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

teacher avatar Arthur Bird, Piano Teacher & Session Player

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Jazz Piano - The Ultimate Beginners Course

      3:57

    • 2.

      The Basics

      0:29

    • 3.

      The White Keys

      6:04

    • 4.

      The Black Keys - Sharps & Flats Explained

      4:33

    • 5.

      The Finger Numbers

      0:58

    • 6.

      The Degrees of a Scale or Key

      2:53

    • 7.

      What Are Chords?

      1:24

    • 8.

      Diatonic 7th Chords Four Part Block Chords

      4:57

    • 9.

      Diatonic 7th Chords with Left Hand

      2:22

    • 10.

      Its Time to Play

      3:14

    • 11.

      What Are Major and Minor Chords

      6:08

    • 12.

      The 251 Chord Progression

      5:22

    • 13.

      251 Chord Progression Left Hand Practise Play Along

      2:46

    • 14.

      The A Minor Pentatonic Scale

      3:28

    • 15.

      A Minor Pentatonic with 251 Chords

      3:42

    • 16.

      How To Use The Sustain Pedal Correctly Edit July 2020 1

      5:10

    • 17.

      Jazzy Finger Hand Strengthening Exercise

      4:42

    • 18.

      The Difference Between Major 7, Minor 7 and 7th Chords

      3:10

    • 19.

      How to Find any Major 7, Minor 7 or 7th Chords Update

      4:55

    • 20.

      7 and Dominant 7 Chords Jazz

      2:14

    • 21.

      What is a Minor 7 Flat 5

      3:35

    • 22.

      Finger Strength Technique Exercise Jazz Course

      7:29

    • 23.

      Autumn Leaves Let's Learn a Song Using the 251 Chord Progression

      7:36

    • 24.

      Autumn Leaves Right Hand Melody

      4:31

    • 25.

      Autumn Leaves - Both Hands

      2:31

    • 26.

      Autumn Leaves Part 2 Jan 2022 Edit

      5:01

    • 27.

      Seven Three Chord Voicings

      5:55

    • 28.

      Autumn Leaves Using the 7-3 Voicing

      7:49

    • 29.

      Autumn Leaves with 7-3 Voicing - Practice Jam

      3:53

    • 30.

      Autumn Leaves - Full Song (Extracurricular)

      15:00

    • 31.

      Playing with Both Hands - Jumping Left Hand Exercise

      6:02

    • 32.

      Jumping Right Hand Exerise

      2:27

    • 33.

      Pentatonic Hand Grips

      7:34

    • 34.

      DAE Pentatonic Hand Grips With II V I Chords Exercise

      4:31

    • 35.

      Triplets and Swung Rhythms

      4:31

    • 36.

      Pentatonic Hand Grips Exercise with Swung Rhythm

      3:56

    • 37.

      A Jazz Classic with a Swung Rhythm Fly Me to the Moon Part 1

      7:49

    • 38.

      Fly Me to the Moon - A Jazz Classic with a Swung Rhythm - Part 1

      7:46

    • 39.

      Fly Me to the Moon Part 2

      5:47

    • 40.

      Fly Me to the Moon Part 3

      4:45

    • 41.

      Fly Me to the Moon - Part 4

      3:59

    • 42.

      Fly Me to the Moon All Together

      2:18

    • 43.

      Alternate Left Hand Using Chord Inversions Fly Me to the Moon Update

      11:25

    • 44.

      Bossa Nova Rhythms Straight Rhythms

      4:50

    • 45.

      Pentatonic Hand Grips Add a Tritone Make it the Blues

      4:39

    • 46.

      II-V-I Chords With D,A,E Pentatonic Hands Grips Exercise (Crushed Notes)

      2:49

    • 47.

      Mixing Up the Hand Grips Avoid Notes

      3:18

    • 48.

      Adding Another Hand Grip B Hand Grip Using notes from C Lydian Mode

      4:10

    • 49.

      D, A, E and B Hand Grips with 251 Chords Using Swung Rhythm

      4:41

    • 50.

      DAEB Hand Grips with II V I Chords Triplet Rhythms Exercise

      5:17

    • 51.

      Finger Hand Strengthening Exercise Using 3rds

      6:47

    • 52.

      Cantaloupe Island by Herbie Hancock - (Main Piano Riff)

      9:09

    • 53.

      Cantaloupe Island - Part 2

      4:26

    • 54.

      Cantaloupe Island - Part 3

      3:04

    • 55.

      Cantaloupe Island - Parts 1 , 2 & 3

      3:38

    • 56.

      Walking Bass II V I Chord Progression Skillshare

      9:43

    • 57.

      Walking Bass Line with Pentatonic Hand Grips Exercise

      5:01

    • 58.

      Walking Bass Line with Pentatonic Hand Grips using Triplet Rhythms

      5:27

    • 59.

      Walking Bass Line and Mixing Up the Hand Grips and Rhythms

      2:36

    • 60.

      Comping - The Alternating Syncopating Rhythm

      6:03

    • 61.

      Comping Using Another Swung Rhythm

      2:27

    • 62.

      Pentatonic Hand Grips Adding Arpeggios

      6:51

    • 63.

      Hand Grips with Arpeggios Top to Bottom

      3:16

    • 64.

      Mixing Up the Arpeggio Hand Grip Patterns

      1:53

    • 65.

      Improvising Playing and Resting

      3:43

    • 66.

      Extended Chords 9, 11 and 13 Chords at a Glance

      4:08

    • 67.

      9 and 11 Chords in Open Position Sharpening the 11th

      1:52

    • 68.

      How to Find Major 9 Chords

      4:45

    • 69.

      How To Find Major 11Th (Sharpened) Chords

      7:04

    • 70.

      How to Find Minor 9 Chords

      4:17

    • 71.

      How to Find Minor 11 Chords

      4:17

    • 72.

      How to Find 9th Chords

      3:00

    • 73.

      How to Find 11th Chords

      3:39

    • 74.

      Altered Chords

      5:15

    • 75.

      Minor II V I Progression Using Chord Extensions

      8:33

    • 76.

      Rootless Chord Voicings

      5:02

    • 77.

      Smooth Jazz 2 Chord Jazz Progression for soloing using Rootless Dm9

      5:32

    • 78.

      Adding a Melodic Minor Scale into the Mix

      5:06

    • 79.

      Smooth Chord Progression with D Melodic and Pentatonic Scales

      5:42

    • 80.

      Smooth Jazz Chord Progression Right Hand Solo Practise

      5:25

    • 81.

      Quartal Harmony Chord Voicings

      8:54

    • 82.

      Quartal Tones So What by Miles Davis Part 1

      6:41

    • 83.

      So What Part 1 Practise Play Along

      4:05

    • 84.

      So What Quartal Tones Part 2

      5:38

    • 85.

      So What Part 2 Practise Play Along

      3:05

    • 86.

      So What Part 1 and 2 Practise Play Along

      5:05

    • 87.

      So What Left Hand Bass Melody Part 1 Em7 Dm7

      5:06

    • 88.

      So What Left Hand Bass Melody and Chords Together - Part 1

      2:44

    • 89.

      So What Bass Line Melody Part 2 Fm7 and Ebm7

      3:15

    • 90.

      So What Left Hand Bass Melody and Chords Together Part 2

      1:03

    • 91.

      Jazz Form and So What - All Together

      5:09

    • 92.

      Pentatonic Hand Grips Creating Tension Using Tritones

      6:14

    • 93.

      The Tritone Hand Grips in Practise

      3:58

    • 94.

      Adding a Root Note Underneath the Hand Grips

      1:30

    • 95.

      Bringing it All Together with Walking Bass Line

      3:21

    • 96.

      Mixing Straight and Swung Rhythms

      3:19

    • 97.

      Bringing it All Together With the 251 Block Chords

      2:44

    • 98.

      Applying What You've Learnt to Solo with Autumn Update

      7:46

    • 99.

      Closing Thoughts

      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?!

Meet Your Teacher

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Arthur Bird

Piano Teacher & Session Player

Teacher

Hi, I'm Arthur and I've been playing the piano for 20 years. After achieving Grade 8 with the Associated Board of the Royal Schools of Music, I started touring as a session player in theatre shows all over the United Kingdom. As well as this I have lots of experience in recording studios, and with bands have played music all over the world, from the UK, Europe, USA and even Australia. I've been teaching piano for 10 years now, and am an approved tutor with the City of York Arts Council.

See full profile

Level: Beginner

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Transcripts

1. Jazz Piano - The Ultimate Beginners Course: Okay. When people want to learn jazz, they often spend money trying to learn from various books, which are usually laborious and complicated to use. This, try and learn from videos on YouTube, where they find themselves jumping from one unrelated video lesson to the next, missing the vital ingredients of an organized method of learning. One thing is for sure though, most methods out there and aimed at beginners, and expect you to know every scale and that will be called 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. And so I have done the hard work for you and created a simple step-by-step method that beginners on the piano can feel safe using, as well as people outlet the piano previously. But want a gateway into jazz music without it being too theory heavy, too alien. Let's just face it. We all just want to be able to play, don't be. I've designed this course 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 jazz chords in a simple and understandable way, as well as using them in commonly used just cop regressions. You will also learn various scales. And I've created specific exercises for these scales that make them sound exciting and fun, that gradually build in difficulty. Ultimately giving you the skills to be able to improvise solos of the classic 251 progression. We'll take a look at comping, Todd voicings, walking baselines, and much more. But most importantly, you get the opportunity to apply what you're learning to some famous jazz songs. I believe that applying on new knowledge is the best way to learn. And so throughout the course, we'll take a look at Psalms such as autumn leaves. Finally to the moon. Herbie Hancock, counter loop island. And so what by Miles Davis. I have also transcribed all of the scales, exercises, and songs, 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 course. As I have made it suitable for beginners by writing out the names of the notes. In order to make your learning process even easier. The video lessons come with supplementary material in the form of PDFs that you can download and print off to have at your piano, making it easier for you to refer to the information when you need it. So why not give it a try? And hopefully, I'll see you inside the course. 2. 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. 3. 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. 4. 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. 5. 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 6. 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 7. 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. 8. 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. 9. 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 10. 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. 11. 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 12. 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. 13. 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 14. 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 15. 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. 16. 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. 17. 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. 18. 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. 19. 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 20. 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. 21. 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. 22. 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. 23. 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 24. 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 25. 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. 26. Autumn Leaves Part 2 Jan 2022 Edit: Now that you've learned the first part of atom leaves its 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. And the right-hand. This time though, we're going to use what is called a lead sheet, also known as a fact sheet, which uses the treble clef notes along with the card symbols. These are not just musicians commonly used. Again, it doesn't matter if you can't read music because I've put the names of the notes above. So as you can see, it's the same chord progression you've just been using. So whenever it says, just say a G7, you just do the same competent. The only different one is the E7, just a black key. But you should be able to play that left-hand chord progression if you've been practicing it, I want to play the full two lines so you can hear what it sounds like. And then I'll teach you how to do it. Here's what it sounds like. So just looking at this cartoon, you may have noticed that the card symbols are above. I've moved them up there because that's what lead cheats and cheats looked like if you're following music from a book, the cotton was or above. So I want it to be the same as something you would find yourself, but it's still the same. The card symbols you're going to be playing with your left hand and plan the individual notes with the right-hand melody. That's what you're going to be learning now. You've already learned the first part of the melody. Let's have a quick look at the next path. Most of it is the same. You've got the part Leaving down each time. The only difference is this last part. C, fingering. It's up to you. I did 35 fall. But if you find it finger doesn't feel strong enough yet, you could go to fall free. That's up to you. But yeah, that's the only difference there. You've got the last part that putting it together, that last part, the chord progression is the same as you've been doing already. Sick and hold down the a minor from the end of the first part of the melody, goes through. And then your right-hand starts. This bit. Here we are. Again, the 70s, honestly, I don't on the one. And then the beam comes in. The second beat. Some new bed. The timing to three. Set. Now I will play it all again. But with accounting, hands ready if I stop 123123423233331234123434341234. That's fat. Practice that until you complete smoothly with both hands. 27. 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. 28. Autumn Leaves Using the 7-3 Voicing: Let's take this one step further and apply the 73 chord voicing to the whole cop progression of autumn leaves that you just learned before. So let's go through the cards and work out the 73 chord voicings together just so you can get used to the process. So if you want to choose any of your own songs, you know how to find it. Okay, So the first card is the D minus 7, and that's the one we've just done. But let's just go over it quickly. So you've got the D minor 7. You need to identify the third and the seventh. So the first, third, fifth, seventh. So you take V2 and then in the left-hand, you find the root, which is the D, and you go down an octave. So that's the first card. With that focusing. The next one is the G7. So you play the card. Identify the third and the seventh. So those two, and we'll do the same again, and we'll move that been up there for this time. Or play the G open octave there about the non-linear down there. And then the C major 7 played the full cards. The third and the second are then play the root to the left-hand side. The first Ricard have got k. The next one is F major seven. So let's find the cod which was then identify the third and the seventh and the third 123. The seventh is the top one. And then you can find their root in your left. So this is one of those fonts which is a bit of a jump away from the most recent car, which was a C. So this is an instance where you can change the order of those notes. What you could do to take the E and just invert it up, put it underneath instead. And that far going from the C major 7 to the F major seven, I need to do is move that top one down. And then the next card is to be minor seven flat five. So that's that one which we've been doing. So again, the third and the seventh are that in fact the root in the left. And we'll keep that position, they're very close. So f has been the most recent one, the previous carpets, the F major seven. That then all I need to do is move that down a step. We've got two more cards to do, the E 7. So I want to let you have a go at this one. All in Iran are gonna give you about 15 seconds to have a look at it. Fact, the card, remember some of the black one. Identify the two intervals, the third and the seventh. And then also a little hint. You might have to move the top one down. That dependent on if it's feels like it's too high, too far away from that others. Could we wanted it to be nice and class? So have a go now. And then I'll show you what you should have found. Right? Then you might have either found that 19, then it could have moved the d below. And just to go over the process, again, you've got the full cart. Identify the third and the seventh with a root in the left. And again, this is given up there. We're trying to keep it close. So a MOOC gonna move the d down then again, you know, that's choice. But we want it to be a nice class movement. Because the last card of the B was there. And we go with the D underneath from that, that card, there is only one movement, isn't it? From there? While it's doing is the a goes down to the G-sharp, can stand there. And then I'm going to give you another chance to have ago or so the last card is the a minor seven. So have a go at finding that 73 card. Why soon 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 a minor seven. You find the third and the seventh. Tell you the keys out. Then you find the root in the bass. And we don't need to invert that. I really think that it's already in the same area as you've been working with. So here's the full chord progression with that 73 chord voicing. Sounds nice, isn't it? I like it. So 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 chord again this time, rather than just holding it, or to play it again, just throw a clear the exact timing. So I'm going to play through the full cost progression just so you know exactly what you're practicing. And I'm going to count it as well. So we're going to start off with the father beat count in, and then we're gonna do it. So this 12342341234, 23412312341234123423412342341234123412341234123. And up stand. So practice that and so you can play it without any stops. I always start off slower than speed it up. And once you feel comfortable playing this chord progression, I want you to have a go at plane along with a click track. And to make it even more exciting, I'm going to play the melody line on top. So it will almost be like with jamming together in the virtual world. 29. Autumn Leaves with 7-3 Voicing - Practice Jam: So let's have a go at playing together along with a click track. So we'll start off with the slow one and then we'll do a faster one after. But just remember that you need to leave far BCE before playing as you're committing on the second batch. So as an example, I'm going to show you how you're going to start like this. 32312332312312333. And then it just repeats. So that's what you're going to do. And then just say you can have a go at playing with another musician. I would have said the melody on top. So just be by the I stopped the fall you. So y'all commenting on the second Let's have a go. I hope it works. Yeah. And that was done. Hopefully you're able to play along with me that. And you can have as many goals as you want. You can keep on practicing it. If this isn't for you, you can just move on to the next lecture. If you want to have a go at a faster one, Let's do altogether now. And here's the speed. Well, to free fall. So yeah. So I start from the first bar and you came out and the second Let's go for it. And that's, I hope you enjoyed that. And in the next lecture, we're going to go to some of the scales and eventually stopped to look at some improvisation. 30. 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? 31. 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. 32. Jumping Right Hand Exerise: So here is the exercise that you've just been doing, but the other way around so you can practice doing jumps in your right hand or your left hand is playing individual nerves. Okay. So here it is with both hands. Okay. So it just flipped on its head. They're really he left town is doing the individual parts. You're about a 100 doing the cards. But one thing to notice is when you did it the other way round, you write a hundreds here. But now your right hand is going to be here. The left-hand is no longer jumping into the area era during the jumping. Okay, So one thing with this is the left-hand is using a fine if val1 is three. And it helped develop some strength in the little finger and your four fingers. Well bass, so that's a good thing, but also might mean a little bit difficult to start off with, depending on your strength and dexterity at the moment. But it's just said the way around. So you're just playing together. And I'm gonna skip back down. He left your right hands now Japan octave. And then it just moves off page time. Second is C, So it's the same. But the other way around. Let's make sure when you're doing it. Stephen flicking her eyes but follows to make sure that your position. Okay. So that's that yeah, just hopefully it can get control of that trying to test so you can do it without any slips on the call C hitting the octave jump first time. And then you're left-handed is also going to develop some strength there which is useful. And hopefully these two exercises, I'm just going to help you to develop that awareness on the piano and play with both hands at the same time, especially when it comes to big jumps. 33. 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. 34. 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. 35. 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 36. 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. 37. 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. 38. 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. 39. 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 40. 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. 41. 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 42. 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. 43. 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 44. 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 . 45. 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. 46. 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. 47. 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 48. 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. 49. 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 he