PLAY PIANO CHORDS -A progressive approach to play ALL 3 & 4 notes chords- | Ilse Lozoya | Skillshare

PLAY PIANO CHORDS -A progressive approach to play ALL 3 & 4 notes chords-

Ilse Lozoya, Music teacher and Online Educator

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77 Lessons (5h)
    • 1. Introduction

      2:01
    • 2. How this course work chords

      6:06
    • 3. Practice tips chords

      6:20
    • 4. Triad

      6:23
    • 5. Intervals 3M 3m

      5:06
    • 6. Major Chord

      6:39
    • 7. Minor Chord

      7:46
    • 8. Routine Major & Minor

      6:22
    • 9. Augmented Chord

      6:24
    • 10. Routine Major & Augmented

      5:17
    • 11. Diminished Chord

      6:54
    • 12. Routine Minor & Diminished

      5:15
    • 13. Basic Exercise #1 Triads

      4:28
    • 14. Basic Exercise #2 Triads

      4:20
    • 15. Basic Exercise #3 4 notes chord

      4:22
    • 16. Chord Inversion Exercise

      6:24
    • 17. Dominant 7 Chord

      5:47
    • 18. Maj7 Chord

      6:55
    • 19. Dim7 Chord

      8:57
    • 20. Half diminished Chord m7b5

      8:54
    • 21. Sus2 Chord

      6:29
    • 22. Sus4 Chord

      7:04
    • 23. Dom7sus2 Chord

      8:47
    • 24. Dom7sus4 Chord

      6:43
    • 25. Dom7#5 Chord

      10:03
    • 26. Maj7#5 Chord

      7:52
    • 27. Maj7b5 Chord

      6:18
    • 28. minor 7 Chord m7

      7:42
    • 29. MMaj7 Chord

      8:54
    • 30. C major I IV V I

      1:35
    • 31. D Major I IV V I

      1:51
    • 32. E major I IV V I

      1:45
    • 33. F Major I IV V I

      2:19
    • 34. G Major I IV V I

      1:48
    • 35. A Major I IV V I

      1:45
    • 36. B Major I IV V I

      2:03
    • 37. C# Major I IV V I

      2:16
    • 38. Eb Major I IV V I

      1:58
    • 39. F# Major I IV V I

      2:19
    • 40. Ab Major I IV V I

      2:27
    • 41. Bb Major I IV V I

      2:22
    • 42. C minor Im IVm V Im

      1:59
    • 43. D minor Im IVm V Im

      1:53
    • 44. E minor Im IVm V Im

      1:44
    • 45. F minor Im IVm V Im

      2:02
    • 46. G minor Im IVm V Im

      3:09
    • 47. A minor Im IVm V Im

      1:40
    • 48. B minor Im IVm V Im

      1:50
    • 49. C# minor Im IVm V IM

      1:54
    • 50. Eb minor Im IVm V Im

      2:20
    • 51. F# minor Im IVm V Im

      2:02
    • 52. G# minor Im IVm V Im

      3:09
    • 53. Bb minor Im IVm V Im

      1:58
    • 54. C major I VIm IIm V I

      2:41
    • 55. D major I VIm IIm V I

      2:24
    • 56. E major I VIm IIm V I

      2:22
    • 57. F major I VIm IIm V I

      2:11
    • 58. G major I VIm IIm V I

      2:12
    • 59. A major I VIm IIm V I

      2:20
    • 60. B major I VIm IIm V I

      2:16
    • 61. Db major I VIm IIm V I

      2:50
    • 62. Eb major I VIm IIm V I

      2:19
    • 63. Gb major I VIm IIm V I

      2:49
    • 64. Ab major I VIm IIm V I

      2:36
    • 65. Bb major I VIm IIm V I

      2:18
    • 66. C minor Im VI IIo V Im

      2:41
    • 67. D minor Im VI IIo V I

      2:31
    • 68. E minor Im VI IIo V Im

      2:22
    • 69. F minor Im VI IIo V Im

      2:25
    • 70. G minor Im VI IIo V Im

      2:41
    • 71. A minor Im VI IIo V Im

      2:21
    • 72. B minor Im VI IIo V Im

      2:24
    • 73. C# minor Im VI IIo V Im

      2:41
    • 74. Eb minor Im VI IIo V Im

      3:05
    • 75. F# minor Im VI IIo V Im

      2:25
    • 76. G# minor Im VI IIo V Im

      2:41
    • 77. Bb minor Im VI IIo V Im

      2:14

About This Class

Do you wanto to play chords at the piano?

Maybe you have been practicing but you still cannot play chords from any note as tirs root.

This class is for you!!

In this class you WILL learn how to play 3 and 4 notes chords in all the keys, but the key is that this class is: PROGRESSIVE, this is so important, so you can go really AT YOUR OWN PACE!

This is what you will learn:

  • Major chord
  • Minor chord 
  • Augmented chord
  • Diminished chord
  • Suspended 4 chord
  • Suspended 2 chord
  • Seventh chord
  • Major Seventh chord
  • Minor seventh chord
  • Minor major seventh chord
  • Diminished seventh chord
  • Half diminished chord 

+

All the possible combinations 

+

I IV V I  and  I VI II  V I   harmonic progressions, in minor and major chord, in all keys.

100% practical video tutorials + downloadable PDF

Enroll in this class today, if you have questions during the class you can send them to me and I will be answering them, so you are not alone in your journey.

Take that step today and enroll in this class!!

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Transcripts

1. Introduction: Did you want to play courts at the piano? Maybe few loved to play popular music. Maybe you are a beginner itself thought student, or maybe you have been playing classical music for years. But you want to really go deeper into how to play courts, and specifically how to play tree nodes and four chords without any problem. Well, this course is for you. Welcome to this course about how to play courts at the piano. My name is Ian silver Sonya, and I really want to invite you to kick this course. In this course, I'm going to teach you true 100% practical videos how to play the most important Ford's tree nodes and seven chords with all the possible variations and the piano in a very easy follow wave. And the most important thing is not about only know how to play them, but how to understand them and how to really play them from the node as its root. In this course, I want to give you an error only 100% radical radios. You can download material. I'm going to give you explanations on how to study. But if you have any question you can ask me and I will be very happy to help you on how to develop the vest Piano routine, to learn really how to play chords on the piano and play your favorite songs. So don't wait, enrolled today in this course and take that step to start playing courts at the piano. 2. How this course work chords: Welcome to this course, piano chords, a complete am progressive approach to playing piano quotes, well, welcome to this course. I want to share with you what this course is about. How does this course work is really important, that you are capable to understand how the course is a structure and which are the main goals that I wanted to share with you in this course. So let's talk about the objectives, the goals. First of all, let's talk about Piano routine. This is really, really important because if you want to learn to play piano chords, if you want to play courts and, and you know, play icon payments may be you are a singer, maybe you're a composer, or you want to play with other instruments. It is really important for you to walk in this, but work in your piano routine. So you may be a beginner, maybe do ourself thought, piano student, or maybe you have been playing for many years classical music. But you are not really into courts and you want to learn to the death. So in this course, I am going to teach you not only how to play the chords, but we're want to talk about the structure. And something important is that you are capable to this sign your own path. So I am going to give you some important recommendations at bison held to study. So you really can put into practice all the advices and all the things that I'm sharing with you in this course. So you need to understand what you are going to learn. Why are we going to learn what I want to teach you? So do you, are, you will be capable to use a proper and efficient study routine. So you can really learn, this is very important. Each does not matter that this course maybe has a lot of content, tons of videos, and you can go into that. But if you don't follow a proper path of learning, do will have problems. And I don't want you to feel discouraged because of that. So let's talk about the course content. First. I am going to teach you how to play different type of Courts. The courts from that have three nodes and four nodes. So we are talking about triads and seventh chords and all types of chords. Using this as a basis and from any node as its root is very common to play only on C-Major or G-Major, a couple of keys. But we really want to learn and be cabled to play from any Newt Note as its root. Besides that, besides the structure of the major or minor or diminished or augmented and all those courts, we are going to talk about harmonic progressions. This, what is the harmony progression? What is the structure? And I want to teach you the inversion so you can work this as patterns that will help you to play really many, many, many, hundreds of songs because there are many type of songs that use this harmonic progressions dialog going to share with you in this course. So it is really, really important to understand this. And we are going to apply all the knowledge to songs. So that's a point I have to tell you. This course is not about you learning how to read the notes, autoplay rhythms. This course is about you play in these structures. Understanding while the courts mean and how you can play from any node at each root and develop a good routine. So you can really master all these chords that I'm going to share with you in this course. This course has 100% practical video tutorials, or you can see directly the piano, how I am playing that. And while I am playing, I am giving you tips so that you can get the most of your practice and you can download the music sheet. But before each practical video, there's a lesson with the music sheet so you can really read the notes and see the nodes. So you want to really improve your learning and not just go to the practical thing. So this course is not about playing many sounds in one hour or something like that. It's really not that type of court. Of course. It's a course. Which purpose is you to understand how to study and being able to apply this to songs. So if you are beginning or you are just maybe you know some courts but you cannot play them from any node, its root. Well going to share with you technical exercises and many routines that will help you to master this. And we are going to apply this to popular song starts. So that is going to really encourage you to apply what we are learning. Don't forget that this course has downloadable materials so you can practice. You want to practice off line, or maybe you want to print all the materials that you can work on yourself. Well, that is a resource that is there. My name is insula, so yeah, thank you. Thank you very much for the trust. Enrolling in this course. I really hope that you will get the most of this course that you really see practical changes and when you play. And if you have any questions, not only about the course, but how to apply this and maybe something that you are struggling, either Piano playing, please let me know. You can send me a message or post your question so it will be very happy to help you. Welcome, welcome to this course. I am so excited to share with you all this things and I really believed that this course is going to help you to finally be able to play all these type of courts from any node as its root. Welcome. 3. Practice tips chords: I want to take a moment to talk about how should you practice as a piano teacher. I have seen this through the years that I have been teaching. Not only Even when I was a student, not only my students, but when I was a student, I used to sit with my friends. And nowadays of course, I see that very frequently with my students. What is that we do not practice with good study habits. So I want to take a moment to give you some tips. The first thing that will intranet is we need to know is that learning is always a process. There needs to be progressive and piano learning, it's not the exception. So really the piano learning mass, we always, always progress it. If you are a beginner, if you maybe know just a couple of types of courts, but you just want to go and try to play the most difficult courts. What is going to happen is that maybe you will not be able not only to play it physically with your hands correctly, but you won't understand. And it is really important to go at your own pace. I know sometimes we just really want to achieve those goals and we want to play more difficult songs, but we have now placed it before. Believe me. Courts can be something kind of confusing if we don't follow the correct approach. So one of the, one of the main goals of this course is not for you only to have this huge library of video library where you can go and check how certain progressions of courts we played, but really to understand the process, to learn correctly. So I really recommend you to go at your own pace. Pace. Always tried to play very without mistakes, actually with very little or no mistakes, it's really important. So in that way, you are going to be more efficient. You need to play slow. If you begin playing faster when mistakes, what is going to happen? That you are going to learn things in the wrong way. Maybe you want to play very fast. Maybe you want to play the song that you like. As the singer. It, well, you call UMass, take it easy on play and learn. One type of core at a time is really important. Sometimes we believe that we are plays low, but that is not true. So we really need to be aware of this so we can practice without mistakes. Now, how are you going to organize your practice? Let's imagine that maybe you are. Of course we know that if we play many hours or learning, going to be better, but we need to organize the time that we practice. So let's imagine that maybe you are a beginner, you are busy person, you have a family, a job, and this is just a hobby for you. And you are going to have a 30 minutes practice routine. My recommendation is to begin with some exercises, warm-up exercises. In this course, I'm sharing some exercises that you can practice. So it will be a good idea to practices at the beginning. Then we go and make a new practice 15 minutes in your core and new type of chord. And then we go unchecked the previous chord that we learn. This is really important, the previous type of court. How are we going to practice? Well, let's imagine that now you are going to play one hour. It's the same idea. You need to change the type of exercises so you can really concentrate better and really focus on the knowledge and new things that you are learning. So I recommend you technique exercises then new courts in your song, and then you go to the overview. If you began playing what you already know what is going to happen that at the end of the practice, you want to go for something new and you are going to be tired at that moment. And actually literally your brain is not going to help a lot because we are going to be tired. So it's really important to go first with the new things. How to learn you courts well. And it's one of my main goals AS teachers, teacher in this course is that you will be able, capable to play the courts not only from the ECQ. He will say, well, I'm going to learn everything to play only on the keys that have not too many accidentals, but that's not, that's correct because the idea is that you will be able to play from any node, from any node, its roots. So if you are playing a more difficult song and then you'll find a more difficult court. Well, you will be able to figure it out because you have practices before. So how are you going to begin with courts when each type of new chord first go and Master di, all the chords that begin with white key as the root. So C, D, E, F, G, a, B, all the white keys. Then you go to the black keys, but don't leave for the MCO. Well, I'm going to learn all the type of course. First, white key known annoyed if you're playing major course, you are learning major courts. Would you go play white keys? And then almost immediately you go to play from the black keys. That is going to give you practice and Jurgen to master this, because otherwise we are going to leave all the black keys at the end and maybe one do it. And we will have this idea that these are the difficult and courts, which is just a matter of practice, right? Maybe are a little bit more difficult, but that doesn't mean that must be set aside and just leave it there without practicing. So these are my recommendations. Organize your study, play very slow, go at your own pace. And when you learn a new type of court, being with white keys, but immediately go with the black keys. 4. Triad: In this video, I am going to teach you what is a triad? Triad, it's a concept very important to understand when we are going to play court. This is absolutely basic, but something interesting here is that if you are playing piano, understanding what a triad is, play in is very easy. Why is so easy? Why? Because piano, the piano is an, is an instrument that it's very visual. Let's explain this. It triad is the basic of a core. So if I am going to play a chord, it doesn't matter which type of core is, if it is major or minor, whatever type. Well, the basic of the court is a triad. Let's choose C as the root of this chord. A chord is a sequence of notes. And from this node, I am going to find the next note, that is a third from this note. So it's a sequence of thirds and we are going to find three. So in this case, this is C 123, this is a third, and this is the first, the second note of the chord. This is, this is the third and the second and the third note that we are going to find is it has a third from this node, one to treat. So it is g, c, e, g, r tree nodes that are the basic notes of the core of the C chord. It doesn't matter which court it is. We are not there yet, but this is cool trial. And we are always going to use a, C, E, and G. We can add flat sharp any accident. But if we are talking about, see a tree node score, which is a basic of any core while this is a trial, and we need to memorize the names of the nodes that are the triad of seeing in this case, okay? What I am saying that it's so easy at the piano because you can't see that. I'll just need to skip one note. In this case, this is white key, so I am just skipping the white key and this simpler. And it does go to the next third. I'm skipping this and I have the trial. And when I play it, I am going to use finger 135. Maybe you have played this before, maybe you have use another fingers. But I want to suggest you this. Why? Because if I play with 135, I am going to need to escape this note. And I have a finger here that it's not playing, so it feels really so easy to play. And I really like this. Remember, you should not play like this. Just Kirby fingers, user fingertips and play like this. So this is the trial. Now, let's quickly go and find the rest of the triads. So beginning from B, I've got to find a triad. So they're going to be B, f, and this is a sequence of two thirds, and the F is a triumph of d. Now I'm going to play the triad G. So G, M, B, I'm sorry, I, so this GMB is a trial of e. Now I am going to play F, The Triumph, F, a, and C. This is a triumph of f. Now G, G, B, B, G triad for the triad of G, Now a, c. And this is a trial of a. Now the last one, B, F, this is a triad of B. Do you need to memorize this? How can you do this? Well, I went to gesture to play the tryout. You calculate various low of course, go at your own pace. You can play separative cancel if you want. If you have played before, you can try it both hands at the same time, that's totally fine. I recommend you 531 and right here, 135. So what I'm going to do, I'm going to play the C triad. And I am going to say the nodes, you can sink them if your want. Otherwise pony, say c, g, c, I'm sorry, C. Try that several times. It can you can, you can go to the next one, the F, a, E, G, B. Of course you can't repeat this several times and that way you can practice everything but you are playing and you are named the notes saying aloud. So you are listening to the sound of the note. You are watching the keyboard. So even a, maybe you will have here the, all the other nodes you will understand. You need to be able to read them and understand this. But it is very important to play without reading as well. So you can watch the keyboard, wash your fingers. And really in a very rational way, say, okay, C triad, C, j. And again, and you do that several times. You can try that is very important. This is my recommendation. You need to memorize the names of other nodes from all the triads before going deeper on the structure of the other chords that we are going to learn in this course. 5. Intervals 3M 3m: In this video, I am going to teach you a very important concept to understand. Well, this is what a third is. There is something called interval. Interval is the distance between two notes. For example, if I say from C to D, I will say that this is a second. 12, from C to E. This is eight. So 123. This is a third. And this is important to understand. There are different types of intervals I can count. For example, from C to G. This is a fifth. But if I go from C to G, This is the ascendant. In terrible, this is going to be a fourth, right? If I play two notes at the same time, for example, from C to E, the say third, if I play it at the same time, the same harmonic third, this is a harmonic interval. If I play one note after the other, this is melodic interval, right? Well, we need to understand this. We are not going to really go deeper into the different types of intervals. You can check this on the additional resources. But what we need to understand is what is a third? Because all the courts are constructed by thirds. So if I play C and then I keep playing the next notes that are part of this. Of course, this are going to be a sequence of thirds. So I need to understand the types of thirds that we are going to use. We need to understand a major third and a minor third. This is going to take us to take us to the next concept, which is, what is a tone or a semitone? From this note to the next key? Pay attention from this key to the next one. I have a distance. This distance is a semitone or a half-step. You can say, you can choose, say, semitone, all half-step, half-step is the same. So from C to the, I have a whole tone or a step. Why a tone? Okay, hold on. It's constructed by, it has two semitones, right? From C to E. I have to hold tones or 4.5 steps, or 44 semitones. So y from c two, I have two tones to hold tone. So this is 1234 and I have four semitones. This is important to understand because even that there are four types of thirds, we can have major, minor, augmented, and diminished. While we need to memorize right now for this course, is to understand the major third, which has two steps or two tones. And this is a major third. And if I play from C to E-flat, This is going to be a minor third, or this a minor third that has one step and a half, or it has three half-steps, right? So this is one and a half and it has 1233 half-steps. So what do you understand this? So in this case, if I told you the structure of a core, I'm going to tell you, well, this chord, this type of chord has a major third and a minor third. And then you are going to construct the sequence of thirds that are part of the course that we are going to learn in this course. So what you need to memorize, well, major third, two tones or two steps, and minor third, one step and a half. This is what you need to know. Remember from one key to the next one, you have half-step. For example, from E to F, You have a semitone or half-step. Why? Because there is no black key right here. So this is the next key from B to C. We have how step or a semitone, because we do not have a black key here. So this is important to understand, memorize this, so you can really follow all the structures that I'm going to teach you to understand all the chords in this course. 6. Major Chord: The first chord that we are going to learn is the major chord. We need to memorise the sequence of thirds that are part of this court. And first of all, we need to understand what a triad is. You need to really have to memorize the names of the nodes that are part of the trial. So if at this point you don't know them already well, you have to go back and memorize them. That's really important. Okay? The sequence of thirds in this case, I am going to begin with C, and I am going to find the C major chord, while the core has this structure, which is based on a major third and a minor third. So this is a triumph, and in this case from C to E, I have a major third, and this from E to G is a minor third. So this means that I don't need to play any black key. I don't have any sharps or flats. So this is the C major. Courts have to memorize the structure. Major third and a minor third. Okay, now let's play and find all the major chords I recommend you if you watch or you can play falls to the video and try to, okay, to find all the major cores by yourself. This is a very good exercise. Beginning from the triad. Then you try to find the structure according to what I mentioned, major third and minor, a minor third. So let's take, for example, the, the major. So this is a triumph. But pay attention from D to F. I do not have a major third. This actually, this is one step and a half. So it means that this is a minor third and I need to have a major third. So I need to half-step than what I'm going to do. So I am going to play F sharp. So I play D major, F-sharp. So this is going to be a major third. Then from F sharp to a, this is a minor third, so this is the major. Now, I went kind of quickly, go and play the rest of the medieval courts. So from E, this is a triad, E, G, B, and I need to have a Major third. So this is going to be G sharp. From E to G Sharp, I have a major third, and then from G sharp to B, I have a minor third. So this is the major core, E-major. Now I'm going to f. In this case, I don't need to add any accidental because from F to a there is a major third and from a to c I have a minor third. This is F-major now and were to play G-Major, know oxidant those required. So this is a major third and a minor third. So I can say that I have this is the fifth of the chord and the third and the fifth is a sequence of two thirds. Now if I were to a. Major, this is a major and need to add here, this is the C-Sharp, so I have now B major. This is a triumph be Vf. And I'm going to add these sharp because I need to have a major third. And from D shop to f, I need to add another half stick that goes from D sharp 2AM. I have only one step and I need one step and a half. So it's going to be like this. This is B major, so I wouldn't recommend you to go and play this of all the courts, but now we need to outlay from the black keys. It is very common only to get used to play from the white keys. So that's not correct because this is like the comfort zone. We need to be able to play from any node as the root of the core. So we are going to play C sharp major. So she, C-sharp major. It has C-sharp and it needs to have a E energy, so it's going to be C, E, G, But the first node is going to be C sharp. So it's going to be C-sharp, E sharp, and G sharp. If you check how this note, how this court is written, you will find that all the nodes have sharps. So this is C sharp major. Now, let's go to E flat. This could be C sharp or D flat. In this case, this could be D sharp or E flat, but we're going to think about as E-Flat. So it's going to be E, G and B flat, and B flat. In this way, I have a major third and a minor thirds. Now, let's go to F sharp or G flat. I am thinking this as F sharp, is going to be F sharp, a sharp, and C sharp. All the nodes are gonna be black keys and all the nodes have Sharps. F-sharp major. Now I am going to a flat or G sharp, but in this case, I am going to tell you as a flat. So from a to C, This is a major third, and from C to E-flat, I'm sorry, this is a, a flat major, B flat major, B flat, D, F major third, minor third. So this is B flat major. Take your time. Tried to find each core by yourself, then you can check what I am showing this, what I'm showing here, and of course, all the additional resources, checkout older down on material. So you can't really have oldest, the material reduce. So this can really help you, but take your time and remember, major third, minor, third. 7. Minor Chord: Now I am going to explain to you the second type of chord, which is the minor chord. It is important to practices in a very progressive way. So you need to have by this moment, memorize all the major courts and practice that triads and then all the major chords that is going to really help you to get this in a very easy way. Now we are going to play the minor chord. We learned previously that the meteor corps beginning from C. As an example. This is a major chord, is a sequence of two thirds. The first third is a Major third, and then we have a minor third. Well, what happens here? So we are going to play a minor chord. It's going to be the opposite. So first is going to be a minor third and then a Major third. So in this case, if I want to play from c2e, but playing a minor third is going to be E flat, because from C to E, I have two steps and any two have 1.57. What I need to do is I need to decrease the sound half-step, a half-step. So I am going to play E flat. So from C to E flat, I have a minor third. Then from E flat to G, I have a Major third. In this case. This is the structure and the some of the minor chord. Okay? Maybe you have a notices, you know, already or maybe you don't. Well, what happened is that we're, we're really just changing the structure from the major core to the minor chord. Instead of having a major third and a minor, we are changing it so it's a minor and then I have a Major third. So what does the, what did their major chord, a minor chords have in common is that I have C and E. These two notes are the same. So the root of the chord and the fifth of the chord, it are going to be the same notes. What we are going to change is only the third, right? So listen how it changes. This is a major chord. It sounds kind of happy, a way of saying that we are going to change it to minor. So really the mood of the court changes the mood of the sound of the core. I have now here a minor chord. What I'm going to do right now, I am going to play all the minor chords. I really recommend you to go back to major chords to refresh this a little bit before trying to do this with me, you can try to get all the minor courts first and then check your results of what I'm going to show up right now. Well, and you can go of course, to amplify the triad and then check the distance. But my recommendation kinda faster is to play first their major chord. In this case, I'm going to play D major and just move the 3.5th one step to the 1.5 step down. So you're going to play the next key to the left. So instead of playing F-sharp, I'm going to play natural f. So this is the minor. Now let's go to eat mine or first I'm going to play E major. And then from E major I'm just going to move the third. And I have E, G, B, E minor. Now let's go to F major. And then I just move the third right here. And this is if minor now unborn to G0. This is G major. I wanted to be miner, So I'm going to move, the bead is going to be B flat. So this is G minor. Now, I am going to play a role to play right here so you can watch it better. A minor first, I play a major, and then I move the third to the left, and I have a C. Now, the last one, I'm going to play B major. Remember that this, this Court has two black keys, so you need to pay attention there. So now we're going to move. Learn, which is the sharp angle to move it. Language play the natural v, So this is B minor. Now I am going to play all the notes from minor chords beginning from the black keys. So it is important to not leave some courts for later, just right from the beginning to practice all the course. So do you really won't have any problem when you want to play any of your favorite songs. If you find a core, which route is a black heat, you won't have any problem. Because if you say only what key is good, like you say on your comfort zone. But we need to really be able to play any chord. Now, I want to play C-sharp major, and I won't do more. The third to the left and right I have right here, I have C sharp minor. Now, this is of course, the harmonic of the sharp. Now I'm going to play E flat major. And I'm going to move the third, which is g, to the left. And now I have E-flat minor Discord, as you can see, has all the nodes are Flats and black kids. Now who are deflate F-sharp major. Going to move the third to the left. And this is F sharp minor. 8. Routine Major & Minor : Let's practice exercise that have called me your minor routine. What's this? We are going to play all the way your courts. And then we are going to play D minor chords. It is important for you to first really get familiar with the structure and how to play each core, all the minors, all the majors, and from all the nodes, including the notes that beginning with the black keys, this is really important so that you will feel more comfortable playing this, what I am going to do. And of course always playing separative hands before playing. At the same time, what I'm going to do, I'm going to play C major. And then I am going to play this a southerner Pedro. C, G, a C. Vanna played as a blow core. Then I go to play D minor. And then I can do that again major again in mind now. So one of the purposes of this, besides just play in major or minor, is that you're going to associate and identified the difference between major and minor. As you can see, the root and the fifth are the same. What is going to change is only the third. So, and I do this. So this is a good idea, so we can practice major and minor m wide. We are pedro when we play this of S and arpeggios, Well, we really understand, see, and listen all the notes that are part of this course. I have went to play this. I am going to do it twice each type of court, but you can't go at your own pace. You can play snow work slower or faster, or can play five times or once. Asked you wish, of course drew decide how to practice this. But my recommendation is to begin with this. So I'm going to play is C-major. Then see my nor the third changes. Then again, CMAC major. Now assume I know. Now the major. Divine nor majora. Minora. Now E major minor. Major minor. Now F major. North. Major minor, major. Minor. Major minor. Now a major. A minor. A major minor. Now the major, B minor Major. I not. Now, you can't go back, or in this case, I wanted to play front of black keys, so D sharp major keys note this core has sharp. Now, C-sharp minor, which pass only natural e, again, C sharp major minor. Now, E-flat major. E-flat minor major, E-flat minor. Now we'd love to sharp major, F-sharp minor. Major, all the black keys. Accident. If sharp, all sharks, if minor, if Sure, why not? Now we move to a slob major minor. Major minor. Now B-flat Major, that last one. B flat minor major. And now my so tried to is go at your own pace. First. Practice made your mind north, you get delta sequence so you can't really associate. And I'm always watching the difference between major and minor. 9. Augmented Chord: The next chord that we are going to learn is the augmented core. It is really important to play all the major chords in order to play the augmented courts. And in a very easier way you will see why this is related. Okay? What does this structure of the government that core, I'm going to play from C. And this is the dry up. And what I mean to well, disruption is two major thirds, I need to play this. And the next third needs to be a major one, so it's going to be F sharp. I need to have two steps right here. I'm from E to G. Sharp is going to be another two steps. So this is an C augmented chord. While mentioned before, that you need to play major core because if you play, just think about playing the major chord and you raised half step here. There you go. You have an augmented core. So you just think about major chord and uracil, the fifth half-step. So it is going to be the next key to the right. And then there you go. You have MF method of court. Now, what I'm going to do, I am going to play all the augmented courts. You can practices by yourself first and then check your results with what I'm doing. If you want to play this D major, then I erased half-step. And I have D, F sharp and a sharp. This is the Huffman did. Now, I am going to play E-major. I'm going to erase a fift. And this is E augmented. Pay attention because EF method, it is E G-sharp and this is B sharp. You may say, well, no, no, you'll say this is not B-sharp, This is C. Yes, you are playing in the same physical key then C, but theoretically this is B sharp. And this is the IAAF meant, of course, now I am going to play If this is F-major, I'm going to raise a fift, and it's going to be F, a and C sharp augmented. Now, I'm going to play G. G major. I raise a fift, and I have G, B, and D sharp. This is G augmented. Now, I'm going to play this right here so you can watch it better. This is F, I'm sorry, beef major. Bam, go to erase a fift. And this is b augmented, sorry, it is B, d sharp. And pay attention, this is F double sharp. You may say this is g. Well, the same key, but theoretically the Sharpe and F double sharp. Now let's go to the black keys. So don't worry, if you have memorize and you're really know all the major curse. If you don't know them by, by now, go back and practice immediately, or the major gourds. Well, ever to play C-sharp major. Then I were to raise a fift. And what do I have is C-sharp, E G-sharp, and pay attention, this is G double sharp. Right here. You have now C-sharp augmented. Now are going to play E flat major. And then I'm going to raise a fift. And what do I have? E-flat, G, and B. This is E-flat augmented. Now, I want to play F-sharp major. And they're going to raise a fift. And I have F sharp, a sharp, and C double sharp right here. If I want to think this as the harmonic, in this case, I went to play G flat and then I'm going to raise a fift, and we'll have G-sharp, I'm sorry, G flat, B flat, and the natural v. So it's kind of easier to think about. Gee, fermented instead of F sharp up meant it just a matter of practice, as I mentioned. Now, a flat major. And then I erase a fift, and I have a flat, C and E, and this is a flap augmented. Now I'm going to play B flat major. And then I want to raise a fift, B flat, D, and F sharp. This is B flat augmented. Yes, maybe do not taste, maybe do that. In this chord, B flat augmented, you have flat and sharp if you thought that it was not possible. Well, I have to tell you. Yes, it is possible. F La, D, F sharp. You can have flat span sharps at the same core. So this is my recommendation, playing major chords and S, I adjusted your own pays out. Of course I have to show all of them in a video that it's not too long, so that's why I need to go fast. But you go at your own spandrel pace if you have them in your course, this is going to be reading much easier. 10. Routine Major & Augmented : The next routine that we are going to practice, and I really recommend you to practice this as part of your daily routine, your pen or routine when you are practicing courts is playing in the major chord. And then the achievement of core really makes sure that you have passed through the process of analyzing and understanding these structures and how you can go and stop this from the major tells what it is and augmented core. And so take your time. Don't try to go directly to this routine. You need to previously watched the video where I explain and I go when we carefully and showing you how to construct each court, this is very important that before trying to do this, but indeed this is very important to as soon as possible add to your practice. I went to play C-Major. Now, see, offended me, your app magnet. Remember that only the phase changes now, D major, often into manger and augmented. Now E major major. F major. Hoffman, the major augmented. G major. Augmented major. Hoffman, death major major Hoffman, the B major augmented B major hoffman. Now let's go to k, C sharp major. And this could be seen as the flopped major as well alphabet the major. Hoffman death. Now E-flat major, augmented major. Ottoman NDA. Now F-sharp meter, augmented major. Ottoman. Now, a fluff major. Major. Now B flat major. Movement of your mentor. As you can see, it won't take you too much time, so you can start practicing this. First. You can go on until of course the structures and then practice as I just did. You can practice more repetitions, but make sure death, try as soon as possible to go and practice from all the keys. Don't leave the courts that begin with a black key to the last moment because you are going to get so familiar with this, but not with the black area. So this is very important to go and take practice in this. 11. Diminished Chord: The next core that we are going to learn is that the diminished chord, it is absolutely important to memorize and know how to play all the minor chords before going into play in the diminished courts in this way. And this is really going in a very progressive whites. So it's going to be really much easier to find the diminished chord from the minor chords. So what is the structure of this course? I'm going to play C. And the triad of C, diminished chord pass two thirds. And this thirds are minor thirds. So from C to E, I need to play minor third sort is going to be E flat, C, and E flat, I have one step and a half, which is the distance that the interval of the minor third. Now, pay attention from E-flat to g. I need to play a minor third. So what I'm going to do, I need to decrease half-step right here. So I am going to play G flat. If sharp, recall. Remember that I need to always attach and follow the trial. So this is going to be a G flat. This is the diminished chord, two minor thirds. Ok. Something important. How can I relate this to the minor chord? It's a so easy. You played C minor. And then you are going to the fifth of the chord, which is G. You're going to decrease and just play the next key to the left. And this is going to be the diminished chord. Now, what I'm going to play, I'm going to play D minor. I'm going to play the rest of the diminished chords. So it is really important you play the dominion, the minor chord, and then you decrease the fifth. Try this buyer and you can pause the video right here, possibility and tried to do that. You can write the name of the writer knows and tried to find them and then check it. Check them with what I'm going to do if you want. Now, the minor, I play the next note to the left. So this is the diminished D, F, and a flat. Now, let's go to E. E minor. I decrease the fifth. So this is E, diminish E, G and B flat right here. Now, I were to play F Major, I'm sorry, F minor. And then pay attention, I am Richard decrease. So this is F diminished. But pay attention because duals, you may say that this is b, this is not B. Of course you are playing this note in the same key, the physical key of B. But talking about music theory, this is C flat. So F, a flat, C flat. Now I am going to play G minor. Amplitude decrease or below the fifth. And this G, B-flat and D flat. 12. Routine Minor & Diminished : One of the routines that it's very recommendable is playing minor and diminished. Of course, we have analyzed the minor chord sends a diminished chords and a very eminent slower way. But right now, as an exercise, I am just going to play all the minor and the main aged. Remember that the difference is that from the fifth I just below half step, the fifth I just below it, half step, and that is the diminished chord. So I am going to play this. I recommended you can use the metronome Eve you watch, and you can play C Minor, Diminished. You can, of course, blade this more than once. I am going to play this twice. And you can place lower. And the more repetitions. Now, D minor, diminished, minor, diminished. E minor, diminished, minor, diminished. F minor, diminished, minor, diminished, minor, diminished, minor diminished. Now a minor diminished. Why not diminished? Now, B minor diminished. Minor diminished. Now I am going to play C sharp minor diminished. And our diminished. Now, B-flat minor minor, diminished. E-flat minor diminished. Now F-sharp minor, diminished. Minor. Now, G sharp minor, diminished, diminished. B-flat minor, diminished, minor. Diminished. Maybe at the beginning, it will take you to ice, maybe ten minutes to practice this. But after that upper, after repetitious, maybe you will be able to play this in five minutes. So it's a very good exercise to be part of your practice routine of your technical routine, Actually, just to remember all the minor and diminished chords. 13. Basic Exercise #1 Triads : If you are a beginner or maybe you have a blame for awhile, but you, maybe you have some technique problems. Well, I truly recommend you to practice this exercise B, for even in your daily practice before going into all the course, Broadway shows that we are learning in this course. Why? While it is very common, for example, if I am plane any fees and have a good technique, does something like this. And her fingers racing some figure number two, for example, moving the race. And so what happened is that if you practice for an hour, well, one hour, your fingers and your your hand is going to be in wood and not correct technique, not correct position. And you can develop an injury that's fact that we don't want that. So this is a very easy to follow exercise. What we're going to do, well, we are going to practice and nodes of each triad, I'm what you begin with C. We're not branches in certain type of courts. We are just going to play the triads following all the white geese. So what I am going to do, I'm going to play C, G, C. And I am going not only to play those nodes, but I want to play, See the F, G, F, C, G, C, Then at the same time. And after down, very important. Do raise your hand when you do this, your last. So your hand is a good position. It's in a good position. You are not a stretch in your fingers and you are making sure that you are relaxing after each practice. What's going to happen? Either you are really going to get used to this relaxing movement. Maybe you have seen this in classical pianist has been a play and they do something like that. Well, that is because we need to always relax, relax, relax. That is going to help you to keep playing for many hours so you can practice separate hands then together. So but name denotes what we're what I'm doing is I'm playing the trial, but I am playing the notes that are from the root to the fifth. I want you to do this again. C, b, c, c, and then at the same time and then I relaxed and raise my hand. Yes. Now I move to d, e f g a f b, f a, f, the other at the same time. And then I lift my hands and I relax. Excellent. What's happens? I'm getting familiar. I'm having a good precision. I relaxed my hand. I get familiar with the name of the notes of the stria. And I'm not only that, but I playing with all my fingers. So I really moving all my fingers while I, I have a good position. This is very important. And I get the, a student named the knots, but go to some very good practice. It, this is called spoken sought federal being, you know, Justice, say the names that they often also we are playing, but sometimes we are not used to that. And we don't develop this. So if you do this since the beginning is going to be very helpful. And then you can move to E, F G a B, a G, F E, D E then at the same time. And then you raise, relax. You can't breath. Does that again if you wanted to move to, if so, you can move along all the keywords. So Juju node have to be an expert. Yet on the type of cords, progressions, scales, not yet. This is a very basic exercise that even further when you are an expert, you can do this as a warm up exercise is really going to help you to have a good understanding of whether you're playing and have a good position. Relaxing always after you play and make sure that you are using all your fingers. 14. Basic Exercise #2 Triads : The second basic exercise that I'm going to share with you is this exercise where you are moving along the keyword. It doesn't matter if you have a four. 15. Basic Exercise #3 4 notes chord : The next exercise we are going to practice is a preparatory exercise to play chords that have four notes. We calculate triads and this, the triad has the root, the third and the fifth. What happens is that we want to play a four-note chord. We are going to add the seventh, which is the next sequence of third. So it's going to be 1357. So that is going to be so if you have not played this type of court, this is a very, very recommendable exercise. You have, you have you play you for awhile, but do feel that sometimes you are stressing too much when you play Seventh Chords. Well, I recommend you to go through this exercise because I've their begin any of you have always played just dry ads and I asked you to play something like this, a seventh chord. Well, it's going to feel so awkward. You are not going to feel okay with this and it's necessary to practice it. So my recommendation. Okay. But I'm going to do you need to practice separated cans them together. And first, I am going to play the sequence of thirds. In this case, I'm beginning from, See, I'm using this, the triangle of c. So it's going to be C, E, G, B. I am going to use a finger, 5321. What I play with my right hand is going to be one to Troy. So the key here is that I am using fingers number three. So that is going to be 5321. So just named the notes C, E, G, B, G, C, and then lay at the same time. It's very similar to the basic drive exercise of we have practice with all this exercise then after you played many times and you move to D, F, a, C, F V. This and you're relax, E, G, B, B, B, G, B. Remain good. Knowledge is a good practice so you get familiar of naming all event this seven of each core and you're doing the same. And then you move to the other. So after practices and a practice in both hands at the same time, you can who alone from the next, obtain the next C and then you go back. And now you are going to change the fingering because sometimes this is a good fingering, 5321, but sometimes it is better to play. You seem finger number four. This is going to be a little bit weird, little bit difficult because this is the distance between the finger number 54 is going to be, you know, why they're so it's going to be kind of weird, but it's a matter of practice 54 to one. So we I'm not using the third finger number tree anymore, so 5421. And then to play us blow core and venue lift you relax and then you go to the next B, F, a, C, a, b. And again the f, c, k, f, and the same time and you lift it, it's going to be the same here, 1245. And then do lift B, a, C, K. And then do keep plain, then both hands at the same time. Really important, it's a good exercise to prepare you to play. So when you get to play all the seventh chords, you can really focus on their structures and all the combinations that we are going to do instead of play into which finger to use and feeling so, so. So we are an awkward note is going to be a very thick and easier procedure when you have practices previously. 16. Chord Inversion Exercise: Next, talk about inversions. This C-Major Discord has three nodes, which are C, E, and G. I don't need to play this nodes in this order. I actually, I can change the position of this court. I can play instead of playing the C naught right here, I can play it right here. So it will be E, G, and C. This is called a chord inversion. You can also call it a position, different position, different precision core position or inversion. This, or that has three nodes, only has two inversions. This is root position because the root of the chord, which is C, is the lower. Note that we are playing if I play the C right here. So this is going to be the third, the fifth, and the root. This is called first inversion, root position, first inversion. And if I play this E right here is going to be the root and the third. And this is going to be second inversion. The conversation. So reposition, first row, we'll say inversion, first-day root position, first inversion, second inversion. But why do I need to know this? Well, the realities of where we are playing courts, sometimes we are not going to just be changing like this because it will sound not the best. Because if I have to do to change like this, all my hand always when I've changed a chord, it's not that easy or not to practical. So what I'm going to do, let's take this example. For example, if this is, see me here. If i, then I'm going to play major instead of playing if menu right here, I call play C major. And then right here, which if you can see, this is the same core. This is F major. Instead of playing the C right here, I am played right here, so I am, so I use, this is C major reposition, then F-major second inversion. So that what is, this is very useful and we need to know this, but how can we practice this? My recommendation here is stopped playing with may your courts. And you can then play major chords and minor chords in the key, of course, is to be able to play any chord, but it could be difficult because way there are many, many courts. Remember that each type of court, and you need to learn them. You need to be able to play in all the notes. So if you have right here, this r seven sounds plus five here. So 1212 type fluff courts, right? If I play in major, there are 12 major courts IN intranet. So it could be a little bit tiring, but you can go one step at a time practicing only major chords than minor chords. And if you want your plane, any song I do need to learn in a learning versions and you can practice those courts. Okay, my recommendation here, your burden tried this both hands always, each fancy brighter then together. This case, this a C major triad plane, this gordon S and our federal appellate c, d v c. Then you move to the first inversion, G, c, G. Then second inversion, V, C, E, C, T. And announced that is going to help you to visualize really what you are plane. So when you play this, read their watch the key war and named a node. So you can actually exercise your, your visual learning, not only your earring, but there were two ears. You are not reading, but it is recommendable to watch the keyboard. And yes, you can read this, but I really recommend you that can read enough the core. But for exercising like this, don't read just to watch the keyboard. So you will develop a better understanding of what are the planes. You can try that while we talk about four-note chords. The one that has seventh, Well, this, this type of court has three inversions. A three note chord has only root position, first, second inversion. There's one, has rope position, first inversion, second inversion. So what I'm going to go, well, this is C major samma. Again. Island animals of course. Then this E is going to be play right here. So it's going to be E, G, B, C, B, D. And actually enjoy the sound of the Orfeo. How it sounds at bending on the inversion of your play, then always the same notes. And then this is every position again. So you can try this again. Play isn't there? Federal lands replay this log core because you are playing all the notes at the same time. I knew them practice this. Go. If you're playing train on sports video, would major in minor and joined your four-note score to begin when major seventh and dominant seven, it's a good, a good beginning if you want to practice this. But it's really, it's a mosque to understand in Burgos and be able to handle them as as you need it when you are playing any song. 17. Dominant 7 Chord: The next chord that we are going to learn in this course is a chord that has four nodes. And this is the first gore that we are going to learn that has four courts for nodes and how we are going to find the structure of this? Well, first, we have learned by now that a triad is a sequence of three thirds beginning, for example, of the sea route, we have the first, second, third. And now if we want to add another note to the core, it has to be a seven. So this sequence of the next third is going to be the seventh. This is important, right? But pay attention. It goes, the first kind of core of wood, four nodes is going to be the dominant seventh or seventh chord. So the Dominant seven is basically a major core that has the next third, but is, has to be a minor third. So I have to play this note with, instead of natural, B is going to be B flat. So this is the dominant seventh. So how do you, Can you find a note, The New Note, while you can just think, does seven, that is one note, one tone, or one step from the uptake. So if Eve, I can see, you can see here the B flat, it's only one step from the next C. So you can think that is whether a minor third or one note from the obtain. So in this case, this is a dominant seven, C, E, G, and B flat. This is here, it is a dominant seven, C dominant seven. Now I'm going to play them. The rest of the court. Always at the beginning, I tried to play this very slowly. Don't play too, too strong with too much F four because you are going to accumulate tension here and we don't want to stress any finger, any muscle. So just play like this and relax a little bit. Don't hold and keep making so much effort. Now, let's play D dominant seven. So I go to play D major and going to, I have the seven right here. It's 11 step from D. And I have here the minor third, so it's good to be D, F sharp, a, and C. So D, D, dominant seventh. And now I'm going to play E. So I'm going to play imager and going to add the seventh right here. So it's E, G-sharp, B, and D right here. As you can see, that z is one step from the octet e. Now I'm going to play F dominant seven. Dominant seventh. Instead of playing right here, I need to play E flat. If I play E-Flat right here, I'm going to have a minor third one step from the next. Now, let's go to G dominant seven. So this is G major, and I'm going to add the f naught right here. So this is one step from the genome. Whilst minus third right here. Now I'm going to play right here. This is a major. I wanted to add the seventh right here. So this is a minor third, and this is one step from a. So this is a dominant seven, a C-sharp, E. Now, let's play the last one, which is B. This is B major, and I am going to add the seventh right here. And this is one step from the OK, from b. So it's going to be B, D flat, D sharp, F sharp, and E natural e. So if this is V dominant seventh, which is important to understand is that you get, you can think that this is a minor seven, the iterable, but we are focusing only on the third. This can help. So try this and played many times. Don't try to play too many times. In a way that you feel that you are, your, your hands or your muscles, your fingers are getting tired. This is important, really important to understand because sometimes when we are learning this type of course, because it is something new, we just simply play with too much effort. So always try to keep a good physician a relaxed position and play several times. You can play and you can say the name of the nulls. So again, saying if you want in this way, for example, watching the key and watching your fingers so you can make sure that you are playing with a good precision. And you are visualizing, visualising all the nodes that you are playing. 18. Maj7 Chord: The next chord that they are going to their guesses chord that has a seven, but it is called Major seventh. This major seven chord is a major chord. Which note we're going to add the seven. But pay attention because you need to have a major third from the fifth. You have a major third. And the seventh is going to be half-step from the octet. So I have ln C, E, G, B, and B is only half-step from C. So this is the major seven, C major seven chord. So very beautiful core. So use a lot in jazz and pop songs as well, but very, very common in jazz. So this is the C major seven, and now I want to play the rest of the nose. So first duplicate D major, then I am going to add the 77 is going to be right here. As you can see, CTR is half step from D. So this is the major seventh. Now are going to play a major. And I'm going to add the seventh, where the seven is going to be right here. This is a major seventh half-step from E. So this is going to be E Major seventh. Now, I am going to play F-major. I'm going to add the seven bus, but because I need to be half-step from F, this is going to be F major seventh. Now I am going to play G-major and go to add the seventh, which is right here, is going to be F sharp, which is half-step from G. And this is G Major seventh. Now I am going to play a major. And I'm going to add the seventh. Because G-sharp is half-step from a. This is a major, major seventh. So major seventh chord. Now I'm going to play B major, and I am going to add the seventh. But this is not, this is an odd. Why? Because this a sharp is going to be half-step from B. So it is going to be B, D sharp, F sharp, and a sharp. Many sharps pay attention because sometimes this courts feel kind of difficult to play because you need to open your arms and your, your fingers. You need to open your hand and your stretch your fingers. And sometime you have to combine black keys on the white keys. So can be a little bit difficult, just try to play, but Relax. If you feel that you're stressing, just relax your fingers in a very loose way like this before k0 plane. But if you play with making too much pressure or too much, then you are going to fail. You're going to, there's going to be awkward. And you can't hurt and develop some e-journal fingers. So good and want to do that? Now, I am going to play from black keys. So this is C sharp major. I wanted to add the seven. But because the seven must be, it's going to be a major third from here, but half-step from C-Sharp. So this is going to be half step to C sharp, is going to be C-sharp, E sharp, D sharp, E sharp. All the nodes are gonna be sharp, but not all the nodes are gonna be black keys. So this is C-sharp major seventh. Now I am going to play E flat major, and I am going to add the seven is going to be right here, D, naturally. So I'd be half-step from E flat to is going to be E-flat, G, B-flat, and natural VI, and this is E-flat major seventh. Now I want to play F-sharp major. And I'm going to add the seventh right here. This is E sharp. Io play in this, in the same key, then f, But this is E sharp, and I go three half-step from F sharp. If I want to think as a and harmonic, which is G flat, this is going to be G flat, B flat, D flat, and F natural or F. So anyway that you want to see it, this is how it must be played. I'm going to play a flat major, and I'm going to add the seven, which is natural. G. G is half-step to a flat, so it's going to be a flat, c, E flat, and G. This is a flat major seven. Now I am going to play B-flat major. And I am going to add to the seventh half-step to be flat. So it's going to be B flat, D, F, and a flat. This is an eight natural a, I'm sorry, B-flat. And natural eight. This is going to be B flat, major seven. If you think this can be confusing, well, just go won several time practice a few courts, but always try into second odds. Look at the key board and practice many times, relax and keep practicing. You can play this as an arpeggio. For example, if I am playing E flat major seven, I can do this. Something like this that can help you to feel more comfortable blame and recognizing all the nodes of this court. 19. Dim7 Chord: the next core that we're going to practice is the diminished seventh. You can call this court full. Diminish us. Well, what is this? Well, this is a core that if you watch the well, if you read the theory, you will say that this court has many accident tells and that is true. Most of them have flats, sharps, double sharps, double flats. But if you watch the keyword, you will find that it's not that difficult to understand or practice. So I want to play a diminished court. Of course, it is really necessary for you to practice all the diminish courts before playing in this. Because we are going to add another note to this minute score. I am going to act the seven, but the seven is a diminished seven. It means that must be. And this times between the minor one. This days, the diminished fifth to the the Menace seven is going to be a minor third. So I need to have from the G flat one step and 1/2 to the seven, which is going to be the note B. But the attention, because this cannot be natural, be nor be flat So it must be this one in this case, that diminished seven is going to be a double flat. So as you can see, it's just this court has only tree diminished three minor thirds. I'm sorry. Three minor ther's and that will give you the court. When you name the notes. It is important to remember that the last note is the seventh. So you need to say it accordingly, to the proper accidental. So this court has C B flab, gene e flat abs. Are we seeing the flat G flat and a B double flat. So this is C diminished seventh. Now I'm going to show you the rest of them. So this is the diminished. And won't you add the seven, which must be a diminished want. So it's going to be right here. You play here is going to be one step and 1/2 from the from the all time and from the diminished fifth in this case. So this court is going to have me if a flat and see flat really important. This is, as you can see, just a sequence of minor thirds, and that makes really easy to play now. I go to play either Finished. I want to ask the seven a diminished seven. So it is going to be right here. One step and 1/2 from here and from the next eat. So this court has E g B flat and the flat eat diminished seventh. Now I'm going to play after finished. I want to add the fifth. The seventh at the seven is corn to be in this case, this one. So this is E double flat. Eso this court has f a flat. See flat on e double flat, diminished seven. Now I am going to play g diminished. I am going to add that seventh and it's going to be right here. So one step and 1/2 from this note Ham from the next G as well. Eso this court has Jean B flat B flat on f flat. This'll SG diminished seven Now I am were to play a diminished. I am going to ask the seven The diminished seven it is going to be must be a G. It is going to be this one. This is G flat, So this court has a C e flat and G flat a diminished seven. Now I'm going to play bay diminished. I am going to add the seven which must be a the minister seven is going to be this one a flat. So I will play one step and 1/2 from the s come from the next beat Eso This court has be the f at a flat on this is being diminished seven Now I'm going to play them from the black keys. So from C sharp I'm going to play c sharp diminished. I am going to add the diminished seventh It is going to be You need to be this one right here. So you will b one step and 1/2 from the fifth time from the next see shop Remember that the root of this court is see shop So the court has c sharp in jeans on B flat. This court passed Sharps and flats the same court So this is C sharp diminished seven very own name but no problem. We can handle it by now Now e flat diminished. I want to add the diminished seven is it has to be a B a d m. Sorry. So but which one it's going to be. There's one. So it is one step on 1/2 from the fifth, so it is going to be D double flat. So this court passed B flat, G flat, be double flat and the double flat. Yes, I think I would say that this is one of the courts that have that has more, More accidental is really a lot of accidents. That spot when you watch how to play them on the panel, you will see that is just a sequence both minor thirds and really Really, this makes everything easier. Much easier. Now I'm going to play f sharp diminished. I want to ask that diminished seven. It's going to be right here. So it is type of B E. So it's going to be e flat. So if shar a c and flat s so this is f sharp diminished seven. Now I'm going to play right here. G sharp diminished. I am going to ask the seven, which must be a diminish What it's going to be this one g shar being being if funny, though, is that this, uh, court pass phony one accident? Yes, that happens as well G sharp B being a natural. Now I work in This is gene Sharp diminished seven longing pretty easy to follow and actually easy to right now I am going to play B flat diminished, and I'm going out of the finish seven and must be a type off day. So it is going to be this one, so I can have, well, step on half from the note from the fifth and from the next B flat. So there's going to be B flat D flat, a flat on and a double flat. Many flats on this is B flat, diminished seven. So, as you can see you will be, are moving, moving ahead with different type of courts. And this ISS can sound complicated, but it's not that difficult to play. So take your time, and I really encourage you to go over the theory that will help you to really get familiar . And next time that you finally diminished seventh chord in any peace, even written all the notes, or maybe just the name of the note in a song, you won't feel over well by playing this type. Of course, 20. Half diminished Chord m7b5 : the next court that we are going to learn who be a kind of difficult. You will see that it's a kind of complicated core. But if you follow my suggestions, do you won't have any problem with this? What? What's this? Uh, this is a core which is a cool half diminished or minor? Seven flat. Five. This is the longest name, but the attention, whatever I say. Well, you can see this court in two ways. The 1st 1 Meyer seven Flood five. It means that it's just a Meyer seven course. If you are familiar with this court there previously, you won't have really any problem. This is a minor seventh, right? Minor? Yeah, actually, the minor seven as well. So what I'm going to do and it says flat five. So I am going to below the fifth 2/2 step down. So it's going to be C E, flat, G, flat and beef. Let s So this is actually literally if you just follow the name, you will understand the structure. It's a minor seven flat five. So this is a minor seven I loathe. This is the core the other way that you can think about this court is half the finish. So why is half the Minnich If you analyze the thirds, you will say that you have here a minor third, another minor third, but pay attention instead off having another Meyer third asked The diminished seven court I have here a major third that why is have the finish is not absolutely diminished because it doesn't have pulled the minor thirds and the seven it's not diminished. That's the main point. So that's this. This is how you can that really understand the court. But what we are going to do is a We're going to think that this court has just a minor seven court and we below the fifth, and that's it. I believe that this is a little bit easier. So again minor seventh C minor seven and then below the 50 half step down and that's it. Seeing even be flat g flat. I mean, this is C have diminished or minor seven flat. So now I am going to play the rest of the notes. So the rest of the courts I am going to play the minor seventh. That's it, then I'm going to be No, the fifth. There you go. This is the F A flat and see only one accidental. Here s so this is the half diminished. Now I am going to play E, so I'm going to pay e minor seventh. Then I am going to below the 50. That's it. So that's the way that you can construct this court E g b flat and e e half diminished. Now I am going to play. If minor seventh now I'm going to below the fifth half. Step down. Yeah, this is the court if a flat see flatbed and from here and e flat. But this is stiff, half diminished or if minor seven below five. Now I'm going to play G minor seven. Now I want to below the fifth half step down, thistles. A court. So Jean Beef Lab D flat. And if now I am going to play, this is geek half of it. Now I'm going to play a but I'm going to play right here so you can watch it better, so I'm going to play e minor seventh. Then I am going to below the fifth, so half step down and I have a C E flat and this is half 1/2 diminish. Old minor seven flat five I like Sometimes it just repeat the whole name because it can be a little bit tricky When say what? My seven below if I Oh, it's a very long core, but it's just a matter of practice. So sometimes I suggest my students to name the notes, the whole core, maybe all. I don't like it. Well, I just suggested to try it on. That will help you. And really, you're going to develop even the skill to be able to name the courts easily without thinking too much. Now I'm going to play C B minor seven. Then I am going to below the 50. There you go. So you have being the FDA. Actually, this is a pretty easy court to play because I don't have any accident. Tells all the keys are white, so no problem. So you have bean FDA be half diminished. Now I'm going to play from the black. He's so I'm going to be here with C sharp minor seventh, and then I'm going to be no the fist. So I have right here, see sharp pay attention E g and B. So, actually this court has only one accident up. Even the long name sort is C sharp minor seven flat five or have diminished. No problem. Now I'm going to play from B flat. So e flat e flat minor several. Now I am going to be No, the 50 now pay attention because to the opposite. On the contrary, off the previous court this court has many, many accidental. So it's b flat. It flattens already always confused this he flat g flat being double flab. Yes, I am playing this from the key A key but it is be double flat. Pack the flat flats and even fifth is double flip eso This is E flat minor seven flat five Very long name Yes, I know or he flat then path diminished kind of easier now I want to play from this key. So this is going to play f sharp Minor seven. Now I am going to be No the fact So I played natural. See? So f sharp they see on this is F sharp minor 17 05 or F sharp. Half diminished. Now I am going to play the next one player right here. Don't confuse. It's easier just to watch you like like that. So I'm going to play. That's what I'm going to use G shop. So I'm going to play G sharp. Minor. Seven. Then I am going to below the fifth, and I am saying G sharp B de on if shock. So this is G minor J sharp minor seven flat five or G sharp. Half diminished. Now, the last one. I am going to play B flat, minor seventh. Now I'm going to be another 50. So right here. Yeah, this is B flat D flat F Flappy attention here. So this is the court B flat minor seven, flat five or B flat, half diminished. If you have practice the minor seven court, you won't have any problem if you feel so overwhelming. This will I recommend you that before practising go back a practice and minor seven court that will understand that will help you to understand this and even I suggest you to want that. You play each one your name denotes that's that, uh, good exercise you get. Learn to explain which court you are playing 21. Sus2 Chord: We are going to learn this court that is actually even that this court has only three notes. It's lovely part of the basic courts, but it's really easy to learn and it's a very good idea then now that you are learning in TreeNode scores, well, you, you already are going to practice and learn this core. This core is called suspend two, or you can say surface to SaaS, true? Why is this? Well, eight suspended court is a court that does not have a third. So I want you to think about the major chord. In this case, this is major. What we are going to do, we're going to remove the third, and I am going to add the second note of the scale, in this case will be the major scale. But in a pretty easy way to find it. I'm going to play the second. This is a second, but I must have one step from the root of the chord. So it's going to be C, the G. This is the sauce to court. Maybe you have heard this. Sometimes you can play this and then you go to resolve to the major chord. So very popular court and very easy to understand and to learn. So basically a major core, you change the third and instead of the third you played the second. But make sure that the second is one step from the root and that saint, basically. Now, let's find the rest of the SAS to courts. In this case, I'm going to play D major, and I had to change the third. I'm going to play the second is going to be one step from D. So it's going to be the EMA. This is the SIS two. Now let's play E major. So this is E Major. I were to change the third. I'm going to play the second. Make sure that the second is one step from E. So this is E, SOSP two. Now I am going to play F-Major And I can set up plane the third, I'm going to play the second. I multiply g, because g is one step from f, so I have f, g. See, this is F SaaS to my, I want to play G-major. And instead of playing to third, I want to play the second, making sure that i is one step from G. So it's going to be g, a, and D. Now I am going to play a major right here, so that you can watch a better, this is a major. And then you sort of play in the third. I'm going to play the second. This is B, and this one step from a. B and E, this is a SaaS. To now I am going to play B major area, or to change the third, I'm going to play this second, in this case is C sharp is one step from B. So it is B, C-Sharp on F-sharp. And this is B SaaS, true. Now, let's find the suspended, suspended too, but from the black keys. So I'm going to play C sharp major instead. And third, I'm going to play the second. This is, must be one step from C-Sharp. So it is going to be the sharp. So it is C sharp, D sharp, and G sharp. So this is C-sharp. Sas to C sharps us to. Now I am going to play E flat major. And now instead of playing the third, I'm going to play the second Babette. Pay attention, must be natural f, because I need to have this node. I need to have one step from E-flat. So it's going to be E-flat, natural F and B flat. Now, I am going to play F-sharp major. And I'm going to play instead of the third, I'm going to play the second, the second mass B, one step from F sharp. So it's going to be G sharp, F sharp, G sharp, and C sharp. All of them are gonna be black keys. Now I am going to play and when to play right here, a flat major. And instead of plugging the third, I'm going to play it, which is B flat, a flat, B flat, and E flat. This is one step from a flat. This is a flat surface, two. And now the last one is going to be B flat major. And instead of playing the third, I'm going to play the second. This is the C note and is going to be one step from B flat. So it is going to be B flat, C, and F. And this is B flat sus too, as you can see, is really not that difficult to find. So just think about the major chord. Relate this to the new court, which is a SAS to court is, is a pretty core. I like it a lot. So I really recommend you to get familiar and practices so you can use it when you play. 22. Sus4 Chord: The next chord that we are going to learn is another core that has only truly knows and actually is not part of the basic four quarts or you need to learn the basic structures. But this is a very easy to follow and this court is the suspended for core you can call it cis for well, how is this? Well, you're going to play a major core. And a suspended chord is a chord that has no third. So I want to remove the third. And instead of playing that, I am going to play the fourth note and is going to be this one in this case, if and F has to be naturally from C to F, The interval is a perfect fourth. In kind of easier way to play. George's going to think about a major chord. And we're going to play the Ford. And the Ford a has to be played is only 11 step from the fifth. So to just make sure that the note that you are playing is one step before the fifth. So it is going to be c, f, d. It's very common to play this. And then the major. So you play this and this is really, this really release in our problem, right? So this is a, C sus four. Now I am going to play the rest of the nodes. And first I want to play D major. Then I'm going to remove the third. I'm going to add the fourth. Remember that this mass be one step from the fifth, in this case is going to be g. Actually this node also is only how step from the third. So it's another way to find it. So it's going to be d. So this is the sauce. For now, I am going to play imager and want to remove the third. I'm going to play a. Remember, a must be, it's one step from B. So this Court has E, a and b, and this is the E sus four. Now, I am going to play F major, and I'm going to remove the third, and I'm going to play the fourth. But pay attention right here because the force must be one step from C, which is the fifth. So one step from the fifth is going to be B flat. Actually, B flat is only half step from the third. So this is going to be F, B flat and C. And this is f SaaS. For now, I am going to play G-Major, ammo to remove the third, and I am going to play the fourth. The fourth is one step, is going to be C and is one step from v. And this is Je, sus four. So gene C. So for now we're going to play a major right here. And once you remove the third already is a third. And I'm going to play, the fourth is going to be right here, one step from the fifth, sorry, it is going to be a, D and E. And this is a SaaS. For now, I am going to play B major. Then I am going to replace a third, and I'm going to play the fourth, which must be played one step from the fifth. So it is going to be, so it's going to be b and f like this. So as this is b, SaaS for very easy. Now I want to play the notes from the black keys. So I'm going to play C sharp major. Then I am going to remove the third. And the fourth is going to be F sharp because I need to play this one step from G-sharp. So it is going to be C-sharp, E, G-sharp. This is C-sharp SAS. For now, I am going to play E flat major. Then to remove the third, and I'm going to play a flat, and it has to be one step from B flat. So it is going to be E flat, a flat, and B flat. So this is a flat, sus four. Now I am going to play F-sharp major. I am going to remove the third. And instead of playing a flat plate natural, why? Because b is one step from C-sharp, like this. So this chord is F sharp, natural B. And this is F sharp. Sauce for the next one is a flat major. I am were to remove the third, and I'm going to play the four, but pay attention because the four is going to be D flat, because mass B, one step from the fifth. So it's going to be a flat, D flat, and E flat. And this is a flat, sus four. And the last one I am going to play if B-flat major. And I am going to remove the third and going to play the fourth. But the 4D must be one step from the fifth, which is F, so it is B flat, so it is going to be B flat, E flat, and F, this is E-flat, E-flat, one-step from F. So this is B flat, sus four. So as you can see it written not difficult if you are very, very familiar with one of the basic courts, which is a major core you, from that, you can really easily go and find the fourth and the sauce for PR, nice Corps that will help you to play. More beautiful. The pieces that you understand that you are maybe already played. 23. Dom7sus2 Chord: The next core that we are going to learn. So maybe complicated at the beginning when, but when you analyze how the, how the courts I've written, it's really like a formula and if you understand what, Eat, Eat, name it, number everything was awarded. What it means really is going to be much easier. It's a matter of practice. And the, the, this quarter we're going to learn is the dominant seven SaaS too. Yes, sounds complicated, but dominant seven sauce to or seventh SaaS to what the name of the score is telling us that if you say, you first go from the left to the right, you say that this is a dominant seven or seven. So if I play from C, I'm going to play the dominant seventh. And then it says SaaS too. So this is a suspended core. We are, what we are going to do. We are going to like remove the third, in this case E, and I'm going to play the second. That's why he says suspended. And then two. So I am going to add, remember, if you have practiced by now the dominant chord and the suspended to Corp, you won't have any problem here. You're just combining both. It's a matter of practice. So how do I find it? Quickly, I played the dominant, and then I move the third to the second. Always be in the danger that the second is one step from the root of the chord, in this case C. So this is C, G, B flat, and this is the seventh sauce to, or D, dominant seven sauce tube. So this is the name of the core. Now, play them from any note of the road. So I am going to play the seventh. Then I am going to move the third to the second right here. Actually my hand feel a little bit like a stretching my fingers. You may think that you can play and inversion, which you store only fine. But right now, we want to understand how the structure how is the structure of the Court and how we are constructing each one. So that's why I'm really suggesting first to play, as I am mentioning this, because sometimes an inversion, if you are kind of a beginner, that could be difficult. So this is d, c, no accident dots. This is the dominant seven cells to now go to play E seventh or either 1 seventh. And pay attention here, I am going to move the third. Instead of that, I'm going to play the second, but i would you below this one step and then I am going to play it one step from the root. So this is F Sharp, B and D, and this is E seven sauce too. Yes. Now I am weren't to play F or F dominant seventh. Then I'm going to, instead of the third, I'm going to play the second. This is one step from F. So this is going to be F, G, C, and B flat. So this is F, dominant seven sauce. To. Now I went to play from GE and I'm going to play G seventh. Then instead of bringing the third, I'm going to play the second. And this is G. No, our students. This is G, seventh, sauce, true? Now I were to play from a, I go to play a seventh. Then I am going to play instead of a third thing going to play the second, which is V. Now I have one step from the root. So this Gore is a, B, E, and G, and exactly no accident dots. This is a dominant seven cells, true? Now I am going to play B. Be careful here. I'm going to move the third to the second. So I go one step Dow. And I have last step from the root. So this is B, C-Sharp on a, this is b seven SaaS to every debate or the black keys, and beginning from C sharp. So I go to play C sharp seven. Now, but yet then from here, I am going to play D instead of a third. I want to play the second. Mass, B, D sharp, so I can sail, have beat one step from C-Sharp. So it is C sharp, D sharp, G sharp, natural beat actually. So this is the sharp seventh. Saas to. Now, I am going to play from E flat, so I'm going to play E flat seven. Now, I am going to move the third to the second, and is going to be E-flat, G, B-flat, and D flat, and E flat seventh or dominance and seven SaaS. To now I went to play it from F sharp, and I'm going to play F sharp seventh. Now, I went to below the third to the second. F-sharp, G-sharp, C-sharp, E. So this is F sharp seventh, SaaS t2. This will be of course, G flat seven, SaaS 2k plus one. So F sharp seven. So students, now I were to play from here. It's going to be G sharp minor seventh. This is a major, I'm sorry. So I've learned to play. It's better if I used in Lewis and if I'm walking over here, I use a major. It's better to play a flat and E Fi using minor, it's better to think of it as G sharp minor. So in this case I'm going to make a flat major. In this case it's going to be a flat seventh or dominant server. Then I'm going to move the third to the sicker. And it's going to be one step from the root. So it's going to be a flat, B-flat, E-flat, G-flat. That's this archetype of courts at Google for a little bit to, you know, not that easy to play, but it's just a matter of practice. Believe me. Now, what? I'm going to begin from here, and this is going to be E, B flat, seventh, sorry, here. So B flat, D, F, a flat now and going to the third, to the Sega. And it's going to be B flat, C. If I'm a flat, B flat, C, F, a flat. So this is B flat, dominant seven cells. To just a very rough practice, you need to have proof. Briefly play and understand the dominant server and the sauce to core. We have a C dominant seven SaaS. Truth, that's it. Take your time. Please practice the courts that I mentioned before trying to this exercise. 24. Dom7sus4 Chord: This chord that we are going to learn, as I mentioned in the Dominant seven SOSP two. Well, it's a combination of the dominant seventh chord and the sus four or the suspended for core. And if we understand the, how we are really writing all those courts, we will say that this is a dominant seventh chord. If I use a c, while this is going to be C seventh or dominant seven, I'm going to add, I'm going to add the four. So I'm going to remove the third and going to play the fourth instead. So if you have practices both cores previously, you won't have any problem. Here. It's just a matter of practice, of course, to be able to play this combination of courts to, this court is going to be C, F, G, B flat. It is important to mention that we are not racing the third, that we have to add something there and accident that we are just playing the fourth of the court, which is it it comes to be half-step next to the third, so it's going to be C, F, G, B flat, and C Dominant seventh. Sas, for some very nice chord, it sounds nice and it's very common and popular music on pop songs, ballads. Yes, it just kept a very long name, but it is not that difficult practice as I always mentioned. So now I'm going to play the rest of the court's going to play the seventh. And then I am going to play the for this half-step right here. So it's going to be the g, c. And this is d seven, the seventh. Sauce. For. Now, I want to play each seventh. I'm going to play instead of a third, I'm going to go half-step higher here. I'm going to erase it. And this is going to be and no anoxic and all what keeps an oxidant does. And this is E seventh SaaS. For now, I emerge play F, dominant seventh going to play the fourth, multiplying seven the third, I'm going to play the four half-step higher. And I have F, B flat, E flat. Just find the correct fingering for you. And so this is F dominant seventh. For now, I am going to play G7 and assembling the third I'm going to play the four is going to be G, C, D, F, G. Dominant seven. Sauce for now from a are going to play a. Instead of a third are going to play the four, which is the actually this Court has no accidental, so it is a A Sabbath sauce. For now, I'm going to play beat seventh or be dominant seven. And instead of playing the third, I'm going to play the next key that is half-step from the third, and this is a four. So this court is going to be d times R B, F sharp a. And this is being dominant seventh SaaS. For. Now, let's go to the black keys and I'm going to play C sharp dominant seventh. And then, and I'm going to play the fourth, which is half-step from the third. And this court is C-sharp, F-sharp, G-sharp, B. And this is C sharp, dominant seventh SaaS, For now, I were to play from E-Flat. So I'm going to play E flat seventh. And I play the floor, which is half-step from the third act, is going to be E flat, a flat, B flat, and B flat. This is dominant seventh sauce. For now we're going to play this as if sharp. So I have already okay, if shaft dominant seventh, then I play the fourth, which is half-step from the third. So it is F-sharp, C-sharp, and, and this is F sharp, dominant seventh. Sas, for now, I'm going to lay it flat right here. So a fad seventh. Then I want to play this fourth. So instead of the third, I'm going to play half-step. Higher, a flat, B flat, E flat, and G flat. Now I am going to play, and this is a flat dominant server sauce. For now, I am going to play B flat seventh. And I play the for the fourth, which is passed to it from the third. And it's going to be B flat, E flat, a flat. They're dual. This is B flat dominant seven cells for very low name, but not that difficult to play if you have the knowledge, the previous knowledge required, in this case, the dominant seven And the sauce pan that for core, that's it. Just a matter of practice and a steel I recommend you to practice and named the notes. So you can use to actually named the courts, which can be a little bit long names, but it is understandable and very recommendable to practice. 25. Dom7#5 Chord: We have been learning all the chords in a very progressive way. And right now we are working with those chords that have four notes. But it's a little bit like a combination from different type of courts and may sound kind of confusing. But at this point, if you have practice at previous courses, numbers or in the previous course and you have taken a time going to the theory that I'm sharing induced course, I really believe that you won't have any problem with this Court. This Court is called dominant seven sharp five. You will say even only seven sharp five. That's okay. Man, going to call it as dominant seven sharp five watts. This, it, it sounds, it sounds long. The names long sounds a little bit confusing, but I want to explain this to you. If we analyze all the symbols on the numbers, we know that it's a dominant chord. If we begin from C, This is a dominant chord. So I went to play C dominant seven right here, and then it says sharp five. So the fifth note of the court in this case, G, I am rich, raise it half-step. So it's going to be G sharp. So it's very easy if you know this court's previously C dominant seven. And then you race the fifth half-step. And I have G sharp, so it is a, C, E, G, and B flat. I don't know, you'd have not disease, but this is an augmented chord. This is an augmented chord which is just, you are playing them and of course, and you are just adding that seven, which is one step from and next C. So there are different ways how you can think, and I'm playing this. I mean, if the result is the correct one, and you can even actually make up your own system and that's totally fine. You can do that. You can just play the augmented. And the next one is going to be one step, but you need to remember that we have to, we are trying to understand the theory. So even that this is one step, these two nodes, this is, this must be G-sharp and this is B flat actually. So it is very important to understand how I am going to a teacher to play all, all the, all the courts who, well, I am going to just think about the dominant and then raised to the fifth. I believe that this is easier. You can change your fingers as you wish, but I recommend you to wear plate always with the same when you are practicing, tried to find that fingering that it's And you feel okay according to, to your, your level of expertise, of durability to change the fingering when you're playing and of course the size of your hands and fingers, this is really, really important. My hand, it's not too, not too big, but it's not a small hands. So I can do this. No problem. If you are a very tall man and you have enormous hands while do maybe during uses. That's fine. Okay. So this is C, dominant seven sharp five, true long name, but that's okay. We can have this. Now. I'm going to play the dominant motor, raise a fift. And there's going to be D, F sharp, a sharp, and C. This is D, dominant seven sharp, five. Now I am going to play E. I am going to raise the fifth. Be careful here because this is E, G-sharp, B-sharp, even that is played in the midst in the same key, then C, and so E, G-sharp, B and B. This is dominant seven sharp five. Now I am going to play F, dominant seven. Then I am going to erase the fifth. Instead of C. I am going to play it C-Sharp. So this is going to be F, a, C Sharp, B flat. Yes, this core has, actually, this type of course, is very common to have sharps and flats in the same core. So this is F dominant sharp five. Now I am going to play G7 or G dominant seven. I'm going to raise a fift. Instead of playing D, I am going to play D sharp. And this is going to be G, B, D sharp, F sharp on F. And this is G dominant seven sharp. Now I am going to play a seventh, ao, a dominant seven. Then I'm going to write the fifth. Instead of laying ie, link each R and is played in the same key that if, but the name of nodes, a, C sharp, D sharp, and G. And this is Eddie, dominant seven sharp five. Now I am going to play B seventh angle to raise a fift week. Careful here. B, D sharp, F double sharp. Yes, F double sharp and a. B, D sharp, F double sharp and a. This is B. Evan sharp, five. Now, let's go to black keys and where to play C sharp, dominant seven. I'm going to raise a fift. Yes, many, many sharps here. But C-sharp, E, G-sharp, G, double sharp, and natural b, yes, C-sharp, E G-sharp, A-sharp, then B. And this is these sharp dominant seven sharp five. Now, let's go to E-flat. I'm going to play E flat dominant seven. I'm going to, and it's going to be, instead of B flat, is going to be natural. Be, remember that even that the courses sharp five, it does not mean that you just need to add a shop now because that's not true in this case, we are going to raise it half step the note. So instead of being flat, B flat, it's going to meet natural v. So this core is B, E flat, G, B, and D flat, and E flat dominant seven sharp five. Now I am going to play F sharp seven, dominant seven. And I'm going to raise a fifth. And this is going to be F sharp, a sharp, C sharp, and E, natural e. And this is F sharp dominant seven, sharp five. Okay, what's happened? What happens if I want to think of this as G flat? Actually, I think it's going to be a little bit easier, but there's not a big difference. It just be that, I'm sorry, j flat, B-flat, natural, V, M, F flat. So you choose which one you want to use, how you want to call this core. Now, I am going to play right here a flat seven. I went to raise a fift. And this is going to be a flat, C E, and G flat. A flat, C E, and G flat. And this is a flat domino, seven sharp five. Now I am going to play B flat, dominant seven. I'm going to raise a fift. And now it's going to be B flat, D, F sharp, and a flat, flat and sharp, or flat? B flat, D, F sharp and a flat. And this is B flat dominant seven sharp, five. And there you go. You have all the courts. So it's just a matter of practice. I really challenge you to goal and make them therefore, because if your practices actually saying the nose while you're practicing this is going to really, really want to help you to feel more confident when you speak about music and what you are plain. And this was a core, very long name. I want to, I'd like to say it again. Dominant seven sharp, five. 26. Maj7#5 Chord: The next chord that we are going to practice is a type of chord that if you have previously practiced the Dominant seven flat five, or dominant seven sharp five, you would, it won't have any problem with this courts. And you will figure out immediately, what is this about? Well, I'm going to play the major seventh, sharp five. As you can see, reading all the letters and the numbers, this is a major seven chord. So I want to play it C major seven. And I'm going to raise shift half-step. That's why it's good to be sharp five because I'm going to the fifth and then I raise it, it half step to the right. So this is a major seven sharp five, but you can, you can actually five. Obstruct this court that think about this coordinate different way. You can think that this is an argument that Gore and you are adding the major seven right here. So you have this, the sequence of thirds is a major third, major third, and a minor third. So it's major, major and minor. At the last one. The, the seven is half-step from the mix C. But of course you can choose the way that you want to see it. And in this video, I want to use just a Major 7 first as the reference, and then I'm going to raise a fifth. I think it's pretty easy to follow that away. So C major seven. I raise a fift half-step. So it is C, E, G-sharp MB. And this is C Major seven sharp five. Now, if I want to play the major seventh and go to raise a fift. And this is going to be D, F sharp, a sharp, and C sharp, three nodes Sharp. And this is D major seven sharp five. Now I am going to play major seventh. And going to raise a fift. M is going to be G sharp, B sharp, and E flat. Yes, the score has flattened chars, G-sharp, B sharp, and E flat. And this major seven sharp fat. Now I want to play F Major seven. I am going to raise a fift. And this is going to be F, C sharp and E only what accidental here, and this is F major seventh sharp five. Now I want to play G major seven. And this is going to be G, B, D sharp, F sharp. And this is G Major seventh. Sharp five. Now we are going to play a major seventh and go to raise the fifth dimension here because this course is a C-sharp, E sharp, and G sharp, three sharps here. And be careful right here, of course. And this is a major seventh, sharp five. Now we're going to play B major seventh. And all your race. A fift half-step. Danger here because this can be a little bit confusing. This core is being sharp. F double sharp, sharp, many sharps here, B, D sharp, F double sharp, and a sharp. P, dominant seven sharp, five. Difficult to play, but the name is very long. Now, I were to play black cheese. This is right here. C sharp major seventh. I am going to raise a fift. Can be careful here because the name here is C sharp, G sharp, and B sharp. Many shots, again, C-sharp, sharp, G sharp, and B-sharp. Okay. But how can I think about this court without that amount of accidentals? Well, think about as the flat. While we think as this, this is D, D flat major 07:00 AM on to raise 50. So because I am using flats discipline to be D flat, F, a, and C. So only the root of the chord is going to be flat, the rest of the nodes and natural nodes. So it's really much easier. D flat major seven, sharp five. Now, I am going to play from E-flat, E-flat major seventh. I want to raise a fift. And now it is going to be E flat, G, B, and D. Much easier using flats. And they're even going to try to explain you with the sharp because it's going to be full of double sharps. And there is, so there is no really something that you want to see a court full of flats that way because D sharp, F double sharp, a sharp, and C sharp, not very recommendable, but as E flat, so easy. So this is E-flat, major seventh sharp five. Now I'm going to play from FDR. This is F-sharp major seventh, sharp five nouns, or this is an F-sharp major seventh. And I go to raise a fift. And now I have F sharp, a sharp, C sharp, and E sharp. As you may imagine, if I think as this as G flat, a little bit easier, the flat, B flat, the MTF, less accidentals. Now I want to play from a flat. So this is a flat major seven. I'm going to raise a fift. It's going to be a flat, C, E, and G. Much easier, only one flat, and that's it. Now, I am going to play B-flat Major seventh. I'm going to raise a fift. And then I have a B flat, D, F sharp, and a. This Court has flats and sharps. So this is B flat major seven flat sharp five. So you can see, I kind of curriculum in thinking about the courts, that exactly the name of the notes, how to write them. But it's just a matter of practice. If you have practice, open-ended cores and major seventh chords, you really won't find impossible to play the stack. Of course. 27. Maj7b5 Chord: The next chord that we are born to learn is the major seventh, flat five. If you have practiced the major seven sharp five, well, now you know what's going to work I'm going to do, instead of raising the 50, we are going to decrease or below the fifth. So what I want to do, I am going to play a major seventh chord. And I'm going to below the fifth half step to the left. And there you go. See G-flat, unnatural B. This is C Major seventh flat five. Now I am going to play the major seventh. I've went to below the first. And I have D, F sharp, a flat, and C Sharp. Again, the F-sharp, a flat and C Sharp. And this is the major seven flat five. Now I were to play E Major seventh. I'm going to build a fift. And I have E, G-sharp, B flat, and the sharp, again, E, G sharp, B flat, and B sharp. And this is E Major seventh flat five. Now I am going to play F major seventh. And we're below the fifth, is going to be F, a, B, and E. This core past, not any accidental. Given that we are the fifth year were to play it and we're going to below the fifth. This is going to be natural nodes, so it's really much easier. This is F major seventh below flat five. Now I am going to play a G major seventh. And what you below the fifth. And this is G, B, D, E flat, and F sharp. You can see there are between the third and the flat five is going to be only one step, one whole tone. And from the fifth to the seventh to the major seven is going to be an augmented third. So don't get, if this is too much for you to count, just think about this distance if you want to check. So this is G, B, D flat, and F Sharp, and this G Major seventh, flat five. Now I am going to play a major server to below 50. And this is a C-sharp, E flat, and G Sharp. And this is a major seventh, flat five. Now I want to play big major seventh. And we're going to below the fifth half-step. And this is B, these sharp natural F and a sharp. Again, b, D sharp and a sharp. And this is B major seventh flat five. Now, let's go to the black keys and I'm going to play C sharp major seventh. I were to below the fifth. And this is going to be paying attention, C-sharp, E, G-sharp, natural G, and B sharp, C sharp, G, and B sharp. C sharp major seven flat five. Going to play E flat major seventh. I am going to build a fift pathogen here. So this is going to be E flat, G, B flat, and natural e, d. So it's going to be E-flat, G, B flat, D. This is E flat major seven flat five. Now are going to play F sharp major seventh. Yeah, I'm going to below 50. And then there's going to be F sharp, a sharp, C, and E sharp. Again, F sharp, a sharp, C sharp. And this is F sharp minor seven flat five. Now, let's go to this core. N is going to be a flat major seventh. I would to build all the amputation is going to be a flat, C, E double flat, and G, Again, no flat, C, E flat, and G flat, major seven, flat five. Very well-named. I know. So now we're going to play B-flat Major seventh, ever to below the fifth. And then it's going to be B flat, D flat, and a flat, the flat k. And this is B flat major seventh flat five. So if you have been practicing saying the name of nodes, this is going to be not that difficult, but of course I understand that it requires concentration and practice. So if you feel a little bit overwhelming, just take it easy. Go back to the previous court. So you want what you get here. You will understand this better. 28. minor 7 Chord m7: The next chord that we are going to learn in this course is a minor seventh. If you have practice previously all the minor chords and actually the seventh or dominant chord, you really won't have any problem of practice in this course. What we're going to do, well, this chord is a minor chord. And we're going to add the seventh, but actually it is a minor seven. In this case, it's the same one that we played. One would practice the dominant seventh chord. By this, I mean that the seven is going to be a minor third from the fifth. And it's going to be one step from the next C. In this case, C, because C is a root of the chord. So I'm going to play the C minor chord and I'm going to add B flat. So this is C minor seventh. It is important to notice that you can change the fingers and you are using, I really recommend you to practice only want fingering and each courts, so always tried to keep the same fingering if you're practicing, for example, if there are abrupt in this in C minor seven, well, use it always and you can do this. You can't do this either pens or actually you can do this in the bands on the size of your hand and your fingers. In this case, for me is this is kind of comfortable, no problem. So just try to fingering that suits more to u type of hand. So this is C minor seven. Now I am going to play the rest of the courts. Now. D minor, I'm going to play D minor, and I'm going to add the seven, which is a minor third from the fifth, one step from the next d. So it's going to be D, F, a, C, D minor seven, all natural notes. Now, I want to play MY minor. I am going to, this is e minor, I'm sorry, E minor. And I'm going to add the seven, which is D, is one step from the next E. So I'm going to play E, G, B, D. Again, no accidentals in this court. E minor seventh. Now I'm going to play F minor. I am going to add the seven, which is in this case E flat, because E flat, it is one step from the next path. So it's going to be F, a flat, C, and E flat. This is F minor seventh. Now I am going to play G minor. I am going to add the seven in this case is f, one step from the next G. So this course is going to be G, B flat, D, F. This is G minor seventh. Now I am going to play a minor and to play it right here. I'm going to add the sever G because G is one step from a. So this is a minor seventh. No accident of now, I am going to play B minor. I am going to add the seven, which is a. So this is one step from B, B, D, F sharp, and a. This is B seventh. Now, I am going to play all the minor seven from the black keys. Remember practice if you haven't done this previously or well, maybe many days ago, just dry and play practice before this is a very good warm up exercise. Practice the miners and then the, the dominant seven, and then try to play this. I'm going to play C sharp minor. I am willing to ask this seven. Remember that in this case, the root of the chord is C sharp. So the seventh is going to be natural b. So this is going to be one step from the next. C sharp. So I am going to play C-sharp, E, G-sharp, and B. This is C sharp minor seventh. C-sharp minor seven. Here it is. Now, I am going to play E flat Minor. All the nodes are black keys, E-flat, G-flat than B-flat, E-flat minor. And I'm going to other seven in this case is D flat. So it's going to be one step from the next E-Flat. So all black keys, E-flat, G-flat, B flat, and B flat, or flats and black keys. This chord feels kind of difficult because it's a set, a bit riskier way of saying because the black 0s I really less wider. So it's normal to feel that you are going to, that your fingers are going to sleep just like this. So just do this. Now, I am going to play F sharp minor. I am going to add the seven, which is E. So E, one step from F sharp. And this is F sharp minor seven, F-sharp, a, C sharp, and E, F-sharp minor seventh. Now, I want to play the next, which is this, but I'm going to play it down so you can have a better view. And instead of playing, thinking about a flat minor, I'm going to sing this as G sharp minor because it is kind of easier because of the accidentals in a theoretical way. So this is G sharp minor. I am going to add this seven, and instead of G-sharp is going to be F sharp right here. So it's going to be one step from this. So it, this is G sharp minor seven, G sharp, B, D sharp, F sharp, G sharp minor seventh. And now the last one is going to be B-flat minor. I'm going to add the seven. And the seven is going to be a flat because a flap is one step from B flat. So this is B flat minor seven, B flat, D flat, natural F, and a flat. As you can see, if you know, the two courts that I mentioned before, minor, minor chords and dominant seven is really going to be kind of easy for you to practices. To practice this corpse. So try this God, your own pace on play too fast so you can't really feel, OK, practice in this and don't stress too much your fingers. 29. MMaj7 Chord: The next chord that we are going to learn it very quick healer chord because has a, has a very interesting sound actually the first time, how to tell you that the first time that I discovered this chord, I realize that I have been listening to this court, maybe all my childhood because it sounds kind of spooky. And I think that many characters and many movies have used this type of chord and the music. So it's very interesting when you listen to it. Many times say, Oh yes, maybe I, I have heard this before, even that it's not that common to use it when you play songs, especially like popular music. So what says this is the May a minor, major seventh core wad. It has a very low name. What kind? Yes. Yes. It is kind of confusing, but if you analyze this, you will find that it's not impossible to play. And it's, it's a good idea to have this chord in your resource of your core tools or way of saying. Because if you find this in any piece, you will be able to play it. What says, well, it's a minor chord. In this case, I am playing in C minor, adding the major seventh houses. Well, if you have practice previously, minor chords and the major seven chord, you won't have any problem. Why? Well, this is a minor chord and you are going to add the seven. And the seven must be a major third from the fifth. And it's going to be only have stepped from the next note with the next C in this case, because c is a root of the chord, so it must be one half-step from the next C. So it is C, E-flat, G, and B. Listen how it sounds. It sounds kind of spooky, right? Yes, it is. It is kind of a spoken in my opinion, of course, but I like it. I really read of this because it really moves me to a very kind of those tricky, Spooky moments on cartoons and movies actually. Okay, now let's play the other node and the other courts. So I'm going to play D minor. I'm going to add the seven is going to be a major seven, so it's going to be half-step from the next d. So it's going to be C sharp, D, F, a, and C. This is D minor, Major seventh. Now I am going to play E minor. I am going to add the seven and is going to be half step from the next E. So it's going to be the sharp. So this chord is going to be g, b, and the sharp. This is e minor major seventh. Now I am going to play F minor. I am going to add the seventh is going to be. The natural e. So it's going to be half-step from the next F. F, a flat, C, and E. This is F minor, Major seventh. Now I am going to play G minor. I am going to add the seventh is going to be F sharp, so it is going to be half-step from an x, G, G, B flat, D, and F sharp. This core is mixing flats and sharp in the same court, no problem. Minor, major seventh. Now we're going to play a minor. I am going to add the seven, which is G sharp. So it is half-step from the next, a, C, E, and G flat, I'm sorry, G Sharp. And this is a minor, major seventh. Now they're going to play B minor. I am going to add the seven, and it's going to be H sharp, half-step from. And this is being the F-sharp. Hr. This both are F sharp and a sharp. So this is B minor, Major seventh. Now, I want to play the notes from the black keys. If by this moment you'll feel a little bit overwhelmed, you go back and practice miners and major seventh chords, that will help. Ok, this is C-sharp Minor. I am going to add the seven and is going to be, pay attention. You may say, well that's natural. C1, no, it is not because theoretically this is B sharp and needs to be B sharp because Michelle is half-step from the next C sharp, which is the root of this core. So I'm going to play C-sharp, E, G-sharp, and B-sharp. And this way, I am playing C sharp major seventh. Now are going to play B minor, E minor, E-flat minor. Mix it and everything, I'm sorry, E-flat minor. I want to add the seventh and is going to be right here. So this is going to be natural V0. So it is going to be half-step from the next E flat. E flat, G, B-flat, and D. This is D flat, G flat, B-flat, unnatural D. So this is E flat minor major seven, deaths is course especially from Locke's, have very long names, but we can have a list. Okay, now, I'm going to play F-sharp minor. I'm going to add the seven and pay attention because it is going to be E sharp. This is not, if you may think, well, it's the same key, yes, but theoretically this is E sharp. So F-sharp, a C sharp, and a sharp. So it is going to be half-step from the next F Sharp. And this is F sharp minor, Major seventh. Now I am going to play, if you insert the moment feels a little bit tired. Do this, relax. Don't try to play many, many times this because it's going to make you feel ultimate stress. Now I'm going to play G-sharp minor. Much better to think this as G sharp minor. I am going to add, pay attention here. I'm going to add the seven, but the seventh mass be half-step from the G-sharp. So this is going to be the chordal your plane. So this is going to be F double sharp. Kind of confusing, but F sharp, G sharp, B, D sharp, and F double sharp. This is a double sharp, and that's it, right? If you watch this as a flat, minor, Major seven is going to be a flat, C, D flat, E flat, and natural algae. So it's up to you which one you use. I recommend you to use this as G sharp minor Major seven. Now, the last one, okay, the half here, B flat minor, we are going to add the seven and it's going to be natural a. So it's going to be half step from the next B flat. And B flat minor Major seven. These are all the minor Major seven course. I loved them, but I can understand that it's a little bit difficult at the beginning, but if you have practiced the previous courts, you can't challenge yourself a little bit and go into this court, which sounds kind of spooky, very interesting sound. 30. C major I IV V I: Let's play this harmonic progression, which is 1451. And I am going to play it in C major. The cords that are part of this progression is C major, F major, which is number four, the fourth coordinate scale, then G-Major, which has a fift, and then C Major, we are going to use different inversion. So it's going to be C-Major right here. If major. And you may hear right here. And C-Major, I've joined, I recommend you to first play this at the secretary, of course, in different inversions, as I have suggested before in other videos. And then just play the suggestive inversions that I can see in the music. So it is F major, G major, and C major. Then I am going to move to the next position. So this is first inversion, C major, F major, D major, and C Major. Now we move to the next one, which is a second inversion of C major. Then if major, she made your assay me. Always. You have to bracket both hands. And then you can try at the same time, but always take your time to play each hands separated. 31. D Major I IV V I: I'm going to play the harmony progression, one, fork 5-1 and the major. And the courts are going to be F-Major here, which is the root, G major, which is a fourth, then a major is the fifth, and then the major. I am going to use the inversions that are suggestive. You can watch the, you can read that in using, and you can find them there. So this is the major, G major, a major, and D major. Again. The major, G major, a major, and D major. Then I move to the first inversion here. The major, G major, a major, and D major. Second inversion. The major, G major, a major. And the major law last time, gas playing block chords. Major, G major, a major, and the major. The major, G major, a major, and D major, the last, the major, G major, a major and D major. 32. E major I IV V I: Now I were to play E major. These are my furnishing got VR practice in is 1451. So this is the major, major, which is the fourth, B major, the fifth, and then go back to root E major. So I am going to play this following the inverse shows that that suggests that you can watch the image of the notes in this medial. So E major, a major, B major, E major. Inertia. A major, B major, E major. Now second inversion, major. A major. B major. Image up there. Now I'm going to play them justice block courts. Major, major, major, on a major. Now. E major, a major, B major, E major, second inversion, E major major, major major. And this is the version of E-major won 451. 33. F Major I IV V I: Now, let's play the 1451 progression in F major. Juno cam practices as F sharp or G flat major. Just remember that both keys, both keys have a lot of accidental. So really if you want to play this, so to find which one is easier, really, just a matter of practice. And it's a good idea to practice both ways. So this is the F-sharp major key, and the courts that are going to be part of this progression are after major, B major at the fourth grade and C-sharp major as a fift. So I am going to play this following the inversions suggests that in these, in this course. And actually you can find this combination of emergency many books. So this is going to be F-sharp major, B major, C-sharp major, F-sharp major. First of they are sharp. F sharp major, B flat major, B major, C-sharp major, F-sharp major. Now the second inertia, as shown right here. B major, C-sharp major, F-sharp major. And I am going to play this, just ask block courts. F-sharp major, B major, C-sharp major. And if major, Now, I'm going to the next one. After major. B major. C-sharp major, F-sharp major. Now the second inversion, F-sharp major, B major, C-sharp major, F major. 34. G Major I IV V I: Let's play this harmonic progression. While for 5-1 now. And G-Major, that courts that are part of this progression is G major, C major, and D major. How are we going to play this? You can check them versions, the image of denounced, the sheet music that appears in this medium. G major, C major, D major, G-Major. Now, the first Ambition, C major, D major. And you Major. Second inversion, C major, D major, and G-Major. Now I am going to play this progression as block courts. G major, C major, D major. And you made your first, uh, Measure, G major, C major, D major, and G-Major second inversion. C major, D major, and G-Major. 35. A Major I IV V I: Ever to play the, a major progression, and it's going to be the 1451. So the courts that are var to this correlation is a major. Now, fort, D-Major, now E-major, which is a fift, and then a major, follow their inversions that are suggested in the sheet music of this VDO. Now, a major, a major, major, major. First immersion. The major, E major. Amy, your second inversion. The major pager. A major. Now I want to play them again just as block courts. A major, the major, E major, a major. First inversion, a major. The major E major. A major. Second version, a major. The major E major and a major. 36. B Major I IV V I: Now I am going to play the B major pressure. This is the 1451 progression, and the courts that belongs to this permission are B major. Then the fourth, which is imager, the fifth, F-sharp major, B major bandage. And because of the kid signature disk, well, it has many sharps, so pay attention, be careful with that. The first chord is B major. Then E major, follow then inversions and the sheet music, EPA revenue question, then F-sharp major, ALL black keys. And B major. Now, the first inversion, B major, E major, F-sharp major. The major. Second inertia, the major, E major, F-sharp major, and the major. Now I've learned to play all the courts, just asked block courts. My major, E major, F major, F-sharp major. Abby major. Now, the major, E major, F-sharp, major, B major. Now the second inversion, it major E major, F-sharp major. B major. 37. C# Major I IV V I: Now, let's play the C sharp major Borussia. We are working with a wow 451 progression. So this are the nodes that belong to the, to the, to this progression is going to be C sharp major. Then F sharp major, G-sharp major. C-sharp major. Remembered that the inner monic of this key is D flat major. And in both ways, there are many accident does, so just figured damping. You have practice all the previous exercises, all the courts, all field knob that confused play in this. So I'm going to play the first one is C sharp major, F-sharp major. G-sharp major as C sharp major. Now the first inversion, F-sharp major, G-sharp major, C-sharp major. First inertia. Well, this is, comes out of, this is the second inversion. Then after major, G-sharp, major C-sharp pager. Now I am going to play them just asked block courts. C-sharp major, F-sharp major, G-sharp major as C sharp major. First inversion, C sharp major, F-sharp major, G-sharp major. C-sharp major, second inversion, C major major, G-sharp major, and C sharp major. 38. Eb Major I IV V I: Now, let's play E-flat major. We're working with the harmony progression 1451. So the courts that belong of this two, these are manipulation, is E-flat, E-flat major, then a flat major, which is a fourth, then B flat major, which is a fift, and of course E-flat major again. So I am going to play this following the inversions that you can watch in the, you can read the sheet music, E-flat major. A flat major, which is a fourth, B-flat major, E-flat major. Now that first inversion, a flat major, B flat major, E-flat major. Second inversion. If law Major, a flat major, B flat major, E flat major. Now I am going to play them as just asked, block courts. E-flat major, a flat major, B flat, and E flat major. Now, first inversion, flat major, a flat major, B flat major, B flat major, second inversion, if loved, major, E-flat, major. Major, E-flat, vk. 39. F# Major I IV V I: Now, let's play the 1451 progression in F major. Juno cam practices as F sharp or G flat major. Just remember that both keys, both keys have a lot of accidental. So really if you want to play this, so to find which one is easier, really, just a matter of practice. And it's a good idea to practice both ways. So this is the F-sharp major key, and the courts that are going to be part of this progression are after major, B major at the fourth grade and C-sharp major as a fift. So I am going to play this following the inversions suggests that in these, in this course. And actually you can find this combination of emergency many books. So this is going to be F-sharp major, B major, C-sharp major, F-sharp major. First of they are sharp. F sharp major, B flat major, B major, C-sharp major, F-sharp major. Now the second inertia, as shown right here. B major, C-sharp major, F-sharp major. And I am going to play this, just ask block courts. F-sharp major, B major, C-sharp major. And if major, Now, I'm going to the next one. After major. B major. C-sharp major, F-sharp major. Now the second inversion, F-sharp major, B major, C-sharp major, F major. 40. Ab Major I IV V I: Let's practice this harmony progression, 1451. A flat major harmonic of this key is a G-sharp major and committed to just keep just practices as a flood major. Of course, if you find the other key, G-sharp major visual understand it. But nice sharp major has really too many accidentals or double sharps. And so it can be a little bit confusing. It is actually more use this key. So the course that are part of this preparation are E-flat major. Then the fourth, which is B flat major, the faith, E-flat major, and a flat major. Now, let's practices following the inversion that are suggested in this course is so a flat major, B flat major, E-flat major, and a flat major. First one, Borussia. D-flat major, E-flat major, E-flat major. Second inversion, B-flat major, E-flat major, E-flat major. Now, I were to play this just as block courts. Major. B flat major, E-flat major. I'm a Flat Major. Now, first inversion, if I'm major, B flat major, major. If a Flat Major, second inversion, D flat, E flat major, F, a flat major. 41. Bb Major I IV V I: Okay, let's practice. If B flat major, we are working with the progression 1451. So the courts that are part of this progression are E-flat, B-flat major, E-flat major, F major, B flat major. I truly not recommend you to work with this toleration, thinking it as the, a sharp major key because it's just going to be too difficult to fool of accidentals. Of course it, you'll find it in any song. Well, just, you can convert it to if major now will be much easier. So I went to play B-flat major following the suggested inversions in this course. Now, E flat major, F major, B flat major. Now the first inversion, E-flat major, F major, and B flat major. Second inversion. If that major, F major, B flat major. Now were to pay this as block quarts. If a major, B flat major, E-flat major, F major, and B flat major. First inertia, B-flat major, E-flat major, GR, And B-flat Major. Second inversion, B-flat major, E-flat major, F major, B flat major. 42. C minor Im IVm V Im: Let's learn how to play the harmony progression while for 5-1, but in C minor. Remember, actually the, the courts are the same that C-Major or bugged or needs to think about the different type of Corp.. For the first chord is going to be C minor, the fourth is going to be F minor. So watch out for are going to be miners, then G major and C minor again. Follow the inverse shows that are suggested in this, in this course. And it's she'd music. C minor, F minor, G major, C minor. Now the first inversion, C minor, F minor, G-Major. Assay miter. Now the second inversion, if minor to major. Now I'm going to play the courts as block chords, C minor, F minor major, and C minor. C minor, F minor, G major minor, C minor. F minor to G major. C minor. 43. D minor Im IVm V Im: Let's learn how to play the wow for 5-1 per operation in the minor, the courts are going to be D minor, G minor, a major, and the minor following the inversion that is suggested in this voicing that I suggest in this course, it's going to be D minor, G minor, a major, and the minor first inversion. G minor, a major. And the minor. Now, the second version, G minor, a major and the minor. Now, I am going to play this as block courts. The minor G minor. Again, I'm sorry, if the minor, G minor, a major and the minor first inversion, the minor G minor, a major, and the minor second inversion. The minor G minor. A major. D minor. 44. E minor Im IVm V Im: Now, let's play E minor. The courts of this revelation, Wow, 4-5, one are going to be e minor, a minor, B major, E minor. Now I'm going to play a Following the inversion suggestive, and this is e minor. A minor. The major. E minor, a minor, B major, E minor. Second inversion. A minor, B minor, major, E minor. Now I am going to play this court's ASP block chords, a minor, B major, and a minor. First inversion, e minor, a minor, B major, E minor, second inversion, e minor, a minor. B major. E minor. 45. F minor Im IVm V Im: Now let's practice F sharp minor. We are working with the wom 4-5, ONE harmony progression. I recommend you just to try it and see a desk, a F-sharp Minor. Do not try this as G flat minor because we never use that D actually. So I am going to play this in the course of dispersion are going to be a F-sharp minor. The fourth is going to be B minor. The fifth is going to be C-sharp major, F-sharp minor. So I am going to play this following the suggested inversions in this course. So this is going to be F-sharp minor, B minor, C-sharp major, and minor. The first inversion, F-sharp minor, B minor, C sharp major. And see if your minor. Now the second inversion, F-sharp minor, B minor, C sharp major, F sharp minor. Now, I am going to play this as block courts share minor, B minor, C sharp major, F-sharp minor first and measuring if you're minor, B minor, C major, F-sharp minor, the secondary version is going to be a fair minor, B minor, C sharp major, F-sharp minor. 46. G minor Im IVm V Im: Now, let's play G sharp minor amputation. You may think that you could use the harmonic in this case, instead of playing this as G sharp minor, you are going to use a flat minor, but I really, I don't recommend you this because you will have too many accidentals, is really not practical. It's easier just to think this as G sharp minor. We are working with the harmony progression, 1451. So the courts are going to be G sharp minor, C sharp minor, D sharp major, G-sharp minor. So following this adjusted inversions in this course, I want to play this dish or minor, C-sharp minor, B sharp major, G-sharp minor. Now, first inversion, C-sharp minor, D sharp major, G sharp minor. And the second inversion, C sharp minor. C-sharp minor. E-flat major. I'm sorry, this is D sharp major. G sharp minor. It's funny because I actually didn't plan this, but I need this as the enharmonic IED. What happens? I have previously mentioned this, that we need to know what is the correct name according to the key. In this case, we are working with G sharp minor, so the fifth CT is, has to be D sharp major. But what happens in what happened to me right now is that for me, it's kind of easier to think this as E-flat major. So maybe I'm thinking this as E-flat major, but I have to name the correct name according to G-sharp is the sharp major, right? So you can, you can think as the enharmonic, but you have to be conscious of what is the name according to the key that you are using. So now I'm going to play this as bloke courts. G sharp minor, C-sharp minor, G, D sharp major, and D sharp minor. Now the first inversion, G sharp minor, C-sharp minor, D sharp major, and G sharp minor. Second inversion. You sharp minor, C-sharp minor, and B sharp major, and G sharp minor. 47. A minor Im IVm V Im: Let's play this. How many Parisian? While for 51 on a minor, the courts are going to be a minor, D minor, E major. So I went to play following the inversion suggested. So there's this game minor, D minor, E Major. And e minor. A minor, I'm sorry. Now for some version, D minor, E major. E minor. Second inversion, a minor, D minor, E major, E minor. Now I'm ready to play them as block chords. A minor, D minor, E major, a minor, first inversion, a minor, D minor, E major, a minor, second inversion, a minor, B minor, C major at a minor. 48. B minor Im IVm V Im: Now let's play the harmony progression. While for 51 and B Minor. The courts that are going to be part of this for ratio r, B minor. The force is going to be E minor, F major and the minor. So for that we indeed inversions suggested and discourse, I am going to play B minor, E minor, F sharp major. B minor. First inversion, D minor, E minor, F sharp major. E minor. Second inversion, D minor, E minor, F sharp major, and B minor. Now, I am going to play this as block courts, be minor, E minor, F sharp major, and B Minor. Now the first inversion is going to be the minor. E minor. F sharp major. I, Me, Mine are secreting version. B minor, E minor, F sharp major, and B minor. 49. C# minor Im IVm V IM: C sharp minor. We are working with the permanent Photoshop while for 51. So the courts dad belong to this progression are going to be the C-sharp minor, F sharp minor, G-sharp major, and C-sharp Minor. Now, following the suggestive inversions in this course, these are going to be C sharp minor, F sharp minor, G sharp major, C-sharp minor. First thing they're shown, C-sharp minor, F sharp minor, G-sharp major. C-sharp minor. Second inversion, C sharp minor, F sharp minor, G-sharp major, C-sharp Minor. Now I'm going to play them as block courts. C-sharp minor, F sharp minor, G-sharp major, C-sharp minor. First embed usher, C-sharp minor, F sharp minor, G-sharp major. C-sharp minor second inversion, C sharp minor, F sharp minor, G-sharp major, C-sharp Minor. 50. Eb minor Im IVm V Im: Now let's play E-flat minor MPF engine because it is this, this key has many accidentals and we want to play instead of if AB mine or do you want to look at it as the sharp minor? I, I know recommend you're really true. I don't recommend this because it's going to have just too many accidentals. Anyway. You will have many accidental spark if you choose the sharp minor, it's really more complicated, so we are going to just check it as E-flat minor. The course of this progression we are working with one 4-5 ones are gonna be E-flat minor, A-flat minor, B-flat major, E-flat minor. Following dare suggest that inversion are going to be E-flat minor. A-flat, minor, B-flat me here. If at mine. Now, first inversion, you've got minor, E-flat minor, B flat major, E-flat minor. Second inversion, E-flat minor, E-flat minor, B flat major, E-flat minor. Now, I am going to play this as block courts. E-flat minor minor, B flat major, E-flat minor, first inversion, flat minor, E-flat minor, B flat major, E-flat minor, second inversion, E-flat minor, E-flat minor, B flat major, and E-flat minor. 51. F# minor Im IVm V Im: Now let's practice F sharp minor. We are working with the wom 4-5, ONE harmony progression. I recommend you just to try it and see a desk, a F-sharp Minor. Do not try this as G flat minor because we never use that D actually. So I am going to play this in the course of dispersion are going to be a F-sharp minor. The fourth is going to be B minor. The fifth is going to be C-sharp major, F-sharp minor. So I am going to play this following the suggested inversions in this course. So this is going to be F-sharp minor, B minor, C-sharp major, and minor. The first inversion, F-sharp minor, B minor, C sharp major. And see if your minor. Now the second inversion, F-sharp minor, B minor, C sharp major, F sharp minor. Now, I am going to play this as block courts share minor, B minor, C sharp major, F-sharp minor first and measuring if you're minor, B minor, C major, F-sharp minor, the secondary version is going to be a fair minor, B minor, C sharp major, F-sharp minor. 52. G# minor Im IVm V Im: Now, let's play G sharp minor amputation. You may think that you could use the harmonic in this case, instead of playing this as G sharp minor, you are going to use a flat minor, but I really, I don't recommend you this because you will have too many accidentals, is really not practical. It's easier just to think this as G sharp minor. We are working with the harmony progression, 1451. So the courts are going to be G sharp minor, C sharp minor, D sharp major, G-sharp minor. So following this adjusted inversions in this course, I want to play this dish or minor, C-sharp minor, B sharp major, G-sharp minor. Now, first inversion, C-sharp minor, D sharp major, G sharp minor. And the second inversion, C sharp minor. C-sharp minor. E-flat major. I'm sorry, this is D sharp major. G sharp minor. It's funny because I actually didn't plan this, but I need this as the enharmonic IED. What happens? I have previously mentioned this, that we need to know what is the correct name according to the key. In this case, we are working with G sharp minor, so the fifth CT is, has to be D sharp major. But what happens in what happened to me right now is that for me, it's kind of easier to think this as E-flat major. So maybe I'm thinking this as E-flat major, but I have to name the correct name according to G-sharp is the sharp major, right? So you can, you can think as the enharmonic, but you have to be conscious of what is the name according to the key that you are using. So now I'm going to play this as bloke courts. G sharp minor, C-sharp minor, G, D sharp major, and D sharp minor. Now the first inversion, G sharp minor, C-sharp minor, D sharp major, and G sharp minor. Second inversion. You sharp minor, C-sharp minor, and B sharp major, and G sharp minor. 53. Bb minor Im IVm V Im: B flat minor. We are working with the harmony fibrillation 1451. I really don't recommend you to practices as the inner monic, which is a sharp minor because it is going to be just too confusing to many accidentals. So it is better. B flat minor. That course of this progression is going to be B-flat minor. The fourth is going to be E-flat minor, and the fifth is going to be if major. So following the inversions suggested in this course, I am going to play B flat minor, E-flat minor, F major, B flat minor. The first invention if lah minor, E-flat minor, F major, B flat minor. Now second inversion, B-flat minor, E-flat minor, F major, B flat minor. Now, I am going to play this as block chords. A minor, E-flat minor, F major, B flat minor. First inversion. If lah minor, E-flat minor, F major, and we've got mine or second inversion, B-flat minor, E-flat minor, F major, B flat, E flat, and B flat minor Apsara, ME fell minor. 54. C major I VIm IIm V I: The harmonic progression that we are going to practice right now is 16251, and we are working on C major. And considering the harmonize it major scale, we will find that the first, this case, the first chord is going to be C major, C major chord. Then we'll go to the sixth, and this is a minor. Then we go to the second, which is a minor second, the minor than the fifth, G-Major. C major, it is a good idea to remember that we are always like following the structure of the major core. So in this case we are playing C major. So all old the, the courts has to belong to this scale. So I am going to follow the suggested inversions in this course. So this is going to be C major, a minor, D minor, G major, C major. First inversion, C major, or a minor. D minor. G major, C major. Now the second inversion, C major, a minor, D minor. G major. C major. Ever to play this? Just ask block chords. C Major, a minor, D minor, G major, C major, C major, a minor, D minor. G major. C major, second inversion, C major, a minor, G minor, G major. C major. 55. D major I VIm IIm V I: Next played D major, and I am going to play the 16 to 5-1. How many production and the courts of this progression are going to be? The major. D minor, E minor, a major, and D major. Now, following the inversion suggested in this course, I'm going to play the major, D minor, E minor. A major. We might D-Major. Now the first inversion, D major, D minor, E minor, a major, and D major. The second inversion, the major, D minor, E minor. And the major major, I'm sorry. The major. Weren't you play the courts as block chords? The manger, B minor, E minor, a major, D major. The major. B minor, E minor, a major. The major, the major. D minor, E minor, a major, and D major. 56. E major I VIm IIm V I: Let's play the 16251 per harmony progression and on E major. So the courts of this progression are going to be imager. The sixth is going to be C-sharp minor, then the second F-sharp minor, the fifth B major, and then E-major. Now, I am going to play this for when the inversions suggested in this course. So it's going to be major. C sharp minor minor. D major, E major. First embed A-sharp, C-sharp minor, F sharp minor, B major. And the second inversion, major, C-sharp Minor. F sharp minor. That's going to be right here, I'm sorry. Then B major, E major. Now I am going to play this as blog courts. So E major, C-sharp minor, F sharp minor, B major, E major. The major, C-sharp minor, F sharp minor. B major, E major, second inversion. The major, C-sharp minor, F sharp minor, B major, E major. 57. F major I VIm IIm V I: We are going to play the F major progression and we are working with the 16251 progression. So the chords of this progression are going to be F major. Then D minor, which is a sixth, G minor, and the second, C major, the fifth, and then F-major. Following the inversions in this course, we are going to play F major, D minor, G minor, C major. And if major. Now, second, first inversion. If major, D minor, G minor, C major, F major, the second inversion is going to be F major, D minor, G minor, C major, F major. Now I am going to play this as block courts. If major, D minor, G minor, C major, F major, first inversion, F major, a minor, G minor. C major, F major. Second inversion, if major, D minor, G minor, C major, F major. 58. G major I VIm IIm V I: Next play, G major, and we're working with liberation, won six, 2-5-1. So the courts of this regression are going to be G-Major. So at the sixth is going to be E minor. Second minor to the major. Again, G major. So I am going to play this following the suggested inversion of discourse. So it's going to be G major, E minor. A minor. The major, and G-Major. Now the first inversion, you made R, e minor, a minor. B major. G major. Secondary literature. G major, a minor, E minor, a minor. The major. G major. I going to play this as block courts. G major, E minor, a minor, the major ad G-Major. Now the first inversion, G-Major, e minor, a minor, B major, and G-Major secreting Bershka, G major, a minor. A minor. The major ad G-Major. 59. A major I VIm IIm V I: Let's play a major. We are working with the poverty furnish and was 6251. So the core, so we are going to play, are going to be a major. Then F-sharp minor, which is a fixed sixth. Then the second one is going to be B minor than E-major as a fifth and a Major. Again, if I were to play this following the embarrasses suggested in this course. So a major, F-sharp, a minor, B minor, C major, and a major. First of inertia, a major, F-sharp minor, B minor, E major. A major. Second inversion, a major, F sharp minor, B minor, C major. A major. Now are going to play this as block hoard. So this is going to be a major, F-sharp minor, B minor, C major, a major. Now that first inversion, a major, F-sharp minor, B minor. The major, E major at Avi. Now the second inversion, a major, F-sharp minor, B minor, C major, a major. 60. B major I VIm IIm V I: We are working the harmony progression 16251. So the courts of this harmonic progression are going to be remainder. Then the sixth, which is Gmail, G, G sharp minor, then the second, C-sharp Minor, the fifth F-sharp major, B major. Following the suggested in versions of this course, I am going to put a B major, G sharp minor, C-sharp minor, F sharp major. The major. Now the first embarrass your remainder. G sharp minor, C-sharp minor, F sharp major, B major. The second inversion, F-sharp major. The major. Then sharp minor, C-sharp minor, F sharp minor. And the major. Now, I'm going to play this as block courts. The major, G sharp minor, C-sharp minor, F sharp major. The major, first inversion, a major, G sharp minor, C-sharp minor, F sharp major, B major. Second inversion, MY major, G-sharp major minor, Then C-sharp minor, F sharp major, B major. 61. Db major I VIm IIm V I: Now let's play the B flat major progression. One seeks 2-5-1. I truly recommend you to think this progression as D flat meat or instead of C-sharp major because C-sharp Meteor has more accidentals. I will think, I think that this is a little bit more difficult. Of course it's your choice, but I truly recommend you see this as the flat major. So the first chord of this progression is going to be D flat major. The sixth is going to be B flat minor, then second, E-flat minor, the fifth, a flat major, and we go back to the flat major. According to the inversions suggested, we begin with D-flat major. Then B flat minor, E-flat minor, A-flat major, and the flood minor major. And so now the first inertia, D flat major, B flat minor, E-flat minor, a flat major, B flat major. Then second inversion, D flat major. B flat minor, E-flat minor, A-flat major. The slab major. Now I am going to play this as block courts. D flat major, B flat minor, E-flat minor. Thanks God major. And D major. Now first inversion, D-flat major, B-flat minor, E-flat minor. If our major, B flat major, second inversion, E-flat major, B-flat minor, E-flat minor, E-flat major, and D flat major. 62. Eb major I VIm IIm V I: Let's play the E-flat major progression. We are working with 16251 progression. And the courts that belong to this progression are E-flat major, then C minor, this is a 60. Then the second is going to be F-minor. The fifth is going to be B flat major. And then we go back to E-flat major. Following doesn't just have inversions. This is going to be B flat major, C minor, F minor, E flat major, B flat major, I'm sorry. E-flat major. Now the first inversion, E-flat major, C minor, F minor, the major, B flat major, E-flat minor. Second inertia, E-flat major, C minor, F minor, B flat major. B flat major. Now, I am going to play this, ask block courts. E-flat major, C minor, F minor, B flat major, E-flat major, then first inversion, major, C minor. F minor. B flat major. E-flat major. Second immersion. B flat major, C minor, F minor, B flat major, E-flat major. 63. Gb major I VIm IIm V I: Let's practice the G flat major hierarchy progression 16251. I truly recommend you to think this key as G flat major instead of F-sharp major. It because if you think it is as if your major has more accidentals, both keys have a lot of accidentals, but I really suggested to war with G flat major. The courts of this progression are going to be G flat major. It's going to be E-flat minor, then A-flat minor, then the flag major. We finish again with G flat major according to the inversion suggested in this course. This is going to be D flat major, E-flat minor. E-flat minor, D flat major, G flat major. Now let's go to the first inversion. D flat major, E-flat minor, a flat minor, D flat major, G flat major. Now the second inversion, D flat major, E-flat minor. E-flat minor, D flat major. G flat major. I am going to play again, these courts just laughed. Block courts. G flat major, E-flat minor, E-flat minor, B flat major, and G flat major first and Bershka, G flat major, E-flat minor, flat minor, B flat major, and G flat major. The second inversion, g flag major minor, B-flat minor, D flat major. G flat major. 64. Ab major I VIm IIm V I: Let's learn how to play. The poverty progression was 16, 2-5-1. The key of a flat major, I recommend you to think this key as a flat major instead of G-sharp major because it's kind of easier talking about the accidentals and the key signature. So what? This courts are going to be a flat major. Then we move to the sixth. This is F minor, then the second is going to be B flat minor. Then the FFT is going to be E-flat major, and then we go back to a flat major. Now the first Inversion, Well, and I were to play the follower, the suggested and virtuous in this course. So this is a flat major. Now, F minor, B flat minor, E-flat major. A-flat major held the first inversion and a flat major. F minor, B-flat minor, E-flat major at a Flat Major. Now this second position here is a flat major. F minor, B-flat minor, E-flat major, A-flat major. Now, I want to play discord says block courts. A flat major, F minor, B flat major minor, E-flat major at a Flat Major. Now, for some virtue, a flat major, F minor, B-flat minor, E-flat major, and a Flat Major. Second inversion, a flat major, F minor, B-flat minor, E-flat major, A-flat major. 65. Bb major I VIm IIm V I: Let's learn how to play the harmony progression while seeks to 51 MB major. The courts of the exploration are going to be B-flat major. The sex is going to be DMAIC minor, the second C minor, F major, and the first B flat major. Now, according to the inversion suggested in this course, this is going to be the flat major. G minor, C minor, F major, B flat major, G minor, C minor, F major, B flat major. Now the second inversion on B flat major, G minor, C minor, F major, and B flat major. Now play this courts as block courts. B flat major, G minor, C minor, F major, a major, first inversion, E flat major, G minor, C minor, F major. And the Flat Major second inversion. Be familiar. G minor, C minor, F major, B flat major. 66. C minor Im VI IIo V Im: Now let's play it seem minor. We are playing the harmony progression 16251 So this is going to be the first core C minor . There were going to the sixth and this is a flat major Now the second is going to be big diminished. The fifth is going to be G major on the first of two C minor. For we the suggested for Russia in bear shows this is going to be a C minor major diminished G major Now the first inversion C minor a flat major diminished G Major and C mine Second there shows you minor major now the second the minor diminished. I'm sorry, g major and see my ever to play this court's as blocks of this I c minor No, If Major diminished G Major Nancy Minor now the first embarrassed in c minor A flat major didn't finished. Junji major on seat Minor Now second, very juicy Minor. A flat major diminished Major C minor 67. D minor Im VI IIo V I: Let's learn how to Grady's Harmony production 16251 in the mind. So the course that are going to be part of this depression are the minor. Now the sixth is going to be they flat, major. Now the SEC. Rome is going to be e diminished. The fifth is going to be a major and D minor. Now follow me. Indifferent rations learn and the inversions learn in discourse. This is going to be the minor B flat Major finished a major. Now the first embarrassing B flat Major diminished a major D minor. Now the second version D minor B flat major E diminished on D minor, maybe. Sorry and the minor. Now I'm going to play this as local courts D minor d flat Major, you diminished a major first inversion minor B flat Major diminished a major D minor Now the second. And Berisha, the minor B flat major. He had diminished a major and the mind 68. E minor Im VI IIo V Im: Let's learn to play the harmony progression. 16251 The key off mine. Remember that we are following the harmonic minor scales. So the first court in this progression is going to be a minor. Six is going to be C major. The second is going to be f sharp diminished. The fifth is going to be be major and again you mind. And following the suggests of inversions in this course, this is going to be a minor C. Major Sharpe diminished E Major on the mind now meets first inversion Minor C major. Now if sharp, diminished beat flats being your I'm sorry, the mayor on e mine. Second, there should be minor C major f sharp diminished be major. And you mind I'm going to play this as block courts minor C major f sharp diminished the major and minor first immersion minor. See me your f sharp diminished Be made your you mind Second inversion e minor C major f sharp diminished me, Major. You mind 69. F minor Im VI IIo V Im: now this Learn how to play the 16251 How many progression in the key off If minor remember that we are following the structure off the harmonic minor scales. So according to that, the courts of this profession are going to be F minor, The six is going to be the flat major. The second G diminished. The fifth is going to be C major again if minor now, following the suggested inversions in discourse. If minor Now the flat major G diminished C major now the first inversion Minor flat Medio G diminished. See major and minor now Second invasion. If minor thief Last major G diminished. See major and minor. Now I'm going to play this. Ask block courts if minor things that major G diminished. See major on if minor first immersion If minor D flat Major G diminished C major on minor second inversion of minor D flat. Major G diminished C major and if mine 70. G minor Im VI IIo V Im: Let's learn how to play the while. 6 to 51 every parish in D minor. Following the structure off the harmonic minor scale, we will find that the first court is G minor. The sixth is going to be E flat, major. The second is going to be a diminished The fifth, The major. Yeah, mind following this Suggest that the commercials this is going to be a minor major, A diminished deep major. And you mind first inversion, do you mind? E flat, major Diminished deep Major Angie Minor. The second version. Do you mind? E flat major diminished D major. Now I'm going to play desperation as block courts G minor e flat major A diminished d major Angie minor now the first inversion d minor e flat major A diminished the major. Did you mind? On the second inversion? Do you make e flat major a diminished the major and you minor 71. A minor Im VI IIo V Im: Now let's play the harmony progression. 16251 on a main minor. According to the structure off the harmonic minor scale, the courts of this pressure are going to be a minor. The sixth F major, the second beat diminished 50 e major a minor again. Following this suggested memberships is going to be a minor major. Be finished major on a minor. Now the first they're shown a minor major. Be diminished, E major. Okay, mine now The second version a minor major Be diminished, Major. Now I am going to play hold the courts asked local courts a minor. It's me. Be diminished The major a my now the first inversion a minor major Be diminished, E major. Now the second version major be diminished. Mayor A My 72. B minor Im VI IIo V Im: Now let's play the hair burning progression. 16251 b minor. According to the structure off the harmonic minor scale, the courts of exploration are going to be be minor. Then the sixth is going to be G major. The second is going to be C sharp diminished the fifth F sharp major on Be my following the suggested the pressure in the discourse be minor. Then G major C Sharp diminished F sharp major. Be mine now. The first version B minor G major C sharp Diminished major No. The second version B minor G major C sharp Diminished Major. Now this courts are going to play him as your courts only be minor. G major C Sharp diminished F sharp major minor. First, they're shown B minor G major SI Chef Diminished. If your mayor B minor on the second impression. Be minor. G major See shop diminished after major Be my 73. C# minor Im VI IIo V Im: the next key that we're want to practice this c sharp minor as the operation is, see as 16251 So the first course going to be C sharp minor. Now we're going to the sixth and is going to be a major. Then second is going to be be sharp diminished. Then the faith is going to be G sharp. Minor major, I'm sorry to show me your m c sharp minor. Remember that we are using the harmonic minor scale. So this is this is going to be C sharp minor. A major. The sharp, diminished G sharp Major C sharp First impression. A major diminished. Here. Minor second version Amy here, the sharp, diminished G sharp major on the mine. Now I'm going to play this as local courts. C sharp minor. A major. The sharp diminished. You sure major and minor First inversion you meet your the sharp diminished. You sure? Major C sharp minor second invasion seizure finer. Amy, you're the's sharp diminished. You should Major and C sharp Minor 74. Eb minor Im VI IIo V Im: the next key that we're going to practice ISS e flat Minor. We are going to use a flat minor instead of the sharp minor because it's really more. It's more practical, really. It's killer with easier. This this type of keys have a lot of accidental. That's the way it is. So we just need to practices. But it's better to think this ask e flat minor. So the first corps were working with the progression. 16251 So this is going to be first is going to be a flat minor. Sixth is going to be e flat, major. You can think that I'm sorry, C c flat major. You may think that well, this is the major. Yes, you can think as the major, But remember that the music theory, the way that we need to say this is see flat major. So there's a safe like major than the second, which is going to be diminished. It's going to be deaf to finished then B flat major and e flat minor. So following those suggestive inversions, this is going to be if minor see flat major after finished major mine. Now, the first version of minor See Flat major after I finished my second inversion minor C E flat major After diminished B flat major and beef of minor. I want to play this as look courts minor C E flat major have diminished whom? E flat major B flat minor, first pair, shirt, flat, minor say flat Major have diminished beef love meter and you've loved minor second invention Minor. See if that major has diminished the major and minor. 75. F# minor Im VI IIo V Im: now let's practice F sharp Minor. We are working with 16251 progression. So what is going to be after minor then? The sixth is going to be the major. The second is going to be G sharp. Diminished 50 is going to be C sharp, major. Then if you're minor again following the suggested in versions of this course, this is going to be a share. Minor D major G Sharp, diminished. See? Shot your now the first version six Major. No, The second sharp, diminished C sharp major and it's your mind. Now. The second invasion, your minor, The major have diminished C sharp major and it's your mind. Now I'm going to play this asked. Look, courts only So fair Minor The Major Sharpe diminished C sharp major. And your mind now first mission. Sure, Minor Dan, we have major share diminished seizure, major and minor. Now second in very minor. The major. You sure diminished C sharp major. If Sharp 76. G# minor Im VI IIo V Im: Now we're going to practice the harmony progression 16251 G sharp minor And the records that are part of desperation R g sharp minor. Then we go to the sixth, which is going to be Bumi made your now the second a sharp diminished. The fifth is going to be the sharp major. You may think this is if love Mayor Well, you can think that when you are playing this, of course, you can associate it with the harmonic. That's totally fine. But remember that the correct name is the shark major. Then we go back to the sharp minor following these suggested emotions in this course. So this is going to be sharp. Minor Dan E. Major A sharp minor diminished. I'm sorry. A chef diminished the sharp major and D sharp minor. Now the first version should mind E major now diminished sharp Major G sharp make my second Asia minor figure a sharp diminished the major. Sure, my I'm going to play this as block courts sharp minor e major a sharp diminished the sharp major and minor. Now the first inversion minor ive major now a sharp, diminished Dan de Sharp major and minor. Now the second impression is your minor e major. A sharp diminished the sharp major G sharp. 77. Bb minor Im VI IIo V Im: Now that's practice This progression 1 65 1 and B flat minor. So the courts of desperation we're going to be B flat minor, Dan G. Flat Major. The second is going to be see diminished. The fifth is going to be a major on the second B flat minor. So following the suggestion inversions in this course G flat major, they say, diminished. It's major on. See on beef Now this is a first impression. Minor G Flat major, No. See the finished if Major Yeah, minor second inversion minor G flat major. See Diminished Major. Now I'm going to play this asked. No court B flat, minor G flat major Seeing diminished F major number. Love Minor. Now the first inversion minor major say diminished is major minor second, eventually minor major safety Finished F major minor.