The Complete Piano Chords Course | Beginner Level (Part 1) | Kingsley B-Nkrumah | Skillshare

The Complete Piano Chords Course | Beginner Level (Part 1)

Kingsley B-Nkrumah, Musician and Tech Enthusiast

The Complete Piano Chords Course | Beginner Level (Part 1)

Kingsley B-Nkrumah, Musician and Tech Enthusiast

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44 Lessons (4h 34m)
    • 1. Promo Video for All 3 parts

      2:54
    • 2. Beginner Level (Part 1) - Overview

      1:08
    • 3. Tip from Kingsley: Maximising the learning experience

      1:59
    • 4. Introduction to the Keyboard

      5:37
    • 5. The Major Scale

      5:31
    • 6. Major Scale Fingerings

      12:02
    • 7. What is a Chord?

      1:27
    • 8. Introduction to Major Chords

      0:35
    • 9. Building Major Chords

      6:32
    • 10. C, F & G Chords

      6:50
    • 11. D, E & A Chords

      6:38
    • 12. Db, Eb & Ab Chords

      5:29
    • 13. B & Bb Chords

      5:02
    • 14. F# Chord

      4:27
    • 15. Minor Chords Explained

      7:10
    • 16. Practice with major and minor Chords

      7:58
    • 17. My Way of Writing out Chord Progressions

      5:51
    • 18. Song Session 1 - Hallelujah (DEMO)

      1:31
    • 19. Song Session 1 - Hallelujah (BREAKDOWN)

      8:55
    • 20. The Number System vs The Solfege System

      11:42
    • 21. Major Intervals

      6:23
    • 22. Minor Intervals

      7:18
    • 23. Common Time Signatures

      3:19
    • 24. Basic Rhythms

      7:21
    • 25. Chord Inversions and their applications

      12:06
    • 26. Slash Chords and their Applications

      9:15
    • 27. Reading Chord Charts

      15:12
    • 28. Transposing Charts to be played in All keys

      12:48
    • 29. Finding your chord numbers in All Keys (AMAZING TRICK)

      6:46
    • 30. Song Session 1 - Hallelujah (NUMBER SYSTEM)

      9:42
    • 31. Add2, Sus2 & Sus4 Chords Explained

      3:07
    • 32. Practice Cycle with Add2, Sus2 & sus4 Chords

      6:00
    • 33. Let’s expand our sound with Add2, Sus2 and Sus4 Chords

      8:43
    • 34. Song Session 2- Hallelujah (DEMO)

      1:29
    • 35. Song Session 2- Hallelujah (BREAKDOWN)

      8:38
    • 36. Diminished Chords Explained

      5:10
    • 37. How are Diminished chords used?

      7:16
    • 38. Augmented Chords Explained

      3:58
    • 39. Diatonic Chords of the Major Scale

      4:35
    • 40. Play all your Favorite Songs with Only 4 Chord Types

      12:05
    • 41. Song Session 3 - Silent Night (DEMO)

      1:50
    • 42. Song Session 3 - Silent Night (BREAKDOWN)

      5:06
    • 43. Song Session 3 - Silent Night (NUMBER SYSTEM)

      5:59
    • 44. CONGRATULATIONS

      0:21
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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 carefully structured to take absolute beginners with no previous training in Piano or Keyboard to the Intermediate 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. The Basics

  2. Major Chords

  3. Minor Chords

  4. Diminished Chords

  5. Augmented Chords

  6. Maj(add2), Sus2 and Sus4 Chords

Meet Your Teacher

Teacher Profile Image

Kingsley B-Nkrumah

Musician and Tech Enthusiast

Teacher

Hello, I'm Kingsley. 

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

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

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

See full profile

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Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

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Transcripts

1. Promo Video for All 3 parts: Hi, this is Kingsley from piano with Kinsler.com, and I'm excited to bring you this jam-packed cores of all piano chords from beginner to advanced level. Have you always wanted to pick up your favorite songs on court chats and play them. But you have no iron knowledge to play the piano keyboard or even reading sheet music? Or are you a beginner, intermediate or advanced player? But you're looking for some easy systems to get your head around all the countless piano chords without having to pay for hundreds of hours of piano lessons. This is definitely the right course for you. In this course, I bring it out all the piano cause you are likely to ever meet on your piano. Jenny and I leverage on simple shapes as well as combination of simple 3-nodes course to form complex courts and all said courts. We cover major, minor, diminished, augmented Sus chords as Southern cords, nine cores, 11 ports that teen courts, as well as all TED courts. Dependent on your style or genre of music, you may focus on some or all the chords covered in this course. We also have practice sessions with vocals to help you get around the keys. Disliked this one. Secret coup that David. Please really care if it goes like maybe you are looking into taking a tune called mids basic level like this. Well, more advanced quad progression, just like this one. Now this court's comes along with countless number of PDF resources, as well as back-end tracks and vocal only trucks. Are you to practice your private sessions with y not enrolled today and I'll see you in your first lesson. 2. Beginner Level (Part 1) - Overview: Hi, and welcome to the beginner level of this three part course. If you are an absolute beginner or either beginner level or if you have no prior music knowledge and experience, this is definitely the right level for you. On the other hand, if looking through the different lessons in this course, you realize that most of them are familiar, then I recommend you check the lessons on lectures covered in the intermediate level or advanced level to find which one is suitable. This part will be looking at major, the major scale, basic, basic things in music. And we'll also be looking at the major chords, minor chords, diminished chord, augmented chords, suspended chords add to courts. And we'll have some song sessions where you will be using some of these courts to practice with various songs and cortex as we go along. I wish you all the best even as you take this part. And thank you for joining me in taking this journey. And I'll see you in the next lesson. 3. Tip from Kingsley: Maximising the learning experience: Hello there. I'm glad you've decided to embark on this journey of exploring piano chords and mastering them as you get along. Now, the little tip for me to maximize this course is that you already came into this course with a couple of favorite songs that you want to learn. I suggest that you get those arms down, get the core. Chats. Online, fits jazz song, gets the least sheets down. And while we go through this course together, mock out. And if it gets to a point that all the types of courts on your cortex only she'd had been tackled in this course, try and use those favorite songs to practice. One thing I always say is that songs you are familiar with the r much, much easier to play when, when you put your hands to it. So that's a very quick tip that I'll give to you. Gets your code shuts down your songs you love. Irregardless of the genre. Get them out, get a core charts. And whilst we go through the different sessions, you may be lucky to have your entire core chat completely discussed within maybe the first few sections. It also might be possible that your coach are quite advanced or you might have to go through the entire course. Now this course is also meant as a reference guide. So wherever you have, you meet another core chat and that's the code you don't really remember. Feel free to come back to the course, have a look at the resource materials and puts it in here. Also have a look at the discussions that we have in this course. And by doing that, you'd be able to refer to the code that you want to use. I wish you all the best even as you embark on this journey with me and I'll see you in your next lesson. 4. Introduction to the Keyboard: Hello and welcome to today's lesson. For this lesson, we'll be taking a look at the keyboard, introducing you to the keys on a keyboard, the names of the various keys. And what we can do with each of the notes on the keyboard. And the keyboard you have, as you can see, you have white keys and black keys, and they all do the same thing. The white keys are called natural keys and the black keys are enharmonic keys. The whites, Keita comes before the two black keys as called c. So this is c. Ok. So you can find several sees on the keyboard. If you have a keyboard in front of you, tried to locate all the other sees on the keyboard. So for example, that's a C. And that's because occurs before the tube. Locke's, that's another C. One as a c, that is c, c. And this is a C as well, but you don't see the black keys. Okay? So just by knowing this is c, And if we follow alphabetically, we can just, if you know how to say alphabets of a to G at least, then you'll be able to find out the rest of the, of the notes on the keyboard. So if this is a C, then the next one is d, k. So alphabetically is going to be an E and F, a G. And while the next thing to notice, there is no h on the keyboard. So a to G is where ends and the moment it gets where G, the next nodes comes back to an a. So that's an a, a, B, and a C. The two that I like my students to memorize, R, C, and F. So wherever I see a three black keys, I know that the whites qi.com before as an F. Okay, so that's an F, F, F, F here. That's an F aswell. Okay. And that's another F. F was be on a keyboard. So you just need to remember that too, that you memorize C and F. So B is obviously close S closer to c. So I locate my C and then I know alphabetically B comes before the c. So that's an OK. So the, these, these are the names of the white keys on the keyboard. You have a, B, C, D, E, F, G, a, B, C. Reagan. As long as you know the name of your fights key, it's very easy to name the black key. So notice that these black keys come in between two white keys. So every black he has to white keys surrounded them. Okay? So there's another block here and it has two white keys. So you can see this white, black he as a child and then the two white keys as the mother and the father. Okay, so that's an easy way of CNS. So if you want to name this black key, you need to ask yourself which to white keys surrounded blacking. And here you can see this black is surrounded by a, c, and d. Okay? Now, since this black key is higher, so on the keyboard, if you, when you move to the right, you're going higher. So higher the keyboard and you move to the left, you're going to lower. Okay? And since this black here is higher than the C, there is a movement in music all the shop. So that's a sharp movement. So if the block is higher than the C, then you call it a C-sharp. In other words, it's a sharpened C. Okay, so this note is called a C sharp. But the nice thing about these black is, is that they all have two names. The white keys only have one name, but the enharmonic keys or black keys have two names. So it's IDA called a C-sharp. Or if you want to use the D, then it's called a D flat because it music when you move backwards or down, it's a flat movement. So that's a C sharp or D flat. So you can see on your screen that C-sharp is what is been indicated them. You can also call it a D flat, okay? And we can use this for all the other nodes. So just try and find the names of the other keys. This is going to be at the shop because it's higher, it's in between D and E. So it's either going to be a D sharp or E flat. Okay? So you can see E flat on your screen. But you can call it a D sharp as well. In the same way, this would be an F sharp and a G, or a G-flat. This'll be a G sharp or a flat. And there will be an a sharp or a B flat. 5. The Major Scale: The major scale is something that we're all very familiar with, which most people think as door Amy faster, faster. So if, if you've heard this before, that's a major scale. And thus a fundamental block of most of the music that you hear out there, the C major scale, so this is a C. And the easiest megapascal is when you play from C all the way up to the C and you have it. So that says, it's very important that you also know the surface. So alpha notations, so these are the dormi facile Latino. And in other places, numbers are users, in that case will be 123456711. Okay? Two things that we need to learn before we jump into the major scales. Movements. Ok, so there's something called a tone and a semitone. So a tone on the keyboard is when you move from one note to another note by jumping on OneNote, jumping over. So for a tone movement, for example, if you see and you want to move a tone to the right or upwards. If you move to the left, thus downwards. So if you want to move a tone upwards, you need to jump over, at least in it's a jump of one key. So in this case we hope over the C sharp, and then we go to D. So if I move from C to D, That's a tone movement. Okay? So let's try and find other movements. So if I move from C to D to E, have hopped over the E flat or D sharp. So this is also another tone movement's second one is a semitone. So for a semitone movement, you don't hop over any key, you move right to the next key. So if you see, you need to do a semitone movement. You move to the next key, that's a C-sharp, and that's a semitone movement. Okay? So if I keep moving and semitones is going to be like this, ok. Notice that if we use the C major scale as an example, this is me. Now, you see that though, to the array as a tone movement. And if you move to the me, doesn't watch on movement. But from the many to the far, there's no key in between, so that's a semitone. So tones and from the t moving today, DO that's another semitone. So easy approach that I would advise you to take is to keep in mind two things. That when you move from a me to a far does a semitone. Okay. And when you moved from it T to a DOE, does another semitone. Apart from this, all other movements are torn movements. Okay? So we want to apply this to the F major scale, for example. So this is f. So I need to start playing from the F and go all the way to F. So that's my okay. So don't need to move to the ray is a tone. Remember everything is a tone apart from the magnitude of r and t. To do. So, I do a tone, an additonal mi. Now, as soon as I get to me, I remember what I was supposed to memorize and me to find a semitone. So for me, I need to move right to the next key nor hopping. Then. And so I do continuum items, law and a t. And remember that T two is another semitone. Very simple, right? So another approach, which is a very common approach in most of the books that you read. Once they, they use a formula for the major scale known as tone, tone, semitone. Tone, tone, tone, semitone. Okay? So if you want to play a major scale of, for example B, okay? You start on the first nodes, then you start counting tone to tons, a semitone free tons, and then a semi-tone. So he sat on B and tone, tone, semitone. Tone, tone, tone, semitone. Ok. Just go around the keyboard. Your homework today is to take the individual keys. You start from the first key. So there are 12 keys on the keyboard. You have 1234567 whites keys, and then five black keys. So every homework we'll be doing, we'll be doing it in 12 keys. So there are 12 keys and they repeat. Ok. So try and play the major scales of all 12 keys. 6. Major Scale Fingerings: Hi. In this lesson we'll be looking at Major scale fingerings. So have you been in a situation where you know your major skills so well, but you find that quite difficult to play it smoothly. You don't know which fingers to place where. Then let's get right into it and look at my recommended major scale fingerings. Ok, so in order to get these fingerings, I've put together a few fingering rules, which as long as you follow them, you'll be fine. But of course, feel free to experiment yourself to find out what works best for you. These rules have worked for me for some time, so I recommend them every time. So the first rule for the major scales is that four major skills for the white key. So for the C Major Scale, D-major scale, a major scale, all of them except F, the formula that I use as the F35 formula. Okay, so you, we have five fingers. But then the notes in the major scale I ate. So this formula makes use of you play the first three fingers, 123, and then you cross below to the next nodes and then completes with the remaining five. So three plus five then gives you eight. Okay, so let's try it in the key of C. You're going to play a first note like that. So the key of C major scale is all these white, right? So 123, then you go below it to the four, and then you complete with your remaining five fingers. Okay? And if you are to retain, its going to be the same thing, right? So make sure you so when you are retained and you're going to go over with the fat fingers just like you, you went up. So I'm not gonna go too much into the descending scale, but then the ascending scale. So 3512345671. Ok, so practice this as many times as possible and try and get a fluid and fast. So okay, as fast as you can. And this is quite helpful because sometimes you might need to run a particular skill in plane. Certain tunes, like let's say, you're in the key of C Sharp and you need to run a skill from the C sharp major scale. As this way. And deliberation. But you may be in a situation where you need to run a scale from maybe the seven to 7.2. This kind of rising noise scale will help you go fast like so. All this is from the knowledge of how, how fast you can play a major scale descendant as well. So it's very important. I, starting out on the piano, I saw that's the major skills were so powerful because I listen to songs and realize someone's using just a simple Major scale to play amazing stuff. It might be boring, but I entreat you to really try and get into it. So let's use S35 fingering to play all the other whites key. So C, We've done C major scale. Let's do the D major scale to three and then go down for completes with the remaining five, right? Okay, let's do the E major scale. Same rule applies. 3-5, okay? I'm going to skip the f because that's an exception. So let's do the G major scale. A major scale. Okay? Same rule. The last one, a B major scale. 34 and escape. Okay, perfect. Now let us look at the Exception which is f. So for F is for four and this is because there's less rights is a 35 to play the F scale and see how it's going to look like. Okay, so you have 123. If you tried to skip up here, practically possible to go like that and then continue. So that's why I say that's an exception. So I use for four to play that too. First four fingers, 1234, go and starts again with fun, and finish with the remaining, with the festival thing as again. So in the F major scale, I don't use my pinky at all. Okay. So one more time. Okay. Now, so we're done with playing the major scale for all these white skis on these US, seven of them suddenly major skills. Fingering, conquered, right? Let's move on to the major scale for the black keys. Okay. So the rule for major skill involved in the black he, first rule is that you never, you never use. We go back a little bit here. The first rule is you never start with the thump. Okay? So whenever sat in a major scale on a black note, never start with a Pham cause then you might be stuck at some point. So that's the rule. Always start with the index finger or the middle finger, which is comfortable for you. I am mostly starts with my index match. Some use the index fingers were especially on E flat, B flat major scale. But if you start with, the index, should be fine. So you are going to start the scale with the industry and never the thumb. And let's keep that in mind and get to our second rule. Then we can use both rules to play all the major skills. Okay? Now it says when you, when you are moving from a black key, for example, a C sharp major scale is 12345671, right? So if you are moving from blacking, you're moving to a White. The second rule says that you move through the White, usually a farm, so you are going to use your thumb to descend onto the white. Then you can continue with your index finger. Okay, so the seizure medicine is going to look like this. Considering these two rules. So it's going to be 12 and then I descend with my thumb. Right? Then I continue with my index middle finger, ring finger. And then I'm descending again to a wide from a black rule says I need to come down with my phone and then to the one. Okay. So let's look at it again. 12345671. Ok, let's use the same rule to play E flat major scale. Ok? So in order to do this, you need to really know that major scale before you study the fingerings. Okay, so I'm going to start on my index finger. The second notice here, so I need to come down with the thumb. Rule number two for the black 0s. So 12345. Okay. Now, for the remaining three major scales, you know that rules already somewhere to play them slowly and death, and that's medium tempo afterwards. So F sharp major scale, medium tempo. Okay? And then a flat megapascal, slow, medium tempore. K. If I say yes, what each other scales. You study, you watch it. You pause the video, try it yourself a couple of times, then play the video again and move to the next scale. So the last major scale is that B flat major scale, slow. Okay, and here the return is going to be the same. The same fingers have to play. Saving as a way to use play the ascendant me to be the same plane descending. So you can study it yourself and figure out how to crossover and make it work. Okay, so now the last thing I'll add is that if you want to play the scale in multiple octaves, you need to. Then. So for example, that the rules for, for the C major scale, if you want to play it more than one octave, you can't end with your pinky because then you, you've been locked. You can't continue. If you do this. You are locked. You is difficult to continue, so you need to just go. And again, I start with a famine, so imager repeated. So there's going to be like this. So it's going to be like that. Similar for a key like d, y, 345. Just like that. So have some time with the major scales. Play around with it. Practice it. I tried to do try to do, practice the major skill and figure out the one for your left-hand as well. It's usually a mirror version on the left. If you look at these fingers as 12345 is a mirror fashion. So if astray five-year is going to be 53 on that side. So that's a quick tip for that. Try to do them together. Play 100 friends, played a left-hand play them together and enjoy a practice session are seeing in the next lesson. 7. What is a Chord?: So for starters, let's define what a coitus chord as to more than one notes played together on a keyboard. So if I play single notes, That's not a chord, but the moment I add one note to it, it becomes acquired if I make a play, three notes, or notes, five notes, six node seven nodes. All of them are courts. Ok. So by usually two notes at somewhat, in some circles it's called the Paschal chord. So most of the courts that you hear about, so two nodes usually will form important interval or duets. But most harmonies that's found Creek or 3-nodes upwards. So all the courts would be looking at, will be 3-nodes chord, four nodes, five nodes, and so on. So an accord with three nodes is called a triad, okay? So for example, if I play three notes together, that's a triad. Any random three notes, it's a triad. Any random three notes, I play. Triad. Okay, so with the knowledge of this, let's go into the next lessons where we look at types of different chord types and how we build them out of the major scale. I'll see you in the next lesson. 8. Introduction to Major Chords: Hi. In this section we'll be looking at Major courts and wanted to take you through two main methods of building major chords. And afterwards, we're going to group the major course into subgroups with similarities. This will help you visualize them and play them much faster on the keys. Now, in each topic area, we're going to look at a few chord progressions we can practice with. So once you are ready with your piano and with your notes, notebooks and everything, just jump right into their next lesson. Let's get started. 9. Building Major Chords: Major courts. What are major chords? Major courts are the form under the category of triads. Narrow triad is accord with three notes. Okay, so this is, I believe, the simplest Court form out of which we are going to build on every single other chord. So it's important that you know your major called Sowell. Now, two things you need to know very well before you start you get into major courses. You need to know the names of your keys and as well, you need to know your major scale so you need to be able to play a major skill in every single key. So if you don't know this already, gets to the other lessons and practice them. Get to know your major scale and every single key. And let's get started. Now. Major chords, quite fundamental and they sound happy when you hear them the first time. Ok, so we'll look at how they are formed first and then we can proceed afterwards. Well, the first method is the major corridors formed out of the form with a one, the three and the five of the major scale. Okay, so what am I saying? Let's go, let's use our most basic major scale, which is a C Major scale. Okay? Now this is 12345671. Do, Re, Mi, Fa, So La. This is all the white keys from C to C. Okay, so this is 12345. Now the moment I pick my will, my 35, and play them together, that's a C major chord because I've picked the 135 out of the C major scale. Ok, so 135 out of the major scale, you get a C major chord. Okay? Same thing. If you go to the F major scale, 123456. So the moment I've picked out one by five, so that's an F major chord. F major chord, F major chord, F major chord. As simple as static. Now, this is the most common formula that is used. Okay, so these are two examples of plays on your screen, the C Major chord and then the F-sharp major chord, which is 12345. So one. Okay? And that's your F-Major chord. So now one important thing is that the, I want you to use your fears, your thumb, your middle finger. And your fifth finger to play the major chord, Okay, so that's gonna be, your fingers are numbered 12345. I want you to use the one, the three, and the five, okay, to play the major colon. And then your left hand. I want you to use your pinky, which is the one. So there's numbered 12345. I want you to use your pinky one and your index finger. And I want you to play just the first and last nodes from the right side. Okay? So your plane and that first and last nodes in your left. So like that. Okay, so Asian your pinky, and your index finger to play. The one the one end of file. Okay, no left. But that's how I want you to play the major course from now. So F major chord goes like this. Okay, now let's look at a second method of building major chords. And this is something which other people use this quite comfortable with is called a 4-3 rule. Okay? So another 4-3 rule says that you play your fast notes, the root note, and then you count four semitones, 121234. And then after that you count three semitones, 123. Ok, so the moment you do that, you can form a major chord. You just need way, uh, started from. So let's say I started from the key of G, OK, to play a G major chord using the 43 rule, you have one. And that 34 semitones, 1234. And then 123. We have U, G major chord. And this can be applied everywhere in D Major chord. That 1234123. Okay, very good. So it's up to you. Just choose which one you are comfortable with. The one I recommend is if you know your major scales very well, then you just pick the 135 out of the major scale. If you don't know them that well yet, you can start using the 43 rule to figure it out. But in the proceed next sessions, I'm going to show you easy and quick ways of identifying all your 12 major chords without any stress at all. So stay tuned and you are going to find out very soon, okay? One thing I like to say that when you play the major chord has that peculiar sound. So if you're just starting out, first of all, the major chord sounds happy. So when you play, a major chord sounds very happy. Unlike a minor chord, which we'll talk about later, sounds a bit sigh. I hear that. But a major chord sounds happy. So that's the first thing. And when you play the notes individually sounds like okay, so anyway you play, it's going to sound. So use that to figure out if you're playing the correct thing or not. 10. C, F & G Chords: Hi, so let's talk about fast category of major chords. And these are the C, F, G major chords, K. So the C, F and G major chord have something very nice in common. Okay, so whenever you, if you know your C major chord ready, which is very common, you see that it has all whites notes, okay? And we can use the simple approach to figure out a, C, F, and G chord without thinking too much. So it's made up of all pipe notes. But at the same time, each node is separated by another white nodes, so you play one quite the sea itself, the root notes. You skip one, plan, the next wide nose, skip one, and played the next white notes. Okay, same applies for the f and g. So f has the same play one, skip one, L1, skip one. That's your F major chord. And then you are G major chord has the same look as well. So you play, this is kept one in the middle, is kept one, and you have that. So if you had to play, the courts in succession, is going to be the C chord. And then your, then your G chord. Okay? Excellent. So since we know this, you can have a visual look of how these courts are within the next few seconds and then we can go into their practice session. So in this session I'm going to play it once and I want you to pause the video and then you play it on your own as well. Okay, so let's try our fest chord progression. Now, a chord progression is just simply a group of courts that are put together to spell out music. Okay, so that's chord progression. You see on your screen the c, d, f, g. As song outs, there could be hundreds of songs out there with a score progression. Okay, so now I want you to play a C chord. And then I want you to move to the left and play the G down here. And then you play the F. Okay? And then the GI. Back to the see, the unaided to either use a metronome to died you or count 1234. And you're going to play the chord on the one case it's going to sound like this. 123 or 123, or 12, or 1234. Okay. And I want you to slow it down as much as he can. You can go super slow 1234 now. So one other thing is, if it's not too easy for you to move through the cards, I want you to move after you count the two. So like this, one, to move and get ready for when to move, guarantee and move, and guarantee and play. Moves and guarantee. Okay? So I want you to pause the video and then try this chord progression after that, no played but the video. And then let's go to the next chord progression. Excellent. If you've done where you're able to do it, if you are able to do it. Excellent. If not, keep at it. Slowdown, trial, the right-hand first. After that, you try a left-hand and then you put the two together and you'll be able to play this. Let's try our next chord progression with the same records that we know now. So F, C, G, F, And we know they are all quite so I'll give it a try first and then it's your turn to pause and try it yourself. Ok, so 123 or 1234, 123 or 1234121. More time. I'll play one more time then. 1234 to be 041234. Okay, so pause the video and try to play this chord progression, right? I'm first left-hand next and then put it together. And then we can go to the next one. Excellent. So let's try our last chord progression for this practice session. So it's almost similar to the first one. So this is C, G, C, F. Okay, so 123 or two, or 123412341234 and G two. So the C chord. And back to the f. Perfect. Pause the video and try to play this. Now. Take your time getting used to move in within courts and thus the purpose of this video. And then once you are done and you are able to move freely within these chords with ease, molds there. Next lesson where we'll lend to play at a, D, E, and a major chords. I see in the next one. 11. D, E & A Chords: Now let's look at our next set of major course. And these are the d, e and a major chord. So if you know d a, which is an agency, you should be able to remember this group very easily, the D and a major chords, okay? Now, how did they look like? This is the D Major chord. Okay? And you can see that it has a black nodes in the middle. And this is how the E Major and the image occurs look like as well. So easy formula, we are going to use the C, F, and G where all white. But this DNA have one black in the middle. One black in the middle. Okay, so that's a D major chord image according to start on the E, It has one black in the middle and that here. Okay? And if you can see, it looks somewhat like a triangle. Ok? Now, one tip is that after you play the root nodes, the black in the middle is the second block. So this is the first black after it does the second black. Okay? After you have these two as well, the white as the second white. White. No, second white, yes. Okay, so does D major chord, and then the image occur, second black, white. It looks like a triangle as well. And the a major chord. Okay, so if I were to play them with both hands, the d, the e, and the a. Okay, good. So let's practice a few chord progressions. Well, we just learned, okay? So if you can pause and try to play these three chords until your hands get a bit used to it. And then after that you can click play unless try these chord progressions out. Excellent. So our first chord progression as an a, E, D, and E. Ok? So we're going to start from an a chord. Okay? And then we're moving down to an E. And then the d, and then an e. Okay. So let's put some time into it. So 123 go, 1234123412341234. Perfect. So just Pause the video, try out for just the right time. For n 12341234. Slower now and try it out. And then you go the left-hand, 1234123412341234, and then you play them together. Ok, so pause the video, try to complete this task and then click play unless proceeds the next practice progression. Very good. Now the next practice progression is at da ga. Now since you already know U a G major chord, which was an affairs group of all heights notes. We can mixing a G major chord in here, right? So DAG, okay, so a d, right? To an a and an a G. And then let's put time into it to go 1234123412. Three for n, while this course may sound boring, but you can do a lot with it after you learn a bit more. So, okay, just the same chord progressions or same chord progression D. Right? So, so after electric field things as the same chord progression may not be that simple. You can play it with a lot of code embellishments. Ok, so very good. Pause the video and try to complete this task. Plaintiff Scott relation fluidly. And then let's proceed to the next chord progression for the practice session. Ok. Now our last Corporation is a, g, d, c, d, k. We know our G and R, C have, all right, D has one black in the middle. So let's try this out. First chord, 234234234. So we can take it up to three for n 123. Play with me. And to three for n 1234. Pause the video once again. Try to complete this whole progression. Take your time, go through all these three chord progressions. And once you are done, head on to the next lesson where we take a look at our next set of major chords. 12. Db, Eb & Ab Chords: Hi, so in the previous lesson, we looked at a, D, E and a major course. Now in this lesson we'll be looking at a D flat, E flat, and a flat major chords. Let's get into it. Now. These three major chords behave in an, in a reverse direction as a da, da hat, one black in the middle, but this time around the D flat, E flat and a flat have one white in the middle. Okay? So this is a D-flat, alright, so D and D flat. And it has one white in the middle. So that's how the D flat chord looks like. Black starts, a black, black nodes ends, and a white node in the middle. Okay? Of course now, it's very important to stress that these are easy methods of finding our courts. These are not rules written down anyway, it's just an easy approach to finding the courts. As we've already gone through the proper theoretical procedure of constructing these scores. These are just an easy guide for you. Ok, so one bytes in the middle and you can see that it looks like a triangle. Once again, it looks like an inverted triangle that has a D flat, that the E-flat similar, right? And then the a flat one byte and Eminem was always test with you. Make sure sounds right now. And that's all for the D flat and a flat. Some of my students get confused with which of these two writes notes they should play. I tell them play the one closest that has that comes right before the black notes. Okay, so wonder is closest. Okay, so that's 12345. So D flat, E flat, and a flat. Okay. So just have a look at these courts. Pause the video, try and hands around them, make sure you know them. And then afterwards, we're moving right into the practice session. Okay? Now first chord progression for this practice session is an a flat major chord to an E flat major chord animals where D flat major chord and an E-flat. And you might see a correlation like this on a core chat or at least sheet, right? So same thing. Ok, so E-flat, E-flat, E-flat, G-flat, E flats. So I'll start first chord, 23412341234, N1, to play one more time. 234234 to 34 and ok. Good. Now you'll see that I'm doing and playing a grace notes in the middle, unjust flipping from the second to the third. Okay, so if you know this, you can do it with me. Otherwise, just played an usual one and then later on you pick these things up as vehicles. Okay? So 123412341234234. Okay, pause the video and complete this task, and then we go to the next chord progression. Now, last chord progression for this practice session. S, a D flat, a flat, E flat, and G flat, okay? So applets ones and then you try it yourself. So if D flat, a flat, and then E flat, and E flat, D flat, a flat, and E flat. And D flat. 234. Very good. So proxy these chord progressions, take your time, make sure you can find them easily. Now, I can't stress it enough that major chords are very critical because every other core type we will learn in this course is dependent on the major code you're going to build. Everything from the major chord, C major chord should be at your fingertips. So take enough time to go through them one after the other and make sure you have all the major courts right at your fingertips. And once you are done, moving into the next lesson and less movements and next set of major chords. 13. B & Bb Chords: Hi, in this lesson we'll be looking at the B and the B flat major chords. Okay, so now these two major chords behave somewhat similar, but not quite. Let's look at how they look like. Now that B major chord, this is the B major chord. Okay? And the easy formula or proceeded I uses, that's the B, S black, white, sari, white, black, black, K, B as a white notes. And the two other nodes are black. And one thing you should know is that the court, the nodes are evenly spaced. So to play this will be a bit not to even so that's why you should naturally played as this one. And again, it sounds like so does our validation. And the B flat is a reverse. Flux is a black nodes. And the adults who are white. So here is black, white, quite okay. So combine. Easy. Very good. So as I said, there are somehow evenly spaced, okay, so you can see that two courts clearly shown on your screen. Take your time, play around with them a little bit, and let's go into the practice session quickly. Okay, good. Now, fast chord progression for the practice session as an E flat to B flat, to E flat, a B flat. Okay, so if flat chord, which we know already, so a B flat, which we just went through to an a flat, we know that already and back to B-Flat. Okay. So let's play it on time. So 123412341234, 34 to the B-flat. Apply one more time. Go and 234242341234. Okay, pause the video. Will through this chord progression countless times, make sure your fingers have them really solidly down. And then after that, click play, and let's move on to the next chord progression for our practice session. Well that in completing that task, our last process, chord progression as our e, b, a b, OK, so you know your E major chord already has one black in the middle, so E and R B as a white bla, bla. Right? A similar today, E, I, and then play with two hands. 234234234. So now you can play this chord progression with all the folk at 1234. Okay, I like to keep my left hand down while I move. I played the right-hand up and now I can play with any of them or you can play just twice. 1234123412341234. I can play just 1234. 2341234. Comes out the rhythm right? You choose whatever you want. Pause the video, try to go through this practice session and make sure that you have all the codes down your fingertips. Then move to the next lesson where we learned the last major chord and puts all outfall major course together. I'm excited we're going through this together. I'll see you in the next lesson. 14. F# Chord: Let's take a look at our last major chord, and this is the F major chord. The F sharp major chord is quite simple. The formula is that it is all black, okay, so we've gone through all outsold major chords. Try to memorize them. C, f, and g have height. D and a have one black in the middle, and the D flat, E flat, a flat, which are the flux of the DNA, has, have one white in the middle. Your B, it's a white notes, so it's black-white whites. And your B flat as a black nodes as black, white, white. The B is white, so it's white, black, black. Okay? And then your last major code, which the 12th one, the F sharp, which is all black. Okay, good. So now, so this is the F sub and then all-black. Now, if you were to such a player with a 135 UC and naturally it will fall on that. She played like this, your fingers will not be evenly spaced once again. So that's your F-sharp chord. And then if you add the left-hand two, it does F-sharp. Okay. Very nice. And if you already, we can just use the F-sharp in to just two simple chord progressions. And though it will be a wrap for major chords. Okay, so the first core progression, our practice session, it's an F sharp to a C, B, and a C sharp, F sharp. C sharp, which is the same as the D flat, okay, and the B. And back to the left-hand. So 123412, 3412341231. More time. 12342341234. Okay. Excellent. Pause the video and try to play this chord progression with your own written. Have fun with it's potentially a planar right? Courts. And once you're done, click play, and let's move on to the next chord progression. Now last chord progression. And thus lesson s, a, b, F-sharp, E, and F sub chord progression k. So b, 23412341234 bytes, one F-sharp. Let me start on my right right-hand, 123412341234123. For one to play one more time, play with me. To stay together for n 1234123, for n 1234 bucks. Okay, excellent work. So now that you, by completing this, you've been able to play all your major hearts, go back through all the core progressions with lead in the entire session. And try, try your best to complete all the core progressions for the major chords. And by doing this, you were just ready to get into the next session where we talk about minor chords are seeing the next one. 15. Minor Chords Explained: Hi and welcome. Now in this section we'll be looking at a second core type, which is minor courts. Now, minor chords are formed basically by changing just a single node out of the major corn. So if you haven't affected or mastered your major chords, I suggest you keep going through the major course until you have them down. And then once you are done, we can get right into the minor chords. Now let's have a look at how to build minor chords, okay? Now, remember that a major chord had a formula of one 3-5, which meant that you had to take the one, the 35 out of the major scale, okay, to, for your major chord. Now, the minor chord has a formula of one flat 35. The floods three means that you'd have to flatten the third note. And by floods and third nodes, this means that you reduce the third node by a semitone. Okay? If it was a shot three, you'd have to increase it by a semitone. But if it's a fluffy, you reduce it by a semitone. So the stead nodes, I need to reduce it by a semitone by taking it to the left. Okay, so the court that the major chord was C major like that. But now this has to come here, and then it forms a C minor chord. Okay? Excellent. So if we do this though, this means that we don't have any other formula for the minor chords. All we'd need to do is as long as you know the major, the corresponding Major chord, you can easily alter the third To get your minor chord. So the F-Major coins like that. It is a third by semitone, right? Like that. Then G major chord. It is a third by a semitone in that order. Okay, so, yeah, I've dropped Hold on. Hyena courts on your screen. Let's, let's go through them together. Case I said C major chord, which is a third minor, F major. It is a third. Okay, next one is a shock major, Asia Minor B flux. And that's, that's one. That's the major, by the luster minor, ok. And then a D-Sharp or an influence. Thus, E-flat major, E-flat minor. And then the next one, as a G-sharp. That's a major, that's a minor. Now I'm going to play them minor chords directly. Okay. Let us C-sharp minor. She know the major you just drop by a semitone to gay or minor. Annexed. Why does an F sharp minor? And then it moves on to a B minus k, and then it moves. While E minor, and then an a minor, and then a D minor to a G minor. And then it comes back to a CMA. Now I'm using a particular chord sequence, which is called a cycle of fourths or fifths. Now, I'm not going to explain this in detail, but this is the cycle, ok? Now, it's called cycle of fifths because you move, for example, if you start from the top, you see a C over there. So you start, you play upon omega c. And then if you move clockwise it move in the right direction. From c, you are going to go to a g and c to a g as a fifth, because G is a fifth of C, right? 1-2-3-4-5, right? And then the next one is a D, because D is the fifth of G, 1-2-3-4-5. Okay. So if you keep moving in the right Yeah. Movement and fifth. But I like to move in the counter clockwise or anticlockwise direction. And this is, this will be the cycle of fourths. So the anticlockwise direction from C, you moved to F. And F is the photo of C12, then four, and then from F to B flat 123. Ok, so the practice challenge years, they are going to go through the cycle of fifths. Cycle affords, and count 1234. Each time you're going to play your minor chord, okay? You can start with your major Corso, each NeoChord, Yulan, you can just print out this cycle and use it as a guide. And I like to use this a lot cause then I'm not playing chords from C to C sharp and the quotes are just close to each other, but this is quite spaced out, a bit random. Ok, so let's starts, starts with a C. So it's written C there, but I don't practice the minor chords, so I'm going to use miner hose throughout. Ok, so 1234 and C to F four, and F minor to three for an E-flat minor. For an E-flat minor, three. For the next one is a flat minor. Three. For an E-flat minor, three for a G-flat minor, which is the F-sharp minor minor, to an E minor. And then I move on to the a minor, D minor, to a G minor. C minor. A minor, a minor sound, musical, but this is a practice cycle, so I want you to pause the video. You don't need to count 1234, but practice your major and minor chords just one core type at a time. Practice them through the cycle of fourths in the anticlockwise direction. And if you are ready, you can just put on a metronome to give you a specified counts, may be 50 BPM, 5560, dependent on what you are comfortable with. And then try to practice your chords within the cycle. And once you're done, head on to the next session. Next topic where we will go through a number of practice session called progression, are see you the next one. 16. Practice with major and minor Chords: Hi. We'll be going through a few chord progressions where we'll mix up major and minor chords just to practice a little bit. Okay, so let's look at our first progression. First chord progression has an E minor to C and then an a minor and a D. Okay, so I've made the minor chords red so that you see that it's layer regular major. You need to drop the middle finger to get your minor chord. Okay? So our first chord is an E minor chord. It does me, that was a major, does a minor. And that I see. Okay. And then a minor NND. Okay, so if I take it with my left hand and using the count 1234. Okay. Just wanted to play like that to get the timing. But if if planar like this is difficult to just leave it and play just one's like 12343. Excellent. So I want you to pause the video and try to play this chord progression and number of times. And afterwards let's move to the next chord progression. Now next chord progression is a D minor, B flat, G minor. And see, okay, so you don't have to, it shouldn't be that you've practiced this chord progression before. The moment you see it on a court chats or a lead sheet, you should be able to play it as long as you know the counts, okay, so D minor to a, B flat major, G minor to a C major. So let's try it with both hands and, and the columns, 123412344 count to 31 more time. Okay, have fun with the same chord progression. Okay? So we're gonna get a lot more into that. And then G minor. And then you see, OK, excellent. Pause the video and try to complete this cooperation and just move on to the next chord progression, k. So our next chord progression as a C minor, a flat major, F minor, and B flat major. Okay? So c minor and an E flat major, F minor, B flat major. Go together. Want to go 1234123423421. More time played together and displayed together. And then after that, you continue afterwards, okay, too, 343423. Go. So pause the video and then play along, play this chord progression countless times. Make sure you're good with it. Unless try our next and last chord progression for this practice session. So our last chord progression sounds similar to all these chord progressions are actually the same type of chord progression, but they are in different keys. So you realize that every time we play the sounds somewhat the same even though we are using different sets of courts. So in the number system, this would be a 64 to five chord progression. Okay, so if you know that it's a 64 to five chord progression in different keys, okay? So B flat minor minor is a six K. So this is played in the key of C sharp or D flat, so therefore F sharp. And then if a minor and a flat, if you notice that's perfect. If not, just follow, the courts will be playing. So D flat minor, B-flat minor to an F sharp major. And then the E flat is a minor aswell. Okay, so, and then an a flat major, y 234 score. So B flat, 23412341234, n 2341. More time, 12341, 23412341234. So try and play these chord progressions that we've studied. Try and play them in every single key. All four types that we will end and play around with them. Make sure that you your fingers are very used to some of these courts. And while she hadn't held on to the next session. And then I'll see you there. 17. My Way of Writing out Chord Progressions: Hi, so I want to quickly go through my way of writing out chord progressions. You might want to write our chord progressions in this way if you don't have another way of writing it. And personality by doing enlight this, able to play countless songs. Because I've just written corporations out in the simple form. Ok, so my way of writing out chord progressions. So this is my approach. Now write out called separator with hyphens, which you have probably seen already. So for example, if a court, this four chord progressions, CGA, minor and F, Okay, so if I see this chord progression, I'm going to play like this, 1234 and I moved to 234 and a minus three for an F. Now, this, you can see that I counted four for each of the, each of the courts. Now, sometimes I use superscripts, So I write like an exponent, a number on top. And this is what I used to indicate rhythmic count. So if a chord has four count, I see that's chord as a regular accounts. So I don't write any superscript l. So I would love to write for, for, for on top of every single code, right? And then, so for example, what you see on your screen, C, G, a minor has a two other top. G has a two at the top at f. So this means I'm wearing counts for, for GCG, but for a mine I'm going to count to four, G afterwards I'm gonna count to two. And then the f i count normal force is going to be like 1234123412121234, so less played together. So one to try this chord progression is quite nice. To three for n one to n, one to n, one to, let's play together one more time. Go and 1234 n 1234, n one, n two, n 1234. Okay? Now, one thing I also want to say, it's probably not written up here as these chords. You can see I'm playing them and roots positions now. If you know chord inversions already. Now according versions. When you play the same C chord, but you can turn it around and plating other, other inversions. Ok, so it's the same court. By then you invert it. Okay? So there's a root position. You can refer to the lesson on chord inversions in this coil as well as a root position. And then there's a first inversion and then a second inversion. Okay? So sometimes if I want to indicate chord in first inversion, I can put a simple single apostrophe at the top. And then a second inversion. I put two apostrophes to tell me that I need to play this chord in second inversion. But most of the time you don't have to. If you know that song, all you need to remember as your chord progression and accounts. And I believe that you can get creative. So in this same chord progression, if you were to play it with inversions, some way somehow you could go like that, right? Right. And I may even add my own notes. Right. But says this is as a guide for me. I know that I need to follow the guy. Right? Just like that. Okay. Okay. I'm skipping the G bump play one more time with AIG. But this guide, you can play a whole song so you can write your rights. The chord progression indicates the account superscripts, and that's how it's going to be. So in this course, I may use core chats. I may use song sheet with lyrics and cause written on top, I may write the core progressions just like this to tell you which one you should count, two and which ones you should count. Regular four or three counts in the chord progression. So, thank you for joining me in this lesson, and I'll see you in the next one. 18. Song Session 1 - Hallelujah (DEMO): Secret for me is that it goes like this. The four S5 folk. If she e2. So we did. 19. Song Session 1 - Hallelujah (BREAKDOWN): Hi, in this practice session will be looking at hallelujah using basic major and minor chords. So let's take a look at it. Now. The song sheet example. That's a very standard song sheets you might find online if you search for hallelujah, caught, caught sheets, whatever you type, you are likely to see something like this online. All added on as well into the lesson so you can pick it up in the resources. But see usually, typically see the larynx. And you see courts written on top. Now, you see that in the lyrics I have here, I've heard, and on top of the head I have the sequence. So it gives you the idea that there was a secret chord. So this is telling you where you need to place the court, so which chord mates with which word? So that's basically how the song sheets are. But you pretty much have a fair knowledge of ad, song from before. To know. Sometimes these courts are now please very correctly. So in order for you to know exactly what you're playing. So since it's a popular song, I believe you know, it's, if not, you've heard it for the intersection. So let's allow fast. Scott is a C, a C major chord, right? And then our second chord is an a minor chord. And then it repeats with another c to an a minor chord. And then it goes down to an F major of ice loads. Add to the G, C, G. Okay, so let's play the first Reliance. It goes like that David played and it pleased. But you don't know, but you don't really care for music. Then, then the next line, the fourth line, and it goes like this. Or what I love about this song is the two chord CAN actually the fourth and the fifth columns, right? The four, the five, the minor fall. So the minor fall and as an, a minor chord to a Major left, to an F major. That's where G beyond the last line, on the left side to a G. Then an e major, E minor. So an E major and a minor that it goes to the corners. So I'm gonna play the very slowly. And then we can move on to the corner. So it goes like, and I've heard there was a secret chord that David played, and it plays a lower. But you don't really care for music. Stay g. Then c, f, z, f z, and e. A minor. And it goes. So what am I saying? Very simple, right? So let's take it one more time. So on the top, the saying goes like this. And the major left. The baffled king, composing ALU, 1-2-3, 4-5-6. 1-2-3, 4-5-6, 1245612345612345612345612345612345 is the is, I want you to pause the video. Try and play that song. Head tools, very simple. Court CPUs. And the song came now. So if the same song wants to be written on the court chat, who would have looked something like this? Ok. So for the core chat, you'd have your, if you're lucky, you have some lyrics at the bottom, and then you have the chord. So you see that I have made some dashes, some slashes in that tell you how many counts on. First of all, in the beginning, you have you have this, then the time signature over here. And that tells you that it's a 68 time signature. And then these slashes tell you how many of cows are within the bar. Some courses have these counts in all the bars, others don't. So it just tells you in the beginning that you know exactly what it is going for a through the song. So in the song you see that when you please see in it'll count six and play the a minor six and then C and a minus. So if you play the first line is 123456123456123456123456. Right? Now you see that G, The next line, f, and the g, have a similar balance as the c and a minor. So it's clear that the f and the g also have the six pounds. So but in you and 2345612345612, both by signum, there might be a line in between, but this is still the full balance. And then to the G. Okay, and let's go to where it becomes a bit difference on the third line. So here you have c six counts, and then the f, g recounts each. And that a minor has six counselors, 1-2-3 1-2-3, 4-5-6, 123123123456. 1-2-3, 4-5-6 months Amman, that last line. G, 1-2-3, 4-5-6. 1-2-3, 4-5-6, a mine out, 2345612. C. So in this core chart you can see the a minor six counts. Okay, so now I'm going through this so that just in case you see you come across a court chats like this, you simply play. It is very simple. Coach that actually gives you a better idea of the timing. Where to place the courts. If, for example, you don't know that song too well, okay, so if we move to the chorus, the f both six counts twice. So 1-2-3, 4-5-6. 1-2-3, 4-5-6, 2345612345612345612456. When she entered the song. Try and pick up the vocals are touching their resources and play along with it. Or if you know that song yourself, thing gets and play along with it. 20. The Number System vs The Solfege System: Hi, in this lesson we'll be looking at the sulfur system. This is the number system. Now this is a question I get quite a lot concerning which of them to use and what do they even mean. But let's look at it. Now. The number system and sofas system are two systems for calling notes out of the major scale, basically. Okay? And then also may also be outside a major skill. Ok, so now, given a major scale, you have, for example, in the key of C major scale is 12345671. Ok? Now, or you can call that eight K. So you have seven scale degrees, 1234567, but this one is the same. So this means that if you pull up any major scale on the keyboard, in no matter the key, you'll be able to identify what's a one is, what a four is. What if five is when a sixes and so on. Okay? Now, so that's the example I just gave. So in the key of C, you can see the Si is a one, d is a to E is a three, f is the four. G is a, 56, is a, is a six, and b is a seven. And then back to them one. Ok? The number system is pretty straightforward. Now. The sulfur system is straightforward as well. Now, the solar system is something you've had before. Some door Amy fasciola, Tito. Okay. This means that in the same way you assign numbers to the scale degrees. You can also assign surface of annotation, which is the Do, Re Mi facile lattes Edo. And it's written like that on your screen. As Molly. I most of the time just use a single letter. I just use D for DOE are for Ray, M For me, F of S four. So this is the first letters to represent these. Okay? So that in that same way, the key of C, we can say that c itself is the door now in the key or in the door and the one are going to be the same. And they re is a true, If you agree. And that me as a three bar is a four. So five lies a six. T as a seven. And that's your door again. So it's pretty straightforward. Depending on what side of the world you're in and which group of musicians you are working with. Sunlight to use the sofa system. In some parts of Africa and some parts of the Latin, Latin America, and Europe as well. They use the sulfur notation, Do Re, Mi, Fa, So La Ti Do. In the US and other parts of the world, they also prefer to use the number system. And the number system is what is quite used much in jazz when we, when courts are being written out, is usually done with a number system. So it's important to know both of them since it's not too difficult too. Get a hang of it. Now, the number system, the regular numbers could also be written as Roman numerals, which is the case for jazz, where you have one to b, i, and then you have I, II, III, IV, V, VI, and VI for the one to seven. Okay? So let's look at chord progressions. The sulfur system versus the number system. So you can write any chord progression with the two of them, okay? In most parts of this course, I'll be using the number system. But the software system can also be written if that's what you're comfortable with. It transformed the core progressions into the solar system and use that game. So let's take an example. For example, assemble chord progression like C, G, a minor, and F. Okay? Now, this is in the key of C, corporation in the key of C. So we can transform this into the number system straightaway because we know that C is not one of the key of C. I, G, S define 1-2-3-4-5. Ok, so the pedestrians a 15 and then a minor which is the a. Now I'm not too concerned about what is a major or minor. I just need what it is. If G is a minor that's on a, so for now I'm just taking that a minor is six and F is the force. So this called CGA minor. F becomes a 15 6-4 chord progression, ok. You could also do it in as an I, V, and then V, I, and IV roman numeral system. Okay? So, and the same chord progression can be a dough, so laughs. So as a general convention, you'd see that courts. But I do re, mi, fa, so la, ti do, i. I usually use capital letters. So if I use a block letter, D, S, lf, you know that I am talking of a CT scanner, just single notes. Codas can be a single notes and an Academy Award as well. In this case is the code, right. So those solar lava or one 5-6 for as simple as that. Okay. So if you are if you asked me to play, play a 15, 6-4 in the key of C, I can just count one. 64. Now, if you know that diatonic chords, you know that as some of the numbers I majors and some of them are minus OK, so we'll get to that shortly. But the power of the number system and the software system is then you are you are able to transform a courtroom basin into all the other keys. Now, if, if I were to write the same propagation out, C, G, a minor, F in the key of, for example, F. Or I have to write an F, C, D minor, and B flat. So I'd have to keep writes in chord progressions for all the 12 keys. But with a single, with a power of the number system, I'm able to just write one 5-6 for, and that applies to all the keys. So this, how beautiful it is. So if I go to the key of G, Right? And the propagation has one, 5-6 four. So g is my one. And the five is d, 1-2-3-4-5. K5 is a D, And then takes us an E. And then four is. Now the 145 are major chords, the a minor chord. So if I want to play the same confidence that I'm going to play a major chord on the one. And the G major chord on the D, which is the file. Now play a minor chord on the E, which is the six. And then I'll play a major coordinator C, which is for a, as simple as that. Now. So this applies to every single key, key of F sharp. Ok. Let's play the same chord progression. Fcf is not one, but 2345. C sharp is the five. E flat is the six, and then b is the foreign. So remember, six is a minus, so I just laid arrest us major. So F-sharp major to the five, which is C sharp major, E-flat minor. And then at B major, then that's pretty much the whole thing. So using number, the number system or the sulfur system, those sola, whichever you choose to use, and it's very powerful and will help you navigate around, uh, keys with much ease. Now, how do you find the courts when you are given the numbers? So let's say you're working with them in a band or you see a chord progression written somewhere and it's recently the number system. It just says one, 5-6 for let's say it says 1.5.2 four. Okay, so now you know that one file to four surfaces, all those Raiffa. But the question is, on the one, do I play a major or minor chord, or a diminished, or what kind of code do I plane? And on the two, what do I play on the forward? Why play? Now? You need to know scale degree and the code that is usually associated with an ice age, usually because a composer may choose to use another coin. But these are the courts that usually work for the scale degrees and they are called, that's on a court's. Okay. Now, let's look at the diatonic triads for the major scale quickly. So the one, the one chord, the four chord and the five qualities are major chord. So in a chord progression that one is a major four is a major fives, amelia. So in the key of C, one is a major major major. And then the two, the 36 are minor chord. So the two, the two, it's a minor chord, three is a minor, and 69. Ok? Now the seven is a diminished chord. So seven is a diminished chord. And this applies to every key that you go into. Ok, so in the same way, we can also say that the DOE and the soul, which had a 15145 major chords. We can say the Read Me and a law, which is a 2-3 six minor chords and the T or the seven as a diminished chord. Okay, so yes, have a go at it. Look at chord progressions. Find them qualifications written out in actual course like D or F or G and so on to try to convert them into the number system and use that to help you play chords in all the 12 keys. Thank you for joining me in this lesson, and I'll see you in the next one. 21. Major Intervals: Hi and welcome. In this lesson, we'll be looking at intervals and major intervals for this particular lesson. Now, major intervals are before we start with major intervals, let's take a quick dive into what intervals are in general. Now, see intervals as distances on, on the piano. So the distance between two notes, a subinterval. And based on where your reference notice and where the second notice, the interval would have a name. So now, why do we need to learn about intervals? Is important to know about intervals, because intervals form the foundation of courts and melodic lines that are played. And it's very important that we know this, so that will be able to identify chords that we come across much easily. Okay? Now there are two general types of integrals that we need to look at, the melodic intervals and harmonic intervals. So for example, if the interval is in question, an interval between maybe the C and the a, okay? As you can see, a state that doesn't see major sixth interval. And we'll get into dance and a couple of seconds. Now, if I play this, for example, in a song, if I play the C and the a like this, k by plane it this way, one after the other. It's called a melodic interval. But then if I played together, that's a harmonic interval. Okay? Moving on. So major intervals now, an easy way to see major intervals is to actually take it out of the major scale. So by, by now if you're taking this lesson, you should already know all your major scales. So for example, the easiest major scale is what we can use to explain as much better, the C Major Scale, which is from the C to the C. So 12345671. Now major, it's a loss I just the distances between the one and all the other nodes. Ok? So from one to two will be a major second interval. If you go 13, that's a major third interval. 14 could have been called a major fault interval by the 45 has the name perfect. So the major phi four and major five, But they are called perfect interval, so that's a perfect fourth, a perfect fifth, major sixth, major seventh, and an octave. Okay. So that's the easy way to find intervals by just gets it from the major scale. In other books, in other theory books don't ask you to memorize it with semitones. So you may find in some materials that a major second interval as omega second interval, it's two semitones apart. So that means if you want to see major second interval, you move two semitones from C12 and thus a major second interval. And that's good because if you want maybe an F-sharp major second interval, you start on F sharp and add two nodes above. And you have an F sub millisecond interval. But then you might not be able to memorize semitones and becomes an semitones all the time. So my best approach is if you know the major scale, if I know the F sharp major scale. Okay, if I know the F sharp major scale and I want a Major second interval, I just need to play the 12 out of the major scale. If I wanted a major third interval, I played a 13. If I want a perfect fifth, 15 major 617, major seven, and an octane. So this is how you can easily find out your intervals. Try and do this in every single key, move into the keys. Gets in each key tried to play all the major intervals and it's just built out of a major scale. Now. So exactly. So what I've stated is that a good approach would be to see that key focuses the lowest note. So if I play an interval like this, you need to pick the lowest notes in the interval as the key focus. So you call it an, a major third interval. If I play this and that, okay, the a and the D, C, the a to be the key in focus. So you pick the major scale of a, which is 12345671. And then you see that easily, that's a four, so that's a perfect fourth. A perfect fourth. Okay. So I've stated, I have a table as imperatively away. You see both approaches. One is using the number of semitones to figure out what that is. And the other one I really recommend is if you know your major scales very well, you will easily pick out major intervals without any issues at all. Okay? Yes, so that's, that's all for this lesson. For your lesson assignment, go around the keys, try and pick out every single interval from each key, major, major intervals from each of the keys. Thanks for joining me and I'll see you in the next lesson. 22. Minor Intervals: Hello. In this lesson, we'll be taking a look at millions of hours. If you are taking this lesson, you should already know your major intervals by now. And we'll build on this to find out how to locate every minor interval on the piano keyboard. Now, minor intervals are basically sort of altered integrals and somehow say they're built from the minor scale, but this is not exactly correct. And if you know the major intervals by just all trained, most of them by a semitone, dropping most of them by a semitone, you get the corresponding minor intervals. So these, these intervals that are seen to be outside the major scale. So if you, you know, for example, the C major scale as 12345671, which are all the white keys. If you play it. An interval between the key focus, which is C, and then a lot which is outside the scale, like that, F sharp, you have a minor interval. So the key is outside the major scale. You're going to have some kind of My name's Omar. Them. Now I have, as we spoke about in the previous lesson, you can see this a semitones, or you can look at them as in relation to the major scale. So that's my easy way out. Now if you the first night of Alice and minus second interval, then that's basically a major second interval which is reduced by a semitone K. So this is the major second interval in the key of C major second interval for reduced by semitone. That's a minus second interval. The same as the minor third interval. If you know a major third interval as this, then a minor third interval easily be that by reducing the major theme by a semitone, you have a minor third interval, okay? Then the next one will be on the fourth. Now when you get to the fourth, you would have that is take the ideas that tri-tone. That's correct, but it's also called the augmented fourth interval. So on the piano keyboard, and augmented interval is an integral that has been increased by a semitone. Okay? And a diminished interval is an interval that has been reduced by a semitone. Ok? So since this is the major fourth interval, by just increasing it by a semitone, I have an augmented fourth interval, but this has two names. Says, I can also see it as a perfect fourth. Perfect fifth interval that has been reduced by a semitone. So in that case, that would be an, a diminished fifth interval. So you have this as an augmented fourth or a diminished fifth interval. Okay, moving on. For the next one, you have the same idea and augmented fifth, okay? Or a diminished sixth interval, k. And some, some also call, call it a minor sixth interval. Aswell became says, there is a major sixth reduced by a semitone. And this is because later on I realized that in C minor scale that they're going to be the sixth note, 1-2-3, 4-5-6. That's why it's called a minor six interval as well. Okay? So it has a couple of names, minus six augmented fifth, diminished sixth, that's perfect. And that interval is called the minor seventh interval because it's a major. Somebody tomorrow videos by a semitone k or an S, also the seventh note of the minor scale. Okay? We'll talk about minor scales later, later in this course. So by binomial major intervals, you can easily find the minor intervals, just relate the interval you are looking at to the major scale. And then you call it some kind of minus second or an augmented or diminish based on what attests to the table is on your screen to identify it easily. Now, before we end this lesson, I want to talk about the importance of knowing intervals, okay? Now, intervals form lots of scales, as you can see, like the major intervals will form the notes in the major scale, like a C-sharp major, major scale is made, is made up of various intervals, right? And also let's look at, so basically that's what it is. They also form building blocks or four chords. Okay? So later on when we start learning about seventh chords, use enough. I'll say if you have a C Major chord and you are a Major seven intervals, weight is going to form major seven chord. Now, this major seven chord is made up of a couple of intervals. You see a major interval here as C major interval. Here, you see an a C major interval. Major third, you see an E minor third. Okay? You see I'm a G major third and these three intervals will come together to form one big chord, chord, C major seven. Okay, so that's very important that we know our intervals. And intervals also defined a tonal quality of quartz. So to define whether you call them has a minor sound or a diminished sound, and so on and so forth. Okay. They also used to define the type of courts. And you use them to identify what kind of skill you are dealing with. So let's, for your homework, just go around the different keys. Pick a key, pick out all the major intervals and use them to find the minor intervals. And by doing this, you're ready to get into knowing more advanced course as we move forward in this course. Thank you for joining me and I'll see you in the next lesson. 23. Common Time Signatures: So time signature shows how music is counted, okay? So easily in a time signature, you find time signature at the beginning of a grand staff. Okay. You see some numbers written on the left corner of the stuff. But I don't want to get too much into the reading, reading of music, which is very important. But in this course, we are basically looking at how to play these things. How to play the piano without necessarily read and notes. Okay. So if you look at the stuff, times NHIS indicates a somewhat like a fraction but with no line. Okay. So you see a number on top and a number below. And the number on top will tell you how many beats in each account. And the number below tells you the type of counts, okay? So it could be a quarter notes, which is indicated by four. It could be a half modes indicated by two, could also be a 1 eighth note indicator by eight. Ok? Now, let me just simplify it right here. Okay? So the, the most common type signature is a 44 time signature. So that's four quarter notes per bar. So you're not going to count 12, 341234. So that means if you see a chord chart and the song goes in a 44 time signature, you have to play and one, for example, 1524 progression in the key of C. And that's a 44 time. And you're going to pretty much do what we've been doing all the time. 1234, and then the nucleon mass Codename One 2341234. Okay, very good. Now let's try the next common time signature. Okay. And this is the this would be the 34 time signature to kinda three-fourths times signature is similar. So you have three beats, three quarter notes, pair, measure. Okay? So that means you count 1231231. Slight a swing, right? 123123123123. So the same chord progression but played in that event, 123123123123. Okay? And then one very common types energizers are the 68 time signature. Thus, quarter notes is more like the quarter of the eighth. Notes are somewhat twice as fast as the quarter notes. Okay, so if you count six of them in a biodiesel is like 123456123456123456. Okay. So it's going to be 12345623456123456123456. Like that. Okay. So 24. Basic Rhythms: Hello everyone and welcome to this lesson. And this lesson will be taking a look at basic rhythms. Okay, so music, I mean, at the end of this lesson, you should be able to play simple chord progression like AB 1524. Instead of playing it, 12341234234. You can use other rhythms and play them. And for example, for a one, 5-6 for progression, which is in F, 68 times signature goes like this. And if you are familiar with this and this as he's able by tightrope it. Okay? Okay. So to start with, let's understand the fundamental principle of time signature. If I indicate song and I tell you what time signature you're going to use it to play this. It tells you pretty much where you're going to place your courts. And usually the court's, most of the time comes on the one. Ok. Now, this takes us into rhythms, okay, so you know your time signature. Now the rhythm comes, it tells you you can create different rhythms based on how you want to place your court's. Okay, very simple. Now, for example, let's say the progression, 1.5.2 for us, we've been playing, okay? Now, once you've been playing, now is playing the card on the downbeat, which is the 1234, and then you play it every time on the one. Ok. How are you trying to be just a little bit more creative? Let's say we want to play under one and under three is time. So it's gonna be like a 1234. Okay, so let's demonstrate that. So that's 1234123412341234. Yes. You understand that whether slid into so you can try to be creative, you don't necessarily have to play every time on, on the one beats econ played on the one and the three. Let's take it to the next level, SQL 134 and leave out just two, right? So 123412341234123. And this is dependent on your taste. Whatever you want to do, the music is in your hands, you other crates as you play, what sounds good to you, okay? And if you hear songs played out there, you want to lead them. Yet these rhythms, you are familiar with them already. Okay, so let's try another one. Let's try and play at every single can't be blurred. The one, the 23, and the four. Okay. Very simple. So that is going to be 1234123412341234. Very, very, very simple. Okay. This is the first law professor. I don't like to play, for example, both, both fingers. So I could go like that, but I like to play that and I keep my left hand down. And then you just move, I guess use right hand to play the other nodes, the other courts, I guess like 1234123412341234. Very easy. Okay. So now let's try another example. In the 68 time signature. As I said, he's able that's that's a good example. And it's a once 5-6 for provision for the early part of the song, but it's a 68 times signatures that has 1234561. Ok. So I played a 123456, then 23456123456123456. Ok. So it goes up like 1245. So 123456123456123456. Okay. Now you can be, you can be creative and say, okay, I want to play on the one and the four. So I'm going to play 123456123456123456. Okay. Very good. So this, these are pretty much what rhythms are. You can't try and be creative in. E can have complex rhythms. Their rhythms were you trying to play just before the far you want to create? So usually, usually this card you have 12345. So you have 12341234. So 123412341234, right? But you can also have counter this Module Three files, 12341234 add, okay, so you can be a little complicated. Say you want to place a cart on the, maybe to add is that of the two or three. So you're gonna play 11234, N1, N2, N3, N4, and 23412312 to n. So that sounds really good to add. Gamow creates if you want to play, okay? And the two end. And the for end. For example, say you want to go one N, one, N two, N 34234234234. And this is how you're going to take your plate to the next level. 25. Chord Inversions and their applications: Hello guys and welcome to today's lesson. In this lesson, we'll be taking a look at caught inversions and its applications. Now by the end of this lesson, you should be able to transform a normal chord progression in roots style routes positions like 65 to something like this. For Jeff, I'm allowed the songwriters what are called inversions. Let's take a quick dive into it. A chord inversions are. Now, there are other ways of plain accord by just pretty much inverted the notes. So if I take, for example, a C major chord and I ten, it's outside now, upside down. If I take this nodes here and take it to the top, okay, I just left this finger. And the ticket here like that. Over on your screen, you'll see, you know, like looking like a slash Board, which is a C slash E chord. If I take it, that is going to look like a c sludge G chord. That is actually a C chord, just inverted because the G is still part of the C chord. Okay? So every court inequality can play, can pretty much being diverted into other forms. So when you play the chord, like as for example, a C major chord, and you have the fam, the lowest note on the inner court be. The court itself, is as if you have the lowest nodes in your court as a C And as a C Major chord, then what your plane is, what is called a root position. Ok, so if I plot F major chord lightness as an brutes position of the F-Major chord. And this is what we've been playing mostly throughout this course. Now, if you want to invert it, all you'd have to do is to rearrange it. You can either take the bottom while afforded the uppermost one down. If I bring the uppermost one here, down, is going to look like this. Okay? You see one? When I add the left-hand side, f, If I take that one up to n F, n F chord, right? Very good. Now, one thing we should know, so and this, the root position. If I take the lowest note here, is called a first inversion. Because the F major chord in first inversion, and if I take this one, lowest one here, get up the next time. It's called a second inversion of the F chord. Okay? If I do that same thing again, taken up, that's not going to be a third inversion because it's just like the roots position once again. So you guys into the F major chord has that root position and to other inversions. Now my simple formula that I used. As if you want to know how many versions accord has, you counts the number of notes in the court itself and subtract one. So the major and minor chords and diminished triads, they have three notes. So major minor chords have three notes. And if you subtract one, you have to. So it's going to have two inversions. So that's why you have, for example, a G major chord. Okay? And it has the root position. And if I invert this, take it at the top, you just have to slowly make sure that I know what I removed from the bottom. Okay, make sure you note that naughtier moving, moving the G. So I need a way to hold these two in place. And all I'm going to do. So it's easier if you use your phase two fingers to hold these ones when you are playing inversions. Now for the British position, you have played one 35, or via, you might most likely be played 125. Okay, so I take that I used 12 to replace these. Then I drop remember the one that I took from the Tom. I drop it at the top. And as a first inversion, I do the same thing again. This, remember what I'm taking from here. That's a D taken away. All that in place. And the light put a d on top as well. Second inversion. And if I invert it again, that's back to reposition. So it has two inversions. Ok? Now, how do we apply this chord? Inversions? Now, sometimes you, you play a very nice chord progression. You hear nice chord progressions like so that's the next 15 and KFC, okay. By your allies are moving all over the keyboard. I'm moving from 610 to the five. So sometimes you might want to write the musical piece such that you don't have so many movements and have seamless progressions. You have progressions are lead into each other quite nicely. Now, this is where the inversion is come into play, and this is where they become very, very fundamental to what you wanna do. Okay? So you have, for example, you're under six chord, which is the a minor chord here, right? You want to move to the F-Major chord. Now this is what you can do. You can try to see if the nodes in this preceding cord, this current court, it says some similar notes to the F-Major chord. So this is an a minor chord. And you want to move to F-Major chord on my left hand, right? You want to move to this kind of code. So you can see here that clearly the a and the C are common. The f also has the a and C, So we can keep them, right? But unfortunately, this E here is my part of the F major chord. And we are Messud F, Okay, so I need to move that finger to the f. That's right. So I've been able to move from an a minor chord, a minor chord, to an F major chord. By just moving a single finger. Not first, you are moving all three fingers like that. But now you are moving just one finger is either very good. Now we're going to try. So we've done the six to the four. Marigolds, moved to the one which is the C major, right? So what am I going to do again now, the C major, C major here, right? This is the C major here. So what notes are similar? This notes starting the C Major chord. So I need to move it to the closest node in the C Major chord. So if I look here, this a, the closest notes in the C major chord will be the g. So I need to move that to the G. Alright? So now g is good, c is also ok. So I can take that out. And then I move as the last modus. F is not part of the C major chord. So I need to move F to E. All right? So that's, that's a C major chord again. Tanya plane DC versions you can decide to double. Nobody noticed that I've assembled by vestibular signal. So now three cause I've been played seamlessly without necessarily moving all your hands. Okay, so that's the a minor six in the key of C to the four by just moving one finger here. And then to the one like that. And then the last code you want to move to the five. Ok. So here, this is part of the five chord. And this is the power of five, cause I need to move this to the nearest noted a five chord. Him ask yourself, do you want to move it to the d? Are the b, alright? If you move that to the d, then you may have a problem. You might have to find the b and the other way, but that's too. It doesn't make sense, right? So you have to bring this down to the B. And then that's today that a new GAF score. So from the, from the one chord to the five chord. So there's an ad and my way of playing, right? So there's going to be six. Move on finger to the one. Plus i, you get the sound quality versions. I also used to play specific voices. Now voicings. You voiced a chord that kind of inversion you used. The notes on top is going to determine how the court sized like. Okay. So for example, you can Plessy image net. And you see I'm having this loads more voice than Hofstede G on top right? By someone could also play it at the fast, efficient and one inversion. So let say you have a melody like okay, so you have a series, of course by u one, you want to use choose inverter that will make sure this firm to die to the water. Because it's so simple. It's just this one. And that's a flashcard here. But you guys aren't glued play. Okay, but to make it sound nice, or you can choose another inversion, which is, in other lessons, we are going to look at how to use melodies and play them along with courts to make your music sound beautiful and well understood by people because when you play jazz chords, then you need someone to sing. But if you choose the right inversions and play the melody on top, you can easily find someone can easily know what song you happily and follow as well. 26. Slash Chords and their Applications: Hello everyone and welcome to today's lesson. In this lesson, we'll be taking a quick look at slash courts. Now the moment you he has slashed course, the first thing that might come to mind are the scores that have been slashed. No, it's much simpler than you think. So. Sometimes in music when you're trying to read court chats or someone writes as sequence, of course, for you to play around with. You might encounter courts that look like a letter, sludge of a slanted a slanted letter. So that's what a slash and then another meta. So basically the moment you see that the kind of information you can get from that is first the first letter that is shown as the court that you are supposed to play, and the letter on the right after the slash S, the base, not other left-hand nodes. So I made an easy way for you to remember is think of it as it's been inverted. Okay? So if you see, for example, a C slash, ie, think of it, that is, turn the other way around. So the, the one on the left, you actually going to play it on your right. So it's going to be a C Major chord. So the one on the left is a chord and the one that right, as a note, is a bass notes. So it may be a single notes or you could double it up. Okay, so it's a C chord and the base note, the E, you play on your left. Ok? So the momentum play that you see, a C slash e. So the C code with an eBay's dot k. If you wanted to sound a little heavier, you could easily make that an octave, right? Whenever you play a note here. Two nodes, same node, A's apart. 4-5-6, 1-2-3-4-5. That's an E octane. So you can just play a C chord and the e on the right, okay, so that's a C slash. Okay, very good. So let's try another slashed for, for example, say you see an f slash, a slash cord. Very simple, right? You have an F chord with an a as a Bayes, not an F chord with an AS a Bayes net. So that's an F chord with an a as a Bayes net, thus gay, right? Very, very good. Now so what, what are the slash cosmonauts, the pebbles or slash courts is to pretty much make calls. Dow would have more complex names. Simple. Okay? So they have some courts and right now we add beginner level, right, for. So trying to land these cause might be very difficult. For example, if If say I play a simple slash scored like a C major chord, C slash D, Right? That's a C major chord over the d k. So this is a very simple code. If you look at it as a C triad major corner right over a D bass notes. But from your screen you can see the very complicated ahead. Well, somewhat intermediate level called Neyman. So this is a D9. But in order to make this simple for everyone to be able to read on the core track, it'll be written as a C slash D. And as you can see on the bottom, Mazatlan alternative name. So slash courts are very, very good and they are able to simplify cause as much as possible for anyone who is trying to get into play the piano to play them very easily. So that's a very important and something that you should be able to master. Hamlin. We'll take a few others, Lashkar, so can you try and play a G slash B, K G slash b. So once again, that's a G card. What have been based not, okay. So a G major chord, that's a G major chord with a b based on right. You can either choose a plate with one finger. Double-tap by G slash B. Will try one last sample slash CT. And I'll be, let's try a d slash, F sharp, okay? So once again, a D major chord, an F-sharp based not, okay, so that's a D major chord with EFSA is known as a d slash F-sharp. Ok, in other lessons will be taking a look at core charts and will become an across some of these, these slash courts. So we should be able to play them when we see them. Okay? And one thing you should notice, this quadrupling on this side, ie complete in other inversions which will be adolescence, are partaking lots of, but if you already know about chord inversions, yes, you can play, they're called these lush F. You can play the chord written on the left side in any inversion that you want, and it will still be called a D slash FTA completed. For example, first inversion. Second inversion. Okay, so now I'll take, let's try, try, try these with mezzo. Tried to play a C minor slash D. I waited. Try. If you got on rights law, be a C minor chord with a D left-hand. Now I see what I was talking about. Had this card is called as a D seven SAS for and it's a flat line. So this is at the intermediate level. This is going to be a very sophisticated core, right? But no, it's not that sophisticated. It's just a C minor chord in already with a D base notes. And that gives a very beautiful quote, right? Very nice. Let's try and f slash G. So F chord G based not. And there's a very nice coordinates, resolves nicely to the, to the C chord, right? Very nice. K can be trying. Let's try. See such two slash e, ok? A, c such to remember how E-Plus as two-part, so 125. So u plus c sub two here, and put the B on the left. Okay? So, so on your screen you see SS, C major to slash e. And that's because the moment the IQ comes in here is like a major R2 called w0 lands before. But you can easily write it as c slash CSS2 slash e. Okay? Very good. Now we'll try one last one. A C diminished slash D, C diminished slash D. C diminished, remember as one. And then floods three to three flat. And then flat five. There's a five. So does the sludge. Flat five. Very good. And as a C diminished slash D, So I just have to play D on my left. I see that's a very injustice in court, right? Make it so try and pick up some core chats. In my, in this course we are going to look at a couple of core charts. Try and pick some of them up, Identify the slash courts in their play around with them, and be able to master how to play this slash courts with 0s. Okay? Yes. Thank you for joining today's lesson. And see here's the next one. 27. Reading Chord Charts: Hello and welcome to this tutorial. In this tutorial we will be looking at COD chats. Now received several questions from people asking, how do I learn songs as a beginner? Because probably you don't have that level of here and to be able to hear the progressions in songs and all that. So that's a bit difficult for beginners to land songs. I believe one easy approach is to use core charts. Now, if you are lucky enough, maybe the song layer trying to learn, It's a Milla Mullin. Core charts are already out there and you might be lucky to pick that up. Or one other musician could also send you a core chat and you can work with it. So knowing co-chairs is very important. Now in the last video to play songs from core charts, it's important to know exactly what the core site and how to play them. Because core charts don't show you what finger to put where. It just tells you pretty much what chord to play at what point in time. So you need to know at least your major chords. Minor chords. Yes, SAS to sus four. These are the course that you'll be meeting quite a lot of core chat. The other chords like seven calls which you might meet along the way, but that's what we at an intermediate level. So in this course will try as much as possible to do away with the diminished chords and southern courts and so on. So we will look at one example. Now if you try to run a Google search for song, the courts has of a song, you may get one formats where you have just the lyrics and it's indicated what quarters where right on top of the lyrics is multi, namely structured form. And this is not really a quartets, but it's a way to get you to know what course to blame. Now in order to be able to play something like that, just like the example I showed on the screen. And you most likely have to know how to sing the song already. Have a feel of how the song goes. Now the proper co-chairs usually looks, takes two forms. One could take the form of a clean core charts, waist, chest, the courts, and telling you the timing. So for example, in the courtyard of Amazing Grace that you see on your screen, I've indicated that the time signature is 34. So this means you are going to count 123123 in that order. So whatever you counter one, the court comes down. So for example, in amazing grace, as you see in my simplified core charts, the first chord is an F. So main, 2312. So that B flat major, three and to the F, two, to the d minus one to three, D minor to C major, 23123, and back to the F-Major, 23123. These three as major through to the d minus 2323123. So you see in the score chart I have the slashes to indicate in other accounts pattern. If you, most of them are very easy, just played a corner under one. But if you look at the bottom there, there's a bit of a different time in there. From the last line after the Phase D minor to three when you play the second D minor. Now, you see that the C chord comes on the three knots on the one. So you have d Financial one, d minus 1412, and then C Major comes over three. So we have 123123. Okay, so it's very important to know where you're going to place your courts when you read some of these core charts. Now. Yeah. So for example, in a very, very simple core charts, which if you know your course, you should be able to pick up clay. You may be lucky to have a courtyard where there are lyrics written under the particular, the particular chord. So he may tell you that on the F chord, play that on, on the MAY inherent rights in a grace and other half speed. So that may indicate a under suite, you play a B flat chord, for example. Okay, so let's, let's take a look at the different, maybe a more sort of little bit advanced Amazing Grace. This one has 1 seventh chord in there. Maybe we can quickly learn a Southern Cross I pretty much as seventh chord. When you see something like an F seven is called a dominant seven chord. And that's just play your major chord and add, you add the flux on the side. I know we have not, probably not talking about it, but if you notice, so for the purpose of this course, for the dominant F dominant seven chord is going to be just F major chord and the other E-flat on top here, okay? So if you try to play that, the first chord is F major to a, F dominant to 32, a B flat major, two, three-to-one, F-major, three, D minor. Now you see this next chord is a slush chord. So from what we know about slash boss, I suggest you take the Unless amongst flashcards. And so this is going to be a D minor chord with a G based. So you take this kind of Quran, K. So starting from as a Galois has a D minor to 33 to three, and then that's a C major with an eBay's, right? Just adds a main saying race has read or D minor E minus C max when estimating 2332323. So you'll AUC you have lest I get to the answer. There's an F sus four. F sus four to a manger. F sus four to a major. Assess for when you suspend the third to the fourth, right. Excellent. So court shots are not very difficult to read as long as you know your basic chords. Okay. Let's take another example. This is a song called 10 thousand reasons. And 10 thousand reasons, I'll try to pull this off. As I'll say that these core charts, you can pick them up in various, various styles. Now, it's possible to meet the core charts, which is very sophisticated. It looks something like what you see on your screen. And we'll just concentrate on with what is on the screen. Concentrates on the treble clef. And just look at the merits of the song. So this song is the key of D. So it starts with, will just ignore the insurance that phone. So, yeah, we start on the d current, so it got less and less data from a G chord. So you can see the count in this song is a fourfold count. So this fossil counts means that within every single bar I need to count four times. Now you can see clearly in the song that the courts are southern spaced with two counts because two cords come within a bar. So it's going to be, when I play the G chord, I'm going to call just to because g is not taken up the entire bar. Okay. You don't need to really know how to read stuff even though that's good. But by just knowing how to count here, that's very beneficial. So with a G chord to an a D chord, to deny God's one acre around two, and an a B minor to G major energy. Okay? So with this kind of card charts, you just look at the first, the treble clef, he grow the sophisticated nodes. You see that? And look at just a treble clef and follow the lyrics as well to give you an idea of where you are, now made us much simpler version of the, of the 10 thousand reasons, which I'll pull up. I had to put this together myself, and it's much easier. So let's go through that very easily. So we'll start on the first score. So average and bless the law there. So the Lord does when he hit your first cousin, blessed Lord, G, O D, B minor. Okay, so that was a four. And then a, right? For a major. Godzilla said my then a D minor. Okay, so let's talk about accounts there. You can see as four counts. So this is 1234. And in that bar you saw that took one counts, a to Kuan counts, and then B minor to one count as well. So that's the Marina, the magnetics to account. So it is going to be one. Then the next chord outline. And then the G over d. Right? Perfect. Let's take it again. So blessed. G, a B minor. And that. Now of course, you can use chord inversions. If pianos, constable called inversions. Just take your moods was ashamed courts, and you'll be fine. But as your contango is called inversions, you can easily play the song it caught it immerses like that. See I'm just username. So you just see them playing the chordal old cans. And this comes to reservoir, which is unused as well. There's no problem with that, right? So and that's a very easy and simple way. So I'll advice if it's difficult for you to hear songs and play them. Just grab a core charts and play along with the court chance lender calls on the core charts and you can play in the band or in a church wherever you want to play this. Now in the next lesson, I'm going to teach you how to pick the same core chat converted into the number system and be able to play it in every single key on the keyboard. Thank you for joining today's lesson, and I'll see you in the next one. 28. Transposing Charts to be played in All keys: Hello and welcome to today's lesson. Now in this tutorial, we'll be taking a quick look at how to take your chords that you've played from the core chart into other keys. Now it is very, very important to be able to know this because you might not be lucky to find a setting where songs are always played in the original keys. So the best approach is to lend a song from the core charts, tried to convert them into a language that you can understand all the other keys. And it's a very simple process. I'll show you that it says tutorial. Now, let's take a brief look out. It's the same song that's we use the deAlloc tutorial. If you've not seen the other tutorial and advise that you take a look at that. The Park one of the session. Now in this same tutorial, which does the longest in the key of D. So looking at the first line is starts from a gene to a D and a B minor. Ok, so this is what you do. You know the key, we're planing, the key of D, right? You're going to play the major scale of the key of b i, the key of D. Pick out your numbers or your surface, whichever is comfortable in the key of D, you have 012345671. Ok, so now the first chord is edgy. Towards their ideas, obviously one. So what is the G? The G of four. But if you don't know that, then you can find okay, 1234, right? And you already know that four is always a major chord. The nature of the four chord, C major chord. So you could easily take a pen and paper as I've taken my pen and paper here, and write that the progression of the song goes from four to one. Okay, that's the d. And it goes to an a. Then she was a fourth is a 50K, 1-2-3-4-5. So it goes from four to one, to five, and then it goes to a B minor, right? So a, B, the B is six and is a minor. So you can just write six. As you notice, this is going to be a minor. If you like, you can write down your paper. That's fine. Okay. And there we go to the next line and wait to be fast at. It goes back to G, which is the four again to a one. And then it goes to a five by four. So you can write five SAS for a normal 5. Third mine, it goes to a four again, and i goes to a six. I don't need to write a minor because six is already my name my head. Then I write 456. Okay. And usually what I do is if I want to really know what's going on there. That's all the timing of all of the course are too. So I don't need to write 222 everywhere. But I know that this 451 counts, so I can write exponent one there for 56. And then it goes to the last line. You have a four x five, and this is the G, D. Now, that's, that's, uh, for the g, so for slash one, okay? And then back to the one. So you can do this in the number system now, I could put our put up on the screen as well as those who are for me familiar with the sulfur system. So that that was going to sort of for one 5-6 is going to be a FAR DO saw law. Okay. And I'll put the alternative for that as well. Now, knowing this, I can just ignore the core chart. Come to my piano and look at my numbers, start to play. So bless the 456, you know what? Let me leave this key. Let me go to the key of the key of D. Lemma goals is key of C. Okay? So this is the key of C. Wright. And I know where my formwork is, right? Remember the four chord in the key of C And 1234? That's an air freight and suffice and this six, right? So let's start to play to the Keirsey. So blessed for Formula One, right? That's what, 64 to one. Then a five May as, as four. Right? And then it goes to a 4645. Right? Okay. So there you have it. You can now play the same song that you lent by converting the courts into the number system, you completed a single key. I can go to the key of, for example, F sharp, right? So, so blessed. Okay, so for 4641542, a major, 465451. Okay. Let's try one last key. Okay, and so you have. Last 11, so 56. Okay, let me use the salt as for this one as four. So norm also to a right, to a 4512452 or four or whether one. Okay. So this is this is a very powerful tool. If you, trust me, you're going to be fine. Just make sure you know your chords in every key. And if you don't know a song, you pick up a core chat. Plates in the original key becoming a sense we did an original key culverts the chord charts into numbers or the sulfur system. Mla, you can plate in every single key. Okay, very good. So this is a very powerful tool, for example, in the amazing grace that we did. If i pull that up, Amazing Grace, I see that it's in the key of F, right? Okay, now the first chord is an F and an F seven, right? And where B-flat and less parts converts this, I take my pen and paper and I know the F-major scale, 1234567. Okay? So the F is one in the major scale. The B-flat is 41234, right? So I converted that, I save one. And from one I go to a 17, the seventh of the one, of course. And then I go to a four and then back to a one. And then the second line I go to six because p minus is six, right? 123456 t. And remember the minus six. So I go to six. And the six slash, the two, which is a G, okay? 12. Okay. And then it goes to c, which is a 512345, and then it goes to a 57. So the C slash e, which is a sudden 567, right? Perfect. And then the next line is a one to 17 again for one. And then a 662. Then it goes to a five and then no one wants us four and back to one. So I picked just number system. I can easily then take it to another key because now I am not bound to indicate and quickly and moved to the key of C Sharp. We've not lazy shift to the right, so it goes on. So there's a one to a whilst some z 122312123423123 to a 65 and a 50, seven. Okay, 123, Mr. Alex. Okay, so let us, I convince every song into every key. So by memorizing this progression, I don't need any court shots I gave AT key. I don't need to rewrite our core chatted and I lucky for me to play piano. And of course you can use your head. And the guy whose aim versions, right? Okay, and you've got to get creative. Of course, y'know, balance you use in the brawl major chords data then the song. You can always use a improved cause like the tool or the add two. So somehow maybe I can start with an a major R2, Colorado Kneser-Ney, standard Major chord. Okay, so that's, that's how you go about it. Experimental explode these scholars all the best. Pick up a couple of songs you like, find out the accord checks, you know, dig into the Internet, get the R code chats, pull them out, play them if they don't sang a song as of course don't sound as good as you thought they should sound. You can easily put an alternative colon. Dare write them down, play them in the original key, converted into the number system on a sofa system, and played in every single key on the keyboard. Thank you for joining today's lesson, and I'll see you in the next one. 29. Finding your chord numbers in All Keys (AMAZING TRICK): In this lesson, we'll be looking at a very simple way to find your numbers in any key that you're in. So this is an easy trick that has helped a number of my students. Okay, so now let's say we're in the key of C right? Now. Even though it's really good and it's important to know the major scale. So if you went to play a chord progression, like if you had to play a chord progression like a 15, 6-4 chord progression, you would play the one and then, you know, this is 12345 and then moved to them. And then the 64, it's very easy in the key of C. But when you are starting out and easy way I like to teach this. The moment you play your one chord. That's hanger is already on the five. Some people plays like this. So in that case your thumb will be on the five. But in this case, let's finger is on the five k. So that means if you move to a five chord, you're going to play a chord on this node, a major corner datanode. So as simple as that. Okay, now back to the one. The moment you know your file, you can find your six and your four. So all you need to know is your one and your file. The one gives you the five. The five gives you a 64. What am I saying? So this is a 56, a tone to the right. So become two semitones. Does your six. And then U4 is a tone to the left, one to K. So to play this chord progression, I'm multiplying a one. Now notice my five, I go down to the five by five. So let's play a minor chord, six, which you already know. And then, and then affordances semitone behind. Okay? So with this idea, let's go into other keys. In the key of C Sharp. I play my one. This is my five, This is my six. Okay, this is my 512, does my sixth. And thus 12, that's my four. So I can go straightaway, play this chord. Then. I need to remember that my sixth minor, and then my four. Okay, let's take another unknown key B. Alright? So this is my one much value does my five by six. This is five, so six and the last five. So for that you need to know your five and that's takes you to the six and the one more time. And of course, then you can play any chord quality that you want to play, k. One last round on key, ie. This is your E. That's my five. That's my that's my far so 56 tone up or turn down. So I go and I play my by five and then six minor, and then afford. Excellent. So let's try one more chord progression. So say you have 1524 chord progression. So how do we find that two? Now? So these are the common ones. The only remaining one here is a 37, which you can use other ones to find, right? So the R two is going to be a tone to the right of one if you count 1234. So the one, this is the one in the key of C That to assess a tone to the right. So if I'm playing one and I moved to the five, I need to go to the tool. I just know where my one is. So remember, you need to know at least you're one and you're 51 makes you find a five easily. Now this doesn't go to say that you shouldn't know your major scales, so you need to know them. So about when you're starting out, this is an easy trick that can help you. It will go much faster, right? So y bys and then a two, but it's also a minor Glenn U4. Okay, very simple. So one more time. And therefore, if I do this in another lucky, so try and pause the video and play this in a key of B flat. Lay 15 to fall in a key on B flat. If you're able to do that, also not let's do it together. So that's my five. And I know my two said tone from the one, and it's a minor. And then my four. And therefore, Okay, excellent. Use this technique to play favorites chord progressions. Google your chord. Chord progressions, find them in court chats. And you may, you may find them in actual notations like C, a minor, D minor, and so on. Convert them to the number system and use this easy approach to play them in all the 12 different keys. Thank you for joining me in this lesson, and I'll see you in the next one. 30. Song Session 1 - Hallelujah (NUMBER SYSTEM): Let's converts hallelujah into numbers if we want to write it down quickly as numbers so that we can plates without it needed a code checks. Okay. So I'm going to use weights, right? The numbers. Who loved the number. So this is how sometimes I write it. You may choose to write it in. If you're writing it on a piece of paper. And actual, you know, Latin numerals are better for you like you see on the screen, 1614. Go ahead. If roman numerals are better for you, then you can go ahead and write it. But usually when you are writing courts is better to use roman numerals. But you can use this as an easy way out. So in this, I know I know my my time, so I know my time signature is 123456. So the first line says I play a one chord and I moved to a sixth chord. Now this is the key of C. So if you look at the, if you look at the number system in the key of C, 12345671, right? So your first chord, the first score was a C. That's a one chord. Right? Then? Yes, next chord is six, which is the a minor, 6123456. Okay. And the reason why I don't ride my night here is because I know that my sex is usually a minor. That the only thing I personally do is I know my 145 I major. So the moment I write 145, I know that these are major chords. And then my 236 or minus Ry2, 36, I know there are minor chords. Now. Look at the second line. You see an F3, Britain a major, because they're free in this song, has made a major instead of the usual mine. And because of that, our use something to really highlight to show that. Make sure you don't play this minor chord. And this is how I personally writes songs. Sometimes if I have a lot of songs to play at a concept or any performance, okay, so if we apply the first line and then a six, but my 16 and I got my four. I've got my five document one by five. And then one. Now, i, if you see from the gain and I wrote base counts too, so I don't want to be bothered too much with 123456. Okay. So I've broken it down into two cards. I'm more like one to one. Right? One to each. One has three council 1-2-3, 4-5-6, or 1-2-3, 4-5-6. 1-2-3, 4-5-6, 1-2-3, 4-5-6. That's sounds like one to one to k. So if you look at a second line. I put a superscript on top of the four and the five, tell us one council is not going to get the full 12 is going to get just a 11. Okay. So moving onto the second line, 12111242123. Major, not a minor, usually minor or major. And then moving on to the chorus. And the chorus outs in number system like this. Hallelujah, one or two. So the got one du by l1 by 21121212. And then one. Very simple. Now that the power of this number system is then just say you wanted to sing that song, but this C In the key of C is too high or low for independent on your vocal range. Or you are accompanying a musician who is a singer who is singing another key. Now, these numbers are going to help you play that same code sheets. They're going to help you to play this in any key of your choice, right? So let's say you wanted to play it in the key of F, right? So in the key of F major scale is 12345671, okay, so this would be my one core. Then 123456. Then there's my six called BAD. 90 is a minor, right? And then I know my four chord would be D flat 1234, so B flat major. And then my five would be 1-2-3-4-5, five, and then one. Okay? And the other called the only remaining chord in this formulation is the three major. So I need to find my 3123. They, and that's a major course. I planned a major chord. The, let's play the song. The secret to my right. And then it goes like this, bar by six for three major chorus. Then for sex. One. Your little challenges to use these numbers and take them around all the 12 keys. Try and sing and play Hallelujah it all 12 keys. And after you are done, you will be much confident that you have a firm grip on your major and minor chords. Okay? Now, to sometimes you may also see, you could also write it out as this instead of using numbers. Okay? And that little thing that you see sometimes is that if you look at the first line, I've heard this capital I on top. So usually then I add the capital letters. I used to signify major chords. And if the chord is a minor chord, smaller, numerous, smaller letters are used. So you see that on the top of the secrets you have a VI, But this I lower case. So you know that is a minus. So this is somehow foolproof too easily let you know that your play elicit play a major or minor chord. Okay, so if you look at the first line, you have one and then six, which is a minor, and then 16, which is a minor again, third line and U4, IV, and V, which is a 51 and an affine. So it's important to know that reminder mouse if you want to play this kind of, it's right. And then while IV to V, which is the five, and then six minor, IV for major, and then a five major. And F3 here is just using, is written using capitals, block, lattice or uppercase. C is six. And then four to a six, and then a 45. Okay, excellent. So try and go through these chords using whichever side of lambdas you prefer or you're comfortable with. And you try and play it and every single key. Thank you for joining me in this practice session, and I'll see you in the next one. 31. Add2, Sus2 & Sus4 Chords Explained: Hi guys, welcome to today's lesson. In this lesson we'll be taking a look at the cis to the O2, SO2 and SAS for courts. Ok. Now we will start with the R2 chord. The R2 quote is very simple to construct. Basically, the R2 odd is also called a major art to, okay? So all you need to know is first of all, your major chord. And this is the two of the scale, right? 1-2-3-4-5. That's the two of the scale you need to do is as the name implies, add the two. So as soon as I add these two, it becomes a major art to chord on R2. You can say see R2 or C major R2. Ok, let's try this for the f does an F major chord, and that's an F major unto, okay? For example, G. And that's a G major R2. Ok, perfect. The second code as a ASUS to So as such to the short-term suspended too. Okay? So what this means is that the difference between that into AP two is in the R2 you added a second, but in the SIS two, you are more or less suspended in the third 2 second. So you replace a fan with a second. So the formula for that is going to be a 125 K. So that's a C sus too. So there's a 125. The A2 was 1235, and the SO2 is one to five. Okay? It can very simple. So does an F sub 2125 as a Jesus do as a DCIS to B flat sus too. So you are not playing the third, yeah, play The Second Estate. Okay, very good. Now, thus, headquarters which had a sus four, is also very simple. Instead of the third, you replace a third with guess what for. So there's going to be 145, okay? So, so you can play it like that. Like no 145. So N f is going to be like this. And usually sounds nice when you move from that to, to the major acts like that. Okay, so the, the sus, four major, SIS two. Okay? So these three chords are very good to know. 32. Practice Cycle with Add2, Sus2 & sus4 Chords: Hi, so let's do a little practice session with us SAS to act to and sus four quarts. Ok. We're going to take these costs through the cycle of fourths just to do a little practice with them. So if you remember our two, if we play a major chord and add the two to it, that's a major axis, So that's a C major to, there'll be an F-Major, R two, then a B flat major, and then E-flat major, R2, and then, and so on and so forth. Okay? And let's try and play this through the cycle are played once. And then you pause the video and you try to play it as slow as you can. And if you can play fast, awesome, played fast as well. Okay, so let's see, I'm going to just count 1234 and then I'll go through the cycle starting from C and move in anticlockwise. So CFB flat in that order. So 123412341234 and B flat to 34234, n 234 n 2341234, B 23 to the E, 23422342, d 2340 G, back to C. Okay, also, pause this video and try to play this major at two cards and the cycle of fourths. And once you're done, let's go to the next core type. Okay, less as the SAS to court case. Just a little recap. Sas too is. When I replace my three here, I suspend it to the second, so I replace my third with my second. So it's going to be a 125 of the various keys, right? So sees us to F sus to G sub two, and so on. Ok, so our played one time with the progression, the cycle of it, and then you can go afterwards, one to play with me If you are fine with it as well. 12, 34, mc 234, and F 234 n B flat to three. For a flat, 234 n a flat 234, section. 234, F sharp 234, B 234234, n a 234, and G 234223, and back to C. Okay, excellent. Pause the video and try and complete this task. And then we take our last chord type for our practice session. Okay? So the final caught hype S, SAS for quiet. Okay, so SAS voice when I replace my fed with the fourth, okay, so it's going to be like that. K become played like that, like that. Fine. Anyhow, that's comfortable. Okay, so I'll try and take it through the cycle ones and you can play with me or afterwards you pause and do it yourself. So 12341234. So 12341234123 to the B-flat, 1234123, a flat, 123, C sharp, or D flat to F sharp. 23. And B, satellites X0, X1, 123 fingers, A0 to 3123, and D, one to three. So G, 123 and back to the C. Okay, excellent, so good job for going through this cycle. In the next lesson, we're going to look at a few uses of the Sasquatch k. So I see in the next lesson. 33. Let’s expand our sound with Add2, Sus2 and Sus4 Chords: So now that you know how to play our two cis to ansatz for courts, let's take a quick dive into how to expand our sound using these three core types, k, I'm going to mention roughly, basically how these courts are used. But if you see them in court shots used by other musicians and their composition, of course you can just play them. But the purpose of this lesson is to teach you how to be able to apply them in your own plane or your sound. Okay, so if you meet a particular chord progression, you may be able to use r to a Sass to just make it a sound a bit Rachel or some a little bit different. Okay, so I'll start with the users of the app to major R2 and the SIS two courts. Now, the first uses that a major, major R2 courts may be used. And amu, some same ME because it's a matter of preference. So at a basic level, you can use major R2 course to make your major chord sound and little heavier. Okay, so this is what I mean. Let's say you have a simple chord progression. You have a, C, G, a minor, and F. Very common chord progression. Okay? Now you can decide to make the major courts within this core progression. You can decide to just add a two to make them major at two sites that are playing in regular C, you're going to add you to, okay, and these are planar NBA, gee, you may add u, two up to U musician. And then a minor middle will warn such that even though you could, then that would be an a minor R2. Right. And then okay. So the two that we spoke about where major are to courts and that you can have minor R2 as well. So minor point where the two added as a minor axis or up to you. So let's play this court relation once more, but using the R2 course. So 234 sounds and not heavier, right? Okay. So the beauty of using major items and minorities, beautiful now, and you may also choose to just play them randomly. You don't need to play major h2 all the time. You can play a regular R2, regular Major chord for some of the courts and then R two for some other courts, right? Like that. And then say, very simple, very good. And Now use, how do we use a SAS to court? Now, you can also use the SubTwo code in place of major chords. And this gives an ambiguous sound. What do I mean by an ambiguous? Because if you have a C, the same chord progression, piano C like this, and you replace the third with the two. Mind you, the third is what actually defines if a chord is major or minor. Because the, said in this case, if you play this as a major, if you play them, it's a minor. But what if I don't play any of the major or minor, but I played it too. Now, it's not clear whether this was a major sound. So that gives some kind of ambiguity or anticipation to the less nice. So you can use this course to not be sound so obvious. So let's replace all our major chords in the chord progression with access to and then on the next one will make the SAS to an R2 chords. Okay, Let's go out 1234 n k, just Sass to course. Problema minor chord regularly and then assess two on f. Okay, now let's mix it up. Major R2. And that assess to regular minor. Back to a major are two. Excellent. So this, these, these are just my way of applying SAS to an ad to quasi can just experiment yourself and figure out how you like to use them. Just use your ears to be the best tool for judgment. Okay. Now let's look at how we can use SAS for course as well. So 11 way I use SAT scores as to delay resolution to the major chord. Okay? So resolution is usually where the where the, where the chord resolves. Ok, it sounds like the chord progression as home, okay? And usually called resolve on the one, the one chord or the five chord. Okay, so you have, for example, in this chord progression, the Si is a one chord. And the five g's are 56, and F is the force. Ok? So we can use a SAS for court right before we play. For example, we come back to the sea. And it's just to delay resolution. So if I play that 13 for n 123412341234. And so if I'm ending the song instead of going straight to, I can go to a SAS for when is it going to resolve than I am, right? And you can make a fast like. So that's also another way. You can just go sus four SAS for one. And you can do the same thing for the file size four to the five, so like that. So a c two and I got SAS for okay, then that. And for. So I use a SAS for you for the one to just sort of delay that chord resolution. Now, sometimes you can also use it to just create a suspended sound like on the file. Instead of playing a red law. May Giacconi, some songs decided to just play a SAS ford. That's it. And no go anyway. So in the same ballpark cooperation, you could do 234 then 234. Like that to us. It gives us some suspended sound, gives you some sort of sustenance, right? Then. You can go as far to the size two, to the so the a minor and then an F-Major practice. With these courts tried to find your own way of using them. Try mine and then also experiment to see which add up places you may use them. But these uses a rough indicated in this lesson I uses that are very common and will work for most of the situation. So thank you for joining me in this lesson, and I'll see you in the next slide. 34. Song Session 2- Hallelujah (DEMO): Secret for me is that it goes like this. She in fact yeah. 35. Song Session 2- Hallelujah (BREAKDOWN): Hi. So now that we know how to play hallelujah using basic major and minor chords. We are going to practice how to apply some major are two answers to courts to the same chord progression. We already know it, so let's get into it now. Using the same song sheet on your first card, instead of a regular C chord, we're going to play a C. Add to k. You're going to play a C at T2. And then on the second chord, we keep our red lah minor chord. Then we on the next chord, E plus C sub two, CSS2, and then a regular minor chord. And then instead of the F-Major, we add two to the F-Major Is that this is just thicken up the sound. Let's obese and sort of that. You're going to add that. The second ends up then g, such sort of irregular GeV make it a little ambiguous, right? And then see regular C and the G. So we just mixing it up, we don't have to make all our majors are cis to keep some of them as regular, right? And then the fourth line, major R2, and then at major to G major, a minor, F sus to SO2. And the image as well, we add two, K, The Statue of IV major. Cause a major scale, is that true? Is always a tone from the wire. So that breaks to notes that are regularly not within the C major scale. Height. That makes it sound very nice. Okay? And then we move on to the chorus, F-major at to a minor, and major to G, then C major. Okay, so let's try and play it together with the vocal and hear how that's sounds. You can try Blair with me. Or after I'm done. You can pause the video and try to play this on your, on your, on K. So let's hear how that goes. To C. And the G major. For us to try and pause the video and play this on your own. So if the same chord progression where to be converted as usual to the number system. And what have it written out? Simple as that. So you can have, I'm not going to be using then Romano ROS. Okay. So I, the I or the one T2, I know that's going to be my one, R2 and then my regular fix, and then my one plus two. And then to my regular S6 in that order. So let's, let's try and play this chord progression. Now in an unlucky, so this time around I'm going to pick the key of G. Okay, so and fast guard. So bakery court, because I'm plane of the number system, the key of G, this is my one, this is my 56, and this is my fourth, right? And that's my three stairs. And this God is a major. I'd have to play that way. So let me go through this chord progression in the key of B, key of G. Okay, so sorry, I've heard there was a secret chord that David played and it pleased the Lord to a four to five such T2 and then a normal one and a regular five. And then while add two and then four to five up to regular 645, SO2, and then add two to a regular six and to the chorus. Or R2, they're regular Milan or L2. Then five and then back to one K and paused and tried to play this in the key of G. Now, let's try it in one last key, then we can move on. So let's say we're in the key of data as based on black 0s, right? So I'm hurdle was, was six. This is my one. That's my five. So that's my one. That's my, that's my six, that's my force. Thus my pre K by there's going to be a me to major in the song Santa Monica, we have that down. Let's try and play together. So I've had worse Secret Chord. And then one such two steaks and then f for R2 by such two y five. While our two and F bar up to five at two regular six plus 453, r to the power of numbers. Then. Excellent. So try and use, using the number system. Play hallelujah in as many kids as you can. Add your add to and SES 2s. If you don't remember where to place them, you can all your major course, you're one year 45. You can put them an app to a satellite. You can just use them interchangeably. And if, if that's what it's going to make you remember your core progression. Much easier. So thank you for joining me in this practice session and other basic practicing. I'll see you in the next one. 36. Diminished Chords Explained: Hi, let's talk about diminished courts. Now. Diminished chords, also type of triads. They are made up of three notes. Okay, so if you know your minor chord, pretty much you will be able to play your diminished coil. Okay, so that formula for the diminished chord is a one, flat three, and flat five. So remember your major corridors 135. And then your, your minor chord is one flat 35, right? But then you're diminishes one flat three and flat file. So what this means is that if you know your minor code, you can just reduce the fifth by a semitone to get a diminished chord. Okay, so let's shake as that. A diminished chord is just a stack of thirds. Ok, so let's try diminished courts and other key. So in the key of C, you have the one, and you have the flat three. And this is the five. So flat five, you have a C diminished. Let's go to F. One, flat three, flat five, you haven't diminished and F diminished chord. Let's go to B flats. You have this D3 floods 35, that's five. Okay? There is my CSS stack of thirds is looking at a C diminished chord. You can see that this note is a minor third of C. So if we refer to the intervals lesson, you see that C has a major third of that and a flat. And E flat as well does the media does a minor third. So this is the flat third, minor third of that. And this is also not fake. And see that if I play this too, it shows on the screen that is a C minor third. If I played this to, to say it's an E-flat minor third. So this is just a stack of two minor thirds together. Ok? So like that. So I'm going to put up a couple of diminished chords on your screen. Practice this diminished chords. And once you are done, we can do, and let's all practice using the cycle of fourths with East diminished chords. Okay? Now, this practice, I don't want you to bother yourself to use two hands. But when you are playing diminished chord, you're going to believe that you shouldn't be playing the five here. Because you can see that that is here, so you don't have to play, you'd have to play that game. So if you're playing the f definition like that, and then a B flat diminished as well in that case. Okay? But with this practice session, I want you to use just one hand. Play. The saw staffer will start from C, go all the way around. Haven't practiced in a long time, but we'll see how now goes to go all the way around back to c. And afterwards you can pause and have your term. Okay, so 1234, C diminished to three for the afternoon, to three for B flat diminished. 1234, E-flat diminish 1234, a flat. Three for D flat on C-sharp to three for F sharp. Three for B, 1234, e, 123412341234, NLG 123, and finally back to our C. Okay, so there you go. You can just pause the video and try, try to play this as low as you can. You may not meet the manage everyday in your everyday life depending on the style of music you play. If you're playing jazz, you emitted, it's quite a lot that the minister ovens and the half diminished seventh chords. But if a plane top PR, contemporary worship, You might not meet it so often. But yeah, you need to know it just in case you immediately on a core chat or niche sheet or a song sheet, you can be able to quickly play that diminished chord because you've already practiced this. Yeah, thank you so much for joining this lesson. And I'll see in the next lesson where we tried to figure out a few uses of the diminished chord. 37. How are Diminished chords used?: Hi. Now let's take a look at a few uses. A simple use of the diminished chord. Okay, it may be used in countless ways and any type of music you're playing, if you see it on a core chart. But this is a way to show you how you can apply it to make your sound a bit different while you play. So now, the diminished chord, one major US that I personally use it for is as a passive chord. Now, it's so powerful that it's able to serve as a passing chord to almost every other courts within the major scale. So should know this, you need to refer to the lesson on and diatonic chords of the major scale. Where we say that if you have a major scale of 1-2-3, 4-5-6. You know that's the one. As a major chord. Is a minor chord. The three as a minor chord. Four, it's a major. Five is a major. Six as a minor seven is a diminished chord and the one, of course Buxton one. But now how powerful this diminished chord is, is you can use it to buy just playing a chord. One, the diminished chord of one semitone below, that will take you to the next core. So for example, let's say we play. Okay? And we're about to go to this G. Let me use just a regular so I place see, and I'm about to go to the gym. I can easily play. Look for a semitone below that. Gee, that's an F-sharp and play a diminished chord of the F sharp. So if I take the FCF and islands played, a diminished chord is going to be like that. So major, minor, diminished, right? So just before I get to play the G, I can just use that F sharp diminished as a passing chord. So usually allied to play the passing chord On the count for. So if you play 12341, so I play my part and called on the four. Okay. So 1234123. Okay, now, I did use a similar thing to. I use the F sharp diminished against me to my G major chord. And also when I was MOOC beefier moved to my A-Minor chord. I used a semitone below the a minor. As the a flats. And thus the diminished a flight diminish. I used to get me to the a minus. Let's try it as a 123 go and 1234123412341234. And so we'll look at a simple chord progression which I've prepared here. Far practice session. Okay, so this is a C, G, C G, and then a C sharp diminished. So Sierra C-sharp diminishes, gets a new to the d. So the C sharp diminished gets you to the d, So semitone below that. Okay? And then we go to the F. And then before we go to the a replacement, a flat diminished to the a, the G, and the C. So you see that I've used some numbers are superscripts. This means I want to play or see as four counts because I've now written ethics or 1234, that g string counts 123, annelid, C-sharp minor, diminished, one count, and then 234, then f 1234. So the, the B flat diminished comes just one counts. And then you go to a minor, three. Okay? A minus three counts 12, 3G while count one, and then 1234 because our played very slow and then we see how that goes. So 1234232423123. Okay, so that's a simple practice for Russia and you can use, okay, I'll play it one more time too. Three, for n 123234 and F 23 for a flat. Sorry about i3 and one. Ok, so pause the video. Try to play this chord progression very slowly. And you see that the diminished chord helps you so much in leading, using this as a passing chord. So you can pick up any chord progression at all your plane. And then use this passing chords to lead you to other courts within the scale, I usually would not easy to get me to my one chord. How easily to get me to my six chord to chord, and sometimes my five chord. But it sounds really nice when you use them to get to the 26 coin. Okay, in this case, that's exactly what I've done. It's leading me to my D minor, which is the two. And this also leads me to my A-Minor, which is six, okay? Try and practice this experiment, play around with it in other keys as well. And thank you for joining me in this lesson. I'll see in the next one. 38. Augmented Chords Explained: Hi. Next core type is the occupant at court. Now, augmented chord is simply a major chord with a raised fifth. Ok, so if you see a chord, C 4G is yes, a C major chord that has the five raised by a semitone. Okay, so the formula for the augmented chord is going to be 13 and Shafi'i, ok, so for C, this is the C major chord, 135. And augmented chord is just going to be five increased by a semitone. And thus a C augmented chord. C augmented coin, strive for the key of F. So that's an F-Major And that's an F augmented. Okay, so G, G major. G augmented. Okay, good. Now, the augmented chord has a symbol AUG, as you've seen on my screen. And sometimes you can see it's written with a plus. So you see a C plus and this means C augmented. So let's try our hands on and tried to play the augmented courts around the cycle of fourths. Ok, so moving in anticlockwise direction, you are going to start on the sea. And the sea augmented and move up to the, move left to the F augmented in that order until we're done playing all our mental courts. So let's run WordCount, use 1234. But I will be counting in my head and we go along. If you can play, just play along with me one hand and afterwards, pause the video and try to play it as slow as you can see. You have a down, okay, so 123444342342, n. Okay. From here we move to the E, E augmented. So he wasn't looking at the screen. So from b two to the E augmented, then to the AI augmented. And then a D augmented. So that G augmented world. And back to you see augmented. Okay? If you don't have to be able to play this throughout without any errors. But the most important thing is that you know how to play an augmented chord. And if you find it on a song sheet or a quartet, you'll be able to pull it out in plates easily. Okay, so, and also if you want to play the left-hand for the augmented chord, for example, C augmented. The same rule applies when you play on your left, the first and the last. So I'll just leave it like that or if in the F line this. So thank you and keep practicing. I'll see you in the next lesson. 39. Diatonic Chords of the Major Scale: Hello guys and welcome to today's lesson. In this lesson we'll be taking a look at diatonic chords of the major scale. Okay, this is going to be a very short lesson because we know all of these courts are ready. We just want to put them together and take note of the theory behind it. Okay, so on the major scale, using C Major, once again, this is a major scale, 12345671, daughter Amy faster. Okay? And we Landsat a 11, the four and the five major chords. Okay? So these diatonic chords will be treated today. Says this is a beginner level tutorial. They're going to be the basic or the, the basic diatonic chords will take them to the next level and then keep improving them as we go along. Okay. So the 145 are major member and that the two, the 36 minor, the one-quarter is a major, the two chord is a minor. The three chord is a minor. The four chord as a major, five chord, major as well. Six by Anna. That's correct. The seven said Let's all different. That's why it's called a diminished chord, okay? And then that's a major. So we pick the C Major Scale, 1-2-3, 4-5-6, and wine. So it's going to be major to minor. A three chord is a minor folk art major five-part major, six chord, minor seven chord diminished. And you can, you can put, you can put his finger on, on that same fifth year. So major. Okay, I'll try this in two other keys, less than the key of F. So that's going to be an F-Major. Okay? There's the F-major scale. So 12345671. So you need to know that notes in the major scale before you complete a diatonic chords over them. So if there's, I know this is the first nodes. Obviously, it's a major cohorts as, as a one chord and just be an F-Major was a second note, a G, and it is a two in the scale. And what's a two is a major or minor? That's the only question I need to ask myself. I need to first find a key. And I ask myself if it's a major or minor, that a two is a minus, i don't play a major chord. And it's a minor. And a three chord. That's a nice notes as also another minus of a minus k. And then the B flats. Since it's a three to a four. Remember, for three to four is a semitone movements and the major scale, okay? So that's a and B flat major chord. And the five chord is a major as well. A six chord or the law as a minor, okay, remember, and then the seven chord is a diminished. Very good. If you pick the key of G, 12345671, okay, so it's a major minor. Minor. Major, major, minor. Seven diminished. The major. Okay, very good. So for your homework, tried to play all the diatonic chords in all the 12 keys because the ecosystem Dory me while she played them. So he's going to consolidate. Or you can just say 12345671 and take them one at a time. Make sure you're able to play the fluidly in all the 12 keys. Good, thank you for joining this lesson and see you in the next one. 40. Play all your Favorite Songs with Only 4 Chord Types: Hi. Have you ever been faced with a situation where another band player or a fellow instrumentalists called out a number for you, 375 and you have no clue on what kind of core to play in that particular instance that this is the right tutorial for you. And today's tutorial, I'm gonna show you only four core types which you can use on every single node on the major scale. And it's going to sound amazing. That's going to work for most of the time. If the sand is something you are really interested in, then stay with me. Let's get right into the tutorial. Now introduced tutorial weight to be, let's say in the key of C. Ok? If you want to play, you need to know how to play certain core types. And trust me, for each single notes on the scale, the scale is 12345671. For each note on the scale, you have several chords you can play. But as a beginner, beginner, intermediate level, you need to find some safe courts, which you can use almost every time in every situation. So don't get me wrong. These are not the only courts you can use, but these are courts that work for almost a 100% of the time. Okay? So now for the 145 notes, you are going to have three options. You have the major chord, a major R2, and a-sub-2 chord. Okay? For example, in the key of C, you have the major chord to be 135. Okay? So the and in other minor quad is one flat 35, ok? Now the major R2 is just a major chord with the two added k. So there's gonna be 1235. So that's C major to F major are to E-flat major, to C-sharp major, to F-sharp major two, and so on and so forth. Now, for the SAS to court seat as a major chord with the three suspended to the second. So you replace the third with a second and there's a one to five, okay? So that's a C sus to an F sus to have shops as two, c sub two, and so on. Try to practice this in all the 12 keys, okay? Now, by knowing these four chords major, minor, major are to access to, you can easily play notes on every single key. So as I said, for your 145 notes in the progression, for example, as Nicky OCI, for the one, you can play a major chord or major art to OS. Sas. For the foia can do the same. Either major, major R2, five same major major R2. Okay? Now for the 326, you just lead normal minor chord. Minor. Ok, so just normal MANOVA to N6. Now, so at this, at this point you pretty much know your 14526. So you are left with 37. Now for the 37, which are going to do is use a SAS two cards of another court over that 37. What am I saying? For the three chord, you're going to use a SAS to offer one chord. So in the key of C, this is a three, right? 12, right? Use a SAS two of the one coin like that. So you played a cis to the one chord and you can keep a single note here. I mean, you can open it up and play like this if you want. But let's keep it simple. Okay? And for the civil code, you're going to use a SAS to off the five chord. So this is 707 and then you play as, as two of the five chord like that. Okay? So if you want to play up the scale, this is 1234567. You're going to play such two of the five. And now you may ask, why am I not play like diminished chord for a seven or a minor chord for the three. That's correct. Diachronically, that three is a minor, seven is a diminished chord, right? But in most, a lot of situations in gospel pop, most Jana, you will find out that the three plane, it's a straight minor, sounds a bit of ok. And the southern plane it as a diminished sometimes doesn't sound the way we want it to sound. For example, let's, let's play a song in the key of C Sharp. Same grade, are you Lord is going to be 152. Then we're going to add 34. And it will play a 671. I'll put a progression up. I'll play it with the normal. And I said I went platinum on minor chord Medicare of C Sharp again. So in the set I'm going to play a minor chord and an assembler, I'm going to play a diminishment and you hear how it sounds like. So it's gonna sound like this. You greatly to be phrase. It's not working. So. But if I replace this third and the seventh using the SAS to off you know, the one. And this as two of the five for the seven. The highest gonna sound so great. You greatly to be praised. That right? Exactly. So this is why as important to master these chords, the 307, just use a regular SAS to, one of my students. Asked is easy if I see it like a SAS two of two nodes behind in the skill, like perfect, if that's what works for you. If you have, you want to play a third, you're going to play a SAS. Two of you go twice behind. So okay, you lay a planar surface two of the one chord, so like that. And then seven SAS to off the five chord because you go back to mice. And we just know that 13 are usually related. Most muscle that I, you can interchange the chords between 13 muscles I again interchange even in a chord progression, if you are going to a five, you can use a seven. And it works awesome Lee and perfectly, okay. So for example, if the same great IE Lord, chord progression, going from a one to a fine, right? I could have easily replace the five with a seven and a works perfectly. So this is why it works nicely. So I could have gone to grade. You need to be raised. And it's so perfect. Now, if, if one other song that you can use to practice and get your hands really on. This is above all, the chorus crucified and they output a progression up on the screen. You see that's a very simple chord progression, but it's used in almost every notes within the scale. So you go from one to 71, that comes back to satisfy for looked. Just see the progression on the screen and I'll try to play it. So in the key of C sharp, right? So, you know my, my lyrics right now, not undernourished. So if you are able to play this crucified chord progression and all the 12 keys, you are pretty much on your way. So in the key of D. And that's key, right? And so to be gay. So I urge you to try and play this most of the causes plane Atlanta and our courts that I've not really thoughts on this channel. But if you know them already, you can try to pick them up with me. But the main idea is that you know that one 4-5, You can play major. Major are to SAS, to a 2326 econ, play just a minor chord. And one thing I did there to embellish accord a bit was sort of playing a simple minor chords. For example, like two of the key of C, which is D Minor. If you wanted to sound a little better, you can move this. This one here says it's already played here. You can move it to the c, OK, to create such a minor seven chord. And it's a very nice voice and an easy one. Okay? Just try to play this in all 12 keys. I keep saying, Make sure you play every single key and make sure that your hands are very used to the boyd. Take it one key at a time. Perfect. There's a very good example of a chord progression of crucified uses chord progression. Take it step-by-step. And if within a couple of weeks you complete in 12 keys, you are set to play about 95% of the songs out there, especially in gospel. Thank you for joining today's tutorial, and I hope I'll see you in the next video. 41. Song Session 3 - Silent Night (DEMO): Okay. So the clay at glue and saying the same. 42. Song Session 3 - Silent Night (BREAKDOWN): Hi. So in this song session will be looking at Silent lines which are very popular. Rest mass Carl now will be played as in the key of E flat and the time signature is 34. Let's look at a course at News. Tried to use this time signature to play it. So the first chord is an E flat sus two coins. So this irregular E flat major chord, we're going to make it as such. Okay? Like that. And then from there we move to the regular E-flat major play that's two times, so it goes like, oh holy night. And then we do the same thing on a B flat, established a B flats as two. And this is your B flat major. We saw that B flat sus to regular B-flat. And we do the same thing. We play on a flat surface two, and that then E-Flat. So let me play the first two lines for the time. And so while we whining to three by 23 by two, b 1231231231 to the next line, a flat by two, b 123, but two B flat sus to day then among, among both liner, holy infant. So, so I'll go to sleep in heaven P. So the purpose of this practice is for you to practice the diminished chord so that only diminish chord has the di diminished chord. Okay, so you can decide the plates. Let us say D major minor diminished, right? You can decide to place the domain knowledge on one hand. And the new 15 million flash by Vivian left. Same as here. Or you can decide to lay a diminishing both times. So I usually like to do right? So let's look at the last button, like sleep and heavily from B flat major. Do a determination. Then you repeat a, C Miller, and I will go to a B flat sus four. It says B flat major and a resuspend that three to the 42. And then a one. Okay. Very simple. So let's play it again with the help of the vocal, and let's see how that goes. Who wants us to? E-flat major then? Leaflets, festive, regular B flat, a, a flat system. A flat. The B flats the B. Okay, so Clyde's simple chord progression. So with this you are going to practice your corporations in the key of E-flat. Now, a good thing will be to pick the song with a chord progression and late and other keys. Okay, so first of all, pick the song with the help of the vocal or by yourself saying it in the key of E flat. Play around with these courts and get them at your fingertips if any other cause we're not clear, you can rewind. It. Gets it's done with k. So in the next session, we'll look at converting this into number, so the complaints in every single key, okay, so see you in the next lesson. 43. Song Session 3 - Silent Night (NUMBER SYSTEM): So now let's look at converting Silent Night salad. I call permission into the number system so we can play it in every single key, right? So starting with what we have now, the first chord is an E flat sus too, so we need to find out what number e flat is. And of course, the song is, isn't a key of E-flat. E-flat would be n one. So let us get the E-flat scale. One to five, takes 71, right? So this makes E flats the one. So that will be, that means you're going to start the song and the 11-cis to play a regular one. That player one has two again and a regular one. And then the second line B flats is going to be a fine, right? 12345. So that B flat sus too cold to be F5 to irregular. By then to a four to one. And then it goes a Flats which is a 41234. A flats and E flats wants us to parabola one and back to a four or 11, then sleepin heavily bees the last but one line, five and the seven diminished. And from 57 diminished, six minor, and then to a five for 51. Now, let's try and play. So if you convert it carefully by yourself, this is what you have. Okay, so Let's try and play this in the key of C. Alright, so Silent Night. So I learned to start with the one says to everyone. Again, one ancestor. Five says two to five is a G, right? By then forced us to. And then know why. Then F4. And then one Saskatoon. There's seven diminished. And that's before us for today, I'll be that Jesus foreign. N1. Pause the video, try to play this song in the key of C. And once you are done, so I figured out how to play this chord progression in the key of horizontal to Keil. Okay? And if you are able to do it, they'll be perfect. If not, let's take a look at the key of D together. So you have the first score. Neither killed defects. You need to find where your courts are. So this is one. And that's your five. Ok, so the omega play a one, you know that this is a trick. That's fine guys. I've a tone above one to you have your six. And then add tone below and the five you have the four. Ok? And of course, in this court, in this song there is a diminished so as seven, so that's just seven. So a diminished would be, that's right. Each had two minutes. Let's try and play the song. So only iv or, or Ron, young virgin bothering child, boldly. Led a minute. Then. So that's how powerful that number system is. I got to stress it enough. If you really want to break free of play things in a single keys, try the number system out, gets easy tricks to be able to get you around the keys with 0s, okay, so try and practice this in as many keys as you can. And while doing it, you'll be perfecting your knowledge of the 12 key system on the keyboard. Thank you for joining me in this lesson, and I'll see you in the next one. 44. CONGRATULATIONS: Congratulations on completing a beginner level of this three-part course. I want to encourage you and EDU to move on by taking the intermediate level where you get exposed to more intermediate level courts, like 79 of courts, well-done. And I'll see you if you decide to join the intermediate level course.