PIANO INSPIRATION SERIES - SEASON 3 | Woody Piano Shack | Skillshare

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PIANO INSPIRATION SERIES - SEASON 3

teacher avatar Woody Piano Shack, Helping you make music

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

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

Lessons in This Class

5 Lessons (1h 24m)
    • 1. SEASON 3 INTRO

      0:53
    • 2. SE03EP01 FROM BLUFFER TO PLAYER WITH INVERSIONS

      25:03
    • 3. SE03EP02 MAGICAL 7th CHORDS

      29:31
    • 4. SE03EP03 DREAMY DOROTHY CHORDS

      15:34
    • 5. S03EP04 TAKE FIVE BREAKDOWN

      12:43
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About This Class

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The PIANO INSPIRATION SERIES is my platform for sharing the knowledge I’ve learned during 40 years of playing piano, keys and synth. We cover piano lessons on a variety of topics such as theory and technique, song breakdowns and genres such as pop, blues, boogie, jazz and gospel. The goal is to give you new creative ideas, broaden your repertoire and above all bring a lot of enjoyment and satisfaction to your playing.

In SEASON 3 we will cover the following topics in depth.

FROM BLUFFER TO PLAYER WITH INVERSIONS

After learning your basic major and minor triads, inversions are the most important technique and skill to take your piano playing to the next level. I cannot emphasize enough how vital it is to master your inversions. In this lesson I'll explain what an inversion is, which inversion to use in a given situation and some advice and tips on how to practice.

MAGICAL 7th CHORDS

7th chords give a sophisticated, rich, bluesy or jazzy sound to your piano playing. It's an essential skill which will take your playing from beginner to intermediate level. With this knowledge under your belt you are ready to start adding colour tones to your chords, such as 9ths, 13ths and 11ths. But let's not get ahead of ourselves! Today we'll focus on the three most important seventh chords, the Major 7, Dominant 7 and Minor 7. Remember to practice in all 12 keys!

DREAMY DOROTHY CHORDS

Let's put inversions and seventh chords to good use in this composition of mine called "Dorothy". I'll explain the chord progression and the sophisticated voicings used for the Major 7 and Minor 7 chords and then give you some tips and advice on how to perform expressively.

TAKE FIVE BREAKDOWN

Take Five by Dave Brubeck is the best selling jazz single of all time from his hit album Time Out. The name of the song comes from the fact that the time signature is 5/4, or 5 beats to the bar making this a challenging and fun groove and an interesting song to solo over. I'll break down the main groove, or vamp, and then show you how to voice the jazzy seventh chords in the tricky B-section of the song.

Meet Your Teacher

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Woody Piano Shack

Helping you make music

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Hello, and welcome to Piano Shack, with me Woody!

I run the popular YouTube channel Woody Piano Shack about piano and music technology. Skillshare is where I share my premium piano lessons, the PIANO INSPIRATON SERIES.

These are lessons aimed at beginner and intermediate players but also with some advanced topics for experience pianists. Each video lesson is a standalone topic designed to broaden your repertoire, inject new creative ideas into your playing, improve your technique and music theory knowledge whilst bringing you a lot of satisfaction and enjoyment.

So far, the PIANO INSPIRATION SERIES totals over 6 hours of lessons on 19 different topics.

I've been playing piano and keyboards professionally for over 30 years and look forward to sharing my k... See full profile

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Transcripts

1. SEASON 3 INTRO: Welcome to the piano inspiration series with me, Woody. In this season three class, we have some concepts to take your playing to the next level. For the beginners and intermediate players will take a look at inversions. I will share with you a simple but very effective chord progression that signs beautiful. And his very fun to play. I want to keep working on our timing. So let's take a look at take five, which has five beats to each bar. Another very important topic that we'll cover today is an explanation of the seventh chords. You do not want to miss this if you are feeling that you are stuck in the same old stale chord voicings. This will transform the way you are playing. Sounds. Happy practicing. 2. SE03EP01 FROM BLUFFER TO PLAYER WITH INVERSIONS: Hello and welcome to Piano Shack with me, Woody. Today I want to teach you everything you need to know about inversions. And you really do need to know your inversions. I remember when I learned that when as a child, it really did transform the way I played plan. It was a revelation. And it took me from sounding like a nube that was playing pop tunes a bit like this without inversions. When she put inversions in, you can voice these cords slightly differently and get a much richer, fuller and more professional sound like this. Okay, so today we are gonna go through the inversions. This is a topic mainly for the beginner players. We'll give you some exercises that are even good for the intermediate and advanced based because you really do need to nail this. You need to be able to do this in your sleep. And that's why I'm gonna show you how to do today. Okay, Traditionally, then let's do this lesson in the key off. See? So we've already discussed in depth. Our major triads did a separate video, and that's to go check that out. If you're not familiar, how to form the major and minor triads. Here is the major one, then just a quick Greek up. These are just two stacked thirds major, third, minor third or you can think of it as every other note of the C major scale. F is similar eyes very easy on the piano in the key of C because they are old white notes. You know this stuff, I know that. But anyway, let's talk about inversions. And these are triads in the root position, meaning the root of the note of C. I'm going to reinforce it with my left hand here, eyes on the bottom of the Triad, but we can play the same chord in an inversion. The first inversion is when we take the bottom note there the sea and move it up to the top . Now this is also a C chord. Don't be fooled and think it's some kind of e chord is not is just all the notes of the C chord just rearranged. I'm moving that see up an entire octave. That's your first inversion, and if we look at the shape of that, the first inversion, all the notes are equally spaced. But When we get to the first inversion, you have a cluster A to bottom two notes that are closely spaced on a bit of a gap. And then there is the top note. The route is on the top with our first inversion waken Continue upwards as well. If we take that e no move up to the top one octave above eyes also a C chord. Don't be fooled by that G. This is a C in our second inversion form. Okay? And now we have a cluster of two notes on the top, closely spaced on a bit of a gap between the bottom one in the middle one. What happens if we carry on going upwards? Let's explore. Let's take this G. Put it back on to the top. No, you'll see we're back to where we started. Just a octave above. So I had our C major Triad in the root position. C Major tryout. First inversion. See Major Triad second inversion on my back to where we started. See Major tried in first inversion just an octave above Let's do this with one mawr key. Let's do any Indy just to explain the principle so you really understand this and you need to know this for every single chord on the piano. Practice this in all 12 keys. I'm gonna give you some practice ideas and exercises you can do to really drill this home. Get this sunk into your brain on down into your muscle memory on your fingers. Ok, D. Let's form the major Triad. There you go. I chose this one because it's got our f sharp in there. So the first inversion take the D to the top second inversion Take the f sharp to the top, just ascending the inversions. There is quite a nice ST in itself. Let's talk about how we can use these inversions musically. Okay, let's take the example I played at the beginning of this lesson where I had a c f g thing going the one before Cord and the five Court. I'm gonna do a lesson all about the numbering system, the different chords of the scale. But for now, one just take my word. This is the It is the fourth court G eyes the fifth chord in C major a couple of reasons why you might want to use inversions. Firstly, this to me, Doesn't signed. Allow that. Polished? Perhaps, is that the word we can choose? A brochure has its place, if that's the thing you're going for. But this is all about artistic and creative decisions. What seems best to you, and I really encourage you to listen as you're playing, to see what saying is the best. You don't just want to be pressing notes like a robot. I want this to be a feedback loops as you're playing. You're evaluating yourself how it signs and making adjustments accordingly. So let's play room positions that signs. Okay, what happens if we start in this position? But May I would very rarely start a song with any kind of triad in the root position. I wouldn't normally finish a song like that. To me, this sounds much more warm, lush, rich and interesting. Do you agree? Let's go to the F Also that signs a richer cord to me than this one. Another thing we're doing with these inversions in if you're jumping around, not only does it sound obviously a little bit jerky, but we're bringing this triad out of the area of the keyboard, where it signs the richest and the most fullest. I find that playing chords in this area of the piano is where our courts signed the most full warmest on the richest. So you want to try and keep your chords in this area of the piano. I mean, anywhere between F. C is okay. To be honest, when you get down a bit too low, they get muddy. But around here is a case. So by using an inversion, it means I can play our F court down here around the middle of the keyboard instead of having to jump up to here. The other thing you noticed, I'm sure, is as we go from the sea to the F, it's much smoother. I'm not having to shift my hand up the whole four Note says. Let's do that again. I'll do it the Nuba Way to begin with, with an inversion much smooth so you can hear that. Let's go to the G. It's actually quite smooth to go from the after the G, the in the root position as well, but it signs Richard to me. Two g o waken Use this inversion if you like. There is no right or wrong here. I don't want you to think there's a right way and a wrong way, a right inversion to use in a wrong aversion to use. You just need to experiment to find out what works best. And you need to know all your inversions and all the position so you can easily and effortlessly effortlessly change between. And let's do something in the key of D, then again, starting Accord With on Inversion. This looks to be the second inversion. To be honest guys, I don't think our first inversion second version that's not going through my brain at all. I just know that there are three ways to voice the D major. I know that. And when I jumped to here, I'm not thinking now. This is moving the D up one and I'm moving the F shop. I can instantly go there, and that's what you should be striving to do as well. Really, really important. So let's do a D to the A movement here. Hey, I smooth that waas when I use inversions, it would have signed it like this. Otherwise, with inversions, let's do a T minus. There's a lovely inversion off G first inversion. I actually think about that myself to see what form of the emotion is. Just play them with, like thinking about it playing 1/7 chord that that will be coming in a future lesson there . It sounded fine to use the major triad in the root position, finishing on a beautiful inversion, and you can easily run that up the keyboard from Ice Effects Do Worm or in the key of a the favorite guitarist scored. Perhaps E. A are very popular keys to play with Guitarist. They like that one because of all the open strings. So in the key of a let's do A I'm gonna start with the Triad here. There's no right or wrong answers here. Okay, so it's playing it. What was playing with inversions? It s so important to realize I'm not going to tell you today what's right or wrong. What inversion to play in what situation? I just want you to experiment with these. Try yourselves to play a song using different inversions, see what sounds best for you and also what's easiest to play for you. If you're going to be doing some fast work, I'm alternating to an effort. If you didn't use inversions, you're gonna be doing this. It's a lot more work on your much more likely to play wrong notes than just going like this . If you compare my hand movements when I'm using the inversion of the F, this is just a C to the thing that's pretty effortless. It looks like I'm not even trying when we start doing this instead, not very efficient at all. Unless, of course, you're going for that. Signed. If it sounds good to you, then it is good, right? I've told you then why these are so important and they really are. This is one of the number one things to improve your playing. If you just know you're tried in good position, want to take your piano playing to the next level next level? Then you really gotta figure out these inversions. I can't emphasize enough how important it is, as usual, to learn these. There are a number of exercises, some or let's say, none of which are truly inspiring or enjoyable to play scales, arpeggios, finger exercises, never all that fun to play. Unfortunately, suddenly they aren't, but they are the most important drills. You need to know to get this under your belt. Let me show you a few ways to practice the arpeggios. Right? So to practice the inversions, I've spoiled it. Therefore, you, the way we're going to do it today is using arpeggios. Arpeggios is basically when you play a broken chord. If we have a I'm gonna play a C in our route position and put the extra one on the top There, the extra see on the top that, by the way, just a quick detour. Here is something you can do to reading Philip. The sound of your chords in any inversion if we take the E on the bottom first inversion of the sea could put any on the top is well, just double up the bottom notes with your little finger on the top Do the same thing with the second emotion on arpeggio is just playing that instead of all the notes together. Thing is going to be easier for you in the beginning. I think you are just going to play them one at a time. That's an arpeggio. Basically. I suppose it's helpful to know your major scales before you do this? Actually, yeah, That remembers. Reminds me we need to touch on the minor arpeggios as well. So I do that in the segment coming up. But this is our arpeggio. I want you to play these as smoothly as you can. Don't, uh, not stick, Carter, you can do it if you want is an exercise, but I'd encourage you to try and play leg arter. That means smoothly. You can hold it dying or play one note at a time. It's best to very You can figure out your own exercises. And when you get to the top, that's quite helpful because you're learning the notes that you need to play in each triad . Another thing you can actually do to really get this into your head is too. Play two octaves. So I wanted to do is go switch. But your thumb under two octaves is enough. When you get here, put your third finger using your 1st 2nd 3rd switch under with your thumb thing is a fantastic exercise. Not only are you learning on your muscle memory is learning which notes to play in all off these chords, but you're building up the dexterity of your hand, the fingering. So you naturally know when to change, fingering to keep everything smooth and nice. Also building up the strength of your fingers as well. You also need to do this with your left hand. We're not just going to be focusing on the technique of our right hand is equally important to know these court shapes with your left hand because quite often you might be playing the accompaniment with your left hand and soling or playing some melody line with your rights. You need to have these in your left pants. Let's do the same thing in the key of C eyes using your left on just with one active If we want to go all the way, watch what I'm doing in my left hand and make a note of where I'm changing the fingering so we can get this nice and smooth. And you can go up as much as you want. Okay, That is a good exercise right now. I'm gonna give you the killer exercise for your inversions. Okay, Once you've got this under your belt, try and do them with both hands together as well. Way sorry about the bad plane. Been a long time. So practiced arpeggios and scales. I did it when I was a classical pianist. That was many, many years ago. I can hear. I probably should be playing them a bit more. Anyway, Here's the killer exercise. To really emphasize the shapes of these inversions, Here's what you can dio They're the first inversion we're gonna play. What are these things called? I'm gonna call them a ripple. Arpeggio is not the proper word, but I forget the proper word. Okay, Here I'm basically thing the first inversion and I'm playing the second inversion. Always a thumb at the bottom. Get back time. Using my little finger at the top is in my fourth Actually apologies for some of the wrong notes there. We need to do the same thing with the left hand. Of course, atyou can see that this is lining challenging for me. This is outlining the shapes inversions. You can also do a four notes arpeggio like this rippled as well. Okay, You could probably think of some fun exercises to yourself, but don't neglect the left hand. Let's take the key off d again which has a sharp in it just to see how that affects the fingering doesn't really Okay. And if you want to know the fingering for all of these arpeggios, they're available online. If you search for it, Okay, Lets just touched on the minor inversions because I skipped over that little bit. Let's do a a minor, for example, which is a with white notes against it makes it nice and easy for us. Every other note of the minor scale way will do some sessions on the major and minor scales . Don't worry, but I'm assuming that most of you know these by now. Okay, there's a minor. Let's play the route in the basis while just to really think about in. So here are inversions way. Build them in exactly the same way as we did before this experiments with this court progression. Okay, e minor A minus or E e minor D minor. That's how you could play with inversions another way. That's nice. So, yeah, when you have these conversions under your belt, as you can see, obviously there are many, many more options available to you about which area of the keyboard to play your triads in how to voice them how to move smoothly between the cords as well. Just you can experiment with listening very carefully to what you're doing. Seeing what signs best's. All these alternatives are a great thing, and you can even do things like alternating or varying the inversions you're playing during the course of a song. To get mawr interest or to build up the song or to just add some variations between the verses in the chorus. Here's a little trick you can do with inversions as well. I hear this sometimes. If you've got a sustained chord this say, a G is being held for a number of measures. A nice thing you can do just to keep it interesting instead of playing the same thing over and over again, used the inversions a little bit of sustained peddlers. Well, here you can hear that sounds very pompous on dramatic. Anything else we can dio just thinking on the spot? I got a G minor going to see here. Just a repeating just climbing up the inversions ascended Great, didn't it? Even if I say so myself. Unfortunately, you need to be able to do this in all of the keys, major and minor in all Off the 12 keys on the piano. It's gonna be a struggle for you. I'm sure to do this in some of the keys F sharp. C sharp have shop. You need to do them in autumn. Shall I play you through quickly? All of the inversions in all of the keys, you can always slip. It's just like a reference for you. Really. It's not gonna be particularly entertaining, but you'll be able to slow this day. Watch it. If you're struggling to find some of these inversions and then just practice practice practice. So let me play you through all of the emotions right now I'm gonna start in C and then we'll go around the circle of fourths, meaning that I'm actually gonna go up 1/4 every time. So first I'll be doing the inversions in the key of C that I'm gonna change Thio going up 1/4 time ago for fourth again, I do them in B flat until we go all the way around to where we started off. Let's do that now and then I start off with the root position every time as well as close to the middle of the keyboard as I can you want. You can slow this down and use it as your reference material when you're trying to figure this out yourself. Uh so there you go. I hope you enjoyed that. I cannot emphasize enough. Once again. I know I'm repeating myself how important this is. You really need to work on your inversions a lot if you're at this stage of your piano playing. Good luck. Happy practicing. I'll see you next time. Cheerio. 3. SE03EP02 MAGICAL 7th CHORDS: Hello and welcome to Piano Shack with me, Woody. Today we are going to talk all about seventh chords, the magical seventh chords. The's sound wonderful on at a level of sophistication to your playing. These are another one of those techniques, like we did in the last lesson with the inversion that would take your playing into the next level. Just a recap then, on our triads. If you remember, there were four different types of triads. I did a video all about this. So go back and check that one in the archives. If you haven't yet seen it, This stick in the key of C to begin with, just Teoh illustrate these concepts. Now, firstly, you will remember we had the major Triad. This was built using two triads stacked so 2/3 two intervals of the third stacked on top of each other. That's not mixed up our terminology here. So we had a major triad and then a minor Try it on Soper Triad, you remember, is to stacked thirds. We also had the minor triad, which is a minor third. That's a major third when you're playing these, of course, you don't need to think about stacking thirds. You'll just be familiar with the shapes of these way. Look at the major Triad is every other note of the major scale. That's probably how most people learn them. But the correct way to think of a triad is 2/3 stacked on top of each other, and that's important as you'll see when we get to the seventh. So we've got a major tryout minor Triad, and we had an organ meant it to try it. Two major thirds not as commonly used as the minor on the major triads. And then we have the diminished again, not is widely used. That's when we stuck to minor thirds. So there's our four triads. Now we're going to discuss what happens if we add a further third on top of our triad. So let's go to the 1st 1 For example, a major. Try it. What happens when we stack 1/3 on top of our major triad? They're two different types of thirds. The interval of 1/3. There's a minor third, the major third. What happens when we stack 1/3 on top of our minor? Try it. That's what we're gonna focus on today we will briefly mention what happens when we stack things on our ornamented diminished dryers. But 99% of the time you're gonna be using the cords seventh chords built on top off a major triad Minor. Try it. We're gonna focus on 3/7 chords today. The first of them, I'm going to show you, is our major seventh. Let me show you how to build this. Well, we have a major. Try it on. On top of this, we're going to add a major third. So if we get from the G, which is our top new to the Triad, play a major third that takes us to the B. So the full call, then these major chords with the seventh chords are four. Note chord. At least when we begin here, I'm gonna show you how we can voice season slightly different ways later in this lesson, that is the signed of the major seventh, a mystical, magical, intriguing kind of scientific callegary. Let's play a root note in the base here, the sea in the base just to anchor it. And he was a bit of sustained pedal and will ripple up through the keyboard. You'll be out of here. The sound of this is not wonderful. What a sophisticated and beautiful signed Let's play 1/5 on the bottom eyes are F major. Seventh thing. The route in the left turned plus fifth Uh huh. Very, very common way. I voiced chords using 1/5 power cord in the left hand. Very beautiful to go between the root and the fourth when you're playing his major seventh chords. But I wouldn't normally voice it this way. There's nothing wrong with this is completely correct to use these four notes. The root 3rd 5th 7th Eso is great, actually, but I'd normally play a slightly different voicing, perhaps even amore sparser voicing. I'm gonna show you some of the ways we can play major seventh chords. Some of the options that we have right now. Okay, we did inversions in the last lesson. Super important concept. We can apply inversions to our seventh chords as well, and in many cases I think they saying better way, just going to take the note on the bottom, move it to the top way. So we're keeping our fortnight four note voicing here. I wouldn't normally play that it's a bit of a struggle for me to play that a little bit awkward. It feels to me the way I voice seventh chords and very popular way to voice them is like this eso if we study what we're doing in the basic root position here that I just showed you earlier, there is some duplication of this. See your either playing that yourself with your left hand in the base, playing a solo piano if you're playing in a band, the bass player is probably covering that note on the bass guitar, acoustic bass, whatever it might be if you're in a just band, so I would advise leaving at this. See, it's a little bit redundant. It just has a lot of thickness. Makes the cord would win more awkward to play. So this is how I would voice the major seventh chord in the key of C. But no, even that I would tend to play inversions. I showed you some nice exercises how you can practice your diversions. You can use the same things here to practice the the inversions off our major courts. Major seventh in this case, by the way, is a lovely way to finish piano pieces. Well, now, how do you quickly find these? Let me give you a few tips. If you want to find a lovely voicing for the major seventh the way to think about it This is Ah, quick tricker. If you like to find these quickly, we know a major triad. Just lower the route notes by semi tone that eyes our interval of the major seventh. By the way, if that wasn't clear to you 1234567 I did an interview. Did a video all abates? I'm going to talk here all about the intervals. This is our major seventh. Okay. To play the regular tryout ditch the root note to see playing a major seventh instead. That signs instantly. Wonderful. Let's do the same thing for the F. There's a regular half understand very common in Latin music and jazz, But it also goes back to classical music. Let me show you something. I'm not sure which key the original went in. Let's see if I can a perfect Your elect on the spot here. It wasn't like it was like this. That is Erik Satie Of course, this'd just using a one Zachary in the key of D. So it's a four to the one movement. 12341 There is our they all the four notes says You can see this is our regular C seventh chord. But even Eric is dropping the G. Then we're gonna go to there D major seventh also an inversion there. See if I can demonstrate that for you. Move that went up to the top of that went up to the top eso He's using the inversions here to get a very smooth rich and flowing same through the composition which I think works really well without it. Without the inversions and the voicings, it would sound like this, Which is okay, by the way, nothing wrong with use your ears to judge yourself what sounds best for you. But the classical piece goes like this very, very smooth voice leading between them using inversions there. So that's something you need to work on yourself. If we stay in the key of G, for example, you want to ditch that G. It's not really helping us again. It's nice. I already showed you how you can quickly go from the root there. If we go from one of the inversions of G Triad. Just want to be looking for where that route notices at the top right here. RG is at the top. Just blow it by a semi tone. That's your major seventh. You don't need to play both can. It doesn't signed wrong a little bit wrong. Maybe you want a ditch that G Bass plays doing that for you? Yeah, during my runs up here, avoiding that G completely way we normally voice are major sevenths now, the way I normally voice, Um, I'm having to concentrate a bit myself here, actually, because I would normally not be satisfied with playing a G major. Seventh. I'm actually adding some upper extensions, things like 9th 13 for May. It's more natural to play a G major seventh like this. Might he be playing some of this stuff for my shoes? Works great on pop, very sophisticated science and go even higher up. I'm doing that kind of stuff, but let's not get too far advanced here. Let's stick to our seventh, and I'll say these 9th 11th and 13th chords for a separate video, right. Let's move on to our next seventh chord. Okay, We're now going to talk about a super important cord. And I'm sure many of you already know if you're playing any jazz or blues. That is our dominant seventh chord. This is the second of the 3/7 chords we're gonna focus on today the dominant seventh or just plain old seventh. If someone says to you play 1/7 chord, you can assume safely Assume that it will be the dominant seven, this one that I'm showing you. Now that's just the convention. So how do we form a dominant seven? Just like before? We're gonna start with our major try. It has paid the route in the left hand as well. Before we added a major third on top. Now we can add a minor third on top. You guys know by now to get from a major to a minor, you just lower by a semi tone. So that would be our dominant seventh or our plain old seventh chord. You see, we've got a major triad and then a minor third stacked on top Major minor. Yeah, that's a major third, minor, third minor third. What does that court sound like to you? What, this? What's the same? Like what? Emotions Too disturbing. You always want to be thinking about that. It's a little bit of unstable cord due to the relationship between this note on that note, which is our tryto watch my video all about the intervals if you want to know more about this rather special interval. But this is a little bit unstable, and it wants to resolve, often to a wants to go dying 1/5. So we had our C major dominant seventh wants to go down. Another example. If I play it in G wants to go there. Doesn't you can quite hit pulling dying. This wants to pull down to there so we use this seventh corps to add a little bit of tension is often used as a substitute for the irregular five court. If I'm doing something in C, let me Let me give you an example instead. Okay, that's with regular triads. You'll often see that five chord, which is RG being substituted for a dominant seven. So it's going to sound like this instead that creates a more strong pull back into the one on happy ending of this song. That's the use. And I actually played you an inversion And exactly the same thing applies is before to go back to the key of C fifth in the left hand as well. I would really voice 1/7 chord like this exactly the same before I'm gonna skip the sea, often play an inversion. So I'm gonna be playing something like this one. I very often play one. Things were not so much, actually. Just thinking as I'm saying it again, just like the major seventh. I'm actually quite often playing extra extensions ninth and 11th. But you don't need to do that just by itself. This is a wonderful sign. Let's play a C major, seventh F major, seventh as our G seventh dominant seven. You can see how I'm using that, just really at some emphasis to the turnaround there or the Of course. That's how it's very commonly used. Let's talk a little bit about blues and jazz. You heard this sign before Like this. That's the sign of the dominant seven. You see, I'm playing the interval off 1/7. Their way in the left hand is that dominant seventh Same thing in the right hands. So this is really the same way again. The thing. Seventh chord on our fourth G, dominant seventh. There you go. The dominant seventh again One you really need to know Learn it in all of the inversions you can skip to see if you want a quick way to find it Guys just like before Play a C major Triad Ditch the sea Go, Dane A whole tone this time That would be a semi tone to your major seventh to the dominant seventh Great chord for your rock Piano blues, piano Sorry, apologies for that. I'm playing my my ninth there to do it again. You really need to get this one under your belt. You can again try using your arpeggios to learn that one. Perhaps play whatever sounds good to you. There is no right or wrong way to play these seventh chords. Just get the right notes, then work on whichever inversion or voicing science best for you, in which have a particular context you're playing. Okay, The final one for today then I want to talk about is the minor seventh. How do we construct this one, then we don't the major seventh, the dominant seventh. Now we're going to do the minor seventh. It's 1/3 1 You need to know the most important when there are a couple of mawr seventh chords with our show you later on in the video. But these other three, I want you to focus on the minor seventh, then is basically our dominant seventh. A couple of ways you can think about this so I don't want in seventh. But we're gonna make it into a minor. Try it on the bottom like that, or another way to think about it. It is It is our minor triad with a minor third on top. Okay, so a bit like you can go from a major to online. You can very quickly go from a dominant seventh to a minor seventh. But find the way that works are easiest for you in your brain to find these ones. Let's take a listen to the sign of this vory reach So onerous melancholy saying, I mean, the minor is our sad signed, spare, regular minor chord on. Then play a minor seventh instead. Is the minor eyes a minor seventh, and you can, very commonly, in most tunes, you'll find you can substitute a minor seventh for a regular mine, according at a much richer, fuller, more sophisticated and interesting signed. Let's see if we can just come up with something on the spot. Let's see if we can do a a minor. This is with the regular tryouts. Amusing inversions. They threw one more time. Then we'll add some sevenths way go with seven so they are interchangeable. But I hope you could hear there was a richer saying. Instead of playing our regular, a minor will use the same trick that we did before to find the seventh chord. Instead of playing the root note, they were gonna skip that left hand, discovering that just go down to the interval of 1/7 there and said, by the seventh game E minus seventh. Okay, skipping the minus seven, skipping the day space in a different in devotion. I think that very handy. If you can quickly spot the seventh in every court, can you spot the seventh that I'm playing? If I'm going to do something in F, for example, can you spot the seventh straight away? there. It is very handy if you can instantly spot in any key. If you're playing in the key of G, for example, if you can spot the third the fifth on the seventh, very helpful. Instantly. Play the chords. That's a dominant seventh. I'm playing there. Let's make it into a minor. So try playing some tunes yourself. And instead of just playing a regular minor chord, why not turning into a minor seventh instead? Probably find his lot richer. This, of course, is very important for minor blues as well. It's play a minor blues in C way similar to our major blues. Of course, I'm just flattening way is our seventh. What's this one I'm playing here? It sounds great, doesn't it? Is actually a flat dominant seventh is our seventh as our fifth chord dominant seventh again. It's a major triad with the seventh that was a signed off the minor seventh chords. A couple more chords I want to mention Wester on the topic of our seventh is our, I think is caught on mine a major seventh. But don't quote me on that. Not really important what is called I'm gonna show you how to form it. If we have a major triad on, then at a major third on stop, not one that's an interesting signed like sometimes use this one not so much within a tune but as the ending chord of a tune. Let's see if I can think of an example if we switch to the key of a just minor chords. It's a very nice mystical on the atmospheric way to end the song if you're playing a key in a playing a minor key when you're finishing on a minor chord. It was a in this case, truly adding me Major seventh interval on top that really spooky signed, and the other cord we need to mention is our diminished. It was one of the type of triad remember, Diminished tried, which is too minor thirds stacked on top. We start a another minor third on top. We get a diminished chord. Recognize the signed off, I'm sure, but there's 1/7 version as well, if instead of playing that one is very common in jars anyway, to play dominant seventh interval Anyway, the seventh Interval sounds like that quite special use cases. We won't focus on that today. I really want you to know your major seventh dominant seventh on minus seventh because those are the ones who be using 99% of the time. Okay, I'm gonna give you some examples of how we can use seventh chords in a pop context coming up in the probably the next video, actually. But before we close out this video, I just want to mention some off the Norman Crutcher. The terminology, the way we write and represent these chords when writing our own music or reading somebody else's sheet music. So if we start off with the major seventh in, this is represented in a number of different ways you can see in, ah music. Often they'll be just a take the key of G. For example, a g chord G major. Seventh would be a large m. Okay. Or sometimes it's spelled out for you in music C g major seventh there. So there's no confusion the other way. You sometimes see this is G with a triangle. Sorry about the shaky handwriting. This is a universal symbol, meaning major seventh chord. If we take our dominant seventh, musicians don't normally say dominant Seventh when they're talking to each other. I just say 1/7 chord and then it's implied. But it's the dominant seventh. The way you write these, then, as you might I've seen, is just the right G seven. Then we know it's a dominant seven. Any other ways I've seen this, uh, I don't think so. It's That's the way you do it. I can't think of any other alternatives, and there may be, but that's the one you commonly commonly see on. Then we have our minor seventh, of course. The final one. I showed you the way that's written. If we stay in the key of G or G chords. G Small M seven Very calm in the most common way. I see these in sheet music, lead sheets, jazz books, real books, that kind of thing. Another thing you might see sometimes is G Dash. That is another way to write G minor alternative to writing G. And it's another way to write G minor. So for our minor seventh chords is going to look like that G minor seventh. So that's the terminology you need to recognize when you're reading sheet music called symbols. That kind of thing. So this was a long lesson. I know, but a very important one as well. This, together with your understanding, knowledge and usage of inversions, is what will take your playing from sounding like a beginner to a professional. Once you have these mastered under your belt and in your muscle memory. So please, please, please, to practice these. I can't emphasize it enough How important it is to know your seventh and your inversions. I'll see again next time. Happy practicing. Cheerio. 4. SE03EP03 DREAMY DOROTHY CHORDS: Hello and welcome to Piano Shack with me, Woody. So we've had a couple off intensive sessions recently where we've covered inversions. Seventh chords. I think it's time to play a bit of music and put these new techniques that we've learned into practice. Here's a song that I called Dorothy. I composed it myself. It's loosely based, actually on the cords from one of the songs in the Minecraft. Same tracks. You might recognize it. That particular song is called Tazewell. My version is called Dorothy. Let me play through it. Then we'll explain what's going on. - Okay , this song is using our major seventh chords. Remember the court symbol for that was a triangle That's a major seventh. Just four chords here. You heard It was a very slow tempo. Quite a romantic sounding, dreamy kind of peace, which I really love. We have a G to the d there progression. This keys isn't a key of D. Actually, let me just make a note of that. So is in the key off D major. Sorry, the flowers getting in the way. We're gonna start off with the four chord in the key of D, which is RG just gonna play regular triads first. Then we're gonna go down into the D living in a Bay in F major. Seventh, I'll just pay the regular F first. So if we play in the most basic form, which is always a good idea when you're learning a song, just move that slightly out of the way. So I'm just gonna play irregular triad chords first, which is a good way to approach this when you're learning a new song. So we have the and it's four beats on everyone. 23412341234123 four. But that sounds kind of boring, doesn't it? Doesn't say anything like a sophisticated is nice is what I was playing. That's because I was using seventh chords and in some cases, some ninth chords as well. I'm gonna break that down for you right now, But let's just take a look at this progression one more time to see what's going on here. We have a G to the dean, and that's a four to the one, and this is the same thing. Very, very common progression. Actually, this is what sat I was doing? We mentioned it when we talked about the major sevens that sounds, you know, from classical music. But what's happening next G to the D. Let me have f for the E minus seventh. Well, let me explain. It wasn't totally obvious to me first, but we figured out eventually we have a g to the D on, then is actually repeated, but a whole step dying with a substitution here. So what we've actually got going on here and I love breaking down chord progressions like this to see how it works on what's going on. But we've got our G to the dean. Then we're gonna move the whole thing known to the seat again. It's a four to the one, but then we're substituting is very common courts. Substitution is to replace, see with a minor third. Take my word for that night. But that's what's going on here. So we got where the mine is. A substitute for the season. This is actually a chord pattern, the progression that's repeated twice, and that's why it works. Now let's add some seventh courts to this and see what it sounds like. Okay, remember our seventh chord is a major triad with a note on the top. So let's play full seventh chords just as we get the hang of this progression. 34234 to 3 e minus seventh chord would be that is our regular e with mind 1/7 on top one more time. You can see how much richer that sounded. Let's just do it once with standard cords. Cool 234 and I with seventh. So I hope that illustrates very clearly for you. Why it's so important to know these seventh course because that just rich ends up the signs so much makes it so much more sophisticated, interesting, more of a dream, equality to listen to. It's really, really worthwhile learning. Your seventh says, Do it one more time. Our place arpeggio hated stuff this time. In many ways, you could do this. I love this court profession, so that's a breakdown of the cords of using. No, let's move on and tell you a little bit more. Explain what I was doing with my left hand on the voicings I was using with my right hand is the left hand of pattern. Very simple, but a bit of a stretch. What a wonderful signed. I think you'll agree. So what is this mysterious and rather wonderful sounding arpeggio? What am I doing here? Well, this is actually just the first, the fifth. You know that by now you've seen me doing first in the fifties, and many of my songs were just arpeggio hating at meaning, playing one note at a time. But instead of going up to the octave, I'm going One note above this is the actual This is the ninth. Also, think of it as the second note in the G major scale. We're playing a G chord here a second. No, but playing it up above on this sound finally, enough. Let me mention this is actually one. You know very well this is probably something I picked up from the police. Every breath you take that uses relies very much on the use of in length and then going up to the 10th or the third. You could think of it as well. 1st 2nd 3rd if you ever wanted to play every breath you take, that's the rift that the guitarist is playing on the guitar. So we are not gonna bother playing the third you can if you want. It will work perfectly here as well. But just to keep it simple, Let's just stick to the first, the fifth and ninth. We're going to do that every chord. So for D, it's just a beautiful hang onto that month. I love it. It's for the F for the e minor. We're not actually going to act line the minor third, just the first, the fifth, and then the life, which is our f sharp. Ah, a second in mind. Accord. Uh, you want to play this the minor third, it's there when you can perhaps experiment with this yourself. You could if you have something like this, there's something different on the E minor. They're just at some variation. Okay, let's discuss some of the voicings that you can use for this track. Then if I'm going to see, use the same left hand that we had before and we just add just starting that. So first playing the root fifth and then the ninth on my right hand at the same time, just quite effective. You can try that yourself will come up with something off your own What a wonderful voicing this is. I go this way to voice a major seventh chord. So if we just take the right hand by itself, we know now that that's our major seventh chord, we're gonna drop the G we don't need that was being played in the base in the base left hand is actually handling the first, the fifth and ninth. And then with the right and the 3rd 5th major, seventh Beautiful. Voicing relatively easy to find. I mean, just you could think of it as when you got your left hand. Dane. Just move up the whole tone. Actually, a b minor triad I'm playing there. I didn't think of it that way. Thinking of it that way with the G dropped exactly the same principle for the D saying for the F exactly the same pattern, the same voicing, voicing, being just how you, uh, the notes you use choose to play a particular chord. And then for i e minus seven Oh, another beautiful voicing for e minus 71 toe have under your belt. If we compare the F major seven, you'll see there's a two hands almost touching each other there, which is quite a nice way to find this one. Find this major seven voicing. There's one notes in between that we're not using. When we go to the E minus seventh, take a look. There is no noting between. That's because a za major chord is the minor. We've lowered the third so it's touching that. So there's always things this pay 31 more time. But I love that. But we can enrich in this even more by adding some nineths. I hope you like that too. I love it s o what we're doing now. We're taking what we did before which waas things voicing. I'm doubling up that ninth there with my right hand and then trying to just pick out just melody lines, which I'm gonna be doing on the top. You can use the D major pentatonic scale or in fact, any of the notes from the D major scale. We're playing over the G chord, but that's actually working Well, you can just use the G major scale may be easier. Me, the d major pentatonic cited better. We need to go into why that is on a separate lesson. Basically just outlining or emphasizing some of the notes, really Just playing a broke and cord we already know This is our voicing D major seventh with ninth. Using some of these cord notes to build a melody, Grace notes. Then to finish off the song, we're going to just pay the first space remove. This is in the key of D major, so we're gonna play the G seventh and then finish off on the D A. Over the D and a triad works quite nice as well. Let's do that. A za. Another topic for another lesson is, well, how you could combine one chord with your right hand with a completely different chord in your left hand to get over. De sounds wonderful in a nice way to finish off the song, so I hope you got some nice, inspiring ideas from this video to try it yourself. Remember, practice makes perfect. So have a lot of fun practicing this technique, guys and try and apply this left hand idea to lots of other pop songs because you'll find it does work really well for many different songs and genres. That's all I had for today. Ask you again next time. Happy practicing Cheerio 5. S03EP04 TAKE FIVE BREAKDOWN: Hello. Welcome to Piano Shack with me, Woody. Today I wanted to continue our exploration of these seventh chords that we've recently learned by exploring a jazz standard. This is Take Five by Dave Brubeck, which, as you can see, has lashings of minor seventh major sevenths on seventh chords. Let me play you through the song with a little bit of saxophone, most solo. Then we'll break this one. Dine firstly , a big apology for the mouth saxophone. But I did want to just illustrate how the groove the comp accompaniment fits in with the solar line. The melody there, that's the only way I knew how to do it. So let's break this song down and take a look at the main riff first, which is just a vamp, really, Most of the verse, it's actually in two sections. Let me mark that for you here as well. We have a section there and then a section there. This is our verse. You could say this is an A B A form. So we first have a vamp on these two chords. Uh, where the saxophone player. I forget his name. Please wait. Then we come into the middle section, the B section, which is pretty tough. Guys, this is quite hard to play. I'm sure even some intermediate to advanced players might find this middle section quite hard. Certainly extremely difficult to solo over. But we won't do. We won't be doing any soloing today. I want to focus mainly on the accompaniment here. So we've got ah, section of the vamp. Let me come to the middle section. Then we come back into this. So this is an A B A form to the song. Okay. The courts we have here, then is a e flat, minor way. Gonna pay an inversion of it. They don't hear where the signed is most full. That's our first chord. And then we have a B flat minus seven. I want regular B flat minor would be like that. Hey, that inversion instead way don't want a regular beef like this is a minor seventh chords. So we're going to change that B flat for the seventh, which will find a tone below. So here are the two chords. It is lovely and smooth to change between those and actually very satisfying to play trying yourself, you could probably make up your own song just based on these courts, it is not harder than that. But now we need to talk about the baseline on. Of course, the time signature. There's a reason this is called Take Five okay to get the groove going. I don't actually can't this in my head, but this is a piece in 54 timing. That means five beats to every bar, 5/4 note beats and the way most songs work in the most of you are familiar with them myself . Included is that they are in 44 time four beats to the bar. 12341234 This is in 54123451234512345 In the way that these 54 key signatures often work is they're grouped into three plus two or two plus three. So it's a 1232123121231212312 or 1212312123 But again, I don't think too much about that. You probably have heard this group so many times before. It's just sitting in your bone marrow and you can play it without really counting or thinking about. At least you can hear the groove in your head. Let's play through one more time. 12345123451233 This is a 123121231212312 So what am I doing here with my hands? I'm just not explained the time Signature. 12345123451234 You could take each hand on its own and then put them together. You might find that easier, but I find it easy to play both at once. Actually, 123412345 And when she put it locked in Ah, this is so satisfying to play another hard. Really, when we get to the middle section, Yes, that's gonna be a challenge, but this is not too bad. I can't even talk and play at the same time, more or less. That's your main group. Just get sitting in your fingers so you don't even need to think about it. A lot of fun to play. Okay, let's move on to the cords of the middle section. And here's where we'll really get to apply the things we've recently learned with inversions on seventh chords. Okay, this is copied straight from the lead sheet in the rial book. See flat. Firstly, that's gonna confuse you, but that's just to keep everything in line with the key signature. If this song see flat as we know, is the same thing as B s. So let's play a C lowered gives us a B. There's our regular B, but we want a major seven. That's why there's a triangle that, you know by now all you need to do is to not play the B but to play 1/2 step below a semi tone below. That's signed C E. Flat, major. Seven. We're gonna pay in a flat minus seven. There's our regular A flats. We're gonna make it a minus seven. Instead, it is there b flat minor. Seven. Start with a regular B flat, minor chord, but then play flat seven instead of the root. Sounds lovely. This is how you going to voice this court hearings. I don't want to jump up and down too much between these two is a lot easier for me to go here to that. So he flat minor seventh chords. Not gonna 12 too long. In these cords, you can pause the video. Slow it, Dane, see what I'm doing. And I encourage you all to sit down at the piano. Take these cords, for example. Write them down yourself. I won't encourage you to do that because that helps him help you to remember them into to be ingrained in your memory and your muscles and so on. It's right to stay in yourself and then sit and take each gold one at a time. And just I think you're right. Every single note you can watch what I'm doing on the screen. But I want you to figure out for yourself. Why choosing to use these notes. And maybe you can experiment with using from different inversions from different notes. A flat minor seventh. There's our regular a flat minor. We're gonna play the minus seven instead. I thought, this is nice. This is a two to the five to the one progression So we're gonna play this twice the first time I'm gonna pay that chord. Second time around, we're gonna pay these two. Okay? So let's go back here. This is actually we're gonna do a separate video on this. This is so important. This is your jars. Pop contemporary music to 2 to 5. That a one progression. This time the one is our G flat major, seventh chord. The to court here, a flat minus seven regular. A flat minor, a flat minor seventh. And it's so smooth to go between the notes over 251 to go between the changes here, let me show you to go to the D flat seven, or you need to do is move. This one was actually 1/9 voicing I'm doing there. But I encourage you to do the same thing because it's such an effortless move in its sayings so jazzy and good. And I'm gonna move to the major seventh G flat major, seventh G flat is there. Instead of playing the regular chief at Major, we're gonna play like one. So let's do this to 51 again. It's worth playing again. It sounds really nice. Very easy to move. Lovely note leading between these That's coming up in a special lesson, the 251 But just note that we have it there on. There's going to be more examples of that in the videos to come for sure. So now we're gonna do it again. I'll play through slightly quicker this time. Second time around will play this F minus seventh minus seven. I'm looking to pay the Route B flat minus seven. I actually don't play that. This is how is written in the lead book. I actually prefer to play a B flat. Seven. A major Where dominant? Seven. There we should say. So I'll pay this lips in the F instead of I actually do raise this one as well. Like yourself, I think it leads very well back into the room. So let's do this. Middle eight with the 54 timing is exactly the same rhythm that we're doing for the verse for the E flat minor B flat, minor. Seven. So let's just do this together and then we're back into the Here's a lovely way to finish it off. We discussed the what was this? The minor major seventh when we discussed the seventh chords playing a e flat minor with a major seventh mysterious, floaty kind of ending on the song. Okay, so this is gonna be challenging. I'm sure the vamp you might be able to do And that might be enough to just satisfy your curiosity and bash out a fund tune a party or something. People can do their mouth saxophone. Okay, I won't do it again, but this section will surely be challenging, but a very nice way, I think. Teoh, explore and learn. Put into practice how to use these minor seventh major sevenths. Dominant seventh chords. Give it a shot, remember? Of course, to do this at a very slow tempo in the beginning and enjoy listen for the signed of every single chord. Just validate and verify to yourself that you using the best possible inversion and getting all the notes right. Very, very important that you're hearing the sign of the seventh chord on the major or the minor . Third, Just have a lot of fun playing this tune. A great classic. I will do some Mawr jazz classics for you in the future. But that's all I had for today. Please do. Ah enjoy your practicing. Happy practicing. I'll see you again next time. Cheerio.