Piano Embellishments | Fills, Runs & Scales | Kingsley B-Nkrumah | Skillshare

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Piano Embellishments | Fills, Runs & Scales

teacher avatar Kingsley B-Nkrumah, Musician and Tech Enthusiast

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

Watch this class and thousands more

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

Lessons in This Class

36 Lessons (4h 6m)
    • 1. Course Overview

      2:36
    • 2. Tip from Kingsley: Maximising the learning experience

      1:53
    • 3. The Major Scale

      5:31
    • 4. Major Scale Fingerings

      12:02
    • 5. Basic Applications of the Major Scale

      10:17
    • 6. Flipping from the 2nd to the 3rd

      9:48
    • 7. Semitone Grace Note to the 3rd

      5:49
    • 8. Semitone grace note to the 3rd then 5 or 1

      6:27
    • 9. Reversed Chords

      5:16
    • 10. Borrowing the “1” of the preceding chord

      6:33
    • 11. Borrowing the “5” of the preceding chord

      6:43
    • 12. Borrowing the “1-5” of the preceding chord

      5:56
    • 13. Borrowing the “1-2-5” of the preceding chord

      5:40
    • 14. 1-2-3 Fill

      6:49
    • 15. 5-4-3 Fill

      8:27
    • 16. Preceding 3-2-1 Fill

      6:58
    • 17. Fast 3-2-1 Trill

      5:42
    • 18. Fast 1-2-3-2-1 Trill

      4:35
    • 19. Fast 4-5-3-2-1 Trill

      5:20
    • 20. Right Hand Pedalling on the 5

      7:12
    • 21. 7-1-5 Fill

      6:04
    • 22. 3-4-1 Fill

      6:31
    • 23. 1-7-5 Fill

      5:52
    • 24. Sus4 to the Major

      5:59
    • 25. 6th Harmonic Fill: 1-7-5-3

      11:09
    • 26. 6th Harmonic Fill: 4-3-1-6

      8:16
    • 27. 4-3-1-5 Run

      9:03
    • 28. 5-1-4-3-1-5 Run

      6:26
    • 29. The Chromatic Scale

      5:45
    • 30. Basic Applications of the Chromatic Scale

      8:32
    • 31. The Natural Minor scale

      10:15
    • 32. Basic Applications of the Natural Minor Scale

      12:11
    • 33. Hallelujah (DEMO)

      0:46
    • 34. Hallelujah (BREAKDOWN)

      7:52
    • 35. I believe I can Fly (DEMO)

      1:23
    • 36. I believe I can fly (BREAKDOWN)

      10:48
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About This Class

Sound like a PRO on Piano or Keyboard | Hacks to make you sound amazing in Pop, Rock, Ballad, Gospel, Jazz, Latin, etc.

This course teaches you simple but amazing embellishments that work over most chord progressions. If you are looking for fills, runs, and melodic lines that will make you sound like a Pro, then this is the right course for you.

The course is straightforward and seeks to expose you to several ideas to help you embellish your chord progressions. The concepts are broken down to make them easily understood.

Imagine being able to play all your favorite songs with extra embellishments to spice up the sound without the need to read sheet music? Now you can easily achieve this within weeks not years.

High Definition Videos and PDF Resources

With an overhead camera and light-activated piano roll, you can easily see what fingers are used as well as the exact notes that are being played.

The knowledge obtained from this course can be applied to other genres of music like Pop, Ballad style, Blues, Jazz, Gospel, etc as you are equipped with the knowledge to create your own music.

Meet Your Teacher

Teacher Profile Image

Kingsley B-Nkrumah

Musician and Tech Enthusiast

Teacher

Hello, I'm Kingsley. 

I am a pianist with a strong background in gospel, contemporary, and jazz music. I have been playing and teaching the piano for over a decade.

My main objective is to provide beginner, intermediate, and even advanced pianists and keyboardists with easy systems and approaches to learning and improving on the piano.

My goal is to break down some of the complicated theories and concepts in piano and music in general.

See full profile

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Transcripts

1. Course Overview: Have you always wanted to transform your favorites chord progressions of your songs like this. G, F, two, a well embellished chord progression just like this one. Or maybe you want to kick it up a notch and add more melodic lines and make it sound even more superb, just like this. Oh, well, this is the right course for you. Now in this course I take you through fills, runs, and scales that will help you transform your sound. My name is kids live on piano with kids li.com. And I've been teaching at performing music on the piano for over a decade. You don't have to be super advanced on a keyboard to another to take this course. Or you need to know basic major and minor triads. And we're going to add called embellishments to be simple major and minor triads to make them sound amazing. I've helped thousands of students to get better on the piano. And I want to help you do the same arrow now. And let's get you started on your journey of transforming your chord progressions to sound just like the pros do it. I'll see you in your first lesson. 2. Tip from Kingsley: Maximising the learning experience: Hi. So this is my little tip for you. As you go through this course, I will entreat you to get songs you're ready know how to play. Of course, if you don't have these songs readily available, they are called progression, simple chord progressions. You can apply these embellishments to. But it will be really good if you've got songs you already know how to play your favorite songs, one or two of them. And the after you play the chord progressions in the lesson, you applied the embellishments to songs. You already know that the secret to really mastering these embellishments, It's really apply them on the fly. So you have to apply them and then they stick to your fingertips. And whenever you pick a completely different song, as long as their major, minor courts or the kind of code used in this lesson is also applicable to that song. You will find your hands is Lee plane. These embellishments as you go. So yeah, pick up a few songs. Chord, you can download some courts that's on line and lead sheets chord sequences for songs you already love to play. Play them without embellishment. And then as you go through the lessons, apply its embellishments to them. And remember, don't play all the embellishments as lines. Also be to my spice in the source. Okay, so just applied a few of the embellishment as ones. But of course, for practice purposes, you are free to use all the embellishments at the same time. But in real performance scenarios are always entreat you to use a few of the embellishments at a time to make your sound and some really professional. So I thank you for joining me in this lesson and in this course, and I'll see you in your first lesson. 3. The Major Scale: The major scale is something that we're all very familiar with, which most people think as door Amy faster, faster. So if, if you've heard this before, that's a major scale. And thus a fundamental block of most of the music that you hear out there, the C major scale, so this is a C. And the easiest megapascal is when you play from C all the way up to the C and you have it. So that says, it's very important that you also know the surface. So alpha notations, so these are the dormi facile Latino. And in other places, numbers are users, in that case will be 1234567. And that's 11. Ok. To things that we need to learn before we jump into the major scales. Movements. Ok, so there's something called a tone and a semitone. So a tone on the keyboard is when you move from one note to another note by jumping on OneNote, jumping over. So for a tone movement, for example, if you see and you want to move a tone to the right or upwards. If you move to the left, thus downwards. So if you want to move a tone upwards, you need to jump over, at least, you need to jump over one key. So in this case we hope over the C sharp, and there we go to D. So if I move from C to D, That's a tone movement. Okay? So let's try and find other movements. So if I move from C to D to E, have hopped over the E flat or D sharp. So this is also another tone movement's second one is a semitone. So for a semitone movement, you don't hop over any key, you move right to the next key. So if you see, you need to do a semitone movement. You move to the next key, that's a C-sharp, and that's a semitone movement. Okay? So if I keep moving and semitones is going to be like this, ok. Notice that if we use the C major scale as an example, this is the real me. Now, you see that though, to the array as a tone movement. And if you move to the mean, doesn't watch on movement. But from the many to the far, there's no key in between, so that's a semitone. So see tones and from the t moving today DO that's another semitone. So easy approach that I would advise you to take is to keep in mind two things. That when you move from a me to a far does a semitone. Okay. And when you moved from it T to a DOE, does another semitone. Apart from this, all other movements are tone movements. Okay? So we want to apply this to the F major scale, for example. So this is f. So I need to start playing from the F and go all the way to F. So that's my, okay. So if I need to move to the ray is a tone, remember everything is a tone apart from the magnitude of r and t. To do. So, I do a tone, an additonal mi. Now, as soon as I get to me, I remember what I was supposed to memorize and me to find a semitone. So for me, I need to move right to the next key nor hopping. Then. And so I do continuum items, law and a t. And remember that T two is another semitone. Very simple, right? So another approach, which is a very common approach in most of the books that you read. Once they, they use a formula for the major scale known as tone, tone, semitone. Tone, tone, tone, semitone. Okay? So if you want to play a major scale or for example, B, okay? You start on the first nodes, then you start counting tone to tons, a semitone, three tons, and then a semi-tone. So he sat on B and tone, tone, semitone. Tone, tone, tone, semitone. Ok. Just go around the keyboard. Your homework today is to take the individual keys. You start from the first key. So there are 12 keys on the keyboard. You have 1234567 whites keys, and then five black keys. So every homework we'll be doing, we'll be doing it in 12 keys. So there are 12 keys and they repeat. Ok. So try and play the major scales of all 12 keys. 4. Major Scale Fingerings: Hi. In this lesson we'll be looking at Major scale fingerings. So have you been in a situation where you know your major skills so well, but you find that quite difficult to play it smoothly. You don't know which fingers to place where. Then let's get right into it and look at my recommended major scale fingerings. Ok, so in order to get these fingerings, I've put together a few fingering rules, which as long as you follow them, you'll be fine. But of course, feel free to experiment yourself to find out what works best for you. These rules have worked for me for some time, so I recommend them every time. So the first rule for the major scales is that four major skills for the white key. So for the C Major Scale, D-major scale, a major scale, all of them except F, the formula that I use as the F35 formula. Okay, so you, we have five fingers. But then the notes in the major scale I ate. So this formula makes use of you play the first three fingers, 123, and then you cross below to the next nodes and then completes with the remaining five. So three plus five then gives you eight. Okay, so let's try it in the key of C. You're going to play a first note like that. So the key of C major scale is all these white, right? So 123, then you go below it to the four, and then you complete with your remaining five fingers. Okay? And if you are to retain, its going to be the same thing, right? So make sure you so when you are retained and you're going to go over with the fat fingers just like you, you went up. So I'm not gonna go too much into the descending scale, but then the ascending scale. So 3512345671. Ok, so practice this as many times as possible and try and get a fluid and fast. So okay, as fast as you can. And this is quite helpful because sometimes you might need to run a particular skill in plane. Certain tunes, like let's say, you're in the key of C Sharp and you need to run a skill from the C sharp major scale. As this way. And deliberation. But you may be in a situation where you need to run a scale from maybe the seven to 7.2. This kind of rising noise scale will help you go fast like so. All this is from the knowledge of how, how fast you can play a major scale descendant as well. So it's very important. I, starting out on the piano, I saw that's the major skills were so powerful because I listen to songs and realize someone's using just a simple Major scale to play amazing stuff. It might be boring, but I entreat you to really try and get into it. So let's use S35 fingering to play all the other whites key. So C, We've done C major scale. Let's do the D major scale to three and then go down for completes with the remaining five, right? Okay, let's do the E major scale. Same rule applies. 3-5, okay? I'm going to skip the f because that's an exception. So let's do the G major scale. A major scale. Okay? Same rule. The last one, a B major scale. 34 and escape. Okay, perfect. Now let us look at the Exception which is f. So for F is for four and this is because there's less rights is a 35 to play the F scale and see how it's going to look like. Okay, so you have 123. If you tried to skip up here, practically possible to go like that and then continue. So that's why I say that's an exception. So I use for four to play that too. First four fingers, 1234, go and starts again with fun, and finish with the remaining, with the festival thing as again. So in the F major scale, I don't use my pinky at all. Okay. So one more time. Okay. Now, so we're done with playing the major scale for all these white skis on these US, seven of them suddenly major skills. Fingering, conquered, right? Let's move on to the major scale for the black keys. Okay. So the rule for major skill involved in the black he, first rule is that you never, you never use. We go back a little bit here. The first rule is you never start with the thump. Okay? So whenever sat in a major scale on a black note, never start with a Pham cause then you might be stuck at some point. So that's the rule. Always start with the index finger or the middle finger, which is comfortable for you. I am mostly starts with my index match. Some use the index fingers were especially on E flat, B flat major scale. But if you start with, the index, should be fine. So you are going to start the scale with the industry and never the thumb. And let's keep that in mind and get to our second rule. Then we can use both rules to play all the major skills. Okay? Now it says when you, when you are moving from a black key, for example, a C sharp major scale is 12345671, right? So if you are moving from blacking, you're moving to a White. The second rule says that you move through the White, usually a farm, so you are going to use your thumb to descend onto the white. Then you can continue with your index finger. Okay, so the seizure medicine is going to look like this. Considering these two rules. So it's going to be 12 and then I descend with my thumb. Right? Then I continue with my index middle finger, ring finger. And then I'm descending again to a wide from a black rule says I need to come down with my phone and then to the one. Okay. So let's look at it again. 12345671. Ok, let's use the same rule to play E flat major scale. Ok? So in order to do this, you need to really know that major scale before you study the fingerings. Okay, so I'm going to start on my index finger. The second notice here, so I need to come down with the thumb. Rule number two for the black 0s. So 12345. Okay. Now, for the remaining three major scales, you know that rules already somewhere to play them slowly and death, and that's medium tempo afterwards. So F sharp major scale, medium tempo. Okay? And then a flat megapascal, slow, medium tempore. K. If I say yes, what each other scales. You study, you watch it. You pause the video, try it yourself a couple of times, then play the video again and move to the next scale. So the last major scale is that B flat major scale, slow. Okay, and here the return is going to be the same. The same fingers have to play. Saving as a way to use play the ascendant me to be the same plane descending. So you can study it yourself and figure out how to crossover and make it work. Okay, so now the last thing I'll add is that if you want to play the scale in multiple octaves, you need to. Then. So for example, that the rules for, for the C major scale, if you want to play it more than one octave, you can't end with your pinky because then you, you've been locked. You can't continue. If you do this. You are locked. You is difficult to continue, so you need to just go. And again, I start with a famine, so imager repeated. So there's going to be like this. So it's going to be like that. Similar for a key like d, y, 345. Just like that. So have some time with the major scales. Play around with it. Practice it. I tried to do try to do, practice the major skill and figure out the one for your left-hand as well. It's usually a mirror version on the left. If you look at these fingers as 12345 is a mirror fashion. So if astray five-year is going to be 53 on that side. So that's a quick tip for that. Try to do them together. Play 100 friends, played a left-hand play them together and enjoy a practice session are seeing in the next lesson. 5. Basic Applications of the Major Scale: Hi. In this lesson we'll be looking at a few basic applications of the major scale. Now, the major scale has so many applications and I believe it's one of the most fundamental and critical skills which you need to know on the piano keyboard. So knowing your major scale by hat is something that will help you in order to figure out other scales and chords and modes. You know, more complicated, complex theory going for it. So let's look at a few applications of the major scale. Right? Now. The first application of the major scale is that the major scale is used to form something called diatonic chords. And diatonic chords. Chords that are formed from the major scale. Okay, so let's take the simplest major scale, which is a C Major scale. Ok, so this is me faster, Tito. And this can also be 1234, 67 or eight. Ok? Now, so to form that on a CT of the scale, you can just pick if you want to form the one chord, all you have to do is to start on the one hand, skip one nodes each time. So you skip one notes and they skip another nodes. And then you put these three nodes together, which is a C Major chord, forms your one court. So your diatonic chord for the C major scale is going to be that. And if I shift everything up again, is going to be the two chord. So also the major scale, we're just taking three loads, a triad, skipping one knows each time and forming the diatonic causal is the two chord. That's a three chord, Okay? Does the four chord, the F-Major, does a five chord, the G-Major does a six chord, a minor seven chord. That's the B Diminished. So the C code, which is the one coin, once again. So the major scale, knowing that major skill of a particular activity can help you get all the corns. So if you're playing a chord progression and it tells you to play a six for 1-5. You know that in this key of C, If i come to the six and then I form, I build up three notes by leaving one in between each time I can get my sixth chord. And if I come to the fore and do the same thing there, I got my folk art. If I go to the one and do that, okay, I get that. Five. So I can play the whole progression like this. And x 415. So this is Amazing. Maybe see KFC's looking too simple. So let's try to get up diatonic chords for the key of F. So the F major scale is what's the most important to get down. So that's going to be 12345678 or one. Ok? So if I pick up, if I want a one chord, I go to the one and build up re notes I leave. That's and that's in-between. Pay me if I wanted the two chord. It's not going to be this careful. It's not going to be that because that note is not part of the F-major scale. So I need to play that instead, because F major scale goes like this, 12345671. So mind you that B Islam day, the F-major scale, the beads of flats, B flat, okay, so this is your one chord. And that's your two card. Skip one knows each time. This is your three chord, a minor. And then the four chord we need to go and be L1, skip one, play, one, skip one and play. And that will go to the five and the six. And now the seven. Okay, play one, skip, skip one and play and skip one and play that does an E diminish and back to the one. So that's one very nice and important use of the major scale farming that anechoic. So with this knowledge, you can phone diatonic goes across the entire 12 keys. Okay, let's look at another application of major chord. Now. Major chord can be used to create melodic feels when you're improvising Novaya chord progression. Okay, so we'll try that very soon. What this means is that if you're playing that chord progression in the key of C, for example. Very common core progression. While C, G, a minor, and F. Okay? Now, I'm going to use my left hand to play, which is my left hand to play the courts like that. Just like that. And then when I played the major skill over this chord progression to still work like, like, okay, I didn't improvise all Laozi was going and that's all I'm doing. I'm just going on this scale. But if I want to create a melodic line, I can just go. And so I've just improvising. Now the pro tip there is that what I'm doing is I'm just improvise and I hadn't really, I can't remember what I'm playing right. But all I'm doing is making sure that each time I hit a note and I'll hits a very friendly notes when I'm hits in the courts, for example, if Go from its C, G, a minor, and F. So I'll try and make sure that if I here on this, see, I'm playing the notes which is either the, the one that three of the five CTO f, right? And in between, I can do some things and then I'm going to the G. So this has, well, I've hit a note switches in the G major chord, right? And then I go, I'm just played some nice melodic lines and hits him. It's a friendly CTO or the core tone is like one notes and notes which is within the court. And it could be a third, the fifth. I usually don't like to hit the one. So if I'm playing the slot so nice in my opinion, so I usually hit the three. Okay, that's all I'm doing using nothing else box the major scale to improvise on there. So you can try to experiment with this and use the prototype to help you as you go along. So I'll just do a quick one with this chord progression as well. So this is a, G, d, c, and this is in the key of G. So G, D, E minor at f. Okay, so I can use the Megapascals improviser. So I'm not, I'm not thinking much. All I'm doing is using the major scale now I know the major CLS 12345671. So I'm avoiding that F because it's not part of the mega scale, right? So, so let's try and modes. So okay, so all I'm doing, improvising. If you are able to transcribe this and play exactly what I play, that's awesome. But the key of this lesson is not to play exactly what I played. To understand that you can use the majuscule to create melodic lines when you are playing some of these simple chord progressions. So explore more with a major scales and do more with it. And try and find out other ways of using the major scale to sound amazing. Thank you for joining me in this lesson, and I'll see you in the next one. 6. Flipping from the 2nd to the 3rd: Hi. In this lesson we'll be looking at a very powerful, yet simple embellishments known as grace notes. Now, let me demonstrate how this sounds like and then we'll get right into it. So this is how it sounds like when you play it. You are going to transform a simple chord progression like a C, G, a minor Sala atlas. Okay, so you realize that I'm uses some greatest knows damn flip it from the second to the third. So let's see how we can easily construct this type of voices. Embellishments. Ok, so the simple way to look at this as well, played a major or minor chord. So this works for major and minor chord. So as you know, lots of songs out there, most likely you find a major atleast, a major, minor point in every song that you play. So well play in it. You can't do a quick flip from the second to the third. So say let's take a C major chord. Now this is the C major chord 135, right? And thus the true. Okay, so what I'm doing is I'm doing a grace note, a flip on, flip it from the second to the third like that. Now, this looks quite simple. That's when you start, if you are not very used to which you might find it's a little challenging at the beginning, but let's take a slope and we'll get it done. So like that. Okay. A quick tip is that you can see this as a cis to code to the major. So a SaaS two chord is basically a major chord, but without the three. There's a two instead. So a SAS to chord is a 125, so that's a C SAS to F sub 2125, right. And then you have a Jesus to 125, okay? Yes. So if you want to do this onto a C major chord, you do a SubTwo code. And then you replace your second to the third. So like that. If I play it slowly, right? Okay. So if I play fast sensor like this, ok? So you have from the substitute, the major from the stones, that major. Of course, if it's a minor chord, like I see my aswell, you could do assess 2x to the third, in this case the to get a minor third, so like that. So my fast. Okay, very good. So let's, let's try and apply this to. A few chord progressions. Okay, let's take a very simple and popular chord progression, the CG, a minor, and F. So first got C, G, g, and F. Okay? If you're not used to this chord progression, just take your time. This is a C chord. I recommend you use the fingers. I'm using the one, the four, and your left hand and then the 135 in your right hand. And then you go down to us saying, it looks the same but in a different position. My very easy, all by it as well. So all the cards we are using, our light air. And then now let's apply the grace notes for our major chords. So we'll do it on a, C, and the G. Leave it alone. And then the f. And one more time. Sounds much better. Imaginary. Say I didn't know and that mine aswell. So pause the video, try to trial hands on this embellishment. Now, the fact that you can use this on any major minor chord makes it so powerful. You are not restricted to use it. It's within a specific context because as long as you have a major chord is sort of play your regular media chord. You're doing just a slight embellished and before the media court comes in. So what does this quite powerful? Let's look at another chord progression. And D, a, E minor, and G, K. So the D Major chord, that's a D major chord. Okay? Replay all this in the roots position. Okay? So this is a D major chord. Then we go down to are a major chord. Okay? And then we go to E, E minor chord. Okay? And then to the G. Okay, now let's apply our grace notes for facile due for just the Major chord. So for a, d, a, and G, and then later we'll do it for the minor as well. So let's start. That's your first coin. Then. To the a minor, to G major. So I can choose to keep some of the chords without the grace notes. You don't have to do it all the time. Okay, so lambda to do it on the E minor as well. There you go. I recommend you pause the video and try to play this chord progression. And you can as well take some chord progressions of songs that you already know how to play and try to do this. Grace notes on your major courts, at least even a minor course as well. So let's try one last chord progression. This E, B, F sharp and a flat minor. Ok, so your first chord is an E major. And then we go to the B major, ok. And then the F-sharp, F, F major, and then a flat minor. Ok, so e, b, and then F sharp, and then a flat minor. Okay, so let's, let's try to do the grace law. So okay. E, B. And then a friend might say sounds much better than, let's slow it down a bit. 2341234. And now play along with me, let's add a grace notes. Okay, and then we do it on the F sharp as well. And then we leave a flat minor. Ok? So try this. Try to play this in every, with every major chord that's you. You know, you come across pickup some songs, play, play the songs now regularly with the same way you used to play before. Then desk morale, try the grace notes onto the effect. Take your time and gets it right. Cis to the major, slow the video down if possible, and do it until you get it perfectly. And I believe you'll enjoy adult this embellishment to your chords. I'll see you in the next lesson. 7. Semitone Grace Note to the 3rd: Hi. Let's look at another kind of embellishments without grace notes. Now this a semitone grace note to the third. With this, all you do is instead of flipping from the second to the third, you're going to flip from the flood S3. So for a C major chord, you're going to flip. Right? That's used quite a lot in blues music, stuff like that. So we just going to use it in a simple, simple form like this. So for the gi. Now Bay mind might be just a little bit tougher for some keys, like if want to do it for a, you may have to do that. You will be able to do like plate-like slipping from the fluff richness to the third, like that. So a wax much nicer for CGF. Yeah, maybe for some of these black keys, you may have to go in there and then use a similar approach like flipping from the second to the third meters. That is going to be for flux S3 to S3. Okay? So let's apply the, so when you are playing with other C chord, you're going to pretend, starts on them, flat three, and then pretend like your fingers slipped onto the third. Like that. Ok. Perfect. So now let's see. Let's try to use this in on a few chord progressions. Yeah, and fast chord progression, F, C, D minor, and B flat. So fast chord, F major, down to a C major, D minor, B flat major. Okay, so now let's apply this on the major chords. So D minor and a B flat major. You don't have to play it every time. But for the purpose of practice, it's okay to play that all the major chords, but if you played it in context, you might want to do it. Maybe just on one or two of the courts like. Okay. And then the D minor B-flat made perfect pause the video and try and play this chord progression with these embellishments. Okay, so the next chord progression is a GI, D, a minor, and C. So G to a D major and a minor to C major. Okay, so let's, let's try and use these semitone grace notes at a third, right? So G to a, d. So at a minor to C. Okay. Back to an a minor to the see. The nice embellishment. My look very simple. But when you apply it, you know, sometimes NeoChord progression as a little spice to your cooperation. Let's take a look at one last chord progression. And this is this F, C, G, and a minor. Okay, so fast chord, F, C to the g and the a minor. So let's use the G. Of course you can add the SAS to kinda flip as well. So then semitone flip and then you, another SAS to pause the video, try to play this chord progressions like this at the embellishment. Find your own songs as well. I can't stress this enough. The best way to be able to really get used to this is to apply them to songs you're ready not to blame. So if you don't have a lot of songs, you can use these chord progressions to practice or look for some court chats on line. And wherever you see major chords, try and add this little twists to the major chords. Keep practicing, and I'll see you in the next lesson. 8. Semitone grace note to the 3rd then 5 or 1: Hi, let's add another notes onto our grace notes onto the third. Now flow while using this kind of embellishment flippant from a flat three to the third. You can add a five or a one into the same embellishments. Let me demonstrate this. So playing the C major chord you could play. Okay, so, so you're not going to land the five, you're going to delete a five a bit. So there's good satellite. So slowly. Okay, let's do that for G. Sounds blue, light, a bit bluesy, doesn't say. So. So for a simple chord progression like C, G, a minor, and F. So you can go and you can also do, instead of using the five, you can use the one case like that. So in this case, your plane, that other nose first before the one when you're using the five-year plan it this way. Okay. But this time we are doing this way. And the G, And let's try to f. Okay, so same chord progression. Let's try the one that grace notes onto the third and then the one so like this. So 1234. Then let's mix it up. Let's use the five, sometimes, one, sometimes. Okay, so let's try that. Okay. Now you, you can play that one also above up here. So when this is going to be a bit of use in open court. So instead of plane, your, yes, your major chords. As simple as this, you are going to use your first three fingers to play the major chord and add the octave on top, okay, like that. So when you flip here, k, So okay, let's speed it up a bit. Okay, so let's try it. Let's use this for the Corporation. For, for, for, for. So you gotta go mix it up. And then k, Simple as that simple embellishment, but makes a big difference. Let's try it on two more chord progressions. G, D, a, E minor, and see K, So G, D, and C. Okay, so let's try our embellishment and says, you know, a few other embellishments are ready. You can always go back and pick the other embellishments and bringing them in. You don't have to play the same embellishment throughout the whole progression. So pick other embellishments and use them and use this, probably adjust a single chord, use the other ones are the other courts and sound way, way better. Okay, let's try one last chord progression. The F, C, G, and a minor, so one. Okay, and then to the C 34 today. Okay. So now let's use this 4434. Just like that. Very simple and nice. Try this on a couple of chord progressions you already know, I'll use this chord progressions to practice and apply them to songs you love. And very soon you will come easily to you and you be able to use it anywhere in any situation that you find yourself. Thank you for joining me in this lesson. I'll see you in the next one. 9. Reversed Chords: Hi. In this lesson we'll be looking at reversed course. Now, reverse codes are quite simple, but they add a lot more texture and quality to the courts that you play. So basically, reverse courts are just the same core display, but instead of London on the court regularly, you make your fingers feel like it's reversed in the court. And I like to think of this as using as a tool that's guitarist use quite a lot. If you look at that, that guitar and you strum it upwards instead of down. If you go upwards, it sounds like a reversed chord, okay? It is a reverse code. Now, this works best for courts that has more than three notes. For example, an easy one would be a major chord with a added to some major seventh chords, ninth courts, etc.. But in this lesson we'll be using a simple one, like the major attitude to demonstrate K. So for a major addtwo chord, instead of playing like this, you're going to play like this. Okay? So you are reversed and the coordinates are like this. The sunlight that okay, let me slow down. Okay. Let's try for a G major chord. Major are to, okay? I see for trial for a regular Major chord without a second. It works as well. But sounds much nicer with chords if you add the two to the k. So if you meet the major R2 courts generally can be used to really make the sound of major chords and large regions. So if you have a chord progression that assesses C major, F major, you can try to use a major to most of the time it makes it sound a lot heavier. Ok, so you can still take your regular major chords are there to and they use a reverse. Now, let's apply it to some of the popular CTO basis would be using, okay? So the C, G, a minor, F. What I've done is made the C and the F major to set. I'm going to use a reverse courts there, right? So if I was play let's regularly is going to be like this. The g. Now let's use a reverse courts. One more time. Reversed course. And another reversed course. And a light to end chord progressions or n songs a lot with the Ravens score. So if your ended that song, the performance, you can just end like it gives a very nice, you know, coda and into the song. Let's try. Let's try one last. The chord progression. So this is F, C, G, and a minor. Ok, so I've just made the F and G major Add to Cart. So f without the reverse God is going to satellite that F-major at two. Alright? So the C and the G major and a minor. So let's use a reverse courts. Sounds much better. Major at two. One last time. There's a play along with me. And then the a minor reckonings. So take your time, find some chord progressions. Try and use this reverse-scored and added to some of the embellishments you already know. And experiments with a sound guy used to have sounds like, thank you for joining me in this lesson. I'll see you in the next one. 10. Borrowing the “1” of the preceding chord : Hi. Now let's take a look at another simple way of embellish and your chord progressions. Now this is done by borrowing one from the preceding chord. What do I mean by this? So let's say you are moving from a G to a C. Okay? All you're doing is before you hit the next chord, which this pharmacy to a G. Okay? So before you move to the g, or you're going to do is hit the, the one of the c, which is the preceding chord. So you play a, G, C. Then, as simple as that, all you're doing is you play the chord, the first chord. And then before you move to the next chord, he hits the one, which most of the time your thumb, your thumb will be plane, right? So like that. Okay, so let, let's, let's take a deeper look into it. So you do this usually on the last counts, okay, so the last count will be the force, for example, if your plane from C to G, 1234. So the count for the hits, That's what you're borrowing. So if if it's a 34 count, 12312312121, like that. If it's a 68123456. So you hit the the the borough on their last count, which is the six. So 123456123456. Exactly like that. Okay, so let's, let's, let's try it on a few core progressions. Yeah, so the first chord progression that G, D, and C. Okay, so now of course I'm going to use this quite a lot. So even though that's not what we are discussing now, try me practice and it quite often. So fast card, a, G to a, D, E, and C. Chord progression. Pause the video and get used to it, then we can apply our embellishment. So now, just like that. Sounds good already. Now, you don't have to do it all the time. So now let's decide to do it's just twice in the whole core progression. Okay, so let's try that. So that works. Let's take the next chord progression, a, e, and d. Ok, so a major. And let's take it here. A, E, B minor, and the d B minor and the d a. So let's apply the borrowing of the one on all the cards. Then after that we'll pick just too. So okay. If I just move all over the place, even if you are playing this song with inversions. Ok, so if you have plane, for example, this inversion of the acorn, and then if you don't know what inversions, that's fine. But if you know this still works because you can just assume that it's not just no longer going to be a one a third, but since it's the lowest notes, right on CT scan hits that to move as well. So let's try that. Sulla embellishment at the end of the day, the most important thing is that you are burrow. And so if you're playing in roots positions, that's going to be a one for sure. If it's encoded in versions, you can still borrow the nodes here or any other nodes, as we'll see in adolescence. Okay? So the last one, last chord progression is e, B, C-sharp minor, and an a. So this is your E major chord, right? So that B, C-sharp minor a. Okay, so let's play and borrow just a while. While. While. That's like that. Okay. Perfect. Try this with songs you already know how to play. Try it with this chord progression and create your own chord progressions. And when you are moving through the chord progressions, just borrow the one of the preceding chord. Half fantasy. Try this, and I'll see you in the next lesson. 11. Borrowing the “5” of the preceding chord: So now let's look at another way of borrowing and notes from the preceding chord to embellish your sound. And we are going to borrow the five This time around. Okay, so if you're playing a simple chord progression, so let's say you're moving from simple C, or let's say a move on a minus one f, Okay, so a minor to the F. So in this A-Minor chord, that's you're fired. Okay. So let's do the move. Okay. Did you hear that? So borough five. Okay. So let's say I move from a c to a g, rather five. Okay, so we'll look at a few corporations we can use this for. This is very similar to burrow in the one. Instead of boy Nuan, you burrow, justify. And of course you played on last count. So if it's a for four counts from an a minus one, F major, 12341234, C two. But today g. Okay, very, very simple vessels. Beautiful. Alright. So let's apply the first chord progression, g d minus c, k. So g, d, E minor. And see, okay, now let's borrow the five. Now we are going to overdo it by planets, all of them. But if you are playing it in a musical context, you can choose to do it at one or two, and that's perfectly okay. So let's try that. So were either five or the five? For the five, again. Okay. And as always, if you see what I did there and then moving from the sea. But that, gee, I've, I bought the one. So let's have fun when there's less play this chord progression again. Let's start around. We're going to borrow the five sometimes and the one sometimes and mix it up together so and fast. Okay. Let's further one. There's where the five brother one. Another one. By rho the five were the wildfire. And BARDA. One. Sounds amazing. So. You choose where you want to borrow. And by doing this, if you had to play the same song over and over again, is not going to sound the same because you are doing this randomly calculated where it's borough one and verify you choose. On the fly burrow and verifies and as you go, you improvise with it. Okay, let's try another chord progression, AGB minor and d. So a and E, B minor and D. Okay, so let's have a go with this to borrow justify throughout. And then we can come and mix up burrow in the one and the five. Okay, so rather five. Vegas, try this on your own. Pause the video and try it on your own. And now let's do it at random. We borrow the one and the five. I'm not going to think about it. I'm just going to do whatever comes to my fingers, right. So I borrowed a one-day, wrote a five. And boy the one here. Okay. Abroad are one then played anyway. And then I played a reverse coding to end, right? Excellent. Let's try one last chord progression. Eb, C sharp minor, and a k, So E. Now using very simple chord progression, so you can, and you can relate to it and easily use it. More complicated chord progression. So this is the basic form of this god or gods. I'm using very simple 15, 6-4 chord progression, which is very easy for the ES to get used to. But you can use them in your songs as long as the soul has chords, you'll be able to use this borrowing to move in-between the court. Yep. So let's look at this e borough. Define the word rather 5-years well, and avoid a fight. So now you can play it again. Choose yourself, do it on your own, try and mix it up. Burleigh wiring, bro, the five Do do. You can do some grace notes, makes up your code, embellishments and experimental data and hear how that sounds. And I thank you for joining me in this lesson, and I'll see you in the next one. 12. Borrowing the “1-5” of the preceding chord: Hi. In this lesson we'll be looking at another way to borrow nodes for the preceeded chord to embellish a sound. Now, here we're going to borrow the one and the five of the preceding colon. So just like borrowing the one or the file, we can play both of them before we move to the next chord. Let's demonstrate this. So let's say we are moving from a C, two at GAG, okay, so C major to achieve. So we can do c then. So see what I did there. I just play the Wineland and A5, B5 move to the next chord. And then let's say if I'm moving from an a minor to an F, So I can play an a minor than I planned a minor and play that preceded 15. So a minor. Okay. If you're not using the sustain pedal, it's nice to use the sustain pedal. So if you don't have the sustain pedal gets one. And figure out how to use the sustain pedal. You playing a chord and you step on the sustain pedal to hold a chord. Now, you play the next one. Then you quickly take your leg off and step again. So you play step, step, step. Okay, so cuda mix sound much better. So let's look at the approach here is just to play the 15 of the preceding chord. And then now not to confuse you too much, but with, let's say a 44 time signature, you have 1234. And if you break it down into eighth notes is going to sound 1234. And so you're going to play the 15 on the fore end. Ok, so 1234234. Just like that. So if you speed it up 1234 and it gets to three. And you can do like setup, give some kind of groove to it as well. So let's try it on a few chord progressions and then you can relate properly. So top law chord progression, C, G, a minor, and F of 15 on the preceding chord. So see, boy, the 15 to two. To me. That's like that. One more time. Slowing down. So I'm taking my leg off the pedals that you can see. You can see that notes light up there. So okay. Then Sounds good. And you see that when I use most of them want to move into the next color, like to flip it because it sounds much better downwards. You can do your regular courts. But when you have a chance, why not use a grace note? And let's take a look at another chord progression. Agb minor D, same chord progressions we are using. Now in this diagram, we are burning the one and the five, So a to E, B, and D. So let's use this burrow on five. Very nice and easy. And best triumph. Last chord progression, AB, C sharp minor, a. So ie, C sharp minor and a. Okay, so let's borrow the one and the five of the preceding chord. So E. Excellent. Try this over and over again and get used to it. And try it on songs that you already know how to play. Thank you for joining me in this lesson, and I'll see you in the next one. 13. Borrowing the “1-2-5” of the preceding chord: Hi. Now let's look at another way of borrowing. Nodes for the preceeded core die. In this one, we're going to borrow the 125 of the preceding chord. So let's hear how that sounds. So in a simple chord progression like an a, C, G, a minor, F, This is going to sound like this. So that's a little bit of higher difficulty than what you've played before. So the preceding chord, yo, you're going to do is to play the 125 of the preceding chord, C major chord. The one to say that's a major chord, but the ones who end file. So it's more like a plane as two of the previous chord before you play them next. So sometimes if you have the cards in the versions as well, but we'll get to this. Ok, so if you have your plane coordinate integrations, you can plainly see G minor and F. You can still play. Then do. The leaks are so many ways you go global as a buffer. For the purpose of this lesson, we'll look at a root position. So let's just move straight away. I try them on some chord progressions to better understand this simple chord progression, CGA minor F. So from the C chord, moving to the GI, the 125 of C, and then you move to the g. So 12341234234234. Okay. So if I have the ticket various loads to be able to have a femme. So let's before you move on. So 234123423. Both hands together. 234. Okay, now let's move to the next chord progression, a, b by d k. So a B minor, D. Let's use a preceded one-to-five, so B minor. Use those Graceland sounds better. The minor blend everything in root position. Makes it easy. I still sounds amazing. Now, let's try the last one, E, B, C-sharp minor and a k. So E, V, C sharp minor and a. Okay, let's borrow from the proceed. Boy, that preceded one-to-five. Might take a while to get used to it. Mosaic. Excellent. Try this and don't do it all the time. Sometimes you can borrow the one, sometimes you convert justified. And of course sometimes you numbered 125. So mics and all you embellishments together is what makes it beautiful. Try not to play the same embellishment for all the chords in this practice. For your practice time, you decide to choose one embellishment and played everywhere. Yes, to get a hold of it. But after you do this in real life situation, you want to choose, pick out some of the embellishments and use them randomly to give you a virus itself. Okay, so thank you for joining me in this lesson, and I'll see you in the next one. 14. 1-2-3 Fill: Hi. In this lesson we'll be looking at another type of embellishment of film, which I call targets. And the third, now, with this, we are going to target the third of every code that you play. So it doesn't matter whether the chord is major or minor chord. Oh, you have to do is to play some kind of melody than lands you on the third. So let's see, for example, you have C. Now, for this lesson, we are going to use one way of targeting the third, which is going from the 1-2-3. So see the third as the targets. And when the stack is, you can go from the bottom to meet the targets or you can come from above to be the target. In this lesson, we'll look at targets and form the one. So play 123, okay, so for the C major chord, then you play target a third of a C Major chord. So let's say, let me just use one finger to play. Let's am plane C, G, a minor, and F, Okay, so C, G, a minor and F k. So let us just use one hand to target a third. So like that. 34. I played just before the court counselor. Okay. All right. Good. So if you want to use a whole card, you can play. I just play 12, and then you play the whole corn. So let's try that. Ok. Try this on your own and then continue the video. Now, it sounds much better if you play a grace notes onto under third, say goes like, like with that's a accents the third, so we can hear it's much better. Instead of ln, the sounds. It makes the third come out and lots more. So let's try and that's on the same chord progression. Okay, good. So this does a chord progression we played around a CGA minus s. You can just target a third of every single chord. So it doesn't matter what coordinates elicits an F-Major chord. You can target it said like this. Ok, 1-2-3. Maybe a C sharp major, say two to a B flat minor. Okay? Just like that, let's say you have a G minor. Just target the third. All your concentrated on as a third and how to get there, okay? Yep, so let's try the second chord progression, a ii, VI minor and D AB minus d, So a, b, d. So let's target a third using the 123 approach. So 2342342342 sounds really good. Doesn't day for 234234234234. Okay, excellent. Let's try the last chord progressions. And this is a flat major, E flat major, F minor, and a C-sharp major. So a flat major to an E flat major, F minor, and C-sharp major. Okay, so let's target the third for every chord, a flat, E flat. That's a third, some targets and authentic. Using the flip event, then the F-minor. Without the flip, you can simulate this as fine. Okay. Now it sounded a bit maybe barring because you're playing it every time, but you can choose to just play it one time or a trial. So that replaced an F minor diminish. Oh, yeah. That's it's I just played it just once and it's changed the whole feeling of the chord progression. Alright, so try this, try this on your own. Try and play it on. Find some chord progressions, songs you already know how to play and apply this on a few of the courts in day and experiments with it and know how it feels like. All right, so thank you for joining me in this lesson. I'll see you in the next one. 15. 5-4-3 Fill : Hi, in this lesson we're looking at another way to targets the third, and this will be used in the 543 approach. Now, targeted at Theravada 1-2-3 approach. We went this way to 123. So on a C major chord, it goes like that. By the five, water is gonna go. So you're going to use your pinky, your ring finger for the 5'4 and then you flip onto the major current. So if you're doing it for G is going to be a miner is going to be. I usually don't do this on an a minor chord. An a minor chord, I like to use the align tool. Three sounds much better, okay, and then the F for the F-Major. Okay. So we'll look at how to approach this. And it's exactly what describe. And then we'll look at a few chord progressions. Okay, so you're approached, I said in the reverse direction from the fire. So if it's, if it's F, F, F major is going to be 5432, you need to be careful with the four. So if you play it back at the sun a bit off, the floor has to be the four out of the major scale. So you have 12345 for the F sharp. So it has to be just like C, 1-2-3-4-5, who's going to be 543. Right. And yeah, so let's another quick alternative is to do an 4-5. Okay, so that sounds like this. Let's try and FIFO three-fifths. So with a simple chord progression, like CGA minor, F, a 543234. Okay? So make sure over here you have, if you were to look at f itself, the 543 ODA. But use the 543 according to the notes within the scale of the k0 plane. So your plate, we are playing in the key of C Now. So and it's picked up notes because this is not within the scale. Okay. So yeah, if you were to use the sounds like that. So it's like a 55. By far, sorry, for 5.3 K. So K fistula if garlic, I just use one, these two fingers to play that. And most of these say these embellishments, if you're not used to them, they myself, they may feel a bit challenging, but just slow it down and take it by bits so they can do that. Then I flip onto that. Ok. So I'll do the 123. Honest. Then. Sounds nice, doesn't lead. Now let's try the next chord progression, and ABB minor and D. So let's try the normal 54323, B minor. So 543, D minor. If I were to play regular FIFO through water sunlight like this. Because it's a D major chord and it's right. But so this much begin the skill, the key of a. Ok, so that's just a little detail you need to pay attention to. As on this corn, which is called a four-part in, you need to be careful. So play the notes in the notes is fallen outside scale. I could, you could play this in a context of blues or gospel. But dependent on your genre, you might want to be careful about that particular one. Okay? So, yeah, let's look at the last progression. E-flat, B flat, C minor, and a flat, okay, so E-flat major, then to have B-flat Major, K, c minor, and the a flat major. Okay, so let's try it three times. Now. Let's now says, you know, the 123 fill and then the five-fourths refill. You can then mix them up together, K. So sometimes I am going to use a 1-2-3. Sometimes I use a 5.1.3. So 123 cipher three. There was another 123. That's a 5'4 three I saw it's better if we made them together. Added to that. Excellent. Try this on your own. Try to figure out how to play this. Fail or white for most songs. So pick up your songs, play them, don't overdo them. Only of a play them when you're practicing. But in real performance, be careful how much you add too much salt, so spicy yourself can spice it up too much. Meiosis. Tastes, bits. Sorry, for other people's ES. So yes, no way to play them. Play them just a few times, not all the time. And your music sounded amazing as you want it to be. Thank you for joining me this lesson. See you the next one. 16. Preceding 3-2-1 Fill: Hi, in this lesson we'll be looking at another fill embellishments. And that's called a preceded three-to-one Hill. Let's have a feel of how the sounds like. So with a simple C, G, a minor from F, That's my satellite data. Okay, very good. So let's try and figure out how to implement this type of embellishment and two carts. Ok, so all you have to do is play three-to-one of the preceding chord. So if you're moving from, say, from a c to a g, or you are doing. So 123. So that if we emulated 44, time is 01234. He started that fell on the four accounts for ok. So the play the first card and an account for you play 31, and then you move to the next chord. So that's why the 3-to-1 field. So 321. And the next score. Even if you played accordingly version like this. Younger. You can play this, fill in another octave and continuously new inventions that works either ways. This is nice. I want you played in the root position, right? Okay, so, and so play the first coin. Now it sounds much nicer when you use, you flip onto the third user. That thrill for both coins sounds like much nicer, but if you don't play, that still works. So like that. Mosaic. So like that some stuff still platelets in a 68 times, less slated for full-time in four examples. Okay, so the first one, CGA minus f, so 12334, that are repeated here. So like that. Quickly replacement train to one. And then next coin, so 1234. So you played a three to one is touched on the count four, so 123. 123. And do it anyway, say 23. The count is very important so you know where to place it. Last triumphalist, again, Corporation and the last chord progression have placed that in italics because you are going to try that on your own. Okay. So before I plates with you, so let's try that a, two and E. So I'd be mine. So let's try that. 123. Okay, that sounds good. So the next wild E flat, F, G minor, E-flat. Pause the video and try and complete this challenge. Play this chord progression and then applier, three-to-one feel to this chord progression. And when you're done, play the video and let's do it together. Alright, so B flat chord, that's B flat major chord. The F, G minor, E-flat. And everything roots physician to make it simpler. So let's apply the 3-to-1 preceded films. So so 123234. I'll do it again here. Okay. Okay, I'm not doing it every time. That's like that. Excellent. So try and executes this just like I've done. Or you can add your own embellishments. You can use other embellishments as well and mix them up with this three-to-one fail. And why should I then head on to the next lesson? And I'll see you there. 17. Fast 3-2-1 Trill: Hi, let's have a look at another embellishments. And this is a fast three-to-one feel. Now, that is how this fill looks like. So instead of a regular 32 and our b, you're using the flat three as grace loads on to the third and the flat three as a grace note. Second again, one. Okay. So like that's okay, that's much nicer. And c, f, g, of course you can try it in the other, we can try it and the other places, but that also has a different way of playing it. So just for the sake of simplicity, let's try them, c, f, and g. So let's try it on g and f. And then C again. Okay, so, so you're going to play a grace note onto the third like this. And then okay. So and now f, if you are familiar with the number system, 1564 and so on. And then this, this should be added Justin white. Now you get a very, very interesting sound when you play this, this flip or this embellishments on the one which is the C, in this case, in the key of C. C is the 1234567, and that's the one again. So while playing the four chord, you can easily play this embellishments on the one over the four. Okay, so let's try it within the context of the chord progression and that will understand this much better. Okay, so C, G, a minor, and F. So let's do the embellishments on the sea. So 123434. And then the f, Okay, that's a C. Let's go back to G. So the f, and let's say that's on the sea, but over the F, it creates major seven sound, right? But for the purposes of this lesson, we'll keep it simple. Cga Vida f. All you are doing this and doing this kind of race needs. Now in other keys like let's say E-flat, C, but B flat. You might have to. So let's try it for maybe C-Sharp. So you're going to have to use figure out the fingering that would help you execute this. The middle finger to the third. And then the goal is to play plus three to the third Lagrangian and two and then the one. So if you try it on F sharp, so i using the middle finger here again. So I'm playing a chord progression. So it's a lot, it can be as much easy on the C, g, and f, But it's not impossible on the keys. You just have to figure out a nice fingering that works for you. And you use this while play, okay, so experiments with this film. And pause the video and go back if you want to see how I'm playing this in slow motion like that. Okay, and then use it. Not too much. In the context. If you have played this progression, you could just starts. Use your eye then yeah, then something like that. Okay, we're going to expand more on this, kind of fill in other lessons. So thank you for joining me in this lesson and I'll see you in the next one. 18. Fast 1-2-3-2-1 Trill: Hi. Now let's take our first three-to-one fill just a little step further. Now going to add two nodes to the three to 1 fifth. So the fast rates one field was like this. For example, under C are okay. But if we add a one to two, which is going to be Y two. Ok? So 12344. Good on the F, again, just 1-2-3. That I've made a simple as that. Okay. And this is just to give you a variety so that when you're playing your chord progressions, you're not always doing the same field over and over again. You can just add a little minor addition to make it sound different. Okay, so one to 3-to-1 not there's an alternative to this. You can also reverse it sort of doing a 12321. You could do a sounds good as well. So if we play that or whether what over the CGA Mila F progression is going to be okay. Okay. And the POS become mix it up, do regulatory two unfilled then it might either we can't do though to one. So feel free to mix it up. The newer 1232121321. And it's completely up to your, the musician so you decide what to play at what time. And also when you hear a song, you easily figure out what the original composer did there. Okay, so let's try to now simple chord progression. Now place their number system below to help you know, if you're into number systems and to use the number system to play in several other keys. I'm only using C, G, a, and F as an example that you take. It's too like adequacy is if you know the number system. Okay, so let's, let's try it. So that's the one to two. So if you want to play, the whole court began go OK. And on the GI. Okay. You Linda minor chords and do it another. And let's do the reverse. 2y. Okay? So let's play the entire min. Excellent. So take your time. Take this simple addition and add it to your repertoire. Played over chord progressions, you can try it in other keys or pick up any core chats which has major courts in there, and try this embellishments on it and let me know how that goes. Thank you for joining me in this lesson, and I'll see you in the next one. 19. Fast 4-5-3-2-1 Trill: Now let's look at another edition or alteration of them. Three-to-one fast rate to one CEO. So the first three to one field is on the C. Okay. Now, what this Fairbanks, I have the 45, so five. Okay. So if I just gets his environment very Vitis here to have a varied sound. So all we are doing is let say C, G, a minor, F. Okay? And yet let me use another court for gosh, let me use F to a, C, D minor, and B flats. Okay? So I'm going to play for five. Now me, the key of F, k, leave the man alone. Then the B flat. Like that. Of course, you don't have to play it every single time. So if you had to play this just once or twice, it will sound like this. Then Plato. Just minimize how, how much you play them at. Use embellishments and drop the scene once or twice came. So an alternative of this as well, instead of plane. But instead of play for five, you can reverse it and do four by four by four k. So if you do that on G, Okay? So let's try both of them on a simple chord progression. And first, let's play the FIFA 3-to-1, not all of them. And then we'll come back and play them. So we play the 45 and all of them for phi three to one, and that become back and play the 54321. And then now we'll mix them up K. So play notes that are within the scale, unless the 546. Now let's mix them up. So what I did then, I that, I did that twice that. Use the same field and you play from the four to the one k. So like you can add your songs likeness, beautiful. So P of D flats are being a bit more sophisticated them, but in the KFC. Okay, so one more time. A play along with me. So many ways you can play around this. So many options too. You can play it either melodies and use the three to ones in there. I'm just taking you through this one after the other so that you have a lot to choose from. And when you're playing your own songs, you use which ones you want to use x, what's the point in time? So thank you for joining me in this lesson. I see in the next one. 20. Right Hand Pedalling on the 5: Hi. In this lesson we'll be talking about right-hand peddling on the fifth. So this is a way to embellish a sound. And the way it's going to sound is that you're going to always hear the sound of the fifth throughout the entire chord progression. So this works for most chord progressions. And now the goal of this one is to try and really gets the five on top of your court's, okay. If, if you know seventh course, it's easy to get this bad. And the beginner level you and easy ways to play the SAS to court over all the ala carte. So let's say we have a chord progression like plus uz and G to a, D, OK, to an E minor and F major. Okay? Now, let's use this kind of left. Left. We're going to use in Atlanta allergies or 1-5-1, Pat's k. So then when D, So the wine and the five, and the one, and the E minor, and then C major. Okay? So now if I played a cis to the one chord which is the G, I can play this over all the, the entire chord progressions are like that. You can change this fonts and I like Susto of the one chain. You can see that the SIS two on the right is working on this G again and then S2 on the right. Okay. So if you look at the courts foreman below my image, you see that above all the other chords that are a bit sophisticated gene may just seven such two. We have an e minus 711 and then C6 NIH. Now don't bodies of two modalities goes unless you know them already. But By playing the SIS two of the one court over the entire chord progression. Even if I throw in another part called a mine, I could go G to D, to a, a minor, F at z. And if I use the Patton, I'm just using it as doing the five to one to 55 to one. I'm just doing a similar thing over other courts, right? So that if you can't play this path and you can just play the chords. So they then Tycho. Okay, let's try it over C chord progression. Famous CGA by an R F. Okay, so what are we going to do in this case? We are going to use a SAS to, of the C chord in our right hand. And then we'll play C, G, a minor, and F, k. So at the five. So we can add more modulating. The same. They're just explore this pet along there and the fifth. Okay, another well doing it is also, you can just take the c. And if you are going to the G, you choose an inversion that still has the fifth on top. And when you play the a minor, you play them, I end up I still keep the fifth on top. A display the F-Major. Replay the F major, but you still keep the fifth on top. Kay, so, so that's another way of doing it, but I prefer to accent on the fifth with that little melody idea there. Pause the video, go back a bit. If you have to try and catch this, let us feel that we add to the sound. So while you are playing a chord progression and a guest to unintelligible, you can easily start to play around with this sort of embellishment. Thank you for joining me and I'll see you in the next lesson. 21. 7-1-5 Fill: Hi. Now in this lesson we'll be looking at another embellishment. And this is a very easy one. It's, I call it a seven 1-5. Feel. Ok. Let's hear how this sounds like in the key of C Sharp doesn't sound like this. Now, how do we come about this? Feel? Okay, let's, let's look at how to construct this. Now. It works, I'm saying it works although the one, the five, the six, and the four, because let's say we had a key K. So if using the number system called the Major Scale of CS101, 2345678 are one. So it works best. Try and avoid it for it may work there as well. So it's working on almost every single chord in the key K. So this is a very powerful film. You have all your doing is the key and which plane n company in the key of C. You played the seven, the one and the finds. Some major seven sound. But then when you play it, don't leave that other notes played, does not add that, and keep that tussle k. So let's say you're playing a, C, G, a minor, and F, K. So let's try that with what does fail. Okay? Yeah, that excellent. So but its works best if you are doing a left-hand pattern so you can use them one by one. Lifetime party are 15 to. Okay, so let's try that. Over this chord progression, the C, a minor, CGA minor, F. So the left side is going to go G minor, F, m. A more time. So practice this with me. Okay? And now let's add the right-hand. Let's keep the time and said why plates quite differently. I'm going to let them all have a different group, but you can go. And so I like them. Same thing. Oh, and by that I just reverse it. Does doing that are doing so. And let's say that it just dropped actually, so it does not bland. So let's try it out at d. So g plus D minor. Sounds good to me. Okay? This is a very simple feel. You can, you can try and use and implement in your play. You can use this for intros, interludes, and even when during the main body of the song, completely up to you. Okay, so thank you for joining me on this one, and I'll see you in the next lesson. 22. 3-4-1 Fill: Hi. In this lesson we'll look at the three for one bill. Now let's hear how this sounds in contexts are playlist in the key of D flat. Okay, so excellent. So what this is is it's very similar to this one by bell, but in a different position. So this plane, the three or, and hits the one above cape. And this creates a ME, another major seven, but on the four, So it works best for 24 coins. Okay, so let's go back to the key of C. So what this means is if you have a chord progression and there's a two in there, you can easily play 341 over that. Ok, so let's look at a chord progression like C, G, D minor. And as you can see clearly, that the D minor and F are the 24, because one sees the one, d as the two. So D minor and the two coils. And then four as the four coin. Okay, so if you're not used to add the number system, I recommend you take a look at some of my other courses. And then this is explained extensively in those courses. So this is 24. So we're going to use this when we were playing that two and the four. Okay, so let's play our regular while that C and G. And then a to the four. And the two are just like that for okay. And the slides are going to use your left hand atom. So let's, I'm patterns at great fails, right? That a moment you know, your approach in at two are FR, you can just throw this, writing them. Let's, let's take this chord progression in another key. For example, the key of D flat ofs plane area. So the Corporation will be D flat or C sharp major as these other nodes. And then the a flats. And that we do at E-flat major, E-flat minor, sorry, then an F-sharp major. So this is the same 1.5.2 four-part progression in the key of C sharp. So 12345671. So one bys. Okay? So if you play this and at five, now we do that on a 24 k plus now we can even, we can do 175 minus 75 and then a frame for one. Yeah, the same by a different key, so at different positions. So you can't do the 1177 wildfire over the C and G And do that three or y, dy. Moreover, the two and the four. Okay, we'll take it back to c and you see it's much easier. And so there's going to be like this. Now, the two and the foreign. Ok, let's go to C. So play the under C, we do this 715 and repeat it. Then the two. Anyone wants I am. Yeah. And then try and play this and use this to spice up your play. You can play this. Once again, a intros, interludes, codas. Anyway, you feel like expressing this kind of sound. Okay, thank you for joining me. See you in the next lesson. 23. 1-7-5 Fill: Hi. Now let's look at another simple Phil. You can use this field. The nice thing about this field is that it works pretty much over all the courts within the scale. This is the one as 75. So in that KFC does birdsong like this? So all you're doing is playing on your right-hand. So if you had to play this over as the C, C, G, a minor, and F. So it's going to sound like 12341234. Alright? And if you had to use Patton, right? So even if you go to a D minor, E minor, F, G, M, I, C. So that's, that's the beauty of this chord progression. Okay, so you just pick up the chord progression. If you're tired of playing the chord progression, you can just switch to play this simple 1175 in your right-hand OK, throughout. So let's let's try them on. Few cooperate and let's say we have a song, then the progression of the song goes G, D, E minor and seek, ok. So this song is obviously in the key of G. E minor, in the key of G. So that's the one, that's the seven and the five. The major skill of g, 12345671. So we are picking up the 17 and the five. Ok, so if you play this G, D, complain the four coordinate my left hand. So I can have room to play this melody. So right. Ok. And if I use the Patton, okay, let's know FASTA. So see where the seven is means end up with the thumb being in every step. So I'm slowing down. Same thing. See you that bomb by the index. Yeah. Sounds nicer that way. So that sounds simple and nice. Let's try it on the last chord progression, Da, B minor G. Okay? And this is the same progression, but in the key of D. So I'm going to go to the key of D, pick up the major scale and now play this melody. 175. Ok, so d, D, a, B minor, G, So a, D minor, F. So energy. Okay, now let's use the pattern. Ok, so, so it's got to go like that. Like that. B, G, B minor, and G. Okay? So try and use this pickup. So your songs and use this simple melody. That's a play around with a chord progression as a form of embellishment. I'll see you in the next lesson. 24. Sus4 to the Major: Hi. Now let's take a look at another simple embellishment. And this is a sus four to the major. So the south like this. Okay? Okay. Sas for its major. So let's get into it. Now. The approach is to make a very quick move from the sus four, the major. And it works much better if you're on the, on the one hand five chord. Okay, so in this progression, C, G, a minor, F as a 156. And for a wax leg, Very nice, number one and the five for the four. Blues and other. Jana might be very okay to play this asphalts in a major. Because this is, because then the sus four notes is not within the scale of C. So the scale of C is 1234567. If you played this modes as outputs out of a skill, a waxen blues because the blues scale is okay. And then we can see that allele, the blue scale that's covered in this MOOC. So it's fine to do. So that's why they do that. They're playing this moves because it forms battle of the blue scale, right? Okay, good. But apart from that, o work nicely on the old 15 corn, you'll see a geo, whichever key you're in. Okay, so you're going to play, if you want to do it under C, you're going to play a cis form. And I as, as far as when you replace the third, when you get a C sus four, so that's a C major. And then you remember the Susto is when we replace the third with a two. That's as such to CSS2. And assess for is going to be replacing that with a form. Ok? So F sus four is going to be F major and then replaces the third with a four, going to be SS for the goats and the major. So when you go to the major, Make sure you flipped much better. When you flip, you do a grace note from substituted a 10K. So if you want to do it as and the g is going to be a and a is going to be an, d is going to be ten, doesn't matter the key or a plane, I progression like D, a, E minor, and G. You can do that in my life. So let's try it on our simple chord progression, CGD minor and F. Okay, so C, Let's do that. Sets forth the major and the G. So I'm using, I'm using my 145 to play. If that's not too comfortable for you, depends if these two fingers are not that strengthen dx, you can, you can use your wireless. You can use your 134 to play this as four and then come back to do the flip on the and the major chord. I can even do. I don't advise that, but you can, whichever makes you comfortable. For me. Sometimes I'm doing the 145 and so that's the figures for renewing position. So let's play the chord progression. So C. And then say, sorry, D minor to F. So that sounds very nice. It takes you by surprise. Sorry, D minor. And do it very fast. And f, one last time. Okay? So this how you can play around with this embellishment triads on either chord progressions we've covered in this course or any other song progression, you know, it there's a major chord and then try to fit the sus four to the major embellishments and see how that goes. Thank you for joining me in this lesson. I'll see you in the next one. 25. 6th Harmonic Fill: 1-7-5-3 : Hi. In this lesson we'll be looking at sixth harmonic fields. Now this is a very easy way of odd and melodic lines to your plane. So let's have a look at it. Now. Six, you'll be making use of something called six intervals. And for 60 intervals. All you need to construct, for example, in the on see. If you look at the scale of C and 23451. So the six interval is the interval between, for example, the C and the a. So that's a major sixth interval. Now if I take this same interval and I start moving it up, forms another major six interval. In this case a D major six interval. That is because in the key of D, the scale 123456. So the 16 dozen major six interval. And then that's Medusa minor six interval because this will be the one of the minor scale. Ok, so 123456. So that's, that's why that's a minus six. By moving the ship up and up you, you get a series of major and minor six intervals, k. So if you start from the one and the six and you move it up, you're going to get a series of major and minor six interval. Okay? Now, so with this, you can form, for example, a melody like melody like, hey, so in the key of C, What does melody? Okay, you can use the six intervals to play this melody like that. So all I'm doing is using a six intervals to create a melody. So we'll look at an example in this lesson, and that's a very useful harmonic Six harmonic feel you can use all the time. Now, one other way of easily figuring out what your sixth, sixth interval is is to look, look at this as an inverted search. Now, when it comes to intervals, one useful theory is that with, with your third interval, the moment you invert it, you get a sixth interval. So if you have, if you have a major third, that's a major third interval. If you invert it and have, bring this third from the top to the bottom, you get minus sixth interval. So a major third can be inverted when inverted becomes a minus six. So. And the easy way to look at it, that's 36, needs to add up to nine. And in other, in other theories you see that's a major fourth. And the fifth fourth can look like a fifth when inverted as well. Okay, so the easy way you can look at this together, the sixth for the melodies, as to play the third, but below. So if you wanted a 64, this note, a sixth melody with this nodes lead in. You're going to look on the third of that in the scale, okay? Within the scale of the key or plane. So in this case, the key of C. So we want a melody, for example, this melody. So if you take the first node, we need a sixth down here. Which one should we choose? You're going to pick up the third and drop it below. Ok. And of course from there you can move in that way and it's going to be o all the way. But let's look at the second note. Now. The third of that is just two steps above the scale. So an easy way to find your third is two steps above in the scale and this is a to the third is scale. If you need a third of this, you just keep one and that'll be authored. And if you put this in the bottom, you get some major six. Godel's a minor third. So inverted forms a major sixth. And then the last one here, two notes above. That's a minor third as well. And if you drop that's below, you get a major six. Okay, so enough of the theory. Let's have a look at how we are going to use this now, the lead and melody we are using, we are going to use S, That 1753. Ok, so the melody goes like okay, 1753. And we're going to put, puts enough, add a sixth below is going to sound like this. Then. Okay? That below, below, that, below that below. Ok. So the melody goes 1753 or so, me. Okay, that's the lead them melody. All we care about is the leader Mendel d. And we're going to use a sixth harmony to create a harmonic fail. Ok, now this fill works very nicely for your six chord. Okay? So if you are playing in the key of C, Now your sixth chord is going to be 1-2-3, 4-5-6. So that's a minor chord. So whenever you get to a chord progression where there is a minus sign there, you can play that feel like. Yeah, that sounds. Then I'll slow it down. A mod psi m. So when you play that card on the left meets up with a second notes in the melody. It meets up with the seven. So it goes like this. Okay. Now I'm launches. Oh, oh, but just with a quote. And it follows. Pretty amazing. Let's, let's put this into context. Fcr song goes in a chord progression like okay, so now the next thing I'm going to fix that melody on the a minor. Okay, I'll slow it down one more time. Go buy last time. Slow down. Okay, so as long as you have a minor chord, if you, if, if that might not corn, for example. And we will look at some variants of this when you're playing it that might now asked to coin. But on the sixth, you play, fail go, that goes, I mean, to be honest, you can't even play that fail, guess this melody. Harmony. So you get started with that's NGO. Sounds good AS well. So say if you play that in sample version. So I'm using some of the nice fails, right? Okay. Now I'm going to use the sixth version. May not twice. Excellent. So try and playlists. Fail. In your song progressions. You don't have to be limited to one key. And you can take this to all other keys. For example, if you are putting this in the key of F, six chord of F, the D minor, 1-2-3, 4-5-6. So, okay. So if I play this D minor, you complete a fill which goes 1753. So it's gonna sound like, right, so like using the, using the same idea that we've already discussed in this lesson. So how about its experiment with this and have fun with it. Make your chord progression sounds much better than it already is. Thank you for joining me in this lesson. I'll see you in the next one. 26. 6th Harmonic Fill: 4-3-1-6: Hi, let's look at another six harmonic field, which works very nicely over the two and the four coin. So this works both of a minor chord for the two and the four chord, which is a major chord. Okay, so it sounds like this. Very simple and nice. Let's look at how to construct this, or this. This is very similar. And it's the same pretty much us. The 1753. Ok, or that DO T so mean. And this is the same thing, same melody, but in different keys or perspectives, right? So if we play the 43, 16 over the two chord, in this case in the key of C is going to be the D minor. And always remember to, let's call it, meets up with a second notes in the melody like that. And if we play the same thing for the F-Major, which is the four chord, works perfectly. All right, so let's try and harmonizes with sixth. So once again, you look at the notes up here and bring it. And so the bottom to harmonize its notes here, bring it down. Now the moment you start to play this little bit in the key, it'll be quite easy to get its, gets that interval in all the keys, right? And that's, that's the six, harmonizing the six notes as the bank DOM nodes to the bottom soil turns out to be. One more time. Now I'm using my sustain pedal quite well so that it doesn't sound like Fe. So solve best smooth. Okay? So we can't do that over our two card. Alright? And if I go to a lot of folk art, okay, so let's try it. A corporate cash ones again, C, G, D minor, F. Ok, so you can play with me. Let's go to the D minor. Again. They worked both ways. Okay. So you see that the second time I played it just as a melody. So you can play both as a melody or a second harmonic field. Okay, so let's, let's look at another chord progression. So this chord progression is A-Minor chord in the key of C. So the mRNA is going to be the sixth chord, as you see below. And then the F-Major Is the four chord. And then a D minor, the two chord. And then the three, E major. And a three is usually a minor. But in this progression, I made it a major fire defect because it takes us nicely back to the AMI navigating. Okay, so I've made a major. Okay, so let's try it. The progressional. Lots I all ears positions. Not associate up. Again one more time. Let's read that. Okay. And that's why a minor. So let's let's bring that down very slowly. So what I did there on the a minor, I picked up that the sixth harmonic fill for the sixth chord. And that's why we use the 171761753. So, so in the first for the A-Minor, I'm doing that. Then I play my f. And now when we go into the two, I'm going to play the, the 43, 16. And then I play a major chord here. Okay? Just like that. So let's play it once without any field on the six chord would do the film suggests the two chord, okay, it works on the forecourt as love. I'll do it just for the two cards. So that's go one. Just like that. Okay, so this is a very simple way of making your chord progression sound much better. So most of the time, most songs that you play, you're likely to meet a six chord, which is a minor. Okay, so this works for the Cisco, which is usually a minor. So if you're playing a chord progression or a song where you have a six chord there. You can start to think about plane this, sorry, in this lesson that's for the two chord. So if you have a true chord or a five chord, four chord, you can easily think of playing this 4316. Ok, Fahmy doula, harmonic fill over the two chord most of the time. And sometimes you can do to a wonderful court as well. Okay, so thank you for January this lesson. Get some songs, and I get some of your songs if they include a two chord, try this field of arts and let me know how that goes. Thank you for joining me and I'll see you in the next lesson. 27. 4-3-1-5 Run: Hi. In this lesson we'll be looking at the 43, 1-5. Brian, this is a very simple run. It's a nice run that you can use. Ended a song or even in-between the song through the chord progression. So let's have a look at it. Okay, so now this, you start with the four. Let's start this in the key of F. Ok? So the key of F scale, 12345671, okay? Now to play this run is going to be the 4315. So, so the finger is quite key, okay, so in the key of F, This is how we're going to play it. I'm using my middle finger, middle finger for the for a sliding it down to the three using my second finger for the one that found for the five. Ok, so let us start one octave higher. So you are going to repeat it down the scale as many times as you need so it's ready to go. Then you go over it and come here and repeats the same thing. Okay? Okay, so if you end in a song, you could just go. You can. And that's on the, on the quad your ended on. Right. So let's take one more time. Slow. Slow. Okay, so let's, let's try and lets us. So now sounds a bit lies when you hold a pedal the whole time. Okay. So let's do it without a pedal. Ok. So Practice and gets as fast as you can. So if, say you are ending a song, I played a song in the key of F. And then you're going to the one, you go like that on the, on the F-Major chord. So let's look at the same run in our other keys, then we can come back. Now, one thing you should know is that it's, it's not same as less easy in every key. So it may be sometimes a little bit. More difficult in other keys. So does a finger in your differ less, less strides in the key of C, for example. So in the key of C And 1234, and we need a fought three to five K. So and there's a fingered I use I use my ring finger for the four, middle finger, for the 3, second finger, for the index finger for the one. And the found four, then five. And when I repeat, I come by with a ring finger. Same thing. So let play slow. Okay, and let's go faster. But faster. Ok? So if we're playing a song in key C, C, G, And then we about to end. We can end on a C like that. That's an ending. But you can also use it in the song itself virus. And you can use a spawn on the six chord, you can use it on the four chord and one. Okay, so, and the same core progression, let's see. So that's the G. And now I'll go to the a minor. We can use a fill. Takes you to the four, and then now we're going back to the one we played again. See that? Okay. Yep, let's see. Let's try it for example. So each of these kids I'm doing, just pause the video and try and perfect the run in that key and you can always fit it in. Let's try it in the key of G as well. So key of G is going to look similar to the key of C. So g, 12345671, k. So this is the four, this is a 315, so it's going to look similar. So let's take it from the top. Okay? So in the key of G, if we're playing a song, G to D, and then we are going to the E minor. We can do that. Take four. And if you are ending the song on the backs of the G major as well, we can do Amartya and take my leg off the pedal so you can see easily that, you know, let's try it in B flats. We've done it's an enough already. Boots and a couple of key, so you see the fingering to use. Let's try it in B flat. So B-flat, thus 1-2-3, 4-5-6, seven, N1. So this is the fingernails will be flats. I use my ring finger, sell lots of them the same way I played it in f. But rank finger here, slider down to the three and then index finger plays the one. Thumb plays a 59, repeats a mosaic a bit faster. So for playing a song, let's say go B and then, and then you go into the E-flat to go. Okay, I think with the fingers as well, you can either use a ring and that's all you can use. Your middle finger. Just like I did. It's an F, So I think that makes it faster for me as well. So be floods, F and then G minor, and then we're going to the flux. I can do that. That ends the song. My significant use it anywhere, it'll at least the endian, you can use it. So when you are just about to end the song, you go. You see, even if you complete very fast, you can use a slowly like and as beautiful if you can play it faster, better. So you can use a slow and then the faster you get at playing this, you can use. 28. 5-1-4-3-1-5 Run: Now, let's look at an alternative to the run we've previously looked at. So the run we previously looked at was the in the key of F, was the 43, 1543154315431. Now, this alternative is not so much of an alternative. You can add just two notes to this R1. So instead of going straight from the 4-3-2, 15, you're going to start with 5-1. That's what you're doing day. Just okay, so if you ended that song, D minor, B flat major, and now we're going to the F, which will end the song We can go, is the same as what you did before. The only thing is that this time around you're proceeding with two nodes. And then the song ends. Okay, one, what's I am? Or? Okay, let's try this alternative in a couple of other keys before we take an example. So if you try it, this alternative in the key of C fingers. So all I have to do is use. Okay? And the rest goes exactly the same. Okay? So, okay, so if you add in the song, okay, let's try it in the key of G. So P of G. So if you're about to enter song, We can just go just like that. I'm doing this plane. This failed for three 1-5 But stats and what the 5 14315. So if you complete passed because the plate slow. Ok, OK. Strikes in the key of B flat. So if your ended a song, and then a song in the key of B flat, you play, the whole song is about and you go play without a pedal. So you're going same thing you are playing before. I thought three 1-5, But you started out with a 15 for A15. Okay, so okay. Yep. You can look at it another keys, for example, D-flat. So let play. I just play slow and they can pick it up. So that's my fingers. Okay. Let's try to E-flat. Okay. Same thing. So same thing as ring finger. Okay. A flux saved fingers today. So saving as vitamin D flat, E flat, a flat plate, as many keys as you can. F-sharp might be a little tricky. So it's a bit tricky there. So obviously more difficult. More difficult. Yeah, d. Ok, figure out how to play this, fill in every single key, as many keys as possible. And when you're playing yourself, you can use them in-between the song. We don't need to use them only at the end. And for example, this chord progression in the key of F. And it goes to D minor. So if we're end, then we can end on the F and go like this and the song. But if in-between the sum, we can go back. And we can go OK, and then we add it back on the f like that. And then you make the song keep flowing Rhine. So enjoy yourselves as you use this field does run to embellish yourself. 29. The Chromatic Scale : Hi. In this lesson, we will look at the chromatic scale. Now, a chromatic scale is just a scale which does not keep any nodes. So simple goods. If you're playing a chromatic scale starting from C, you don't skip any notes. You keep going without skipping a lot. So it's made up of guests, semitones or half steps. Okay? So that's a chromatic scale. And let's, let's look at how to play it. Ok, so the fingering that I recommend to play this will start the chromatic scale and see and their finger. And I recommend to use while playing. The chromatic scale is the, I use just the three fingers. Ok? So just these three fingers. So I'm such a non ci, I'll play the C with the thumb. And then I use my middle finger. What I see for the next nodes and then the thumb again. So I used, so I'll call it, this is one, this is two, this is three. So I go 13 and then 13, and then 12313131. Okay? So this is what is happening. I am using 13 every time except when I get into this zone that does not have any black in they see the zones. There's no black. And that's when I bring my two in there to help me with the next note. So 131312131313. So desk skill, you are going to lead to the plates. It's good to learn how to play the scale of EBIT fast. Okay? So I'll do the reverse as well. So let's go once again, 1-3, 1-3. So it's good to play it in a few saves that less come back with it. I'll slow down. So I use my two when I'm in that zone. Okay. One more time. I use a two only in that zone. So I'll take you once again, 31313231313131231312313312312. Like that. Now, advise that you take this very slow and try and play the scale. Mno fuel useful when you are starting to play it. But we'll look at an application of this way. You may sometimes need to see that. It's good to know how to do a quick run of the stats from any notes at all. So if you want to start from us run the chromatic scale from B flat to B flat. You can do that as well. So just same fingers. You know, that's the one that starts. So you're going to go. So it doesn't matter where you need to start. If you need to start from the a flats, get same, 3232132, right? That's as simple as that. Try and practice this. Take it through, start from different nodes, ticket a few octaves, and also try and use a left-hand as well. Let us go into the similar one. This is, let's say this though. This is if this is alpha and u using these three notes. So it is going to be the same from middle fingers, some middle finger. So if you if a number them three, this is 1-2-3-4-5. Dell is going to be 31335353. Regardless of any how you number them versus fine. But some middle finger acts the same as here, right? And that's tricky. Planets at the same time, a ticket, extra slow one at a time, and then you put them together slowly as a finger exercise. So why that? Okay, excellent. So keep practicing this chromatic scale, and I'll see you in the next lesson. 30. Basic Applications of the Chromatic Scale: Hi, so let's look at some basic applications of the chromatic scale, okay? Now, the first thing you can use the chromatic scale for us to lead you to a melodic notes. So let's say you're playing a melody and you're playing a melody like that. Let's say the melody, melody notes, it's just, that's okay. So you may choose to go, use a few semitones or chromatic notes together, like or you can go. Okay, it might not sound contextual. So you, let's say you want to play Madden like this. I'm gonna go see that absorb is our plane. Just plain. So right after I played alarm to lead them to this melodic note, he can put, pull up two semitones, or you can just go at tone ahead. And then run chromatic shot, chromatic scale down. Okay, so, so the melody is k. So let's use a chromatic. Just use two notes are less, use more, more. Pragmatic philosophy can play fast. Let's try one more day. I just go, yes y like this. I'm a longer. If you've got played fast ride. O onwards, I'm an astronomer. So just get creative and just trying to create something for fun. So that's one does that. So just, I am just using chromatic, the bits and pieces of chromatic scale to lead me to a notes. So the options are endless. You don't have to be restricted to any particular way of playing. That's right. So you can do it from above or below. That's perfectly okay. Let's look at another another application. As to elicit to a roots notes. So let's say you're playing a chord progression like C, G minor and F, Right? So the roots notes are a, C, G, D, a, E, and F. So you can do something you can't do kinematics to land on the node. So you can do like a C. And then you can do, so see a can-do another chromatic. See what? I just run a chromatic now. So some these days can be done sometimes, right? So sometimes I do this and I do. And even sometimes on the Court itself, like if I play a major chord like that, I, after playing the court itself, one way I apply it is to play at a chromatic leading London with a third of the same coin. So like if I play C, I can do, I can do that. I start three semitones above and run down to love me. Or the third on the point is I just applications, right? So again, see that. Ok, so let me play the whole thing, right? Okay, so all I'm doing is trying to use chromatic shorts, chromatic scales to lead me on the roots. Or I can do a third of the roots. So if someone see, I can do the third two lambda, the third formula, G, ICANN, London. Third if I want F. Okay, so that works nicely as well. Okay, let's look at one last application. So our application is just inset shots, chromatic scale into melodic lines, right? So and maybe a melody line, simple-minded like that's a, D and C. I can do stat spawn the G and C as a jazz hands await just by doing this shot's chromatic. Again. All I'm doing is sort of plane ds, a DC undoing using kinematics. So this was the notes I played tube chromatic before and before Landon on C again, I bring another achromatic map. Semitone drops, crying, and I'm trying to look for another melodic line. You can inset a nice chromatic run app. So let's add a melody is That's too much. So you can do. You can just get creative with a chromatic runs. If, if you get a melody just before you start, the melody can do two steps behind and pour two steps above and come face or I'm doing I can do. And the sunlight, the FMLA D every time all I'm doing is using chromatic embellishments. Okay, just try and use these probiotic short snippets of chromatic scales to help you embellish melodies and stuff like that. These are very basic applications. Of course, there are very complex applications of these chromatic scales that for this level, I believe this is sufficient for you to explore. Thank you for joining me in this lesson. I'll join you in the next line. 31. The Natural Minor scale: Hi. In this lesson we'll be looking at the natural minor scale. Now. If you're familiar with the major scale, that major scale sounds like this. But that the minor scale sounds like that. So I'll play the C major scale, C minus k, So it has a different feel. So let's look at how we construct this minor scale. I'm sure you've heard it before, but how do we construct this? Ok, so as you know, the major scale is constructed with tone, tone, semitone, tone, tone, tone, semitone. Right? Now the minor skill is constructed like this. You play the first note, C. If you're playing a C minor scale, you play the first note. And then you do a tone, semi-tone, tone, tone, semitone, tone, tone, tone, semitone tone, tone, tone, semi-tone, tone, tone, semitone tone, tone. Okay? So you can choose to memorize this. And if able to memorize this, then you can play the scale for every single key on the keyboard. So if you want to plot F minor scale, you go, you start and you do a tone, semi-tone, tone, tone, semitone tone, tone, right? So you start, of course, we play the fescue, fair? So I will say key that you started with tones. So these tones and semitones can also be called hoe or half steps. So you have key WHO have whole, full, half hole. Ok, so you have Ts, Tt, SDT, okay, if you able to memorize that now I'm going to show you an easy way I used to play minor scales and then you might not have to bother too much about these tone, tone, semitone CBR, too difficult to memorize. So the way I see minor scales and minor scales are also the natural minor scale is also something called the Aeolian mode. And what this is as the sixth degree of a major scale. Okay, so look at this now. This is the C major scale. C major scale, or white notes. And this is the a minor scale. A minor scale has all white notes as well. This means that the a minus kill has the same. Members, or the same notes as the C major scale. Okay, so, and the Aeolian mode of C S stats in the C major scale on a 60 degree. So this is a sixth degree of the C major scale, 123456, okay? So that's a sixth of the a is a six of C major. So if I start playing the C major scale, but lost starting on C by starting on this. And the a, which is a six-degree I form the natural minor scale of, of a. So we've got two. A minus kill is just going to be C major scale, starting on a, so 1234567. Okay? So that's as simple as that. Now with this says, I know I have a commanded my major skills. I can also have an easy command on minor scales by just thinking of minus gills as major scale starting on the sixth degree. Okay, so what this means is that for the a mileage scale, I think of the major scale of it's the key, three semitones above 1-2-3. Thus c, or in other words, chord a minor third. So this is something called the relative minor, relative media. So easily a minor scale. The a minor has a relative major of C. So the relative major of the a minor is C Major and the relative minor of C major, a minor as well. Ok, so it goes both ways. And in the same way if you look at the D minor scale. So if you are to play D minor scale and you don't remember that you need to play tone, semi-tone, tone, tone, semitone tone, tone. And all that's, all you need to remember is if algebra at D minus kill, I needed to find a minor third above the D, which is three semitones above 123, and that's f. So you can see that in the key of F, D is the six or the law, okay? So I can, if I see that It's f, As long as I know how to play my F-major scale very well. I just starts the F, play the F major scale starting on the sixth, which is the d that I gave a D minor scales like that. See, that's now the finger and is quite similar as the major skills. If you are starting on the white keys, you play the first three. And then you go accepts the F minor scale where you need to play the first four, just like the major scale. Now I'll play the F minor scale. So high do I played f minus steel again? So f minus kill. All I need to do is find the relative major, which has three semitones above 123. So is the, a flat major scale starting on the sixth. Hey, so I played the sameness of the E flat major scale that starts on the six, and I get my f minor scale. Dadadadada. Let's look at other minor scales overplayed. So C minor scale, you're going to think that you are plane, E flat major scale, but starting from C. So there's the E flat major scale. But the C minus skill is then going to be same notes. Okay? We played a D minor, E minor scale. So E minus kill. Your challenge, which was going to be the relative major, correct? Thus, G, three semitones above 1-2-3. So I'm going to play it like a play that G major scale that starts on E. And we played f minus, g minus kill. So much play like I'm playing a G minor chord that notes this year relative major. So, okay, but I'm going to start on the GI. Okay. I want to play all of them so you see that fingerings? Okay? We play the a minor scale already, which is like a C major. But of course, if you are comfortable with using the tones and semitones by all means, go back in the video and memorize that. And that also gets you the same results came how by B minus gamma, B minor scale is going to be like a D major. Stats and under the briefing as the escape, festering, y1, y2, y3. Okay. Yep. Law, but let's try just two more. E minor, E-flat minor. So that's relative major has F sharp. So I played a E-flat minor scale like I'm playing the F sharp major scale starting on E-flat. Okay? Yeah, so that's the natural minor scale. Try and play this everywhere and see its plate until you are able to see it easily and apply the scale. Okay, thank you for joining me in this lesson, and I'll see you in the next one. 32. Basic Applications of the Natural Minor Scale: Hi. Let's take a look at some basic applications of the natural minor scale. Now, with the natural minor scale, if you have a chord progression where there's an a minor chord in there, you can use the natural mindless kill off, that's minor chord to create simple melodic lines. Ok, so what this means is that if you have, for example, the C minor chord in there, you could use a C natural minor scale. Okay, to play some melodies there, right? So it depends on than chord progression there. But if C minor comes into the code per chance, you can easily go. This kind of improvisation techniques. Sort of take the notes in this key itself as your guide and play around with it. But you can go up in thirds like okay, you can't go slow. So let's say for example, you have a D minor in a chord progression, okay? So you can use a D natural minor scale. Okay, so if that's the court, you can go either they just did the same. So these are what's called motives, right? You can do the same thing in different positions. The purpose of this lesson is not to teach improvisation, just to give you ideas that you can pull out and melodic ideas from the natural minor scale during improvisation, right? Okay? But these are the sort of things you can do. Let's take one last minor chord, let's say B-flat minor chord. Okay? So this is the natural minor scale. Okay, so, so I'm adding, I'm making this notes just before the D flat. If I just shuffling, it becomes something called a harmonic minor scale, which is not a natural minor scale. But if you want, you can just increase that notes. Then 1234567, the seven note is sharp enough to create this effects. Okay, so this is the natural minor scale. And there's a harmonic minor scale. Sounds nicer, much nicer. So it has its effects of, okay, so when you, when you learn how to improvise with some of these skills, I suggest you take it slow and then you practice until you are able to play the skills. Verifier says, this also nice when you play them fast. Okay, excellent. So let's look at another and another application now, four chord progressions that are emitted in the minor mode. You can just stick to the keys of the natural minor scale or the minor scale off the key. Okay, so for example, if you have a corporation, which in the key of B flat minor, okay? Which goes from a and B flat too. Okay? Like that. Because it goes to a B flat minor. Let's take a simple one, B-flat minor, E-flat minor to an F minor, B flat minor. So you got you guys that you can just start improvising. Okay. So all I'm doing is just playing around with notes from them. Latch on my Gaskill. And I'm playing this chord progression, B-flat minor, sorry, F minor, E-flat minor, F minor, and then. B flat minor ones again. Again, I could use another progression, for example, same B-flat minor. And then when I go to the F, I make it a major, B flat minor, F major. And then E-flat minor two chord F major. And that different way now sends, I've made this a major, that nodes I need to use this knowledge to the harmonic minor, not SUV. So I can use that for example as well. So That's another way to look at it. So all I'm doing is I'm playing a series of chords, but I'm not using. The difference is that I'm not using my, like for example, I'm not using the minor scale of B flat. And then when I get to E-flat minor, especially the skill of E-Flat. No, that's not what I'm doing. You need a good context to use something like that. But all I'm doing is I'm playing a series of minor chords, buses. They are all in the key of B flat minor. And we'll look at other examples, since they are lucky of different minor. I played a quarter, right? But I'm playing all the melodies using just one minor scale, which is the main key, the key way the chord progression ends, you know, which is the B-flat minor. Okay, so let's look at some examples. Easy key in the key of a minor. Ok, so you have that's a minor, D minor, E minor, and a minor case. I'm going to use my left hand to play the threat that triads. Then I can try to use my right time to improvise, right? So firstly, I will just go up the scale like that. See that all I did was went up the skill and came down. He says, sounds good. Everywhere you go. Then you can start to sort of, the easy thing is that if a minus Gil is all the whites, so you can't go wrong, right? And just hit any white nodes that it still works right? Now. That's just to give you an idea that everything works, but now you have to be intentional cakes, I'm nice melodic clients. If you like, you can go back like say, I can't play what I just played again because I'm just playing around and improvise and I just wanted to, I guess, make sure that I am within the a minor scale. Ok, and let's look at another one. So this is another similar chord progression, but in the key of D minor. Okay, so let's look at, so D minor to a G minor, a minor, D minor, D minor scale. And look like playing the F major scale. And there's a D minus K. So I can just improvise with the scale at this song like that. Ok, not to prolong the lesson, but this is just to give you an idea. So when you set out to improvise over certain core changes, pickup the minor scale if the chord progression is in the minor mode to play around with. If it's in the minor mode and you get a minor chord, you may be able to get away with using the minor scale of that's court to play over that. But you need to play it and hear how this sounds in your ears and you be the best, judge. And thank you for joining me in this lesson, and I'll see you in the next one. 33. Hallelujah (DEMO): There was a secret code that David played and it pleased the really cared for me. It goes like this, that follows from these two. Okay. 34. Hallelujah (BREAKDOWN): Hi, so let's go through a few embellishments for the soul Hallelujah. Now, the course through the song I owe familiar courts. C, a C major chord, a minor, back to C, a minor. And then f, g to a c. Energy back to a C, F G, a minor, F, G E N, E major, a minor. F to an a minor, but to an F to C, and then back to a C. So that's the whole soul, right? So we can start with embellishing. So what I did here, I hit the five of the preceding chord. So and then this under C. Ok, maybe the second time is sort of hidden. I've written just a 501 to five. So the F, so I'm doing four to the major here. Okay, I'm doing OK. So let's do the first three lines, so then faultline. So I'm doing a climate targets in the third year and for all frequency because it moves nicely with the song as well. Kitchen chair. It goes like this. It goes like this. The fourth, the fifth. Okay? I'm doing targets in the fed and A3 goals. And it goes like this. Fourth, fifth, and minor for another hated that fifth on the preceding Gandhi. Then Zhe Shi Garcia and lots of these SOX2 trails or the grace notes second to the third on most of my major course. And that's the beauty of it, is it makes the sound a bit different, right? So let's start from the C, F, G, a minor to the G, E. So again, I'm just doing this 1761753 Meany Center. And then I ended with this six because that's a melody. Also. Compose and had I go pose and have an ego. Okay, so you have so many options that you can see this all has lots of major and minor course. Pretty much all the cores you see on the screen are major and minor chords. So every embellishments, you know, for major chord can be applied easily on this. Of course. So if, for example, you are playing the song over and over again, each time around you come. You can, you can do that on a major chord. And at that time you can do an OK, so many, and so many things you can do. On the major chord and the minor. You can target the Fed in so many ways you can do. So if, for example, the first line. So what I'm doing here, I guess I just put the melody. And so sometimes you can also and choose your embellishments around the melody to make it simple and nice. You find out the melody of the song. And then when you're meets in the courts, you try to put in a melody there somehow. And that's also another way to go to make it sound beautiful. Yeah, so just experiment with a song. Used a chord progressions starts by plane. It's without embellishment and starts introducing bits and bits of embellishment in the courts. And tried to letter gets better and better each time you play it. Thank you for joining me in this practice session. 35. I believe I can Fly (DEMO): The sky at B cells expand. And I am kidding. So. 36. I believe I can fly (BREAKDOWN): So let's see how we can embellish this very popular piece of music. I believe I can fly. Let's have a look at the chord progression. So the chord progression is quite simple. This is the key of C. Most of the courts there may be familiar to you. So the first chord is a C Major chord, and then it moves to an, a minor chord. Okay? If you're not familiar to, you, just pick them up as we go and let's enjoy the music together. And then the next chord as a D minor. Okay? And then the next chord as a slash CT. And this is a C slash G, So it's a C major chord or the G in its base. Okay? So you can either play that and a good way will be to bring the G on top to the bottom. So you inverts the corn. So there's going to be like this. You're going to add this to the left as well. So it's going to look like that. Okay? Then it moves to a g, k. So let's play the first parts again as oligos. I believe I can fly. I believe I can touch the sky. Think about it every night, pending D minor C slash g. Then it moves to the next partridges. I believe I can fly a minor. And then it moves when a flood diminished chord. So if you didn't want to play a diminished chord, a flat, so this a flood. And if you know how to play a major chord is an E flat major, does a flat minor. And if you reduce the fifth of a minor chord by a semitone, it gets a diminished chord. Okay, so, and let's start from the a minor. I believe I can soar. I see me running through that open door. So just one finger on the a flat and then that's open-door. Backs years see sludge G code. Okay. And that's what F minor. And then finally lands on an a minor. Okay. So let me try and play their voice file through and then play along, okay. Trampling along with me as well. See, so let's be simple. Okay, so now this is the general shell of it's, this is just the courts. And let's see if we can add cell embellishments, okay, so we can start by at least we can do this kind of trail, which is that to flipping from the second to the third k, So then to the a minor do. And thus targets and the third day, we can target the third. So if, if what I mentioned some of these embellishments or you don't remember, just go back to that video and watch it again. So we do a simple flip, flip here, and then we tag and then on the, on the D minor. Let's do. Okay. So what I'm doing here is playing this melody before 316 K. But I'm just preceded with a melody using the targets and the third, and then play that melody down. Okay? Okay. So let's play, then becomes the, the C slash G. Now here, leading to the G, I'm doing this asphalts and a major embellishment. So you can refer to that. Such thoughts are the major. Okay, so let's take the first batch, but that embellishments, so this simple flip onto the third targets and the third. For them if they want more time. C, let's go to the MNR targets and a third, D minor. A minor. Okay, so the a minor now is going to be, I used amusing list melody as well. Next, six harmony fail on the a minor, 17 by three k. So and then move into a flat diminished. We keep the same chord. And then so here, F minor, I'm doing the targets. And the third is a Fed. Okay, so let's play, let's play through the song. The whole song with the coordinate embellishment. Feel free to slow it down whenever you feel is going too fast. Okay, so I'll play a play through the song with embellishment. Okay? So that's basically how you can apply embellishments. You don't have to use exactly the embellishment I've used, but you have you have a lot of embellishments that you've lent for the major chord, minor cold. Let's, let me try and play, play it one more time with different kind of vanished wrench, right? And let's see how that goes. I'm going to play this. I've had no, nothing implant. So let's see. So an, a major chord there, sometimes I did to the delta D minor Egon do. Now this is like a melody. And yes, targets in the third and this D minor chord. Another A-Minor. It could do, do this. Flip onto the third. You know, so many ideas. And when you come down to, let's say, for example, the C slash g, spread my wings and fly away. Okay. Canada's kinda three-to-one proceeded to trade, to unfilled. So many, so many options. Just take the song, you take the vocal file as well, pick some of the abolishment, Look at this section and deliberately decided to choose that particular embellishment to fill some of these corn positions. And just keep playing that over and over again. And try either embellishments as well. You realize after some time your fingers get used to pulling up these embellishments asset when you need them.