The Complete Piano Chords Course | Advanced Level (Part 3) | Kingsley B-Nkrumah | Skillshare

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The Complete Piano Chords Course | Advanced Level (Part 3)

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

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

Lessons in This Class

28 Lessons (2h 41m)
    • 1. Advanced Level Overview

    • 2. Minor 11 Chords

    • 3. Uses of the Minor 11 Chord

    • 4. Song Session 7 - Have Yourself a Merry Little Christmas (DEMO)

    • 5. Song Session 7- Have Yourself a Merry Little Christmas (BREAKDOWN)

    • 6. 13th Chords Introduction

    • 7. Major 13 Chords

    • 8. Dominant 13 Chords

    • 9. Minor 13 Chords

    • 10. Song Session 8 - Have Yourself a Merry Little Christmas (DEMO)

    • 11. Song Session 8 - Have Yourself a Merry Little Christmas (BREAKDOWN)

    • 12. Sus Chords - Overview

    • 13. 7 sus2, 7 sus4, Maj7 sus2 & Maj7 sus4

    • 14. 9 sus4, Maj9 sus4, Maj13 sus4 & 13 sus

    • 15. Song Session 9 - Have Yourself a Merry Little Christmas (Sus Chords)

    • 16. Altered Chords

    • 17. Chords with Add Notations

    • 18. No3 and No5 Chords

    • 19. Song Session 10 - Have Yourself a Merry Little Christmas (DEMO)

    • 20. Song Session 10 - Have Yourself a Merry Little Christmas (BREAKDOWN)

    • 21. Popular Voicing Formulas - Introduction

    • 22. Drop 2 Voicings

    • 23. Harmonizing Melody lines with Drop 2 Voicings

    • 24. Three Note Voicings

    • 25. Four Note Voicings

    • 26. Three Note Left Hand Voicings

    • 27. Voicing Complex Chords


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About This Class

This course uses the most efficient way required to quickly Master all Piano Chords using simple systems and techniques.

Imagine being able to sit down at a piano or keyboard and PLAY any song without the need to read sheet music? Now you can easily achieve this within weeks not years and without wasting too much money, time, and effort on traditional Piano Lessons.

The course is an advanced level course carefully structured to take intermediate players in Piano or Keyboard to the advanced level within a relatively short period of time.

All concepts are broken down to make them easily understood.

By going through this course, you can easily download any song sheet, chord chart, or lead sheet online and quickly play all your favorite songs.

Song Sessions

With song sessions after every chord type learned, you get the opportunity to play real songs with the knowledge acquired and also practice with the voice only files attached.

The course is divided into the following main sections:

1. 11th Chords

2. 13th Chords

3. Sus Chords

4. Altered Chords

5. Supplementary Lectures

6. Song Practice Sessions

Meet Your Teacher

Teacher Profile Image

Kingsley B-Nkrumah

Musician and Tech Enthusiast


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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1. Advanced Level Overview: Welcome to the advanced level, the pathway of this three-part scores. Now if you are taken this level, then you should already know that information or all the lectures covered in the beginner and intermediate level. If you've not checked this out, I'll recommend that you look through the topics at the beginner intermediate level and then show that all the concepts are clear before taking this level. If not, kinda move to that, take that first and come back here. Now, on this advanced level will be going through that in courts. All said courts calls with our notations and some popular voice and formulas in jazz, along with some supplementary information or supplementary lectures, I wish you all the best even as you take this level and exploit your musical, that next level of your musical journey. I'll see you in the next lesson. 2. Minor 11 Chords: Hi. Let's have a look into minor 11 courts. Now. Minor 1111 courts are quite special because unlike nine cores and theta1 cos where you have major nine minus nine dominant 9411 chords. We have minor 11 courts. You could have dominant chord with an ad 11th or that. But whether regular minor, with a regular 11 course, we'll be looking at minor 11 chords. Now, the concept is quite similar. Okay, so for minor 11 courts, the way we build them as just a regular minor, It's a regular minor nine chord chord. This is going to be an extension onto the, onto the ninth course. So going into London courts, you know that you are going further into the extensions. So you need to have a ninth chord and add an extension in the same way forming 79 course, we needed to have a seventh chord and add the extension. Okay, so let's look at the minor 11 chord. So your formula is going to be a one flat 35, which is the minor plus seven, to get you the minor seven chord that you add, your nine and then the 11. So 11 is going to be like the four, right? So because one is going to be 89, is a 23, is a 1011 is the four cost states in is going to be the sixth. So all you're doing is adding the fourth to it on top, OK, so minus seven, whether nine plus 11, you see on your screen, screen stated might align into parenthesis in London. But this is a minor 11 chord, so you'd have to ignore that automatic formula chord generator. So that's a minor seven chord. Minor seven. Although your minor nine chord with 11 asset extension, okay, so you see it's written down as C minor 11, which we just played so like that. Okay, so F, F minor 11 will be like that. Ok, let's dive into how to play these few closed and open position versions that I recommend. Okay, so the first one is a closed position which you play or my left-hand place their normal minor chord and the right-hand place the flux, the nine and the 11. Okay? Now, as usual, we need to figure out a shape or an easy concept to be able to play this chord wherever in every single key, it might be easy in the scale of C, But what are the other 11 keys, right? So that's my approach. Now the way I see this chord is. I break it down into two triads, right? You can see clearly that this is a minor triad on the route. And you can see that this is a major chord. So this is a B flat major chord in this case. So it's a major chord on the flat seven. Ok, so any key I go into, as long as I play a minor corner, my left and I play a major chord on the flat seven. Putting these two together will give me the minor 11 chord. So if I go to the key of F minor corner, my rights. And thus the flat seven, flat 7S atone below that one, right? So does the 17 and a flat seven. So if I play a major chord on the e, So that's an E flat major chord. And my rights, or whether minor, minor 11 very easily, right? Let's try for other keys. So G minor seven chord. So that's a G, And that's the flat seven. So I play a major on my rights, and then a minor chord on my left. And you have all the voices right there. Okay? And then let's try for two more keys and then we can move to the next voice. So let's say C-sharp minor 11, okay, so if I play, I'll play directly and an outbreak it answer's going to be like that. Right? And I'm using the same approach as the flat seven of c sharp. C sharp seven, flat seven. I play a major chord, simple major Coleridge, everyone knows. And I puts the minor corner. So by just breaking the score down to two, is it triads? I have a very nice voice, one of my minor 11 core, right? And there's a quote I use quite often actually, most of the time when I'm playing a six chord, playing this kind of 11 Voicing, okay? One last key, F-sharp minor 11, F-sharp minor 11. So it's going to be like this. Okay? So all I'm doing is playing a minor chord here. And then plane, a major chord, just a tone below it as E. Okay? E, F-sharp. Okay? Perfect. I guess that's quite easy to construct. Now, this open version, myopia inversion I use, I can see is quite a stretch for this coin. But if you can, you can try it. If not, you can stick with the closed version. Ok, so the C minor 11 open version, I play like that. Okay. So f is going to be like them. So it's pretty much the same thing. All I'm doing is sort of plane then. And sort of plain that major triad here. And taken it an octave higher. And then comment down with my thumb to, to press, to push onto their flood F3 here. Okay. And then my left hand is playing my usual 159 like that. And same thing for F phi plane ads. I stretch my hand to the other side and play the major triad of the flat seven atone below the F, right? Let's try one last key. So G minor 11. Okay? This is all I am doing. And then of course I need to bring a minor in. Complete accord. Pause the video, try to go around the different keys, all the 12th keys, and try to play your clothes physician and open positions if that's fine with your with your stretch. And if not, just ignore it for now, at a later date, you may be able to play this open voicing. So take it around the keys. Go online, Google some jazz. You can pick a real book of jazz or any Facebook of jazz maybe. And check some of the core charts and see if you are going to see some minor 11 course that tried to play those core sequence and uses minor 11 positions that I have explained in this lesson. You should be able to get through it. Thank you for joining me. See you in the next lesson. 3. Uses of the Minor 11 Chord: Hi. So I want to take you through some of the ways in which I use my 911 chords. And this, you can explore as well and check out how you might want to use it, but always use your musical judgements to figure this out. Well, if you find a mine I love uncoiled on a core charts that has already been used by a musician to compose it so you can play it, but how will you be able to use it in your own way if you're the composer, right? So there's our mind has now uses, so I used the minor seven chord two, replace irregular minor chord, but only if the court voice and allows it. So dependent on the Jana you are plain. Replacing. For example, let's say we're playing in the key of a flat, right? So key of a flat, supposing I am moving from one to six, which is the F minor, two to a B flat minor, and then two to an a flat, E flat major. Okay? Now, if this was to be like pop or rock, and you play a flood, and going to the F-minor, you play an F minor 11. So you need to check because it may sound good and sound good and New Soul R&B jazz. Depending on your taste, it might also be okay for pop, but you have to decide, right? So I'm going like a flat. And then instead of irregular, of course, I'm doing plain open voice and ofs my 11 corridor or I can do a closed voicing. Closed by sunlight nuts. Okay. Now let's look at a simple, let's put together a few chords. Instead of using a regular, a E-flat major, I'm going to, I'm going to play the a flat major and then add a semitone here to give me a major sum. So I'm going to play this chord. And then I'm going to move from there to, to an F minor 11 chord. And then I'm going to play a B flat minor nine. And then keep my hands and come onto the, onto the E-Flat. So I'm going to play an a D flat major seven over the E-flat. Okay. Let me take you through the court so you can learn play it once. And then you see Susan satellite. So like that, something like that's just a flat major seven, F minor 112, and B flat minor Nei Dan. Okay, so in this case, the voice and allows me to use a minor 11 K. So the courts are a floods left-hand. Let's end this. Right and right on the G, a flat and a flat. Okay? So that's your first chord. And then from there you're moving down to this second chord where I play. I play my F sharp minor chord on my left and play an E flat major and my right to form the minor 11 chord, which we are talking about, right? And then on the next chord, I go to B flat, a B-flat. But I play the major seven chord of its third. So that's how we form the myelin line courts major southern offsets there. So it's there. This, if it's minor third is one to K, a tone and a semitone. So you're going to play major seven of the, of the C-sharp or via B flat to form the myelin line. If you can stretch it and straight here as well, up to you. And then you keep the same folder on your right and they can't move the left to an E-flat K. So I'll take it one more time. So that's that's one use I use. So you can just pick pick up your piece and it does a minor coordinates. It could be a tool corridor IS six card puts a minor 11 coordinate. Cfr is going to give at a wow factor to the music. If it does that, that's awesome. That's an easy way of using the minor 11 core. Okay, let's check out one last use. I use this minor 11 courts sometimes. So depending on what situation you are in, sometimes is minor 11 cold wet. So much for a nice version of the 2.5.1 and the 73 six chord, which is a 2p5 in the minor progression. Okay? So let's say you're in the key of F-sharp. So the key of F-sharp at, to play there, to 50, 736, this is seven. And this is a free and as the six, OK, so on the seven, sometimes I play a minor 11 chord. So how do you play a minor 11 again? You look at this seven and then you're going to play a major chord at tone below. So that's the E-flat. I'm gonna put it up here. Okay? And of course, I need to add this one. So I'm using the open version of my F-minor 11. Then right-hand. Let me play the whole cemetery six progression for each year. 7367. So pick out the notes. Can pause the video and pick out the notes. And a three. And playing a diminished seventh chord on my right-hand and play the diminished seven of the five, the four, and place it over the three. And this is for men as seven flat nine chord. But if you don't want to see it as an altered chord, you can see it as too familiar chords, diminished seven on my rights, and irregular, regular b flats on my left. And then I play a minor seven chord. Just plain parabola major triad and the rights of other left-hand. So a gospel song goes like, okay, so it doesn't ie the radar and then it continues like that. So in in that's in that says You would imply regular 2-5-1. I am using this kind of 25k Milan 11 to seven flat 512 minus seven. Okay, so I mean, you can experiment with some of these core progression. So these are two situations where I use a mine I loved and of course the ADA waste countless ways of using the Vinaya 11 chord. But for the purpose of this course, I'll lay out these two situations, replacing irregular minor chord and also using it as a 7736 chord progression. Sometimes depending on the situation. Okay, so keep exploring and I'll see you in the next lesson. 5. Song Session 7- Have Yourself a Merry Little Christmas (BREAKDOWN): The knowledge of your minor 11 courts, let's apply it to our song, have yourself a merry little Christmas. So I'm going to replace my a minor chord, a minor nine or a minus seven from the original version. I'm going to replace it with a minor 11. I'm going to place a D minor seven originally with minor 11 as well. Okay, so let's look at the voices will be using for this. So the a minor 11, so that's your regular A-Minor chord, and that's your a minor seven. And if we add the nine to it. So what I'm doing is I'm adding and play the one, the five and the nine in my left hand. And blame the three. And the five here. Sorry, this, this is the seven, right? So one by nine plane that floods three and the seven, right? The only thing left is to make it a myelin oven. So it says this is your three. So 1234, in the key of a, you have 1234, so that's your poor. Okay? But if I add it to the score, becomes a nine. So this is an, a minor nine. If I add this 11, then it becomes a minus 11. So this is going to lead us, but that's in your left hand. And then it looks like a C sus too. Right? Again, we tried to break it down to, or it just seemed like regular simple chords in your right-hand over something else in your net. And together it makes a big chord. So there'll be a second court. So you're going to start with a regular C Major seven chord progression. So I played now on this step forward, I'm trying to incorporate the melody into the play, right? So I'm just playing the melody is ok. So I'm playing that. My C Major seven or so. Then a, I just played that's, and then that's minus 11. Accord has the melody. And then just play, that's melon. And that's your next chord that the Maya 11 chord, so well that D minus 11 plane as my D minor chord in my left hand, and that you have the 7911. Oh, it looks like a C triad over the d, right? So if I play, the first line is going to sound like there's fast card. Has a sound, plays very slow. So Mary, Mary, Oh, this card, it's a GNI SAS for that. Because we have not yet looked at status courts for my course. Am I notate annotate edits here as I'll F chord the neurites over the G base. Okay, so like that to make it simple to play. Okay, so let's start one more time. Have yourself. A merry D, D minor, 11, restless. And then back again, second line. And this one, we go to a regular G9 chord be laid before. Then it moved to a C Major seven a. And then a play. I played this minus seven. Poisson than like that because of the melody, melodic goals. And so over here, the a minor seven chord that I'm plane is actually the voice. And the previous one we played the Mossad was that that's the C, T and a G here, binom taken there. The causes, the melody egos. A, that's a minor 11 corner Neff, Brown Law. So far now. So D to G, G9 chord. So that's your next G9 chord at the bottom. Out of science because the melody is trying to keep them melody on top. Okay? Then I play an E minor line like that. Initially we're playing like this. But now I just take that, yeah, because of the melody. Here, Museum I found to press down two nodes. Okay, so let me play the whole thing slowly with and without the melody than with the melody. And then I use a backend trucks. Okay, so it goes like this. Path does South. Mary ladder, Chris b. Let me take much slower than that. You know, mary ladder craftsmen, feel free to pause the card B. And now let me play it with a melody. So then. 6. 13th Chords Introduction: Well done for getting through 7911 courts. In this section we'll be looking at TED in courts. And these are major 13 dominant detonated mine attached in courts. So as soon as you're ready, head on to the next lesson where we start looking at the first type of theta1 course. See you there. 7. Major 13 Chords: Hi, so let's talk about major 13 courts. Now. Major theta1 courts are built off. The major nine courts now pay attention closely to this because unlike the major, major nine that builds on the major seven, TET in courts, only require and mind to be present. So before you build a tet in court, there should be an mind present, a seventh and a mind present in your court. Okay, so the major triads in court, Dan, is going to be a Major nine chord, which is your 13579. The major seven with a mine becomes a major line. And then from there you only add effect into it, and that forms your fate in court. So if I play them major seven here and I put my line here, all I need to add is a 30 and a TED in this case is a six, right? So 910111213. Okay. So on your screen is looking like as written a major 913. But this is a mega 13 and it's written in quartet in C major K, T. Okay? So let's, so as I said, is an extension of a Major nine chord. So that's one distinction you need to make. If you read a coach as say C major 13, and then you know that you display a major line and added pets in extension to that. Okay, let's look at a few voices which you can use depending on the situation. So the regular one, I play, I played a triad. I played a major triad here on my left, and I played us 7913 on my right side. Looks like that. I mean, if you want, you can add you can add the five on top years. Well, that's up to you, right? So it's going to look like we want to try it for maybe f. So triad, triad on your rights 7913. Triad on your rights 7913. Okay. Excellent. So that's how you form a major 13 chord. Another voice, and you can use a much simpler voice and where you have the major here. And you have that 709 here. But it's sort of puts into 13 on top. You keep the Ted's enclosed. You just bring the 13 in here, right here as well. Okay? So you may, you could play it as a major. Our two chord and the five plan a major are to under five and place just these two nodes on your left hand. Or you can play it. This as well, triad with 1379 and arrived. So in the key of F is going to be like this. And you can see like this might actually be easier to see it like this. Because then I can easily play this in everything, right? So if I go to the key of G, this is G, and find a five and play a major. Major. Major on the five, R two, and play 13 on the left-hand, right. Let's try for the key of F sharp. So very easily. One hundred, three hundred lefts. Major R2. In this case, a two is going to be the line of the epsilon. So that at least easy shapes of looking at complex chord and breaking them down into two civil courts as the key and there's a way to go occurs. You might not be able to memorize how these courts look every time, but by just splitting a complex core like a major Katyn chord sounds so strange. But I've just broken it down into two courts. A triad in my left and another simple major are to coordinate my right. I put these together and have a Katyn chord, right? If I go to the key of a, I can do a similar thing, then they have my 13 coins, they're perfect. Let's look at the next the open version of the score here. So this is 11 voice and I use quite a lot. So what I play is milliwatt and the 59. And then I play the, the three. That 137. And an eye repeats the three. Ok, this is one open voice and I use very often. So I using this kind of voice. And so if you look at the first chord is a major thirds ink or another. So that's like a very nice thing used in jazz, right? And it goes full as well. So does the voice. And the way I see it, I see this. I see it. And I call it suspended on the third school. I, I see the right-hand chord as a sus, four coins on the Fed. And as time sensors, a major cut in court, the Fed is not going to be a minor third is going to be a major third of the sea. And then I played a SAS for here. And the moment I put this, why 59 here becomes a dirty. Look. If I take this line out, is no longer activating goddess. Now nine is going to be a major seven with a tension added again, so like that. So use the example of plays on the screen to try and figure out how to play this in a vacuum. So c is going to be like that. F is going to be like that. B flat is going to be like this. E flat is going to be minus. And move around the cycle of fourths, a flood. You can see that it's the same chord being repeated only their position is changing. C sharp, F sharp. And the only reason why I'm able to go there and quickly played well, apart from the fact that I've been playing it for a long time, is that I've broken them down into two simple courts in both hands. So have a go at it. Pause the video, try and play this in a couple of keys. And once you, you're okay with it, move on to the next lesson and I'll see you there. 8. Dominant 13 Chords: Hi. In this lesson we'll be talking about Dominant 13 courts. Now. Dominant that encodes dominant nine coins with a static extension. Just the same way as major testing courts are major nine cores with attaching extension. Ok, so what's the formula for these? So the dominant nine hazard formula of 135, flat seven and the nine. And then we added 13 on top of that to form a Dominant 13 chords. So you see the dominating written simply as static. So in the same way as C seven, C dominant seven. See that T, S, C dominant techy. So let's, let's look at it. So this is your C dominant chord. Right? I'm going to play that, played out in my left hand. And then if I add this does a dominant nine, so c9. And if I add the 13, it becomes this RATIONAL_C line 13, but as a C 13 chord, okay, so a C 13 chord. Okay? Okay, excellent. Now, let's do the same thing for another key, the key of F. So try, I want to pose a challenge to you. Pause the video and try and see if you can play an F 13 chord easily. Okay, good. If you're able to do that, that's awesome. Let's do it together. So an FTA team, you play your F. Dominant seven here. So dominant seven women with your 913, right? So you can, you can see that when I tried to alter it is written as in SAS for so let us act. It's an F2, not an afterlife 13. So I need to correct that from the software. Okay. Excellent. Let's try let's try a D a defense in court, right? So d sets in is going to be like that. And playing the dominance by left and putting the mind in the right. Excellent. So let's try and find some closed and open versions which are usually used for the scoring. So I've put all of that on the screen. We'll start with a closed version on the top-left. So the close version I'm using here is my left-hand in blue is playing the first three, the triad, and the right-hand is playing your 13, your flat seven, and the nine, and you have the same port. So this is a closed, closed chord. And the same way where we had the major, major 13 as a major are to under five. This is also a minor addtwo on over, over the roots. So you can use that as well. So like that for F is going to be like that. And then the second, second voice and type. On the top right corner, you see I have the watch, the five and the flat seven. And then I have the nine, my free end, my 13 on manometer. You can leave a three out cause then a something else, right? You need to have the three in the one voice like that. So if you want to use a similar, similar voice and for F is going to be like this, like that. So ok. And for the open voice and it's going to be similar to a major major threats invoice and which was minus by then in this case, that's major seven here can't be here causes a Dominant 132. There has to be reduced by a semitone. Okay? So if I know the other one, I can easily play this like that. And then see. Excellent. So now you know how to play a C 13 efforts in BJT or the fat in courts. Go out, pick some chord charts that have 13 coins in there. Use some of these easy called fluorescence to figure them out and play all the songs that you love so much. Thank you for joining me in this lesson, and I'll see you in the next one. 9. Minor 13 Chords: Hi, let's have a look at minor 13 courts now, minor 13 chord as an extension of the minor seven chord. So remember, we had a minor 11 chords, but we didn't have the major 11 and other minor 11. The moment you add an extension of the fats into it as a minor 13 coin. So this, if you already know the minor 11, which is a minor seven chord within mind making a mine and I, with an 11, Making a minor 11. Then 13 then becomes a minus 13 corn. So the formula is one flat, 35, flat 791113. This looks like a very long formula, but the moment you start to look at it as the building blocks from where you started from and where you are now, you see that it follows a very nice sequence right? Now. So as I said, is an extension of the minor login corn. Unlike your major and dominant thirteenths, which are extensions of the major, then at which extents of the major and dominant mind, not the dominant fatty. Okay, so I need to draw that clear. The station. So it is simply written as minus 13 chord. So let's look at the key of C. So if you have the minus seven here, my nine with my lab, and then 13. So on your screen as a minor 13 board and it's showing that 911, so it hasn't 911 in the right. So this is simply written as a C minor 13 without any brackets at all. So, okay. So that's, that's it. You can at least this is a voice and as 100 minus seven on your right-hand. And of course, using the same principle and concepts I always use, I'll see my right-hand as another simple chord. So I can see that this is assemble minor triad right? On the to. The D minor triad on the right-hand over there. C minor seven chord that forms my c minus t. Now let us look at some close and open voices. You can pause the video and try to play this simple voice and that we just looked at. You can try and play that in other key. So in the key of F is going to be like that. F minus Amazon, my rights. And then a G minor triad, right? In the key of C sharp is going to be a C-Sharp chord was an E-flat minor triad, and an E-flat minor 13. These concepts are very, very important. You need to always figure out a way to make it easy for you to play them. As I keep saying, alright, so this first clause version is I used, I play the minor seven chord on my left. And then I come here and I play the, just like the D minor triad are explained by this time around. I inverted. I don't play this way. I puts the 13 and the bottom. So you can see there's some some kind of overlap of criss-crossed year. That's quite an interesting way of voicing score. So it's one way I play it. There. If I go to the key of F sharp, is going to be simply epsilon minus seven. And then G minor triad inverted down, one stupid. C-sharp Minor 13. C sharp minor seven, with the E-flat triad inverter down. So that's a nice way of playing. Sounds nice to me. The next, the nice voice and type. I use as I played a minor triad on my left. Then I play a major seven chord on, on the flux. So the flux of insert_one belong, right? So it's a flat seven. I play medicine. And it's a beautiful voices. So yeah, that's, that's a very nice voice than regular minor triad on your right. And then a major seven. And on the flat seven. Perfect. So if I take this to another key, F, I'm just going to play my F triad on my left. And then a flat sevens and efflux. I'm going to blend E flat major seven. And then I have my F minus 13 is always comes down to triads and seventh chords. So these are the basic ones you should know. You know your triads and know your seven. You can find a way to use the su to always get you to play or ninths, elevenths, thirteenths. Okay, so that's my, my, my way of going about it. Okay, perfect. Let's try one last one last key. So g. So that's the minor triad at the right time. Instead of looking at this as my minor, my 7911 chin, right. So that's what it is. This is your one, flat 35 flux 791113. But I'm seeing it as a major seven chord on the flat seven. And then I'm playing it over a minor triad. Okay, excellent. Let's look at a last voice. So with this voice and I'm plane, it's quite similar to what we played before. And plane just the minus seven of my rights and an AND-plane that G chart I spoke about before. I'm only topping it up with, with repeated, this sounds like an open voice inversion of this chord. So it's like that to make it sound much open, right? Okay? So if I want to play this for another key, the key of F, So F minus abnormal left, and then the G minor triad open version on my on my rights like that. Okay. So now if you were to meet a minor third, minor 13 chord in any core chat, you will be able to construct a minor 13. God, take your time, go through all the 12 keys. Give it a couple of days or hours depending on your level and take it slow mixture. You are able to play minor setting goals whenever you mix them. Thank you for joining me and I'll see you in the next lesson. 10. Song Session 8 - Have Yourself a Merry Little Christmas (DEMO): Yes. 11. Song Session 8 - Have Yourself a Merry Little Christmas (BREAKDOWN): Now that you know, that's in courts, let's add a few 13 chords to our song. Have yourself a merry little Christmas. Now, have replaced. At the tail end of the song, I've replaced that G line or G7 chord to a GCSE. And I've added an F 13 in between as a passing chord. Lead into your regular minus nine, minus nine. And I've made a d theta1 as well. So you have three tests in courts. Now says, you know the rest. Let's see how we voice our 13 chord. So whether g 13 chord, you're going to hold our one, I've went to hold are one. And the seven in our lifetime. And will play that, will play the 313. And that line up here. So you have the three in the key of G, 123456, the 613. And you hear me doing a little pile on to that and grace loads. So instead of hitting the 13 core straightaway, I am doing that. Okay, so the way I am seeing this testing code is I'm seeing it's us. The plane at 362 in my right hand over the 157. If you play that. And if I do the same thing for the F 13 is going to be like this. 62 of F, 1-2-3, 4-5-6. And to overlap that. So if I play the last line is going to sound like d minus o like that. E, t. Then I moved my regular e minor. A minor 913 is going to be like that. Okay. There's a similar voice. And for the similar voice that we use for the G 13 we played at 362 and write right on the G 13, we played and played 3-6 to the F 3157362 in my right-hand. That D chord as well. You plane d like that, and that's the three and as a sixth of the two. So I need to put 15, 70 million, but it's a bit muddy here. So what I'm doing is my a minus nine and keeping everything in the coordinate, only dropping my, my thumb onto the deed. And it forms a very nice, easy voice leading. Now remember on your plate to five ones, you want to look for the easiest way to get between the two chords without moving your hands, all your fingers. So that's my my D minor line. And then I dropped my thumb by a semitone and have my d 13 chord and then my Ji Lai. So if I played it last two lines again, it goes one more time. So if you play the song from the top, try and play this practice with the testing codes introduced here. And use similar concepts as I've used as well. And if you're comfortable with it, converts the chord progression into that number system and played in any other key of your choosing. Thank you for January this practice session. And I'll see you in the next lesson. 12. Sus Chords - Overview: Hi. In this lesson we'll be looking at Sus chords. Now what our SAT scores. So SAT scores are just are formed when the third of a chord, which has major quality is altered. So when you move the third down to the second or up to the fourth, then a PSA score, this form. So it's, the third is seen to be suspended onto the fourth or the second. Now, please take note that the definition says chord of major quality. So it doesn't only apply to the major course. Another very basic form of SaaS, SAT scores. You may have already encountered, the Fastow and SAS for courts. And these are formed when a major chord, like a C major, has its third suspended onto the second. So replace with a second to form a ceases to increase to a fourth to form a C sus four, right? Now let's take it even further. So since it's a chord of major quality, This means that major, it applies to major chords, major seventh chords, and dominant courts also have major quality, says, dominant chords are formed from major with a seventh, right? So major chords, major seven chords, dominant seven chords, major minor, dominant, nine, major 13, Dominant 13. All these can have the Assad's version. So if you see a chord like C Major seven sus four, I, C Major seven, such two, okay? So then you know that it's C major seven. But in this case, the third within that court has either been suspended onto a true to form a SAS to or to afford to form a sus four. So let's see the C Major seven chord. And this is the third. So if I move the third onto the second, I form a C Major seven such two. And if I move the third onto the fourth, I form a C Major seven sus four. Okay, perfect. Let's try it for dominant seven. Okay, so this is your dominant seven chord. So 135 flat seven. So if I move this third onto the two forms, a C7 sus to move it onto the four forms, a C7 sus four. Okay. What are the major nine or one thing? You should also notice that my wife and TET in courts already have the nine in them. So you can't have SAS, two versions, okay? You can only have the sus four versions of those chords. Okay, so that's, that's the way it is. So if we look at the Major nine chord, so the Major nine chord is like this, right? Major seven with a nine. If I replace the move the three to the four and forms a major nine sus four. Well, I come I mean, if I move it to the three to a two, then it's becoming a major seven such two because now says U3 is absent as seen as, as a major sandwich with a suspended to an abbreviation these notes, right? So you can only have SF four versions of ninth, tenth courts, which I believe makes sense. Okay, let's look at a dominant nine chord. So this dominance oven with a nine, so that's a C line. So if I move that three to the four and from a C sus four, which makes sense. Yes. And then let's look at a major 13, major 13 chord and sus four, right? So this is a major 7913. So if I make the 3s to the four, ok, It's writen. If you see on the screen, it's written as a very complicated chord, but it's not that complicated. It's just a major, a major fixing with the sus four. Ok. Same as a dominant. 13 with a sus four, ok. But you will, you will meet a chord sometimes. You see accord written C 13 SAS. So thus special one. When you see it written as C 13 SAS, it means that it's a C 13 chord with this has the SAS for it's as simple as that. So C 13 chord is F dominant seven with a 913. And if you add, if you, if you take away the three, add, make the three, which is here, you make it a four, is going to be a C 13 cis. Ok. Now, you can see, because see that when we play a normal sunsets in other for now is seen it as a C 13, sus four, borrowed, added three. Okay, so let's look at complicates issues. When you see a C 13 or an F2 in SAS or R, G, M is in its play a G Dominant 13 chord. And add, change the three to four. Okay, so in all such scores that three must be absent. When F3 is present within the PSA score, it may be interpreted as a PSA score with an added three. Okay? So, so let's say an F, F 13. So you have your regular F chord, F chord like that. And if you take the three out and make it a four for the F, F 13 quarters like this. And if you take the three out and make it, therefore, it becomes, so the Friesian mechanism for it becomes an F 13 SUS score. Okay, so this is a very good time to pick up some lead sheets, download some of them on line or pickup. A real book if you have any, look through the sounds as if you're going to find some SAT scores in there and try to play those core progressions, incorporating your SIS course into your play. Thank you for joining me and I'll see you in the next lesson. 13. 7 sus2, 7 sus4, Maj7 sus2 & Maj7 sus4: Hi. In the previous lesson, we went through the Saskatchewan's. Quickly. Learn in this lesson we are going to take our time to break down some of the types of SAS courts there. So let's get into it. Okay, so the first example is the seventh chord, so that you'd have to build your regular seven chord. Example a C7 sus to, you have to blow the irregular seven coin as the 13, five and flat seven. And you'd have to replace your three with a two to form this chord voicing. Okay, so C7, one to five, flat seven. And then the F is going to be like that. And the G. So it's pretty much SAS to court with a flat seven on top as c sub two with a flat seven. Okay. Fs as to when the flat seven to form the F7 Susto. Now let's take a look at the second example, which is the seven SAS for so similar concept. Yes, seven chord. But then three is replaced with before. They have a 145 and the flat seven. Okay? So sus four chord when the flux seven K, So F sus four with the flux seven, like that. And then with a G. So try and take these through all the Iraqis. Okay? Now, what are the major seven chord? A major seven, SAS to coin. So that's major seven. With a sassy gay. Major seven says 21257 major seven chord. When a three you replace with a two. So F Major seven, such two like that and the G major seven like that. Okay? Now I have a challenge for you. So try pause the video and play a C Major seven SAS for a C Major seven SAS for, I. Give you two seconds. Pause the video, try to play it and then retain, and let's do it together. Good. So now, if you able to do it as C major seven with a SAS for, would have, would have the three replaced with a four here. Okay? Now one thing you should also notice that the, that 24 maybe played an octave higher k. So you may have the mega seven here. And if I click that three out here, and I play the for, an octave higher, higher still becomes mega seven SAS for phi played here, it still becomes cis to Vm. Now, someone may ask, why is this not a nine in that case? It's not a nine because before it becomes a nine, you should have your three in the coil. So the three should be in the core to make it a four major seven. And then when you add the two, then it becomes a bind. So if there is no three, the analysis SAS to ASUS, SAS for court in that case. Okay. So let's look at some clothes open vector. These are not necessarily closed or open versions, but let's look at a few of them to play with both hands. So C7 sus to our play with I would usually play plate like this. And then play the sash too on top. Or you can, you can do any melody on arrives, but that's one example. And then C7 sus four. You could play it like that. And then put the four all the way up there. Or another way you could play it is to play the C, C sus four on your right and then place this kind of voice during a right-hand Asus true of flats. So the flat seven, the one and the four, and your writer. Ok, let's look at a C Major seven SaaS too, so I could place the, the strain my hand. That's pretty much the whole part. Or you can just play Kate like that. These are just examples that try and play around with the ones you want to play around with. So it's C major seven sus four then is going to be a C sus four major seven. And then the fork and also be here. You could use this kind of voice and now you can go like this. Okay? So have fun with these sides voices, and I'll see you in the next lesson. 14. 9 sus4, Maj9 sus4, Maj13 sus4 & 13 sus: Hi. Let's take a look at a few more examples of the SAT scores. The nine, sus four and a major nine says For as well as the fetch in such. Ok, so looking at the first one, which is the nine sus four. So the nines as four is just a dominant nine chord, like a c9 or F9, which usually would contain the dominant seven chord 1357 together whether nine. And this three here. As swap is replaced with a four. So that gives you an ion SAS for. So in that case, if you were to see a code like C19, SAS for the value would play it. Yes, like that. And you may also play the four on top like this. So you can decide to voice its voice, it like that. Okay, so does voice and it's quite simple and nice. We'll look at a few more of the voices a bit later. Now the major nine sus four. So the moment you hear major NIH answers for the first thing that should come to mind is that this is a Major nine chord with a suspended for mainland F3 has been replaced. So the Major nine chord, 13579. And the three replace with a four. So that gives you a major nights as well. So this is C major ninth. As for an example, F-major nines as 4B, F-major mine. For the SAS for okay. Like that. G major nine sus four would then be like this. Okay, so it's a G regular G-Major nine with the three replaced by four. Okay, Let's look at another example. Such courses, as I go through this course, feel free to pause the video and studied accord very well. For the purpose of this course, I need to move to the next chord, but I'd advise that you studied accord bit war to try to get them in a few other keys before you move on to the next core. So the core is a major FET in SAS for a major 13 sus four. So we'll have to play the major, mine and the 13 and replace a three with a four. And Accord given on your screen is an alternative. Court. Voicing, but this can also be seen as a major 13 sus four, like that. Okay? So a major 13, cis form, okay? The next one is 13. So 13 SAS is just called SAS 13. But another words, 13 chord with a suspended for, okay, but usually you see it written as a g such that in c such that f sub sustain setting and so on. So that will be, and that's encoded as a dominant nine C line with the added, added 13. The third theme and the moments you replace the third with the four, here becomes a 30th. So I took the fed from here, plays it on top here. You can choose to place it at the bottom here as well. Still forms the 13 Sasquatch. Okay. I think this is a better voice than to play it. You played a 15 flat seven on your right and play arugula minor triad on a second. So does the second I play D minor triad in this case and put it over my dominant voice and 15 and flat seven and my left hand. Okay, that's large enough for the fatty says. So if I were to do the same thing for f down below that, okay, so as I stated earlier, the third must be absent in order to get the SAS voice and either third is present, then it's going to be annotated as Sus chord add three. Okay, moving on, let's look at just a few of them we've already already seen. But just so you can pause and have a look at it. Well, so as we spoke about the C9, C19 SAS for it's like that. And you can see that I have I've placed this note on top. Vehicles have used a grey because it's optional, you can decide to add that to the voice, not just leave its causes a rainy here. Good. And then the C Major nine sus four. So C Major nine sus four would be the C Major nine sus four. Okay. So you can decide to add this asphalt and take it away from the bottom. Then it becomes this chord. Okay? So by just knowing the numbers that you need to combine, you can easily to get to all the other keys. A major 13 SAS for major, 13, SAS for excellence. And then the last one we looked at was the C 13 SAS for, or the sea FET in SAS. So this was, this is a very common chord you might see in jazz. Need sheets, a 13 SAT score. So the moment you get it, you can voice it easily as the 15, 17-year left, and then the minor of the tree on the right. Or you can cluster it like that. Excellent. So have a go at these voices, experiments with a, gets to know them a bit more and pick some of your favorites song sheets and find out if some of these cores I in them. And if they are, you can use these concepts you've explained to figure them out. Thank you for joining me in this lesson, and I'll see you in the next one. 15. Song Session 9 - Have Yourself a Merry Little Christmas (Sus Chords): And this practice session, we are going to apply our SAT scores to chord progression for yourself and marry later Christmas. Now, this progression is going to be exactly the same as what we played before. But on the Christmas, I'm going to introduce the G9 SAS for the G7 SAS to, okay, so how do you play the G9 says for I have my one by five minus seven, minus nine. And if I play the three becomes a G9. But if I move to the three to the four, I have a G9 SAS for this same code, you can see us F triad over the G. Okay? And then from there, you move the phi, therefore to the five. So if you move it to the five which is already here, then it becomes a G7 SAS too, because then you have the 157 is plus 2157 and in the two becomes a cis seven. Such two is no longer in mine. It's no longer in line because you have that. The tool here becomes a SAS too, because there's a lack of the three, right? So on the first line, when we play after yourself, a merry little, g nine sus four to a G7 such two. And the rest of the song remains the same. Okay, so let me play through one more time, so like that. And if you can't play the melody, just stick with the courts. But it would be nice to add a melody just for the seal, right, is just a few extra minutes. And if I'm right, back to the first line where we use our SAS to satisfy ancestor. Okay? So GNI is as four and such too. So if you, if you want to practice quickly, you can just take the first line and play them at every single key with a number, say player one major seven, S6, six minus 11, minus 11. That's five, nines as four. And then I have seven says to try and do this in as many keys as you can. And once you are, then add on to the next lesson, and I'll see you there. 16. Altered Chords: Hi, in this lesson we'll be looking at all-time records. Now, authored courts. Those kind of course where you see and it looks like the first part of the court looks familiar. But then you see salad days like a flat nine sharp nine, flood f5. F5, thinks like that in there. So let's talk about them. Now. Generally, other courts are basically calls in which one or more nodes within the diatonic scale, which is the major scale, is replaced by a neighboring nodes in the chromatic scale. Now, this means the chromatic scale is just the skill of every single nodes. So a c to c plane, every single notes in the chromatic scale like this, c. So this is a chromatic scale. Okay, good. So it's all of them. So if you have a code in which like, let's say a C7 chord. And then this five here is replaced by an loads from the chromatic scale. This pretty much means it a semitone below, a semitone above. So if this five is replaced by a semitone below, then is going to now. It's no longer as c sub n, but as a C7 flat five. So that's what we're talking about here. So moving on. Now that diatonic scale here would be major. Major scale for major. It's a major scale for major type chords and a minor scale for minor time courts. Ok? So not going too much into that. Whereas you have caught extension like a major seven. Severe, just an added extension onto the nodes. Four with another nodes within the diatonic scale, where you have the 913 and so on. That. And also cord is where you have the notes itself altered with and replaced with a nose which is outside the skill, ok? So that this occurs usually to dominance. And you can see some minor chords like a minus seven can have flat five as well. But most of the time you have dominance, that's Alton and the alterations are usually okay. Okay, it's on the minds and the fifth, the ninth. So back to the C7 chord. The mind, which is the ninth, can either be flattened to form a C7 flat nine. Or the mind can be increased by a semitone to form a C7 sharp line. Or in the same C7, you can have the five to be flattened to a C7 flat phi or shopping to a C7 Shafi'i, or look at it in more detail shortly. So just what I was talking about as seven flat five then is going to be your regular 7135 flat seven. But the five is no longer a five, is going to be a flat five. So 13, flat five and flat seven. And then Dominant seven sharp five is now going to be your 135 and then flat seven, K. And then moving on, your dominant seven, Flat nine is going to be a dominant seven with the flux line, ok, so 135, flat seven and flat line. Okay? And then the Dominant seven, sharp nine is going to be aligned for you find seven sharp nine. The sharp nine is also like a flood. Ch3, right? By in this case is how is written. Now, this, I'm not going to go into voicings and o because there are quite a lot and it might be different for each time. My favorite voice and for a sharp nine shaft five chord is the witch who will speak about soon, but find your own ways of voice in them asset when you meet them in songs. Okay, let's look at a few more explanations now. So these alterations can also occur on dominant lines and dominant settings and major seven chords, right? So a major, a major seven chord can have a flat five as well. Could have Shafi'i. So it's quite open as, as long as you see it. Understand that the left side of the coin is something familiar. And on the right side is determining which nodes within the diatonic scale needs to be altered to achieve a particular purpose. So like a dominant, dominant nine chord can have shaft. It can have a flat five. And flat five sometime called a sharp 11 as well. Okay. There's got a shuffle oven in this case because whenever you have a ninth, you have a ninth in, then you're getting close to the London commonality cord and 11. So as long as the nine day, The four can be decoded 11. So that's why you can say the sharp. So if you see a scene, C99 sharp 11, this is what it is. C9 with a sharp 11 nodes in there. Okay? Now, in jazz theory, the term olds way, you may sometimes see a court that says CEOs or geo. Him again, there's quite tricky because then you don't know what kind of alteration needs to be done. So this is written to indicate that it's an altered chord. And altered chord is usually produced from alteration of the fifth and the ninth. So when you see the gi See old or f or whatever it is. And it means that it has to alterations in both mind and a fifth alteration. Ok. And usually the rule of the farmers that you alter one at a time. So we'll get into that. So the the rule of thumb is that if you see like a C7 old, just use, decide whether you want to make the five shockwave floods and a nine, a shockwave flat. So you could either get C7 flat nine, flat five. You can get C7 flat five shot nine. You're gonna get a C7 sharp five flat nine against this Shafi'i shut nine. So the permutations of each of them that it's up to you to judge and decide whenever you see like a jolt, to decide whether you want to use a flood nine, flat five or flat nine, sharp nine sharp five or shut nine, fly five. Okay. How these alterations is up to you to use it. Whatever you want to play, try all of them and see which one sounds best. You depend, depending on the situation. Then if the sheet music is kind enough, those states exactly which node should be altered it within the audit corn and within a band situation as well. Recommend that if you bought CAG olds, you agree with the guitarist was not to author because you might be playing a flat nine sharp five and guitars my replaying a sharp nine flat file. And you're going to have a very dense code combination between the two of you. So it's good to agree on what alterations you are going to do whenever you see an ambiguous code like NGOs or SEO. Okay? So let's take a look at a few, a few, you know, visual diagrams of these courts. So we've already seen the C7 flat five, which are C seven with a flat five. And then C seven where the shaft. And then C7 where the sharp nine. C sub n with the flood, C99. C99 when the flood F5 or the sharp 11, and the C seven with a flat nine. Okay, go around the keys, try this in other keys as well. Try these group of five chords in the key strides on d, e, f, g, or the 12 keys. And make sure you'll be able to construct them as and when you meet them in your core chats or your sheet music. Thank you for joining me in this lesson. I'll see you in the next one. 17. Chords with Add Notations: So sometimes you might come across a cord with add, an odd notation. So it might say add 11 are 13, AD major seven, R3. What are needs scored? So courts with add notations are those cosines which a note within the diatonic scale. So these are not the old said courts, but in notes within the diatonic scale is added to the court. Where what I've not been there originally. Okay. So for example, let's look at this coordinate, a Major seven, add 13. Okay, so you have, for example, a C major seven chord. And you know that in order for a 13, a cause to be called, like, for this to be called a C Major 13, there has to be a nine. But in this situation, this major, major southern athletes in ones have a nine, is just an ad notation as this and external pig onto where it is not a for corn extension. So the moment I add my 13 on top here, it becomes a C Major 713. Now on your screen you see it as into Baraka 13. So this can also be written as a C Major seven add 13. Okay, so F Major seven add 13 will be that. Of course, you can also put the, put the nodes in there as well. Right? Excellent. Now let's look at other ADD. Courts would add notations. So this one has a minus seven, add 11, and minus seven add 11. Again, a minor 11 courts should have a myelin there, but a minus 711. Using this notation allows you to use to use a London without necessarily used in the mine because you don't need it, exhibits clients. And so a C minor, seven, like this. And we can add a lemon to become a C minus 711. So it can either rootless C minus parenthesis 11 or into bracket at 11. Ok? So an F minor seven add 11 will be that. You can cluster it up like this. Okay, Let's look at another example. A diminished seven AD major seven. Because you know that in that diminished seven, you have the one flat three, flat 56. So the major Summit is originally not part of the diminished seventh chord. So if you have a C diminished among the major seven, the sphere is not part of it. But what if I want to add it to it? Or what if I see a sheet music that's says add major seven. You see some diminished seven with a major seven added. So like that. So that's as simple as that. F diminished seven AD major sum. So that's the power of ad costs that add notation. You're able to add notes which are originally no part. And you're not breaking any rules by doing so. The next one is a SAS for seven, SAS for R3. Now, this three that we are adding, this originally not part of a SAS for corn because remember a sus four has the three replaced with a four. So as a C7 sus four has no three. This is a C7. Sus four is like this, so the A3 is gone. But what if I want still need my three in the court? I I just want to add it for extra quality. Then I can put a three in there. Now is going to be C seven, C sus, C7, sus four, I3. Okay. And in your inner sheet is seeing it as a C7 add 11 because there's some somewhat similar arise a C7 with an add 11. And it can also be interpreted as courts I'm at times can be interpreted in two or three different ways. So you can meet up with her as a C seven, C7, sus four, R3. Okay? See in a C9, such for a_3 as well. Okay, so this is how, this is how the courts with annotations are used. If you see them in a quartets, you can try to pick them up and construct them. Now, one more thing to add is that sometimes add the term arginine is added to courts to specify that you need to play. Shouldn't play the second bump laden line. And the only way then the second is called Night is if there's a seven or a sixth present in the core, right? So if you have a major seven chord and the moments I add that to is no longer a 2is non-chord nine. But sometimes you have a C Major chord. And in some notations they want to specify that you shouldn't add the to within this octave, you need to add it up. Then you see that automatic code generator is seeing it as a C Major chord add too. But in certain instances in courts that you may see it as a C major Arden mine or a C add nine. And this is an exception to the rule. So when that Satan is meant to tell you that your nine, it shouldn't be a two by nine, so it should be one octave higher. So like this kind of voice. Or as C, F at nine, we realize that it has it fallen sound as well. So as Andy was speaking about, so is going to be a 1359. I could also see it for a minor chord as well. You can see a C minor add nine, so it's going to be C minor, whether you're seen as a U2. But if a state that has a nine, then it means you shouldn't play it in here. You should made in an octave above. So thanks for joining and this lesson, triangle around the keys used some of the calls with our notation is discussed in this lesson. And play them around at 12 keys. Pick some chord charts and see if you can find quartz with our notations and try and construct them and play around with them. I see in the next lesson. 18. No3 and No5 Chords: Hi, in this lesson we'll be looking at NO three and NO find chords. Now sometimes you see a code written as maybe C7 and Interbrand had no three. So as the name implies, this means that there is no, as the code you already know by, in this case, take the three out of the corner. Ok, so those calls will usually should have the 35, but in this case they are taken out. Okay, so for example, now this NO three and NO five courts can also be called omit 35. So in some books, they are written as omits 35 and same as the name implies. Okay, so let's take a quick look at some examples. A seven node three chord. So this is a C7. If I take the three out, it becomes a C7, NO three. So that's an F sub n. If I take the three out, some F7, O3, That's a G7. If I take the three outs, suggests have NO3. So depending on the song, The Composer may choose to take out the three or you, the composer, you may choose to take out a three. And this is how you would notate it for someone else to play or piece of music. All right, let's do the last one. S, C sharp seven, NO three. So C sharp 76 or seven, N3, k. So does a C sharp seven and the NO3. Now, the next one we will look at is the minus seven n5 coin. Now, this somehow can be interpreted by other people by saying It's just a minus seven. And this is because the three and the seven are the Guide Lots of Southern corn. So as long as the three and the seven are present, the court is somewhat fulfilled. But in other books as well, it's notated as a No five to tell you specifically that. Don't play the five, take it out. So, so a minus seven will be like this. And if I take the five out, while you can still see on my screen that is still remains a minor seven chord. But this can also be notated as it can be annotated as minus seven, no five chord. Okay? And this other example is no five quarter k minus seven, add 11, no fine. Okay, so five is just taken out. And you can see here that it's state and ends at minus seven for added on top of it. And this is because it's seen the score it as a complete minus seven, even though there is no five. Okay, perfect. So just have a go at it. Check out some chord charts. And whenever you see an O3 or n5, it's nothing strange. It is only that the Court would have usually in a normal situation, has a five or a three, but in this case is taken out or is omitted in that situation. So thank you for joining me in this lesson and I'll see you in the next one. 19. Song Session 10 - Have Yourself a Merry Little Christmas (DEMO): Right. 20. Song Session 10 - Have Yourself a Merry Little Christmas (BREAKDOWN): In this lesson, we are going to add two alt headquarters. So our chord progression for HIV yourself and marry later crystallises. Hey, so now for the first line on the G7, G9 SAS for from the GNI, SAS for initially we're doing a G7 so as to, so from the F triad, we just changed this node. But now we're going to play a G7 flat nine. So how do we play G7 flat nine while 5-7, right? And you have your three and your five. So this is a G7, right? And we need to add the flat line, this deadline, so that's the flat. Okay, so it looks like a diminished seven and F diminished seventh chord, provided g is going to go like OK. So you have to have diminished seven on the right hand. And the forms and the G line SAS for G7 flat nine. Okay, so let's do one more time. Okay? And the whole song plays exactly the same as we played before. The next SAS authored code I added to the end was the g. D l switches. The last chord, that's a G, 13 flat nine sharp 11. So how do we build that minute to build a G 13 first, which is just going to be if you have g on the roots. Now the way I voice that, I had a couple of notes, so I played something called a rootless voicing. So I assume the bass guitar playing my g for me. And then I play my seven. And my three here, have the G7. And then I play my 13. Okay? And then I play my this is my flat nine, less than nine. So does the flat nine. Thus the shopper doesn't 11. So that's a sharp 11. That top up with offense in here. So I played what does voice and look up there. It doesn't say it's a G flat nine sharp 11, but the moment I add the g to let the court changes to G 13 sharp 11. So that's the concept of rootless voicings. Why you need a bass guitar is to play the roots. Then you have more room to play. Plane. This coordinate. This looks like a regular C sharp minor chord. In this inversion played over that seven. And that is called a tritone, is made up of three tones. 123. So like that. So I play that G. That is, as I play the, and the last line, I play that G, that is us. And then lastly, the last line, it goes like G, d 13, F 13. Okay, so now let's apply some Sus chords to the 13 chord G, F, that scene as well. Okay, so I'm going to play a G 13 Sus chord like this at the boys and I'm using this then 157 and I'm playing, I'm playing a regular minor triad on the second, right. Though. You can play that and do the same for F minor triad on the second, which is the G. And then you have f. So let's play the last night. Last, but one line it's going to go. And then the G. G. Okay, so you guys can stick with our regula that's incurred. Or you can use these. And I hope that after this sounds a bit dark, doesn't so because take with F Riblah efforts in court, so like that. Then we move to the E minor seven. E minor seven, a minor line where d. And then now we play this g. That means us. And then we drop it to this lamp plate altogether. So I, so now bringing some kind of tension there. Okay. Try and play around with this. Pick up a couple of car chats or at least sheets with these kind of altered voice and it's, and play along with it. And you've got Blair along with the backend tracks which Alan blood into their file resources as well and all the best. And thank you for joining me this practice session. I'll see you in the next lesson. 21. Popular Voicing Formulas - Introduction: Hi, I'm really excited. You've come this far by going through all the various chord types that you are likely to meet on your musical journey. Now in this section we'll be looking at popular voicing options, voice and formulas that you can use, whatever you meet some of these courts we've looked at various voice in examples in this course. But over here, we're going to break it down and give you a few options that you can use, especially when you meet while quad voices that are quite complex. So we'll take it from the very basic quad voice and time to the almost advanced code-wise entitle. Thank you. I'll see you in the next lesson. 22. Drop 2 Voicings: Hi, in this lesson we'll be talking about drop-two voicings. Now this might be something you, you may have heard and is a topic which I get Ax about quite a lot what our drop-two voicings. So let's look at them. Now. Drop-two voicing is basically, you know, dropping the second highest note of any court. So these, this kind of voice and is used to make the top melodies stand out. So for example, a C major chord, the C Major chord like this, in a drop-two voicing. All I have to do is to pick up the second highest loads. And that's the highest note that G is a highest nodes in this, in this inversion, that g is a highest note, and then E is the second highest note. So I have, if I want to make a drug to version of the C chord, I take out the second highest loads and put it in my left hand. Like that. So this is forming a C chord. The two has been dropped and you might see it sometimes written as slash quote on your screen, but that's fine. Okay, so that's a C drop-two voicing, voicing that you realized that with this kind of voicing, the top melody stands out a lot more. So let's kind of concept was introduced in when we are trying to write scores for big bands like Hans bands. And by using these voice and types, you able to spell out the melody a bit more, a lot more. Like If I play, right, if I go. So you could hear clearly, that's, you could hear a melody. So if I want this melody to censor, this is just my demonstration. If I want this melody to stand out and I use drop-two voicings. There is no competition caught us a big gap between the highest loads and the next highest note. So there's no competition there. So, so, so this, this is the, how powerful drop-two voicings are. Let's look at it in its basic form. So a C major chord, you can drop it down, make it drop to voice and like that. But of course, if the C major chord was to be played in this inversion of the C major chord. Then if you want to make a drop two still applies, you can drop. The second highest notice is g in this case, and played like that. An, a minor chord with a drop to take the second eyes not out. And you drop it down. So like that. Okay? If the a minor chord was to be in this inversion, you can still drop that. And that sounds a lot open and sounds much better. Or look at a few examples. Ok, so now note that the drop-two can be applied to a liquid type. It doesn't have to be basic major or minor chords. So if I was using like seventh chords, if I have this chord, C major seven chord, dropping the two same concept applies, second-highest notes. I drop it down to my left, gives a very beautiful sound. So if I, if I had an F major seven and drop two, I can have that dropdown. Okay. And yeah, and so you see that it's, it's written down as F Major seven slash c. So which means that F major seven bar with a c base, not unlike the vast lush chords, if the base note is still part of the court, you know that obviously this can be used to annotate drop-two courts because it has a C on the rootNode to k. So this F Major seven, if I were to put the seven other bottom here, this is still an F Major seven. But then if I wanted to use a drop to, I guess still take out the second highest note and put it in my lifetime. Ok. We'll look at a typical example of how we can use drop-two voicing. Let's apply it to a very simple chord progression. So there's a simple chord progression that I have here. It's an, a minor chord to a G minor chord and you have the three on top. So that means I'm playing for three council 123, G 111234, then D minor 1231. Okay, so if I, let me play this in root position for us, it's going to have either 23234123. Okay? Now average and the voice leading at the bottom. So what does voice-leading means is that I need you to play these chords using coding versions such that you're going to have the nodes on top is going to be c. Okay then. So I needed to invert these courts are the first chord, a minor. If I need to invite you to have the C on top, I need to bring this one to the bottom. So this will be my first car. So. Take this as a challenge. Pause the video, and try to play this chord progression, inverting them to make sure that the, these melodies on top k. And once you're then head back and let's do it together. Excellent. So if we do this together, the first chord is going to be obviously what we said before, that a minor and a g to have the d on top is a regular. G has a d on top. And then add C to have the E on top. I have to use this inversion of the C chord to have the E on top. And then the D minor. I need to go with this version of the D minor chord to have my F on top. And then back to the same C we used before, which are having the yonder and at the Dharma G. Now, we want to use drop two voices to play this and hear how it sounds. Played ones that I'll break it down. So it's going to sound like this with a drop-two voicing. One more time. Okay? So has a very different sound towards what are all I'm doing is I pick my fast card, which is the A-Minor, and I don't play all the three notes. I drop that to the second-highest notes. I drop into the motor. Okay, and I pick my last quarter, which is the G. I dropped the second highest moves to the bottom here. And then I pick my nascar, which is a C. I dropped the second-highest no tomato near that I played a three is going to sound like like that. We're now going to the next on the D minor point. I dropped that to the bottom here, and then back to my C. And then the same GIS before. So here let us running baseline, which goes like that. Let's see. So the D, C, B, OK, so that sounds like so how finally the Andrei, unless I was really good, that this is how we've use dropped to voices to play this. Now, we are not limited to just get unlimited suggests. Basic major and minor chords. Let's convert these same chord progression, the same cooperation to walk or, or try and convince a couple of another chord progression uses seven corns and see now another use of the drug too is that it's used to harmonize melody lines. Ok, so in the next lesson, I'm going to take you through how we'll use drop-two voices to harmonize a simple tune that you already know about. I'll see you there. 23. Harmonizing Melody lines with Drop 2 Voicings: Hi. In this lesson we'll be using drop-two voices to harmonize as very familiar tune, Joy to the World. Okay, so the melody line of Joy to the World, replayed it to the key of c, is just c to c, right? So like that. Okay, or K, so C, B, a, G, F, E, D, C, or whatever. You're comfortable with. All 654321. So that's why I always recommend you surface when you are singing melodies because 1234, it's quite difficult to think. Ok, so let's see how we are going to use it to harmonize it. Now, in order to do this, we need to figure out the chord progression. So we are going to play the sound like books together with this course I've stated. So I went to a minor, a minor planets and look positions. So, SO a minor G, F, C, D minor, C, G, a minor. In some songs, in some versions they would end, add, replaced the last, see, like OK. But for the purpose of this lesson, I'm using this chord progression. Okay, so now I need to read inverts these courts to have them go with a voice lead in there so you can try it, pause the video and try to invert these courts to have leading on top. So be sure you're coming up with okay, pause the video and try to do this on your own. Okay? So using these inverse is going to sound like a minor, G, F, C, D minor, G, C, a minor. Once again, to have the voice leading on top. Now let's use dropped to, that, dropped to concepts so that the top melodic and stand out a lot more. So the a minor, I'm going to drop the two like that. And with a g, I'm going to drop the two here. And the air. And dropping that too. And we'll just see I'm dropping the too. And with the D minor, I'm dropping the to put into my left. I'm dropping my lefts and dropping that too bad. Okay, so if I played together, how beautiful that cells, I can tell you for a fact that Assad's much better than drop-two voicings makes us I love beautiful light. Okay? And that's a challenge. You can try to finish it off. Like you can try to finish the whole song using drop-two voicings, Rhizome. And you can do this in every key. You can try and take this course to analyze if you were to play this in the key of C sharp. So you can see that the a minor is a six, G is a five, f as a four sees a one. D is d minus U2. So what does you can easily go to an unlucky like C-sharp. Go to B flat minor, which is in the key of C sharp. So, right. So you can try to do this in lots of keys, in the key of F. This is how powerful D2 psi you can use your tools in crates in your beautiful a1 chose and just plain, nice improvisations is totally up to you. And, but now let's take it one step. Feather where we use, we are going to use converts. These chords that we used into Southern Courts suggests for the fun of it is we are going to convert as most of the course into seven cores, for example. So the first chord, a minor quarter, I'm going to convert it into an a minus seven coin. Okay, so, so that's an a minor chord. I'm going to add the seven. Ok, that's the seven of the a minor. You can place it on top, but I'm going to put it on the bottom here. So my E minor seven chord, I'm going to use an analogy. I'm going to use Mirebalais G chord. And then on the F, the F major seven, right? But I need to invert it to how my thus melody on top. So I'm going to invite the F-Major southern down. And each event is one more time. So I'm going to use this version of the F major seven. And then C Major seven emoji is thus version of it. My g on top, right, and then d minus seven. And when to use this version of D minor seven verses, this all I'm doing is taking the basic D minor chord and puts it into southern India. And then I'm going to use this other version of the C major 7. First we used this inversion. Now I need to use this inversion, right? Same notes to see where the major seven and then the G major seven at G-Major R2. And then back to your a minus seven. Ok, so get the course down. You can pause the video, go back and gets the courts down. Now I'm going to apply drop-two voicing for the same chord progression. Hey, so first score was like that. And I'm going to drop the two here. So this is the drop two version of the score and then regulate gene drop-two version. Okay, I'm going to play slow so you can get to down. And then this is your just seven, right? But I need to drop this one to the left so I can take it out from my right, so like that. And then next chord, C major seven, and then D minor seven, and then C Major seven again. And then my G major R2, I drop the second highest note to my length, and then down to a minus. So if I play it on a medium, speed is going to sound like. So. When this data from the first, so right, that then does drops. So with practicing this firewall, you'd be able to play it at a good tempo, so okay, so it sounds a lot. So you can also mix up, made the regular major ones. So I put a seven in here, 70 AD and put a seven in here. And just makes an everything together. This is how you can apply drop two-tier sound and you start sounding, I may amaze and you can create a melody just like I created before. Like in the key of C, you can create a melody like like okay, and with this, I'm just going to look for core acquired with, with, with that voice lead. And so, so I can play the first chord C, then the first guard, G0, and then C. And like i income, this also has a C. And then now this is a set of GC CF or 51, one for right. Now by using drop-two voices. If I drop this to my left, I can have a very beautiful harmony. So and if I decide to make this one a major ad to drop too, so it's good to be like a Saskatchewan. My right_in says yes, I like. So. So use try. When you hear voice drop-two sounds like these kind of things I was playing. You should be able to identify them with your ears. And then when in your own composition, try and use drop-two voicings to enrich the sound. Thank you for joining me this lesson, and I'll see you in the next one. 24. Three Note Voicings: Hi, in this lesson we'll be looking at three node voices. Now, three-note voicings are used as a basic form of voicing, seven cores and these kind of voice and can be used to move seamlessly between 2-5-1 chord progressions. But let's get into it now. This is usually used in jazz and other forms of music. The main concept is that for a seventh chord, two nodes, two nodes that are called the guide notes. So if you have a C Major seven chord, that guide notes are the three and the seven. Okay, so the three and the 73 and the seven other guide notes of that major chord. Okay, so this means that depending on type of major chord you have, the guy notes could be defense stuff, right? So if you have a major seven, like you said, that 37 would be a guide notes, right? So you see that the momenta hits the nodes, the roots, and I played a guide notes, that quote is fine. And if it's a dominant seven, that is going to be a three and a flat seven, which will be the guide notes, right? And it was a minus seven is going to be the flood free. And if it's a minor, major cement, then is going to be the fluffy and a major summit in that order. So that's the concept used for forming three-note voicings. All you have to do with that 3-node voicing is to play. Or you have to do is to play the roots in your left hand. So with a C Major seven, I played in my left hand, and I play the 37 in my right-hand. So this is the first C Major seven desert fleet as a seven. And I have my C Major seven. But of course you don't necessarily have to play three before the seven. To get a closer. You can always play like a 73 and it's the same thing, right? So this kind of voice and is used in jazz quite often. Let's, let's try and use this three-note voicings to play a simple 2-5-1 in the key of C. So the key of C to D minus seven, using Southern Courts diatonic seventh chords, D minus seven to a G dominant seven to a C Major seven, right? Now, on the D minor seven, if we pick up that this is the D minor seven, and that's the three and the seven K. So if I pick up the three and the seven for now, let's pick up. Easy, easy ways of finding a 37 so we can pick up the 703 or less than the root position. So we'll pick up the 37, and then we go to the G. And then we'll pick up the 337 as well. This is G, does a three, does a sermon. But as a teammate at G dominant seven chord. And then to a C Major seven. Okay? But this sounds so sparse play. You wouldn't want to play a chord progression like this. That's correct, but it doesn't sound too professional, right? Like fans. So what is usually done is in 2-5-1 in jazz, you have, you have a way of these chord progressions leads seamlessly into each other. Because the nirvana secular faith. So if you have a D minor seven and and you put this 73 on top, when you are moving to a G7, all you have to do is to move only one note. So this tells you that there's among these two loads, one of them already belongs to the G7 chord, right? And you can see that this f is part of the G7 chord, but that's not part of the V7 corn. So I need to move that to, to this. So you're going to have a seamless movement like this. And then move into the C. You see that this is part of the C major chord, right? But this is not part of designing to move them down. So that progression is going to be like so like that. So that, that, and that, and that. To play this simple chord progression, that's what I've shown on the screen. If you know how to read the stuff that's taken easily understandable. But this is what I've illustrated here. So the minus seven. So that two to a C, so two to a 551251. Only one finger moving his arm stain around the same area. So the, these are three-note voicings. So that, that means that if you're playing a song and then you see, maybe you see a D by D minor, Ben. And it moves to a G, G seven. And then it moves a, C, C major seven. And then let's say a moves to an F Major seven. Right? We will look at this Moines song sessions and then it moves to him also a B minus seven. And then moves one e dominant seven. Then it moves to an a minus n. So by looking at this long chord progression have spelled out now, I'm using three nodes, voices, everytime, D minor seven to G7 to C major seven. F major seven to a. B minus seven is seven, and then a minus m. And this is a compilation of a popular tune called Autumn Leaves in jazz. Okay, so three nodes voices can be used in this way to play them. But sometimes you might want to add extra notes. So we'll have a look at a look at that more into detail. I see in the next lesson. 25. Four Note Voicings: Hi. In this lesson we'll be looking at for not voicing. Now, the 4-node voices I just built on top of three-note voicings. So from three-note voicings, we're playing the roots and the roots in the left, the three and the seven anion, right? So for a C dominant seven, C seven quadrupling the roots. And then the seven and the three in your right-hand. Ok, so for 4-node voice in your mind, maybe for irregular sea dominance avenue, I want to second that up a bit by adding the five and your left hand. This is my 4-node voicing formula for seven coins. Put my one and the five in my left hand and the 317, my right-hand side is going to be like this. So using the simple core progression of D minus seven to a G7 and a C Major seven. And that will be like this. Sounds a lot heavier than this one, right? By adding the five. So with the D minor seven to a G seven, and then a C major seven. So for three nodes, voices would have been like that. Y, D minus seven to G7 to C major seven. What would my 4-node voicing formula then I just add a five each time. K to g seven. So this 3.What foreign advisers apply do very well for seventh chords. But it's also possible that sometimes you have an altered chord, okay? And for that altered chord, you might want to sacrifice the five and then use your, use your left hand to play the root and that altered notes. Okay, so for example, a C seven flat five, which would be a C dominant seven flat five. If I were to use a 4-node voice, and for this, then I'll play the roots in my left hand and I'll play them outlay that 73 my right. And then put the altered notes, which is a flat five in my left as well. So that'll be my quad voice. And for him, that's, it goes up like this. Sort of both open version, completely up to you, right? Let's look at another one. For C minor seven flat five. So C minor seven flat five. I need to play the C minus C minor 71 roots in the left, seven and the three, in this case the minus seven. And then I put a fact-finding my left. Like that. So when you read lead sheets, jazz lick sheets, and you meet some of these chords, you can start off using name, simple four-node voices before you start thinking of how to expand the voice and to be something. Something big like. Likewise have played right now is quite big, bigger version of the voice and Ryan has more notes, but it can start with a simple, simple four-node visor. And it has its own peculiar sound as well. All right, let's look at the last example. For if, for like a C Major seven flat five. Formula, use play the roots at the altered notes in your left and the 37 or 700 three-year items. So C major seven flat five. So roots, flat five in my left, the seven and the three, right? So C major seven Flatfile routes. And all said no to my left and 73. So that's a good for not voicing formula you can use. And then you can build on that as we go along. So thank you for joining me in this lesson, and I'll see you in the next one. 26. Three Note Left Hand Voicings: Hi, in this lesson we'll be looking at three nodes, left hand voice. And now this is a very powerful tool to use when voice and courts, because when you have the three, these three nodes in your left hand, the code is pretty much solid and you can play melodies or add altered notes in your right-hand as you choose. So let us see how we can build these three nodes license. So and from three and not scored voices were playing the root in the right and the left, and the 37 and your rights. But in this case you are going to play both the roots, the three and the seven, all in your left hand. So the closed version, a C7 chord. We're going to play the roots, the three and the seven in our lifetime. And we have this C dominant foreign already. So you can do, you can do all the things you, what things you want to do with this code rights. Because you have a C Dominant CDO, nasa. And you have for the open version of this, then if you kind of stretch IP usually play a one, then the seven and the three gives me a bigger sound. I then, sorry, this is dominant seven, so it can a biggest stretch. Let us, dependent on how much it can stretch. If not, you can stick with your you can even play or 71, AR3, sort of clue. Rootless voice. And where does a bass player, right? So if its solo does no bass player, then you need to play and voice and with the roots. So 1374. So this would be a C7 left-hand renewed voicing. And this will be C major seven left-hand 3-node twice in open version, like that, quite wide. Or a C minor seven. Left-hand three-note voicings, and an open version here. So this can be used in all the keys. F7, open version, F7 close version, F minor seven open version, and f minus seven close version. And with this, you can improvise in your right hand or play another inversion of the chord, make it sound a lot heavier. Okay? So with these, as I said, the three and the seven can be flux or the regulatory depending on if it's a major or dominant or a minor chord. And with the power of this is that when you pick up a lead sheet and your company, so when you're competent, following maybe a singer and you go in and you're doing like a regular company. Your company, by saying our sax player, whatever the situation may be, your plan, your regular codes. But the moment it gets to a point where you need to improvise, you want to. Amides have the simple voice, left-hand voice and formula to this amplitude, a D minus seven. And I'm playing the one with the three and the seven in this case the minus three, right? So then you can do that in your head. You can do more the kind of solutions you want to do it in a left-hand and the right-hand bow hold in this kind of voice endowed and in your left hand. Try and pick up your favorite core chats. Use the left-hand voice and formula to help you navigate around. Play the chord progressions only with your left hand throughout. And now the next time you play it, try and play around with improvisation, if that is something you already know about. Thank you for joining me in this lesson, and I'll see you in the next one. 27. Voicing Complex Chords: Hi, in this lesson we'll be looking at voice and complex courts. So complex calleds in this, in this context, calls with alterations the sharp nine flat nine Flatfile sharp five, these kind of alterations. So how did we do go about this? Now my easy approach of doing this is to use your free nodes, left hand voices in your left. So this could be an open or closed voicing, so it could be a close voice. And for dominant seven like this, or an open voice and like that. So for the purpose of this lesson, I'll be using a closed voicing. So you have that in your left, then every other note that has to be played, we fill in with your right time. So the right-hand can fill in the nine. If it's a C19 chord, of course, CNI coordinate, you'd have to put in the five as well. So for C90 coordinate to fill in with you, 95 million, right_in can also fill in with the flood mine. I can fill in with sharp 11, a flat. C nine sharp 11, F5 or that. So let's look at a few examples of this kind of complex code. Depending on whichever situation you may have it. All you'd have to do is to hold the 3-node voice and the 1237 in your left hand and fill in with arrest inner right-hand. So let's see just a few examples. So say you see a C7 flat nine sharp five quart. So I play my 137 dominant seven. And then I put in my system line. So I put an, a sharp mind. And then I put in there five in my right hand. So that's that's a quote I use quite often. So need, needs to, you know, like I use this constantly made to an F minus like that. Alright, so this, this is what I'm playing. So 137 and the submain and Shafi'i, in my right-hand, huge allow advise this chord like this. Excellent. So F, F, F sharp, G, a G sharp, Russia five will be like that. So the moment you get hold of these corals strife, final, easy way you can navigate around and then take it around through the keys. Okay, let's look at this next example. Say you have a C7 flat nine fluff five, so 137, flood nine, stem minds of flood mine. And then so you have a C7 flat nine flat, fine. To try and get a left-hand used to these three, This kind of note voicings. Okay, so c, d, e, I'm just doing dominance of entry, not Voices, F, G, a, B seven. So the moment you practice these over a while, you'd be able to quickly play them when, whenever you need to pull them out. Okay, so, so that's, that sees C7 flat nine flat file. Okay? Now look at one last example. When you have effecting sharp 11 chord, now a 13. So C 13 is going to be my app, I13 70, my left-hand. And of course a fetching 109.5, the 13 as well. So that's you have a C 13 where the 19th, 70, but then it has a sharp 11. So then you add that chapter 11 in your writer. So that's your corner. Yeah, I use this quite, quite, quite a lot as well. And I'm playing a five. For example, if I'm playing, let's say I'm playing a 5.1.4 In the key of C. So I can use someone I play that. And then this kind of chord voicings, okay? But there are this, the goal, the goal of this is to really try to figure out how you can pick the squad voices whenever you have two easy approaches that you'll be able to use to figure out the code, for instance, on your own. So, good luck with practice. And I wish you all the best. 28. CONGRATULATIONS: Congratulations, you finally succeeded in completing the entire scope of this course. I want to urge you to keep exploring music and go on fine. All your core chats, your favorite songs and practice, all the course taught in this course. Thank you so much for joining me on this journey. And if you're interested in taking any of my other courses, have also made play by piano, by ESE trees, have the gospel piano course as well. If you're interested in any of these, kindly check them out. Have a look at the lessons and if the something you are interested in do well to take them as well, even as you explore different forms and styles of music. Thank you for joining me and I'll see you next time.