this see is also known as the root of the card because the card is named after the city . So the D major, the dean, is the root of the cart. Bythe is the root of the cart. So here's the trick. To find any major Cartwright on the panel, you just need to remember two numbers a three under two. So let's look at C major, even though we've already played it just then. So if you want to find a C major card, you start off with the route, which is the sea thing. You skip out any three black or watching so 123 then ago. But 1/2 step to your right, which is the then you skip out to Dr White Keys doesn't matter, so there's 21 to get up to your right. There is the C major that seem major card might seem obvious, but not all cards are just to place get placed. So if you wanted to find, for example, in a major your plane for then you skip three outs of 123 then you go up, play and skip to That would be the E major. So play that Lee three play leave, too. So let's do another monitor. Do a major. So you play the A the root? No. Then you skip out 3123 You go to the right and then you skip up to 12 So that would be a major. So you could apply that to any key on the piano. Even in F Sharp Major, you play Skip three play Skip Teoh. So that might be quite a complicated car defied. But with the three and a two, it makes it easy. So that's how to find any major car tryout. I just need to remember the numbers three and two and then to find any minor car triad, you just need to flip those two numbers round so or two and a three. So to find the C minor, which would be a see and a low curse N c n. You start off with the rumors and then you skip to our so 12 then it playing to the right. Then you skip three out 123 and it up to the right, so that would be the C minor. Let's find the G minor. So you play the G. You skip to out one to get up to the right, and then you skip three out. 123 and then you go to the right On. That would be the G minor. Let's do one more B minor so you play be skipped, two out. Want to go look to the right? Then you skip three out. 123 B minor. Hopefully, you can see how that works on just one other thing. You may have noticed that the difference between a major and a minor card is only one note . When it's the middle, the 3rd 123 b a c major on Then see mine is actually only one semi tone or half step difference on that middle interval of 1/3 123123 Let's do another one f major d major d minor. So that is a simple trip to find any major or minor car. Try it on with those two major and minor car triads can actually play a lot of songs 13. The 251 Chord Progression: Now you are more familiar with these diatonic Senate cards in the key of C major, we're going to have a go at the most common carp aggression in jazz, and that is the 25 wall. All you need to do is play the two card, which is the D minor seven, the five, which is the G seven or G dominant seven. And then the warm, which is the C major. Seven. We o have a got this with your left hand and keep practicing until you become really familiar with the jokes and confound the card shape straight away. So you've got the D minor seven, which is the two because you got wall than two. Then G seven, which is the five because 12345 But then the C major seven, which is two five. So have a practice that those three cards until you feel comfortable now, I want you to have a go up playing at this 251 cop progression, but along with the beat, so I want you to count far beats for the D minus seven far beats for the G seven and two sets of far so eight weeks off together for the C major seven like this and they're gonna be playing on the world of every far be so one Teoh. Three Far 23412341234 Again 2343123 So what? I just showed you the example that you may have noticed that when I was moving, I was lifting up on that was still playing. That's because I was using the sustain pedal. You may already know about the sustain pedal, but if not, I'll just explain. So some parents have three pedals. Some have two. Some have one. If your fellow ACU bottles got three, far left is the soft pedal. The middle one is the practice pedal on the far it wanted to sustain the what the unit abusing is the sustain. Again. If there's two pedals, but one on the right is the sustain pedal you need to use on. Then, if there's what it will just be the sustain pedal. So just a quick note on the sustain. If you did want to do it, do you? Don't just hold it down because it makes the mall melt together. It may take a bit of practice, but you play it on you push your pedal down. I'll just show you what it's doing with play playing. It just means it joining the car together again. Don't worry too much about that at the moment. I just wanted you to know that's how I'm getting my card joined up by using. But you can do it without, for the moment, back to the car progression. Practice counting out loud while playing these cards So you know you are keeping the right time and keep on practicing until he can move between the cards without having to slow or parts between the changes. For example, if you're doing this 1234 234 123 That means that you're going too fast. You need to be able to play the cards without stopping. Are changing the tempo of the counting? This 1234341 2341234 And that is one of the bonuses of using the sustain pedal because if you play the cars, hold the sustain pedal down, push it down and then you can actually move ahead and get the next card ready like this to three Far three far Teoh three can actually give yourself but an extra time to find the cart on the beats. So practice playing that counting out loud, making sure you're doing it without any stops between the car changes and what do you feel comfortable with that in the next lecture will do a practice to see if he can play along with me. 14. 251 Chord Progression Left Hand Practise Play Along: thing is just a quick practice lecture to see if you can play along that to 51 cop aggression along with me. So I'm gonna count in far beats to give you warning. And then we'll come in on the next beat like this. 12343331234 And we're going to go around the whole car progression four times. We'll start off with a slower one, and then we'll do a faster one after. So here's the slow on. Well, to three three to three, 3123 three, three, 234123 three, three. I thought 341233 to 34 31234 Hopefully, you were able to keep it with me there and play in time. And now we're going to have a go. The same car progression, but a bit faster. This is a temper. 123 Okay, yourself ready? Let's begin. Well. 23333 33333323 234 15. The A Minor Pentatonic Scale: Now I want to teach you a scale that you will be able to use in improvisation called the A minor pentatonic scale. A pentatonic scale is a scale with five notes. Now, I want to teach you a scale which you will be able to use an improvisation caught the A minor pentatonic scale on just there now is improvising only using notes from the air. Minor pentatonic scale. A pentatonic scale means a scale with five notes. This is what you're going to be learning. So you may have just noticed that there were six up there, but the A is repeated at the top. So there's five individuals that's an A C a D in a change, and then you've got the optic on the top again. It doesn't matter if you can't read the music notation because, as you can see, I've written out the names of the notes underneath the numbers on top of the fingers that I want you to use. So this is the a minor pentatonic scale, and here we have one up to show it. It starts on the A above middle C. So you've got middle senior year starting on the A here on it. Going to be going through a second finger on the sea. Third thing on the D. And make sure you come underneath with your thumb onto the A underneath here. I'm actually not playing with the end of your thumb. Make sure play with the side of the thumb and its second finger goes up to the chief on the A on top. So actually only 83 fingers for the moment. 123123 Practice this until he completes smoothly on with the correct fingering. So you may have to start a slower. Yeah, but then it gradually build up and then what you've done that you can have a goat coming down as well. CEO. What? 23123 on your back Down the same way have just been way down. Make sure third finger goes of the top of the thumb fundy onto day. Bring him back around into position 16. A Minor Pentatonic with 251 Chords: Now it's time to have a go at playing with both hands. Remember the 251 car progression you practiced in a previous lecture? You're going to play those cards with your left hand, along with the A minor pentatonic scale with your right hand. But first I need to quickly explain about half beat note lengths. Remember the far you accounting far beat Pepe like this 12341234 and soul. Now I won't need to have a go accounting using half beats on in music reuse and On and to represent the half B, which looks like a plus sign in music. So to count, happy you go one and two and three and thought and and he would just go around in circles with that one and two and three and thought and one and two and three and thought and one and two and three and thought on one anti men three and thought So Now there are twice as many beats being counted in the same amount of time because your accounting in between the man beats. So the armed is a way to mark between the numbers now you understand what heartbeats are? We can have a go up playing the a minor pentatonic scale along with the 251 car progression . It sounds like this. Uh, so to play this, you need to play the right hand scale on the one on two and three hunt and then leave it be empty. Otherwise known it arrest on the far in the end like this. 12 and three and far. And 12 and three and four and one and two and three on thought and two and three on dfars on. So have a go. Practicing that again. Count out loud. See exactly sure of the timing. Start ups are if UNITA one on and two on day three on Far and Onda once it can play that all you need to do is play the left on cards on the first beat of each bar, holding them underneath while two right hand does the scale. Want to get to the third bar? Just hold the left hand card all the way to the end of the far bar. Don't play it again. But this so together on the wall. One to earn three on dfars on Teoh free on far and go over this until you complete comfortably without any stops between the car changers, you may have to start off slowly. Depending on your current ability. Onda should be aiming for something like this. 17. How To Use The Sustain Pedal Correctly Edit July 2020 1: I just want to spend a few minutes explaining how to use the sustaining pedal properly, because if you understand how to use it, you can add it into all of your playing on Make it all sound a lot nicer and smoother. For example, if you do this exercise without the sustain pedal sounds like this, but with the sustain pedal, it sounds like this, uh, so it just sounds a lot smoother, doesn't it? All the car, too joined up, and I think it sounds a lot nicer. So here's how to use it properly. First of all, if you've got a McUsic piano, you will either have to. Pedals are three pedals. The one on the far right is the sustain pedal. If you've got an electric keyboard or piano, you will have an output on the back, which say, Sustain, barter, staying for the next to it, and you just need to buy a sustained pedal to plug into that. The correct technique is to have your ankle on the floor and you pivot from the ankle. You don't do it with your whole foot like that. I need to be pivoting from your ankle. There with the body foot pushing it down there. Andi, here's how to use it properly with music. Let's just use those three cars first of all in the left hand so you can get used to it. So the way you use it is think about it like you're capturing the sound. So you need toe, make the sound first with a piano and then capture it with your pedal. For example, if you play a card, you need to push the pedal down. Just after you've made the sound like this plane and push the next cars keep you pedal down when you're playing, then you reset it just after you play on. You reset it just after. So sometimes when people use the sustain pedal, what they end up doing is they move at the same time, so that play the card on. Then they go to the next card and they lift the foot up as they left the handle. If you do that, you gonna leave a big gap. The idea is to play a card, push the pedal down and keep it held down even after lifting your hand up and then you push the nets down and then you reset after hold it reset in sheet music. Sometimes they have a pedal sign which looks like a line on a bump on the end, which is telling you when to push the pedal down and then the bumper. The end means air lifted up. So if I put that underneath this car progression here, it might make it more obvious as well. So you're listening up after the card is played. Reset, playing reset. Have you got that? Now, just with the cars in your left hand on the pedal just so you can get used, that feeling of playing on and pushing it down, keeping it held while you're moving your hand on your playing on and then reset it. Now, if how to go at that, we're gonna put the right hand pentatonic scale back in Just a general rule when you're adding sustain, pedal to anything change when there is a car change. So you're gonna be using the cards to know went to change. So if there's the right hand, that's just gonna do it something, and they're using the left hand to change. That's just a general rule, which will help you. But not everything needs pedal all the way through. I mean, you can use it as and when you want, but you can use that rule just to help you. Okay, so when you do it with both hands, you playing on and then it comes down after Hey, keep it down. The same card that in recent this is quite a fast moving up, down nice and fast. So that is how to use the sustain pedal properly. Have you got that? Using the exercise on it might feel difficult at first with the coordination with the delay , but you will get used to eventually on. Then wouldn't you feel comfortable using it properly? You can add it into all of your playing when you feel it's suitable. 18. Jazzy Finger Hand Strengthening Exercise: in order to play any style of piano, well, you need to build up the strength in your hands and fingers, especially the fourth on fifth fingers, because these are most often the weakest ones. And so I've come up with an exercise that combines what you've just learned. This is what it sounds like on that's just in exercise, but I think it sounds pretty cool already. So now you're playing on every main and half beat in the right hand on notice you want going up to the top A this time, so place your fingers on each of the five keys of the scale, so you've got to throw the A second on the sea, third on the D, fourth on the eighth and fifth finger or pinky on the G. So I just said, Do not playing the no and then practice going up and down evenly like this actually practicing evenly. Don't begin evenly is the key here. It may make your hand ache a bit, but this is a good thing. It means you're working the muscles. It's like a gym exercise for your hand and fingers. Make sure you keep it in art in your hand and fingers when playing as well. So don't be playing with flat. A good hand posture is if you put your hands on your knees and keep that hand shape. That is the kind of perfect hand posture. Just always have that in mind to building a good technique. So if you count in that right hand, Patton, you've got the one on two free. And that would be one full bow in your right hand to be 12 and three and far beyond two on three and far and two and three and far and two and three and far, and that was far batter displayed there in the right hand. Now try adding the left hand cards, which are the same as in the previous lecture. The D minus seven. G dominant seven and see, maybe seven, the to five coats. And when you're playing this together, your thumb start the same time as you left home card. Yeah, so when you're playing this again, you're starting off together when you're holding your left hand cart underneath to start on the 1234 again. Together we owe hold the left. That's next year, and it can go through that as many times as you want to start off slowly, making sure you were keeping the temple. Even on that, there are no stops between the bars. Then gradually build up the speed. You can use this as a warm up when you sit down at the piano. Andi, gradually build up the speed so it could hopefully sound something like this. 19. The Difference Between Major 7, Minor 7 and 7th Chords: Now I'd like to fill in a few mark gaps in the theory that I've left on going to talk about the difference between major seventh, minor seventh and 10th cards. So we've already talked about the degrees of the scale. So the degrees with C major scale 1234567 No on those could also be the intervals of the 1st 2nd 3rd 4th 5th 6th 7th and eighth are adaptive. But you'll artists that there are also lots of black keys as well. So what are these called an interval terms? Well, an interval is the distance between two different notes. So each of these different distances have different names so that if it Intel's are from see you go the one and then you go minus second interval Major Second interval Minor third interval Major says. That's a sauce tryingto fifth interval minus six. Major six minor, seventh major, seventh and then active. So as you could see from that, apart from these three here, the perfect fourth try Tal and Perfect fifth, the alternates between minor and major intervals safe got mine a second major second to Manafort, major third and then the three we talked about Perfect fourth trite on perfect fifth, but then minus six major six minor seventh major sentence on an active. So with that in mind, when we're talking about these different seventh cards when it say's see Match seven that would refer to a C major seven on the match. Seven on major seven actually means the major seven interval start to play a C major. Seven. You're playing a C major with Major seven interval. If it's that C minus seven. What you do is playing a C minor car with minor seven interval and then to play a seven cars. So a C seven you play see made to try it, but with a minor seventh interval. But now I've looked at that. In the next lecture, I'm going to show you some simple ways to find these different kinds of seventh cards. 20. How to Find any Major 7, Minor 7 or 7th Chords Update: If you see a card symbol, let this see match seven. You need to play a C major seven card. So to play this card, you play the C major. Can't try out so 3 to 2. So you play See leave three black are white nuts out for the Knicks, Notre on. Then leave to out. That's the sea made to try a cart and then at the major seventh into the on top On the easiest way to find that is to go up. One active from the root position to the see the route is going up to the see above and then go down. 1/2 step are semi tone. So that is a C major seven called on. You can apply that rule Teoh any card. So if it said D match seven, you play d made to try it and you take the d A productive and down 1/2 step. Awesome. It'll which would take you from not to the sea but to the sea shop there, and that would be the de major. But for the moment we're going to be sitting with the sea cars. The C minus seven is next so the symbol would look like See men. Seven. The minutes shot for minor. So to pay this card, you play the minor triad card. So this time it's a two and a three c Police seen believed to out 123 out 1 to 3 minutes from that that's a C minor trying. Then at the minor seventh interval on top, the easiest way to find the minor seventh interval is to again give up one active from the root position that the root position again see on you get that wonderful active thing This time you go down one full step, which is to some in terms. So that would be one two semi tones. So that is you see minor and again you could apply that rule to any tart. So you could again use the d minor. See if clear d minor tried so playing lead to on. Then leave three for the mine Detriot. And then you go up one full, active from the root on, then down one full step are 2 17 So 12 not the yacht D minus. The symbol for 1/7 card just looks like a seven. So There's no match on men, major or minor, just the number seven. So 1/7 card is a major triad with a minor seventh from top. And so again, the easiest way to fight this card is to play. That made to try us. So leave three. Leave tubes that seem a to try it, then go up. What? Active from the root position So the C goes up to there. I then move that down by a full step, which is to semi terms 12 That is the C seven card. So let's use the D card as an alternate example again. So the D seven you play the D May Detriot. You can leave three leave, too. Then you go up one full, active on down one full term so to seven tons D dominant seven card. So that's the difference between major seven minus seven on seventh card, So C seven C minus seven c. You will have a chance to go into more detail on this subject later in the cars 21. 7 and Dominant 7 Chords Jazz: way to look at seven and dominant seven cars. They're so like this. I just want to talk about the difference between a seven card on the dominant seven card because there's lots of conflicting information online. So if you see a C seven, you would play this card here on If you search, see dominant seven online. It will tell you to play this card here the same, but in music Dominant is referring to the fifth notes of the scale. So, technically, if you to play a dominant seven in the key of C, it would be this card here. Strange, isn't it? Well, what's happening here is if you take the C major scale 1 to 5, that is achy. So a dominant seven, the key of C made you build this seven called from the G from the fifth no, or the dominant of the C major scale. So again, if you take a dominant seven in the key off D, you take the fifth notes of the D made to scale in a and then build the card from the so the important distinction between a normal seven card are a dominant seven. This way of building the card from and what they're playing a dominant seven card in the key off. So in the here, the sea in the key of G or if you just playing a normal seven card on for a moment for where are your learning process? All you really need to worry about is how to read the card. Simple. So the G seven or the C seven. 22. What is a Minor 7 Flat 5: way learning the diatonic cards in the key of C major, you have this card called the B minor seven flat five. I just want to take a moment to explain exactly what that means and how you find these kind of calls. So let's just take a look at what is actually happening here and how to find these minor seven flat fives. So if we just take the B minus seven, I taught you to find the minus seven. You first of all, find the minor Triad which is play leave to play leave three play. So that's the minor try and the B minor tried. I should say then to find the seven go a performative from the root Let's take to there and then down a full term which takes to there So that is the B minus seven the flat five. All that means is you flatten the fifth interval on DSO In this case, the fifth interval is this'll one first, fifth notice the seventh. So you flatten that by making it go down to the left by one centimeter. So that goes to there. And that is why that card is called the B minus seven flat five because you got the B minus seven, but you flattened the fifth interval. So if we just found a couple Marty's cards if we go to the D minus seven, which you already know there, if you wanted to make that D minus seven flat five, you take the fifth interval on DFAT in it. So it goes down to the left by a senator or half step, and that goes to that and I'll show you another one. Let's take the A minus seven, which is another diatonic card. Keep see thats the a minus seven and then if you flat in the fifth, go to that. Let's just go for one mar, which isn't using any of those diatonic seventh cards. So country the whole process. So let's just say you saw a card symbol which said F minus seven flat five. So the first day just to find the F minus seven so you would find the F minor tryout. So play leave to play, leave three, then find the seventh, which is a productive from the root down. A full term sought to semi terms or half steps, which is to their Theune you flatten the fifth interval. So this one here is the fifth, the sea. So in that case, if that Annette down to the be on that would be the F minus seven, flat five and they go That is what a B minus seven flat five is on. That is how to find other minor seven flat five cops. 23. Finger Strength Technique Exercise Jazz Course: in this lecture. I'm just going to give you a quick exercise that is going to help you to build up strength and stamina in your hands and your fingers, as well as to help develop dexterity on also just help with technique in general. So this is actually a Hammond exercise, and it's actually the 1st 1 in the hand and exercise Siri's. It might be worth checking out Hanon exercises if you want more of these. And just so you know, I have slightly modified this. So it's just going to be one active on just going up from bottom to top the original hand and does go a talkative and it goes up and down. But just for where you're at, I think just this one active is suitable. So here's what it sounds like with both hands, and then we'll break it down after its So to start off with, we're just to your right hand, and once you understand the pattern, it's hopefully relatively simple. So middle seats here and he going to be using all your fingers run, but 12345 So it starts off your thumb middle c on then you skip out the D, Let me gonna go playing through the thing. That's the pattern on Let's not really think about Nazi. Let's think about numbers. See going up. 1234532 Enough. The pattern really is skipping between starting number one and under two with the second finger here. And then just move the whole pattern up and down. Watch this. That's one power. It's a film that doesn't return to the sea. It just falls into the dean and you skip again. So there's that pattern you're skipping after the first. No, on you go up and down, not skipping anything fingers out or anything that is so on an escape on using all your fingers on your not doing any Skips platform after the first note, play and and skip thin that part in this goes all the way to the sea above. You see what's happening there. Remember, just when you get to the second to last night on the way down the thumb Falls didn't skip back down. It goes down a step on finishes on the see above, so that would be one active when you play. This is aimed to have an art in your hands and fingers. Just general technique, really a good hand share toe have. If you put your hands on your knees on, then keep that hand ship or put the piano. That's a good handshake toe have okay. And also just another tip. You should be aiming toe have stripped back, relax shoulders and also a nice flat risk. You don't want to be a plaque that we'll have it flopping down below the piano with with, like a bend in your wrist and try and have a nice relax shoulders and then your elbows close to your body and flat wrists on with it. Bend in your hands and fingers, so that's your right hand. It might be worth practicing that separately until you get comfortable with that. It might not happen straight to wait, because it might feel it first that your father and fear fingers feel a little bit weak and not be able to control them as much. So just be aware of that in your left hand is the same. But you starting with your little finger with your fifth. The pattern. It is exactly the same. They're gonna start on the sea below. Your five's gonna fallen that they're playing skin on. Use all your fingers waiting for you. Don't skip back down you the day you step up. Five falls your skin 55 biscuit way Finish. Soothe. So for a lot of you, especially with the left hand if you're right handed, this one might feel a little bit more difficult at first because a lot of it's dependent on the five on skipping up there between your fire on your fourth finger. So this might be worth just getting control of it separately. First as well. Remember, always start slower when you're first starting. Anything like this just got mice controlled feeling on when you do not just have it a nice , even temper. Nice, even temper. And then when you get control of that separately, it might not be stretch to it. It might take, you know, a few days or even a few weeks to build up the control in these little fingers, depending on where at your piano learning journey. But then both hands. It's just the pattern to play together, but with opposite fingers to start five in your left one in your right thumb. Slowly skip in your fingers, you falling onto the day and it skips way for about five stepping up again we owe, and that's it with both hands, and you can start off slowly and gradually build up the speed with this. Just use it as a warm up when you sit down at the piano. Whatever state you are in the costs, just use it to bomb your hands and fingers up on what you'll notice is. The more you do it, the more control you will get, and you gradually build to go the speed as well. But it also noted the coordination will grow as well. You have more control over your little fingers, and when you first start to meet together, you might also find that might not be able to play at the same time straight away, because it's all about building up these connections between your fingers newbury in and also the strength and the ability and the technique to be able to do it. So you're noticed that if you do it just every time I sit down at the piano, you'll get better. It it you get more control on also the air keenness, which might happen. At first, you might feel a little bit of an EC that will start to go a swell. 24. Autumn Leaves Let's Learn a Song Using the 251 Chord Progression: As I said earlier, one of the reasons why I wanted to make this cost was because when it started learning jazz , I noticed that all the methods made you go through hours and hours of theory, learning every car progression and card, voicing in every different key before I even got to go anywhere near a song, not to mention all the different scales you'd need to learn that can take a lot of time. That a lot of effort. I think the best way to learn is to keep things moving and to be able to apply what you're learning. Two songs, Which is why I want to teach you already how to play one of the most famous jazz songs. You've actually already started learning it without even knowing it. Unless you have noticed which, in that case, well done you. The song we're going to learn is Autumn Leaves, which has been could bite many many jazz musicians, including the famous Bill Evans. This is what you're going to learn right now. It sounds nice, isn't it? And what I've done is transposed it into the key of C so you can use the seventh card you've already been learning. Can you see that the 1st 3 cards played by the 251 card pattern you've already been practicing the two on the D minus 75 g seven that the one c major. So hopefully you've practiced that's even play those three cards and then the rest of the cards are the same diatonic seventh cars we were looking at earlier, apart from the E seven cart, so we'll get to that in a second. Let's just go through from the start. So maybe accounting from the sea, amusing the same card shape. So you got your to Don't already. But then the five on the G on the wall in the sea on and then the next card is the far secret, far from C one to three far. So that's so you could be five on the F in its same card shape with the next one is a seven . So if you count up from C 7234567 that's the B minor. Seven flat five Sounds complicated, but for the moment, don't worry. Let's just play as it is, and we can go into the theory later. So the seven is there. If you can read music, you may notice that it's actually adoptive lower. That's what we're going to do. We're going to play that rather than there. We're gonna move the whole be card, the law of the sea. Here it's still the same card. But down there, one octave below the reason being because your right hand is going to be playing the melody in this area. So we need that space for your right hand out. Let's go from a stop at the D by 725 g that the way too far. Be so Instead of going to that, you gonna go down? Wait the three on the E seven. So just to go over, this isn't what the diatonic won't because it had a black nut. If you read the music, great, you'll see that that aji shar. But for those of you that can't on just to go off a building cars, she's good, but seven card. If you look in a card, somebody thinking, How do I find that Devon just to go over it from before you found the May to try it. So that was So on where? Your plane up. Leave three someone to three. They go to the next one on. Then you leave to one to a new job to the right. To that. You see, Miss three miss too. So that's the May to try. It is right away. See? They've got black kid Theun, you need to find the seven on tightly. The easiest way was to go from the roof of the car because they e a productive to the above . And then down to half steps are falter. Lawful steps are 12 That is the second call that you need. That s so in this car progression, it's the only one with a black t s o have a got playing that card G seven. It's still a lot of the third degree from C, But again, Yeah, startup key in there. Okay. And then the last card is the six degree of the scale. So you've got 123456 thing is just a diatonic card again. So all white keys. So that's the A minus seven card that we need. But again, it's getting into the right hand area. So you need to play that A knocked it down as well. Okay, so that's down there in the end. So now I'm just going to go through the full car progression. So you've got seven with two g 75 c major 7th 1 with major seven with far be minor. Seven flat. Five goes down rather than up. Still the White Keys without puttin your up to the seven, which is the with Lucky on, then finally, down to the normal call. Shit, We've been doing the A minus seven. So it a practice that car progression until he can play it nice and smoothly that any stops between the different cards and if you counting, do yourself an empty bar to start off with. She got 12341233333 341234 And that's where we got to the moment. So your job now is to practice that and then in the next lecture will learn the right hand 25. Autumn Leaves Right Hand Melody: right. Let's learn the melody. So here's the notes. And as you can see, I've written the letters above for those of you that can't return attention. So let's go through it. The first note is an A On this is the one above middle seats. You got middle C here. You need to find the above, which is s I want to put your thumb on there on. Then it goes. ABC, which is just up steps up a c then it goes up to the f there. Okay, we'll do the time in a second. So you've got a B. C. S not pattern. Move down a full step so you can keep your hand position on move every single up down than it. You're from the G Teoh and in the sand Patton girls down again. So you move you through onto the efforts time and do the same pattern Can you see that you've got They see movie, hon, Shit down, gunship down and movie, hon Shit down again. But this time you've got some shops. So if you remember the sharpening up, you raise it by a semi term to the right. So you've got in in F Sharp, which is f sharp to that G show. You got to blood lips thin, so thin, so it's still the same kind of pattern, but you've got some blood nuts involved. So here's the full run for that part you've got. And that's that. And now let's just have a quick look at the timing, because what we have here are some rests. Arrest, if you don't know, is telling you not to play for a certain amount of time. Andi, Even if you can't read music, you can still use them to help you player some of the timing. So the rest of that squiggly thing and that is a one B rest. So there's four beats for each of these bars. So what you do is you don't play on the first beat and then you play on the 2nd 3rd and fourth B. So we go 123 on. Then you play the F for full bar, which is far beats. So it's 1234123 far not sit on. That rhythm is the same for each of the pattern you just did. So you're not playing on the first beat of the first, 3rd 5th and seventh bars. So I'm gonna play it now. The counting. 123123412302 Free for 312341231234 There. No. So practice this until you complete fluently start off slow and gradually build up the speed until he can play it as fast as I just did then. So just remember the rest of the start of the 1st 3rd 5th and seventh bars. We're not lost Bath. Don't plan FSB weight and then plan the second. So it's absolutely fine to start off really slow. 1234 to three for unsettled, but obviously got your own pass. I want to know how to play the right hon Melody confidently you had at the cards in the left hand in the next lecture. I'll show you have to do it 26. Autumn Leaves - Both Hands: right. Let's put this together than so Here's the music again. Put the names of the notes both in the right hand and in the left hand. I put the car symbols underneath for the moment. Here's what it sounds like together. So what you doing here is you start enough with your right hand and when they're in line your friend at the same time. Then you left town place on itself on the ball, on your home players in a to three far together. Then the left on players on the one to get together. Mine left on itself on right, follows on the way. So when you do in this back, sure. You keep your left hand card down for the full back are far. Four beats. So now I want to go through it slowly, but with accounting, you know? Go. 123 23 234123 234 Stop that. So have I got that? Start off slowly ist usual until you can get used to the different car changes on the coordination of playing with both hands. And in the next lecture, I'm gonna teach you the next part of the melody on we're going to use something called a lead Cheat for this are also known as a fake sheet. 27. Autumn Leaves - Part 2: Now that you've let the first part of autumn leaves, it's relatively easy to learn the second part of this melody as it repeats itself until the last two bars, where there was just a slight change in the right hand. This time, though, we're going to use what is called a lead sheet, also known as affectionate, which uses the treble clef notes along with the card symbols these about just musicians commonly use again. It doesn't matter if you can't read music, because I put the names of the notes above. So as you can see, it's the same car progression you've just been using. So when If it says just say G seven, you just dio three Only different one is the east end of the blankie, but you should be able to play that left hand car progression if you've been practicing it . So I want to play the full two lines so you can hear what it sounds like, and then I'll teach help to do it. So here's what it sounds like. - Okay , so just looking at this car treat, you may have noticed that the card symbols are both a movement there because That's what lead sheets and card cheats look like. If you are following music from a book and the car tumors air above. So I wanted to be the same as something you would find yourself, but still the same. The card symbols you're going to be playing with the left hand. Andi Plenty individual notes with the right hand melody. Okay, and that's what you're going to be learning now. We've already looked the first part of the melody. Let's have a quick look at the next part, so most of it is the same. You've got the button moving down his time through. The only difference is that this last part he's a B D. C. Hey, Andi, fingering It's up to you. I did 3542 But if you find finger doesn't feel strong enough yet, you could go too far free. Well, that's up to you. But yeah, that's the only difference There. You've got the last part. They're putting it together for that last part. The car progression is the same as you've been doing already. Secret. Hold down the air minor From the end of the first part of the melody, going through and then you're right on start thing you've already lent. Here we are again. The e seven is not its own on the one on B comes in on the second. Be some see only knew better timing. Three. That's it. And now we'll play it all again. But with accounting. Yeah, I was ready before I start. 123343433 234343 23 So practice that and to look and plate smoothly with both hands. 28. Seven Three Chord Voicings: If you have read me, just books are watching videos on just before you may have heard people talk about jazz voicings. Voicing is the word used to describe how a card is interpreted by a musician are how the notes of the card distributed of the piano to make it sound more pleasing to the ear are more complimentary to the Mountie. So of icing is basically when you change up the notes of a card. One of the most important and fundamental judge voicings we need to look at is the 73 Voicing. This means that you play the third and seventh interval in the right hand on and play the root position are the first interval in the left. So, for instance, if you wanted to do the 73 voicing for the D minor seven card, let's just take it from the right hand position here. That's a D minus seven. You've been playing in your left recently, but if you play it right, you got your 1st 3rd 5th and seventh. So to play this 73 voicing you protect the third to the seventh of that card in your right hunt, and then you play the root position, which is a D in your left. So that's that 73 car voicing D minus seven. You could take another card. Let's take the G seven. So take it there with your right hand. Such a 1st 3rd 5th and seventh. So you need your third on your seventh in your right hand, and then the root position in your left down there. That's how you find these 73 car voicings. So let's do it Wants Mark for the C major seven card that you've done that 251 car progression. So the C major seven Sam spacing is normal for the moment on. Then you got your 1st 3rd 5th and seventh. So take the third in the seventh and your right hand, and then you take the root position for the first interval in the left and knocked it down . So here, if you play that full progression, then with that 73 voicing. So you coming away from that full block card Santa break up into these different voicings. So what thing you may have noticed that here you aren't playing any of the fifth intervals . This is because all of these cards have a perfect fifth interval, so they don't really affect the quality of the sound, and they're far quite often left out. So that's something which is down to you. But it's quite a common thing for something like a perfect fifth to be left out by jazz musicians. You can also change the order of the notes, which is otherwise known as inverting, so that the cards are moving smaller distances. So in this case, Father G seven card, which you were doing this, it might make more sense to play that be above the f here to minimize the movement between the three cards. Because then if you do that, you've got this here for the D minus seven on. Then if you play the be very limited of their watch this that means the only movement in your right hand is this You've got the on then all you're doing is moving the top down. Senator s a without their lithe the same cart. You still got the three in the seven from that. But I don't find that be putting up there just a way to make the jump smaller. So actually makes it easier to play on. What you'll also find is now you've moved to be of their G seven card when he moved to the C major. Seven. Much I need to do is move the F to the E It's medicine after it was many jumps. So here's that 25 NCAA progression. But with this 73 car places have got that with that same card voicings and use the same inversion on the G. So rather than doing it down there, it just makes it so that movement to smaller. 29. Autumn Leaves Using the Seven Three Chord Voicing: Let's take this one step further and apply the 73 card voicing to the whole car progression of autumn leaves that you just learned before. So let's go through the cards and work out this 73 card voicings together just so we can get you to the process. So if you want to choose and if your own songs you know how to find it. Okay, so the first card is the D minus seven, and that's the one. We've just dumb. But let's just go over it quickly. So you've got the D minus seven. You need to identify the third in the seven. So the 1st 3rd 5th 7th So you take those two and then in the left hand you find the root, which is the d, and you go down adoptive s. So that's the first cart With that. Using the next one is the G major seven. So you play the part, identify the third through the seventh so those two will do the same again. We'll move bean things. Time will play the G productive about it. All of it down. C major seven. Play the full card third thing, then play the route in the left hand so 1st 3 cars have gotten way. Next one is that F major seven. So let's find a card. Theun, identify the first in the seventh. The 3rd 123 in the seventh is the top one, and then you can find the root in your left thigh. This is one of those want, which is a bit of a jump away from the most recent car, which with C. So this is a new instance where you can change the order of those notes. What you could do to take the E and just inverted are put it underneath instead on their far going from the C major seven to the F major. Seventh I need to do is move the top on Down on, then the next card is to be minor seven flat five. So that's that one, which we've been doing so again and seventh, and then you find the root on your left. We'll keep that position there. It's very close away to spin the most recent bond. The previous car was the major seven there they don't need to do is move that down. I got to work hard to do E seven. So I want to let you have a go. This one alone Iran. I'm gonna give you about 15 seconds to have a look at it. Find the card. Remember, it's one of the black one. Identify the two intervals, affirmed the seventh and then also a little hint. You might have to move the top one down dependent. If it's feels like it's too high, too far away from the others, we want it to be nice and class. So have a go now and then I'll show you what I should have found right then. You might have even found that, then could have moved d below and just to go over the process again, you've got the full card. Identify the third and the seventh with the room in the left on again. This is getting out there were trying to keep it close, so we're gonna move the d down. Then again, you know, that's choice. But we wanted to be a nice class movement because the last card of the B was there. Then if we go with the d underneath from that that called, it's only one movement isn't it? From there, All it's doing is the A goes out to the Deuchar thin, and then I'm going to give you the chance to have a girl. So the last card is the A minus seven. So have a go at finding that 73 card voicing on your own again. I'll give you 15 20 seconds or so to figure it out. Okay? Hopefully you found this. And here the process, just in case you didn't get it. So you've got the 89 7 Find the third in the seventh. Teoh keys out, and then you find the root in the base way. Don't need to invent that or anything. It's already in the same area that's you've been working with. So here is the full car progression with that 73 card voicing Sounds nice, isn't it? I like it. That's the first line. And then the second line is the same. But what I want you to do is I want you to play the A minor card again this time, rather than just holding it for you to play again. Just so we're clear the exact timing. So I'm gonna play food. The full car progression. Just so you know exactly what you practicing on one account as well. So we're going to start off with a far beat counting on. Then we're gonna do it. So like this. 12343 341234123434343433 43234 So practice that until the complaint without any stops Always start off slower than speed up. Once you feel comfortable playing this complication, I want you to have a go at playing along with a click track. And to make it even more exciting, I'm going to play the melody line on top, so it'll almost be like we're jamming together in the virtual world. 30. Autumn Leaves Seven Three Chord Voicing Practise Jam: Let's have ago a plane together along with a click track. So we'll start off with slow one, and then we'll do it faster one after. But just remember that you need to leave far beats before playing as you're committing on the second bar. So, as an example, I'm gonna show you how you're gonna start like this. Three Oh, 234 to 3 to three. Phone Well, 23 to three, 233 three. And then it just repeats. That's what you are going to do. And then just say you can have a got playing with another musician. I'm gonna play the melody on top, so just be whether I start before you. So you're committing on the second bar. Let's have a go Hope it works for you. And that was that. And hopefully you were able to play along with me There. You can have as many girls as you want. You can keep him practicing it. If this isn't for you, you can just move onto the next lecture. If you want to have a go at a faster one, let's do it together now. And here's the speed. 1234 And so yeah, So I start from the first bar when you came in on the second, Let's go, friend. - And that's the hope you enjoyed that. And in the next lecture, we're going to go back to some scales and eventually start to look at some improvisation. 31. Autumn Leaves - Full Song (Extracurricular): For those of you that you're interested, I'm now going to go over the full soul with the last part as well. When I first designed this cast, I wanted to give you excerpts from these songs. Just he could learn famous parts and then keep things moving and keep things fast. But I've had quite a few people request the last part of this song as well, so I'm going to show you the whole thing. I'm not going to go into his much details. There won't be as much in death talking about the different parts. But it just for those of you that want to do this as an extra. And I'll say I'm also going to use a few in virgins with the cart in the left hand as well , so I'll show you how you can use them. I have put together a pdf for the lead sheet for this so you can download it, which you can use as well. So here's what the full thing it sounds like. Let's begin. Okay, okay. - And there we go. That's what we're going to have a look at now. So first of all, I'll just quickly explain. If you don't understand on this music I've got for you here, put in some repeat signs. So what you've learned just before I was repeating the narcs. But here abuser musical device. So when you play through from the start, it comes on the second line. There's a little warm with a line on a bracket, and there's two dots that that's a repeat sign so you would drop back to the two dots on the first line to the F on. Then you play through on, then on to the second line. You don't play the number one part that time you jump to the bracket with the number two, but you should already know this part already, so hopefully that won't affect too much. But before I continue on to this new part, I just quickly explain to a few different inversions off playing with the left hand because you might want to up the ante plane. If you don't know any version is very briefly when he inverted card, it means you change the order of the keys, but use the same wants. A very brief explanation would be see major route position to invert it. You take the lowest key on bring it up a full active Keeping the other to the same sea route is seeing a productive to the right way. See, first inversion a Roman numeral one The first inversion. So see one see first inversion and then to invert again to do the same thing you take the bring up a knocked it to the right That would be the sea second version. If you do it won't small g forget that takes you to the sea route again. Productive high. No, I'll just show you those left hand calls I just played then to the D minus seven is what I played. But then I played a G seven like this. So you been doing that? But I want to briefly explain what did Donna knocked it on. Then I dropped the fifth because quite a lot of time you don't need to play the fifth because the fifth interval in a car doesn't really affect the sound of the car that much. So sometimes you can just drop out so the card isn't quite as full are Smoochy sounding so g seven and then if you play it with the 123 C major seventh A nice transition like that. Then I did the F major seven like this. Okay, I'll explain that. So the F major seven waas you convert it? So what's this f Don't be enough Major seven first inversion do again may open up to release it That's how it played that. But not so in this scene. The reason why watch this to see Major seven before is there to find that all you need to do the major sentence Bring the top to the G and the B down on, then NextCard b minus 75 The transition is really smooth again. Five and three on the sea just dropped the left It's nice And then you could take out the f If you want to You on then the e seven. So you've been doing like this. But if you do the same thing we did with the G seven, take the seven the d down adopted on Drop out the fifth then. So if you wanted to add that left hand in like I just did Ugo T minus seven g seven c major seven. I've made a seven with the second Virgin. The amount of seven is E seven DJ shop and then the A minus seven. So if you wanted, you could always add that end. Play it like that. You could stick to the cards in route position. If you want. It's up to you now on to the next part, so onto the new part. What I want to do, I'm gonna play in two sections. I'll play it first of all with the right hand nuts. And then we'll look at the left on card and then together, and then we'll do it on to the next phrase as well. So here is the shot. Maybe be B A B C C B C d T g, If I may. So there's the right hon ability for that part value. Start off with the second finger on that G sharp. You can always shift over here Veneto onto the be with the third, perhaps, and here next part put 30 on the sea when you some free for large E left hand so you can play in a minor to start off that part. The left hand cart is a B minus 75 have been doing it, then. The left hand card is E seven. I think you should do the east seven with this Dean. A minus seven here. There isn't a card simple, which means you can copy the car symbol are repeat the card symbol from the five off. Also a name under seven that is called is a demon on here. G seven, how you do the G seven like a shoulder that onto the C major seven together. I'm just gonna drop in a from the g sharp because the A minus seven kind of left behind from the first power. Oh, right hand from here. Okay. Next part, the shop B f f asked me be Hey, hey, C B c. Okay. If I were you a start with the third thing on the DIY shop here. And then you can go up to five onto the f, certainly de on a thumb on the B and five is still on the f e. Repeat the a the next east hide, and then it goes down to the A. Then put your five in the d there. Pharmacy. Third, follow from a safe films now available for the e below and then the it left hand card. You've got F major seven. I think, actually, you should do the mama root position there because I think it sounds quite nice to you. You could do the left major seven with the second version you could play on Got B minus seven. Thin the seven. If you do that, e seven played like that, Then these next two bars in your left hand just briefly explain that you've got two cars for bar, so the two beats reach card rather than far, so it moves a lot quicker. So we are going to use Convergencia because transitions will be quickly will make it easier in the long run. So you've got a minus seven. You can take out the five if you want it. Don't sound quite a smudgy on then d seven. It's up to you. You could play D seven doing that five and drop in the city, but when I did, I played like this E just like the sound of that. I took out the five, so you've got the A minus seven and then jumping up to the D seven. But then the G minus seven. Gonna play like that. G be to explain quickly. G minus seven in route position. There. You could drop it down F down there and then take out the five. Similar to what we did again with the G 787 and then that lady want nice C seven transition . So those four called. Say you've got a minor 57. Was this smoothly into the G minus seven? So that just move your thumb down, drop your third there on, then smoothly goes to the C seven as well. So it might take some practice there separately on its own. Okay. And then the last couple of card you've got F seven brother planet thing to your face. What you can do if you do the same thing, you can drop the thumb, the e flat down to them, testify again, that flat on that game for the E seven. You can do it this way. We would just do it befall. So with the that is quite sounds quite nice, that tradition, doesn't it on that onto the A minus seven. So just practice that left on their separately. You? Yeah. Okay. And then together. That part? Yes. Now I'm just gonna play that new section all together for you. - So that's what that last part sounds like. Well, do I'll just play it once more so you can see how it all joins up? 32. Playing with Both Hands - Jumping Left Hand Exercise: that way, when you start learning the piano, one of the biggest challenges many people find is big able to play with both hands at the same time. And I have recently had some feedback off some of my online pupils, and they have said that they're struggling to play with both hands in regards to looking at both happens simultaneously. They said that they may be looking at the right hand part and in the left hand will make a mistake, and then they might be focusing on the left and cards, and then they will make mistakes with the right hand melody and so on. So this is something which will develop over time. If you're a complete beginner, it will seem difficult at first. The first thing that will help is if you know each part really well separately. But then there's some of the thing to think about where you're playing the piano turn up to just look a one. Power are one hand, so eyes really should be flicking back and forth between each part. You're right in your left on. A lot of it is also to do with muscle memory, so if you know the part better. Your fingers in your hands will start to memorize the movements. There's also just the the feel, like if you left don't need to go up by a step, then you don't need to look at your hand because it just want movement up eventually. So there's lots of things coming into play here. But one of the things I understand is the issue is when there's big jumps. So if you left done is doing some big car jobs when you write home is playing a melody. So I've come up with this exercise that will hopefully help you to develop awareness on the piano when your hands on baking big jumps to say to accord whilst the other hand is playing at the same time. And hopefully it will also develop your coordination when it comes to looking at the piano . So you need to be thinking of flicking your eyes back and forth constantly between each hands. Ask the movements happen on have created two different versions of this one, which focuses on jumps in your right hand, on one in the left hand. On In this lecture, I'm gonna show you that one with the jumps in your left hand. Here's what it sounds like on that's it. So first of all is the right hand part. She start off not middle, seen on a lot of CIA. But because you're left done is gonna be jumping into that position that the pattern is 123532 Then that shape there moves up. So the pattern is 123532 War not using a far for all in this here. So is stepping on its skipping up on skipping back down on that pattern just moves up to the right. My one step every time it moves up to the right the same pattern. Want to 35321 Move up. Come to the aid person Keeps them moving up. 123532112353 To warm up to the B on, then finishing on the see above. That's the right hon. Part you left town starts on active below Middle C. It's just that basic try and put in there and it's all white keys, so you don't really need to think too much about the card playing. It's more to do with the shapes, but just off the C major. Then it jumps book to the right of formative on. Then the pattern of the active jumps on those trade cards moves up a step in time as well. So you then jumped back down to the D. C. Moves. What powerful locked If do you mind keeps on going, jumps up and then jumping back and forward. You see, active on then pattern moves of jump productive thing, the collective being the B minus five being technical or diminished on, then finishing on the sea active both from way started. So really understood. There's the active jobs and then we both on. So remember Missy's here, he wrote in starting in October, both you left and an octave below, so it starts off together. I think it's on the skip back down in your right hand on the third. That left downplays. At the same time, you can use this a Stempel if you want to join, you play without, and then that passengers moves up to the right time. So he's time just Dupin down with tons. Finish on the active, see above on the huge will do it slowly at first until you feel like you get in the drops accurately, not hitting anything else, any other keys or anything on, then really get control of that. You can try the exercise, but the other way around, and I'll show you how to do that in the next lecture. 33. Jumping Right Hand Exercise: So here's the exercise that have just been doing but the other way around, seeking practice, doing drops in your right hand while your left hand is playing individual nuts. Okay, so here is with both hands. So it just flipped on its head there. Really? You left down this during the individual parts, your hundreds of the cult. But one thing to notice is when you did it the other way around you, right, Hundreds here. But now your right hand is gonna be here. You left done is no longer jumping into the area. Your right hand is doing the jumping. Okay, That's the one thing with this is the left town is using a fine three so they could help develop strength in the little finger. And you follow fingers well, there. So that's a good thing. But also might mean it's a little bit difficult to start off with, depending on your strength and dexterity in the moment. But it just the way around. So you just playing together on a scale back down? You left your right hands. Now on just smooth. Make sure when you're doing it in your eyes by force to make sure your position. Okay, so that's that yet just hopefully you can get control of that tranq It It's so you can do it without any slips on the card. See, hitting the octave jump first time and then he left is also gonna develop some strength there, which is useful. And hopefully the sore exercises are just gonna help you to develop that awareness on the piano. Have been able to play it with both hands at the same time, especially when it comes to big jumps. 34. Pentatonic Hand Grips: earlier In the costs, you let the A minor pentatonic scale along with the 251 car progression in the key of C major. We're now going to add to that exercise in order for you to eventually be able to start improvising earlier in the past, you learn the A minor pentatonic scale on top off the 251 car progression in C major. Now we're going to add to the exercise to give you some are tools in attitude, eventually be able to start improvising. We're now going to look at some pentatonic hand grips That piece of improvisers. When I was doing at the start of this lecture, all I was doing was doing the 251 cards in your left hand. Sure already know, and I was using pentatonic hand grips with the right hand. So I'm gonna teach you the pentatonic hung grips. Right now, the great thing about pentatonic scales is that they have five notes on. We have five fingers, which is perfect because that means you have a finger for each key that needs to be played . We call it the handgrip because your hand can keep the same shape and kind of grip did piano using Gotham to guide your starting position. For example, you've already done the A minor pentatonic, and as you can see, your thumb stats on the A thin your hand could just stay in this position. Now we're going to expand on your earlier exercise with the 251 cars. First, let's figure out the first pentatonic scale. Now here is the pattern to find any minor pentatonic scale on the piano. The pattern is root position. Minor, third tone, tone minus set. Let's go through that so it makes more sense. So we're going to sat off for the D minor pentatonic scale. So you start off in the root position, which is the D, and then you leave the mind 1/3. So about 1/3 is where you leave to out in between the next interval that will give you any minor third on the piano anywhere. See playing. Leave the mind of third Thank you Go a full term. So Tony's off full step, leaving black or white key in the middle of Senator full turn on another filter. So again, you skipped one out there, Walter on then a minor third sort of minor thirds. We escaped two outs of Skip to Theo That gives you that d minor pentatonic scale reposition . My third photo photo can actually go anywhere on a piano with that pattern and you'll find the minor pentatonic. That's a D minor pentatonic that can keep on going down with it way What we're gonna do now , we're gonna use something called the Circle of Fifths. So the circle of fifths again to keep things moving. We're not gonna go into deep detail about this circle of fifth right now, but I need to know is Circular Fifth is aware that you can move between different cards are different. Scales are different key signatures. We will go into mark detail on this later. But for the moment, just to keep things simple I wanted to do is go go up by 1/5 are perfect. Fifth, to be precise, to find our hundreds that we need. The 1st 1 is starting on Dean. Then you do the pentatonic from there to find the next one. You got by a perfect fifth. A perfect fifth from dean is 12345 is an A, and it is easy to find when he in the key of C major. It's all the white keys. So that's Dean A. And we've actually already done that scale of one with a minor pentatonic just before eso you 1st 100 in the next 100. His thoughts on the name. Okay, way. Now we need to find the final 100. So in order to find the starting, though, we need to go another perfect fifth from a So you got your dean? 512345 to the A on the next 100. Starting position is up five from a So 123 Here is our final 100 for the moment, the e minor pentatonic on. Then, to find the notes, you play the roots, you go for minor third, which is leaves to out and then go next one up and then a full term. So either leave one hour up off two semi tones, whichever way you want to think about it again. Another time. So you leave one out. Are you up to sometimes want to and then amount of 30 skip to up and go to the right of that As you can see, it's exactly the same shape, isn't it? Play when you skip 23 far in a lot of the white keys, skip the white key there and if you're five goes above. So that's your third pentatonic hung grip. Just to be clear, you got the D. And then the next one is starting on the A 3rd 1 is starting on the E on the all the same shape. I don't eat a practice and get familiar with those free pentatonic hung grips. 35. DAE Pentatonic Hand Grips With II V I Chords Exercise: the idea behind these 100th is that you can pick, can choose between the pentatonic scales on improvise over the top of the 251 carbs. But too many times will not see people teaching heart improvise that give you the scales. But they just expected to build to play the rhythms and expected to build to just jump between the different scales straightaway. They don't give you any steps to be able to work towards and providing. So feel free to have a go improvising with these pentatonic hand grips. But for the moment I've created this exercise so that you can just get used to playing the pentatonic hand grips over the top of the 251 carbs in the left hand. Okay, so this is the exercise that you're going to be learning. I think it sounds really nice already, but as I said, it's just an exercise that you can use as a warm up just to get used to playing together with both hands using these pentatonic hand grips. Okay, so let's take a look. The left hand carts just the 251 cards in the key of C that have already been doing? Do you mind? A seven. G seven, but in the C major seven played twice. You can go through that as many times as you want and on the right hand note. So that hung grips. Just a d one thing. Then you move up to the A one and then he moved up to the E one plate twice and we played together. I need to make sure that you start at the same time like this and continues just to take a quick look at timing. You're going to be doing half beats on the 1st 4 notes of handgrip one and two. And if you remember, we used the word on to come in between the main beats and music one and two and then to full beats on the top of its 100. This 123 far on two on three for one on to on 31 on two on three Fuck! And then together 31234 on three. Far 134 And then you can practice counting out with the timing if you want. I just want to give you a good foundation with keeping strict time so I just played this exercise once. Maher, you can start off a slow as you want and you congratulate Speed it up. Making sure you're not leaving big gaps between the bass. Which is why counting might help up. Andi, When you're doing this exercise, you can do it as many times as you want. It's going to go through it twice. 36. Triplets and Swung Rhythms: I'd like to spend a few minutes explaining a different kind of rhythm. So far we've been using straight with him was in this cars, which means that beat can be divided evenly. For example, one on two on three on dfars on are one and two and three and fucked. You can also get what is called a swell with them, which means the beats have a swing like movement to them. It's quite a common sounding rhythm, and I guess you could think about it like a halfs trot. Oh, like the beaters low and then sharp lunch. Lung shot, lunch. Long, long shot. But to go into a little bit more detail, you need to know what a triplet is. A triple it is when three notes are played in the same time as to So far, we've been counting on either the main beat. 1234 are on the happy one and two and three and far. So can you see that at the moment for everybody? There is two parts, a one and in, and our two in an aunt divides into two parts two halves. If you make it so, there are three parts toe every main beat into that too. So dividing each main beating 2/3 you would be counting in triplets like this. 123123 Fuck can hear that for every main beat you've got three parts to it. One that b one B 12 free call. So every maybe has £3. So that is a full triplet one tube three pop, You're not missing anything out. Just counting three beats for everyone. Manby. Now, if you only clap on the first and the third of every group of free, you'll be clapping a swot rhythm. So just for a quick exercise rather than counting the main be we're going to count. 123123123123 Just so sure exactly where we are. Ready? 123123123123 And now take out the twos to go. 123123! 1231 Tooth. 123123! 1231 t So that is actually that long shot rhythm from the follow shot Long shot, long shot loan shot 1231231231 tes. So that's actually what's happening with that's wrong with them. It's a triplet pattern, but you're missing out the middle Tripler from If you count it just with the now back to the main beats, it sounds like this. 123123 Um, 23 Come three Long shot, Long shot, Long shot loans shot. 123 So that is what a swell rhythm is. So right now, I want you to have a girl playing that strong with them. So use any key on the piano or you can clap on yet just have a go at doing the 123123123123123 Long shot Long shot, Long shot Long whichever where works best for you thinking about it. Just practice it so you can just let that rhythm sink in because we need it in the next lecture 37. Pentatonic Hand Grips Exercise with Swung Rhythm: so swoon rhythms are used a lot by jazz and blues musicians. Well, are musicians really? So now you've got used to the swimming with them. We're going to apply that to the pentatonic handgrip exercise that you were doing before. The aim here is that you get used to playing this common swore them so eventually you'll be able to improvise with different notes and different rhythms. So you are just building your skill sets here. So this is what the exercise times like make sounds like almost improvising already, doesn't it? So let's go through slower so you can have a go. So just so we could be exactly clear on where you're going to be playing, we're going to clap these four of them, but using the one in the and one on two and three on bar on one on two and three on part, and it's still the same is 12312312312 So we're going to be using the one of the AM's. But with this, wrong with him, applied to it and then with that in mind, this is how you play it. You're playing on the wall with the left. One card on the right hand comes on the and that this Teoh three Can you see that? See if God the left one starts 12 on three on far on so that men bees are still a long piece. Long shot She left starts you write follows with that swole rhythm applied So have you got the first hand grip on the D one Teoh free far And then you just do exactly the same thing . But with the next bar on the left hand G card with the right hand 100 123 on And then the next one is the sea and left with the e pentatonic 100 on top again The left card starts and think again Left three band far so you could do it with accounting. But you might just feel toe feel this cause this is quite common rhythm this small with them So just remember you left on stars You're right and follows to have I got that? I hope you enjoy learning it on Keep up practicing it until you can play it smoothly without stopping between the changes and then gradually build up the speed until it can play it comfortably. It may take some time, so feel free to carry on with the cars. But use this as a warm up exercise when you sit down at the piano and it will naturally improve. 38. A Jazz Classic with a Swung Rhythm Fly Me to the Moon Part 1: I think it's important to learn sums alongside exercises scales in theory, because that's what music comes down to learning songs. But they have also useful in applying the techniques you've just been learning. I want to teach you a section from the famous classic flying Me to the Moon because it gives you a chance to continue working with the jazzy seven cards in your left hand. But you also get to apply the swell with him you've just been using in the previous exercise. So this is what it sounds like, - and that's what you're going to be learning. I think it sounds great, doesn't it? On the path from just two cards, the left hand cart throughout the same that have been doing so far in this cast. So let's have a look we're going to do in section so one line at a time. So let's take a look at the first line on it has got that swollen rhythm that have been doing in the previous lecture, the one and two and 12 and I will say the swirl rhythm, early effects, the half beat nuts are the quay vers, so if you can read the music notation. Great. If not, we're going toe. Look at it now. As you can see, I've written the letter named above, so you can just follow that and then learning by ear if you can't read the music, So let's go through it. So it starts off with your fifth finger. Not on middle c, but the see above. So you put your fifth thing to that on, then relax the rest of your fingers onto all of these white key, so you should have your thumb on the F, then the rest of the keys. Come it. Okay, So what I'm going to do now is I'm just going to play through the melody in the first line and now we'll just take a quick look at the notes you've got. See a G c. So you can not pause the video If you want just to get used to those notes in a melody and you can follow the letter named as well, if you need toe artist rewind and copy me on Now I'm just gonna take you through again, but with the counting. Okay, so it starts off the sea again, and I would account with that strong rhythm and I'll go through it first really slow and don't do a bit faster. One on two on free on far on 1231 on two on free and fun on 123 So so that last night there was tied, which means that is held into the next bath. The full bar. And I'll say one thing. The swing rhythm only effects the half beats. If there's any counts on the man, be it would just be 123 Far 12 and three and four. OK, but you could just copy May they have a quick look at the left hand cars for that first line, so it's an A minus seven. Again, it's just a diatonic seventh card in the key of C. So you were doing the A minor seven dead far, but because your right hand is going to be playing here and he cigar down there. So that's a minus seven forgiving down there. Then you've got the D minus seven. So these are all still the same share for the moment. Have you been doing? Do you mind a 75 day the G seven you were doing there in the previous exercises, but again, your right hand is playing the melody there so you could play it down there and then you've got a C major seven and then look a different card here could. It's the C seven, which is the C dominant seven. So let's just quickly go of the process of finding a dominant seven card. First of all, you find it made to try us C card there. Leave three under two to find a mate to try it, then on a minus seventh interval on top. But I talked. The Aegis way would be to identify the root position, which is the sea over full active on, then down a full tone or 2/2 steps. 12 two Senate terms that's see dominant. Seven way. If you just go back to the C major seven. If someone's there, such a only a small movement with your thumb down to the left, I might need to push your hand further into the piano because he's some charter. That twist didn't like that. Just put your hand in on any thermal reach any how many fingers Aziz Well, then you need to do is put that first line together on the cart coming on the first beat of every bar. So show you this first line slowly. That's that, and I will do it with the time it on, just to mention timing. When you get to the second bar, the D minus seven, the G in the melody comes in on the swell. Be after the wall. So it's going to three three. Okay, so now we're going to do the foot line. Nice and slow with the counting. 123 33 to three to get two cars in that last bar. So change on the one hand in the 31 23 fun, that's the first line. 39. Fly Me to the Moon - A Jazz Classic with a Swung Rhythm - Part 1: I think it's important to learn songs alongside exercises scales in theory, because that's what music comes down to learning songs. But they have also useful in applying the techniques you've just been learning. I want to teach you a section from the famous classic Flying Me to the Moon because it gives you a chance to continue working with the jazzy seven cards in your left hand. But you also get to apply the swirl rhythm you've just been using in the previous exercise . So this is what it sounds like, - and that's what you're going to be learning. I think it sounds great, doesn't it? And apart from just two cards, the left hand cart throughout the same that have been doing so far in this cast. So let's have a look we're going to do in section so one line at a time. So let's take a look at the first line on it has got that swollen rhythm that have been doing in the previous lecture, the 1212 and I will say the swirl rhythm only effects the half beat nuts are the quay vers , so if you can read the music notation great. If not, we're going toe. Look at it now. As you can see, I've written the letter named above, so you can just follow that I then learning by ear if you can't read the music. So let's go through it. So it starts off with your fifth finger. Not on middle c, but the see above. So you put your fifth thing to there on, then relax the rest of your fingers on toe. All of these white key. So you should have your thumb on the F, then the left of the keys. Come it. Okay, So what I'm going to do now is I'm just going to play through the melody in the first line . And now we'll just take a quick look at the notes you've got. See a G c. So you can not pause the video If you want just to get used to those notes in a melody. And you can follow the letter named as well, if you need toe artist rewind and copy me on Now I'm just gonna take you through again. But with the counting. Okay, so it starts off the sea again. And I would account with that strong rhythm and I'll go through it first really slow and don't do a bit faster. One on two on free on far on 1231 on two on three and phone on 123 So so that last night there was tied, which means that is held into the next bath. The full bar. And I'll say one thing. The swing rhythm only effects the half beats. If there's any counts on the man, be it would just be 123 Far 12 and three. OK, but you could just copy May they have a quick look at the left hand cars for that first line, so it's an A minus seven. Again. It's just a diatonic seventh card in the key of C. So you're doing the A minor seven dead far, but because your right hand is going to be playing here, any signal down there. So that's a minus seven beginning down there, then you've got the D minus seven. So these are all still the same share for the moment. Have you been doing D minus 75 day G seven you were doing there in the previous exercises But again, your right hand is playing the melody there. So you play it down there and then you've got a C major seven and then look a different car here could. It's the C seven. So let's just quickly go of the process of finding a seven card. First of all, you find it made to try us C card there. Leave three under two to find a mate to try it, then on a minus seventh interval on top. But I talked. The Aegis way would be to identify the root position, which is the sea. Go over full active on, then down a full tone or 2/2 steps. 12 two. Senate tones way. Just go back to the C major. Seven. If someone's there, such a only a small movement with your thumb down to the left, you might need to push your hand further into the piano because he's some charter. Don't be so like twist. Didn't let that just put your hand in on any thermal reach Any. How many fingers Aziz. Well, then you need to do is put that first line together on the cart. Coming on the first beat of everybody. So show you this first line slowly. That's that. And I will do it with the time it on, just to mention timing. When you get to the second bar, the D minus seven, the G in the melody comes in on the swell. Be after the wall. So it's going to three, three, three. Okay, so now we're going to do the foot line. Nice and slow with the counting. 123 33 232 cars in that last bar. So change on the one hand in the 31 23 fun, that's the first line. 40. Fly Me to the Moon Part 2: second line exactly the same pattern in the melody in the right hand if I was on the sea there, but now it's on the A. But the movement of the notes is the same. It moves down. Play with, and we'll leave that last. Nerves of that bar there, because that's actually part of the next melody, are the next phrase, as you may see, the same pattern only this time that a black not in their G shop. But let's go for the nuts right now. Jeans and a, uh G shop, then down to the F and scenes of the top two again. Then we'll leave that C sharp for the next part. So now you can part a video. I never quit, got those notes, and then we'll do it with the timing. 123 and four and 234 to 3 on from 1 to 3. So it's actually the same Timing is the line and buff. And then let's have a look at the cards. So the cards here we're not sure. Do it. I was playing the F major seven here, and it just kind of overlap, so I had to move my hand out the work. I went like this. I just have moved out the word and hold for the full bar. But if that feels difficult, you can't play down here. I just feel a little bit lower a little bit, muddy. I don't yet want to go into changing inversions and changing the car voicings too much because I want you to be learning step by step so you could play there on movie hand over, played down there. And it might sound a little bit Mahdi, but for the moment, want to keep things a bit more simple. Okay, so you got the F major. Seventh there are then your choice I put up there so you can copy me if you want. The next card is that be minus seven flat five. Which was the one you're playing. Three exercises are going through the degrees of the scale, but again, that is a bit too high. We need that area to play the melody. So going to be one a 75 instead on, then you've got the e seven. So we're gonna go through the process again to find that seven card you found the try at first that made to try out. So you play the root position, which is the and then you leave three for the next note up. Leave 10 minutes on that will give you the e made to try it. Then you go a productive from the room which the and down, two semi tones to half steps. 12 That's the seven car that you need that. So just have a go practicing that make g sharp there enough that you've got a minus seven. We're gonna play it down there again. Start. But then, look, you've gone a seven. So that's to the same process from a major triad. So you play the way to a triangle ship card again, they're on. Then you find the minus seven interval on top. Do the process. So, girl from the root position a lot down two steps Now give you a seven. Get Let's have a look at this. The cop followed a minus seven. So to find its card a several I need to do is move your third finger on the sea up to the seashore to that 97 4 beats B minus seven for bees e seven, The Barbies, Theun A minus 72 And then then together. Here's what it sounds like show you one with left hand down there. If that's easier, you might need to go through that separately a few more times before trying it together. And then I'll show you once with the timing to free, free, free 23 41. Fly Me to the Moon Part 3: way, right. Let's look at the third line. So, as I said, the far the first part of this frizz starts the end of the second line on that C show. So play this melody. No. And that's what is so you gotta see sharp. You might want to do that with you, too, and then come underneath with your thumb. You could slide up if you want to. Either way, she could see shop on Dean and they a and I need to put your hand up, bring onto the sea above thing G that's held on then the next that last b there is again part of the next phrase. So we'll leave that for the moment. Now with the timing so that C Sharp is coming on the far beat of that baba far. So I play it through an Asian slaw. One on two and three and fun and 23 Far. 1231234 Tied to three G's health, actually, seven beats all together far. And then a three tied into the next bar. So practice that next part and then you've got the cart. So you d minus seven. I'm gonna take the G seven, which you were doing here in the previous exercises. Do it down here now, just to stay out of the way. The right hon Melody then the C major seven again and then the e minus seven. So far, you need a dominant with the black winner in the previous line. Not gonna do it normal diatonic Seventh. But then you've got the A seven again, which was then from the line before you got D minus seven for four beats in the G 74 beats thin, the Super Seven far beats And then you've got the e minor seventh, too at the A 72. Like this 123431234 to 3 So that we can practice that nets car progression. Get used to that and then put them together like this. Oh, and now that with the timing, when account in three beats and coming on the far on that previous bar 1233 33 far to three from, that's the third line. Before we do that last line, I'm just going to play the second and third lines together to seek and join up those phrases because it kind of overlap Dudley on that last bar. So let's go keep the left on down here for the moment for the F major seven. So this is from the second line. 23123123 for free. 231234 23 in the fourth Bait. 42. Fly Me to the Moon - Part 4: Hey, it is what it sounds like. Theo. First about the notes you got to be on up to the sea and then up to the air. You might just spill to stretch your five up to there, Theun down to the GTO. So practice that last melody there, just the notes And then we'll have a look at the timing that becomes on the fourth beat of that barba Far. So you've got one to free on far on one onto on free for 123412 on three far, too. And then I put a bit faster far from two and free for 123412 and three far and then not do it again without counting. So again you can learn that which is where you want with the notes. Follow the note. Letters are just by ear. Purely are copping visually either. Where so got the D minus seven here. But what's this? If we play the d minus sentiment, we need the sea in the Mountie, so you'd only need to play the d minor. Try it there because your right hand place the top part, that card eso this last line? Just a three. No. Try that down with G seven again. Then you got See, Major seven. They're not be minus seven. Flat. Five again. Just the White Keys, remember? And then finally you got the e seven. But she did in the second line, which was the one with. So we'll take it from the line before from E minor. Seventh, you've got to three to free. So 2341234 23 And then I'll show you that last part together. So I just go from the bay. Then I'll show you with the counting. Now I'm counting it out to do the cars from that baba far. So 1233 234 to free phone 23 So you can practice that set for again until you know it well . And then you can put all the parts together 43. Fly Me to the Moon All Together: so play it once with the counting slowly and then once without 123333 123123123 23 123 three, 234 234 Free, 31 on free to three. So that's all the fault parts put together, so you can practice that a slow as you want. You feel free to spend Martin learning it separately, and then it congratulates, speeded up in your own time. And then here's what it sounds like. A full pace. - And then it's on courage. Okay, that's that. I hope you enjoy learning that song, and I'll see you in the next lecture. 44. Alternate Left Hand Using Chord Inversions Fly Me to the Moon Update: e had a request from one of the people is taking this cast. I offer an alternate version of Fly Me to the Moon but using inversions in the left hand cards from a beginner's perspective, I think that identifying cards it's easier if you keep the cart in route position. For example, he's not pattern. You identify the cars with finger, but if you are familiar with card and virgins, you can use them to make songs easy to play on. Not, sir. You make the car to sound better sometimes because you can change the position of the card on the key part. So let's just take a quick look inversions. So if you take the C major France calls that is in route position because the sea is at the bottom of the cart, what you can do is you can take that. See there the root of that card on beacon, invert it and make it a full octave higher. So you got the same three notes the C E G. But the order of them has just changed, So this is called C major first inversion. If you change the art of the notes again, let me make you a productive there. That's called a C major second inversion. And if you do the same thing again, take the G and put it up a lot. If that just takes you back to the C major route position But the whole cart is up A not so you've actually only got three yards of cards. You've got the right position. You've got the first inversion on the second advert. So seem a to root C major first inversion See, may just let's just do what, Mark? So you've got a G major root position. If you want to find the first inversion, you take the G kar put up a locked. If you keep your tuna to stand, then you've got a T major first inversion. Then if you want to find the G major second inversion, you take the bottom of the card, which is now a b. Mikio a provocative just your hand g major second inversion on If you do one Matha Deen productive G major route position Again That's a quick overview off inversions. Now here is the alternate version off fly me to the moon But using inversions I guess that that is with the inversions and we're just gonna quickly talk through that just so you understand what's happened and how I've got to those cards. So the right hand melodies is after the same as the left and cards we're going to look at now. So the A minus seven is the same in route position. D minus seven is the same the G dominant seven. So here you've got a choice. You can use an inversion, could it is actually closer. So we've got seven out of content based, so we just need toe include that in the in virgin. So you've got the reposition. You can play down there if you want, but if you want to play a higher up, sometimes you can tell nicer. So if you convert it, take the gene a productive you that notes the city subsidy seven First in virgin. Let's go up again. So take the being. Then you've got the G seven second Theun using an aversion here can actually make this bit easier because you got D minor seven there on then to go to the G seven second inversion. What they need to do is take the top two notes down to the neighboring notes on the left. There, you don't need to do a big jump. They just could go from the D minus seven to G seven. Something inversion NextCard. See, major seven. Keep that they're on. Then you can keep that. There was well with C seven here F major, seven slightly overlapping here on the melody. So what you can dio is you've got the f major seven there on the is up there. But you can just pop that underneath it. Technically not an inversion of the F major. You're just changing where the seven is so that you can get under there. So that's and then you've got that wrong there. Free to go there without having to adjust K B minus seven flat five Theune e seven. So the e seven now playing around with these cards. What you can do is you can take notes out of the card. So that e seven it was like that before you're playing right. But what you can do is you can adjust the where the seven ist. So the deal is there. You can put that underneath to there, But Another thing is the G shop, which is that is actually in the right hand relative. So you don't need to play in the left. You can just take out and play on this. You play the A minus seven and then you get up to the A with the shop, and that is another one. You can take the sea shot out of your left and if you want because you're playing it on your right, it's a technically there. You could go just that C sharp on the left hand. Again, it's up to you. Really. You can play around with these cards as you wish. Depends how confident you are with inversions. But as fabric girls, this might be a little bit more advanced for people that aren't complete beginners. You choose to do this as you wish on the D minus seven. Here you can keep it the same K G seven second version. That's the same as before. The same movement is the first line run carry on a kid that C major seventh. It's the same. So that's on then the E minus seven. Do that there. This a seven first inversion. So the normal one was there. But you can do an inversion here. So take the day, adoptive along the notes the same way. Reason being because the Nets card is a d minor kisser in the version I taught you. But far I told you to do that happened to move around. But we can do you got the A seven first version, and then your right hand conflicted be in the melty on. Then I need to do. He is playing d minor. And then your right hand melody fills out that seven and then you've got another G seven second virgin. So it's that same called that the G second and on you've got thing. See, major seven B minus seven, flat five. Then here you can jump up to the E seven. I can do an inversion. So you've got that B minus 75 to find the e seven second you go. Sometimes that can be easy to go from the root position and work towards it inversion. So we'll go from down here, find that he knocked if seven first version, take that dominant seven second inversion. Look, the change here being minor. Seven flat, five then to find that a dominant seven version Just leaving that, Yes, Just getting down to the after the A than the A to the G shop. So we're gonna play the left undone. It's just speaking to the movement's Got a minus seven. Do you mind? A seven g seven. Second version on, then see, major seven then And here the f with me and Denise Major seven to say Theun B minus 75 2nd Do that there on then e seven. And you're gonna do that without the third. Then a minus seven. Then here. You're gonna do that without the sea shop on the A seven, because it's in the right hand. 17 g seven second version, See Major seven a seven version just de mining G seven, second Division C major sending then B minus 75 that the e seven second version. And then what about together they go. That is just an alternate version using diversions. You could do that if you want to. I hope you find it useful 45. Bossa Nova Rhythms Straight Rhythms: jazz isn't always played with strong half beats on, especially in Latin styles of music. You'll find that a straight rhythm is used one and two and three and four on one and two and three and four. And so the beats are divided equally, as opposed to the swing rhythm one and two and three and fought and one and two and three, and thought that here is a couple of common bottle nova rhythms that you can use. So if you take a look at this rhythm here, you would be playing on the one on then the two so that main beats and then on the end after the free and in the end, after the fall in the next bar, you play on the end after the wall on the and off the two. So again in between the main beats, then on the floor at the end of the bar, and then it just alternates between those two bars. So if I clap it, you've got one on two and three and thought on one on two and three and far. Then it just repeats one on two and three and thought and one on two and three and four. So then you can apply this rhythm to any car progression if we just do the basic 251 court pattern using the diet except called that you already know under apply that rhythm to them . It'll sound like this, and I'm gonna give account of far beats before starting. Start off slower. 123 and four. And now we'll show you what it sounds like with me playing a bit faster on. Also, I won't count out loud. I'll just play it. So have a go that just using those 251 cards applied to that rhythm start off slowly on Do you may find it easier to count out loud, so you know exactly when to play the cards on each beat or half beat on. Then you congratulate. Build up the pace. Here is another example of a common bossa nova rhythm that you can use so in this one, the first by playing on the one and then the end. After two are then the far and then you're playing in the next bar on the two, and then they end after three and then again, those to pass. Just alternate. So, first of all, a. Clap it one and two and three and far. One and two and three and far, one on two and three and far want on two and three and four. That's what it sounds like. The clapping. And then, if you apply that same car progression, it sounds like this three. And again, I play a bit faster on without me counting out loud. 123 they go. So have a go playing those rhythms with those cards and try and get it so you can play them comfortably. Then you'll be able to apply the rhythm to any other car progressions more easily if needed . 46. Pentatonic Hand Grips Add a Tritone Make it the Blues: you could add a tri tone interval to the pentatonic hand grips you've been using. And then that technically turned them into the blue scale. In this lecture it we're going to go back to the hand groups have been doing, but we're going to take them one step further. So you've been doing the minor pentatonic like this thing. If you wanna try, turn in there. It turns it into the blue studio. Sounds cool, doesn't it? So we're going to show you how to find these. Try terms, so we'll start off with the D pentatonic handgrip. So if you count up five white keys from the d o. Well, I'm on the A If you flat on that fifth interval to the A flat this'll is a tryto which is actually six centimeter pops This 123456 So you can find any tri tone by counting up six semi turns. So 123456 are going up to the perfect fifth on dropping that are flattering that fifth. So the D pentatonic hung grip is on. An interesting fact about these try terms. Hundreds of years ago, they used a car that interval the devil's interval because it sounded so dissonance. Anyway, now that you've identified that, if you add that into the scales you have other set the booth moment because I want you to stick with these pentatonic hand grips. I want you to add this note in, but as a crush. Not for the moment a Chris nut is when you slide off it onto the next note is sometimes known as a graced. Not so what? You gonna do this with your father? Thinkers? You've got the Dean G. Then they a fact to the A so slowly is that but events lease have practiced doing that, Krishna. They want to get control of it. You can add into that full hum grip thing. You can do the same for the other 200 apps. Let's first identify the try terms. So the 100 full perfect fifth. So 12345 and then suddenly it again you can go 67 times. 123456 gives you the same result. So then you can do that. Same crushed interval coming book to the right onto the so a pentatonic hungry with Krishna slotted with your fourth. And then for the try, Turn for the e pentatonic Hungry again. Find the perfect fifth flat and that be restricted Teoh a b flat. So you've got the B flat and do the same. Krishna So slider father fit. And that's the e pencil handgrip with that Krishna. So you've got the day and then the finally the hungry. So have a go playing these pentatonic hand grips with these krish nuts at it. Then I'll see you in the next lecture where we added to the 251 hand grip exercise. 47. II-V-I Chords With D,A,E Pentatonic Hands Grips Exercise (Crushed Notes): Now all you need to do is at those pentatonic hand grips with the crew Schnapps to the 251 cards, and you have a really cool sounding exercise that will add another skill set on their journey to being able to improvise. Just piano. This is what it sounds like. Sounds great, doesn't it? So let's just have a quick look at that. So hopefully this won't be too difficult for you if you've already mastered the other handgrip exerciser taught you, so I just go through it slowly. The left hand starts the Sabres before and right hand follows tithe. Teoh. You might notice that that Krishna has come in 23 Still on the three. You're not going three. And then the next month, the C major seven and thin repeat the C major seven again and on. Repeat that as many times as you want again. This is just another exercise, so you can build up the skills to eventually be able to improvise. CIA holding the ability to do a Christian getting used to the hand grips, even Marsa, along with the left hand cards on also getting used to doing this strong rhythm so have a practice it going through that again, as they always say, Go through it a slows you need to at the start and try and get it without any gaps between the car changes, and then you can gradually speed up. But you can use this one as a Wal Mart whenever you sit down at the piano as well. And again, here is one more time up to pests. 48. Mixing Up the Hand Grips Avoid Notes: Now it's time to have a go at mixing up the pentatonic hand grips you've been using whether it means changing the active or playing different hundreds with different karts. But first, I want to tell you about what is sometimes known as an avoid note when playing the d pentatonic hung grip. We have this note which goes well with the D minus seven card. Hey, also sounds nice. With the G seven, we could play up there, but if you play with the C major seven. But this it doesn't sound great, is it? This is because the f eyes clashing with the major third in the sea cart, right next switched on the same active. This effort therefore sometimes be known as an If I'd note so you can try and avoid playing the deep pentatonic handgrip along with the C major seven cart. So if you play the f with the card, you can actually resolve it, which means you can move it, Teoh one which works so you can't have that resolving. But for the moment, we're gonna try and stay away from the D the sea. So now let's have a play around with these hand grips and it's not gonna be a strict is when you were just doing the exercise. So, for example, you could start off with a hand grip. But you could go straight to the evil about the and if you go to the with, then it could play. The d there are productive, but at the Krishna at the moment I'm just sticking to the hand grips. But I'm just moving them around on avoiding playing that de hung grip with that seat. Yeah, I'm trying to avoid that one with the sea in the left hand still sticking to the basic strong rhythm with Christian us then but moving around. So right now you have a play around by just choosing different hand grips, moving the actives around on. You know, you can try doing a little bit more if you want, but just an example. Then I wasn't doing anything else other than the hand grips with the left hand. 251 Cop progression un dividing the D hang grip with the sea 49. Adding Another Hand Grip B Hand Grip Using notes from C Lydian Mode: way have just decided to try to avoid using the D handgrip with the sea made seven card because their clash wouldn't it be nice to have another option instead of only having the A on the E. Hon grips, you can add an extra pentatonic hungry using the perfect fifths. So at the start, we had the d hand grip on. Then we use a perfect fifth to find the A find a great and then we use the perfect fifth again to find the E. And then if you count, it began from the E it will take you to be. Then if you play the pentatonic pattern, so you find the root position and then Dr Minor Third. So that's where you skip to about and then you got a full turn. So that's two senators want to. You could just skip one out. Which ever way is easiest for you to think. And then another term, which in this case, stepping away from all the White Keys. You have a black teen out because full term from B is to a sharp. And then finally with the fifth finger a minor third. That's why I skipped 212 So there. So that is your be pentatonic handgrip so you can get used to that pattern. You can play it down here if you want, but just have a practice of that. Make entry of fourth finger it on the f sharp. This will actually give you part off what is called the C Lydian scale on the way to see Lydian Scale works is the major scale, but with a sharpened fourth. So see, imagine is this If you get the fourth now, which is the f on it sharpen, it will raise it semi turn. It gives you an f sharp. So that's where that fits in. The Afshar is part of the C Lydian scale. But again, you're just playing the pentatonic hung grip with these five notes, the moment starting to get some on the B. This Lydian scale sounds great along with the C major seven card. In here you are no longer playing the F, but instead the It doesn't sound quite a clashing us before, does it? Sounds much nicer. So when playing the scene made a seven card, you can avoid the d pentatonic hung grip on instead aunt the Pentagon. Handgrip starting on B So her practice that that be pentatonic handgrip on top of the sea card in your left hand. 50. D, A, E and B Hand Grips with 251 Chords Using Swung Rhythm: Now you have learned about the avoid note on the new. Be hungry. We're going to have a look at mixing up the hand grips on changing up the Apted's for the moment. Let's use this wrong with him. We've been using Andi. Hopefully, it shouldn't be too difficult to pick and choose between the different Han drips. You just need to try and remember to avoid the D hundreds when playing the sea made a seven card in your left hand, and instead you can throw in the newbie 100. You could also try changing the ardor of the nuts around. So rather than just going from the bottom to the top of the handgrip, you could mix the artery up. For example, you've been going at this, you could just mix the Rto. So instead of just going 12345 I was just simply doing random fingers. Best clear. Yeah, that kind of thing. So it sounds like you improvising already, doesn't it? There? But all I was doing with doing the different hand grips and changing the order of the Knights around. So here's what you could all sound like put together, so we'll start off with the left hand cart, and then, rather than starting here, could start off on the A. Then the next car Did you left? I might go to the E, but I might add the crushed. Know that I'll go to the sea and you left Andi. I wanted to avoid the D hand. Griff might go to the new one thing. This time I repeat that left home cop of might stick with the same 100 but moves the nuts around. Keep going so you could do the D here and I might stay on the d here. Chances are the notes up. Then I might do the down and then up again, so I'm just picking and choosing when you are doing it. Feel free to parts between the one so you can get used to it. You might have to think right, which wants to do it might do this one here. Paul is to find the next one. That's fine for the moment. Just take your time, and eventually you'll get used to moving between the cards and then picking and choosing between the different hand grips on. Then you won't have to stop between the car changes. So then the next day, it would be to move between the hand, grips without the stops, but do it slowly. Oh, on on. Then eventually the mark confident you get with movement between the hand grips you build to speed up and play nice and fast. And then you well on you we're to improvising. 51. DAEB Hand Grips with II V I Chords Triplet Rhythms Exercise: e. I want to help you keep building your skill sets on, so we're going to adapt that to 51 exercise on Axum triplet rhythms. So we looked at triplet rhythms earlier on in the costs, and I showed them to you in order to explain the theory behind swing rhythms. Now we're going to use those triplet rhythms and apply them to the hand grips. So remember the far when I said for every men beat you had 3/3 broken up. 123 cup. 1234 are for you to do it with a note will take middle C 123123 Thumb That is the triplet with them. So I want you to have a go at that right now, but it's a middle c and come through far beats. But with three triplets to every man, be that this 1234123 Have you got that right now just so you can get used accounting along that triplet with him. With those beats, we're now going to use that rhythm and apply it to the hand grip exercise. So this is what it sounds like eso. Here's how it works. You play the left turn card on the first trip it beat of the bar. So on the one on, then on that trip it beats straight. After that one, you go through the pentatonic hungry all the way up and down. So, like this one, 23 on Then, by the time you get back down to your thumb, you'll be at the far beat. Then here you skip the middle triplet of that beat and then press your second finger down on the last triplet like this. One, 234 one, Small 23 You've actually gotta swim. Beat on the four there far if I count it in the threes. 123123123123 So the end. 123 Free. 123123123 That's how the rhythm works on. Then it just carries on with that same rhythm. But going up the pencil neck hand grips. So in the next bar you've got the G card and then you've got the a pentatonic hungry, but with the same rhythm. Three fall are 123123123123 And then you've got the C major seven with the e handgrip to free. Far that, finally, you go up to the B pentatonic hung grip, and then you stay on the seat hard in the left for that fourth bar 234 and then you can just repeat as many times as you want. So this is another exercise that you can use just to warm up, but also get to used to using these triplet rhythms as well as gives you another chance to get used to these different hand grips. So here's what all sounds like with the counting one three to free 234 As usual, practice this until you feel you are playing it with a smooth tempo on without any stops, then gradually build up the pace. 52. Finger Hand Strengthening Exercise Using 3rds: it's important to be able to have control over all of your fingers when playing piano on specifically to be able to isolate certain fingers. Here is a quick exercise that you can practice that will help with this as well as your hand posture. It will also help you in the next lecture where I will teach you how to play. The main riff from Herbie Hancocks continued violent First for this exercise, start on middle C on Then give each finger a key. Then play your first, your third on the sea and the eat at the same time. Then you two and your far on the D thing. Then your third and fifth on the on the G and on then all you do is move between those three different changes. 13 too far. 35 too far. 13 too far. 35 to 4. This'll may feel stranger first, especially youth in the third, in the fifth in isolation because often the fifth finger is weaker. So practice that nice and slow on. Over time you will get used to it one thing as well. Try to revive going. Think out then. Gap didn't get. Don't leave big gaps. Try and join them. So when you play the next too far, only then will you release the wall in the three the same here, pushing 35 and then release the too far. So this may take some time just to build up the strength in your hand. On your fingers. I'm just to do with posture. Remember to keep a nice arch in your hand and your fingers. Don't be playing with a flat hand. It's very difficult that the flat hand, but some people do. You start to do that, so keep a nice arch. You can also use this to strengthen your left hand. This time, your fifth finger is on the sea instead of your thumb. But then he used the same idea. So 35 too far, 13 to fall. 352 far three. So practice that until you can just go nice and smoothly again. You probably have to go slower to start off. Then you're left hunt. Go slower on gradually speed it up. You might feel a little bit of an air in your hands and things when doing this. That's a good thing it means you're gonna build up. The strength is like the gym for your fingers in your hands. You could also try it together. Another thing you can do with this exercise is you can play on any triad card and you can find the for five notes off any major scale with this pattern. Starting note tone tone Semi Thanh so you could do it on the d major. So starting long d make up a full term so to half steps another. Full terms are 2/2 steps, then semi turn and then another full term. It's not the 1st 5 notes of the D major scale. Then you could do this exercise on the date e do. Any way you could do it on the B flat major. So do the static and that we should be flat and you go for full time. So on that note, another full term. So get one out, then a seven term on a full ton. That's not the 1st 5 notes of the B flat major scale, but then you could do this patio. You could also do it with the minor cards on minor scales, so to find the 1st 5 notes of any minor scale disused, this pattern starting notes, tone, semi tone, tone, tone. So you just stopping the foot on the far around from before? And it can do that using minor scales as well. So, for example, D minor so you would take that starts and then it goes over the top. But then semi told told then. So let's just go back to the major pattern of the static note tone tone, Summit on tone. We're gonna play it to the A flat major car. Watch this So a flat starting things up a full term, Which is there another full term, Which is that a seven tonne. So just try to, you know, a few times and then watch this if we bring the far finger, which is cooked in the D flat, but to the day I just tried to a few times. That is the right hand part for the country violent. So have a practice with those exercises, and it can practice on them position that we just did. And then in the next lecture, you're going to learn that piano riff from Cantaloupe Island 53. Cantaloupe Island by Herbie Hancock - (Main Piano Riff): In the previous lecture, I taught you the hand strengthening exercise using the third's fingering 13 too far, 35 too far. And then it could just repeat that. And then we finished off with the A flat major. But then it told you to put your second on the D. C. If one free from the A flat in the sea than too far second finger on the B flat, fourth on the D and then third on the sea. So this pattern here, hopefully you've been able to practice that because with that, you can actually play Herbie Hancocks, Country Island. So we're gonna do now learned that men risk Sounds cool, doesn't it? There is another two parts to that, but we are just going to take it one step at a time on learn the first part because it goes step by step with where we are in the cars. So let's have a look at it. So here's the music. And again, if you can read the music great. If not, I'm going to take you through it right now so you can copy me on have also written out the letter names above the music notation just so you can use that as a reference. Okay, so let's have a look at this on the actual music. To this, it says f on a little dash. That dash is also another where that you might see to symbolize a minor card. And I taught you the pattern on the A flat shape and then moved it. So the actual car behind this riff is an F minus seven car like this, but is playing the ref in the left hand, which is called Rouge on again. We are going to look a ruthless cards a bit later in the cars. But Father moment, I just want to teach this piano riff because it goes along with that because I was attacked you and helped you build strength. And you also get to learn another famous piano, sir. So we've got this right. All I need to do is apply the timing too, and you've got it. So if we're going to count the timing, we're not gonna be using swell rhythm with this one. It's straight. One and two and three and thought and one on two and three and thought and so we'll do the right hand first to First of all, let's look at the timing. So the timing is in the right hand. So you gonna come in on the and after the one and then just playing in the second on the Third Bean and then the far on the and after. So let's try clapping that first of all, like this one and two on day three and far and and in that just repeats one and two and three and four on one and two and three and thought on one and two and three on dfars on one and two and three. And that is the rhythm for your right hand. So all I need to do is apply that pattern with that shape here to that rhythm like this, a go slow one on day two and three, and one and three and one and three and one and three on. So that is the right hand pattern on the rhythm. So go through that slowly. You may have to come to slower if you need to. That's completely fine. So practice the right hand part there. By then, we'll have a look at the left hand. Okay, to the left hand. You're five girls on the s down here, so got middle. C You go to the F Bella, and then you go another octave down there When you play that with your finger, next note is a sin. Uh, so you got efficacy on, then the after that is an e flat. So how you play this depends on the size of your hand. I would play this with a five at a certain missy. Then you've got an e flat. And that's how I would play that 53 and then second on the flap thumb on the F. But it does depend on the side of your hand. And how will you out stretching the exercises you're learning will help this with your stretching. If you find that a bit of a stretch, go from 5 to 3, you may just have to go five to, and then you can put your warm on the flat, and then you just have to move your thumb up again. So you wanted to summer, remember? So one got fine, but it depends on the side of your hand. Okay, so let's look at the timing. So I'm gonna stick with this. 5321 here. But again, as I said, you can do the other fingering. The timing is the first base for one of the half beats on the zoo that will be one and two and in the sea comes on in the end of the two, and that's held until the end of the third beat and then before the and come right at the end to it's like this one and 23 And that's the pattern there. 123 and on a pattern just repeats round and round like the right hundreds. 123 and 123 And I'll show you with the other finger in 1234 So you can practice that with the left town to feel comfortable with it and then to put it together. He left arm starts on the one the right hon forms on them the end like this one. So it kind of goes left, right, right, left. Then it goes up to the sea in the far their third B. But this one, 23 that it just comes together at the end. So It's like left, right, right. Left eyes replying. Those parts have been doing separately. Left, right, right, right together. Left, right, right. Left, right with a counting. 123 and 33 23 So that is that pled slowly so you might have to count mice and slower just to get used to the different patterns. And then you congratulate Build up the pass. 12341234 And until I could play it nice and fast. Yes, I hope you enjoy that analysis. See you in the next lecture. 54. Walking Bass II V I Chord Progression Skillshare: in this lecture. I want to take a look at the 251 car progression we've been working on, but I want to move away from the seventh Block cards in the left hand. We're going to take a look at a simple walking base pattern that you'll eventually be able to apply to any car progression. This is what it sounds like with the 251 progression in C. So we're going to play a card in your right hand. Now is what it sounds like to do a simple walking baseline. Play the root note to the card. The perfect fifth, the active route, then the leading. Not so Let's work through that. So the first card is a D minus seven. So we've been up with the right hand appear. The routes off the card of D Minor is the Dean's gonna take that with your left hunt. We're gonna do it two octaves down, not from there all the way down there. I just got some space to play with. A kid's gonna fifth pick up on that, and then the next one was the perfect fifth. If you remember, the perfect fifth is the top of the Triad, so that demon tries there. The left got the five D second with a On the active of the room is the D. So you got Dean a day, and then the next not is the leading nut. So in music theory, led not also sometimes known as a leading term is a not a pitch which resolves our leads to or not. One semi turn higher are lower being a lower on upper leading turn, respectively. So for each card change, the leading note is a cemetery on higher or lower than the root position for the next card . So, for example, the next called is a G. So the room walls, it's gonna be a Senate on higher or lower leading to that. So you could either have a G sharp, alright, sharp leading to the geo. So the first part of that walking base, you've got the dean and the next card is a G, so eventually could be airing for the root of the gene. So they said you need to be leading to the G with a Senate on higher or lower from that secret, either go, and I think that that's the next part of the walking bass part. G O. That's what a leading not it's a Senate on higher are lower leading to the next card pattern or the next walking base pattern. So let's look at the next walking base pattern. You've got the G card. Okay, the G seven. So you take the route position on the perfect fifth, which is a big in this case and then knocked of G. That's the route on then the next. Not it's another lady now, So the C major seventies next eso the leading note is gonna be a summit on higher are lower than that. See, that's the first part of the next back. So you can either dio a c shot. You got this all this? Either one is a leading. Not so Let's have a look. You've got the d minor g. You may notice that these overlap so you can just related thumb to play that with your left home. You could put the G caught up there. If you want to talk to make it easier, it's quite high there. So I think it sounds better down here. We're gonna do a c shop the moment rather than obey. And then the card there C major seven with the sea. That's the root position. So they just have a quick look at the fingering. Doing 5 to 1, then f sharp with my far author doesn't matter, But you need to come underneath with your five. So it's a bit of a twist here. You're fighting the gene. I do, too. On the day, some on the G and then surge back down on the seizure on anything can come underneath onto this. Say Okay, now the next part of the walking bass pattern, I'm going to go down right then going up because it just gonna take over where the right hand card is. But you can still use that same patter room position. Perfect. Fifth is a G, but you can just put that g underneath instead on then it can still do the active see, but down instead of up. It could be that I'm gonna go the other way around on, then you've got to bow to the C major seven so you can just continue for the moments you got seen. G g back up to the sea down to the GTO Down on the last part of this walking best is leading note to the D minor because it just goes round again to the D minus seven. So remember, the leading now is a Senate on High Oliver. So you can either choose a C shop are ready Sha e choose DIY shop, see if God see de shot with you. Fall. Thank you back to the start. Slowly play through that walking pattern left. First, it's eso you practice the left hand on its own first to go over as many times as you neater Onda as slow as UNITA until you feel really comfortable with it, getting to the point where you don't have to think as much about what notice next. Then all I need to do is at the 251 cards on top, in your right hand like this. Slowly first, - thank you faster, actually. So practice that until you're really comfortable with it. Because then in the next lecture, we're going to apply some of the pentatonic hang grips you already know in your right hand 55. Walking Bass Line with Pentatonic Hand Grips Exercise: Once you are comfortable with this walking bass line, you can start at the different pentatonic. Handgrip emphasizes that you've been using so far that many thing to remember is that you are playing cards with the left hand on the first beat of each bar and holding them for the full bar for four beats. Now you're playing a single. Not for every, maybe one. Teoh. Let's start off with hand grips D A. On E along with using the swimmer of them one and a free lancer on one and two on free and thought on 12 and three on far on one on two on three and far. And and he added Christian out a few bucks on that last one. Just a bit of a variety at the end. But this is just an exercise to get you used to a walking left hand pattern. So then when you put it together, he left on starts and your right hand follows. So it's kind of like left right together, right together, right, left. You see that left right together, right together, right, left. So if you sure of the notes and your hand ships, you can use that left right together, right together, right, left, and then we'll just do it. What with accounting She left on the wall on your right hand follows on the ants, and then you play the A and the F together on the to and then the tree on the but in the D and the A together on the three on your right hand. See plays on the end on the left hand. Plenty of shopping and pattern continues. 23 left, right together, right together. It's the same pattern here, but with the 800 with the other way, thinking you've got the left right together, right together, right, left, right together, right together, right, left and then you can just repeat that around as many times as you want. So right now I'll do a couple of times slower for you and then do it faster. - Practice that slower Denita. It may take a little bit of time, so feel free to keep on coming back to that whilst continuing with the cast, and hopefully you'll be able to get it to a point. We can play it faster, and then what you really comfortable with it. You can start to play around with hand grips in your right hand, but I'm just gonna planets exercise once, Maher without the counting on a little bit faster. 56. Walking Bass Line with Pentatonic Hand Grips using Triplet Rhythms: you can now start to at the walking beers underneath all of the other hand grip exercises we've been working on so far. For example, the hand grips with the triplet rhythms. So here it wants with the left and block card, but with the walking best putter. And so so for those of you that don't read music, I haven't written out the individual notes in the right hand on this sheet music because of the amount of notes, it would just look really busy. So instead, I've just written out each handgrip name for you. So you've got the D minor pentatonic hungry. The a minor thing e. On. Then finally the b of that. But you may not even need to use the music as it's the same triple exercise that you let the far, but just over the top of the walking bass line. So let's have a quick look. You might want to just recap the other exercise if you need todo just to get used to the hand grips again with those rhythms and then to put them together. Left done. Starting with D Down there, you write hund d above middle C on slowly. The left starts as usual. The right follows three With next one right hand goes to the A minor pentatonic Handgrip left and goes up to the G left stars Won t o k The next one is the e pentatonic hungry On your right hand your left hung comes under this to the sea begins and the final pentatonic hungry has to be on your left hand repeats the sea and again it begins on its own On your right hand follows Casey triplet rhythms in your right hand And then you left and on the man beats on a plate through nice and slowly with the county So practice that as usual Nice and slot So I think the thing with this one is to make sure Really sure of the handgrip pattern as well as the rhythm. 123123123123 Are 123 If you exactly sure where those beats a going You just need to put your left done on the man Be one I thought you were You were through Feel free to take each one a separate bar to get you to them first of all, and then you can gradually built up. Try Teoh, get rid of the gaps between the bars. If there are really and eventually we'll tell into a nice exercise, which almost sounds like you. Improvising was just already way. So have a practice of that. Take your own time and I hope you like it. 57. Walking Bass Line and Mixing Up the Hand Grips and Rhythms: Once you have full control of the previous exercises, you can start to mix up the different hung grips, as well as the different rhythms varying between swole and triplets. Remember to try and divide playing the D handgrip with the sea part in the left hand. Try to avoid that instead playing the be hungry. The A start off slow Making sure you're not leaving huge gaps between the changes. This may seem difficult at first, so be patient on keep coming back to it Over time, your coordination and ability to drink between the different hung grips on rhythms will improve over time. So I'm just gonna talk you through it. When you're playing, you've got your different choices. You got your left and pattern. So you start off with your left downed. I'll start off with the still with him with the right hunt Secret, a song rhythm. And then it might do the A pencil it hungry. But with the triplets on, then it might jump to the B pencil it hungry rather than the A on Do they beat pets? It hung up again, but with the small with them instead of the way and That's the full left and walking based Don. But you can just keep on jumping around. So I'm not doing anything outside of what I've taught you here. So you can just keep on jumping between the different patterns and rhythms that you've been working on previously. 58. Comping The Alternating Syncopating Swinging Rhythm: Now I like to take a look at camping. So what is Company Camping is an abbreviation off accompanying are complementing the other musicians with cards or rhythms while they're playing. Melody lines are soloing. I'm now going to teach you some common comping rhythms that you can use. But first of all, we need to take a quick look at Syncopation. Syncopation in music is when you play in between the main beats or what is called on the upbeat oh, off beat. If we think about when we think before we used and and between the main beats as a way to counter the half beat. So if you're counting 12 and three and four and the only clapping on the Andi feel somewhat this 12 and three and fuck 1234 are if you to do it with a swirl of them 12 and three and far on 123 Fuck! So that would be a syncopated rhythm playing on the off beat. So have I got that yourself counting along but clapping on the off beats 1234 and 123 Easy right? The use of Syncopation is common in jazz on especially company. So now let's have a look at some common rhythms. We're going to use the 73 card voicings that you've already learned and applied toe autumn leaves. So this is the alternating sink. A petting swim rhythm theory idea behind this first rhythm is that you alternate between two different rhythms. Here's what the rhythm sounds like. One to faith Far 12 and three far 1234123 far So they're using a syncopated rhythm because it capping in between some of the main beats. So have a go at that rhythm, first of all, getting used to it by clapping 123412 free for one on to see far 1234 I don't want to get used to that rhythm. You can try applying it to a card. So let's take the first D minus seven card, first of all, just to get used to that rhythm. So the D minus seven, but with the 73 card voicing which you let earlier was that let's apply that rhythm to that 123 123 go That just for one card just taken. Get used to that rhythm. Then all you need to do it. Apply that to the Artem. Leave 73 card voicing that you learned before. So before you're playing on the one you're going 1234 Free for 234123123412341234 That's what you learned before. But now you apply this alternating syncopated rhythm to the alternates between two different rhythms. So the first card is D minus seven C. Do the 73 card voicing with the 123 the next card thingy made to seven. The carve icing was there, but here you applied it. Alternate with him. She go. 123 alternates between those two rhythms. But you apply them to the cops. So I'm gonna play through it slowly now, using those cards. But alternating between those two rhythms do the counting as well. Nice and Slough won 31231312313 for one can t free form to free phone. 1233412313 313 as usual. Practice this until you can play it slowly, then gradually speed up the pace. 234 every two. 59. Comping Using Another Swung Rhythm: Let's take a look at another camping with him. So in the previous lecture, you're doing 12 and three, and you can play around with that kind of five and move around the syncopated beats. For example, you could play around with this kind of for them. One antique on three. Far on what and to free for one and two and 34 on bar on 234 Again, notice that I'm using the swim rhythm still on dime, alternating between two different rhythms to bar or measure patterns are common features in just music, so you could apply that rhythm to the same song. Artem leaves 23 You could easily apply these rhythms to other songs with a small field to them, for example, Fly to me to the moon, so I'm just going to take the right hand block car to the single note in the left hand. But I'm just gonna apply that rhythm. You've just been doing 234 to 3 country insults and all of a student there was reading those cards symbols, but applying that rhythm, so feel free to have a gun. Now, applying those rhythms to that car progression, and he could technically look other car progressions of your own choice and apply it to them as well. 60. Pentatonic Hand Grips Adding Arpeggios: arpeggios are often used when improvising and just and arpeggio. It's when you move apart down a card while note at a time. For example, the C major arpeggio. Is this because it's the C major tryout with the optics See on top and you're going from you can easily place, um, advanced arpeggios by using the pentatonic hand grips you've already been using. All you need to do is take out the third finger like this, and all I was doing there was going through the 1st 3 pencil hung grips the deemed, but it just wasn't pushing the third finger down and playing from bottom to top and then going on to the next one. Technically, what I was doing there was playing in arpeggio, using what is called a D minus 13 card. Because you playing in D minor, you having thirds on top all the way up to 13. 123456789 10 11 12 13. So that's a really big card, but with the hum grips, play it so you don't really need to think about this at the moment. Just play the pentatonic hung grips and it will fall into place, so just go a little bit slower. So you play the pentatonic hung grip without the third finger. I want to get to the top. You place your thumb on the A, then you play the a pentatonic hung grip on Do the same. Take the third out the notes and they get. When you get to the top, you come back down, but this time, go to the E pentatonic hung grip. Take the third out. Just have a go doing that right now. So and then you can play that on top of the first D minor card. Yeah, so it's nice, isn't it? Now we're using the 25 car progression again in the left hand. So the next car was the chief down there. If you play the same pentatonic hung grips along with the G card, you are technically playing a G 13 car. How huge is that? Because the's air all the thirds What's this? The's all the thirds. And how did that work? Well, no, it's this part here. There. That's the jeez If you continue that same pattern thistles, just those sim hungry arpeggios. But just starting from the g just change in the honor, but technically playing a huge G 13 at Petra there but again, Just stick with the hand grips and then you don't need to worry too much about that for the moment. So you would just do the same hungry with the left and card. And you will have to move the left and down. If you start seeing with the right way, I can't see it. But the 1st 1 the next wall canoes after the same with your right hand, you left and moved down to the GTO. Then when it comes to the C card, start from the A hump grip on, go through the E and then move up to the be hungry iptc thing. You go through to the E and then you can move up to that. Be handgrip up there. Remember, it was there, you said out so that that so, Technically that is a very complicated are Petra called a C made just 7 13 sharpened 11th. Who? It does sound complicated, but you don't need to think about this when playing it. Just think about getting your hand grips in position on you be playing the right thing. So what you have been doing here is arpeggio getting through some different card extensions . I am aware that haven't gone into much detail on advanced card extensions yet, but her world go into more detail on this soon. So here's what you got so far just with the hung grips, you've got the 1st 3 new right hand with a D. Then you've got the same three and then with Seewald, you gonna go to the A e could do that. I get that now. Starting from bottom to top, yeah. 61. Hand Grips with Arpeggios Top to Bottom: when you're a plan, these arpeggios to the hung grips. You can also try going from the top to the bottom, for example, so doing it this way around my feel a little bit harder because you're not doing the thumb up to the next one. It's do the way around. So the e starts at the top here, and then the next hung groups there. So you cannot come up 1/3. Your composition. You're five. Starting not your thumb on again Here. Next, abolition of the D might find that the five comes on first. That's just up 1/3 from where you just wear with your thumb You've got yeah. Have you got that with both hums Just nice asla to do with the G as well. And then with c card, the top hung Griffis that may sick of South. But there are just do it separately first and then the next. Hunger was e so again you could do up 1/3 from where a thumb is on the be hung grip there and then you're hunt Position isn't set there into the E one. And then again, the last one there's the A because the other way around. So is there. I could go up 1/3 with your five. That five comes on first and then together. Have a go at that with both hands from top to bottom again. Repeat, Have you got that? Doing the arpeggios from top to bottom using the hand grips? 62. Mixing Up the Arpeggio Hand Grip Patterns: what you are using. These are pictures you don't always have to just go up or down. You can mix the notes around or move up and down inferred. Just skip out part of the arpeggios altogether. It almost sounds like picking out some great nuts while Sullivan doesn't it sounds nice, isn't it? What I was doing was using those hand grips on, moving around the arpeggios, but not necessarily going from bottom to top our top to bottom. I was moving them around, skipping and going on 1/3 Stephen Small patent and not keep into the same thing. You go from the top, so have a go that turkey time, find the left and card and just have a girl using those arpeggios but mixing the patterns up and just have some fun. 63. Improvising Playing and Resting: So far, you've been building up all of these exercises using the Hon drips with different rhythms. Now I wanted to have a go at joining and mixing them all together. But there's something very important I want you to try, and that is resting. You don't always have to be playing notes. In fact, sometimes it can sound better when you don't play, for example. - So there I was, jumping between the different hand grips, using different rhythms. But I wasn't playing all the time. So you can use simple Syncopation as well, leaving big rest between the notes and it can sound really cool. On another thing. It might be an idea to do, just for the moment, it's to do twice the amount beats per card. So right then changing every far change every eight or every two group too far at this one and two and three and far on 12 and three. I'll just give you a little bit Motley where on a bit more time to player with a different hand grips before you have to move on to the next cart. So let's look at that. I'm gonna count the rhythm and you'll be able to hopefully see that there's still that rhythm underneath what I'm playing. I'm just not playing for all of the Beeb's have a listen. 231234 unborn and 45 and six and seven A 123456 and seven. A 123 and 45678 12345 and six and 7823456 and 781234567 So I was still playing on either the one of the and just then, but I wasn't playing on all of them. So it's something you could try. You might find it easy to count up loud like I waas. I might find it. You just tow, kind of feel that rhythm. - Have a go on. Don't worry. If you make mistakes, it's totally fine. That's why it's called practice and not to performance 64. Extended Chords 9, 11 and 13 Chords at a Glance: now is time to take a look at some extended card voicings. So far, we've just been using seventh carbs. I'm going to use the C card to explain this. So if we take the sea May to try out on 1/3 interval on top, we have the C major seven card. So if you continue stacking thirds on top, you could make the cards much larger. So 1/3 aunt off the B is what, 23 a. D. On if you count all the way up from the root note. It's a 123456789 So that is 1/9 called at 1/3 on top of the D, which is an F on account Holloway from Roots. It's an 11th goal from the 9 10 11 And finally, if you stuck one more third on top of the F, you'll get in a, which is 9 10 11 12 13th If you go 1 March third, it takes you back to the sea on top so you can't get any bigger than a 30 thing just goes round again. So the biggest extension is 1/13. You may notice that the ninth is the same note to the second, but an octave higher. So night is here. First night we owe the ninth is the same as the second was not to fire. The 11th which is the F, is the same as the far South. 123 was knocked it higher, and on the 13th which is an A, it the same as the 123456 was not to fire. That could be another way to find these extended voicings. Just go to the second, a productive and so on. I want to point out one more thing. You may have already guessed this, but when reading cart symbols, the card is named after the highest extension. So if he said, see major night, you'd play C. J. It said, C major 11. You play the nine on Day 11 on time out of it, said C major 13 you would I could play them all. Well, technically, you don't have to pay them all. This is another thing about jazz is all very open to your own interpretation, so you can kind of pick and choose with this in mind what you'll find is that when reading a lead shoot a lot of the time, the Carter written just 1/7 book. Because jazz is all about putting your own spin on things on being free, you can add whatever card extension you want. So if it just said, See major seven, you could play extensions up to the 13 if you want it. So that's the basics for Hide 9th 11th and 13th card extensions. In the next lecture, I'm going to show you some easy ways how you confined these card extensions. 65. 9 and 11 Chords in Open Position Sharpening the 11th: I'm now going to show you some simple ways to find these 9 11 calls these cartels showing you how in Oakland position because the note to spaced evenly on there aren't any inversions or anything involved. Also, I should mention that the majority of the time the 11th interval is sharpened when creating these cards because the natural 11th makes what we call and avoid. Not. I have mentioned this earlier in the cast when we're looking at pentatonic hand grips, but just to look at it again. If you play a C major, the left hand third interval Eisen E. And if you find the 11th interval, so 79 11. But there you will see that it's an F so plan. Together they make an extremely dissonant sound because they're right next week so that these easing the efs. So for this reason, the 11th eyes often sharpened and in the car symbol may even sometimes say sharpened. 11th in brackets on. Also, that kind of girls in line with the Lydian Scare Lee for remember from earlier when explaining the pentatonic hung grips the Lydian scale, I had a shop and fall in the C major scale. So that is up from the reason why the 11th interval is sharp and I'm not going to show you some simple tricks, which should make finding these ninth and 11 cards a bit easier. 66. How to Find Major 9 Chords: Theo. Easiest way to find major nine cards. It's a fine Don't make 1/7 card, then identify the second on Bring that up one active. So let's start up for the C major nine as an example, and then we'll do it some other ones. So to find the C major nine first step is to fund the C major seventh, find him a to try out, which was leaving a three than a two. Then I taught you to go from the root position up a full active and then down a seven ton that gives you the C major seven. Then identify the second so you go up one to which is a D, and then you go up a full octave away already finding the second if you're going in different keys and stuff. It might not always be a white now, so identify that Ugo up 27 tones, one to skipping out one. But that's the D for this one to go. What can do to make this easy to play on to make you see a handout? Butch together in the middle of the keyboard is to play the root note down on active in your left hand and then readjust your right. Hunt took over the rest of the left and would play the see down here. Let's do a couple more together, so let's say it, said D major nine. So you would take you d major Triad card. So play then skipped three playing Skip to then need to find the seven. She take the route. Go a productive down a semi time. So that's a D major seven. Then you to identify the second and bring that up by one active. So the second is one to go to seven terms e and then make that go a productive okay, and then you can readjust your hand if you need to take your place. You could play the left done down there. Let's try another one. Let's say it said B flat major nine. So you would finally be flat made to try out toe three. I need to to be flatcars. Then you find the seventh major seventh, so you find your route, which is the B flat. Go up adoptive and then down half a meter. So there is your B flat major thing. Nine. Identify the second. So you go want to got to 70 miles from the root, which is a C that goes a productive. There's a B flat major nine and again you can re just if you need toe left down, down and up to major. Nine. Let's do one mark. Let's try a bit more of a complicated one F sharp major. Nine So you'd find your F sharp major. So let's start a bit lower shop and then you leave three out. 123 Play up from the thing. Leave to one to that is your F sharp major triad car. Then you find the seven, so you go but one up to from the root, which is there on. Then you go down to Senator Made seven. Then you need to identify the second interval and bring that up adaptive. So you go up to 71 2 No g shop so that we owe. That is your F sharp major nine. And it can be just that. And that is what I find the easiest way to find your major nine calls 67. How To Find Major 11Th (Sharpened) Chords: before we dive into this lecture on 11 cards, I just want to clarify something. I spoke about it a couple of lectures ago about sharpening the 11th. So in just it's very common to sharpen the 11 card because of the sound it makes. If you don't, it's a bit too distant, So if you're reading from a lead sheet on it, said C Major, 11 adjust player would quite often sharpen the 11 automatically. But if we take 11 card at face value and take you able adjust, musician would do. And what it's common practice to find an 11 card you stuck a minor third on top of the ninth are another way to think about it is you. Add the 11th note off the scales, or C major 123456789 10 11 like that. But in jazz, often they would sharpen the 11. Sometimes it might be in brackets and telling to sharpen it. Sometimes that might do it automatically. In the lecture you about to watch. We're going to assume that you'll be sharpening the 11 every time. But if you search from the Internet for C major 11. It will come up like this because it's not in the dad's context. I just show you one more, and that's a major 11 but at face value without the sharpening 11 scenario. So you take the F major nine and then you could either, just out of minus 30. Top. Add on the 11th note of the F major scale. 123456789 10 11. You know that's that sound. That's what the F Major 11 is technically in. Just shopping okay on to 11 cards in the context of jazz on assuming we're sharpening the 11th interval, I think the easiest way to find 11 cars is to add an upper structure. Try out on top. That means adding either a major or minor triad card on top. I'll show you using the C major car to start off with. So here's the process. If you're looking for a C major 11 the first thing is to find the sea made to try out in the left hand So the major tried was playing and then leave three play leave, too. So that's the first part. The next part to play the C minor. Try it in the right hand of productive. Okay, so that's a C minor play. Leave to play. Leave three Theune, you need to move your right hand card all down by one tomato. So all those notes go down by one to the sea, to the B, the flat to the day on the G to the shops that are moved down onto the left by one master That is a C major 11 card. And just to go back to the upper structure, try it. Now you can see why it's called them a power structure. Try it because the upper part of the cars that's got a tryout and minor tried and that's actually a B minor called on top. And I am aware that both of your hands are in the middle of the piano there. So if we didn't want Teoh have both hands, their lower notes, he set the sea on maybe the e as well, and move that knocked it down and then you could put your thumb there on you know, you could either move some of the other notes around as well. S O f shop could go there, for instance. But that's a jumble, and jugglers notes around are probably better ways to invert the notes around if you want it by moving them down and active. But that's up to you. Let's go through. Some are examples together, Let's say it said a major 11. So the first thing need to do is find a made to try it card with the left hand, so that's a 3 to 2 to play. Leave three. Go on leave to get you to that Now then you need to play the A minor card in your right hand. Then move each of those notes down to the left by 1/2 step. I want to meet Tom so that they got a flood. See? Goes big on the A. Go to the E flat on. That's the A major 11. Let's do another one. Let's say it said F major 11. So you found the F made to try it in your left hand. Find the F minor in your right on. Then you move your right hand car to the left by once every term south um, on the Afghans, the G sharp goes the gene that this. C B. Again. You can move the left hand around if you need. Todo could read. Just the fingers do that. It's a bit of a stretch to that. Sometimes people like to take the fifth route because that isn't always needed in a lot of cars, but it doesn't affect the sound of the card that much. So it's up to you. I just want to show you how to find these cards. Then he can mix them around as you want. Okay, let's do one more. Let's do E flat. Major 11. So you found the E flat major card in your left hand. Thank you. Find if that minor right hunt and then you move your right hand to the left by one some. It'll sell thumb on a flat Dean F shop for that G flat to the F. And then it was on the flat So that girls to the O. E. Flat major 11. And again, you can move those not around. As you wish. There is different ways to find this card, So technically, if you wanted to find the major nine, you could actually go through the process of finding the major 11 card and just take the top, not off if you find that way easier. But it is up to you you can use which ever process you find is the easiest. 68. How to Find Minor 9 Chords: to find a minor ninth card you go through. The same process is the major, except you start off with the minus. Haven't caught instead. So again, let's use the C minor nine as an example to start off with. So first of all, find the C minus seven. So the C minor trying. First of all, then the seven so Ugo, but one up to from the root position and down a full step off to half steps. Theun identify the second interval, which is a day move that up by one. Upped if and just to go over the second interval it Ugo, but by 27 tons from the root position want to. So it's keeping one out. Okay, that's the ninth. You may notice that the ninth interval is the same. It's the major nine cart. So the major nine was that minor. Nine. The ninth interval should be the same. It's the third and the seventh intervals that change So major nine. Then my nine and again you can read your stats, see who play the left done down. There are any of the variation you want. Let's do some are let's say it, said G minor. Nine. So, first of all, you find the minor card in left hand, and then you find a seven so rude. Position down a full term to seven tells and on, then identify the second. So that's their 12 on. Then move the productive. It's that is the G minor nine card Just around. That sounds nice. Let's do another on with any of the two composite in try and figure out before I've shown you it. If you want to do so, you can get some practice. Let's do E minor nine to find the e minor tryout in your left hand, and then you can find the seven so root position productive down a fault, then find these second. Okay, so the second here. So remember Ugo up to semi terms, so it's not a white one. Here is a black one here on the F sharp because you're missing out. So that's the second that needs to go a productive. Okay, that's the e minor nine card. Let's do one more, Let's say, said C sharp minor, 90 K So find the C sharp minor. So remember the minor tried it. A two or three. So there's no 12123 and then you go from them, then find a seven so reposition upon active, then down a term what to 17 to have steps, whichever where you want to say it thin. Identify the second. So this is another one, which is not a nice, easy white key. You get off one to Senator Charles E O D Sharp. Productive shot, minor. Nine. So with that process, you should be able to find any minor nine card you want. 69. How to Find Minor 11 Chords: to find minor 11 cards, you can again at an upper structure, triad on top as an easier way to find the extensions. The difference here is that you add a major car tried on top rather than the minor, and then move it down by a full a step or two semi tones. So there is a bit of a pattern here, which should make easy to remember. So if you are looking for a major 11 at the minor triad card on top and move it down by 1/2 step or semi turn. If you are looking for a minor 11 at the major card, try out on top on the move it down by a full step or two semi tones, so it's kind of like the opposite. If it's a major, you're adding a minor on top and if it's a minor, adding a major on top. But then you just need to remember how many cemetery to move it down by. So again, let's use the C as an example, so defined a C minus 11 found the sea mind. Try out with the left hand, then play the major. Try it up on active in your right hand that B C major here, then move that down by one full step are two semi terms. So the C goes to the B flat. Three e goes to the D, and the G goes to Theo F. That is a C minor 11 card. Who's going to see there? You've got a C minor and they've got B flat major on top, which is the upper struck to try out. And again, you can move those notes around if you want. Just do that for the moment. C minor. 11. Try it. So let's just say it said B minus 11. So you find the B minor the left hand saw that's a 2 to 3. Remember, Uh uh, on Then you find the be major in your right hand, so that's a 3 to 2. So and then you move your right hand card all down by one full steps. All of them go down. So be girls to the A three D shop. Goes to the Seasia on the F sharp goes to the and that is a B minor 11 card. Let's do a couple of our let's say it, said G minor 11. So you find the G minor card in your left hand. But then you find the major and you're right. And then you move that down by a full step so they all just good up to the next white. Now in that kiss. So that's the G minus 11. Card yourself. Nice on. We'll do one more. Let's do a D minor 11. Okay, so, d minor 11 you find the d minor in your left hand from the D major. And you're right. And then he moved them all down by full step. Two semi tones. So the GI goes to see shop goes to the O. T. That is D minor 11 caught. So that process you should be able to find any minor 11 call that you want. 70. How to Find 9th Chords: Finally, let's take a look at some nine cards you can find these the same way is the major and minor ninth cards by finally seventh, then identifying the second interval on moving up a full octave. So if we use the C nine as an example, which is just fishing as a C nine, you will see again that the ninth extension is the same as the deeper farm. So you have to see major nine c mine and nine on the sea. Nine. Let's go through the process just to be clear. So first of all, find that seven. So this one was made to try and then go up a full up, tive down full term of two semi tones, then identify the second interval on moving up full up Tips of the dean goes up to that, and they have C nine called Let's Do some More Examples. Let's say it's at G nine. So founded G made to try out. Find the seven So you cheat your full active down full term of two semi tells. Then you identify the second so they're a before they go, there's Yeah, G nine, let's say, said E nine c Find the made to try out 32 Skipped out there. Theune you find a seven so up a full update from the root down a full and then you let in by the second. So this is one too. So that is now a sharp fall active. We'll do one more together. Let's do a Dina So found the D major tryout, then find a seven so position but before found full step and then found the nine by finding the second so and second most productive. So he goes up to there that is a D nine cart. 71. How to Find 11th Chords: find 11 cards. You can again use the upper extension to find the open card voicings, but where it differs is the term RT of the card is in major or minor. That you add on top doesn't change, so it stays the same. So if you want to find the seed 11 card written C 11 here is the process. Play the scene made to try it in your left hand, then declare seem made to try it in your right hand as well. So it's not the opposite like before is the same. So you play see Major, try it on your right hand but one operative, and then you move them all down to the left by one full step or 27 terms. So the see you would go to a B flat me to the day G to the F A C 11 court. Let's do another one so said alone. So you find you Major tried on the Neff in your left hand. We found it in your hand, but one active, and then I'll move down by one full step up to half steps. So that goes the E flat mate to the Jeezy to the B flat 11 on again. He could just these around so you can play them. Knocked it down there. That's with all the notes still in there. 11. Let's do another one, let's say, said E flat 11. So you find the E flat in your left. Answer. Try it there on the flat in your right as well. And then the old moved down to the left by one full toe so that E flat goes to senators. The Left D flat, mossy shop on the G girls to the left Beef E flat 11 cart. And let's do one more, Let's say, said G 11. So you find a gene major, find a captive in your right hand, and then they all go down to the left by one full step so G to the F B to the O. 11. And again, you can move those notes around. As you wish. Secret cannot take the be there if you want to just do an active there in the left hand. You could take the be there if you wanted, so you have to read just your hands and again hinted that fifth out. If you want, It's up to you with all the nose ticket. So again, without process, you can find any 11 card that you like. 72. Altered Chords: I'm now going to show you a way that you can add some spice our attention to these cards we have just been looking at. An altered card is one where either fifth are the ninth Interval is raised or lowered, and then you carry on building your extensions from that altered voice. Other person just flattening or raising one interval and then not letting it affect the rest of your extensions. I'm going to show you unaltered dominant card using a raised or sharpened fifth, so that may sound quite complicated, but it's actually not that difficult to find. So if you're looking at a Dublin seven card, let's use the G seven that we've been using previously. So you could add Salah Malek sent into this like we did in previous lecture by finding the made to try it on the left and on the same in your right, a productive on the move them all down one full step. So that's all the extensions that look to the 11 extension. But if you wanted to create an altered cards instead are, for example, if you have reading a card simple that say's G seven Ault, you can find about doing this? Find the major try. Did you left hand, then sharp in the fifth interval, which in this case is a D. So go to a D. Shahm then found in May to try it from that key. So that's an E flat, plain, e flat major. Try a card from that point and again, if you don't know the made to try, it could use a 3 to 2 trick so that you simply and in that comment, making sure admitting on original D so that D shark takes off the floor. And so that is the G altered dominant card there, and sometimes what people do. If you still wanted to add the seven into that car, the G seven, you could play the seven, which was an F underneath that take the radio G all too dominant. Let's find some are these altered hearts so you could do a D. Alton. So find the D made to try out in fifth, gear up the summits up, then find the mayor to try it from that B flat. Yeah, on again, if you still wanted at this seven from the seven cart, which is a C. I guess you could make it go down underneath. You take that out there because you're thinking that let's do another. Let's say you wanted to find a altered seven card, so you find the A made to try it, then the shop in the fifth. So it goes up a seven toe. Then you find you may to try it from the F, and that is the card again. You could sell up the seven there, so the seven is a productive bastard. She they could play that gi Denise. You could take up the A there, there. So that is the a lot of dominant card. Let's do one more together found the sea made to try it sharp in the fifth. Good, too achy sha thing you find in May to try it from there. So were 3 to 2. So play leave three. Play, leave Teoh and then you can find the seven still, if you want to in there. So the sea, which is but productive to be flat, so complaint underneath again. You got to see that you could take out that it's a really cool way to add some extra attention. Teoh seven cars sound. It may seem a little bit complicated and that it's a bit of a process to get there, but I think it sounds really cool once you do get there. 73. Minor II V I Progression Using Chord Extensions: Now we're going to put some of those card extensions into practice and learn a minor to 51 car progression. Earlier in the costs, we were using the 251 cop aggression with the one card A C major because it was in the kids . See, Major in this, we're going to change up by using a C minor card instead. So here the car progression, this is what it sounds like. 1234 Sounds cool, doesn't it? Got that lovely Jean Old seven Dominant seven. So let's work through it. So you've got the d minor seven to start off with, but you're not, as it say's flattened Fifth. See, you might come across this one reading card symbols not purely means that you fluff in the fifth interval. And they also said earlier that often you might see a D minus seven, but you can add as many extensions as you want on top. So we're gonna go all the way to the 11. So if you remember the where to find the 11 is we find the d minor, try it in your left hand. Then you found the d major, Then you write d major there and then it moved that all down a step to the left, Full towed. Okay, that's a D minor 11. But then, if you want to add the flattened fifth, the fifth interval, 50 just need to be flattered. So go down to the left by one senator. That's the first cart d minor 11 then flattened fifth. The next card is this g dominant altered. So let's find that. So you find the G made to try and then you go to the fifth thing. You sharpen it so that d turned into a shop or any flat, and then you find the mere to try it. On top of that seaplanes get three skip to be Oh, that C E flat card on top of their and example of shoulder. I was just doing the thing where you add the seven in there as well. So the seven is the G, but productive down. You could play there, but why? I did what? I played it a lot. Tip down there on again. I took out the G because the cheese get played their hunt bean. So that's a seven card. So you've got the D minor seven with a flattened fifth, but we added the extensions on top. So you had this. The dean may flat seen DJ practice of that. Just do 531135 on. Then G seven altered. So that's the altered dominant. You're doing it with the A that with the being which the seven on the third and then with the card on top to find the altered. So have a practice of that card as well. And finally see you mind or 11. So if you remember how to find the minor 11 you go to the minor car. Then we should see mining. Then you go to the major cuts the opposite your right hand to the C major on. That goes down a full title to seven tones. So all of them so see to be flat A to the D. G to the that's called that. Sometimes people take out the fifth interval there because it doesn't affect the sound of the car too much as most called fifth. So they go, so you would do it is a flattened fifth, but it's not so. So you've got a car progression you've got here on, then you've got the G seven altered way C minus 11. Nice play twice. So take some time getting used to the three different cars. And then all I need to do is play it with a beat. So in the example I showed you that was just counting far beats per bar. But on the second card that G seven Ault the altered card, I was coming in using what's called a push beat. So I was coming in just ahead off the second bar at the end of the first. So I was coming in on the on and after the fall in the first bar and I was stopping at the card. I was doing this staccato. I think it sounds quite cool. Imagine the drummer in the bass player may be dropping out while she's playing You going? 123 free Far. 123 And on just then I was doing a push. Be on the last Barratt Well, so it's coming in on the end after the fall of the third box so I wouldn't count you through this. You can hear what's going on. 123412 free far on 123 and four and 23 and 4123 and four on 12 and three, and four 12 34 on Teoh. Every fall on, I should mention as well what you can do to make it easier to find the cars in time. It used the sustain pedal. So what I was doing then I played the D minor with a fun fifth there and that it pushed the little down, threw it away. They're far. You release your fingers on, find the next card while to count so that you don't all of a sudden have to find this difficult card in a split second. You got time. Watch this. Bush allowed 234 to 3, and then you get in position ahead of the beat for the next card. 1234 to 3. You can do it here again, pushes his day and pedal out ahead of the beat. Find the card. They can play it two on three unfold 23 and 4 to 3 on three Fun and so so practice that at your own time, have a go at using the sustain pedal on. Do you think it sounds really cool? It And it just gives you a chance to apply some of those extended carts. I'm Hopefully you're here to get actually complaint nice and fast. 1234 74. Rootless Chord Voicings: Let's now take a look at rudeness. Collar voicings. These give you the opportunity to play cars that don't sound quiet is obvious, as well as giving you the chance to be able to play 1/9 card extension with just one hand so you can accompany yourself and solo on top like this. So let's use the D minor voicing as an example. First of all, let's find the demand of nine Court. So start off with the D minor Triad called Theun to find the seven go to the root go up adoptive. She's the deal there. They're down a full step. Well, to half steps. This is to that thing, Then, to find the nine. Remember, you go up to the second degree of the scale on that used to go up to seven tons, which takes it to a thing that goes a productive Yeah, so that's the D mine at nine. And then you could play the D in the left hand there. I could play all the way down there earlier, but we're creating a card to play with your left hand and this Texas A lot of the middle area. But piano where you will be wanting Teoh. So it can dio is you can invert the card, meaning this case you can take the top notes on, Move him down adaptive. So we'll invent the card in your right hand. First, you could just see that process, and then we'll put it out in your left hand as well. So the car, for the moment is this. So let's invert the card so to inverts that you're changing the art of the notes. So the A If you bring that down and active, you can go to their so they is going to be Oh, I just need to adjust the handover. Same card. We've inverted it way could do the same again to take the sea on. Bring that down and active as well as the sea. Go to that is that the same carpet has changed the art of the notes. So then what? You can dio You can just move those notes into left hand. Centeno's. But down in the car there. But you may be asking Wait, where's the d? It's still in F major seven called Well, now what you can do to make this ruthless card work is you can solo of the top using scales in D You already know some scales. Indeed, As you've already learned, the pentatonic hung grips would start on day. Okay, so it moves the card into the left hand. Now that is still a D minus nine card. But it's rudeness just now the diggin. But if your soul living with scales in day makes it sound So what I want you to do now is to just take a moment to make sure you understand the process that I just went through off fine of the D minor nine on, then the process off, inverting it. So I was taking the d out. Remember, we're gonna be soloing in d, inverting it so that e done adoptive, See down up Teoh, keeping the notes on moving them down into left hand. So make sure you can memorize that card in your left hand as well, because we will be using in the left hand as you'll get to put it into practice by learning that smooth jazz car progression hours using in that lecture on Also, you'll have a got some soloing on top as well, using a couple of scales 75. Smooth Jazz 2 Chord Jazz Progression for soloing using Rootless Dm9: So that example assured you in the previous lecture, there were two cards in the left, and there was this one that was the D minor. Rooth. We're going to take a look at that car progression now so you can have a go at doing some Solomon on top. So often there is have thrown in a leading note the Father Ruthless demon and nine card to create a bit of variety. And I do talk about this in another part of the cast on just to go over it and lead enough his way. Play a note half a step apart down before the next Miller top card. You're going to play. So in this case, the card is D. Even though there isn't a dean, it's a demon and nine. So the card is D. So leading that could either be a C sharp with designer. A C Sharp D flat is the same thing or a DIY shop, so it's just a SIM. It'll apart down. Let's just say the car was g. The leading that would be a semi tone down our A cemetery up. So you're going from leading up to the card leading on cardio way. That's what the leading notice So in this case, wouldn't have a C. Sharman the leading note on Then you can add a trite on interval to create a funky sounding cart. I think it sounds cool. And if you remember from earlier in the cars, a tri tone is an interval of six semi terms, otherwise known as a flattened fifth. So if you go up 6/2 steps off seven times from a C sharp, you too ready? 123456 They'll take you to a G shop way are going to take another look at try, turn sharply. But just for the moment, remember this one. Try tarred interval a seizure with cheese on top and you could write this card as a C sharp flattened fifth. So the card simple could look like this. So that's the card. So have a god that now family, You play it with your father finger on the sea, shop on your thumb on the gee. Okay, that's the cause. And then the next card was the D minor. Ruthless nine on your planet. There s if you play your thumb, your second finger on the F 13 the on then you're five off the sea there, then only to do to find this see shot from fifth card is your fourth is almost there already. If you put your hand up into the piano far from the sea shot, they just drop your thumb down and then most the notes are recovered. Just get used to that car chance with the left hand A few times to you Nice and comfortable . Then what you got that we'll have a look at the rhythm. So here's the rhythm it's gonna be swore them again. So one and two and three on Fart on. Long shot, Long shot, Long shot, Long, sharp. Okay, so all you're doing is playing the sea shop flattened fifth, the traitor on the third and then the G man and nine on the end. Then you hold that demand a nine for the full bar So you don't play anything else in the next bar and in a religious alternates. So I come through it now nice and slow the first time. Let this 12312 free Fun. That's one section and then just repeat that keeps on going. I go through a few times. 12 and three, three of four on one on two and three on 123 Far on world On 2312341231323 Eso practice this until you have full control over it, starting off slowly as usual. Then in the next lecture, I'm going to teach you a new scale that you can use to solo on top along with your other pentatonic hand grips. 76. Adding a Melodic Minor Scale into the Mix: I'm now going to teach you about melodic minor scales is that very common injures, and you also get a chance to use one in the smooth to cult progression that you've been working on so how to build them? The melodic minor scale is the natural minor scale, with a sharpened sixth on seventh interval. If you have learned Melody scales previously in classical training the sixth and seventh Resolve on the way down. But in jazz, they stay sharpened. So here is the formula to find any melodic scale. So it's starting, not Tom. Semi tone, tone, tone tone, Subito. And just remember, in some parts of the world, depending on way off from a semi tone is 1/2 step on the tone is a full step. So if you apply that putting staffing on D, you'll get the D melodic minor scale. So you're starting No is a day and then you go up a full term, which is 1 to 7 tons. Then it says seven Tom, so we'll do some return, which is just the smallest distance and then tow. We're gonna go on a date with at some here. I think another term Theun another time, which is to a C sharp and then let me tell Smallest distance. So that is a D militant minus scale. So you could apply that person to any key on the piano and find them a lot of scale. For example, if you applied it to see and that would give you the sea melodic minor scale. So let's do it now. So it's starting up, which is C thing then Ugo full time so that be to a dean, then suddenly turn. So would be to knee Flower. Then it'll again go. But underneath was your son. That's a full talks in the f another tone g another full term. A another false be on, then something. So that's the C. Miller. We'll do what? Maher, Let's do it in G. So you do the same thing. Starting, not Gene. It's term Senator Tom shall take to see Tom Tone turn some return. So that's the G melodic minor. So if you want to find any melodic minor scale, we can use that pattern. But for the moment, I want you to practice the D melodic minor scale. Make sure you stick to this fingering 123123 Practice one up to first of all, then what to get you to do and one active. You can practice with two active, so you do exactly the same Fingering. 123123 Far. Then, when you get to the D, does that put you five down? Because that kind of finishes it off? You have to go back down. So yet after come underneath, if you want onto the d, they want to get to that. D There you do exactly the same finger in 123 underneath. 1234 and then you can go five on top. And then you come down with exactly the same finger in its the way up. 54321 You were not a finger. Siegel of the top With you three, there's only three note to the D. That's what up to all the way down. 543213 to 1. And then you go over the top with your fourth finger. 3213 to 1. That's the fingering for two actives. Been to three when the Knicks, with some 123123 Far 543213 to 1, 32132 So now I want you to practice the fingering there for the D minor melodic scale. Just so you comfortable with it, then it'll make it easier to be able to use it in a solar. 77. Smooth Chord Progression with D Melodic and Pentatonic Scales: Now let's bring this all together on play around with some improvisation on top of that left hand, ruthless car progression you've just learned along with the D minor melodic scale on the d minor pentatonic that you already know. So when I was shortly the examples in the previous lectures I was actually only using two different scales. I was using the D minor melodic scale and also the d minor pentatonic. At the moment, you've been merely focusing on the handgrip without pentatonic. When I was playing it just before, I was just changing the finger and slightly just another to go up higher than the fight notes, the same notes. But just so I could go up to the d above. So just have a quicker doing that pentatonic. But with this fingering 123 underneath with you 1123 you didn't actually do this thing greeted right near the start of the costs with the A minor pentatonic U N so just to the same Franklin. But with this dio not just a few times, just say get use win on then You're not in that Krishna, which turned into the blue scale Theo just got that 321 go to third on the a flat and then slide down. If you wanted to do the actual blue scare without the Krishna, you could get off the top with the far finger. Then you fairly g second on the F, then film on the D could do that. But when I was shown you it, I wasn't being quite aggressive on that traitor on that g sharp or a flat. I was sliding off. But that's up to you, so just haven't got doing them to see you start fingering. And then you consent to play around with their scales on top of those two left hand cards on what I would suggest for the moment is doing what's called a call and response. So left uncompleted cards and some of those notes in your right hand in the gap this and then left under the cards way, get on the road and do something else. I could do the video, then the left on its own against Colin response and on another thing, just to suggest when you doing it, you don't always have to go through all these notes. I think it sounds better if you break them up and you move around the third. See, that was off. Doping around. Bother going. That sounds a bit too. Like, you know, I'm doing a scale if you just use this, does nuts, but break them up way just going up and down there. I want to just purely just going up like that. But that's just a were just jump around in third. Remember, Third is really pretty much for the moment. You're missing out? A Why not. So do not be about three scale and jumped to the pentatonic blues way up here to do some of the notes in the pentatonic up here. And that's what we don't just have to stick to that bomb. 23123 With the pentatonic scale, you can't go back to the hungry. Oh, and a foul you as well, just for a moment. Just maybe trying to stick to the swimmer Them. That's what I was using. Just then Wait. Just do this wrong with them for the moment. That's just a suggestion, so you can try that left hand column response. If you want to start off, it's so playing your left on cards, I'm filling in the gaps with your right hand, but also just so you can get used to soloing on top without having to worry about the left under. Initially, in the next lecture, I'm going to play the left hand part for you, seek and just focus on playing around with this new melodic scale, as well as the new fingering in the D pentatonic. 78. Smooth Jazz Chord Progression Right Hand Solo Practise: So now I'm gonna play those two left on card sick and just focus on playing around with those two scales in your right hand. And when you go round and round the left hand car progression for a couple of minutes just Seacon sit on, play around. You don't always have to be playing. You can stop and think about where you're going to move next on, going to start off with a slower tempo first for a couple of minutes and then I'll do a faster one after. So here goes. Hit a slow one. 1233412 and three and four on two and three. - Uh uh huh. Okay. So hopefully helps, um, from there. But those two scales on now would do the same again, but I'm just gonna go a bit faster this pass. 123 Uh , okay. So hopefully you were able to play around with some scales on the faster rhythm as well. And obviously, you can keep on going back to that and keep on having a go improvising off the top of that left arm part. I was playing Andi. I hope you enjoyed that. And I'll see you in the next lecture. 79. Quartal Harmony Chord Voicings: so far in this cast, we've been using cards built up with third intervals. For example, a C major Fed D minus or in F, Major said. So these were all built up with thirds. Could you got 123? 123123 thirds. But now I'd like to take a look at quartile. Harmonies are otherwise known as fourth chord voicings, which is when you build up carts using a farce instead of thirds. They sell like this. You can hear that the sound of the card is maybe not as obvious. It was a novel with it. Maybe sounds a bit more open, perhaps just a bit different. A bit bit more interesting, maybe. And so this is used in more modern farms of jazz, as harmonies have developed over time. Here is how to build this kind of card. Let's just say there is a cart and bull that's a D minus seven. Using what you have learned so far, you would play the D minor card and then had 1/3 interval on top. I have taught you to find this by finding the minder. Try it called. First of all, which was leaving to and then leave a three and then find the seventh by going up a full up from the root. So the day of the day and they're down one full tone. A wonderful step. A big part of jazz is being able to add your own take on things, Whether it's improvising on the melody are playing around the chord voicings so you could take that D minus seven on Build it using quartile terms. In other words, fourths on To be precise, perfect fourths. Now, if you are in the key of C major, it's relatively easy to count up in perfect fourths because just count it for white kids s . So if you were doing D minus seven and we want to counter been fourths, you start from D, and on account it far on 234 If you count up far from the G 123 far longer to see on game. If you count up far from see, it takes you to the 1234 So if I play all those together, how does that sound? So you have taken the D minus seven cars. I built it using funds to turn it into something that sounds really cool. So you got the D minus seven as it was before, and then you put the sam card built using funds. But let's just say you were trying to find a card that isn't using the C diatonic notes on DSO Not to simplest counting up with the white Keys, for example, F minus seven. First of all, to build it using thirds, you find the minor card so we'll go down here, so leave a 2 to 3. So, Teoh, then you is out of minor third on top. So you got three senators 2123 Oh, go productive from the root position down a full step and then you get the same result. It's an e flat. So that's what that sounds like using thirds. If you want to use fourth device it. The easiest way to find these perfect paths is to count up five semi terms well, half steps. So using that, counting up five semi tones from F, we'll take you to a remember not to include the starting art in the counting, so move up. Five. Some returned to find the perfect path. Let's build the best of the cards. We have an F on, then 12345 B flat moving up. 12345 e flat on, then another five. So there's the F minus seven but built using quartile terms. You could do it again with, let's say, G seven. So the starts awful itchy on, then remove up 57 turns to move it. 57 turns again. 12345 On what? Smart 2345 On that is the G seven built with quartile fans. What you will find, though, is that a lot of just plays my add a major third on top of this, which makes it sound really great out of major. Seldom top. You just need to give up far semi terms, about half steps. So let's have ago using the demon in a seven. So you start told day and then to move up by perfect fast. You get five senators I want to five G and then again want to five to see on, then want to free far five to the F. Then you add tomato seller top seed up by far so 123 Maybe put that down here. Nice point. Something out to you if we take a look at the car that has now been created in the top of the right hand, if we move the bottom but by one active. So if we inverted, it will take you to an F major card s. So you're actually playing the F major second inversion in your right hand because look, reposition for inversion. So let's have a look at another card. So the minus seven it would not may sound like this using first, let's go through the process to find it using fourths, Start off with the then you move up 57 tones to find the perfect fourth starts off with a and then move up a perfect path, which is five. Senate earns. 12345 Case have gotten a 12345 d 2345 g. Then you're not the major offered on top, which is be you move up. 1234 Senators, That's the A minus seven with So let's do one more. We're going to go back to the F minus seven just so you can never go. Adding that third on top se starts off with the F on, Then you move it. 512345 b flat what? Five e flat? Then 12345 a flat on, then 1234 to find. So that's how to build cards using quartile weightings. I keep on saying, I think the best way to learn is to apply our new knowledge on. So in the next lecture, we're going to take a look at the main riff from the very famous just song. So what by Miles Davis on May have actually already being learning the cards in this lecture? Because Bill Evans is using quartile voicings in the main piano riff See you in the next lecture. 80. Quartal Tones So What by Miles Davis Part 1: In the previous lecture, we used e minus seven, built using quartile harmonies as an example. This is actually the first card of the main riff from So What? By Miles Davis. I took it out so that car there, any minus seven built using quartile harmonies, now play that with the double bass line so I can hear what it sounds like. Sounds cool, doesn't it? That's what you're going to learn. Now Let's go over this cart again. The E minus seven built using quartile Far Earth's so planea. Then move five semi turns five today, then fight again. 12345 de, then five again 35 Theun to find the major third Ugo up far too mid terms. So 123 So there's R E minus seven card Using fourths would advise using the fingering 135 in your right hunt. And maybe you could just do five to the left or 51 Which of you feel comfortable on the new ? The card, for the moment, is the D minus seven. So let's find that you've got the D and then you move up 5 to 5. Sergey, then fight. Begin Well, 2345 c Then we get 12345 on then to at the major, third on top. You're by far one. No way. That's the first part of the main with those two cars. You know the song? Well, you may have realized that I've missed out the intra where Just go to folks on this so I can get my point across. So the first part, just just a bit more complicated. This'll part is perfect for what we're learning now. Looking at those two cards, you may have noticed that to change from the E minus seven with 1/4 paths, all you need to do is move all of the keys down to the left by one full step. Oh, just to the left toe. Next white keys. So that's you could either keep the same hand position and lock this off Hatton ship and moved down your 135 and you're right on. Then want t o 135 Want far left under Candace, Move down. But you may find it easier just to keep the hardship. There depends on what is most comfortable for you. Practice moving between these two cards until you feel comfortable again. It doesn't matter if you can't read the music as I'm going to talk you through it all and have also written the individual notes out above on below. So let's have a look at the timing. First of all, this cycle has far beats per bar. On the half. Beats are all using that swollen rhythm that we're using earlier in the cars. So the way to counter full by here with the swim with them would be 112 and three and far and one and two or three and fart. And with that in mind, the first bar, you're going to leave empty because the double bass is playing there, and eventually I'm gonna teach you that on the panel. Then your E mine. 1/4 card comes in on the third beat on the E minor on the end after the fall. So you going one on two and three and three, so it's actually the same timing. That's the smooth to card. Just provisional taught you earlier with the ruthless car voicing that was your in 123 This'd exactly the same time because you're playing on the three into the and after the far , and then you're leaving a full bar empty and then it starts again. So just to go over again, that timing alternates between an empty bar. And then those two cards played on the third beat. And in the end, after the far and altogether, there is 16 bars. So you're playing the car Griff eight times altogether, so I'm gonna play it through fear now with the counting. 123 Far. 123123123123 Far what? 232 and three and thought I want to. Three, two and three. I thought on what anti of three to three. I thought I want to 3 to 3 of thought I want to 3 to 34 on what to And they go. So how practice with that Now, counting out loud if you need toe, then in the next lecture, you're going to get to have a go at playing along with me. I'm going to play the double baseline riff in between so you could have a good play along with that. So get control of those two cards with the timing, and then in the next section, we're gonna have a got together 81. So What Part 1 Practise Play Along: have a go planers cards along with that baseline. So just so you know where to put it, I'm going to be started. 1231 and two on. Then you come in here Three man far on. Well and then I continue. Well, 23123 We'll see are coming in in those gaps. I'll play the last part as well. One Teoh 3123123412 and three. So as long as you come in on the three and then the end after the far you'll be in the right position. So I'm gonna count up loud to see you know where you are and just be ready to play on the alternate bass. We'll start off with a slow one. And remember your play your cards eight times altogether. Let's go for it. One Teoh and three and four on one on Teoh three and three and fall on Wall Teoh 3123 On far on. 123 and fun on Boom 23 and far on one and 23 and four on one 33 and fall on one. Teoh fund three on thought on 1234 to 3 on far. So have I got that as many towns as you need, toe making sure you're keeping in time. And then we're gonna have another good now and then. After that, we'll do one without me counting so you can try and keep time all by itself. Let's go bit faster with the counting one, Teoh and three and thought on what? Three and thought on what? 33 3234 on. 12312313 23 and four, three and four and one and two and three and 412 and three and fought that. That's it. Hopefully, you were able to keep up there, and now we'll do It wants smart, but without me tempting out loud. - Great . I hope you enjoyed that in the next lecture. We're going to learn the other part of the car progression where the two cards have been doing. Move up to the F minus seven than the E flat minor seven 82. So What Quartal Tones Part 2: Okay, so let's take a look at the second part of that main planner. If so, the two cars here. And if you play along with that base melody way, so that's what you're gonna be doing. Now let's take a look at those two cars. Then the 1st 1 is the F minus seven bill using fourths. You've actually done the F minus seven the far because I use it as another example. But let's go through the process to find these quartile writings again just so you can get used to it. So start off with the F and they need to find the fast. So you go by five Senator So 12345 which is a B flat. And then we did it. Same again, sir. 12345 e flat Again for a For So there's a farce. Then we just need to add the major third on top on to find the major Third you bite Fasten It turns three way. Today is the first car with s minus seven but with the building instead way left and then you could do 52 fingered If you want an anthem the flat thers on the A flat and five minutes See again that is a a flat card inverted. The second version just memorized as it iss on then other card is an e flat minor seven. So this could be quite complicated. But again, if you use the process, have been teaching, you should make it a lot easier. So e flat to start off with on gonna build it up. Using maths case you've got 12345 to the fat Then 12345 t to D flat on then once mark 12345 g flat So far black keys on. Then you need to add the major third on top. How many semi tones False emitters to find that. So 23 So all of them. Five and three or 52 on then D flat some on, then. Depends on if you want to dio 13 5/3 the G flat and flat B flat. They could do one too far. I was doing that one too far because I'm going from there. So that's the car that that's the meeting. Causal solves. So practice these cars until you feel really comfortable just to go through them together. You've got the F me flat E flat C on then again, all moving down by a full time. If you look at the relationship between them, that's got to be found D flat from chief. See? So just take some time getting to know these two calls. Just practice them. You can go with the right first on your left on if you need, so I can do all the same time. Which to state your time. Make sure check your playing all the right keys on what's a comfortable with them. We just need to apply the same rhythm on this part. Place through eight bars. So you playing the car? Brief far times. So here's what you gonna be doing here. Ready one and two and three of thought. One on two by 32 and three. Far on one and two on 32 Hey far. 1231234123 And that's it. So that's the other part. So it's actually half the amount of cars there, isn't it? They're just playing through those car changes far times rather than eight. Practice that goes slower you need to go to start off with. And then in the next lecture, we're gonna do the same thing. I want to play the left hand bears part, and you can play the cards along with me. 83. So What Part 2 Practise Play Along: So let's give that a go. I want to play the bass melody and you're gonna play those two cars with the time in on the three on the end of the far. So just show you what it's like together like you did before. So I'm going to be playing 123123 That's where you committed on the three in the end. One Teoh three on 12 and three. Next form what went on three on 12 and 3123 and four and two on three, three and 23 So as long as I'm leaving the first bar empty and then on the second bar you're playing on the three and then the patent after far, you should be fine. So I'm gonna play it now and we'll go slow for this 1st 1 ready one on GTO free and on one and two and three and thought on 13 on 12 and three and far on one end, three and two and three and far on one and 33 on far. And so hopefully you were able to play in those gaps there in time and then we'll do another one now, but just a little bit faster. 123123 And thought and won t 03 on 12 and three and far on one. Teoh, every on. 123123 and four. Okay, and then we'll fight one. Smart. Remember, you can go through that as many times as you want until you feel like you're getting in time on Now. We're gonna do it once. Smart, but I'm not gonna count. Let's give it a go. Well, hopefully you were able to play in time. That and in the next lecture, we're going to put parts one and two together. 84. So What Part 1 and 2 Practise Play Along: Now let's try putting those two parts together. So you're starting off with the E minus seven, but with Far Earth's on the Demon Ihsan with paths and do that eight times through. And then you're moving up to the F minus seven with the E flat, minor seven. So there together. And then that play through just far times. So we just put those two parts together at the moment, So sure what it sounds like. One and two and three have thought on 123123 Thought I want to On 31231231234123 I thought one on too. 234123023 But 2 to 3 thought what onto on 31231 and two and 3 to 3. Thought one and two and three, 23412 and 3 to 3. Thought I want to go back down to the oh, the one after, but we're just with these 1st 2 packs in the moment, Okay? So you can have a practice it doing that, making sure you get in the amount of times correct. And then I'm just gonna give you a chance to have a girl but playing with me again. So let's give it a girl. I'm gonna play the baseline, Melody, and you're gonna play the carbs. Let's begin. Well, 33 on thought on 1333312312 three and four On one, 33 and far 13 And thought on 133 and thought 123123 and four on one, 3123 And thought at 1233 and thought, I want three and want Teoh three and four And that's where we've got to. And then what it does is it goes back to the first carts. The e minor seven in the D minus seven. Farmer goes eight. Battle altogether for more of these s. So just be prepared for that. It's gonna go back down to the first part. But just for Farmar times or eight bars altogether, remember, there's an empty bar and then about your plane. So it's eight altogether. So let's give our ago. I'm going to clear the baseline, melody, and you're gonna play the cards. Get yourself ready. Let's go. 123123 and thought on 1233 and far on 13 and on three and four on one and two and three from three, 331 four on 13 and four and one and 23434341 3123 and four at 123123 and four. On what? 331 on three and four at 133333 and four. And hopefully you were able to keep up there. And remember, you can try that as many times as you want, And if you are struggling to keep up, feel free to continue with the class on, you can come back to it when those cart of sunk in a bit more. 85. So What Left Hand Bass Melody Part 1 Em7 Dm7: I thought it might be cool to teach you that baseline melody that I was playing in between those comping cars. And so for those of you that are interested, I'm going to teach you it right now on its own. It sounds like this, and that is played food twice. So let's have a look at that. So is using this swim rhythm again and it starts on the d below middle C five of the day. I'm just second finger needs to go on the thumb, goes up to the baby And when your third finger middle finger music off the top balm to the sea then you relax your hand out give each finger a key on Then its second gotten the Dean thumb on the skip back down to the sea Step D Wade. So get used to those notes now and then with the timing, you know, pay on the one. But then you doing the swim with them from then onwards. So it's like this one and three and 12 Can you hold that deeper to beat if possible, One smart one, Teoh And okay. And then the next part is pretty much the same. Apart from there's an extra not involved at the end. So it starts off on the D again and ago, the third again seeing D means C. D. But then you go down to the A on that wall under the time it 11 Teoh free and swim with him on that one. And then the third part is the same with the first part. 123 So there's the 1st 3 parts than the fourth part There. It goes up to the E above middle C, and it got three East and thin. Good on the team. Jump it down. A timing. There is your playing for beat and 1/2 on the A See it not playing on the bond and then you pay for a beat and 1/2 on the end after the wall subtext. You 21 on two. And so you're playing on the and on your holding it with two on and then the and then the next e comes in on the three like this, one on two on three phone. So those other two easy just on the three in the far one on two and 34 and then you've got another 1.5 beat on the D, which takes you from the one and two and then the A is coming on the end after 212 So it's at this one and two and three and Fun and Teoh one and two and three on one Teoh. So it's nearly the same as that second part. But the length off the Dia's longer, it's not straight down. It's a bit longer, so that fourth part is going 12 and three from one Teoh So far section together there Go won t three Al far on 13 on one, 23 and four on one on 23 Farm 123 and far on, and that's repeated through twice to begin with. 86. So What Left Hand Bass Melody and Chords Together - Part 1: once you're comfortable playing that with the correct fingering, you can now try adding the card back in. Sounds really cool like this one. Teoh free from 112 on free form. Teoh free and free Teoh free on a free and far one on two and three of thumb on 1123 So that last bit might be a little bit difficult just because you've only got half of it to get there, one on Teoh on three and form at 123 So if you want, you can always tweak that. So it's the same miss the one above one can do on three and phone and two on three. That's actually what I was doing in the previous examples with that bear Start melody just to make a bit more simple, so you can do it as it is. A natural song, one and two and three and fun and one and 23 That's quite a quick change to the cards, so you can do it the other way, like the second part of the melody. 12 and three and fun 123 It's up to you. Depends on how close you wanted to be to the original and then that go through twice so you can try adding those cards back in remembering that you're called to coming in on the third beat off those alternating bars. So one and three and two on three on four and so on. So practice that mice and slower just so you can get used to different cards. It might be easy to get your right hands off nearby, ready just so stereo. Nearly there, really todo worry about left hand. That's what I would suggest. But it's up here was whichever way works best for you, so have a go at that and in the next lecture will learn the various land melody for the other part as well. 87. So What Bass Line Melody Part 2 Fm7 and Ebm7: way. Let's learn the baseline melody for the part. Here's what it sounds like, so that's what it sounds like on now. Let's take a closer look. So the first note Here's an E flat below middle C. See on to be putting your fifth finger on that andan. Your second finger goes up to the B flat that thin your thumb on the sea, and then you need to put 1/3 finger off the top onto the defense. Then you bring your hand back out second finger on the flat on a skip down to the D flat, and then you go back to the fact, so it's actually pretty much the same, but it just all moved up by a cemetery. What was that? And now it's all moved up, my senator, on the timing of the same as, well, it's without swore them one Teoh, and to and then the next part after that is the same pretty much again the last night disclosed down at the end. So it's the same five on the E flat look the beef O. C. For the top with the D flat, third finger, second finger on the knee flower. Some on the f go down to the D flat, booked the flat on. Then here goes down to be father with the timing one. Teoh three. So that's that part there want Teoh three and then the third part is the same as the first part, and the fourth part is the same with the second part. It's just the same thing repeated twice. Really. You've got what? 2334123 on 1 93 for 1 23 to 34123 three for one. So practice that until complete without any stops on mistakes, try and stick to the finger in the top. There it should make it easier, and then again, you can at the court will cause back in. 88. So What Left Hand Bass Melody and Chords Together Part 2: I think this one on 123 to three and four on 123 Teoh free on far on 12 free. So just remember that on the ultimate bars you come in one and two and three and far, just making sure the right in position. So practice that again. Go slowly at first, and then I congratulate Speed it up and then, in the next lecture will put it all together on how we'll have a look at Jazz Pharma's well . 89. Jazz Form and So What - All Together: Now it's time to put all of those packed together. So what you've done here is evil, er the head off. So what? So the head in jazz is also known as a chorus. That's much more of a common thing in other styles of music. But in jazz, it's called ahead, seem out of the head of the piece off the chorus on. Then they will go through to a solar part where they may have the same car progression. But then each instrument will take in turns and get to solar of that complication on. Then quite often it returns to the head or the chorus, the end of the piece as well. On the sole Ozcan go round and round and people Comtech turns and that kind of thing that the drums, my vessel of the sap to form the trumpet the guitar depends on the set up of the jazz band . So you here. So here you have learned the head and in the actual truck, it then does follow on to the solar parts. So to play one full head chorus, you to pay the minor and D minor part one you need to put all that twice through. Then he played a part to the one with the F minor on the floor on that girl's through once , and then it goes back to Pat one again. Just once through that is a full chorus, saw the full head and altogether adds up to 32 bars, which is a very common bar farmer in jazz. It's using what is called on a a B A farm. So these search two bars are divided into far eight bass sections. Tube A sections, and we were actually coming apart. One. But it's the same to a sections, sometimes the known as verses and then a B section, which we were calling Part two. So now call it be section, and that's sometimes called a bridge for a middle eight. And then you play another a section of the part one. So you've got far group today, and it all adds up to 32 bars. So this is exactly what's happening. So you got the first exception for that bars, which is the E minus seven on the D minus seven, and then you got the next a section which is the same again and then you've got the B section, which was the eight bars with the F minus seven and the E flat minor seven. And then you go back to the A section again for another eight bars. So this is what it should all sound like put together way . And then it goes into the soul apart in the trap. But that's way are going up to just that. So practice this are, they always say, starting off slowly, then gradually pick up the pace when you can play it without any mistakes or pauses between the different parts. I just remember when you're playing the eighth bar of the party. This bet. That's what it does in the song. But you can't change the rhythm if you want to make it easier, cause that's quite a hard jump. Other said. Well, 23123 So you can't change. It took the same as the Farber. 1234123 Do that one into the one. It just gives you a bit more time to get to the car, but that's if you're struggling. If you're not, you can just stick to what is written there so yeah, I hope you enjoy. That's our thing, is credit and also give you a chance to have a go at using these quartile far terms. 90. Pentatonic Hand Grips Creating Tension Using Tritones: if you want to out some cool sounds to your plane. Um, if it sounds like you're playing outside of the normal tones, you can use this trick to create tension off the dominant card. One playing the G seven, which is the dominant card in this case or it can do is move. Your pentatonic hung grips up by a trite on interval, which is six semi thons or a flattened fifth so the D hungry could move up. Try telling that she's 1234567 tons can move up to the A phoned on then the A, which was the 100 there, could move up six Senate onto the oh that and then the 100 move up. 123456 to the beef. Sit on a flat e flat on beef. These are the new markers for your trite on hand grips. Have you noticed that these are the same tryto notes that turned your pentatonic scales into blue scares before? If you're might be hot, the 100 here on the de told you about that, they they flat to turn into the scale of the blues thing, and then the 100 10 into the blue scale and then that 100 try term is the B flat to turn into blue scale is the same. So a flow E flat beef. So now we've got those starting positions. We need to figure out what the pentatonic scales are. From this point. I'll just show you what these new hand grips sound like of the top of a G card. First of all, you can hear the dominant card. I do want to be hung grips. It was nice of attention There another one with the hundreds. You can see it just again. It gives you another option to cut some nice tension with your player. So first we need to figure out what these new pentatonic scales are. So let's start with the eighth up. You can use the same pattern from early around to find this pentatonic scale. It's Rudner Minor Third Tom Tone minor third. So if you sit on the a flat through enough then man effort. So you're leaving to out 12 which takes it to I can go 37 turned its whichever way you want to think about it on then told, which is to half steps again the term to half steps on, then another minor third. So 123 a flat B D flat B flat. So get used to that. First hungry. What? Okay. And then you've got the e flat. So let's do the same thing again. So the the flat reposition than minor third. So 123 in terms of 2/2 steps town Another two, then three. So 123 c e flat, G flat A flat beef defense. So there's actually just all bluff. So hopefully that'll be easy to remember for you. You're not skipping any, but notice out just all about nuts. Got that one as well. Then finally, be flat. Pentatonic hungry, But he can do it where you want are going to go up here for the moment. So you've got room position minus 31 23 which is a D flat than a filter. So 12 another Fulton want to and then minor. 3rd 123 to go B C D flat B flat. So you've got the new a flat one. Do you want on the new beast? That one. So you can see patent e if you look which may help you remember them. The a flat one hungry stars in a flat that your second thing is on the y t on the remaining fingers. Just go to the next three. Bucky's The E Flat is all but case on in B flat. Black has your 1st 3 fingers on black keys and then you're far on the white key. But if fifth on the top of so get used to those new handgrip, first of all to go off them until you feel comfortable and then you can start to use them in your improvisation of the top of the G card in the to five on car progression. 91. The Tritone Hand Grips in Practise: so just give you a few examples. So far, we for the moment don't worry too much about the timing because it's now quite a lot of options with these hand grips to take your time. So you got the defecit ball that the two parts so you can use any of the hundreds so far. And then you've got your G one, remember? And still do the white walls. The's hung grips, but then you can t v news. Then it goes to see secretly avoid note, which was the day so you can choose thes. So just take your time, just play around, get usedto finding these hung grips, do arpeggios and skip some of the notes out. And then you just keep on playing around with these rhythms. Just take your time. Don't worry too much about time in a set, so I'm just kind of sitting there playing around, just trying to keep it nice and simple there, just so you can see that you have to go crazy playing really fast licks and stuff. Just take your time getting used to those new try terms. On top of that Dominic are, and they just give you more notes and march choice to play around with on then when? If you're marketable, you can go back into using these algorithms again if you want. 92. Adding a Root Note Underneath the Hand Grips: hopefully by now, you are becoming a lot more familiar with these different hand grips. Now I just want to give you another technique that you can use to act your improvising, and all it is is playing a root note underneath the other notes of 100. For example, if you take the D 100 you can at the D under the other notes, not all the time. But it's just a technique you can use. Just a little bit of variety. There's no all single knows. Uh, so I'm just showing you a little bit. Mother would normally here just standing some extra route notes and Denise. So whichever 100 be doing you at the reading underneath was a so that the A with the nuts are on just a technique you can use that you can slowly develop into your play. 93. Bringing it All Together with Walking Bass Line: previous lecture we looked at using the different hand grips on rhythmical techniques over the top of the 251 cards. Now it's time to have a go at doing all those different hand grips on and rhythmical techniques but over the top off the walking bass line. So this may feel a little bit harder to do this because you left damned is moving a lot more. So it will be a lot easier if you know all the different hung grips. Very well, if you're thinking about which notes is it may be quite difficult, so you can have a go it now. And it may be easier to do this nice and slow. So I'm gonna do the same thing that I did in the previous lecture. I'm going to have a go improvising using the different hung grips on at paid jobs and rhythm medical techniques on top of the left hand walking backslide. And also I'm gonna put in above the different techniques amusing just so you can see it in practice. And then we're gonna go nice and slow. Uh, - yes . So that's that. I didn't go through all the different hungry. It's there, but it's just to give you an example off the way you can fit them all together to just sit there on improvise of the top of that left hand walking bass line. Don't get frustrated if you do find it difficult, because it is quite difficult to plan on top of that walking bass line, so it purely depends on your current level of ability. But keep them coming back to it in the future, even months and months in advance. Keep on trying it because at some point it will fall into place. 94. Mixing Straight and Swung Rhythms: I thought this point. Hopefully you are a lot more familiar with these different scales in the hand groups have been teaching you. Some of you may have already tried playing around with the rhythms of it, Mark. But right now I want to give you a rhythmical technique that can use with your improvisation. And sometimes I have actually been doing this when showing you examples of what it is is mixing straight and strong rhythms together. So an example that I went into a straight rhythm. I just want to explain that quickly. So if I'm counting here 1123 and far on 12 and three and fell on Dhere 12 and three and far . And I just flipped into the strict counting one on two and three and four and as opposed to that one and two and three and four and from what it is doing is creating across rhythm is not going across the normal beat that you've been doing It just off stands out and throws off the obvious feel of the swing rhythm all the time. So it's something that you can try. I just do a little bit more now with the counting 123 and far and far on going straight with him a straight rhythm that and then went back into the swollen. So it's something that you can move into but then move back out again. And it sounds quite obvious, doesn't it? I'm counting it. Teoh three far and free Sounds like Oh, yeah, that's what's happening. But if you don't count, it just sounds like you did some really cool rhythms s . So I was just playing around, then moving in out of the swing on the straight. And just then I was just sticking to the three basic hand grips the D A and E. So I wanted to have a go at that now, playing around, moving between strong rhythm on the straight with them. 95. Bringing it All Together With the 251 Block Chords: Now it's time to have a go, putting all of the different hand grips and rhythmical techniques together, along with that to 51 car progression. So now we get to a point, but I can't really show you what to do, because you can decide what you want to do yourself. Just jumping between the different hand grips and rhythms. And that is pretty much improvising just so you can see how some of this could fit together . I'm just going toe. Do some improvising only with what you've learned in the cars and above the keyboard on the screen, I'll write out the different 100 pot technique that I'm using. Let's give it a go chair. So that was me just playing around with what you've learned in the cast, and it can do that as long as you can, and you'll find that you will get more and more comfortable jumping between the different hand grips and techniques on. I don't think I got all of them in there, but just to give you an idea of what you can do yourself, so have a good now play. Along with that, you can sit down without any music on, just improvise and have fun 96. Applying What You've Learnt to Solo with Autumn Update: way we're now coming to the end of this class on. I'd like to show you how you can apply what you've learned to adjust standard. We're going to use autumn leaves, which you've already learned, but we're going to put it in the context of a just performance with the head solo head farmer. So if you remember, the head is the chorus. So the men melody, which you've already learned and then onto the sole exception. So in the solar section, you're going to be playing the left hand card progression and applying all the different hand grips on melodies on top in your right hand, and it can go around as many times as you want with that in a van scenario, the different instruments would take in turns. But we've just got piano here, so we'll stick to you doing of many times you want. And then you go back around to the head, which is the main melody by the chorus to finish it off. So I'm now going to show you an example of what I mean on a murder going to be using the skills, hand grips and techniques that you've learned in this cause the sole exception. - Now the head again. - Yeah , that's the kind of thing you can try and do. What I would say is that with this, the better. You know, your pentatonic hand grips and the more comfortable you are with doing the Christian arts and moving around, the easier it will be. If it's sitting there thinking about which not to press, it's gonna be a lot harder than if you kind of have a bit of muscle. Men were already with the nurse, so then you can just worry about the rhythms. Another thing as well. When doing that, you need to think about these. Avoid notes again. So what I was doing there actually was mainly sticking to the D. Hambrick, the A and the E hung grip and putting in some of these Kushner's. I didn't play the be a couple of times, but I stayed away from the Triton's just to do with these avoid notes. So when you do it, we've done a lot to do with a to 51 card. But with this one, there are some other cards. You got the letter B and on the hand grips do work with them. But when it come to this e pot here and fab, you're trying to stay away from the d hungry because it's quite a lot of these avoid notes going. Listen to this. No, there I'm gonna avoid, not with B s. So you've got those two clashing to try and avoid doing the D with the E tarde de pentatonic. Then again with the A with doesn't really work with a either, because again you got can't do a thing called the resolve which have mentioned very briefly earlier on in the cars. I mean, it's improvising. If you do have to do the pentatonic, you can resolve to another, know it works. You can work your way towards something with George work, but you can try and avoid it. That would be good. So yeah, I'm just gonna go through it now again. But I wanted to talk you through a bit of a thought process. And also when you do try this, remember, you don't always have to be playing. For instance, if you play the d minor, start off with, it might start off with a deep into tonic in your right hand wait a lifetime to leave fuckups. Just timis simple using this room with him. Ups? Uh, yeah, dude after go hellbent playing Lord of not straight to where it might be an easier way to get into it by displaying a few notes from the different hand grips. So leave gaps. E got too complicated. Just go with whatever you feel comfortable and remember I have been saying throughout the cars start off slowly because everything is much easier to play slower. And then he will gradually speed up as you feel more confident on it to get more comfortable moving between the different hundreds on. One more thing, remember, this is practice. This is new. It's absolutely fine. To make mistakes is fine. The more you play around with this, the better you will get at it. So just have fun with it. And remember, you've got the head. The solar section, which you can do, is many tabs you want. You can sit there all night if you want, and then back around to the head 97. Jazz Course Goodbye Video Skillshare: congratulations. You have completed the cars. Hopefully Now you feel like you've got to really foundation in just music. On have enough knowledge to be able to continue learning outside of the course. I hope that you enjoyed it. And thats again for trusting me with your education. Goodbye.