Music Theory 101 For Guitar | Henry Olsen | Skillshare

Music Theory 101 For Guitar

Henry Olsen, Beginner Guitar Expert

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33 Lessons (5h 17m)
    • 1. About the course

      4:27
    • 2. Welcome to the course

      2:07
    • 3. Let's start learning

      18:40
    • 4. The magical formula

      11:00
    • 5. The magical scale shape

      3:33
    • 6. How to build a triad

      3:56
    • 7. Introduction to triad islands

      11:06
    • 8. Triad islands close up

      9:56
    • 9. A quick review

      8:20
    • 10. Adding more notes to the triad

      11:05
    • 11. Minor triads

      9:02
    • 12. Different keys and how to think of them

      5:56
    • 13. Let's take a look at the key of A

      11:37
    • 14. Now let's look at the key of B

      9:08
    • 15. E to A to B

      8:25
    • 16. How to unlock any musical key

      11:50
    • 17. More about musical keys

      5:40
    • 18. Relative major/minor keys

      6:05
    • 19. Introduction to intervals

      3:27
    • 20. All of the intervals

      10:11
    • 21. Mastering natural intervals

      11:47
    • 22. Playing on multiple strings

      11:39
    • 23. The 6 main triad types

      11:43
    • 24. Sus2&Sus4 chords

      13:09
    • 25. 7th and maj 7th chords

      16:12
    • 26. Minor 7th chords

      17:17
    • 27. Extended chords

      16:20
    • 28. How to find triad islands in any key

      11:15
    • 29. Chord inversions

      7:12
    • 30. Inversions on different string sets

      10:55
    • 31. Introduction to chord and scale relationships

      2:14
    • 32. Scale chord relationship

      10:56
    • 33. Adding colour notes

      10:31
91 students are watching this class

About This Class

Do you want to understand the fretboard?

Would you like to know how to build any chord?

How about being able to play in any key?

If you answered YES to these questions, then you're in the right place! My name is Henry Olsen, and I've been teaching guitar for eight years. I've taught thousands of students online and one-on-one, and have a 4.5 average rating after almost 3000 reviews on Udemy! Now it's time for me to show you basic, everyday, music theory and how it applies to the guitar. This course is full of practical, everyday examples and explanations that will turn YOU into a guitar wizard.

You will:

- Learn the musical alphabet and how to master it the easy way and save years of frustration and confusion

-Learn to understand and build any chord with ease

-Learn secret formulas and shortcuts that will save you months of confusion

-Play and understand intervals in any key flawlessly

-Instantly master and visualize the entire fretboard

-Learn to develop and locate triads and "triad islands" all over the neck

-Learn and understand all of the musical keys all over the neck with ease

-Understand relative major/minor keys and how to use them

-Learn sus2, sus4, 7th, minor 7th, 9th,11th, 13, diminished, augmented and many more types of chords

-Learn and understand chord inversions and effective ways of using them

-Master the major & minor scale in any key

-Learn how the notes from the major scale are used to build chords within a key

-Learn how to play and visualize the major & minor scale on any string

-Learn how intervals relate to chords and their color

The course also comes with "in-video" scales and charts, so it's easy to follow.

Of course, you also get all of the files as a downloadable PDF so that you can learn anytime and anywhere!

I've been testing and refining this course on real beta students for the past month, and their results have been off the charts! That's why I'm very confident that this course will be an incredible asset in your guitar journey.

Imagine the next time someone asks you to pick up the guitar at a family gathering and NOW you can play songs everyone knows and enjoys with ease and confidence. You'll be the star at the party, and everyone will love you for it!  After you join this course, you won't need to imagine anymore. I take you step-by-step and note-by-note through all the elements necessary to make this a reality in a short amount of time!!!

The course also comes with a 42-page picture chord book, so you'll have an easy time following along with all the lessons.

This method has WORKED on thousands of students, and I know it will work for you!

Become the guitar player you've always dreamed of being and JOIN NOW!!!

You won't regret it!

Here are what some of my students have said in the past!

"Just amazing, Can't ask for more simple and easy step by step learning.

The good thing is I'm learning, and the instructor is proving to be the best. Glad

I found this course! Thank You, sir!"

"I have just completed this course and would comment accordingly.

Extremely well-constructed, laid out and balanced course, targeting all

the key areas of guitars and gear. The information and advice provided

by Henry Olsen gives the student a sound grounding and prepares

them for their journey ahead. I found the lectures most informative and

stimulating and has further invigorated me to explore some new aspects

of my playing too. Highly recommended, and I would urge anyone,

certainly a beginner, to work through this course. Thank you, Will."

See you inside!

Henry

Transcripts

1. About the course: Hey there, my name's Henry ALS and from super simple guitar. And I wanna welcome you to this practical guitar theory. One a one guitar course. Now, if you're interested in mastering the front board in a very visual and also logical way, then you are in the right place. If you want to understand what different musical keys are, what things like relative, major, relative, minor even mean how scales can connect to chords and chord progressions. How does that connection occur? How are you gonna know what scale to use on different quarter progressions in different keys, right? What about things like triads? How to build to try it, how to build a cord? What's assess to court? What's a sense forecourt? What's a seven court? What's a minor chord? Right? All of those things are taught in a step by step. Very visual, an organized way in this course. I literally show you ways Teoh build courts in a very, very simple and structured manner so that the next time you wanna play any chord in any key , you're just gonna look down at your fretboard, and no matter where you are, you're gonna be able to build that chord, using my special method and magical scales with ease and instantly. Okay, So I highly, highly recommend checking out this course. If you're interested in really getting a great understanding for the guitar and for basic every day Music theory, this course does not require you needing to learn musical notation. And everything I teach you is shown in a very every day way on the fretboard. The cool thing about this course also is that I have pdf files and scale graphs in video embedded in the video. So you get 25 pdf's altogether with this course and then as I'm showing you things on the guitar, you're gonna have that on screen. Plus, you're gonna have a pdf to print out so that everything I show you is gonna be very, very easy for you to implement and to get under your fingers. Okay, I'm very proud of this course. I've been testing it with beta students over it. Super simple guitar. That's my website, and my members over there have been taking the course and giving me feedback, you know, and a lot of them have had great success, incredible success, and that's why? I'm very confident that this course is going to be an incredible resource for you as well. If you're not happy with the course, of course, on you to me, I offer everywhere. Actually, I offer 30 day, no questions asked money, back guarantee. So if for whatever reason you're not happy with the course, just ask for a refund, right? And keep all those pdf files on keep all the resource is right. This course also comes with I can't even believe all the great stuff. My picture quarter book, my 42 page picture cord book. That's also gonna teach you all of those shapes. I'm gonna be showing you the teeth, the theory behind the shapes. But you're also gonna have my book that's gonna show you those shapes, right? So you're gonna learn how to build those shapes, and then you're gonna have a picture court book that's going to show you just the shell shaped that you're also gonna understand how to build yourself and move. Okay, So I have all of these Incredible resource is for you in this course, and I'm sure that it's gonna be a huge for your plane. All right. So without further ado, grab your guitar and let's start mastering this thing. Let's start getting a deeper understanding for this thing. And let's start getting a deeper understanding for music in general. Right? Okay. Henry Olsen. Here. Super simple guitar. I'll see you very soon inside. Of course. See there by 2. Welcome to the course: already Welcome to the inside of the course. So I just want to take a couple of seconds here to explain to you how to make best use out of the course and how to access all of the extra resource. Is that come with this course? So first of all, as I promised you, you're getting a PdF file of my picture corn book and that pdf file is attached in this welcome video. Okay, so if you just go to the resource area of this page that you're currently watching this video on, you can download the pdf for that in the resource is of this video. Okay, so that's the first thing. The second thing is all of the pdf files that come with lessons are always going to be attached with that lesson. So as you're watching a lesson, the pdf file or the graph that you see inside the video the pdf file that is a part of that graph is also going to be available within the video as you watch it. So either watching a video if you see a cool graph there or if I'm explaining something, just go to the resource is tax, and you will find that PDF and you can just go to it and downloaded. Also, if you ever have any questions, I'm here to help. I will get back to you as soon as possible, most the time. It will take me about 24 hours, sometimes 48 hours, because I get tons of e mails and tons of questions. But I make it my mission to answer them. Also. Just be a little bit patient if I don't get back to you, especially on the weekends, right. But I will get back to eventually. Okay, that's something that I always always do. All right. Thank you for getting this course again. Now, without any further ado, let's get into the first lesson and let's start mastering the guitar and music theory aren't see there. 3. Let's start learning: Hey, how you doing there, Henry? ALS. And you're from super simple guitar. And welcome to the first lesson where I'm gonna be talking about music theory, Beginner music theory. So for people who don't know anything about music theory building on court, construction intervals, keys, I'm going to be explaining all of that in this series. OK, so for you guys, who are my members? I'm gonna have these videos in the membership, but I'm also gonna put them on youtube. Okay, so from my members, you are there gonna have them nicely in order. And any extra pdf stuff. Of course, that's gonna be for you guys. Okay. For you guys on YouTube, I highly recommend either joining the all access membership or just take notes. I'm gonna have a playlist for you guys, so you'll be able to follow along as well. Okay. Okay. So, first of all, I just want to say before we do anything here with music theory, there's a couple of really important things I want to stress. Okay, So the first thing is, um, do not get started with this, if you think if you're just gonna be dabbling with it, okay? So this is something If you're going to start learning thes basic music theory concepts, it really is a study. OK, It's not something that you're just gonna get after watching one quick video. So if you're not ready to really kind of commit and put your head into the books a little bit for I'd say about a month of really kind of solid just every day coming back and refreshing this stuff, it's probably better to not start now. Started a time when you're ready to really dedicate that time. Because this this isn't just a simple lick lesson. This is music theory study, right? Even though I'm going to try to make it a simple as I can. You know, this is music theory, right? I'm going to try to make a simple though and fun. Okay, I don't want to scare you, but at the same time, just know, you know, this is studying here. Okay. Okay. So a couple of things that I really, really encourage you to do so the first thing, of course, download the digital version of my book because we're gonna be using this for some of the lessons. Okay, that's important download if you haven't yet. There's a link for that somewhere. You guys who are members have a copy of this. So it's gonna come in very handy if you're not yet a member. If you join the all access membership, I will ship one of these to you for free. Okay. So get either the digital version or become a member, Whatever works for you. Second of all, I highly recommend getting a notebook like this one. I have. Okay. And as I said, you know, this is study. You can see here like some of my past studies. Don't you see that? All right, you can't see this, but this is my past studies. You know, I really take notes, arrive stuff down. So I had they were command getting a notebook and keeping that notebook kind of for your musical studies, you know, because actually, taking a pencil and writing something down also really has a power to it. Okay, so I recommend getting a notebook, get a pencil so you can, you know, raise things. And if I tell you a little formula or tell you something, take notes because that's gonna help you remember things better. Okay, so get a little notebook. And third, not least at all. I highly, highly recommend getting this book. Okay, I'm not affiliated with them in any way. The book is music theory. Um, or if you type of music theory for guitar and the author is with Tom Cole. OK, you'll find this on Amazon, and this is just a really great book. It's gonna have really everything that I talk about it in a really nice and pretty simple way. So if you're interested in getting into music theory and you want to, you know, take these legends with me, then definitely get this book. Okay. Okay. So now, without further ado, after we've got that sorted out, um, we're going to get into our first lesson. Okay, so I'm just gonna start right now, so it's all in one video. Okay, So the first thing here that you're gonna need to know is, um, the musical alphabet. Okay. We cannot do anything on the guitar without knowing the musical alphabet and without at least knowing where the notes are on the sixth string. OK, that's the bare minimum. Okay, So you have to know the musical alphabet. And what we're gonna be doing now is I'm gonna be taking it away again with Henry from the past, because I already have a course called Master the Guitar, Fairport and six easy steps. You guys who are members can go watch that as well. But I'm gonna be playing the first lesson of that now for you guys. And in that lesson, I explained the musical alphabet. Okay, so that's step one. After we do the musical alphabet, the next lesson that's going to be in this playlist or this course really is going to be intervals. We're gonna be learning about what intervals, How intervals work, how to count intervals and so on. Okay, so now Henry from the past explained to my good friends here everything that they need to know about the musical alphabet, and then we're gonna get into intervals. All right. Okay. See, in the next lesson, Henry, for in the past take it away. What I want you to do first of all, is open that picture cord book and go to Page number 25. So you'll be able to follow along with what I'm gonna be teaching you in this lecture. Okay, So do that really quickly push, pause and then come back when you have that up. So the musical alphabet is the same as the regular off, but it starts with a goes B, C D and so on. The only difference is that the musical alphabet on Lee has 12 notes, 12 notes, the same as a clock. So clock has 1234 and 12. Right. So where you're gonna want to do is kind of memorize that the musical alphabet has 12 notes the same oclock has 12 hours and the same is oclock. It repeats itself So it's like this never ending circle once you get to the end. You started over so on the guitar If I start on E So this is my sixth string. When I play the open sixth string I have e then if I go 12 steps up 123456789 10 11 12 I reached e again. Okay. If I were able to go another 123456789 10 I can't get that. But if I were able to I'd reach again it would be like this endless circle. So the Onley kind of difference or the way that we kind of call this is It's called octave . So if I go from this Lowy all the way up to the high e, I've reached a octave of that first e. Okay, so the same as the clock was running around the music off a bit goes around and around and then you eventually end up where you started. Just hire. Okay. Then again, everything else repeats itself. Okay, so the musical alphabet, if we were to start on the note A I started on E because my guitar string is tuned e the sixth string, as is yours. Hopefully, if we were to start on a we the alphabet would go like this. It would go a B C d E f g. All right, so I know what you're thinking. You're probably thinking, Henry, that's only seven steps you've been telling me. It's 12. Now it's seven. You're confusing me. Henry. Don't be confused on that. Explain it to you. Really, really easily explained to you. So you understand. So we're gonna go like this, um, the musical alphabet in some places between it. Between the notes has what's called a sharp and a flat. So I'm gonna demonstrated that now. So sometimes if I play it from E two f, there's never anything between those two notes. So I'm playing 1/2 step from the E to the F and there's no e sharp or f flat. There's only E f. But if I want to go from F T G, they're not right next to each other. In between them is a f sharp. All right, you can see this very clearly on page number 25 in the book. So between E and F, there is just a step just one step away from each other and between, um b and C, the same thing happens. Okay? And between all the rest of them, there is what's called a sharp and a flat. Okay, I'm gonna explain that in just a second. But first of all, in order to keep ourselves from getting confused with all these sharps and flats, we're gonna learn the notes on the sixth strength of the guitar using on Li, e, f, g, a, B, C, D and E. Just to keep us from getting confused. Okay. All right. And then I'm gonna explain to you what a sharpest and what a flatness. All right, so what I want you to do now, please, if you will play along with me, so get your guitar. I hope you have a good time around. Take your first finger and we're gonna do this. We're gonna play the open e. Okay, then we're gonna play. The first note on the sixth string was f And if you can, If nobody is watching you at home or anything, try to say the notes out loud with me. So e you Ash with third fret has a G on it. The fifth fret has a the seventh fret is be a threat is C 10 threat is deep. And then the 12 fret again, we've reached our active, which is a e. Now, as I already said, it repeats itself so right after the comes f if we go two steps further up the neck, it's a gene and so on. All right, so it keeps repeating itself endlessly. All right, so let's just play that one more time together, and then I'm gonna fill in the gaps with what a sharp is. What a flatness! All right, so it's 21 more time together on the sixth string, so we're gonna play open E E. The first fret is after with Third for is a G. The Fifth Front is a seven. Threats is a B eighth. Fret is a see. The 10th fret is a D, and then we're back at our feet again. All right, so I beg you to do either do it with me in this video or open page 25 just play those notes . E f g A B C D E. You can plan just forward or you can try toe, play them backwards, and then I'll just give you a feeling for okay. Between E and F. There is no sharp or flat. Then you'll kind of nok between F and G. There's no sharper flat between Ji and are there is a sharp are There is a sharp between G and A. There's a sharp to, so I can just get a feeling for where the notes are, um, without any sharps or flats. So that's crucial, Crucial, crucial Because once you know where they are. You can easily fill in the gaps. So let me explain to you now what a sharp is and what a flatness. So let's take our f note. So I'm on the first fret sixth string, and I'm playing the note f You can see it on page 25. All right, so if I take this f and go 1/2 step up the neck, then I gotta f sharp. We're gonna call it f sharp. Okay, So a sharp basically means taking a note and taking making its pitch goat up. Hiring, hiring the pitch of the note. Okay, so if we take a G and and we go 1/2 step up where g sharp? All right. Okay. If we take a and we go up the neck, we have a sharp between B and C. There is nothing. And between d and E, if we take a d and go up the neck, it's called a d sharp. All right, So what's a flat? A flat means that we take the notes and we lower it. So now I I was on a g e. I was in third fret six string G and I went down, and that's giving me a G flat. All right, now I'm on a I'm going down the neck now. I have a flat. All right, So a sharp means that you raise a note a flat means is that you lower a note. All right. I just wanted to clear up that kind of explanation for you. What I recommend just to keep things simple in your mind. Okay. Without going deep in any music theory is to in our case, let's just always call them Sharps. Okay, so we're just gonna go e f f sharp, g sharp, a sharp and so on just for your own clarity of mind. So you don't have this whole mishmash of flats and sharps and all this madness? Just call them Sharps. So you have clarity within your mind, OK? There are music theory, reasons why you would call them a sharpened flight. Also sometimes, but in our case, we really don't need that. So let's just keep things simple for now. And then one day when you go deeper and all the motor and beta and stuff that you can or jazz, then you can get all that all right. So we're just gonna keep things easy. We're gonna go e f f sharp, g sharp, a sharp and so on. Okay, One more thing that I want to point out here, which I actually already said before you do all this sharp madness, learn where the nose are without any sharps and flats. And then you can easily say I know where f is. I know where he is. Between the two is f sharp. I know where G is on, nor is between the two is a d sharp. It will just make things so much easier for just fill in the blanks, right? It's so easy if you just know e f g a b c d He then repeats itself with a string is the same a b c d e f g a rant. So the alphabet never changed And also the steps never changed. The only thing that changed it was my starting point. I didn't start on E this time. I started on a same thing with the fourth string. Now I'm starting a d d e f g a b c d. Right. It doesn't change. See him on the octave now again. All right, so that's kind of the basic layout of the musical off a bit. How we're gonna memorize the notes. All right. So crucial here to kind of what you're gonna need a work on now is memorizing the notes on the six string of the guitar. And then I'm gonna teach you how to identify any notes on the fretboard in the next lecture . All right, So do your homework. Take the time to really memorize these notes because it's gonna be really, really important for the rest of what's gonna be coming in the course. All right, I hope this helped. And if you have any questions, please ask. Alright. See, in the next lecture. 4. The magical formula: All right. So I hope that you did some homework on the musical alphabet, and I hope that it kind of makes sense. You're gonna want to memorize that, you know, because you really do need to know it. Okay, There's no shortcuts here. As I said in the introduction, right, this is study time. Okay, so now let's talk about intervals. Okay, so all interval really means is the distance from one note to another note. Okay, so from no one to know to know 34 and so on. Okay, so we're gonna be talking about intervals and how we're gonna use them to filter out the notes that we're going to then be using to build cords. Okay. So really, really slowly here. And the most important thing on the most important formula that you can know in music theory is, um, the formula that's going to give you the major scale. Okay, so this formula is tone tone, half tone, tone, tone, tone, half tone. Okay. And if you got your notebook out like I told you that I would really write that down and write it down a couple of times, just so it really sings into your mind. This is a formula you don't want to ever forget. Okay? This is serious stuff that you need to know. OK, so one more time together with me tone tone, half tone, tone, tone, tone, half toe and you'll see it's giving me seven. Right and seven notes are in the major scale. Right? That's how we're gonna filter out those seven notes out of the 12 from the entire alphabet . Right. Okay. So how does this apply to the guitar fretboard? You might be asking yourself now, right? We're gonna be starting on the note E since we are going to be playing the court e later on . Okay, so this here is the note E a My 2nd 4th string. Okay, on that is the no e there you're open. You That's just okay. So second fret fourth string. And now we're gonna take that formula that we learned, right? So that was tone tone, half tone, tone, tone, tone, half tone. I'm repeating it on purpose because I wanted to really sink in. This is something you do not I want to forget. You want to know this like you know, your A B. C's Erhard account. 10. Okay, so on the guitar just really quickly. In case you don't know a tone or a whole step means two frets. Okay, So a whole step or whole tone would mean that I'm going from the second France to the fourth Friends. Okay, so that's two friends apart, okay? Or there's always gonna be one in the middle. Okay, Half tone would mean that I'm going from the second. Fret to the third fret. Okay, it's a little bit easier on the piano because you have there just right next to each other right half step, but on the guitar, you know, it's a little confusing is a whole step. Means two steps up and 1/2 step me Just just moving once. Okay, so you have to know that that's just something that has to be memorized again. That's something I would write down. Or if it's if you get the book, it's in the book as well. Okay. So as we said, our formula is tone tone, half tone, tone, tone, tone. Halftime. Okay, so we're gonna do that on the guitar now. I'm starting on the note. E right. Second fret fourth string and we're going to start like this where you count this as one. They're willing to go tone right as I said you're moving to for it's up for a tone, Another tone. So another two friends up have tone right then again, tone, tone, tone and half toe. OK, so now I arrived in my again. OK, so one more time, really slowly. We're starting on our one and we're going. Okay, now listen to it. When I play a little faster That's how you get the major scale read Or as called in music theory, the Ionian mode. The Ionian mode is another way for saying just a major scale. Okay, one don't don't have t o have toe. OK, so your homework now and what you're gonna have to do if you wanna make any sense on the fretboard in terms of knowing your intervals and being able to understand why a court is a major chord wide to minor quarter, why it's a seven chord. Why, it's a major seventh chord. Why, it's Ah, flat nine chord, right? You have to know this really, really well. Okay, So that's why I said don't even start this course if you're not ready to do some serious study. Okay. So your homework now is to play this thing for a couple of days. I know that sounds a little bit harsh, but you wanna know this really, really? Well, you want to know this in your sleep, right? You want to be able to wake up at four. In the morning and be ableto play this and what that's gonna dio and you can also want account. Okay, so we're gonna be counting. 1234567 Then when you get to your octave, which is the e an octave higher, we're gonna become that as eight. Okay, you're gonna want to be counting that because these air your intervals now. OK, so this is my in the key of e. Okay, so we're always starting with the key center And because we're starting with the first note e than E is our key center. Okay, so we're in the key of e now and we're playing intervals as they relate to e the key of e. Okay, so this is my one e right? It's our home. Another way to say that is tonic. Okay, Are one Theune? This is our 234567 of them things are octave, which is our eat or one. Okay, so you really want to know? As you play the skill This tone tone, half tone, tone, tone, tone, half ton scale. You're also gonna be wanting Teoh. Count it. 12345671 Okay, maybe also something for your notebook to write down. Okay, maybe draw out a friend board, then really write this out because it's gonna help you learn if you write it down rather than just looking in a book or watching this course. Okay, So, really, now your homework is to get this under your skin because we're going to everything that we're gonna be doing is going to relate to this from this point on. Okay, Okay, so that's the one thing that you're gonna want to dio. And then the next thing that you're gonna want to do is get to know this scale shape. Okay, so this is the exact same thing. It's just now I'm I'm using a scale shape to filter out the notes. So again, I'm starting on my e. And on this is the most important scale shape that you can learn. Okay, so what I'm going to do now in the next lesson is I'm going to teach you the skills shape with the close up. Okay? But before we do that, I really want you to spend time now getting this year into your system because it's just so important. Okay, so get this into your system. Count it as a whole whole, half whole, whole whole half. And also counted. 1234567 than one or eight. The proper way would be to call eight when you reach the active. But it is the same note, right? So it's a Okay. Okay, So that's your homework. Now, at the next lesson, I'm gonna be showing you a scale. Shame that is gonna filter exactly that out for us, and then we're gonna be building on that knowledge. Okay? All right. I hope this made sense. If your brain is hurting a little bit, then just, you know, take a chill pill, relax a little bit, watching a couple of times, take it really slowly make some notes, and then I promise. As we progress throughout this course, it's going to get easier and more. It's going to start to make sense, and the music is also going to kind of start to enter your system. The more you do this, you know you're gonna start to really make a connection with the music. It's a beautiful thing. Okay, so my friends do your homework. As I said, this is, you know, school here. I promise you it's worth it if you want to become, you know, a musician rather than someone who just play songs, which is not bad. You know, I love playing songs, too, but this is a deeper understanding of music. A deeper level, right? So if that's what you want and it's not bad, if it's not, then really do your homework. And I promise you, this is going to make you, um, much, much better. Musician. Okay, you're gonna have understanding for everything. All right and left Rambling. See, in the next lesson, we're gonna be doing this, Gale. See? There 5. The magical scale shape: All right. So welcome to close up. So I hope that you have done your homework. Now, let's filter out those same exact notes, but using a actual scale shape, okay? And this is one that you're gonna want to remember, because it's probably the most important scale shape that you can learn. Okay, So I'm starting here on the 12th fret with the middle finger. Okay? 12. Throw with middle finger that I'm playing 14 with my pinky. Okay, so that's 12 14 and then I'm going 11 on the fifth string. 12. 14. Okay, so it's 11. 12. 14 on the fifth string of them were going 11 13 14 on the fourth string. So really slowly. 12 14 11 12 14 11 13 14 doh ray me. So la ti toe. Excuse my saying, but that's what we're doing here. So what I want you to do now is play this thing until there's not a doubt in your mind any more about where these notes are. I want you to really know this scale before you move on. Okay? So, span, like an hour now, you know, just pounding this into your brain. Okay? So again, What's happening now is we are playing the one of E again. I'm starting with the eases. The note E right is the one the two of you. The 34567 of them were banking octave. We call this eight, so 12345678 Okay, So really spend time now getting this into your system, Okay. And then in the next lesson, what we're gonna be doing is I'm going to be, um, showing you how to take these notes now that we have learned and make cords out of them. Isn't that a beautiful thing? So we started off with our scale here with the whole note thing, right? We learned a way to filter thes notes out using a scale. And we know now that this is all in the key of e everything that we're doing here. E is our center. Know that all of these other notes or these intervals are revolving around. I hope that's a word revolving. I think it is. Anyways, this is the center right? The same as the sun is kind of the center of all the planets surrounding it. This is our son here. Okay, so get this into your system, okay? And then in the next lesson, we're going to be doing some really fun things with it. All right, See, there. 6. How to build a triad: Okay, so welcome to the next lesson. So I really, really hope that you've been doing your homework. Because if you have, then this is all going to start to really make a lot of sense very soon. Okay, So what we've learned so far is how to get notes, right? Intervals of e. Right on. Now we're gonna learn how to build cords. Okay, So accord is basically the one the three in the five of whatever key you're trying to access. Okay, so in this case, we're working with De aza center. So if we were to build e chord, we would need the first of e. We don't need the second. We need the third of you. We don't need the fourth, but we need the fifth. Okay, so that's what is called a triad in music theory. Okay, so, Teoh access a major chord or a minor chord. You need a tryout. Right? So the tribe consists of the first interval of the scale, third interval of the skill, which could be minor as well. We're gonna be talking about that a little bit later and the fifth interval of the scale. Okay, So 135 So if I wanted to play E major quarter, I have to say, All right, so where are these notes on the front board so I can play them as as a court, Right? And the answer that is their right here on. I'm gonna be explaining this and breaking it down. I just want you to hear this for now. Okay? Here. That that is the first of E third of the and the fifth of eat played together. I think the only thing that's happening now is that my fifth is down here. And when I say down, I mean because it's a lower No, its lowest note that's being played. This is my one, which is my e remember, are active. Right? So that's a five. That's a one. And this is my third. Right. So there you have it. A e major triad. Okay, now you're probably thinking all right, But how am I supposed to know where all of these triads are on the guitar? Like you're probably freaking out now. Another try it is. Here. Here, another tribe is here. Don't freak out. I have a very, very structured way that are going to be showing you this. Okay, so just don't freak out. But for now, know that access, any key, the intervals you need are the one, the three and the fine. If you want to play them as a court, right? As a triad, a triad. Really easy. Just accord. Right? So it's the most simple way of constructing accord. Other than 1/5 right one, we'd skip the third, and we'd play the fifth right away. That would give us a power cord. We're only playing the one and the five. OK, E. Right. Here's a rude No. Here's our tonic. Okay, so I hope that this is making sense now, Um, again, hopefully you know the scale Really well. And you understand that now, to build accord, we need to try and which consists of three notes the first, the third and the fifth. Okay. And these triads can be found all over the guitar. Okay, so we're gonna be exploring that in more depth now, in the next lesson. All right, See, there 7. Introduction to triad islands: All right. So how are you doing so far? I owe you an apology. I just rewatched what I've recorded so far. And I realized that, like, really serious When I'm talking about this music theory stuff, I don't know why I'm getting so serious. I just want to apologize, because I'm kind of like, Do you need to know this? So my apologies. I'm going to try to just chill out a little bit now as we move forward. Okay. So now we really know the most important, you know, stuff for our recipe here of court construction. Right? So by now, we've hopefully really got the major scale indoor system. We understand the formula we've got into our year. You understand? This is the one of the two movie 34567 barn. Right. So these are intervals that we're accessing, right? This is the 1234 Okay. And then we're gonna be taking these the one the three in the five for now. And we're gonna be using that to access our most basic try out. Other than the power cord, which is the major or the minor tried. Okay, so now that you know how to access that? Let's just focus on the intervals that we have accessed so far. Okay? So so far, we've just done natural intervals. We haven't flattened anything or sharpened anything because you could take the third and you could flatten it. And I'm gonna be telling you all about that. But not yet. For now, we're just gonna focus on these these natural intervals. Okay. So, as I told you, you can now play, um, Triads with this information that we have. Okay. So rather than memorizing where all of these intervals are kind of drive yourself crazy, which sooner or later you're kind of gonna have to do. There are some shortcuts now that we can use to access them without, you know, just mentally going insane. Okay, so I'm gonna be showing you three major shapes now. And the beautiful thing about thes shapes is that they are always going to be filtering out for us. The first, the third and the fifth interval of whatever key were trying toe access or whatever cord we're trying to access. Right? So until now, we've been focusing on E right? We've been saying he is our center note, and we're building cords around E. Right, Then, of course, later on, you can also build court progressions around E. Okay, but for now, we're just focusing on building cords, okay? And years their center. Okay, So let me show you these cool triads now that I'm gonna do a close up in Children to even even closer. But let me just explain it to you for now first. Okay, so there's thes three major triumph shapes that we're going to be learning and memorizing. Okay. And the beautiful thing about these triads is that the intervals within them are always gonna be 13 and five. Okay, already said that. But the more important thing that's gonna make this easier for us, it's gonna make our life easier, is that the intervals are always going to be stacked the same way. Okay. And what I mean by that is we're gonna be calling this the shape because it looks like a major and is the major. We're gonna be calling this d shape because it looks like a D. Except now we're using this shape to play e OK, so that's our second shape. Were learned the shape the D shape and a shape then after the A's shape. And this again is called a shape because it looks like a major. Except we're now using this shape to access e. Okay, don't get confused. We're gonna do this very, very slowly together, and I'm gonna explain everything to you so that you understand. Don't try to overthink what I'm saying. Just just try to kind of listen, Okay, Take it in. Okay. So, e shape, I'm showing you where they are D shape. It looks like a d, But I'm really playing e. We're gonna call it the D shape. And now a shape. It looks like a but we're really playing e. And then it repeats shape repeats. Okay, so those are our three shapes that we're going to be learning exactly where they are, and we're also going to be very focused and conscious about intervals that were accessing right now, you know, intervals are right. Okay, good. That's great. So the beautiful thing about these three shapes now the U shape booth D shape on Isha Asian is that we're accessing the same intervals all the time. Let me explain. So my lowest note or the note closest to me is always the fifth. Okay, remember that scale 12345 The fifth is always gonna be our lowest note. Always with all three of these shapes. OK, the middle note is always gonna be our root note or are one. Okay, so it's in this case, E right. So that's always gonna be your middle note and the highest note, right? I'm saying high because it's a higher note is gonna be our third. Okay, So 135 were accessing that 135 as we already learned. Except now we're accessing it in try. It's OK and the cool thing now And the next thing that you're really gonna have to memorize , you have to memorize this. There's no way around. It is We're always always, always with these three shapes playing 513 I'm talking about intervals. So the fifth interval of E. In this case, it works with other keys to, but we're just gonna focus on even now. The fifth interval is always the lowest note or the finger closest to you. The note that's in the middle is always your one. Your e and with bottom notes. If you're looking downwards or the highest note as faras, the pitch is your third. Okay, so remember that 513 Play with me. Okay, so 513 51 3/5 interval of E The one the root of e and third. Okay, remember that because it's really important. OK, so that's our issue. Now, the really cool thing here is that when I go down to the d shape, the intervals stay the same. 513 So now the note that's closest to me or the lowest note in the Triad is again five. Then we have our one in the middle again and we have our third on top. I'm saying on top, because the highest note. I hope that's not confusing you, but in music, that's how you speak. This is the low note or the bottom. And this is the high note because it's on top because it's a higher pitch. Okay, just so you know why I'm using that terminology. Okay, so the lowest note is the five again. Then we have the one and the three. Same as we had here. Isn't it beautiful? 513 513 Say it aloud with me. We're gonna do a close up in just a second to I just want to kind of talk to you other. Explain this And now, at last shape, which is a shape again, we're accessing E. It's a beautiful thing again. Intervals are 513 and this is gonna be really important in the future. Okay, I'm gonna be explaining it to you. Of course. So 513 51 Sorry, 513 But then here again, 513 So one more time together. 53 three. You can hear what sounds the same, right? 513 Then we're back in October 513 octave, right. You could keep going really high. So I want you to do now Is just with your ear here that I'm playing the exact same thing just in different registers its higher or lower. But the notes are the exact same note. So I was only playing three notes every time, right? I was only playing the triangle. OK, so now what I want to dio is getting too close up with you and really slowly walk you through this. And of course, I want you to get your guitar, and we're gonna play along together. OK? So this can really start to sink into your system. Okay? And I can already hear you thinking to yourself. All right, Henry, But this is just E What about if I want to play a or G or, you know f right? Good news. The system never changes, and I'm gonna be explaining that. But I just want you to get this in the key of e for now, because once you've gotta in the key of E, you're gonna get it for all of the keys. Okay? We just have to master this one key first. Okay? I hope that makes sense. Let's get into close up now, in the next lesson, And we're gonna walk through this really, really slowly together so you can really start to get it under your fingers. See, there 8. Triad islands close up: All right. So welcome to the close up. So again, we are Onley accessing e major triads now, Or you could call them e major chord, because that's what they are. They're e major chords that were playing. So I'm starting here on our first shape, which we're gonna be calling the e shape. And I'm playing the fifth string, the fourth string and the third string. OK, so, again, this is my fifth of E. This is my one or route notes, and this is my third. Okay, It's really important to remember that because we're gonna be able to change these try ads , and we're gonna be thinking in terms of intervals to change them so that we know how to create a minor court, how to create a seven court. And so that's why we need to know exactly the names of the intervals that we're accessing. Okay, so 513 this is our e shape. Now let's move down to the D shape. Right? So it looks exactly like a D major. Except now I've pushed my d major 12 frets ahead. Okay, so my first finger is on the third string four threat my ring finger is on the second string. Fifth fret and my middle finger is on the fourth, um, frat first string. OK, And again, I'm accessing the fifth animal. First, the note that's closest to me where I am in the middle is always the one. It's a beautiful thing and never changes. And here on top, I'm gonna call it on top even though when you're looking down, it's the bottom. Notes. Um, it's the third. Okay, so 513 And now I just want you, Teoh. Play that just those three notes. Then go back up to this one on and play these three notes, you know, 513513 Say it with me. You know, 513513 go back and forth. Listen to how it sounds. See how nice that is. All right, now let's move to our next one. So before you move on, you know, in your practice, make sure that you kind of get this distance down because the distance between the three shapes R E d. And a shape is never gonna change. No matter what, Kieran, right. It's never, ever going to change So now let's go from our D shape over to our A shape. This is now on the ninth fret. Okay, so let me focus it on the ninth. Fred here and now, Just listen to this. 513513 Again, this is the fifth interval. This is the first, or E. That's a fun and easy way to find email any time, right? So that's your e You're one. And then here on top again, I'm calling it on top because of higher notes. This is the third. Okay, so 513 513 513 Okay, I know what you can do is just played these triads and get them into your system, okay? And get them in your year and get a feeling for the distance between them, because that distance never ever changes. Okay, And I'm gonna explain that when we move on to other keys, but it's just really important to master that the key of e for now. Okay. Okay. So I last shape is one that I already showed you when we were learning the scale, and that's this one. Okay, so that's exactly the same. Is this just octave higher. Okay. 513 Okay, so 513 51 Here, let me hold it like this. So it's clear that I'm only playing three notes. 513513513513513513 You could keep going for 13 513 Okay, So your homework now is to really just memorize that the five is always your bottom notes that the one is always in the middle, and the third is always the highest note or the note at the bottom of this shape that you're holding. Okay. So really remember that cause that's crucial information. The now where you're always gonna know you're gonna have these little islands of intervals that you know. Okay, so if you say I want to know where the third is of e. But I don't wanna have to count every time you could say All right. Where my shapes? There's a shape here. There's a shape here. There's a shape here, so that means 1/3 of ease here. Right? 123 Remember how he counted the beginning? So 123 or you could say there's 1/3 here too. 321 Right. 123 So instead of always needing to count 123 to find where the third is, you have these little islands of intervals where you're sure that this is the fifth. This is the ones. The third 513 513 Right. Okay, this gets really important when we start building minor chords. Okay? And I'm just gonna show you a quick example now so you can see the power of this before I explain more about the intervals. So 513 How do we access a minor chord? You may ask yourself. Well, the interval formula for it is 51 minor three. So I'm just taking the third and I'm flying at 1/2 step. Listen to the power of this now. 513 Very major sounding. I'm just gonna flatten this note, go 1/2 step back, and that's giving me a minor third, which I'm gonna be explaining later. 51 minor three. Listen the difference. And if you look, that's just the e minor chord, right, Aziz? You know it. All we did was we fly on the third and we're going from Major. Major, All I have to do to get a minor chord is flying the third. You're playing minor. Okay, let's try that on our D shape. Eso again? I'm playing a E. This is a e chord here. Okay, 513 Now, if I know to get a minor, I just need to flatten the third and everything else stays the same. I know that the third is here, right? I've been trying toe pound this into your brain for the past 10 minutes. So we're just gonna fly in this. Everything stays the same. Listen to that difference. That's e minor. Ah, very interesting way of playing. Rather than playing here, you could just access it here. You could move from Major two minor. Okay, so you see the power of knowing where you're intervals are. Let's go to our last island 513 So I know this is 1/3. I know toe access, a minor chord. I just need to flatten the third and everything else stays the same, right? You minor. Okay, so let me just give you that. The difference between major minor things is all minor now do here too. Okay. So let me just play it one more time. Using Major 513 Now, this is the normal third, not the flattened. Third. Let's plan that third difference. Just that one note change makes Okay, so that's the power of knowing where these little triad islands are. Okay. And these are the three ones that I really wanted Teoh to master, because it's going to give you total control over the front board once once you get this. OK, Okay. I hope that this lesson made sense again. This isn't a quick little lick, Lis. And spend time on this, Really learned this, get it into your system. I remember when I was learning this. I spent a couple weeks just just playing these triads and really, really getting to know where they are. And I've used that ever since. I've used these little islands of triads ever since, you know, for years and years, you know? So get this really into your system. I promise you, it's really worth it for your entire life. You know, as a musician, okay to you. The next lesson. Help you like this one. Take it easy. Bye. Bye. 9. A quick review: or a So how are you doing so far? So I just want to recap quickly what we've done so far just to make sure that we have a nice, clear understanding of what we've done here. Okay, So basically, we chose the key of E and we started on E because that's the key that we chose. Then we used the magical formula to filter out the major scale, starting with e. Right. So any time you use that tone, tone, half tone formula, you access the major scale of the note that you start with, right? And that's what we did. We started with E. Then I showed you. And then that, of course, accesses the intervals. Right. This is the first interval. 2nd 3rd 4th and so on. That's why I told you to count them so that you really know the intervals and where they are. Okay, so we accessed the major scale, starting with E Major, using their formula. And then the first time we accessed it, we went up and down the neck. That's the first way you could do it right? And then we learned a scale shape that also gives us those exact same notes, but we didn't need to go up and down the one string anymore. We learned a way to filter out the same notes using scale shape, right. A scale shape is just a filter that filters out the notes that we're looking for. Right? So, again, we started on E. You know? Then we went 1234567 eight. Which is there? One. Okay, so we could do this with any note, Okay? We could start on the G, and we could do that. Same exact formula, and it would work. We could do that on the A. We could do that. Starting out any note, Okay. And I'm gonna be talking about that later. But just so you know, nothing changes here, Okay? Except the note that you start with. If you start with a different note thing, you're just accessing a different key. But everything else stays the same. All of the rules that we've learned stayed the same. And again, don't try to over analyze this now, just just so you've heard it. Okay. I'm gonna go into more depth about this later, Okay? Okay. So then what? We did is we said, OK, now I know where this formula is on. And I know the intervals that I need to build a major triumph, right? Try that we built is the major Triad. The Major Triad has the first interval in it. The third interval in it and the fifth interval. Okay, Again, there would be two ways of finding out what notes those are. We could go like this one skipped the to go to three. So it's this. No, it's this note skipped the forego the five. Okay, that's giving me that exact sound or it's a play in order that would be the right order. Uh, okay, so what we've done now is we've taken these intervals and we've learned how to create a major triad out of them right again. You could also take this same exact don't have tone, tone, tone, tone, half tone and start on e. Let's say start on this e note and it doesn't change, right? It's still that don't don't have toe right. You could start on any e note and could just go back and forward, right, because it's just the musical alphabet going round in circles and We're just starting on a different string, right? Because there is always in a different place, depending on what string we started. Okay? And they were accessing those intervals using the formula, right? You could go backwards. You go forwards. It doesn't matter. The cool thing about the Triads, however, is that they show us thes little islands of where the notes are on the fretboard. Right. So we don't need to always be counted way. Don't need to always be counting, because now we know where these little islands are, right on their filtering out those, um, those intervals for us. Okay. Okay. So I hope that this makes sense. Okay? We chose a key. We use the major scale to filter out the notes and the intervals of that key. And then we learned the formula that tells us which intervals we need to build the major Triad. Okay, The major triad is the major court, and I'm gonna explain this to you in the next lesson. In more depth, I'm gonna be It's really gonna clear things up a lot. But all we need for a major chord is to know the route to know the third and to know the fifth. Okay. And now I've given you these little islands. So you always know where they are, at least on three parts of the front board. Okay? And if you've heard of the cage system, this is what we're doing. Except we're only using three instead of five. And I'll explain that later to, But this is basically kind of a simplified way of looking at the cage system, if you've heard of that. If not, don't worry about this. All clarified later on. OK, okay. So important to know we've learned how to create intervals. We've learned how to create the major Triad. And very important to know is that this exact rule that I've taught you so far it works with any of the keys, and we're gonna be demonstrating this. But just so you know, by learning this what I've taught you so far in E is going to unlock all of the other keys for you. There's no more learning or memorization necessary for you. Okay? I've already given you the key to the castle. I just need to kind of show you how toe unlock it. Okay. And we're gonna be doing that. So I hope that this little recap maybe cleared up any questions that you had actually rewatched the whole course because now it's day two of shooting. So I was just kind of thinking about what questions you might have or what questions I've got from students in the past, and hopefully this is clear things up. If not, leave me a comment. I'll try to, you know, help you out. But that's basically kind of a recap what we know so far. OK, so now what we're gonna be doing in the close up in the next lesson is we're gonna be staying in E because, as I said, learning and he is gonna be the same as learning in all the other keys. The rules do not ever change. Thank God the rules never change. Okay, so that's why we're focused on even now. And we've built, you know, the e major chord, which is the first chord in the key of E right. We can also use the scale to build Mork warts, and I'm gonna be showing you that too. But I just want to go step by step so I don't totally fry your brain because it's easy to fry it with this stuff. I know. Okay, so I hope that this has made sense so far. And now, in the next little lesson, what we're gonna be doing is I'm gonna be showing you a close up of a bigger awards that you might already know on how they are really just extensions of the triads that we have already learned. Okay, then this is where it's all going to really be like, Oh, ah ha! Moment for you, I hope. Okay, So let's get him to close to now. And let's dig deeper into what we've learned so far and build on that. OK, see that? 10. Adding more notes to the triad: Okay, so now let's focus on this. First tried that we've already learned right. The first shape that you shape. And again, probably one of the first chords you learned. If you learn with me the E major court right now, you hopefully understand. But now that we have our five in here, we have our one and we have our three of eat. Right? So maybe you're wondering if you strum a e major chord. You have these open strings here. Two of the second string, the first during the sixth string. So you might be wondering. Ok, Henry, Now I know these three notes, but what about all these other notes down here? What's happening here? Where these notes a part of this court, right? And the answer to that is we are just doubling down on the intervals that we already have access in the triumph. Okay, so let me explain. So the e string is just the note e or the root or the one which we already have here. So we have that one time. We have that two times. Okay, so now you might be wondering. All right, Henry, what about this note? When I play the major court. What about the second string? Well, that is just this notes, which is the fifth a second time. So we're doubling down the notes that are already in the triad. Any time you're playing one of these big chords and it's a major chord or minor court, you're just repeating the first, the third in the fifth. I have to hold it like this because I'm holding the pick The first, the third and the fifth. You're just repeating that. Okay, And now what about this? No. Well, if this is a e, then if you know how to tune the guitar, you'll know that you tune this to E to write. Hopefully you know how to tune the guitar. So to break down what's happening in this chord this big chord. Now, this e major chord that we now know how to build right is we're playing the first interval , the e the route, right? We're playing the fifth of e right. We learned that because we know how to counter intervals, right? We're playing the first again. So that's 151 Here's our major third or perfect third, as it's also referred to. Here's our fifth or also perfect fifth as it's referred Teoh. There's all these different names. It's it's it can get confusing. Then it's a root again or are tonic, right, as it's also called. So inside of this e major chord or E major Triad are the same notes repeating over and over again. So we have our one our route three times. Okay, we have our 5th 2 times on the third way. Only have once. Okay, so three times route two times fifth and just 1 1/3 OK, so you can see we're just doubling down on that. Try a that we already access. Okay, Isn't that cool? So what about this shape? What happens? A. From playing the D shape. Does it also double down? You might be wondering. Well, the thing about the D shape is that you would have, too. If you want to play as a big chord, you would have to play as an extension like this. Okay. And if you look carefully, this shape here looks a lot like a C major. When you learn it, right, and that's exactly what it is when you learn the cage system This is what you would be calling a a si. OK, so to not, uh, um complicate and confuse you. Now, let's just look at our basic triad here. Okay? So here's our five. Here's our one. Here's a three. And now if I add in this note here, which is the sixth fret fourth string. And if I add in this note here, then when I've added is another root note. So he is my one. Double double one. Here's my third, which we have down here, right? Andi, that's that's all that we've added s. So we have the 3rd 2 times on. We have the roots two times on. Now we have the fifth Onley once. Okay, so listen to that. Okay. One, 3513 Okay, cool. So you could play e major chord like this. Another way of playing this d shape without grabbing this kind of tough cord. You know, it's not the easiest cord to play. I can play it pretty well now, but it's taking me literally years to get the strength with the pinky here. So a different way of playing that would be to play it like this. This'll fingering as it's called. So what I'm doing now is I'm just accessing the E or my route here now. Okay, so that would look like this s o. Now I have my one. My route notes. Okay, I'm playing this No. Here. My five by one again and my third. So there's two ways that we could build on this little D shape. Another cool thing that you could do and you see again. It's the same intervals repeating themselves, you know, they're just doubling in the same chord on That's just making you sound a little bit more Chamie. Okay, You could also just play thes three notes. The fifth string, the fourth string in the third string. But that wouldn't give you that nice 513 island that I really want you to know about. Okay? And I can explain why a little bit later too. So there's different ways of playing triads, but I'm just showing you three really great islands that are gonna give you a lot of clarity when you're building courts in the future. Okay, but there's different ways of playing them as well. Not just the three e a and D shape that I showed you. Okay, so that's the D shape, those airways that you could build on it. And what I was about to say before is that you could also, if you're playing with second guitar player just played these three notes, right? You don't need You don't need the whole court. Especially. There's a second guitar player here strumming around. You could just say All right, I'm not going to do with what that guy or girls doing. I'm just gonna go on. I was just arpeggio hating thes three. Okay, so there's different ways of using this shape to you Could also, um, Onley add this note. Okay, so just this one and leave this one out, then you'd have third. The third would be your bottom knows. OK, okay, So there's different applications with these triads. You can get really creative with them, especially with another guitar player playing. You could just come in here and play something a little bit higher, right? Stand out. Okay, so that's the D shape. We covered the shape we covered the the ship. Let's do the last little islands that I want you to know about. And that's a shape. So let's do our comment Extension. Okay, so now you can see I added to notes. I had this note and I had this note. So what intervals are do they have? What is that? So this is another e year? I'm just playing the right again. What about this note? Here. This is the fifth repeating. Okay, so within this cord, that men have you already? Probably. Maybe no. And use depending on how far along you are. You are just accessing the same notes two times. So again, 11 five way have the third Onley once. See that? So, those airways that you could just build on these little islands that I've shown you okay on now, the really great application for these islands. Um, I'm gonna be showing you in the next lesson, and we're gonna be using them to modify our cords and turn them into suss cords, minor chords, seventh chords, major seventh chords, Um, and so on. So these little islands are really going to give you a map of what's going on. Okay, so what I recommend to do, of course, is first master. These 513 is right and then really try to remember the intervals of these extended one's right. Or these these chords that you normally see people playing right. So just know that here's your 513 Here's a one. Here's a five, you know. Here's a 513 If I play like this, here's the three. Here's a one. Here's your room. No, right, Here's the e. Okay, then, of course, here also just kind of remember, Here's my one. Here's my five. Here's my one again. And that's gonna create a lot of clarity for later on, when we're playing seven chord suss cords and so on, right, because it's just a different formula, Um, of intervals that you use to access those courts. Okay, so we're gonna be checking that out simply a simple version of that in the next lesson. All right, get this under your fingers. I hope it made sense. Just realized that when you're playing these bigger cords, you're just doubling down on the same intervals that we used to build the major court right , The 13 in the five. That's the major triad, and that gives you a major court. And in this case, We're focusing on the court. Eat is our center note. Okay. See you the next lesson. See you there. I hope this made sense. 11. Minor triads: All right, So now hopefully, all of this is starting to make sense, and you understand how to build courts. Right? So we learned that to build a major chord, we need our first, our third for a major third, as it's called sometimes and 1/5. Right? So that's what we've been doing so far. Would be doing 513 over and over again. Right? And that's giving us a major chord. Right? Or major Triads. So what about building a minor chord? What do we need to do to get that? Well, the interval Alec formula for that is the one right in our case, E cause we're building e chord here for now. And we're working off the e major scale. We need the minor third. Okay, I'm gonna be showing you how to access the minor. Third and the fifth. Okay, So those are the two kind of main triads that you'll normally see. You'll see a major triad or a major court in a minor court. Right? Those are the most simple kind of basic chords that you'll see and formula to access. Those is for major 135 and from minor one flat 35 Okay. And that never changes. No matter what, Kieran, it's always always, always going to stay the same. So where is this minor? Third? How are we gonna access it? I already showed you this briefly before, but let's go through it again. So now we have our one or five or one. Our third are five in our one again, right? So to get a minor third, it's really easy. It's just one fret back, right? Or 1/2 step back or 1/2 tone back, depending on the terminology you choose to use. Okay. So just know, any time you're playing 1/3 513 if you just go have stepped back or flatten it as we would say as well, then you're getting a minor third, okay? And that is the formula that's going to give you a minor court. One minor, 3rd 5 Okay, so you can hear now, just by releasing this note, I flattened it 1/2 step. We're already sounding very minor here on this is the e minor court, as you know it just now you know how it's built. Okay, so we're playing the one we're playing the five or playing the one playing the flat Third were playing the five again, and we're playing one. Okay, what about if we go to our d shape? I already mentioned this before, but let's do it again. So now we have our five r one and r three. We're gonna flatten third, which is always, always, always this never ever changes 1/2 step back from the third. Okay? It's always gonna be this distance. That's the beautiful thing about intervals that they never change. The distance always stays the same. No matter what. Keir in the distance is always the same. Okay, so minor Third. Okay. It's also called a minor third. So 513 minor, third flat. Third. Whatever you wanna call it, Okay. Extensions to that. If you want to play. I mean, it's not easy. I have to tell you would be this not that easy to play. Right. Um and that's really the only way you could do it. You could Yeah, yeah, yeah. With this d shape, you know, I would just play it like this, or if you want to really, you know, risk it. You could go like this okay. We could I guess you could. Also, if you want to play the minor third here, all right, because we know the third is here from before, right? I showed you that shape before you could play the minor third here on Grab the root here. That's e minor chord. Now that you know how to count your intervals, you can kind of count that or see that we know our little island is here are five or one third was here where you could count from 1 to 3 flatten third. Right, So that's 51 flat. Third thought. Then we just need our roots. Right, Which is here. That's e. Okay, I actually haven't played this fingering very often all But now that you know your intervals, you can get creative with building your own courts because you know the formula that's going to give you that that color, right? You know, the interval IQ formula for you could also just put the open e with it works. You could play this e here to rights. You could go. So just you can see the power of this knowledge now that you know the formula to build different chords and you understand how intervals move. You can get really creative with building your own courts. Okay. Okay. So let's kind of did the D one is the kind of hardest one for now, but we're gonna We're gonna move on to the A shape, and this is one that you'll see all the time. Okay, so these to the shape a shape are ones that you see all the time. Okay. So again, 513 If I want a minor chord, I'm just gonna flatten the third. Okay. Before we learned that our route is here, this is the note, E. So that means we have a one. We have our five. We have a one again. We have a flat third, and this is the fifth. Okay, so here we go. You hear? Now, I went from Major. Okay, The fifth is double again. Way Have the roots two times on just one minor. Third in there s. So how cool is that? Now we know how to play the e major in different places where you can play like this. You don't need to play the fifth here if you don't want to. You could just borrow down on the 2nd 3rd and fourth train and take the route again if you want. Or you could leave the root out a second time and just play the triumph. You know, there's a 1,000,000 things that you could dio Okay, so that's how you're gonna access Major Minor. Fourth. And this is a standard chord that you'll see all the time. And now it just think about this for a second. If I take the shape and I just walk it down Look at that. A minor, Right? We're using the same principle here, but now we're focusing on a as a root note. Same shape, just a different route. Note. 513 or minor. Three of a 513 of a right. It never changes. I'm gonna be going in more detail later, but I just wanted to blow your mind. They're a little bit first. Okay, It's time to blow your mind. Okay. So I hope you can see the power of this now again. I could go here, which is octave of this. And now, to get those other notes, I would have to play a bar chord. And there it is. There's our Barkley. If you look carefully to normally play this e, I would also need a bar chord. But since I have the open notes here, I do not need to use a bar. But what if I wanted to move this? I could do that just now. I have a different route Notes. Now I'm using G as my root. But guess what? Here's the five. Here's the one. And here's the three of G uys your mind blowing. I hope it ISS because once you get this, you're gonna unlock the entire fretboard and you're going to know how to modify and change these courts. Okay, Okay. So I think it's actually time to do that. Now, now what we're gonna dio I want you to For now, stick to this E major triads, modify them a little bit. Really. See what's happening here. Kind of trying to remember that this is a route. No, this is the one. This is the fifth in this case. This is the one that's the fifth. This is the one to see, you know, for later, right? And in the d one. For now, you don't really need to mess with these other notes because it's hard to grab them. Okay, so focus on these two more than you focus on the D shape. Okay. Okay. So let's move on now. And let's now check out the power of this using another key. Blow your mind. 12. Different keys and how to think of them: All right. So how are you doing so far? I really, really hope this is starting to make sense, and you're starting to see the power of this. So now let's talk about different keys for a second here. So we have so far on Lee been focusing on E right. We learned how to access the intervals and the magical scale. Then we learned how to, you know, use a scale to access those notes would have to go up and down the fretboard. Okay, then we took those the 1st 3rd in the fifth, and we created Triad. So then we created a minor trend by finding the third right with that. All e. Okay, so now let's talk about other keys. What if we wanted to do the same thing in another key riot? Build cords? Okay, So the way that I want you to think about this is a 12 story building, Okay? So as we learned, there's 12 notes in the musical alphabet and we're gonna think of each one of those notes as one. So we're gonna be thinking of each key as own story of that 12 story building. Okay? Now, the important thing to understand here is that every single story of that 12 story building is identical. Okay, so I want you to imagine a 12 story building, and every single story is exactly identical as the others. The Onley difference is the height. Okay, so everything is the same, except the height changes. Okay, So that would mean in music that the pitch is changing the height of the pitch, depending on what key you're in. But the inside every function of every story of the building is exactly exactly the same. So to put this in musical context now, let's say we're starting on the note G. We would use that same exact formula to filter out the intervals. We would go tone, tone, half tone, tone, tone, tone, halftime or whole note, whole note, half note, and so on. Right then we'd say, Okay, I'm gonna take that formula, and I'm gonna access the first, the third and fifth. And that's how I'm gonna build a G major court or G major triumph. Remember the cords and the trials with same except accord, like a big bar chord. Just has notes of the tribe. Multiple times in it. OK, so that's how you would then build a G major chord. What if you wanted to build a a major chord, You would say, OK, I'm just going to start on story a right. And since the building is exactly the same, no matter what story you're on, you're just gonna be starting at a higher or lower pitch, depending on a where a is compared to what you did before. So you're gonna take that same exact formula on A and they're gonna go tone, tone, half tone, tone, tone, tone, half tone and that's gonna filter out the intervals. Then you're going to see great. I know where the one is. I know where the three is under where the five is. Let's build a major chord. You could do this with the e with f with the g sharp with any of them. Okay. And that's the beautiful thing. And that's why I said before that mastering E is gonna unlock everything else, right? Because every single storey of the building is exactly the same. You know, nothing changes except the pitch right. You're going a little bit higher up in pitch or a little bit lower and pitch depending on where you start. But it's exactly the same. Okay, so really trying to understand that. Okay, 12 story building, every single story is exactly the same. The same furniture, the same everything. Nothing. Nothing. Nothing changes, except you're a little bit higher up or you're a little bit lower depending on where you start. Okay, So really try to let that sink in. The formula works everywhere. So if you start on a G, you can do your tone, tone, half tone, tone, tone, tone, half tone, and that's gonna filter out the one that three of the five G. If you say you want to know how to build a G minor chord, you're gonna use the same formula, and you're gonna just flatten that third as we already did. With eat, you're gonna play one minor, third and five of G. If you want to do it in a you're going to start with a you're gonna go tone, tone, half tone, tone, tone, tone, half tone. You're going to say 135 that's gonna give you your intervals. Then you're gonna build a try at after off of those news. Okay, So now you've heard this in theory, let me show you a couple examples of how this looks on the guitar. And then we're going to start to play some cool, simple court progressions. And that's where it really start to click for You. Okay, I know this has been quite a bit of information, but if you just take your time with this, don't think of it as a one day project. Think of it is like one month project and really focus on it. As I said in the first lesson, then this is really gonna open your horizon. You know your musical horizon a lot. Okay. Okay. Let's get into the close up again and let me show you the practical application of what I'm talking about here. All right? 13. Let's take a look at the key of A: Okay, so now we've really focused on the e the Kiev e a lot. And we've been building our e triads all over the fretboard. What if we wanted to access a the key of a now or if we wanted to build a cord? Let's say OK, so all we have to do now, since we're on the a story of that building, right? It's the same. All the rules to the same. Except now we're on a different story. We are going to be starting with the note A So one way of accessing that would be to go to your note a and then do that tone, tone, half tone, tone, tone, tone, half tone formula that we already learned to read. So this is our one of a things are 2345671 Okay, Now, if you want to build a try and we need our one, we're gonna skip the two we need are three. We're gonna skip the four, and we need our five. Right. Well, here's our one. Here's a three years or five in the shape of a triad. Now, we already got to know this triad pretty Well, we were thinking in the context of a But guess what? All of this stuff that we learned works in any key. So now we're just accessing a okay. 513 of a. So it's not changing. Our little islands of intervals are not changing at all. It's just a different story of the building. The pitch is changing. We went higher, lower, but everything else is staying identical. Okay, that's really important to grasp. And you will grasp it if it's still not clear. So 513 of a Okay. Now, of course, we could also, if we wanted to filter out the notes. So we went. 123456 on. Hopefully you've been practicing this. Another way to get it would be starting this. A one is open. A 23456 Right. You could start anywhere. It doesn't change. Nothing changes. Then the little islands filter out. You know where where they are. Okay. And I'm gonna be showing you this and more depth. Okay, so that would be the one way of filtering them out. Remember the scale that we learned we started with E. I told you You have to really know this like the back of your hand. You could do the same thing here. You could go. Same Same exact shape. Scale, shape. Just now we have to start with the note. E sorry with the note. A right, Because we're trying to filter out the intervals of a now because we're trying to build a chord before we're building the e chord. Right? As I said, nothing changes except this story of the building that you're on. And now we're going to the A story. Let's say and we're going. 12345671 Okay, if I want to build a triad, I need to go here. I'm gonna skip the to I need to go to the three. I'm going to skip the four, and I need to find, So these three notes are the notes that are in my a Triad. Okay, so now let's check this out the way that we did with, um with the key of e red. So now we know how to filter out these notes, and now we just need to know where those little islands are to make it easier on ourselves to find those intervals all over the front board. Right? That's gonna be really, really handy for us. So what we're gonna be doing is we're gonna be using the same principle as we did with our E in the key of E starting with the shape. Now, we're going to start on the E shape again. Okay? Except now I'm using the E shape to play a major triad. Okay, check out how cool this is now. So now I have my five, my one and my three. Just now we're playing a major triad, okay? And it moves the same exact way as it did. We're playing it using the e chord. Okay, so now we're on a triumph. If you remember before we were playing the shape after the D shape. Sorry. After the ship came the D shape after the D shape came the in shape. Well, guess what? Music works as a 12 story building. Nothing changes except where we start. Right. So we're gonna cut on the shape that we're going to D shape. Sorry. There were the shape. So, uh, behind the e shape, if you remember, is a shape. Okay, so it never ever changes it. Never ever changes. If I start here in front of me is gonna be my D shape behind me is gonna be my a shape. If you practice this, then this should be making quite a bit of sense. I can't really grab this one. Sorry. Uh, hard to grab that one. OK, again, we could do the same thing as we did before. Now I have my one here. It's doubling down. I have my five here, as we know from the triad 513 right. I have my one year again. I have my three year five year and my one here. Same exact thing is when we played the E just now we're playing a Okay, so I hope this is making sense now and now what? I want you to dio. Hopefully you did your homework with the tribe right Now do the same exact exercise and move all around. But now, playing the e major tries, it sounds really musical, right? This'll it's hard to get a camera to get that one, but play around with that and then the coolest thing in the world is gonna happen. We're going to start to play e major a major back Teoh on then Teoh way could do variations e do the to the A three. So once you've got a good grasp on where these triad islands are, you can start doing them all over the front board using different courts. Okay, But first, take it slowly. Really. Get this under your system. You see, even I made a mistake before when I was trying to talk and explain it. But you just want to get a good feeling for where these are. Then later on, as we learned now we're playing a right a major chord. 513 of a If I want a minor, what do I have to dio? Let me know. Think about it for a second. We have to flatten the third, remember? 513 So what am I gonna do it to get 1/2 step back from the third? I'm just gonna go to this note so I just have to remove my middle finger. E minor. How cool is that? 151 flat. 3rd 51 What if I want to turn this a into a a minor 513513 Sorry. 513 I'm talking fast for some reason. I just need to flat. I'm excited. I just need to fly in this third here, as we did hear, If you remember, I got the pick in my hand. Same exact principle. Just now we're thinking in a and not a e, right. 513 of a 51 flat. Three of a OK, a minor as you learned it, right? A minor player. Bar chords. You've been playing the same minor for a long time Now. You know the theory behind and how to access that theory. Okay, Same thing down here. 513 if I want a flat in the third, as we said, that was a little bit tricky. You could get your way here. You could play opening here. That's my one of a That's my five. That's my one again active. And here's the minor. Third, if I want to play a major, I could play it like this. Two of our. So I hope you're starting to see the picture here. I know it can get confusing, but if you just take this on, start doing the a e chord e tries all over the fretboard and really get that sound and that distance into your system. And then you started doing the same with a Something's going to start to happen. Then combine E with a right. You can do it just with one shape, right? That's the D shape playing you. That's a D shape playing a, uh, you could do with a shape s so I could start to play a court progression. A starting with a I am using my fifth string is the root note base 16. Okay, so start playing around with this. Don't be afraid to make mistakes. Don't be afraid to get lost, but trying to really start to make these connections. Okay, um and I promise you this is extremely valuable. Okay, So have fun with it. Don't go too fast with moving on with the course. Really? Take time to let this stuff sink into your system, okay? And become a part of your playing, ok? All right, let's move on. Now. Hope this made sense. See the next list 14. Now let's look at the key of B: Okay, So now how you doing so far? I hope you're doing good. Let's do one more just to really bring this point home. So, as I've already said, a 1,000,000 times or a couple of times, at least music is like a 12 story building. It's identical. No matter what key you're in, it's everything is the same. Except you're just at a higher or lower pitch. Right? So so far, we've done E right? We've done that E major skill. We took the first, the third in the fifth, and we built triads. Then we did the same with a This is the note A. I'm starting on the note A right. You're always gonna want to start with the root note. Eso that's 12345671 or eight of a I'm taking the 13 and five again, as we already did, right? They were. We're building those triumphs. Or in our case, we're kind of just learning where the triads arm. But that's how we know what notes are in the triad, right? That's how we access them. So they don't really just bring this point home with one last kind of example of this style is to do the same exact thing. But now, using the note B Okay, we're gonna be playing be try. It's be major tried. So how are we going to get that? Well, we know that if we start in the root note E that's how we get it for E If we use that scale , we know if we start with rude No, a That's how we get the intervals for the for the a right for the key of a or the court A. So if we're trying to get be what we have to dio Well, if this is the note A and that was a known E than to get B, we just have to start would be so 12345671 Okay, so it's the same exact shape that I already taught you here and here. Okay, You could do it on Jean. You could do it on a sharp. It doesn't matter. You could do it anywhere. And that's just filtering out the intervals of that key. Right? Okay, so now that we know how to do it in e, we know how to do it in a and I just showed you how to do it in be right. We just started with the note be Hopefully you remember the names of the notes, right? That's super important. We're gonna be building RB triads. So if you've hopefully practiced the triads, if you've practiced age rides and you have a feeling now in your system, kind of a real feeling for it, then it shouldn't be hard for you to access. Be okay. I really, really hope that you've been practicing this, because if you haven't, then it's all going to just fall apart. But if you have, then it's like this big light bulb is gonna go off. Okay? So as we did it with our scale with a now, we saw that we had to push it to France or whole tone ahead. Toe access be right. Well, the same thing happens with the triads. Remember? We have are a tried here, wear a tried here, and we have a trade here. Well, as we saw toe access be, we just have to push everything up the whole note. Right? So that means that we can just push triads a whole nut up to write. Everything stays the same. So here was our five won three in a red five won three in a 513 and a Let's do it. And being so this is a This is a sharp This is beat. So here we have our be Try it. See that? Okay, let's do here. There you had be trying trying be trying. Be trying. Okay, so you see, everything is exactly the same as it was with a Except now we're just pushing everything up to be OK E help. This is clicking for you and hopefully you're doing it on your guitar. Okay? You need to get this into your system. Right? So you see, now this is a major triad be made tribe. Right? The major. Try it. So this is the d shape be made to try it. 513 Never changes. 513 never changes a shape 513 never changes. Okay, s so I hope this is making sense. So what if I wanted to do it in? See what if I wanted to play see triads all over the fretboard? Well, all I have to know is that. Okay, this is my a Is my a sharp This is my B Hello. See? So now if I want to play see all over the fretboard e Just have to have a feeling for where those triads are, right? How they move, right. And if you've been practicing the distance between them, that's like a D shape. But I don't need Teoh. Hold the open strings. So I'm just playing the 1st 2nd and third string open on. That's a C tribe. What if I want to do it? Indeed. Well, here. See? You see sharp use, Dean. So playing d all over the airport to see how that always just repeats. What if I wanted to do it? I don't know. Anywhere. You know anything works. If you know the musical alphabet, then you can also just push your try and shapes around to the court that you want to access . Okay, so here's a try. And here's a sharp trying. Right. Here's a B. Try it. Here's a C. Try it. C sharp d Right De Sharp. As we already learned. Here's an e major chord using the age shape. See that? Okay, so I hope that I haven't blown your mind too much now and that this is starting to make sense. OK, so the shapes always move in the same exact pattern. It's always e shape to d shape a shape. The distance between them never changes. Okay, So once you get this once and then you try toe play in a different E, you'll start to see how it all is exactly the same. It's just being pushed around, okay? And that's like going to different stories of that building. Okay, It's nothing is changing. It's just the height of the pitch that's constantly changing. Okay, So in the next exercise, what I'm gonna do with you is we're just gonna play in the E shape, and we're gonna play E major, be major and a major, okay? And then we're going to be playing the same thing using the Asia. There were gonna be doing the same thing using the e shape. Okay, so just so I can kind of pound this into your system a little bit more together as exercise . Okay, so in the next lesson, I hope you have a guitar out. Let's do this together really slowly. Just cause I want you to have a really good feeling for the distance between the shapes, OK? And again the intervals within the shapes always the same. It's always 513 Okay. And there's always those extensions that you can dio. As I said, with the e shape, there's always this nice bar court extension that you could also push around, so e f f sharp. It's still 513 now, but of F sharp. Okay, now I'm in G 513 of G. Okay, okay. I don't need to always use that skill to filter it out if I know where the shapes are, and I understand that I could just move them around. Okay. I hope this is making sense. Um, all right, let's get into our exercise now, just to really get these shapes into your system. All right? See the next lesson? See, there 15. E to A to B: Okay, So what we're gonna be doing now, first of all, is we're gonna be on Lee using our e shape, and we're gonna play E b a back to e so e bom and I'm just I'm playing with my fingers. Five, four and third string. I'm just playing them and then I'm coming down the strings. In case you're wondering what I'm doing Something be Teoh back Teoh be being to the a couple more times e e e b b e to the A and and again, we're only playing the triads. But you could play. This is a whole corps to you Could go. I'm using this just to show you that it would normally need to be a bar court. But I have those open string, so I don't need to bar. Okay, so e to the And now I'm just gonna take the shape, slide it over to be all right. Uh, no, he Oh, okay. So way, Way to B. B to a Okay. Again, Only try us to be be not a a backed e s o. Do that on your own. And now let's do the same exact thing. Just using the A shape. Okay, so we're gonna start on E, right? Do the being and a Okay. He on extension of this would again be this. Okay, barring down here on the seven threat. So that's e to the being on and then to a I'm barring here just so you can see. But I wouldn't normally need that bar. Okay, But just you can see you can move these triads, right? So e to be on then, eh? Let's just to try it to the bean on, then to a back to being to the being on, then to a Okay, let's do it with D shape starting on e E to the B on, then to a extension of this would be this, but this is a little bit hard. I'm not sure if you want to try to grab this one. Let's just stay with this for now. So e to be on then, eh? Mm. Do the being on then to a on now. What I want you to try to do is mix them up. OK, so now what? I could dio once you give a feeling for where they are, right, start mixing them up. Play here to the B on then a do it together again e to be right. We practice this to a let's try different variation. Let's play here again to be on then to a Let's play E over here now, e to be on then to a do it again to be on then to a let's try to do it like this, you hear t b Then today you have all these possibilities. Now see that you can move all over the front more freely to that on, see what sounds good to your ear. You might not like the movement of me to be a if you play beat a here, you might like to sound more to go like this or to go like this. A So that's beat a B to A B to A. You have three options so you can see what what sounds good to you. So hopefully you're starting to see that this is gonna give you freedom all over the fretboard once you've you know, put in the time you know you're always gonna know kind of wear 1/4 is no matter where you are, you could play the year. All right, here. So I'm on the 14th fret you could play the the year you could play a down here if you want , or you could go E o you play to be here and then a year, right? So there's a 1,000,000 things you can do now that you know how to do this. It's up to you. Okay, So do the practice exercises that I just did together with me slowly, a couple of times. You can slow down the video if you want to. If you need Teoh or just watch it a couple of times, right? This is an interactive course. You know, Just play with me and then turn off the video and just play, you know, on your own. And really try to get this music into your system and really internalize the distance between the shapes. Because once that becomes second nature than everything else just starts to flow because you don't need to constantly be using your left brain, right, because you you don't need to constantly be analyzing everything. It just kind of becomes, you know, like you can count to 10. You don't need to think about it. Okay, so I hope this is making sense. Um, the same thing. Of course you could do with minor quartz, right? You could play e minor to be mine. Day minor, right? All I did again was I flatten that third, right? You could You could try to find the third everywhere. Okay, but for now, just play in the major ones, get them into your system and really get a good feeling for where they are and then challenge yourself. Try to do it with G lo G a or whatever g e or Gina, like, whatever. Just play around, you know, and see what happens. Okay. Okay. So I hope that this made sense again. Be patient with yourself. And really give yourself time to get this into your system. Okay? See the next lesson. I hope you like this. Take it easy. 16. How to unlock any musical key: All right. So how are you doing so far? Let me know in the comments. I hope that all of this has been making sense, and you're starting to have a breakthrough. Okay, so what I want to talk about now, since we've only been building kind of single chords out of triads, right? Both major and minor. I want to talk now about, and I can hear you thinking about it. What about different chords That air in the same key, right? How do you know what key a song is in? Or how do you create a key, right? Not just single courts. So let me tell you exactly how to do that. Now. It's really simple. And I have a really great hack for you. Okay. You can always use this. So remember how we learned that formula. We started in the key of e right when we started the course, and we learned that tone tone, half tone. Sorry about that. We learned our So we started in the year one that we went tone tone, half tone, tone, tone, tone, half tone. So once you know that formula, there's just one more formula that you have to remember. Okay? And this is as important as the tone tone, half tone, tone, tone, tone, half tone formula. Okay, you have to know this. And once you do, you're gonna be You're gonna know it forever, right? Same as you know, your a B. C's your hard to count to 10. It's yours, and it's incredibly valuable, and you can always use it. Okay, so we're gonna be taking those notes that we filtered out using the tone tone, half tone, etcetera formula and all we're gonna need to know Is that the one? And here's where the formula comes. The one is always gonna be major to, which is the second chord in the court. Progression is always gonna be minor. The third is always gonna be minor. The fourth is going to be major. The fifth is gonna be major. The sixth is gonna be minor, and the seventh is gonna be diminished. Then your back of your one. Okay, so what does that mean for us? It just means that these notes that we've been filtering out the whole time these intervals can also now become cords that fit in a key. Okay. In our case. Now we are trying to access the key of E major. This principle works. Remember, the 12 story building in any key never changes, right? That formulas to formulas that I just told you never change no matter what, Kieran. Okay, so now I'm gonna give you the example of accessing all the cords of e major, and then we're gonna do the same things and see Major. Okay, So e ease Air One and we know major Minor, Minor, Major, Major. Minor diminished. Okay, so major Zehr One, that means e is gonna be Major Theun. That second note that we axis is gonna be our two chord in the key of E. And that's gonna be minor. Okay, are three chord is gonna be minor four chord, which is a It's gonna be major five chord major, six chord. As I said, minor. Seven chord is gonna be diminished. Okay, um, you don't really need to worry about that for now. And then we have our one again. Okay, So other than the diminished one, all of these are used all the time in all the songs that you look in pop music, rock music. You know ballads. This is how people write songs. They take the six chords. The diminished chord is used sometimes to Maurin jazz, but it's used in popular music sometimes, but pretty rarely. But the rest of the courts, other than the diminished one, are used all the time. Okay, And any time you hear somebody saying, Let's play a 1645 court progression That's what they're talking about. They're saying, All right, let's play our one right Six is here with forest here and five this year 1,000,000 songs have been written like that, right? So I e you've heard it a 1,000,000 times. Okay, that's how their access again. So just to recap one more time once you know that tone, tone, half tone formula, you just have to know that the first note is always gonna be major or the chord that you build from that first note, which is the root of E b e Major chord. The second note in is f sharp, and you're gonna know. Okay, I need to make that I have sharp minor. The next one is a g sharp. You're gonna say OK, minor, right? Because you know the formula. Next one major. Next one major. Next. One minor diminished with diminished one. You flat five, your flat five and a flat Third in a diminished chord. But don't worry about that for now. As I said, that's kind of more in the jazzy. You know, their action now that you're back at your one. Okay, so this works with any key you can start on G. You could start on f. You can start on a It doesn't matter. It's a 12 story building. Every story is identical. Just pitches changing. Okay, so now let's just take a look at this in triads, right? S So this is our e major chord. I'm playing the whole corn. As we've already learned, the root note is repeating itself. The five is also repeating himself. Okay, so we have the triad is the base, then everything else is just repeating itself within the court, making it sound a little bit bigger and fatter. Right. So here's our one. Try it or e r. Next triad is a whole step up, right? And we know that it has to be minor. So we have our 513 The third has to be flat. Everything stays the same. You could add the route. No, Here again, you could add the root note here again. You could add the fifth again and have a big bar court if you want to. Or you could just play the triumph. You would be enough. OK, so way No, the next cord Or try It has to be again. A whole step right? Most of most of past him. Right? So we started here. First movement. That's her first hole. Step second hole step has to be minor again. This is a minor triumph. The next one is 1/2 step major Triad. Another whole step Major trend. Minor tried. Okay, so major minor, minor, Major, Major minor. Again. There's gonna be a whole step. Except now I have to find the fifth to this'd diminished chord. It can sound really nice if you place it in the right place, but now it sounds a little bit weird. And then you're back at your 10-K Again. You could turn this into a big fat courts Or you could just play that drives. That is We just did that in the key of e okay. And you're going to see a chart under this video to download, or I'll put it in the video now. And you're going to see if you look at the row where it's the key of E. You're going to see that the cords in E major r e major and that sort minor and G sharp minor, e major, the major and so on. Right. Okay, so now we know how to access all of the cords that air within the key as well, right? We used that formula. So there was example one using eat. Let's just try it now using C just to see if everything really does stay the same as I've been telling you. Let's see if I'm telling you the truth. So I'm starting on the note. See now, okay. And we're gonna go tone tone, half dome, tone, tone, tone, half tone. All right. And now we know our one has to be major. Are too. Has to be minor are three d minor are four major five major, six Meyer. Seven is diminished. Which means I have to have that five in it. They were back under one. Okay, So again, I did that tone tone, half tone, tone, tone, tone, halftime formula. And then I know that my one is major. My two is minor. My three is minor. My fours major. My five major six minor seven diminished that I'm back at my one, which is in course, major. Still. Okay. Again. You could do this anywhere. You could start on a G now. Geez, my one. So, ager Minor, Minor, Major, Major. Minor diminished. See if I get it, then back to your want. Okay. So once you know this, you can easily using this formula. Access the cords in any key. Okay, You're totally free to do whatever you want with this. Okay, now, now that you know, So play around with this. I hope that this lesson made sense and let me know if there's any questions. All right? I hope that this helped you out again. Get this under your fingers. One more thing. Let me just show you the triads and see okay. So again, we're playing. See? Major Key of C Major, This is my major. Tried my 1st 1 right? That's a C. Try using a shape right now. I went a whole. Step up. Right. This one has to now be miners of major 513 whole. Step up. 51 To get mining, we have to flatten the third. Write another whole step up. Find the third major again. Major Minor diminished for the diminished. Have to flatten the fifth on this one. They were back in her one. Okay, so I hope that this made sense. Play with it on. Just try to get the concept into your brain a little bit. Okay, Uh, see if the next lesson see there. 17. More about musical keys: All right, so now we know all about technique. We know the five different shapes. And the question that I'm sure you're asking yourself is great. Henry, how am I supposed to know how to apply this to different songs? So you're gonna have to understand what's called musical keys and the key that the song is in. So up here, you can see that I have put a chart into the screen and on the top left side it says the word key. Right after that, you have Roman numeral numbers starting with one going all the way up to seven. Okay, so the first is always gonna be what's called the root note or the tonic note, and that's gonna be your one. That's gonna be the one. And that's gonna be the name of the key that you're in. So the first row we can see is a C, and that's representing all of the notes that are in, or all of the courts that are in C major. So the no center and see major R C d minor e minor, F g a minor and be diminished. So if you were to have a song that's in C major. Lots of songs in C major. You would have those courts within the song. So lots of times you hear a blues is a one for five core progression. So what that means is that the first, which is the root note or the key that you're in the number one tonic is a C. Your fourth chord is F, and your fifth court is a GM. And when I say if I mean F major and G major so see, Major is your one f major, is it four g major is your five. So what we're gonna do now is we're really gonna just focus on the key of C major. So any time you take a look at songs, if you look at this paper that I have here prepared for you, you will see that within really 95% of all pop songs, the cords will fall into one of these rows. So try it now. Take any of the songs of your practicing print out the paper that I have attached to this. Listen and you will see that most songs that you're probably playing R C major songs G major songs a major e major songs. Okay, so that's what it means when we're talking about the key that a song is in and all we're gonna have to do is just our first position to the key that we are in. Okay, so again, let me focus on C major for now. So let's say you're taking a look at songs or a song and you see that the chords of the songs are a C major, a minor A f major and G So let's hear the song is going like this to a minor to a F to a gene. That song is clearly a C major song. So all you're gonna have to know once you've identified one key, the song is in. All you're gonna have to do then is adjust your shape to that song, and you automatically gonna harmonize with it. That's exactly what we did before with the backing tracks, except that I did that for you. So you don't need to think about you were automatically playing in the key of either G minor or B flat major. So now that you have a feeling of what he is and If you really analyze your songs together with the pdf that you can print out, you will see that 95% of your songs will fall into one of these keys. So that's your kind of break Basic breakdown of what a musical key is. And in the next lesson, what I'm gonna be doing is I'm gonna be talking about a parallel major and minor, and then we're gonna be getting into exactly which shapes to start with in order to harmonize with the court progression or the key that the song is in. So if this still is a little bit fuzzy for you watched this lesson a few times, really? Maybe analyzed a few of the songs that you're playing and you will see that they really will fall into the category of one of the keys that is in this. Pdf. All right, so I'll see you the next list arse. Either 18. Relative major/minor keys: All right, So now that you understand what a musical key is Now let me explain to you what a parallel major and minor is. So we're going to stick to that first key, the key of C. And if you look at the numbers, C has the number one on it. And if you go all the way up toe number six, you'll see a minor. Okay, so C major has the parallel minor A. So the parallel minor to see Major is a minor. Okay, we need to know this because the key of C Major has the exact same chords as the key of a minor. Okay, so within the seven chords of C Major, you will also find the same seven chords of a minor. All right, it's the same chords. So the trick is, if you want the cords within C major to sound major sounding right. So if you really want to get that major sound out of the key S C and the seven chords that you have at your disposal where you're gonna want to dio, first of all, is probably start off with the court C major. So that's one really great indicator that the song is in C major. If the first chord to the song is C major, you have a really, really great chance that that is the key of the song and you'll be able to start Soling right away at sea Mejor. Okay, Same thing with a minor if you want those same chords, that same key to sound minor sounding you're gonna probably start off or you're going to see that the song has start off has started off with a minor. Okay? And the trick to getting those same chords to sounding minor and not major is to emphasize and have mawr of those minor courts within your court progression. Okay, so if I were to start a song on a minor, go to D minor, then f major G, it's still all those same chords. It's gonna have a really minor feel since I really I'm setting the tone out with the a minor that I'm going to d minor lock just more pain, lifting it up with the f, give me a kind of a little happy No, no. Then resolving it on that G so that court progression is clearly a minor chord progression . Okay, since I really emphasized and started off on a minor chord and to be precise on the sixth, which is the parallel minor to seat. OK, so a minor was now my kind of main court. And if I were the sole, I'd start Soling on a minor. Okay? And I'm gonna explain in just a few more lectures or maybe even in the next one exactly how to know which one to start. Okay, so let me just give you one more example now of the same chords within the C major of its sounding happy. So now we're doing See, Major, I'm starting off on a sea, going down to a minor, so I'm using them a minor. But I'm lifting it up now with another major chord, which is f that I'm finishing it off on the G. Eso altogether had major chord. See that I went down a liner, which is my only minor in the core progression again, Major g again, major. So even though I have that minor in there, I'm playing. See, Major? Okay, so that's how you're gonna be able to make those same chords within the same key sound either major sounding or minor sounding. That's why it's called a parallel minor, because you have the same exact court progression and you're using the same exact notes when you solo. But because of emphasis of either major chords or minor course within your progression, the song is going to sound either happy or sad. And that's exactly what I did with those Corp reverses that you were practicing with at the beginning. Okay, so I really hope this is making sense for you if it's not feel free to contact me. And, um, you can also record your question and send it per video, and I will get back to you also. Maybe watch this video a couple of times. Take a good look at that. PDF. And I'm sure that it will make sense and we will make progress together. All right, so that's your kind of explanation of how to make the same court within the same key sound either major or minor and why it's called a parallel major. Parallel. Minor. Okay, see in the next lesson. See, there 19. Introduction to intervals: now. Now, you the next sequence or the next phase of this course. So until now, I just showed you we started out in E right, and we used our magical formula. We went 1234 Right? We did that. But I only showed you the 123456 to 7. And the one I did not ever talk about. What is in between those. Okay? And that's what I'm gonna do now in the close up. So basically, there are 12 notes, right? So that means that there's also 12 intervals. All right, so, um and that's that's what's happening. Anytime you see 1/7 chord or a major seventh chord or a flat five chord or a raised five chord, that's what is being referred to those intervals. Okay, so basically, you're gonna have to learn, and I'm gonna show you this in the close up. Now you're gonna have to learn. Um, not just you're 1234567 But also what's in between? Okay, So as we learned in our musical alphabet, you could either sharpen the note, meaning raising it where you could flatten the note. OK, so you could take your one. I mean, e now and you could sharpen it. So that would be a sharpened one chord. One note. Or you could say I'm going 12 and I'm gonna flatten the two. Okay? So as we learned in the musical alphabet, and it's a little confusing, I know it could have two names. It could be a sharp one, but you don't really hear people say a lot, but it could be a sharp warm, or it could be a flat two. Okay, we're do this in the close up. But just so you know, um, those are kind of the missing pieces. Then after we take a look at that and we kind of analyze it a little bit, I'm gonna be showing you finally. And that's kind of how we're gonna wrap up this course. I'm gonna be showing you, Um what's a suss accord? What's a suss to what's this us for? How are we going to take our try as that we've already learned and turned them. We're just gonna modify them a little bit into assess forecourt a suss to cord 1/7 chord. Because once you know, your try at islands. All you have to do is no the interval steps and you can easily modify them. Okay, Isn't that cool? Once you know those islands where they are, if you know that intervals You could just make a little tweak to the left, to the right. And you have a totally different court all of a sudden, right? So that's the power of these tryout islands. They show you exactly where your intervals are on three very specific and main parts of the fretboard. And then, if you know the rest of the intervals, you can just tweak those. Okay, So I hope you can see how exciting this is. If you can't, then we're gonna get a close up now. And I'm gonna start to show you some of the stuff in more depth. Okay, so let's move on with the course. I'll see you at the next closer. See, there 20. All of the intervals: All right. So welcome to the close up. So we're gonna be again continuing in e. Since that's the, um, key that we've been focusing on the most in this course so far. Okay, so hopefully you know, this is your wannabe Zeer to is your 345671 Okay. And again, I'm using that tone tone half tone for millet to get that right. Hopefully that's clear by now. If not, then maybe you shouldn't continue with the course yet. Go back and kind of really learn that. So you really know where they where these notes are? Okay. Okay. So 12345671 And now I've covered all of the notes on in the musical alphabet from E. T. There are no notes that I have not covered. Okay, so we've covered all the notes. The same is oclock. We did a whole circle, and now we're back. Okay, we covered everything. Um, So now between one and two, there's this note. Of course. Right that we skipped. So we have to know how to call this interval. You know, in case we see in any chord sometime, right? So the same was with the musical alphabet. We could either consider this a raised one, which sounds wrong. But if you if you played on the right context, it can sound very mystical on kind of Egyptian sounding right? So that's the raised one. That's the sound of it. If you play the open E string because that's our route and we listen to the raised one interval in relationship to E as a route, you'll hear the raised one sound right. This is the one is the to is the raised one. Okay, so we could either call this a raised one or a flattened to Okay, the same as with a musical alphabet. It could have two names. So either raised one. Or, if you're going downwards, your flattening it, it's a flat two. Okay? And again, you're going to see the that sharp or that flat symbol to know what it's being called. But it's the same. It's the same note. That's the important thing to know you're playing the same note. Okay, so that's how the raised one or flat two interval sounds. OK, so let's go. Let's keep going. 12 Now I'm going to three, which is my major third, right? And now between two and three, there's this note. Right? So what's this? This is the minor third of E, right? Cause we're were in the context of E. Now he is Our center is our one were in the key of e So 123 final, third. That's what gives me the minor sounds right? If I have ah e major triad. That's my 513 If I flan the third, just as we did here, The same exact note being Flender, right? It's Ah, it's a g sharp that's being flattened. Um, that's the sound that we're gonna get. Check it out. 513 flat in the third. And just by flattening that third automatically, I'm getting this minor sound. Okay? See how cool that is? Okay, so that you could either again consider you'll You'll see it like, 99% of the time. It's just gonna be a flattened third, but sometimes you'll see like a raised nine, because this the two could also be in nine. I don't want to confuse you, though. Let's just call this the flat Third for now, OK? You could think of it as a raised too. But you'll you normally like 90% of the time Here it a za flat third. Okay, so 123 flattened Third, you're getting the minor sounds. Okay, lets keep going. 1234 Lucky us. The four is right next to the third, so there's nothing to do here now, OK, We just keep moving along. Okay? So 123 45 Reds between four and five. Is this note. So again, we're just gonna call this a raised four. We're gonna call it a flat five. OK, the flat five is the blue note. If you're playing pentatonic, if you're playing the blue blues scale, the flat five is the note that's considered to be the blue note. That's the interval. That is the blue note. Okay, so 12345 Here's the flat five. OK, now let's go from 5 to 6. So in between five and six is again, you could say raised five or flat six. Normally, you'll see this written as a flat sixth, but you could say it's it's being a five z being sharpened, right? So it's either flat six or raised five. So 123456 Then here's that in between. Oh, it's a raised five or flat six. Okay, so let's just keep going. 1234567 Okay, so this seven, Now we're gonna have to talk about a little bit. So this seven that's in the natural minor scale. 12345671 This one is always gonna be referred to as the major seventh. So any time you see Accord, that's that's written down. E major seven a major seven D major seven. This is the note that's being referred to if you take the servant and you flatten it. Okay, so this is my five. There's my six. This my seven. So in between the six and the seven is the flat seven. This seven is referred to as the dominant seven. Okay, So any time you hear somebody say dominant seven, this is the note or the interval that's being referred to. Okay. And any time you see a seven chord written down like a seven or a B seven or D seven, any seven chord, this is the note that's being referred to the dominant seventh, the Flattened seventh. Okay, if you see major seven, then it's always referring to this note that's in the major scale. Okay, it's a little bit tricky with the seventh. That's just another one of those things that you have to remember. Write that down in your notebook, right? So 1234567 That's the major seven. Always. That's the one. And this is the dominant seven or the flat seventh. Okay, but you're always going to see this written down as just a seven chord E seven. Be seven. You know, it's always gonna be just a seven court. Anytime you see a cord and it says it, just the number seven is after it. It's always this note. Any time you see Major and then it's his seven, then this interval is the one that is being referred to. Okay, sometimes you'll see a cord like a C minor major seven there again, referring to a C minor chord. So let's just take a look at that Now here's our here's our minor triad of scene, okay, and now when you see a minor chord, but it's his major seven then it's referring toe the court being minor, meaning that has a flat third in it. But the seven, here's my one, Right. I'm gonna access the seven here. Now it's a jazzy cord, but this would be a C minor. Major. Seven. Okay, just so you know, any time, it's his major seven, This is the interval that is being referred to okay, in the and that's now in C on now, before we were learning it in E Rat. So that's just something that you're gonna have to remember. The flat seven is always the dominant seven. That's another way it's referred to where if you hear a dominant chord if you hear somebody say a dominant chord, it means accord that has that flat seven. Okay, if you see major seven, then it's always the no, that's inside of the major scale. Right, That seven interval rent. Okay, so I hope that this made sense again. This is something that you just have to cram into your brain and memorize and just play with okay and study. But once you really get this, then you're free. You can build cords any chord relatively quickly. Um, any any anywhere on the fretboard whenever you want to. Okay? This is really gonna give you freedom, and then we're gonna I'm gonna show you in the coming up lessons how to take those interval islands and then modify the intervals that already in it toe access. Thes new chords. Okay. Um, yeah. And then you're free, my friend. You're free. You can build cords, you can move cords. You can do whatever you want on the airport. Okay. Hope this made sense. Let me know if it didn't, um, and I will try to help you out. Okay. See the next lesson? 21. Mastering natural intervals: Okay, so welcome to this next very important exercise. So again, we're gonna be sticking to the key of E. And now when I want you to do and we're gonna do it together is get a great feeling for the movement between the intervals. Okay, so until now, we've practiced it in E starting on the fourth string and the note e. And we've gone one one, right? 2345671 that I told you what intervals air in between rat. But what we want to do for now, it's have a very, very good and kind of sure feeling for the distance of these intervals between each other and the way we're gonna exercise. That is on different string sets. Okay, so until now, we've been practicing it. And on the fourth string, well, of course you could do this on any string, right? So now what we're gonna do is we're starting. The fifth string thing is the note E. This is our one right on downplaying this open sixth string as ah, pedal note is what you call it. And that's just really giving me that e the whole time. So I can hear all of the intervals very clearly in relationship to their key center, which is e right, cause we're accessing e intervals now. Okay, so seventh fret fifth string. We're gonna do it together really nice and slowly, right. So starting on E, we're gonna do that tone, tone, half tone, tone, tone, tone, half tone, right. And what you're gonna want to practice eyes going up and down right on different string sets, Not just on the fourth string, OK? And then once you've kind of gone upwards, of course you could go back. Right. So this is my one. And what I'd like you to do is verbally talk about the intervals that you're playing. And I just mean, say them out loud. So 1765 Now for my hope for my next one. This isn't four. This is the flat five, right? So the open a string now is my four, Right? Here's my three. Here's my two. Here's my one. Right. So 17654 You don't have to keep going. You could go for than five again, Right? 671 and 12345671 And the point of this exercise is so you really, really get a kind of a second nature feeling for the distance between intervals. Okay, I can't stress how important that is. And what you're doing is you're training your ear. You know the sound of the major scale. You're really getting into your system. You're learning the distance between the interval so that later on, when you're modifying cords, it's easy for you to count the intervals when you're trying to modify a triad, right? So it's win win. This is a very, very important exercise. Okay, so let's try to do it now on the third string. Eso Here's the note E How do I know that this is the note? E Well, if you practiced your Triad islands E, then you'll play the A's shape here and you'll know 51 Which is he a route? No, right 513 So the islands are also always gonna show you at least on three strength where your one is where your is, right? How cool is that? So here's my e again Way played it here so far. We played it here so far we played a year so far. Now we also know it's here. We also know that this is open. Okay, the first string is opening. Okay, so let's just go now down here to the third string. Um, nine threats and we're gonna go upwards. First, we're gonna send so 12345671 1234567 wants Even after all these years, I miss sometimes. So, um, that's just shows how important is to practice this stuff. Okay, so 123456711 Again. 176543 If you practiced this string that you know that this is too. And this is the one again. Okay, so let's do it again. 176543 We know if we play this open, then it's a flat third. We don't want the flat there. We want this the to way. Already practiced this string. Right? 12 So we know this is a two. This is one. This is a seven, right? This 567 This is the one again. Right? So, by doing this and by counting the intervals, you're really teaching your brain how to count the intervals, how the intervals move. And that's just crucial for your musicianship, right? And for mastery over the fretboard and later for modifying triads. So let's do it one more time. Now, here on the second string. OK, so here's my eat again. I'm using that tried island Teoh. Know that this is E right? And I'm gonna go 123 after the three comes before, which is only half step up. 5671 12345671 That's my Egan. Right? So 12345671 one or eight. Seven, right? It's good to know seven is always right behind the one. The major seventh, right? The dominant seventh is always right behind the major seventh, right? These air connections that you want to make because these things never change. These rules never change. And you could do this in any key, right? So, again, I'm on the E now on second string 17654 I know between four and three it's just 1/2 step right to one again. I know behind one is seven. That's where my 2/2 steps happen right between three and four. That's how you get the suss four, by the way, in which I'm gonna be teaching him and between the major seven and the one. And you can also kind of here that the major seven really wants to resolve to that one. Listen, that there's this tension there and and release tension release, okay? And these kind of things that you'll start to hear, the more that you play with this. Okay, so that's your homework. I would recommend spending a week just on this. Just pedal that e note, identify where all your these are, then just move, move up and down the front board. And what that's gonna do is it's just going to expand your musicality, give you a great feeling for the interval distance. And then, um, everything else and all the other keys is gonna be much easier, because you're already gonna have mastered it in one key just to bring home the point of how all of the keys air exactly the same. Let's just do it in a now the same exercise for fun. So the cool thing now is I have the open a string right, And now we're gonna do it in a. So I need to identify where my A notes are. Well, if I know my try at Islands that I know where three of them are, right? So here's my first try it island and a 513 The one is a so I can do it now in a one 1234567117654321 Let's try our other Triad Island. That would be this 1513 Let's do it on this note. A. Right, That's a That's a 12345671 Right? Okay, go backwards to 176 five four is open again. And then you could just move up and down on that string. OK, so what about our next tried island way? Know that there's one here. So here's eight. Right, Let's play the open. A 123456 way could go back. We could say 176 5432 Brad's. Then here's our one again. So one we know that there's, you know, 1234 Fun Okay. So you can see how it works in any key. Write the rules. Never change. So, master this and e play up and down the fretboard for about a week. Just really go deep into this. And it will just open your musical kind of mind in ways that you really can't understand right now. For me, this was huge. Okay, so I hope it will be a huge for you as a zit was for me. Okay, So now that we understand how to move all across the fair, bored with our intervals and that we understand what's in between those intervals, we can start to modify our triads. All right, we'll see in the next lesson. Let's let's do that. See you there. 22. Playing on multiple strings: Okay, So just one more thing that I want to demonstrate here before we move into modifying our triads. Right. So I just want to show you what happens if you spend enough time doing what I showed you in the previous lesson. Right where we were just walking up and down. So the more you start to do this, you're gonna start to see connections between the strings, right, Booth? So you're going to start slowly, and I'm just gonna improvise a little bit. Now, you're gonna start slowly by doing the exercise. I just show you right. Then you're going to start to see Oh, look, if I combine the third with one E could play these two notes together. Or you could say, What if I play this one, which is the two of e and combine it with the four sounds nice. And that's what exactly what you can do. You can start to combine the notes that air in I e. Okay, So I was just I was just kind of doing that, So I'm just gonna I'm just gonna improvise a little bit so you can see, um, kind of what can come out of this. OK, so I'm just going to serve this note a young second string, and I can move around a little bit that I'm gonna start to switch strings, and then I'm gonna also Teoh start to use utilize our tried islands, okay? And I might stop in between a little bit just to kind explain to you what what's going on? All right, so let's just let's just do that now, A little bit, Just so you can see the power of this once you've spent some time with it. Okay, So I'm just going to start in this, you know? Here. Okay, so I'm peddling the open sixth string, right? So on bond. And you don't need to go. 1234 all the time either. Right? You can go one to the three. See that you can go. E had a little no in between there, but those work to you know, much of it was the flat seven than I had in there or whether it was the race five. But you can You can mix those in a little bit too. But for now, let me just try toe stick to just the you know the notes in the major scale. Right? So I'm gonna stop talking now and start to get my musical brain working. Okay? So try to follow me. So starting on the theme the way 53 to 4 to five over the one. So now all of a sudden, what I'm doing is becoming melodic. A nice it is way. The way that was before. That was the three. This is the one right way. Now let's combine those single notes with trying e went 1234 So I had that try it on. And then I just added a four year I kept the one I kept the five. Guess what? That's what we call the cess forecourt. Let's try something else. What if now I want to? And what if I played the Triad Island just now? With the two way? So now I combined the two with the tried island. That's a SOS to court, by the way. Thin I added a four in there says formed. Then I just went back to my try an island. We can do that here too. 513 of e. This is all you write 1234 e right thing is the one. So it says four. I can keep my tried island that I can add that says Foreign there. So listen to this melody again. What if I wanted us to? Well, 1234 for the system I needed to. So let's keep our try on. But now, instead of playing the three the major third, let's play. That's us, too. Or the to the second interval of the right. 12345671 Let's play the two way over here now. I just took my root note again. So how much Dried Island I took the route Don't. Then I just walked it down to the seventh. The major seven. You could walk further down to the sixth. You could play that again back to try around Teoh thing. So here again, that was my root of e. So I might try around. Here's my eat my route again, walking down in the major seven here I had my sess four. And then, if I know that this is my three, there's my fourth is my five. Why not just play it right so you can have your tried island and play the five here too. Why not? You know, if I know this is the one I can play the to write and s so I can have that tried island. And I can add in these notes that also in the skill right thing is my 3rd 123 If you practice the single strings, you know, this is the ones that three Try it. Island. I'm just putting 1/3 here on the base. Why not? Wait, That's my one. Right. That's your standard e quarters. You'll see it right with Asia says four minor third. Now I'm giving e minor sound If I want this us to I just have to go down to the to write one is the to. Okay, so I hope that you can see the potential and why we're learning this kind of slow cook of this is how music is built, right? It's like it's like I'm taking a motor apart. And now I'm showing you This is the carb aerator. This is you know, the piston. This is this Is that right? So you get You really are learning the bear mechanics of music here. Right? And the more you practice this, the more it's going to get into your system. And the more it's second nature, all of this is gonna become but all stars with way, Theo. And OK, so just so you know, this is why we're spending so much time on this. Okay? This is this is music. This is the purest, most naked form of of the building blocks of music right here. The way I see it, in my opinion, okay? And I hope that your years, you know, that something within you is resonating with this. Okay, so practice this now. You hopefully really understand why. And now it's time to start Teoh again. Modify our triads. Okay, in more depth. All right, See the next lesson? Practice this, though. Practiced this? Do not skip over this. All right, See, there 23. The 6 main triad types: All right, my friend. We've come a long way together. Now, let's keep going if you made it this far than your dedicated to really mastering this instrument. So congratulations for coming this far with me. Okay? All right. So now we really know the, like, the bare bones of music. We've kind of internalized it. We've played with it. We understand how it moves, hopefully, right? Or we're starting to. And now the kind of last final frontier in this course, At least because, you know, you could go really deep, but for rock and pop and even some, like, simple jazz stuff, you can really get by and everything that I'm gonna be teaching you by the end. Okay. So, no, let's talk about, um, the last main thing that you're gonna need to really master cords and master the guitar fretboard, you know? So that is understanding the formulas. Okay, that's all this left. Okay, so now you know, um, how intervals. How we access intervals. You understand? Hopefully that we can access them in any key. You just choose a key. You apply the tone tone, half tone formula and then back you through the intervals of that key. Right? Then we learned that once we have those intervals, we could also create cords out of them using that major minor, minor formula. Okay. And now the last thing is to understand when we're building cords, how to go further than triads. Okay, so so far, I have taught you triads, we've learned major and minor triads and to go further, all we're gonna be doing is adding extra notes or extra intervals to our cord formulas. Okay, um, and that's that's we're gonna be learning in the coming lessons. Okay, so now let me just tell you quickly the six types of triads, because there's different triads, and then we're gonna do some examples of the four most common ones in pop music on jazz. Okay, but in pop music, pop Armani kind of like what you hear on the radio most of the time. Okay, so let's just get into it. So the 1st 2 we've already learned which is major and minor, those of the formulas. So for Major, the formula is one major 3rd 5 right? That's the interval formula. You know that's going to give you the recipe to make that major court. Right? The major court soup, right? The rest speak. What if you want to make a minor chord? You know, what's the recipe for that? Well, we already talked about it. It's the one. It's the flat third, and it's the fifth, right? Okay, so there's forem or kind of mainstream triad types that I'm gonna just quickly talk about so you could see on screen we have diminished Triad and the interval formula. Or the recipe for that is the one, the flat third and the, um, flat Fifth. Okay. And that's one that kind of belongs to the minor group because he has the flat third in it , right? And the flat fifth. Okay. And that's where the word diminished comes from. Right? Because it's been flattened, it's been lowered, right? Especially that fifth has been lowered as well as the third. So that's making it, you know, it diminished court a minor diminished court. So that's the diminished one. We're not gonna be really using that one at all in this course, but just see, you've heard, you know, if you ever want to build a diminished chord, that's the recipe, right? You're gonna You're gonna take your try and islands and you're just gonna modify them? You're going to say All right, I know where my five is. I'm gonna find five. I know where my third is. I'm gonna fly the third. I know where the one is. I'm gonna keep that there. There you have it. You build diminished court. You know how to do it now, or I'm gonna show you how to do it now in the close up. But you understand, hopefully the intervals and how we're arriving at those intervals, right? So has already talked about between the four and five. Is the flat five, right? So you're just gonna flatten your five a half step and there you have it while out, right? Hope that makes sense. It hopefully really does. I really hope so. I haven't done my job properly if it doesn't make sense by now. Okay, So the next one is the unlamented triad again. Maurin, The jazzy room. We're not gonna be going in any depth in this course about that one, but just so you've heard it, you know the men it try it or a man and cord is a major chord because it has that major third in it. We spell it 13 and raised five. Okay, so with diminished its minor meaning that we flat third with flying the fifth with demented it's a major chord. It's days major than we raise the five. OK, hence on Augmented right. We're raising its going upwards, OK, but the diminished and amended are really more common in, like more advanced harmony jazz harmony, classical music. So we're not gonna be talking about those, but the two other ones that we definitely aren't going to be talking about are the suss to and suss four right? These ones are very common in in popular music, right? You'll see a suss to very often. You'll see a source for very often okay, so really quickly to explain suss to and suss. For, um, it basically just means the suss means that the cord is suspended right? That's where the sussed comes from. It's a suspended chord, and with that means is that it's not major or minor. It doesn't have a major characteristic or a minor characteristic in it. Okay, so that means it doesn't have a flat third in it or third because the third is what determines whether court is major or minor, right? The major third or the the perfect third natural. Third, is that 123 the minor, third or the flat Third is when you flat in the third, right? So assess to is just 1/2 step behind the minor third of the flattened third. So when you count 12 that's the no or the ingredient that goes into the suss to cord. Okay, so the spelling in that the formula for that is 1 to 5. Okay, it's all about spelling now, right? And as I showed you before, you can modify your Triad island and just and in that says two instead of the third, which is in the island. And then you have a suss to cord. You've just built one, right? You understand now how to access them, how to build them. Okay, it means suspended because it kind of wants to resolve its not major. It's not minor. It's looking for a resolution, right? And we're gonna we're gonna play without a little bit. You'll see how if you place us to it really wants to go back home to its major third, right? Wants to go there. It suspended its looking for a resolution looking for home. Same thing with the suss four. Right? So the Suss four is a raised third, right? You wouldn't really say raise third, but it's that fourth interval. 1234 Right. So all that means is that for a suss four you're gonna be counting or the recipe is 145 OK , and that's it. Those of your six basic, um, try at times and those air those air really like the heart of chords. And then what you can do is, um, you know, change them, modify them, you know? So there's also seven triads. You could theoretically play a seven triad, but commonly, when you're talking about building chords, 1/7 is added to those those basic triads. Okay? And we're gonna be taking a look at that, Aziz. Well, but just, you know, you could play a 15 major 715 dominant seven, which is the flat seven. And that would also be giving you 1/7 court. Okay, so basically, when you're building cords, you really just need to know, um, what ingredients are in that court. Okay, so if you see a suss four, you're gonna know. Okay, the ingredient that gives me a suss four is the fourth interval, right? So you're gonna take your tried island, and you're going to say All right, let me find Ah, fourth right, the fourth interval. Let me add that to my islands. And then while you have your you know, your suss for recipe done, you're so sports Super whatever you want to call it, right? Hamburger. Um, OK, so I hope that this makes sense. I'm gonna be attaching to this video A pdf where you're going to see both the recipe or the formulas for triads that I'm also gonna have a pdf where you see the recipe for all kinds of different chords, right? And now that you know how to count intervals, you know how to access those, um, you know those chords, You know how to access them? Because you understand where those notes are right where those intervals are. Okay, so take a look at that, you know, study it. It's something that I really recommend printing out, you know, study it for, you know, a week or two or three to kind of get into your system. And then when you're when you're building your own cords, you're always gonna be able to get that paper out or kind of refer by memory. You know, like what in a seven chord, what's him? Assoc to court. And then finally, finally, Finally, Finally, we're gonna also be learning what is the ninth interval? What's the 13th interval? What is all that mean? OK, but that's gonna be a little bit further down the road. Okay, I hope that this is made sense so far again, we're gonna be doing Platt practical examples so that you can see young guitar how all this works, too. But I just want you to kind of hear it before we, you know, dig in. All right, let me know if you have any questions on, I will try to help you on the best that I can see at close. See that 24. Sus2&Sus4 chords: All right. Welcome to close up. So now is when things were gonna really start to get interesting. Okay, so I'm starting on the e shape playing e chord, right? And now what we're gonna be doing is we're gonna be experimenting with modifying our triad islands the ones that we've learned, right? So again, we know this is the five. This one and this is the three. Those air, the intervals of e that we're now holding down r e major chord right again. This is the one down here. The second string is the five. And here we have the one again. Okay, so let's play around with our suss to and Suss Accords for now. So in the previous lesson, as I told you, a suss four has the first, the fifth and the fourth interval in it. Right? So how are we going to modify our island to get that? Well, we learned if we start if we if we start here that this is the one that's the 76543 We also learned that because of the Triad Ireland's we know already that the lowest note that we're holding down is the third, right? And we know that the interval Alec formula is a one of five and a four, right? Those are the intervals that we need. So that means we're just gonna take this third here and we're gonna raise it right? So instead of playing our e major are standard shape. We're just gonna raise that and go up to a four riot. The fourth interval, the fourth right of e There you have ah e suss four. Now notice how this does not have 1/3 in anymore, right? And that's what's giving it that sustained sound. It's not major, it's not minor. It's sustained On also noticed that when I result back to the how it kind of wants to go back, it's looking for that resolution. All right, one more time says for you here that how it wants to result. Sorry, my guitar was a little bit quiet. Let me turn it up a little bit. Okay. So let's try to do the same thing now with the cess to know what it's for, right? Just adding my piece. You okay with this us to now, as we learned, we need that second interval right I cannot get that second interval now, because if I flatten my third, I have a minor third, right? So that means there's no space for me to get that second interval. So that means in the case of this shape, when I'm playing E, I don't really have access to a suss to because I just can't go that far back. If I were to play a G try ab Um um, using the e shape right 513 of e if I flan the third, here's my minor third, right. That's giving me a G minor trying now to get the sense to I just have to go one step further back. So normally with the e shape, you're not going to really find yourself playing assess to very often because it's just really a reach t get to it. But what you will see yourself doing is raising that third right giving you the cess four. Okay. Okay. So just so you know, that's how you're going to be accessing, assess to or assess for right. You're gonna go a whole step down from your from your third right, and we've practiced that we've practiced moving intervals, right? You're just looking for that natural second interval of the key that you're in, right? Okay, so let's go to our next tried island. Now, with this 1st 1 in E, we learned that the suspect works really well, says to not so well cause we cannot get it right. Okay, So let's go to our next shape now, which is the D shape, right? So 513 of E right. Using the d shaped access that And now we know to get a sense for we just need to raise our third. Right. So there you have, uh, use my pinky there to raise it. You'll see this all the time with the D chord, right? You'll be playing a d. You'll give it that sets for and then your release. Check this out. If I released this finger, I'm in D now, but what a my accessing. Right. We know this is 1/3. This is the 5/3 of D. The open you string is the second interval of D, right? We could count that if we're not sure we could say Alright, where's our d? Right? There's the note D If you mastered the sixth string that you know that the first string is the same as the sixth. Right? So you go one, 765432 Right. The same as we practice it on me the whole time. That works in any key, right? The interval movement never changes, so check it out with the D shape. In the case of playing a d chord, we have the luxury of being able to release our middle finger on Have assess to way. Put on our middle are pinky will have us us for okay. See how cool that is with E. I'm going back to the key of E now or the chord e. We don't have that same luxury of being able to just release our, um, middle finger and getting that sets to what we are doing. Those were doubling the route, which could also be kind of cool. You could do that if you want to write. So to gets us to now with E in the key of E or the e chord using the D shape, we're gonna have to go down a whole step, right? Cause 1/2 step would be the flat third. The whole step is the second interval of E, right? So one too. But you could always count. But since we have our interval islands, we don't need to count. We already know that this is the third. Okay, So chicken up says for release. Now, if I want us us to, I'm gonna have to change my fingering. Okay? That's what that's what you call it. You call it a finger. Okay, if you want to fend up this court a little bit so it's not just three notes, you could player e here now added in the note again the third that I released. OK, that's a little bit hard to get. But in the case of d way have the luxury of being able to just release right e we have to stretch a little bit. So just so you know, this is how we're accessing these cool courts. Now we know how to build them. We don't need to memorize where they are anymore. We just need to know where I try it. Islands are because that gives us a nice little islands, right? Then we just modify it a little bit because we know how to carry intervals now. So let's move on to the 3rd 1 And this one is the easiest one to access both sets to and so sport. So here's Ari Major Wright says four Major, here's our deep suss four back to Dean. If you want to use us to you can grab it like this. You could add in this note, which is e the root again. Right? Okay, let's move on. Our next one is the A's shape, right? Here's a rude We're gonna play the root here as well, even though you wouldn't have Teoh. So now we know this is the five. This is the one, and this is the three. Okay, So to get a suss fort, what do I need to do? All right, I'm gonna I'm gonna ask you now, Think about it for just one second before I show you. So for the CIS, For if this is the five, this is the one that this is the three. What do you need to dio? Hopefully it's clear by now. If it's not, let me tell you. So since this is the third to get the suss four, we're just gonna raise it. We're gonna go 1/2 step up because we know that the interval four is here right after three . Right? And we're going to play a tribe. It's a suspect trap. You could grab the root here. Yem. You could make the notes sound a little bit kind of higher sounding on play this note here , which is the fifth. If you don't wanna have that big chord with the route down here, right through these air, all options you have. Okay, so that says, for I took my Asia. I know this is the 513 and I just went to my fourth interval. I know how to spell it. I know that the spelling is ah, one of four or five. And that could be in any order, by the way. Okay. The tribes could be in any order. You just have to have those ingredients. Okay. Whether the three is your highest note or your lowest note does not matter. You just need to have that in your in your in your in your soup. Let's say those are the ingredients you need. However, you stack them whether you put in the carats first with the onions. Second, that doesn't matter. Okay? Help that make sense. So with these trade islands, of course, I've always taught you try and shapes that are stacked the same way. So you have a point of reference so that, you know. Okay, at least with these three, there's consistency. Okay, but of course there's triads. You can play all over the fretboard that aren't stacked that way. I'm gonna be teaching you that. But just so you've heard it until now. Uh, now, Okay, So says for back to our major. What about says to How are we going to get that? Well, if you remember from here is the third. We need the to. Okay. Third, we need to Where's the two? Here's the flat. Third, choose here. Right. And this is the most common fingering that you'll see for a suss to court. Because the easiest one to play right. Remember, this would be a way to play. I'm in g now again, or this would be a way to play it right? I'm getting where it was. I have to count to sometimes. But yet this one, right. Um but with this one, it's really nice, because you can. Sorry, space here, but okay. You can access it like that. You could go like this. You could add your pinky. That's how I intend to play it. Because everything is just too tight if you go like this, OK? And of course, you don't need to hold this big shape anymore either, right? You could just play the tribe, especially if you're playing with the band. Right? If if one band member is down here drumming these chords, then why not? You just play a little trap? Okay, so those are where that is, how you're going to be accessing suss twos and suss force all over the fretboard. Okay. Um all right, let's move on now and let me show you seventh chords. All right, See you the next 25. 7th and maj 7th chords: All right, So now it's time for seventh chords. So we learned. And first we're gonna do a dominant seven. So we learned that for a dominant seventh chord, normally, it will have the one, the three, the five, and the flat seven in it. Okay, so let's just experiment with that now. And we could create as a triad as well. Actually, all you need for a seven court is the one and the seven. Then whether you add in 1/3 or fifth, those will commonly be used. But since a seven is so dominant sounding, it's enough to just have a one in the seventh. But let's just for now modify our chord shapes. Okay? Cause I don't want to confuse you. So again, we're in e 513 So we learned that for 1/7. What we need the ingredient that we need is that dominant seventh or the flat seventh. Okay, so we know. 513 This is there one. Right. So how are we going to get the seventh? We're not going to get it by flattening the third right, because that would give us a flat Third, we're not going to get it by flattening the fifth or by going up with the fifth, right? So that I mean something has to change with our one. Right? So hopefully you've been practicing this, and you know that behind your one is the major seventh. That's not the one that we need for our dominant seventh chord, we need the flat seven right, which is a whole step behind the one. OK, so we just count one. This is the major seven. Then if you just go 1/2 step down, that's your flat seven. Right? And if you remember in a previous list and I told you that any time you see a e seven a 77 the dominant seventh is what's being referred to write. Um, so 513 we're taking our one, and we're moving it down here to the flat seven. So that means that's all I need for 1/7. Try it. Okay, so in this case, we do not have a one anymore on. That's something that can really be confusing. And it was confusing to me a lot for a while. But if you're playing with another musician, or like like a bass player, a piano player, and they're playing the cord. Then you don't need to always have the root. You don't need to be playing the route, right. You can play other intervals that are in that court. And if somebody else is covering the route, you are gonna harmonize to them perfectly. Okay, so you don't always need to be playing the route, OK, that was very confusing for me for a while. Just the idea of playing court without a root note in it. But it's it's true, you know you don't need the route. Anyways, let's move on. So in our case, we've just taken this triad or 513 we flan, the one we've gotten rid of her one. And now we have a five. We have, ah, dominant seventh, and we have 1/3 now, of course, since we have this guitar here with six strings, we can easily just take that Triad Island that we've now modified and add in the room here . Right, Because we're not gonna be playing triads all day. Necessarily. Um, if you're playing alone on a guitar, then you're gonna want to be strumming all the strings. You know, Why not? If you're playing with the band and there's two guitar players, then it's a good idea to build smaller, tighter cord so that you're not getting in each other's way. But without going down the rabbit hole, Let's now take a look at what we've got. So we've got a one here, which is already which is the root. We've got the five here. Here's now are dominant seventh, which is the critical ingredient for 1/7 chord. We've got the third. We've got the fifth a second time. Right now we've got a one again. So we have to ones now instead of three. And we've got the dominant seven now a nice, simple E seven chord as you'll see in many books. So what if I wanted Teoh on these two extra strings here at another seventh? Why not wanna have another seventh in a higher register on? This is how you'll see it very often as well. So how do I even know that this is 1/7? Well, because of my triumph islands, I know that I have island down here, right? My d shape island. I know that this is the one right the middle. No, in the island is always a one. So if I just go down here, I know this is my major seventh. If I go down here, I know this is my dominant seventh, right? That's the one that we're looking for in 1/7 court. If it doesn't say major seven, right. So now I know that I could play 1/7 year or I could play this open D. And that's also the seventh of E. Okay, so that gives us a couple options, and I'm gonna show them to you now. So what we could Dio is we could either take our e major chord and flatten this one here. Right? Moved. Adjust this one so that it gives us the dominant seven. Or we could just keep this guy, keep this one here, and then add the seventh on top. I'm saying on top, because the higher note Okay, so now I have a 72 Or I could just double down on the seventh and get rid of this one, right? And now I have the seventh in two places, right? These are all options that you now have, because you understand what's actually happening in the court rather than just memorizing a bunch of shapes. Now, you actually know how these shapes become the shapes that they actually become, right, Because you understand the theory behind them. I hope you do. If you don't, then we're gonna get you. There s so there you have it. We took our e Island or E shape Island in the key of E, and we turned it into 1/7 a dominant seventh. So now the question is OK, cool. What if I want to build a major seventh chord? Okay, so we know that the major seventh is the note right behind the one. Right? So all we have to do now is readjust. We have to say, I'm gonna take the one. I'm gonna flatten it down and everything else stays the same. There's kind of a weird shape, like sounds kind of jazzy, But that's the major seven, right? If I wanted to add the seven on top again, it's a little bit hard, because I can't really I can't really get that. But theoretically, if I were able to reach, I could play the seventh there to allow right? No, that doesn't sound perfect. But just so you know, now you know the ingredients. You just put it all in and there's your stew that has that flavor, right? Okay, let's move on now to our D shape again. And e. Okay, again, We have this triad, right? 513 were in e. So you remember that to get the dominant seventh, we had to flatten the one right, and we had to go to the dominant seventh interval. Okay, so the same exact thing. Now we're just gonna take this one, and we're going to move it. 12 thes notes. Stay where they are, right? We're gonna have to adjust our fingers to be ableto get that shape. Right? But the only thing that changed ISAT this no went back here. Just when we're times you can see that clearly. Okay. Again, I do not have a one here anymore. I only have the five, the dominant seventh and third, which you can totally do. You do not always need to have the route if you want to take the route. If you would like to add the route, then you know that this is a eat right since you know this is an E. Why not play it? You also may be No. Hopefully that this is the sixth string is E. So if you want to, you could play the here, right? You could play the year. You can't really grab this E um you can't grab that. You could do that if you want to, but anyways, so hopefully you see the potential that knowing where these islands are hopefully could see the potential of knowing that right? How great that is. So now let's do our major seven. So again, 513 The major seven is right behind the one. So all have to do now is just bar down. I could take the one the route if I want Teoh. Or I could just say I'm not gonna play the route. Why could play the room here, Right? That is a e major seven court and you built it. Okay, so now we've covered dominant seventh and major, seventh in two different places. Let's do our last island. Okay, so we know. 513 How are we gonna get the dominant seventh? We know where the one is. We're gonna go back is the major seven. Here is the flat seven, right? The dominant seven. So we're just gonna modify a little Try it way. Don't have the one in there because we don't need it. Um, theoretically, we don't need it. Of course you could play it. You know, maybe now you memorize that he is here to write. That was the major seven. Here's the dominant seven. Okay, so I just took my 513 I took my one. I went to half steps back or one whole step. That's without the room. If I want the room, here's my route. And this is how you'll see people play often. Right? There is a typical fingering. The five is down here. I've memorized that. But if you wouldn't know what this is, you just say All right, Where's my one? Where's my e? You say OK, here's my e. What's behind the With buying the one. It's a seven. Where's my six? My six is another whole step back. And here's the five. Right, because now you know how to count intervals. Okay, so that's kind of how I think you know. I know where these islands are. I spent enough time counting intervals that I can count quickly if I'm not sure what Interval iss. Right. So and in time, you'll just memorize if you play with this Enough, right? It's all about memorization. There's no other way. Really? You know, remember all this. OK, so here's the dominant seventh, right? Here's the dominant seventh. Here's the dominant seventh or with the pinky. Okay, Um, let through the major seven. So we know 513 for major seven. I just need to flatten the one. Right. So there you have very jazzy sound in court. Now add in that sauce for because I know where it iss, right? E go down to my sons to be Oh, so it was just moving between suss four process to then I went Teoh like a e major. Right? I went back down to a my major seven. Dominant seven major seven back to the you can play around with these days now because you know where they are, right? Okay, my friend, I really hope that you're seeing the power and the potential of knowing where these islands are because now you can just build your your seven courts. Right. Okay, so let's just try the seventh courts. Um, one more way. So now we're gonna do it in G 513 of G. Here's my one. Right, E If I want 1/7 with this shape, it's really easy. I just have to remove my pinky for the dominant seventh. Okay, so this is the one is the major seven. That's the dominant sound right there. E If I want to fatten it up, I can add dominant seven here. The same as we did here. Right? This is the five is the six is the dominant. So if I wouldn't be sure, I just say, All right. Where? My island? 513 The next island is right down here. 513 This is my one. Does my seven here is my dominant seven, right? That's how I would approach finding the interval if I didn't know where. Waas, right? Thank God. After all these years, I've memorized this, but it took time. You know, it took years of, you know, intentional practice. Okay, so that's, you know, a standard thing that you'll see. You'll see open bar accord without the pinky. That's like a really standard seven voicing that you'll see your fingering thing. You know, the net. The next one thing this year. Flatten the seven down to the dominant seven. Here's the one of G. Here's the A shape island of G, right, Take seven. Flat down. Dominant. I'm gonna play one for five Blues in G, which uses all seven chords You just say, All right, here's my one. Here's my four chord. Right. 1234 Right. That's a major court, Then 5/4 here. That's another voicing for a seven chord, which I'm going to show you. OK, But just for now, we've been modifying our tried island and making seven courts out of them, right? Major seventh chords and dominant seventh chords. Okay, And and now that you know the intervals, you know, you can just kind of search for them all over the fretboard. I showed you some of the main ones that you'll see all the time, but there's all kinds of different combinations. Right? So, um yeah, this is all going to start. Teoh, open up for you more and more, the more you intentionally practice it. All right? I hope this made sense. Practice well, and I'll see the next list 26. Minor 7th chords: All right, So now let's take a look at minor seventh chords. Okay? So the most common minor seventh chords that you will see our again using that dominant seventh. Okay, Dominant seventh or the most common ones. If you're not playing jazz, okay, Once you get into the realm of jazz, then you're going to see a lot of major sevenths, right? But in just like blues and, you know, pop and rock, you're always gonna or in, like, 99% of the time you're going to see dominant seven. Okay, so just you know that. So now let's make our minor seventh chords again. I'm gonna start in e. There were to do the same exercise with the G again. Okay. Just you can see how it would look if I was playing a bar chord here. I don't need to bar, but you could kind of imagine that if I would, it would. It would look like this. Right? So let's just do it. So the formula for a minor seventh chord is a one. A flat seven. Right. That's our dominant seven. A flat third, right, Because that's what's going to give us that minor characteristic. Remember, the third always determines with record is major minor. Right. So to get that minor, you're gonna have to fly in the third, right? 513 We're gonna flatten the third, right? Go 1/2 step back. The third has now been flattened, and then we're gonna flatten are one again not to the major seven, but to the dominant seven. Right? So, basically, if you would release this finger and release this finger, it looks weird to think that this is a chord, you know, just one finger on the guitar. But it is, in fact, a e minor seven chord. Okay, let's just test that quickly. Let's take a look at the intervals. So here's my one. Rance, Here's my five. Use my flat seven. Here's my flat. Third, here's my five. And here's my one again of E, right? We're working in the Q B. We're building a e minor seven chord now. Okay, so that's not really a typical way that you're gonna, you know, play that. But you could you could You totally could. And you could again do that thing where we add the seventh down here again or on top right as a higher note, right? So it's kind of sticking out a little more. Anything that's in the higher register is going to stick out a little bit more to the ear, right? It's not gonna be buried and all that kind of low muddiness. All right, so you could, you know, just double down on the seventh, right? Your seventh, of course, is the open Dino. If you know that this is the no, de if you practice your shapes enough, then you will in time, you know, know where they are all over the fretboard and in all keys. Right. So that's another way you could play the minor. Seven. Okay. All right. So that's, you know, one way of doing it. Another way of doing it would be to take our d shape, right? R d shape island again. Any. And now we have a five. We ever One we have are three. To get minor what we have to do, we have to flatten the third right with to take our major third are perfect third or natural. Third, however, you want to call it and flatten it. So we're getting that minor third right or that flattened Third. Right. So now here we still have our one. And here we still have our five. So to get that minor seven, we need the seventh again. We need the dominant seventh, right? So hopefully by now you're kind of starting to get a feeling for the distance right behind the one is the major. Seventh. If you keep going down, here's your dominant seventh right now. Then the five is going to stay E s. If I play the root note again, we don't have a root. No. Now again. But if I were to play the route now, that's the sound, right? Okay. And we've built it. We figured it out, right, Because we know what's in the what's in the recipe. Right? Okay, so that's one way of playing. If you wanted to add the root again, you could add the route. It's a little bit tricky to grab this chord. You play like this, you could play the sixth string is your s. So there's a different possibilities. If you could reach here, you could play. That's my route. No, that's my e. Right. So once you know the recipe, you just need to find. You know where those ingredients are, right? You have to know in your kitchen. Where is the salt? Where's the pepper? Where is the chili, right? Same thing here. When you know the ingredients, you just have to know your way around the fretboard well enough to find them right. Get them out of your kitchen. I can see that this kitchen analysis analogy or whatever you call it a shot caller right now is going to stick. I'm gonna I'm gonna be like the chef of music theory. I kind of like that cooking analogy, though. Okay, Um, let's just move on. So we've done that. E minor seven here. We've done the e minor seven here again. We flattened third. We flat with one down to a minor. Seven way left. Are five. The route. No, we could take if we want to hear. If you know that the root notes here, you could do a here to skipping the fourth string, using my fingers to play that. Okay. Okay. So those air to tried islands, Let's move on to our next one. Okay, so the next one, of course, is a shape. Hopefully, this is becoming kind of second nature to you. It's not like I'm speaking. Ah, you know, foreign language anymore. Hopefully, I hope you're a that point by now. So again, we have a five. We have one. We have a three. We know that we need a flat third. We know we need to flat seventh, right? And five. So we're just gonna take that third, We're gonna flatten it way. No. Are ones here? We're gonna flatten it down to the dominant seventh, and then we're gonna leave our five, so that's Ah e mine or seven. Okay, you could take the root note. Now, this is nice, because we have the root here. You minor seven. You know, and this is a very common fingering since you the route no, is very easy to access. Okay, over here we have the five again. If you remember, every time I kind of held this and I showed you the extensions, the five is always here. Right? So those were just kind of little connections that you start Teoh, you know, See, and remember over time. Okay. So how did we arrive? It it just one more time. Let's take our a shape and extend it. Just so we have a nice visual of a big bar chord Right on. Now. Again, Way. No. 513 We're gonna fly in the third. We're gonna take seven. Flattened seven. We're gonna leave five. We need five. Still, you could leave the five out, you know, with 7th 7 The dominant seventh chord is kind of tricky. You know, you could play the five in the dominant seventh, and you would give you would give it that characteristic. You could play the minor third in the dominant seventh. You could play the one really any of the intervals within the dominant seventh chord. If that seventh is in there and you add any of the other intervals, you're going to kind of get that that color, right? You're gonna get that taste if we think about it. Like cooking. Okay, you're gonna get that flavor. All right, So find the third dominant 75 We could double down on the five if we want to. We could play only these notes. We could play as try way, get out of the fifth year again. So we have 52 times now. thing you could put the one here right way have won five dominant seventh, minor, third, flat third, whatever you wanna call it And the five again. Okay, five is doubled in our case now, okay? And this is kind of the most common way that you'll see it played. You also see it like a bar chord. And that's what I'm gonna show you now. Okay, so now we did all of the Triad islands. Um, all three of them. Any Let's do the same thing now in G. Okay, so I'm gonna take my g bar Chord on now. I just have my standard U shape. Right. Here's my root note, my G. Here's my five. Here's my route again, Right? Is my major third. So you know, what do we have to dio? Well, to get that minor characteristic, we need to flatten, of course. Or third. Right. So we're gonna flatten the third, then we know here's our one. We need to flatten it down to the dominant seventh, right? And then the five is going to stay. So basically, all you have to do is remove this finger and this finger, right? Thank you. Gone middle finger gone. And if you look carefully, this is exactly what we had here when we did it in E right. I think just this sounds really kind of like open sounding. The strings are all over trying to get rid of these two fingers so you can see that's what we did before, remember? Right? I don't need to bar, but if I would have to borrow, I would you know, I'd be buying. So because it's a bark or now bar chord now, it doesn't sound as wobbly. Right? It's a little bit tighter and on. That's a standard, you know, fingering that you'll see two. So this is again the shape I'm playing a G chord accessing with the East Triad Island, Right, Fighting third passing the major seventh right, Here's my one. Here's one major seven going down to the dominant seven, keeping five. All right, if you remember our example before we have another dominant seven down here, right? So you could just double down on that if you want to. You don't have to, but you can, or you could use. That was like a little melody movement thing, right? So first you play it without the dominant seventh in double down. He added in there like a little bit of pepper. Okay. See how cool that is? So just to recap what we have now, we have our one, right? We ever. Five. We have a dominant seventh. We have our minor. Third, we have a five again, and we have a one. Okay, Thing is the five. This is the six. This is the major seven, and this is the minor seven of G. Right. Here's my G island, the D shape. So I know this is one I know. This is the major seven. I know this is the flat seven, because I know you know how intervals move. So that's how I was able to access that. Okay, I hope this makes sense. So let's move on. Now again. Were in G now. Borys in the D shape. Try it. Island. Right. 513 We're gonna flatten the third. We're gonna take our one. We're gonna flatten the one the Five states. Same exact shape as we had before. Remember, It's the same exact shape if you want to double down now or not, double down. But if you want to go the route, then you just get the roof from here right now. It would be a little bit easier to grab this G right then. It was when we did it like this. So those were just, you know, voicing options that you now have. Because you know how toe you know how to build courts, right? You know the ingredients. So just so you can see how it all is the same, right? That's the point that I'm trying to make. So, no, let's do the last little island a island again in G is all G triads. Okay, so 513 3rd 1 goes back to the dominant 7th 5 states, right? Um e I kind of lost my trailer. Thought there, but here it is. That's exactly right there. Okay, So I flattened third E flattened the seven to the dominant seventh. Here's my five. And now I took the one from here. And that's what the five from here, Right? The five is always gonna be here. Right? Okay, So that's your third option. Go here. Flatten this one back to hear flying this one back to here. You have it here If you have bass player playing than it would be enough to not even use the right that try it will be enough. Our keyboard player is playing right, So I really, really, really hope that this is making sense. Okay, I really, really hope that this is really starting to click for you now. So the last one and this is one that's not common. And I'm not going to go deep in and now happens in jazz is a minor. A minor major seventh. Okay. And I know that sounds really confusing, but that is, um, the normal triad shape. I'm in e again. Right. So I need a minor. Right? That's the minor that we're looking for. Then if it's his major seventh after that, then it's gonna mean we have that minor third in it. Those the recipes and the major seventh. Okay, so that sounds like this. You're not gonna hear that in any of your favorite songs on the radio. Okay. Probably not. Okay, but that's with being referred to. If we were to try to do it here, we'd say minor. All right. I need to fly in the third major seventh is here. Right? So this'll one goes down, this one goes down, this one stays. It works in the right context. Then you could take the route here if you want. Oh, cool sound, you know, But that's e minor. Major. Seven chord. OK, OK, so we know the recipe. We adjusted our intervals and there you have it. Let's do it here. With our last shaped A shape from minor, we're gonna flatten the third for the major seven. We're gonna go here. We're gonna leave the five. Is there one. And here's a five again. So And, like, scary movies, you'll probably hear that sometimes. You know, uh, so that's not one that you're gonna be using a lot. But just so you know, with these tools that I have given you now you know how to build these. You know, if you see them on paper, you're just going to say, basically, the paper is telling you what the ingredients are, and it's your job to kind of go out and and buy them right to make that that you know that recipe to cook that meal to get that flavor, that that's on paper. OK, so I hope that this makes sense. So far, we've covered suss chords. We've covered seven dominant seventh. We've covered minor seventh. We called a major seventh. So you really, you know, can play millions of songs. Now with this, with these tools that I've given you so far, you really can, you know, really, Almost any pop song or any pop song really is in your, you know, grip now because you know how to build courts, right? Just just finals tried. Islands, find those intervals now. You already count intervals. Find them. You know, move. Adjust the intervals. Teoh, what is being asked for? Right. And there's your sound. Right? That's the flavor. Okay, I helped this made sense. Let me know. Let me know, because I'm really hoping that you're having a breakthrough. All right, See you the next list. 27. Extended chords: All right. So how are you doing so far? I hope your brain hasn't exploded. It could be a lot. I know. But, you know, there's a couple more things, and then you really do have a solid foundation. You know, you really do after you after you do the work and really get this stuff under your fingers . Okay, So there's one more thing that I want to talk to you about, about chords, and then we're going Teoh kind of be slowly starting to wrap up the course. I want to show you a couple more concepts after this, but we're slowly really starting to get there. OK, so congratulations, Air coming this far. So now we're gonna be working out of the key of G, right? G major, Um, and I'm gonna be showing you these strange things that you might have seen, Like, nine cords or 13 cords or flat 13 chords. Right. So, um, it really isn't that complicated once you, um, kind of grasp the concept. Okay, so I'm just gonna play the g major scale, right? We're gonna go 1234567 And for one. Where once we reached the active. You know, officially, you count this as eight. You keep counting. Okay? I've been saying one often in this course, but that's just because I want you to really be conscious and the fact that it's the same note. But when you're counting intervals, once you reach your your octave, which is just, you know the scale once you reach your one again, that's called OCTAVE. In case you don't know, that would be referred to as eight. Okay, so if we just continue now with scale. So 12345678 The next note, which is nine is here. Okay, so 9 10 11 12 13 14 15 And that's your one again. Okay, so you just keep counting, right? If I were to do it, you know, and up and down one string I go. 12345671 or eight. I'm gonna count officially now. Eight. Nine. So my to what was to where now coming is nine, right? Everything just keeps going, right? 10. So that's the third we're gonna saying 10 to the third. You're not gonna ever see that on paper, but that's just how you would continue to count it right after the 10 comes. 11 after living comes to 12 right? 11 is the fourth. The 12 is the fifth and so on. Okay, so you just keep counting the notes with same. It's just since you're now an octave higher than where you started your not counting them as 123 anymore. The two becomes the nine. The three becomes the 10. The four becomes the 11 etcetera. OK, etcetera. That's just something you're gonna have to, you know, map it down in your notebook. Right? So on screen now you can seethe scale, right? And you're just gonna really want to kind of get that under your fingers. You know? Just see. You can play the scale in 222 octaves, right? And now, you know, the most common ones that you will see are the nine cords. So that's what the two in it just octave higher, right? 13 cords. Um, and that's the sixth, right? The sixth, an octave higher is the 13. The seven is always going to be called the seven, right? You're never gonna be seen that called anything other than a seven or flat seven. That's just the way it is, right? Same with the fifth. You're never gonna see the fifth counted as its octave. It's always gonna be a five. Okay, so the ones that you're going to see on paper are like a nine chord. And that just means, uh, seventh chord with a nine in it. Right? Or you could play. You know, you could play your try it and add the nine in it Or the two and you'd be you'd be playing a nine chord basically. Right. So that's kind of what what that means when you see it on paper. Okay, so an example now would be, Let's say, if I take this seventh chord here, which is a G seven, right, Here's my major third. Here's my dominant seven. Here's my five. Here's my one. Right on. Now if I want to build 13 right, if I want to build a G 13 well, I know that a 13 has toe have that sixth interval in it, right? Because the sixth and the 13 is the same. It's the same note. Okay, so here's the sixth right. 123456789 10 11 12 13. Okay, it's the same note as 123456 Right. That's the same exact note. Just octave higher. That's why we're calling it a 13. So now I'm just gonna take Here's my G chord, Right Here's my e shape. So my 513 of G right, That's my little island. You know, on now to make a 13 we're just gonna add the 13 in there, and we're already playing jazz. Okay, You know, one thing that also can get confusing is that sometimes, you know, you just play 13 like this, and now we haven't really gone octave higher since. We don't have that low root note in there. But just by playing that sixth interval in there, you're basically giving it that 13 collar. OK, eso the 13 really just means it's the sixth and kind of higher register. You could you could kind of think of it like that. So here's my dominant seventh. Here's my major third. Here's my 13 and here's my root note. That's the one. Okay, you know, and that's a G 13. And now the route now is on top. Okay, because the root note could be anywhere, right? So Or you could you could play without the Rudo, right? If you're playing, you know, if you know, use your seven. Here's your third. Hughes. You're 13 and then you're playing with the band. You could just play this. It says a 13 on paper. You could just play this right, because the other musicians air covering the rest. So there was again something very confusing for me, But you don't always need the route. OK, so anyways, I don't want to confuse you too much. And I know this can really be confusing. Okay, so that's her 13 example. What about a nine way? Want to play in nine? Okay, so we know. 123456789 Here's the ninth interval. Right. So I'm gonna take my one. A nine chord will have the dominant seventh in it. You have to know your spelling. Your interval spelling your recipe. How do you get that recipe? Right. So it's gonna have the dominant seven. It's gonna have the night. It's gonna have the route. You could have the fifth in there too, But I'm gonna take the fifth up here since I don't wanna have to stretch and I'm gonna play the rule here. That's a G nine chord. Okay, so I'm using my thumb now to get the root note. Okay, so that's my one of G. That's my dominant seventh of G. That's my nine. And that's my five. OK, and here's my route. I'm using my thumb to get the roof. You could play like this. Eso were already sounding jazzy. Now, okay. And by knowing where the intervals are, you can, you know you can find now the ingredients you need to build these courts. Another possibility would be 123456789 10 11 12 13 14 Here's my route again. And if I keep going, theoretically, you kind of have to, I guess Keep counting. I'm not even sure, but let's just say for now. Since this is the two we're gonna we're gonna say this is a nine. OK, so you could you could you could play the nine here. Okay, so now I have a triad a g major. Try it. Except now my one is in the root. My third is in the middle and my five is, you know, on top writes the highest note. Okay, so theoretically, a nine chord has to have the dominant seventh in it. OK, so theoretically for a nine chord e have to have the dominant seven, the third, the fifth and the two OK or were calling it the nine now because it's in a higher register , Right? If I were, however, to play the nine without the dominant seventh thing, I have one major 3rd 59 That, and I know this can really be confusing. That's what we would be calling add nine. Okay, since a nine chord just like a pure nine chord is normally always referring to a dominant seventh being in that recipe. And add nine. Chord is referring to still having that ninth interval in there, but without the dominant seventh. I know it's confusing. I know, I really know. But I really recommend just stunning that, pdf that I gave you earlier where I, um you know where you see all the recipes, then you'll just see. Okay, So to get a nine chord, I need my five, my three, my one and a nine. Right? Okay, So what if we want to turn this into a 13 while you just take your 13 right? You know, this is the five, right? You could put the dominant seventh in there making sounding more jazzy. Okay, so what about? And I hope I'm not blowing your mind here. What about a flat 13 chord? Okay, so now I'm just gonna take my dominant seventh, My major, third. Here's my 13. And here's my one. This is the one. Okay. So dominant. 7/3 51 Right. Okay, 13. Ah, flatten 13 would just mean if you see it on paper, G flat 13 or G seven, flat 13. Dominant seventh. You're just gonna flatten that right? Very jazzy. Okay. So just now you know how toe build these. Okay, so we're not gonna go too deep in that, but I just wanted you to have heard it, Okay. Same with the flat nine. What if we have a flat nine? Well, you're gonna take your nine. You're gonna fly on that, right? That's a G seven flat nine. What about a raised nine? Well, you're just gonna take your nine and raise it. What about a G 13 raised nine. You know, there's all crazy possibilities of combinations. Well, you have your G right. We're gonna put the 13 in there. Now. We're really getting into jazzy sounds. OK, what about G 13 9 13? There's the nine. There's the third. There is the dominant seventh. You could play the rule here. If you want todo you could play a, um G flat 9 13 So now I'm taking the nine. I'm flattening it. I'm leaving with 13. Okay, so just so you know, out of this box here, you have these possibilities, you know? And if you kind of memorize Okay, here's my e Island Down here is always gonna be the fifth down here is always gonna be the one The octave Right? Then you could say all right in front of the five is always gonna be the six, because octave higher. 123456789 10 11 12. We're gonna call it 13 now. Right? Here's the one again. Since it's so high up, we're gonna call it a night. Okay, so that's coming out of your e shape just now. In Gene, you could do the same in E right now. I know I'm in e right. Here's my nine. I could play e since I don't have the dominant seven in there. And now it's adn I'm if I add the dominant seventh. Ah, it's a straight up e nine chord. Let me put the seven here again. You hear that ninth characteristic right that we had that we had here just now. I'm in ge before just played an E. Right. So now you at least have heard the concept. If you want to go deeper into, you know, ninth and 13th and everything, then I highly recommend getting like a jazz course. Okay, I'm not gonna I'm not gonna go deep into this now, But now at least you know what 13 is? What a nine is, right? What? What That means. Okay, Okay. I hope this made sense. I hope I didn't blow your mind too much. Um, you know, one last thing. You know, just let me show you this really quickly with the with a shape. That's another typical one that you'll see being modified. Right? So you know that this is your 513 You know, the nine is behind the third, right? So you could play. You could play nine chord like this. You know, we called it us us to before. Theoretically speaking. If you're starting here, you're going octave up. Right? So it kind of is, you know, really in nine court. If you add in that. That that dominant seven, right? Yeah, you can hear. Now it's something very 90 sounding jazzy sounding, right. So Okay, I don't want to blow your mind too much. Now you've heard it. Now you've seen it. If you want to go deeper than I highly recommend, Like, just get a jazz course. All right. I hope that this made sense. See you soon. 28. How to find triad islands in any key: All right. So how are you doing so far? I really hope that all of this is starting to make sense, you know, Now you know how to build all kinds of different chords. So the last thing that I want to tell you now, as we stop talking about these Triad islands is the two ones that you're gonna be using most often. I already talked about this before a little bit, but just to really show you exactly how you're always gonna find them, right? So the two main shapes that you're gonna be using from our three triad islands that we learned are the shape I'm in the key again. You're not going to be using the D shape as much, Especially now as you're just starting to get to know these shapes. Right? So basically, the two that you're gonna be using the most in the two most common ones for just, you know, like beginner level, starting to get into the upper level plain or the shape and the A's shape. Okay. And I just want to give you a very clear map of how you're gonna find those, just in case you're not sure how to find them. OK, so the whole course basically I've just showed you the shapes in the key of E We did them in the key of a We did them in the key of B, right? And And I showed you all three islands for each key. And I showed you how they all move right? How they're all connected and you could just slide them as a whole, right? Depending What? Kieran So another easy way to find these would be to just know where the root note is on the sixth string. OK, so with e shape, you could think of it like a bar chord that you don't need to bar. So this note if you know this notes name, you're always gonna know the name of the court that you're playing if you're playing the shape. OK, so in this case, is e right. What if I slide it over here? So now again, I have a u shape. I'm playing a chord, right? I'm playing a triad. But what's the cord name? You know what? What? What key mea in here, Right. Well, if you know that this is ah g sharp or a flat depending on how you want to call it. If you've memorized the sixth string, they just gonna do you know the name of this note? Okay, So if I know that this is a, you know, a g sharp or a flat, then I know that this is a g sharp or a flat island. Okay, right. I know this is the five g sharp. This is the one. And this is the three. If I want a g sharp minor, I just need to fly in the third. If I want a g sharp minor seven, I need to fly in the third and the sit on that one giving me that dominant seventh, right? If I want to see us for I need to just, you know, adapt accordingly. OK? If I want to know where the next island shape is and if I've practiced my islands enough, I'll know that there's one here. E don't know. There's another one here, right? That's my G island. That's my G Sharp island. Right? Okay, You could play here too, using the Asia. Okay, So just so you can see one more time how it's all connected and the the way the shapes move , never ever changes right there. One. The three shapes are one, but they just can move depending on what cord you're playing. What key you're trying to access. Okay, so that's the first way. If you just memorize the sixth string note and you know how your bar chord looks, then you'll just know. All right? This is how I'm always gonna know the route name. I could move this around. I can take it down here now. I have again that e shape tried island, but I don't know what is this, right? What? What? Corn on my plane. Well, just go that bar court thing, right? And you'll know if you memorize the sixth string that this is a c. Right. So you could also kind of call this like, a rude note position cord. Right. And your room note is always the lowest. Um, note eso If you memorize that, then you'll be ableto always move this island around, and no, um, you know what it is and also know how to access the other ones. Right? Okay, So that's the 1st 1 that I told you is really important, right? e shape. The 2nd 1 is that a shape, right? Cause that's another one that's really easy to modify. And it's a very common one, right? So with this one is the same exact principle. Just now, we're gonna have the fifth string as a root note. Okay, so it's really hard for me to grab that this way. But I just want you to see that's a shape, right. I normally play like this or with my pinky, but you can see there it is. Okay, so if I know the name of this note, then I'll know the name of this Triad Island, right? Let's say I want to play a C now with a shape. Well, here's the note. See, I just add that a shape. There it is, right way. No. After the shape comes the shape right. That's another way of playing C major. So I know my island how it moves. And now if I also memorize the notes on the fifth string and the notes on the sixth string their names, and it's easy for me to just say all right, this is a C sharp. If I want to see short, sharp major going to need that a island? Because that's the one that has the fifth string as the root note the island always has. The sixth string is the root note, right? So that's a C sharp major. What if I want a c sharp suss sport 513 of C sharp? I'm just gonna raise that right. Giving me a c sharp sense for if you memorize the further extensions than maybe you remember that this is a five. The five of whatever island you're in right in this case, is to see sharp, right? So that means I could play the first string as well. What if I want to see Sharps? Us too. Well, 513 of C sharp. I'm gonna flatten the third not here, cause this would give me a c sharp minor. But if I go back here, I have a sense to and again this is movable, right? I can now go to F if I know this is the note f they don't know. This is my f record. And here's my little island where I know the intervals. Why? I've memorized the interval. So I could therefore easily modify and change that court, right? So here's a F If I want a F seven. I know. 513 Here's my seven. I know to get the Darwin and say what they need to go to half steps down. Everything else stays the same, right? There is a F seven, right? If I want to have minor 7513 Right. In this case, we took our warmly flattened it to the dominant seven. If we find the third, that's giving us that minor third f minor seven. Okay, I can move this around if I know that this is the no b. And I know this is the shape that gives that sound that flavor the minor seven sounds because I understand that the the triad has already been modified. They don't know this is a B minor. Seven cm under seven c sharp minor seven de miner 70 flam Winner seven depending on how you want to call it or a d sharp. OK, so these are all movable. All you need to know is the name of the fifth string. If to memorize those names, the same visited with the sixth string, then you'll be able to take those two main shapes and moving all over the front board and just modify those. Try it, Islands. Okay. And that's gonna give you a lot of freedom on the fretboard. Okay, Just with those two shapes and knowing how to how to modify them. Of course, there's that third D shape extension. Sit down a little bit harder to get right. But of course you could. If you want to do some extra homework, you know, modify them to, you know, with that one. Normally have the fourth string is your root note, but you'd always have to have your extension. Here. Here's where you're one would always be, or or your one would be up here. Okay, But that wouldn't be the That would be the fourth straight anymore. That would be fifth string route. No. So with fifth string route now you have two possibilities. You have this one which looks like a see, If we were talking about the cage system, this would be our C shape or the a shape both same root note in the same exact place. Okay, but you can think of this is just your d shape extended and you're choosing the route now on the fifth string or you're choosing the route No, on the fourth string because that's e that e. Okay, And again, these removal. If I know the notes on the fourth string, I could just move this. Let's say to hear if I know this is a G, then I know I'm playing a G major. Here is my G Island, right? Here's my G Island. Here's my G island. Those little tried islands that we learned with the 513 Remember? Okay, So again, if you memorize the notes on the fourth string festering in the sixth string, then you'll be able to literally just move this flawlessly all over the fretboard, OK? It takes a little bit of work. It takes memorization. It takes dedication to do this for, like, a couple of weeks in a row. But if you do that, then it's yours forever. And you will really, you know, be really free on the fretboard. From then on, right, you'll be able to play seven chords, nine cords. You know, any any chords that you want to play, you'll be able to play. So, um okay, I hope that made sense. Now, what I want to dio is tell you about, um, court inversions. That's the last thing that we're gonna be learning about cords. And then to end off the course, I'm going to be telling you about skills just a little bit about scales and how they relate to everything that we learned so far. Okay? And once you see that, then really big light bulb is gonna go off. Okay, so let's get into the inversions part. Now, let me just tell you what inversions are and the three different or the four different kinds of inversions that you'll see, we're only gonna be learning the ones with three notes. But there are also for no inversions. Um, and then we're gonna move on to the last part of the course, which is scales and how they really to everything we've learned so far. Okay, practice this. Memorize your sixth string. Really, really well, memorize your fifth string. Really, really Well, um, fourth string really, really well, and then you're really on your way. Okay. All right. See you in the next lesson. See, there 29. Chord inversions: Okay, so now let's talk about inversions now with music theory. You know, it just has these words that to me have always sounded scary, you know, And that's why I kind of would avoid them like arpeggios or inversions or the fridge in mode of the Lydian mode. You know, there's always weird kind of scary names. At least that's hell I've always felt about it. Such inversions was another one that I kind of stayed away from for a while, for whatever reason. But it's actually quite simple. And that's what we're gonna be talking about in the next part of this course, just inversions what they are. And I'm gonna be showing you how to play them on different string sets. Try as using inversions so that you know really how to play all kinds of different courts on any string set, right? It's extremely valuable to know this. Okay, so all an inversion means so normally, if you're playing a major chord in route position than your one is gonna be the lowest note you're three is gonna follow or your five, it doesn't matter. Um, and those are the two that are also gonna be in the mix. So you're gonna have the one that three in the five in the mix, but you're one. If it's a root note, position is always gonna be the lowest note. Okay, so that would be accord that is not inverted. It's just a root note position Court. Okay, so the first inversion happens after if you were to take the third and put it as the lowest note. So now the lowest note in the court are kind of the note that the year is hearing First is the third and not the one. So you still have the one in there and the five, the 123 and five right. But now your third is the lowest note that's being heard. Okay, so that would be called the first inversion. Okay, since it's no longer a root position court. Okay, so you can just remember, it's it's it's really quite logical. Your first inversion is when the third is lowest note. Your second inversion is when the fifth is the lowest notes and your third inversion, and that's when you're playing. Chords that have four notes in them is when the seventh is the lowest note. Okay, so those are your kind of four main types of chords and how you would call them officially in music theory. Okay, so Rudo position just means that those one. So in our case, we've been playing a lot of e. The one would be the lowest note then after that, whether it's the third of the fifth doesn't matter. It's just about that lowest note, okay? And that's also what you're going to see with slash courts. So if you see, like, a d with a slash of an F sharp following it, all that they're trying to tell you is that the F Sharp needs to be the lowest note. Now, in the case of D major, F sharp is the third. So all that slash court is telling you is OK, we're playing a d using the first inversion, meaning that the third is the lowest note in the court. Okay, that's all slash Courts are. That's why they have that slash there so that you know which one of the inversions to play . Okay, so until now, in this course, we've been learning these triumph islands, right, and the island as itself. If we were to just play the standalone island. We were always playing 513 That was the order that our island went right now, in our case, the five was always the lowest note. So that means that the whole time I was teaching you what what we would call second inversion try it. Okay. But in the last lesson, I also showed you how you could kind of extend that and add notes to that island and add in the root note so that it's the lowest note. Right? So that would then just be a root position. Court, right. If we were to Onley play the triad without that rude note and the five. The way I've been teaching you, the five has always been the lowest snow. Then you would have your second inversion. Okay, so what I want to teach you now on the fretboard in upcoming lessons is we're gonna be taking the different string sets. So the 1st 2nd and third, the 2nd 3rd and fourth, right? The 4th 5th and sixth and we'll be showing you how to play those inversions, right? I've been teaching you just one try it island type and That's the second inversion tried island type, because it's so comment and easy to modify. Okay, But now I just want to show you how you could play a route. No triad or a first inversion tribe. Right? But then that's just gonna broaden your, um you know, just your possibilities on the front board, because now you're gonna know. Okay, I know my main kind of three tried islands, but there's different ones that I could be using as well. Okay. And that's what I want to teach you now. And I want you to practice that just as we practiced thes tried islands. Then again, you don't need to always use the root note. You don't even always need the route now when you're playing courts. And that's why it's so valuable to know these different, um, inversions all over the fretboard, an easier way of saying it would just be different combinations. Right? We say inversion just so it's really clear what's lowest note. But you're really just playing different combinations. Um, of the same chord. Okay, that's all you're doing. You're just taking those three notes and just switching around the order, right? It does give you a different characteristic and a different kind of sound, especially if you accent the third accent that one more. It will give you a different flavor. Kind of still, even though it's the same notes, but you are applying the same notes. Okay, so I hope that this explanation of inversions made sense for you. Let me just recap one time. If the one is your lowest note than that's not an inversion, that's just a root note position cord, Whatever. Quarter trying to play. If the third is the lowest note, so it's a 315 or 351 Then that's the first inversion, right? If the fifth is the lowest, no, it could be 513531 then that's the second inversion. Okay, then, if you're playing seven chords and you take the seventh and that's your lowest note, then you're playing the third inversion. Okay, OK, too. Thanks. Listen, hope that made sense. It's either 30. Inversions on different string sets: All right, So now let's take a look at our inversions on different string Says so we're gonna be starting on the first drink set. And that is, of course, going to have the 1st 2nd and third string, right, because we're going playing triads and we're gonna be playing those triads in the three different inversion possibilities, excluding the seventh possibility. Right, Because that's the one that's least common unless you're playing jazz. Okay, so, um, let's just get started. I'm going to start off with one that you already know. OK, so this is now the D shape, and this is the second inversion using the d shit, because now we have the fifth as our lowest note. Okay, are one. Hopefully remember is in the middle of the third is over here on top. Ok, again, I'm saying on top because it is the highest note I'm saying on the bottom because this is lowest note. That's just kind of how you normally would talk about this with other musicians. Okay, so this is a second version Triad E. And we're using the D shape. As I taught you, the D shape tried island, right? If you want Teoh at an extension to that and having no longer be a inversion, you could take your route and just play a rule here. Okay, But let me just stick to the nice little try it inversions now, because you're gonna want to really learn these. Okay, so here's our D shape. Now let's move on to a new shape. Okay? So there's gonna be two new shapes now that you don't know yet. Okay, so the 1st 1 is now a root note position. Triad again. E R. Route now is here. E Here we have the third and here we have the fifth. Okay? And if you take a look at this little one now, this little tried box, you will see that this is just a part. It's 2/3 of the a shape that we already learned right on this second string set that we're gonna be learning, right? So we're really just introducing one, you know, here that we haven't really covered. I have covered this one in the extensions part when I was showing you extensions that you could use to add to the A's shape. But now this is just gonna be a standalone triad. That's how we're gonna be thinking of it. Rude position. Try it. Okay, so just to recap here we have the second inversion here. We had the root position. Now the third is in the middle and five is on top than our next shape. And that's the last one on this string set Is going to be the first inversion with the third as our lowest note in that tried. Okay, so now I have the third here, the five here, and the one here. Okay. And you'll see has slightly. Each inversion has a slightly different sound. Even though we're playing the same notes. This'll one here. You could also play like this on. And that's a really good thing about learning. These little try at islands is that it shows you all these interesting possibilities that you maybe wouldn't have thought off. Right. Okay, so that's the 1st 1 toe learn. I'd recommend you know, there's a pdf file included. Just stay on this string set maybe for a whole day or two days and just get this into your system. You can play the open sixth string, you know, and just I think then you could You could keep moving up. You complete. Do you shape again thistles all year? Of course. Right. You know, I just get this into your system, right? Because later on, once you've really mastered this or at least got a really good feeling for you're gonna be able to combine, right, you're gonna be able to take this one. Then you're gonna know. Oh, yeah, I learned this drinks at two. E. I might as well take this note. Now, if I want to write, you're gonna be able to combine them all. Your your brain is gonna start to see all the connections between the different inversion possibilities. Right. Then you're gonna be able to, you know, have more freedom on the front board, right? You're just gonna look down and you're going to see all of these familiar things that you practiced that you now understand, right? Because we know the scale that we use. Teoh arrive at this, right? We know the theory behind it to we don't just know where they are. We now understand the theory behind as well. Okay. Okay. So that's the first drink set. Red. We have 1st 1 is the 1st 3 Now let's move on to our second set. So that's the second string. The third string and the fourth string. Now again, there's gonna be one that's already familiar to you. Right? Which is the A shape Were you E Now again? Right? So now this is the second inversion, right? 513 Okay, Phil, let's keep going upwards now. So the next one is going to be the first inversion, and that one now has the third as our lowest note. Okay, so now we have three. Excuse me? The one this is the one. Excuse me. So this is rude note position. So this is the one. This is now the third, and this is the five C. I even get confused after all, after all of these years. OK, so especially when I try to talk and do this Santa. So here's the one. Here's a three huge five. OK, so this was the five. Right? Now this is the root no one. This is one that you could also play here if you just imagine that this would be You know, I note that I'm Fred and it's the same exact thing. Right. OK, so they shape, you know, this is a new shape. Okay, then here's one more. Okay. Now we have the third, which is our first inversion. Our third is now our lowest note. So now the route is here. Here's the third of you. 123 That's the route. That's the five, remember? 345 And that's one of my favorite ones. That's when the Jimi Hendrix used a lot, too. You could do a lot of cool things Toe Spice in that one up. Okay, so those are the three on this string set. Okay, So a shape you already know that's the second inversion. Here's the route. No position right now than years. His other new shape, which is the first inversion on Do you have? Your third is your lowest notes, right? And you could go back. You could play this one, which is the same as this one. Okay, so the more you play around with this, the more you're gonna see if you're in this inversion, for instance, and you want to do something to change it or add a note, you're gonna start to see these connections, like for instance, if you practice this one and you practice this warm, then you'll start to see that this note is in between that, right? So why? I just added into your court. So if you're playing this little tried here, you could just add in the fifth year if you want to write just to spicing things up a little bit or you could say, All right, I'm playing this inversion here, but this triumph if I want to add another No. Well, let's not. Why not Combine that D shape and take this note now as well. Okay, but before you start combining them, really get a good feeling for the standalone triads. Okay, that's really been very valuable for me and my just to get a stand alone feeling for them, you know? Okay, So next drink sent, we're gonna start with the one that we already know. Let's just start here, okay? All right. So now we're starting with the, um, shape that you're already familiar with. This is the five. That's the one. This is a three, right? And now we're on this next string set, right, starting on the third string, fourth Street and fifth string. OK, so that's the first Try it, Island. Right. Then comes the root note. Position one. Now I have my one here, my third here and my five here again, you're gonna start to see these connections. If you play the Triad with other ones that you've already done in the past, you're gonna be able to start to connect those. But first learned them as triads. Right now, the next one is with the third on the base. And this is one that Jimi Hendrix used a lot, right? It's e chord with the first inversion, meaning that the third is on the base. So I have the three here Now, the five here in the one here. Wind cries. Mary used that first inversion to do that. Okay, so things where you started off, OK, so I would recommend mastering these string sets first. You know, just play around with them then, as I said, you're gonna start to see all of these connections, right? Your brain is no start to see all of these connections, and you're going to start to be able to really get creative, right? And you're also gonna know where all these different intervals are. So when you want to make adjustments to your cords than, um, you're gonna know where those intervals are, you're gonna be able to do that. Okay, so one more time. First drink, say, is the 1st 2nd and third string. Second string said, 2nd 3 and four. Next one is 345 And then you could do 456 But that starts to sound quite muddy and very low . So I'm going to save that one now. Um, and we're gonna do that. Maybe somewhere further, down the road. All right. Check these out, Master these and I see in the next lesson, See, there. 31. Introduction to chord and scale relationships: already. Welcome back. So I'm at the studio. We're gonna be doing the final lessons of this course here. The studio, Um, let me know. How are you doing so far Has this making sense? Is there anything that doesn't make sense? Let me know in the comments section so that I can include or create new lessons that will maybe clear up some of your questions. You know, now that my brain is really deep into all of this stuff, so feel free to ask me any questions if anything isn't clear so that I can help you out on . And now what we're gonna be doing is kind of going to the last stage of this course. And that's what I'm going to be talking about Scales, right, How you know, you learn your scales normally so you can play solo guitar. But you also learn your scale so that you know how to access all of the stuff that we have used the scale so far toe access, right? Like how to build cords and all of that right? How to know which courts are minor, which are major in the court, provisioned and all of that stuff. Fret. So now, in the kind of last part of this course, what I want to do is I want to teach you I just want to put it all together for you. So I want to show you how out of the scale that we have taken and learned the tone tone, half tone, tone, tone, tone scale How we use that scale to create all of the courts in the court progression, Then how very simply and logically once you get it, how when you're playing solo guitar lead guitar? How that is what? Your harmonizing two. Okay, so I'm not gonna go into it now. It's gonna be much more clear, Um, when you're at the close up. But I just kind of want to give you a little bit of introduction to what we're gonna be doing now and again. If you have any questions, feel free. Ask me the questions so that I can, you know, help you out. Of course. And then also, your question is gonna help everybody who watches this course in the future because you're gonna help me make the course better, right? So feel free to ask any questions so that I can make this the best course possible. Right? Okay. I will see it. The close up. See there. 32. Scale chord relationship: All right. So looked on the close up. So what we're gonna be doing now is I am going to be starting off in the key of E major, and I'm going to be playing all of the cords that air any major. But I'm gonna be playing them as triads. Okay, so our first court is e major, and that's our triad, right? And are triads. We're gonna playing on the second string said that we learned right with 2nd 3rd and fourth string. Okay, that kind of middle, That kind of middle, sweet spot. Okay, so that's e major triumph if sharp minor tries. So this is the one now of F sharp Minor. This is the flat third, and this is the five, right? So the third, if we were to play an F sharp major would be here. We just flattened it. Right. So this is Major e have sharp minor, right? With flat, third G sharp minor. Okay, a major Be major C sharp, minor. A new shape. This is the diminished shape. We're not gonna be really using this one a lot, but you have to get to know it a little bit, right it's a d sharp diminished. Then we're back at our e major. Okay, so one time really Slowly. Okay, So the cool thing that you need to know now okay. Is that every single one of these notes that I play every single note that I've played is inside of this scale. The one scale that I tell you that first scale that I said, is the most important scale in all of music that you can learn, right? Every single note has been covered. Okay, so there's not a single cord. And in the key of e major, that does not have at least or it doesn't have three notes from Okay. And that's why when you play e major scale to a chord progression that's using chords inside of this key. That's why when you play those single lines, you harmonize with the court progression so perfectly because you're basically taking single notes that are already in the cords that are being played and you're just playing them a single notes. Okay, so to just, you know, explain this a little bit more. In theory, let's see how the notes of these cords relate. A Sfar is the key of E major. Right? So the first court is clear, right? We're playing a major. No, we are playing f sharp Minor, right? That's the official name of this court F sharp Minor, right? We're playing it as a triad. But if we were to take a look at the intervals within this court in relationship t e. Okay, if we were to take a look at them in relationship to E, then we would see this is the two of E. This is the four V and this is the six of you. OK, so it's intervals from this that are just now being implemented in courts. OK, eso we're taking All of these notes were stacking them in different combinations. And that is what's giving us the cords that are in the key. And if you look carefully now, too with each one of these three notes in the Triad were always moving up to the next scale degree. Okay. And that's what is referred to its harmonization. Right? We're harmonizing this scale. Okay, so now I have to have the one. The three in the five one is going to go to the to the three is going to go to the four and the five which is open, is going to go to a six. So each one of these notes went up as individual notes to the next. No, in the major scale, Then when we when we add that up equals f sharp minor. Okay, that's what harmonizing a major scale or a scale means You're always just going the next note up. But now we're taking the entire Triad and doing that. Okay, so that's how you arrive at the cords that are built from this scale, right? You just harmonize it. So let's let's continue that path. Okay, so here's the 1st 1 Now, the next chord is G sharp. Minor. Now again in relationship to E. Now this is the one that two of the three, this is the 345 right? You could count it. That's why I told you how important it is to count on single strings. Right? Then this is the seventh. Okay, so with each one of these notes as we go up this scale, But now, as a triad with three notes at a time, not just one, it's giving us those cords Okay. Okay. So I hope that this concept is making sense. Were just taking the scale degrees or the interval degrees. And on each single string, we're just going up to the next note that's in the scale of e major. Then when we combine those notes, it's giving us the courts that are in the key of e major. Right? And that really is the conclusion of basic music theory. That's what's happening. Okay, so let me just quickly now play to a looper that I that I did before, and I'm just gonna play this scale and in the looper, I just programmed it to play the courts. Right. What I want you to hear is how this is gonna harmonize toe all of those cords. Okay, so let's just do that now. Quickly. OK, that's now this one. Okay, listen to this other thing. Okay? So it sounds a little bit weird when I solo to that court progression, because that's not a typical put chord progression that you ever hear. You're never going to hear a court progression that just goes up right and plays the, uh, all of the courts and a key. What? You will hear is different combinations, like the one to the four to the two, then to the fund or whatever. So let's just try to loop that now and just see how that sounds. OK, so let's just try it. Weighs five e played 1545 now sold to that. Okay, just one string you can see. Okay, so hopefully you can see now why my major scale or my pentatonic scale, which only has five of the seven notes in it harmonizes to all of the cords within a certain key, right? It's because the cords are built from those notes. Okay, that was such a mind blowing thing for me when I finally got it. Okay, So basically, um, cords are built from the scale, right? And then you when you want to solo to that cord that has already been built from the scale , you just play the scale, right? So it's it all just, you know, Phil fits perfectly. OK, Okay. So that's enough. Red list this lesson in the next lesson I want to talk a little bit. About what? About suss four courts. When would you use those or when would you modify one of these cords, That is, you know, already being played. Like, if I already know that this is a part of that core progression. When do I add assess? For Where does this us for work, Right. Where does it says to work? Where does the seventh work and so one? Okay, so the next. Listen, I'm gonna talk about that a little bit, all right? You're doing great. See that? 33. Adding colour notes: All right. So let's continue our little cord journey here. All right? So we're staking with the key of E major, the cords and the major. We've already taken a look at them, right? And let's think about what we could do to these cords. Okay, So the basic rule most of the time really is Well, the first rule is that there are no rules. You can, you can. There's all kinds of different interesting sounds you could create. But if you were to kind of stick to a E, a sound that doesn't sound too strange to the year, you know, like jazz does to lots of people who aren't used to strange harmony and more like advanced harmony. If you want to stick to something that sounds familiar to the ear of your standard person who hasn't listened to ton of jazz, then these air some rules that you could fall. Okay, so now I'm playing my E major. I'm playing. It is a triumph, right? So you could add some notes here, right? Let's say you want to add assess four. There's myself for note, right? 34 in the TV, so that works perfectly, right Now, how do I know what will work? Well, well, the kind of basic rule is that any note that is inside of the key of E major write any note within that scale will work just fine. So suss for that's a note that's in there, right? If you practice the single string, that's the 176543 right. Or if you know, I tried shapes 513 You know, the one is here. The three is here. If you add this. No, you have this us for Well, what about this known Well, if you know what this interval is, if you know this is the one that you know, this is the major seven. You'll know this is the six, right? So that'll give you kind of like a 13 sound e 13 or e six. Remember, you could you could consider it to be both, depending on whether your route is here. We're here, whether it's octave higher, right? But the interval is basically just 1/6 interval. You could call it a 13 but it's 1/6 interval. Okay, so that would work just fine. What about this note? Would this don't work. Well, if you know this is your one, then you know this is your too. So why not? You know, play that that's giving you, like E and nine sound. Right? Okay. Now, if you want to get into, like blues and jazz, then you could always have that dominant seventh in there. But you can see that's leaving this sweet, pure sound. Okay, so once you get into blues and jazz and stuff, then you'll see a lot of these dominant sevenths in there, and that really opens up harmony. But for basic pop songs, if you're like a songwriter type of Geier girl, you know, just these basic chords will sound great, you know? So let's go to our next court. So now you kind of know if you just choose a note as an extension, any random note, you could take this one and say, Whoa, that sounds a little bit weird. What is that? So you go 12 11234 Then you'd say, Oh, between two and three. Is this flat three So that flat three is clashing with the major Third, it's not wrong because nothing is wrong. You know with art. But is that a sound that you want? It's not gonna be a pure sound. It's not a sound from the from the major scale, right? So if you just stick to those notes from the major scale with any of these cords, you're going to be totally fine, Okay? And that's just a basic general rule that will get you in the least amount of kind of like trouble. Okay, so here's the next one f sharp minor. So you could add in this out. What is that? 1234 That's the four e. Or if we're looking at this in terms of intervals of f sharp minor, then that would be the flat third, right, Since a minor chord were playing an f sharp minor, you could add that flat third, um, here to, you know, and you kind of know that it works, since it's also a note that's within the major scale. What happens if you flan that Well, sorry. That was the fourth of e 1234 e and the flat. Third in, if sharp minor. Okay, so you're always you're always gonna be thinking about the intervals in terms of the key that the song is in, right? Just to see which ones are going to sound good to that court progression. Okay, I hope this makes sense. You're gonna have to just play around with it, you know? So what about assess for a f sharp minor? Then if you want to take that and make it a suss four way learned, this is the flat. Third is the major. This is the fourth of F sharp Minor, right? So is that a no? That's also inside of E Major? Yes, that's the fifth. Okay, so it works. Fine. Okay. So let's see. What kind of testing? What about this? Now you could say, What about this note? What's that? That's the one of E. That's the dominant seven, Lester Flatt. Seven. Well, it still works. You could do it, you know, But the safest notes are again the ones that are inside of that key. Okay, let's go to our G sharp minor. So what if I do this here? What is that? 12345 That's the five of e. Okay, so it's gonna work fine. If I flatten that five. Let's see, it adds quite a bit attention. You could do it. Let's try with this one. That's inside of the key of the major. It sounds a little bit more like it fits in if you are taking into consideration the other chords that are in the mix of the key. OK, so that's always something you have to think about. Okay, there are no rules, and you can totally do it. What was it? It was this. You can totally do it. But again, the safer sounds are gonna be notes that are inside of the scale, E major, right, cause that's scale that created these chords in the first place. What about the A major? Do you want to make this assess for Let's see Doesn't sound bad this note. 3456 That's the dominant seventh in the key of E. It's a suss for in the key of a ready for playing a chord, it could work, but a suss four is gonna sound better on the five chord compared toa Okay, because this note is the note e itself right. So this is the one of e. And when you play a B, try it and add in that suss for in relationship to it. Um, be your also playing the one of E right? And if you're playing chord progression, the QB, that's gonna sound great A little bit there. Okay, so that's kind of your general rule. The rule is that there are no rules, but the safe nodes toe add in That sounded really wrong. What is that? That's my one of E. That's my dominant my major seven. That's my dominant seven. So you see here with the three chord at the one that's two, that's three. If I take this note, it's not gonna work If I take this now, which would be assess for or the six um e it would sound fine. OK, you could play around with the bass notes to Right now I have the second of E on the base. Now the third is on the base. Okay, so all kinds of different things that you can play around with those is just the basic kind of rules. Now that you know how to count intervals, you'll be ableto find those relatively quickly, but they make up your mind whether you wanna have them in the mix. Okay. I hope this made sense. It's a lot of information. I'm not even sure when to end this course, because every new lesson just opens up more questions, you know, But I think you have a lot of information now, so I think slowly we're gonna be closing this course up. Let me know if you have any questions. Let me know if there's anything else that you want me to touch on. OK? All right. Let's see what happens now whether I'm gonna make more courses. They're not gonna go watch this video now than see how the whole package is looking. All right. See you very soon. Take it easy. Bye bye.