The Ultimate Gospel Piano Course | Intermediate to Advanced | Kingsley B-Nkrumah | Skillshare

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The Ultimate Gospel Piano Course | Intermediate to Advanced

teacher avatar Kingsley B-Nkrumah, Musician and Tech Enthusiast

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

Watch this class and thousands more

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

Lessons in This Class

44 Lessons (5h 36m)

    • 2. Lesson 1 - Introduction to the Keyboard

    • 3. Lesson 2 - The Major Scale

    • 4. Lesson 3 - Major Chords

    • 5. Lesson 4 - Minor Chords

    • 6. Lesson 5 - Add2 Sus2 and Sus4 Chords

    • 7. Lesson 6 - Diatonic Chords of the Major Scale

    • 8. Lesson 7 - Basic Gospel Chords for the Major Scale

    • 9. Lesson 8 - Common Time Signatures in Gospel

    • 10. Lesson 9 - Basic Rhythms

    • 11. Lesson 10 - Chord Inversions and its Applications

    • 12. Lesson 11 - Major Intervals

    • 13. Lesson 12 - Minor Intervals

    • 14. Lesson 13 - Dominant 7 Chord Voicings

    • 15. Lesson 14 - Major 7 Chord Voicings

    • 16. Lesson 15 - Minor 7 Chord Voicings

    • 17. Lesson 16 - Minor Major 7 Chord Voicings

    • 18. Lesson 17 - Half Diminished 7 Chord Voicings

    • 19. Lesson 18 - Diminished 7 Chord Voicings

    • 20. Lesson 19 - The 1 Chord Options

    • 21. Lesson 20 - The 2 Chord Options

    • 22. Lesson 21 - The 3 Chord Options

    • 23. Lesson 22 - The 4 Chord Options

    • 24. Lesson 23 - The 5 Chord Options

    • 25. Lesson 24 - The 6 Chord Options

    • 26. Lesson 25 - The 7 Chord Options

    • 27. Lesson 26 - The #1 Chord Options

    • 28. Lesson 27 - The #2 Chord Options

    • 29. Lesson 28 - The #4 Chord Options

    • 30. Lesson 29 - The #5 Chord Options

    • 31. Lesson 30 - The Flat 7 Chord Options

    • 32. Lesson 31 - The 2 5 1 Chord Progression

    • 33. Lesson 32 - The 5 1 4 Chord Progression

    • 34. Lesson 33 - The 7 3 6 Chord Progression

    • 35. Lesson 34 - The 3 6 2 Chord Progression

    • 36. Lesson 35 - The 6-7-1 Chord Progression

    • 37. Lesson 36 The 2 3 4 Chord Progression

    • 38. Lesson 37 - The 6-7-#1-2 Chord Progression

    • 39. Lesson 38 - The 3-#4-#5-6 Chord Progression

    • 40. Lesson 39 - The 2-3-4-5-5-1 Chord Progression

    • 41. Lesson 40 - The 3-4-5-6-7-1 Chord Progression

    • 42. Lesson 41 - The Chicago Walkdown

    • 43. Lesson 42 - Open Slash Chords - The SECRET to a bigger sound

    • 44. Lesson 43 - Harmonizing Songs and Playing with Melody - The Basics

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About This Class

This course is the most efficient way to quickly move from a beginner to an intermediate or even advanced level on the piano.

This is specially designed to take beginners with basic knowledge on the piano to an intermediate level faster than any other approach. We start with a recap of the basics and then move into more intermediate to advanced concepts. The concepts are broken down to make them easily understood.

Imagine being able to sit down at a piano and PLAY - Gospel and Contemporary Piano Music without the need to read sheet music? Now you can easily achieve this within weeks not years and without wasting money, time, and effort on traditional Piano Lessons.

Absolute beginners may start with my beginner course before going through this course.

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

Meet Your Teacher

Teacher Profile Image

Kingsley B-Nkrumah

Musician and Tech Enthusiast


Hello, I'm Kingsley. 

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

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

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

See full profile

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1. INTRODUCTION: Hi, my name is Kingsley from piano with And I'm excited to bring you this amazing cause in contemporary and gospel piano. I, you either beginner level and looking for it to some well-structured cores to take you to the intermediate level. Play advanced courts and advanced chord progressions and gospel and contemporary piano. This is the right course for you. In the first section, we break up all the basic information that you need to carry from the beginner level and everything in there is what you need to start off in the intermediate level. In other sections, we go through seventh chord voicings and the defend voice in alternatives that you have whenever you read seven chords form called chats. Now, more advanced courts are taught in this course that we use a simple approach of looking at scores as a simple triad, your right-hand over a roots nodes to come together to form complex cause like pettiness courts and nine chords and suspended chords and all the amazing cause I need to play general cost pool and contemporary music. I have popular gospel progressions and popular contemporary progressions. The 2-5-1, our defendant. The seven three-sixths, three-sixths, 2s. Then. Popular. Ghost typical goes to progressions like the 34551. And that Chicago walked down. At the end of this amazing cause she'd be able to play all your favorite music by listening to them and sharing the courts in there and playing the progressions or listening to the baseline at least, and having courts at your fingertips that you can use. Play the songs in every situation you find yourself and role now to gets a lifetime access of all the videos and PDFs available in this course. And guess what? They're going to be huge or updates semi anaemia Hesiod as any topic that you want me to cover an add up to the material in this course. Have an amazing side mass. You enjoy a study this course with me and remember and row. Now. 2. Lesson 1 - 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 the 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 key that 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 a C. Casa cards before the tube. Locke's. That's another C. Rather one. That's 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 alphabet from 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 one 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 where have I C to three black keys. I know that the whites 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 today you memorize C and F. So B is obviously close S closer to a C. So I look at my C and then I know alpha basically becomes Before the C, so that's a b. 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. Pregel. 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 scenes. So if you want to name this black key, you need to ask yourself which to white keys surrounded, lacking. And here you can see this black is surrounded by a c and a d. Okay? Now, since this black He is higher. So on the keyboard if you, when you move to the right, you're going higher. So that's going higher on 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 called shop, so that's the shaft 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 this black 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 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's 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. 3. Lesson 2 - The Major Scale: Hello and welcome to today's lesson. This is less than two, and it will be taking a look at the major scale. The major scale is something that we're all very familiar with, which most people sing as Ramy faster, faster. So if, if you've had this before, that's a major scale. And thus a fundamental block of most of the music that you hear out there. 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, the sulfur notations. So these are the door ME facile Latino. And in other places, numbers are used. In that case will be 1234567. And that's 11 or 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 atone movement, for example, if you're on C and you want to move a tone to the right or upwards. If you move to the left, thus downwards. So if you want to move a tone upwards, you need to jump over, at least, you need to jump over one key. So in this case we hope over the C sharp, and 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 a, c, a, d, two N E, have hopped over the E flat or D sharp. So this is also another tone movement's second one is a semitone. So far a semitone movement. You don't hop over any key. You move right to the next key. So if you want 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 in semitones, is going to be like this, okay? Notice that if we use the C major scale as an example, this is the, now you see that though, to the array as a tone movement. And if you move to the me, doesn't allow tone movements. But from the many to the far, there's no key in between, so that's a semitone. So T tones and from the t moving today DO that's another semitone. So easy approach that out advice 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 if 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 Dove, I need to move to the ray is a tone. Remember everything is a tone apart from the me to the fire. T to do. So. I do a tone. Another tone, me. Now, as soon as I hit me, I remember what I was supposed to memorize and me to find a semitone. So for me, and it's move right to the next key nor hopping. And so I do continuum writers law and at t And remember that T to those and other semitone. Very simple, right? So another approach which is a very common approach in most of the books that you read. Now, what's the, 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, for example, b, you start on the first nodes, then you start counting tone, tone, tone, semitone, free tones, and then a semitone. So it's southern B, then 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 a keyboard, you have 1234567 whites keys, and then five black keys. So every homework we'll be doing, we'll be doing it in 12 keys. So there are 12 keys and they repeat. Ok. So try and play the major scales of all 12 keys. 4. Lesson 3 - Major Chords: Hello everyone and welcome to today's lesson. Today we'll be taking a look at major court law, basically in music or in the piano, accord is made up of three not, so has to be a minimum free nodes, or you can say more than two nodes, sometimes. Two notes, our so-called courts, but more like Paschal calls, but a former full coordinate, three or more not. So for the major chord, it's comprised of three nodes. So a major chord falls under the big asset called triads. The triads are courts made of only three notes. Not more than three, is constructed out of a major scale, which we lent the other time. So for example, the C major scale, 234512345. So if I pick at least the first five nodes, 12345 and select the one, the 35. So the one, the three, and the five. Okay, so that's a C chord. And because I'm starts and under C here, and I'm playing that out of the C major scale, does a C chord on your screen, UCSC, but you can also call it a C major chord. Okay, so that's a C major chord and that's the easiest of all the major course because has only white notes. Now if I do this same thing for the F-Major chord, I go to the F major scale and play. Why? If you remember the major scale. To play the chord only need the first five, 1-2-3-4-5, okay. And then I pick out the 123135, so you can say. So that's how a sizes are the major, major chord sounds. Okay? Your first exercise will be to try and find these, these chords. Okay? Like that. It might not be too easy at this point. But with practice, you will be able to cover these court. Now, that trick that I said, I was going to show you today as now when you're playing these chords, Make sure you play them with, for now. If you're playing a triad, play them with your first year third, and your fifth fingers. So it has to be 135. Again, don't build a habit of playing the major chords with these three fingers yet. Okay? We'll use that when we want to play Bega course, okay? But for now, if you are playing just a major chord, I asked you to use the one, the 35. Okay. Now the easy approach was going to speak about this little formula I use when I'm teaching kids that is very, very useful for adults as well. So these three chords have only white keys, the c, the f, and the g. So C, F, and G, they have only white keys. So you just come with C, you know, has only Y k's. I don't bother with the white the black keys. And I all I have to do is escape at least one note. So I don't I just keep this one, goes to the next, escapes and goes to the next and have a C chord. And this applies for f as well, or whites and g. All right, so one thing to memorize today, CFG has all white keys in the major coordinates c, f, and g. And at the next easy one is also the d, e and a k. So if you are familiar with da, da is an institution in the US. If you know. So for d, e, and a, they have one black in the middle, one black in the middle. So what I do is for the kids, you can just place your farm. And you know that there's one black in the middle. And it's not as fast black is the second block. And then you play the last knots. So if you want to have it easy, you play the white and you play the second black. And you play the second white as well. Okay? So it looks like a triangle. This is the shape of the court. And the E is the same thing. You play the notes with your thumb, of course. And that is the second block. Now the first second block and second white 12. Okay? So that's an E. And then an a chord. Same thing, play the first white, Second black. And then the second one is very easy. We can now get the flux of these DNA that DEA has one black in the middle, but a D flat, E flat, and a flat have one whites in the middle as a D flat, so has one white in the middle. There you go, and you have it. And you can use this for E-flat. One right in the middle as well. And that are flat and whiten. Perfect. Ok? Now they are nine courts down. So the last three chords, they look a bit different. So we just need to know how they look like. So we have a, b, a b flats in an F sharp. These are the three left. So the sulfides notes. So the formula you can use, white, black, black. So it's a wide notes. The other two are black. Okay, so that's a white notes and black, and black, not as fast black. Okay. And the B flats reverse is that of white, black, black, that becomes a black, white and white K. So now this one, usually the major course look quite even. So there's not going to be something like that. Okay, it looks a bit weird. So my black, white, white, white, black, black, white, white. Okay? And the last chord, the F sharp, which is the easiest, it has all black. 5. Lesson 4 - Minor Chords: Hi, and welcome to today's lesson. This is less than four, and we'll be taking a look at minor chords. The a minor chord is a one, flat 35. Ok, so one, the flat 35. Okay? So you remember in lesson one, we, we said that the floods is when you take the note backwards to the left or down the left of the keyboard by a semitone. So all I have to do is to play my major chord and reduce the middle finger or the third by a semitone, then I have a simple minor chord. Okay? So this is a C minor chord. Firm to do the same thing for the F. This is an F major chord, 135. If I reduce the third by a semitone, that's an F minor. Ok? If I do the same thing for a G minor chord is a G major chord. 135, varied use the third by a semitone. Does a G minor chord. Very good. They can try this for the other chords. For example, D0 major chord is 1351 black in the middle. Remember? And if you want to have a minor version of this, a D minor chord, all you have to just reduce the third by a semitone. Hey, got a D minor chord. Okay, very good. So what you have to do is to practice final your major court and reduced the middle finger by a semitone together minor chords. I have a little cycle here that we'll use to practice for this will move according to the cycle on the screen. On the sea, to the F, to B flat and E flat, There's a cycle called the cycle of fourths. What we'll learn in future lessons. But we'll use this to practice our minor chords, okay, so each one we count four. So C to F. F minor. Next is a B flat minor. E-flat minor as a major, and that's a minor, okay. And then the a flat minor to a D flat minor to an F sharp minor. Two, a B minor, E minor, a minor to a D minor, G minor, and back to a C minus k. So this is, this is your rehearsal cycle that you're going to be using. And try and take your time, go through these players, see my next one is an F minor. You go to the F And you know the major chord. All you have to do is to reduce. Maybe you have a FINRA angle. And then B flat, B flat major, I remember. So all you have to do is to reduce the middle one by a semitone. And you have a minor, E-flat minor, the semi-major, remember one white in the middle. Reduce the whites by semitone. An E-flat minor, do this according to the cycle and take your time. Remember that goal is not to play this very fast. Their goal is to play them correctly as slow and steady as possible. 6. Lesson 5 - Add2 Sus2 and Sus4 Chords: Hi guys, welcome to today's lesson. In this lesson we'll be taking a look at the cis to the addtwo, SO2 and sus four quarts. Ok. So phi in this course, beef lens, three types of courts. We've led a major chord, which is a 135. We've led the minor chord is one, the flat 35, K. And we've lent the diminished chord, which has one flat three, and flat five. Okay? So a major, minor and then diminished. Ok. Now today with valency, three more basic courts. And these, these are courts that you mostly come across as a beginner or intermediate pianist. Okay, so now we'll start with the R2 chord. The R2 quad 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, you have major chord. And this is the two of the scale, right? 1-2-3-4-5. That's the tour of the scale you need to do is as the name implies, add the two. So as, as soon as I add these two, it becomes a major addtwo chord or an ad to, you can say C two or C major R2. Ok, let's try this for the f does an F major chord, and that's an F-Major R2. Okay? For example, G. And that's a G major R2. Ok, perfect. The second card is a ASUS to so as SAS to the short-run bus suspended two. Ok. So what this means is that the difference between that and the AP two is in the R2 you added a second, but in the SIS two, you are more or less suspending the third 2 second. So you replace a thermal The 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 SOX2 is one to five. Very simple. So does an F sub 2125 as a Jesus do as a DCIS to B flat sus to so you're not playing the third year, played a second instead. Okay, very good. Now, thus, third quarter, which it does sus four, is also very simple. Instead of the third, you replace a third with a guess what for. So there's going to be 145. Okay. So so you can play it like that or like no. Okay. 145. I'm going to be like this. And usually sounds nice when you move from that 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. 7. Lesson 6 - 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 using C-Major. Once again, this is the major scale, 12345671, daughter Amy faster, ok. And the one, the four and the five major chords. Okay? So these diatonic chords would be treated today, says this is a beginner level tutorial. They are going to be the basic or the, the basic diatonic chords will take them to the next level and then keep improving that as we go along. Okay, so the 145 are major member and that the two, the 36 minor. So we are only left with a seven chord, which will land right away. And that, after that, pretty much no, all the diatonic chords of the major scale. Now for the diminished chord, you just pick the same Minor cord and drop the fifth by a semitone as well. And you have a diminished chord, so that's a C diminished chord as try for the F diminished chord, okay? This is an F major chord. Remember, the F minor dropped the middle one by a third. And the F diminished. You're going to reduce this or this finger here by a semitone. So the major, minor drop a third by a semitone and diminish you drop the fifth by a semitone. Okay, very good. That shrines and another case, for example, the F-sharp major chord, you know, it's all black. And 35. The Mayan, I drop the third by a semitone, that's an F sharp minor chord. F sharp diminished. Drop this one by a semitone as well. And asset diminished. Okay, very good. So it says We know the diminished chord that v can play all the diatonic chords of the major scale. So we pick the C-major scale, 123456. And why? And so it's going to be major to minor. A three chord is a minor folk art major, flies per major, six chord, minor, seven chord diminished. And you can put, you can put his finger on, on that same fifth year to the major. Okay, I'll try this in two other keys, less right, in the key of F. So that's going to be an F-Major. Okay? There's the F major scale. So 1234567. 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 quotes as, as a one chord, I guess 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 asked 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 biomass as a minor. And then the B flats. Since it's a three to a four. Remember, for three to four is a semitone movements in the major scale. Okay? So that's a 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. What we learned today, so that if it was a minor, this would have been an E minor, but a diminished, we need to drop the fifth as well. Okay. 8. Lesson 7 - Basic Gospel Chords for the Major Scale: For each node on the scale, you have several chords you can play. But as a beginner, beginner to 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 WACC 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? 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, let's do Nikki OCI. For the one. You can play a major chord or major at two. Oh sorry. For the four, you can do the same. Either major, major R2, five, same major, major, U2. Okay? Now for the 326, just lead normal minor chord. Minor. Ok, so just normal magnetic of a 26. Now, so at this point you pretty much know your 14526. So you are left with the 37. For the 37, which you're going to do is use a SAS to court of another court of ADA 37. What am I saying? For the three chord, you're going to use a cis to the one chord. So in the key of C, this is a three, right? One. You're going to use a SAS two of the one chord like that. So you played a cis to the one chord. Jackie was saying, no, not here. I mean, you can open it up and play like this if you want. But let's keep it simple. And for the seven chord, you're going to use a SAS to off the five chord. So this is 707. And then you play, assess 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 51. Now you may ask, why am I not playing a diminished chord for a seven or a minor chord for the three. That's correct. Diachronically, the 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 has a straight minor sounds a bit off, okay? And a 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 one, five to add 34. And it will play a sakes 71 upward, the progression up. And I'll play it with the normal. On the set. I went platinum on minor chord Medicare of C-sharp. Ok. So instead I'm going to play a minor chord. And then seven, I'm going to play a diminishment. And you hear how it sounds like. So it's gonna sound like this. Gray. You greatly to be phrase. Right? Okay. It's not working. So, but if I replace this third and the seventh using the SAS to off the one and assess two of the 57. This is the height is going to sound so great. You greatly to be praised. That right, six. Exactly. 9. Lesson 8 - Common Time Signatures in Gospel: 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 10. Lesson 9 - 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. 11. Lesson 10 - Chord Inversions and its Applications: Hello guys and welcome to today's lesson. In this lesson, we'll be taking a look at COD inversions and its applications. Now by the end of this lesson, you should be able to transform a normal chord progression in root style routes positions like 65 to something like this. For Jeff omega with the songwriters, what are called inversions. Let's take a quick dive into it. Accordion versions are. Now, there are other ways of plain accord by just petabytes inverted notes. So if I take, for example, a C major chord and I tend it's outside now, okay, upside down. If I take this note 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, because 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 play an F major chord like this, is that brutes position of the F-Major chord. And this is what we've been played mostly throughout this course. 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 gonna look like this. Okay? You see one? When I add the left-hand side. If I take that one up to n F, n F chord, right? Very good. Now, one thing we should know, So in 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 can set out the F major chord has that ritual session and two 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 chord itself and subtract one. So the major and minor chords and diminished triads are three note. 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 face two fingers to hold these ones when you're playing inversions. Now for the brute position, you have plane 135 over here. You might most likely be played one-to-five, okay, so I take that I use 12 to replace these. Then I drop remember the one that I took from the Tom. I drop in 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 B taken away. All that in place. And the light could be on top as well. Second inversion. And if I inverted again, that's back to reposition. So 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 6415. See, by your allies are moving all over the keyboard. I'm moving from, saves them a ton of 45. 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. And 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 excess of similar notes to the F-Major chord. So this is an a minor chord. And you want to move to, I'm gonna put F major chord or 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 not part of the F-Major chord. And we MS an F, Okay, so I need to move that finger to the F. That's it. 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. I'm not as far as you are moving all three fingers like that. But now you're moving just one finger is either very good. Now we're going to try. So we've done the six to the four. Now we're going to move to the one which is a C Major, right? So what am I going to do again now, the C major, C major here, right? This del, C major here. So what notes are similar? This notes, especially in 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 the last notice, f is not part of the C major chord. So I need to move F to E, Right? So that's a C major chord. Again. When you're playing these inversions, you can decide to double. Nobody noticed at of a second pair estaba signal. So now three cause I've been played seamlessly without necessarily moving all your hands. Okay, so that's the AMI number 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 the stop out of five cos, I need to move this to the nearest notes at a five chord. Him ask yourself, do you want to move it to the d? Are the b. 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 beach. And then that today, that, and you get score. So from the, from the one chord to the five chord, so does or not. And while we have plane, right, so there's going to be six. Move on finger to the one, to the phi. Plus i, you get that sound I live. Coding versions are also used to play specific voices. Now voicings. You voiced a court, that kind of inversion you used. The note on top is going to determine how the court sounds like. Okay, so for example, you can play a C Major Kalina. And you see I'm hearing this notes more. So the voice in Hofstede G on top right by someone could also play it at the fast, efficient and one inversion. So let's say you have a melody like okay, he's a, you have a series of course by u one, you want to use choose investor that will make sure this berm to die to the woman. Because she's so simple. So as justice as one. And there's a slash Cartier. But you guys aren't good play. Okay, but to make it sound nice, or you can choose another inversion, which is, in other lessons, you 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. 12. Lesson 11 - 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. 13. Lesson 12 - 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 note 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. If I reduce it by a 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 typically as a tritone. 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. Lasswell came 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're 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 cores. Okay? So later on when we start learning about seventh chords using that, I'll say if you have a C Major chord and you aren't as 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 did find 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. 14. Lesson 13 - Dominant 7 Chord Voicings: Hi and welcome to this lesson. In this lesson we'll be looking at dominant seven chords and its related voices. Okay? Now, how do we construct dominance? Of course, you can see a dominance of unquote as a major chord with a minor seventh interval added onto it. Okay, so in the key of C, for example, if you want to form a C dominant seven chord, you all, you need to place a C major chord. And then you add the minus seven interval. And if you know your intervals, minus of an interval is the major subinterval reduced by a semitone. So this is a major subinterval out of the major scale, 1234567. Okay? Does a Major seven agent, and if you reduce it by a semitone, does a minus an integral. Okay? So if I play my major chord and I add the minus seventh, that forms a dominant seven. So dominant, dominance of mechanized liberalism as a seven. Okay, so if you see a core chat and you see a chord like C7, F seven, b seven. These are dominant seven chords, major chord with a minus seven interval added on top. Okay? So in other words, is going to be 135135 and flat seven. Okay? So let's see if we want to form an EFS F7 chord. So I know the F-Major chord. So 135. And I know this, the seven. So I just flooded. It is by semitone and that's an F dominant seven chord. Okay? Now, so as I said, the dominant seven chord can be written as a DOM seven or simply seven to make it easier. Okay, so let's form another dominant seven chord like that, C-sharp dominant seven chord. All I need to know is my C-sharp major chord, a flat seven nodes. Ok, I'll show you a little tricky, and this is how I personally get dominance of inequity. I see the, I see that the minor seven nodes acetone below the one. Okay? So that's all I'm doing. I know this is the major chord. Does, okay? I'm just picking a naught which is a tone below the one. Okay? So that's that nodes. This is the one I drop it down, and that's dominant seven. Okay? So if I go into any key, for example, Aidem A7, all I need to play a major. I know that my one located up here, and I play the notes which is a tone below, so 12. And that's an A7. K. Can do this for a couple of for the rest of the other courts. Ok. So let's do it and semitones. So that's a C dominant seven. And I'll be a C dominant seven. Now be a D7 kilomole add-in. And nodes below now be an E-flat seven. Now be an E7, F7, F sharp seven tried to practice a lightness. Okay, so you're sure you know your sentence by hunters and a flat seven, A7, K B flat seven. B seven, and sorry, back to the C7. Okay, now let's look at how, what kind of voices we can use. If you are to meet this goal in a core charge or you want to apply it anyway. Okay, so Lasker voice interactions. Now first, you can easily play it by playing the four chord and your right. And then just a 15 in your left. So you played a C dominant seven line, that's 15 in your left and then 135 flat seven in your right. Okay. Yeah. So that's F seven will be like this. And then MCF7, G7, okay. Another option would be to play the 15 and the flat seven in your left hand. And then you can play it as a one 35-year right pyramid. So you can play the 157 in your left. Okay? And he played just though, 135 in there, right? So it's going to be something like this. You place a sample major accordingly, right? And then the left-hand has 15 and flat seven, okay? The third option would be to play only the one and flat seven. Okay. And then you play a 3.5.1. So all I'm doing is to guess, rearrange and unknowns. You can play around with the voices, figuring out the voices that sounds nice to you. And you have decided on what you want to use, basically. So this is another voice and you can try that in every single key. Okay? Okay. Now you, you can, you can of course use in versions of the same Dominant seven chord. So for example, for the C dominant seven, ok. You can always inverted. E can take the first inversion of this chord of the scored, which is going to be by removing, does not, and taken it up. And that's going to be the same. C dominant seven. C seven. Another inversion will be this. And another inversion. For F7. Partic first inversion, second inversion, third inversion. So you're going to choose this inversion based on, for example, walk, walk, or kind of voice enters requirement. I can try to dementia may be in the key of C. So here, amazing ways. So it's going to be as a normal C-Major chord to a C dominant seven. So, so amazing is, okay. I'm choosing just kind of inversion because the melody says, okay, so that's all I need are not on top, so that's why I choose that. So in that order, we'll talk more about voices later, but try and move around and play every single dominant seven chord or some other single seven chord on the keyboard. Try and be able to play them around the cycle of fourths and move easily so that you'll be able to locate the Xcode anytime that is called a point. Thank you for joining me and I'll see you in the next lesson. 15. Lesson 14 - Major 7 Chord Voicings: Hi and welcome. In this lesson, we'll be taking a look at major seven chords. Now, you can see major southern courts as a major chord with a major seven interval. So in other words, it's going to be a 1357 out of the major scale. Okay? So that's basically how you Constructed Major seven chord in the key of C. The 135 for this are famous major chord. And then the seventh, which is that K. And you form a C Major seven chord, as easy as that. Now my trick that I use as usual is to see the Major seven note that I've added on top as a semitone below the one. Okay, so every single key, I can play this with ease. For example, in the key of F, I play my majors major chord. And I know that's the majors of a node is a semitone below the one. Okay, so I just added on top, of course you can add it below. And is still the same thing. Okay, that's, there'll be an inversion, so either on top. Okay, so if we try to play this, all the 12 major seven chords, C Major seven on top, semitone below, C, C sharp major seven on top. So the fingering you can use for these major seven chords and generally, all a sudden courts is to use your 123 to play the major chord or a minor chord which uveitis. And then you use the little finger, the pinky to play the seventh, okay, so C-sharp major, and then add a sudden 2K, then D major, the seventies, the semitone below that. That's a D major seven, E-flat major. And the semitone is going to be below that. E flat major seven. C major seven, F major seven, F sharp major surveying. G major seven, a flat major seven. A major seven. B flat major seven. B major seven. Back to the C major. Someone tried to practice this many times. Okay. Now, let's look at we will look at some of the voices now, just before we go into that a courtyard, you may see a major seven written as MAG j seven. Or you can see a triangle. And in most, most of the jazz lead sheets you see a triangle. So if you see F and a triangle, that's an F major seven, and so on. Ok. Now, so I've status, I'm examples of the major seven chord C, m. Now, what are some of our voice and options is going to be something similar to what we did for the dominant seven chord. Okay, so your first option, you can use putting our famous 1-5 in the left and then play the whole code in your right. Okay, so if you're playing a chord progression. It's maybe a G to a C major seven. You can do that, okay? Okay, so that's as C Major seven. So that's the first voice an option. Which had a voice an option, of course, you can put a 15 and a seven in your left hand. Like this. And then you play, sorry, some major southern zone like this. And then you play either it played a full Major seven in your item as well. Or you can put 135, which is just a major. Sounds very nice, right? The major seven, Casals and lot jazzy. And in gospel, you are sure to use a lot of major seven because gospel is just some jazz fusion. To be honest. Most of the things using jazz applied and using Gospel easily. Okay, so that's your major seven chord. Okay? So want to try out the voice is going to be like this. F, Okay, C-sharp, 15, seven In the left. And there's just a major corn. And that's an easy one, right? But let's look at another voice, an option, 17 year left, and then 3.5.1 in your right. So 117 year left, 3.5.1 and you still get your major seven chord. Okay? You could have also done this, does what we did. The first item is quite openness voicing, okay? So and of course has the always, you can always have other inventions in your right hand. So you can do other invasions of the major seven chord. And when you practice these measures have been course, try and get them in ADA inversion. So another invention will be like this. This is a very popular inversion that I usually use myself. And this is also one that I use quite often, and I use it usually on the six and the six. So in the key of C, when I'm playing the sixth chord, most of the time I'm playing the six and a non planer major seven of the c, like that forms Kolkata minor nine chord. Okay? So we'll get to, in the lucky position. We'll get to a lot of that habit zone in other lessons. Okay, so try, try and move around. Play all the major southern cause. Be able to play them like so easily without thinking too much about, just quiz yourself with major seven chords and make sure that you're able to easily play them if you come across them in a core chat in a lead sheets. Ok, thank you for joining me today and I'll see you in the next lesson. 16. Lesson 15 - Minor 7 Chord Voicings: Hi and welcome. In this lesson we'll be taking a look at minus seven court. Now, minus seven chord can easily be seen as a minor coil with a minus of an interval. So a minor chord has one flat 35, and then the flux of an interval is just added on top to make it one flat 35, flat seven. Let's take a look into other ways of constructing this. Okay, so how you constructed as what I just talked about, you have one, flat 35 and flat seven. Now, minus oven can either be written as the key focus like a C MIN seven. Like if I play this, this is what, sorry, this is what appears on your screen. Or in certain jazz Lifshitz, they can be written as minus c minus seven. Okay, so that's an easy way of writing it, is that in books that can also be written as a C, the small letter M and a seven letters are just different ways of writing the same chord. C minor seven is going to be C minor chord. So one is the three flat 35. And then a flat seven. Flat seven, as I've already said, is, can easily be seen as a tone below that one. Okay? So if I have my minor chord and I want to add a minus, make it at minus seven. All I have to do is to add that node, which is a tone below the one. And I have my C minus. Let's try it for other minor seven. F minor chord. Add the notes atone below. As an F minor seven. F sharp minor seven, F sharp minor chord, plus a seventh plus F sharp minor seven. Okay? So you can try to take it around in, increase in, in semi-tones. C minor seven. C sharp minor seven. D minor seven does an easy one. E-flat minor seven. E minor seven, F minus n. F sharp minor seven. G minor seven. A flat minor seven, a minor seven, B flat minor seven, b minus seven, and then back to a C minus seven. Okay? So you see that for those nodes where the seven dots is going into the Black, I can't play it with my pinky, so I just played that with my fourth thing. Okay. So for most of the other ones in the black keys is going to be the 13123 fingers playing the first three notes and then the pinky play cement, but 10cm over here, then you have to adjust like this. Okay. Very good. Now, let's take a look at some voice and options. Okay? So as we've already said, the easiest voice and has to put the one and the five in your lifetime. So c minus m, Just like that, f minus m, g minus a, and back to the k. So an F minor seven, G minor seven, back to c minus one. Okay, that's the first, the easiest voice. And you can also play it with 157 and your left hand. So it's going to be like that phi used by playing the same chord progression, C to F to G to C. So C minor seven, F minor seven, G minor seven, K, and C. Ok. Next voice an auction. And these are just options, so feel free to explore with any kind of voice and that you may come up with. You can always use the other innovations as well. So the next voice an option can be just a 17 in the left. And then the flux to be floods three, the five and the flat seven. Okay? So you see that this is beginning to look like a major chord of the relative minor note at a relative major. So later you know what relative minor is a relative majors are, but if you play a C minor chord, the notes out of the C minor scale are similar to the nodes, are the same as the nodes on the inflaton major scale. So that's why it is looking like an E flat major chord here of a Anat. Okay? So if you notice already, this would be just a reminder. Okay? So just try and get these kind of voices. So or Am plane is like a major chord. Three semitones up. C. Look at the minor third notes and clay major coordinate. And the dose is working perfectly. So. Okay. Perfect. So as, as always I say that you can easily get, use the inversions tried to find inversions on the C minor chord, for example. Okay? Because, and it's played on a seat for it that you can try and play around with some of the recorded version so that you can easily find them out when you meet them in songs, okay? Yes, thank you for joining me in this lesson, and good luck and see you in the next lesson. 17. Lesson 16 - Minor Major 7 Chord Voicings: Hello and welcome to this lesson. Now in this lesson we'll be taking a look at the minor, major seven chord and its related voice in millimeters of uncoiled is quite an interesting coin because you use, seldom use it in in gospel on temporary music. It's used mostly in jazz, but for the sake of introducing it to all the common types of seventh chords they are. And I decided to talk about this major seven chord. So this is good to know. You might not be using it as much as an intermediate player or even an advanced gospel player. Let's get into it. Now. How do you construct a minor, major seven chord? Okay? It's, as the name implies, it's a minor chord with a major seventh interval built up on top of it. Okay, so that means the minor chord is a one flux 35. Then you add a seven knots, the flat seven, because a major seven interval on top of it in the key of C, this is going to look like and the minor chord, one flat 35, okay? And then you add the major seven chord, right? So, so you can see that's a minor, major seven chord. So this is written as MIN MJ. Then the seven K. In some books you may see this written as small m, big M, and the seven. Okay? So let's, let's play around with some of the minor Major seven courts. For example, the E-flat minor Major seven. E-flat minor Major seven. Okay? So of course, if you want to pick this up easily, know what internally or putting on top of it, you pick your E-flat minor and major seven as a semitone below the one, right? So I just put that on top of it. Okay, F minor, major southern sound, sound is quite diffident and have an interesting sound, to be honest. This another, let's try another one. A B minor, B minor, C major seven, okay? So try and locate some of these cores very easily. Say an, a flat minor majors on E-flat minor and the major southern. Okay, very good. So let's look at how the voice and options. Of course, as always, you can play the 15 in the upper left, and then the whole code interact. Ok. By now. You can also play the 157157, sorry, 1577 says the minor Major seven. And then you play just the one, flat 35. The triad in mind. Sounds good. Alignments voice. And then the next last one will be to play the one and the seven. And then you play the flat 357. And that sounds very good as well. But depending on what kind of song you are playing and voice and of your choice, you can easily play the minor Major seven was don't get too bored with blending the seven cores because trust me, you're going to be using them a lot. So by the time you start using them, if you haven't practiced them enough to know them of head. You might then start rethinking, going back to your seven quarts and practicing them. So I really recommend that you practice all your seventh chords very well. Of course, try to get out the inversions, different inversions of the minor, major southern corn, okay? And that's by trying to get that, you easily be able to move around the keyboard. So if I practice work before you move on to the next lesson, try and play the minor, major seven chord. Moving up and down and semitones, right? Okay, like that until you really have a firm grip on the minor, major seven chord. Thank you for joining me in this lesson, and I'll see you in the next one. 18. Lesson 17 - Half Diminished 7 Chord Voicings: Hi, and welcome to this lesson. In this lesson we'll be taking a look at half-diminished seven chord voicings. Okay, so now I have diminished seven can be seen as a diminished chord with a minus seven into Wow, on top. And later when we look at the full diminished seven, you'll understand why this is called a half-diminished seven. Let's get into how to construct half-diminished seven quarts. So as I said, it's a diminished colder than minus 78 alone. And from what you know from diminished chord, the B Diminished chord is the one flat three and flat five. So a C diminished chord is going to be one flat three, flat five. And then you just add the minus adenine phenomenon to. Okay. Now on your screen you see that this is called a minor seven flat five. What this, That's another name for the half-diminished seven chords. Okay, so you remember minus a minus like that. So if you flatten the five as a minor seven flat five, and this is a half, half-diminished chord. Okay? Very good. Now, this, this half-diminished chord voicing is also quite important because it works quite nicely for the seven chord if you want to play it as a passive Most of the time. Okay? So as I said, half-diminished seven, this one, flat three, flat five, and flat seven. Okay? In, in books or core shut you may see the Hamlet diminished retina and all that's slashed. Okay. So let's practice some of the half-diminished courts. For example, the E half-diminished chord is going to be an E diminished chord, one. So this is the E major chord. If you flush to the three and floods the five, any art. Flat seven to flux seven. Of course it's only tone below one. So I put that on top and I have an E minor seven flat five, or an E half diminished seventh. Okay, let's try another one, a half-diminished seven. So I play on a diminished seven, SR and a diminished chord, which is a major chord. So flat three, flat five. And then I add the seventh on top, right? So there are forms that a minor seven flat five, which is also a half. Diminished seven. Let's look at some of the core, the voices. As always, you can just add. Puts though, the one, end the flat five in your left hand. So you can have one and flat five in your left. And then you can have the whole code on your left, on your, on your right. Okay? So what I used to play a chord progression like 736 in the key of C Sharp and placed online. So that's the same way. And we'll learn a bit later. So that's why it's important to know your half-diminished seven voices. The voice and I'm using in this case is this kind of voice, wildland, 1-5 year and likely the flat seven, flat three, and flat five in my right hand. So that's what I'm using in this chord progression, 73 and the six. Ok, so for example, just to keep you interested, if one player song-like, how good is our God? How grey is me? So I use a 73, 66, I grab legislate. How grey is saying when me and go straight to the, to the six. But to make it more interesting, I can break the Indus chord to form a progression. And then, okay, so this is why we need to learn all our seven chords. Because they play a huge role, okay? Because you see even on the, under, under the zip code and plane a, B flat minus seven, again, Southern Courts. Okay, very good. Then let's look at a nest voice. And so a nice voice and as the one, flat three, flat seven, and then you play just the basic triad diminished Coordinator, right? So that's going to be one flat five, flat seven. And then the simple diminished chord or DNA. Okay? Simple. Next one, just the 100 flux event. And then a flat three, flat five, and flat 7 million, right? So like that. Okay? Of course, other inversions can be used for the score to this can be an, another inversion of that. So you can try to play around with the different versions of the same chord. Try and take this around. Play all the half-diminished southern cone voice in the different keys. And by doing this, you will be ready to really dive into play these courts whenever you meet him. Thank you for joining me this lesson, and I'll see you in the next one. 19. Lesson 18 - Diminished 7 Chord Voicings: Hi, and welcome to this lesson. In this lesson we'll be looking at diminished seventh chord voicings. Now how do we construct these diminished seven chord voicings? This can be seen as a diminished, diminished chord with a sixth, major sixth interval added on top. So you just play or diminished chord, which is a one flat three flat five, and then you add six to it. Okay? So let's take a look at a few examples. For example, the C diminished seven. Dan going to be this, have flat three, flat five, and then the major six. And that forms a Denison. Now the diminished seven, when you see them in court shuts could either look like a DI M7, which is clear enough. You may also see it as an, oh. Remember the half-diminished seven was an O with a slash. So for diminished seven as just an oh, sometimes on lead sheets. Ok. So this is C diminished seven. And then F diminished seven will be the half-diminished chord. They add a sixth. Ok. Now the interesting thing about the minute seven chords, which will be good to know is that they are just stacks of minor third intervals. So if you pick the first notes, a minor third above, and then start this one here as well. If the E-flat minor third is going to be this K, three semitones above, so 123, so that's 123123123. And then you get diminished seventh chord. Okay, good. So taking a look at G diminished seven is also going to be and diminished chord with us seven. Okay, good. We'll, we'll look at some of the voices. But one thing that is very important to note about diminished seven courses that the moments, you know, three diminished seven chords, you know, all the other 12 minutes, seven chords. But it's very interesting because then you don't have to learn almost like all that 12 diminished seventh chords. What am I saying now if you play a C diminished seventh chord, and this chord is the same as an E-flat diminished seventh chord, the same as an F sharp diminished seventh chord. Same as, I'll a diminished seventh chord. So if I put a C in the base, you see that accord has shown us, see diminished seven. If I put E-flat. Now showing us an E-flat diminished 75 puts F-sharp, showing us an F sharp minor seven. And if I just change the bass notes to add a showing us an 80 minute seven, okay? And this is how the minister than are likely other courts. Ok, so if you want to form an E-flat diminished seven, the moments you know how the CD minister and looks, you just have to play. Just inverts this court, have this one go to the top and have the E-flat database and you have an E-flat dimness seven. Or you can just play a, C, D, m7 and give it an E-flat base. Still have an E-flat seven. So this is how diminished seven wires. So also you have the F sub F diminished seven is going to be the same as an, a flat diminished seven, same sets of notes just inverted. And then the B diminished seven, and then the di diminished seven, back to the F diminished seven, say for the G diminished seven. And this is how the g diminished seven looks like. And by just inverted and it's, I have my B flat dominant seven inverts again, and I have my C sharp diminished seven inverted again. And then I have my E dimension. So this is quite easy and nice and we're going to be using the m7 sometimes in certain core progressions. As we go on to things, you may find it in a court sheet, or you may land a chord progression. And whenever you lend a chord progression, if you know the courts within the progression, it makes it very easy to translate it across all 12 keys. Okay, let's look at some of the voices that we can use for this diminished seventh chord. Okay? As usual, you have income puts the one and the five below one and a flat file and play the entire diminished seven, similar to what we did before. And next you can put 11 flat 56, and then you play the one flat 35. Still. It just a matter of sharing some of the nodes, left hand and the right to k. So you can just give two nodes to the right and play that the remaining giftedness that lead splitter meaning on the right, move them around just, just to get something that makes sense. You can also play the one and S6 and play the flat three, flat 56. Actually 11. The voicing that I really like is when you play, to play the diminished chord, when you take the second note from above. So the second highest loads, which is this knot, and you put it in the bass, like that. Sorry, F sharp. Okay, so he's gonna say it's an F sharp diminished seven. But this is called a drop-two voicing, which we'll look at later on. Okay, so I like this kind of voicing. And diminished seventh chords can be used for approbation, like for example, in the key of C. If I want to move to the two, okay, I could play a diminished chord that has the flux in the, kay, so I want to move to two, but I want to play a passing chord of the fluttering Twitter too. So I play a diminished chord with that passively there, like that. Then I moved to the, to the to. So for example, a shunt were ancient worlds to move into the 2e to the 2x corn. So I used a diminished seven off the flood to, to the, to the two chord. Okay? And some can also use it in their progression like it. The same thing I did here. You could have done a more sophisticated one, which we'll look at later. That move from the 67 sharp 12 there too. And it goes like, It's a shame because I am using. And then diminished, diminished, amusing to diminish quarter. I starts with an isa one, diminished. The mandate. That okay, so we'll take a look at this more in detail. Does try and play, play a diminished seventh chords? Be able to play diminished seven courts all around, okay? Right, that you are able to play them in all the semitone locations. You'll be you'll be fine. You, you'll be able to pull it out whenever we need it in subsequent lessons to play very nice chord progressions. Thank you for joining me in this lesson. All the best with practicing, and I'll see you in the next lesson. 20. Lesson 19 - The 1 Chord Options: Hello and welcome to this lesson. Now in this lesson we'll be looking at some court options for the one coin. Okay, so basically what we are talking about is if you're playing a song and if the base guitarist under one, okay, so the chord progression as on the one, what options do you have? What kind of courts can you play? This is good to know this because then you can create your own music. Or if you just listen to a song Santa, you just want to listen to the song and quickly play the song. What unnecessarily playing the exact course played in that song. So that is very useful because the moment you hear the bass guitar play a one, then you have a set of courts, maybe 34 courts that are options which you can try and see if this works best for me, I use this. The bass guitars go, goes to a four, you have a cold you're going to use. So let's see some code options we have for the one chord, okay? Now, and the basic chord, as you already know from the beginner level, is the one chord is a major chord. So if you're in the key of C Sharp, The one-quarter is going to be a basic C sharp major chord, Okay? Now I'm not gonna talk much about that because we know that already. And then your second option is a major are to quote, okay, that's basically playing the major coin and add in the two. Okay, so that's the second option which I use quite often. Your next one is a SAS to court. Okay, so that's a 125. Okay. So that's your next option. Your next option can be, will then be a major seven chord. So you remember we studied Major seven chord, a one chord. You can just lay a major seven chord as a basic one chord. Okay, so, okay. So it's possible that this sound might not fit so well with the song. So you need to check and be sure. Sometimes you'd want to do an inversion of it. Take the seven from the top and place it below like this. And maybe that works for you. Another option is the 69 chord. I'm going to try and play a song with using some of these options, okay? 69 chord, which you're just going to play the 695, okay? Forms a basic nine chord, okay? You can put, when you put the three in the base, daft gives you a 69 chord. Or you can put the three above here. Okay? This is quite a nice quote voice. And so you're going to play 15A lefts and party may buy. You see on your screen 6-9 five, you, if you play that only it becomes a 69 with NO three. So you want to introduce a free in the 10K and play that sometimes I use the one without me. It gives me an open sound. Okay. Now, the last option I have is a major Mayan court. Now how do I play the major Nikon? Very simple. You play a basic, a normal Major, our two chord. And you drop the one. You drop the one by a semitone down. Okay, forms a major nine cold. And the reason why it's called a nine is because it's a seven. We're not talking about nights now, but ninth, 11th, 13th only come into play. When does seven presented accord? So when does a seven presidents in the court then year two, core two now has to read extra because then two is no longer, two is now obtained is eight, so two becomes a nine. And then the 11th would have been fought. Bosons is a seventh element. And then the sixth also becomes effecting because there's a seventh. Okay, so in this code you have dust major seven. And then when the two comes in, it becomes a Major nine chord. So forget about all the theory. Theory. That theory is good but easy way to form. This is your standard Major seven chord. Major addtwo chord only dropped the one by a semitone. Okay? So if you played it in C major to here, and you drop the one by a semitone to form a major chord. F major are to drop that F Major nine, so that's a good one quarter as well. Okay, so let's have an example. Let's say back to the key of C Sharp, OK, so how grey? It's. So you could use a major too. And you can use a SaaS to us. Well, if if I go back to the options, okay. And such to how grey it is. Okay, good. And then, and then we can also use, we can use the next option which is the major seven. Hungry as saga. Now, now that sounds a bit disciplined, so you might want to use it that much over there. Okay, so then the next option, which is the 69 chord, hungry, is just to introduce a different kind of sound in your chord, right? The next one, which was the Major nine chord. So okay. Okay. Now, so this is what I am saying. Whenever you have a one court, the squat auctions, most of the time there are other options you can play for this code. But these ones that I've stated here are the ones that most of the time work. The more complicated Accord gets into the seventh and the ninth. And the need to use your ear to decide if the quad works for you. It might not work in some kind of music. And my working songs that sounds a bit jazzy might not work in certain kinds of music. So you are in charge, you need to decide with your ears. Discord works for me, and then you pick out of your repertoire and use it. So thank you for joining me in this lesson. I'll see you in the next one. 21. Lesson 20 - The 2 Chord Options: Hello and welcome. In this lesson we'll be taking a look at card options for the two chord. Okay? Now, for the two chord, you basically have a basic chord of a minor. Now, if you've taken some of the beginner lessons, you know that a two quarters diachronically a minor chord. Okay? This, this is basically, let's say if we're in the key of C Sharp, and that's the major scale. Okay? So that's the two K12. So a two-quarter would just be a minor chord of the, which is the E-Flat. So that's an E-flat minor chord like that. So that's, that's your basic option. But what are some of the other options that we can use? In most typical gospel situations? Plain just this regular minor cord might not be sufficient. So let's see if we can get to other auctions to our repertoire. Ok, so the second option is a minor seven chord. So you can always use a minor seven chord of the two. So in this case, undoes. E flat is a planar regular minor chord. I can make it a minus seven. And remember minus urbanism, a minor chord with a minor seventh interval added. Ok, so the minus oven is going to be two semitones below the one, Goddess the seven. And this is the minus seven. Okay? So the moment I add this node, it becomes a minus seven core. Ok? Now, my one of the easiest voices I like to use, which I would recommend you use as well. As just assume you're going to play on regular minor chord, right? This is a regular minor chord. And you have found this on the two itself. So now move your farm to the one of the key which you're in. So you can just drop this term by a tone, right? And that gives you the same minus seven. All you're doing is bringing this MOOC from the top here. And it looks like that. Okay, so if we added some situation, for example, greater You Lord, which is so that's got, got progression. It goes 127. Then it goes to o at 234. So let's try this two-quadrant just lens. Okay? So, okay. So that's a two chord. Okay, there's a plane you worthy to be praised. Instead of player regular minor. Why not just take your thumb down to make it gave you a minus seven sound. Okay, let's look at the last option here. So the last option is one which is also very common in gospel. Okay, so what you're going to do is play the major southern off the four chord on your right-hand. Okay, so in the same key, C-sharp. Now mind you I am doing this in one key because I don't want them to turn out to be too long. But I'm showing you concepts and principles that you will need to take them into other keys as well. That's why instead of telling you in the key of C Sharp, you need to play it like this. And I'm using the number system to help you. So all you have to do is to look for the fall within the key we are talking about and played a major some of that for. So this is 24, this is four, so 1234. And it's usually a minor third above two, okay? It's always a minus n alpha two. So I'll just have to play a major seven chord on the four. Ok, so this is, this is the, for a Major seven of the F's up here is going to be, this is the major chord. And then I add the seven. Okay? So that's the major seven. The seven as always, it's semitone below the one. Ok, so, so I can play my two colon net. Okay, like that. But it's good to add up the octave here. So user one, year five, the octave and then you play them major seven here. So with the same song, let's try and see how does gray, you greatly to be praised. You go. Okay, so sounds fairly nice and much richer than, than the regular minor chord. Okay? One other way I like to voice this major seven chord. So that doesn't sound too. This voice leading might be a bits maestro de song off sometime. So I like to sort of doing that. I like to bring the major seven on the top to the bottom of the chord. And the way you do that, it's the same for chord. You play it with. Maybe a second, your middle finger, your pinky. And then you use your thumb to play the semitone below. So instead of playing the major seven like that, you just played it like this. Ok? So you so you worthy to be. Sometimes I like bringing the core down like that. Sounds much. Yes. So thus two code works. So if you want to take it into other keys to Auctions, play a regular minor chord and move the fam. A tone back does one. And the second one is a major source of the, of the four chord. So if you're in the key of C, this is irregular to chord. A good. The first option is to make it better is to play the thumb, Take the Tampa like that. And nice to court. Or you play, you locate a four and play majors that are instead of playing the major subband indices, inversion, you can sort of planes in the root position a young brain that's seven from the top to the bottom. So it ties into that. And by playing this kind of major seven on the left, it's a forms a core called a minor nine chord, okay? But you don't need to bother with that if you've not seen that yet, just play a major seven chord of the four of us. And these calls are going to work in most scenarios. Try to pick a song like that's all I guess, played. 17234. Pick any song with a chord progression that has a two in there. And then use this to courts and the two new courses that you've lent on the two chord. Try and play them in every single key before you move on to the next lesson. Thank you for joining me in this lesson, and I'll see you in the next one. 22. Lesson 21 - The 3 Chord Options: Hello and welcome. In this lesson, we'll be exploring some of the options for the three chord. So basically in every situation that you meet a three chord, this, these core options that we are about to explore are going to work for most of the time. But then again, it is up to you, the musician to use your ears to judge if this works for the situation you are in or not. But in gospel music in general, district court works most of the time. So let's get into it. Now. The first option we have here and I, you know that the basic code for a three is a minor chord. Kay? So selling Lucky. C-sharp, 1-2-3, that's your three. So the basic chord would have been a minor, which is then going to be an F minor chord. F minor chord like that, okay? Doubt, opinion, basic chord. But that's chord doesn't work most of the time. Okay? So that was basically what I want to show you is using such two off the one over the three Ds I covered in the basic beginner lessons, but are repeated here as well. So all you're going to do is to play as such to the one. So this is your one. You're going to play a SAS to court on the one, the one to five. And then you just place your three on the left. Okay? So this is the kind of free code you're going to use. Okay? Let's see if we can get as strong example, ancient whereas I've actually relative. Okay? So it goes the moment where you go from n to two or three or four so that we're right. Even though if I was to play this actually out of you, use a chord that had the melody like, right? But in this case this works. And so the SIS two of the Warren Court was the second option we can explore. I'm going through these options very fast, but with each option I want you to pause the video. Try this option with a couple of songs in a couple of keys, and make sure your hands are well adapted to these cold options. Okay? Now, the second one is basically the same point, but it's just an inversion. So what I do in that case, I place my, my little finger on the I place my little finger on the three. And I place my index finger on the one. And then I play it. 2-5-1, okay, the 2-5-1, individual nodes. In other parts of the world, those local unnecessarily so Undo, okay, so, uh, forms exactly the same corn because you can see that the first call we played was stats, right? And now the court is only added an extra nodes on the top. So it's just a different version of it. And the sounds good as well. Let's let's try that. So okay. That's a court. Like I tried to play this in another key less than the key of F. Ok? So that's the chord 31. And then 251 in the key of F as one. This is the three quarter that I use quite often because it works almost every time. Okay, now the third option is still the same chord, but voiced in another way in a more open form. So going back to see the way I like to voice this is I place my left-hand, my pinky on that, the three and put that on the one and use my thumb to play the two. So in other words, what's this has done is actually played almost the entire court. You're only left with the five, okay? And then now you put a farm on the five and then you repeat these things. Yeah. So it's sort of like a 51 to five on your right hand. And this gives a bigger sound. Okay, so if I use this, tried to Samsung. Okay, two to three. Okay, I did. Okay, so this is a very useful voicing. Let's try it in another key, say Q0 of a flats. So I tried to play a couple of key so that it motivates you to and played every single key, right? Okay. And then so that's according my left hand is on the 312 MRI time is on the 51 to five. Okay. So if you memorize a like this, you can plate and every single key, key of F. Now carbon pseudocode right-hand under 51 to five, left-hand Monday, 3.1.2. So the moment you get into the key, tried to figure out quickly how you're going to play that chord. And, but of course, as practice, that's like over and over again. So I can go into any single key, like F-sharp and just pull up the code. This is going to be the chord in the key of F sharp. This is going to be the coordinate q of t. So OK, so by practicing this, you get used to the score. I try and get your hands around this three chord. Practice them in every single key, used them in songs. You already know that having a three in them. And after a while you'd be, you'd be sound in pretty amazing. Thank you for joining me in this lesson. I'll catch you in the next lesson. 23. Lesson 22 - The 4 Chord Options: Hi and welcome. In this lesson, we'll be exploring a number of options for the four chord. So let's get right into it. Now for your four chord, you would usually have a major chord. Okay? And there will be a basic code. Let's try and see if we can build on this major quality gets some more advanced or intermediate level courts for our use. So in the key of C Sharp, The Four is going to be the F sharp. Okay? 1234. So four basically is going to be your major chord, F sharp major. But then if you want to explore more options, then you can add the two to make it an a major, our two chord. Okay? So in the same song, Asians words. Now I'm using this because it's very common and popular words. Then we are going to the 234. Ok, so I guess used a major atom instead of plane. That's correct, but the sounds to me a lot richer. Ok. Let's look at another option. And that option is to use a SAS to court, which is then it's a plane and normal major, you're going to like that, right? So, so change and changing. Ok, so that works perfectly. What I tried to do is if, for example, there's always going to play it a couple of times. You want to sometimes played a major R2 at certain points, played a SAS to just for some variation, okay, to have a varied sound in what you're playing. The next option we can exploit here will be the majors. So the standard diatonic seventh chord that goes with the four is a major seven. Now, in the same way you have regular diatonic chords. 145 are major chords, that 236 are minor chords, and a seven is a diminished. You have a diatonic seventh, which usually your 1.5 for a major seven chords you are 236 are minus seven chords. You're five. Dominant 77 as a half, diminished seven or minus flux five. Okay, So they are also corresponding diatonic seventh chords that are usually used in jazz. So if you're playing jazz, gospel, whenever you meet a four chord, you can play majors of aswell. Okay, so in this case, the Fs, F Major seven is going to be that right? So ancient, whereas right now that's the tool we are going to fall. Okay? You can play the major 70 if that top voices not sounded too good to you, you can bring it down. So okay. That sounds much better. So let's see the next card option that we can, we can use. Of course. We can use the major 69. Remember, when we did the court options for the, for the one chord, we mentioned the score and usually the courts that work for the 198% of the time works for the fall as well. So that's the trick I am using here. So we use a 6969 chord and it's going to be a 1515695, okay? As seen as as the four being the one in this case. Ok. So basically all you're doing is instead of plane, a regular Major, your plane taking either three, sorry, a technical one and bring it down to the six. If you see for us in the key of F sub 123456. So if fluxes of F sharp, so all you're doing is to bring, bring that to play an F sharp 69 chord. So let's try that. In some context. You're going to sort of that, you're going to play the 69 corn. So okay, so that's one coordinate can exploit. You want to sound a lot heavier. Okay. Let's see. The next court option. And scott option would be a Major nine chord. And similar as what we spoke about for the one chord. If you want to play a major nine chord, Gas Play and Riblah major are to code drop the 12. Just a semitone now and we are going to form a Major nine chord. So this is the major R2 chord. If I drop the thumb by a semitone, I form a Major nine chord. And it sounds, it sounds very nice for the four core. So ancient words. Then changing. And me and changing sounds a lot richer, right? Just try and play around with these core options. Don't use all of them at a time. Pick one that is new to you, practice it. And lots, go around, play your songs that have four chord progression. Use it a lot until your hands get adapted to it before you pick up the next chord or try the next lesson. Thank you for joining me in this lesson, and I'll see you in the next lesson. 24. Lesson 23 - The 5 Chord Options: Hi and welcome. In this lesson we'll be discussing caught options for the five chord. So let's get right into it. Now, the five chord is generally known to be a major chord. So if you don't have to clear regular Major chord, you'll be fine on a five chord. So still in the key of C Sharp. The five, the five in the scale is going to be the a floods confined to three, 1-2-3-4-5. Okay? So if I play on a flat major chord, that's good enough for the five chord, right? Yes. So Let's see if there are some few more courts that we can use to sound a lot better. Just like the one and the four chord, you can make this a major are to court to sound a lot better. So instead of a regular five, you can add a two to make it a major R2 chord. Okay? The next option is you can also make it a SAS to coordinate. Okay? So let's try. Great. Are you alone? Great. Okay. It goes to the five chord. So from the one to three, then we go to the five chord. So I could have just played and major R2 or I can play a Saskatoon. And the next chord option B, can explore as the dominant. So the diatonic seven for the phi as a dominance of not a major seven. So this is something that was called, confused me a bit over ten years ago. Because 145 are major chords. In my head, the diatonic 745 chord is also a major seven. But you realize that if you make this five a major seven, this may just have been Notes goes outside the skill that does not exist within the major scale. Okay, so the diatonic seven S, a dominant southern oil, like a salmon color. Okay, good. So, so if you need to go to a five chord, you can just go like that. Usually for me, this kinda dominant seven and works best when you're playing blues. Like if your plane. So it is this kind of And this kind of five chord wax much with blues most of the time. So I don't use it much, but sometimes if you voice it properly, the wax nicely for contemporary gospel as well. If you pick this dominant seven from the top and bring it to the bottom here. It's the same Southern Court by it sounds much better. So, right? So what's much better for private school? Sometimes if, and this particular kind of five chord, I can chip in and metal here that if you need to let the five lead you to the one, then the Dominant seven kind of voice in wax. Much better. But if you are moving from the five to six or to most of the time your regular Major at nine or SAS to will be a safer coach choose. That's my personal opinion. Okay. But then again, it's your you call the shots when it comes to the sound you want to hear. Okay, so yes, the next chord then will be a dominant nine chord. So the dominance nine chord is just, you can get your major addtwo. And the moment you drop this one to the seven, it becomes nine chord. So if you see an, a flat nine, it means this is an, a, A-flat Dominant seven chord that has a two in there, okay? So a flat dominant seven. If I put a dominant seven at the bottom, and the moment says the one he is already on the left. I can move that to the two, which is nine in this case because I said southern present reforms at dominant nine chord. Okay? And if the theory is too confusing, just think of it as a major add nine chord, but with a dropped, you drop the one by a tone. So you are dropping this five node to the forum. So if you had to do that in another key like Baqir off, let's say key of C. You just get a major ad to core like this and dropped that. And you have the G9 chord, right? Which is the five, in this case. Ok, if you're in the key of F-sharp, does your five chord, the moment you drop this atone down, you get a C sharp nine corn. Perfect. And of course, all inversions of the chord voicings we've told about applicable. So dependent on the song, your plane, dependent on the melody of the song, you could take the same coin and invert it to get a different kind of sound. Okay, so keep exploring with this. Keep us learn with this. Gets it, try and plate in every single key. And very soon you, you have to be very much adapted to this and your ES will also grow towards it and money. He had them in gospel songs played by the professionals. Are there your ES will pick them easily. Thank you for joining me today and see you in the next lesson. 25. Lesson 24 - The 6 Chord Options: Hello and welcome. In this lesson, we'll be discussing court options for the six chord. So if you've been faced with situations where X6 is called from another band player, like the base guitarists, tells you we're going to S6 And you don't know what to play. Maybe you've listened to a song and you've had the six played by the bass guitar is the, you're not sure which kind of course to play. This is the right lesson for that. So join me as we go through a couple of court options for the six chord. Now, the Cisco is generally a minor chord. So, and if you've taken some beginner lessons, you will know that the sixth chord, a minor chord. So in the key of C, The says, this is a 6123456. Okay? You're safe is a B flat, so the basic chord is going to be a B flat minor chord. Okay? So B flat minor chord. Okay, good. And your, so if in, in most situations you can just play this minor cool. If you're, if you've looked at chord options for the two code, you see that courts that we use for the two chord going to be the same for the six chord, but you'd be thinking in another key. So it's going to be similar concepts. So if we take it to the next level, that diatonic seven for the six is a minus seven. So of course, is that a playing this regular minor, we can add the minus seven interval, which is a tone below and a one. So that's going to be 12. So by adding this, I make it's M minus M. So Let's see what kind of zombie can use. How great is I got? Okay, so great. Okay. Don't mind my saying n, But this is the minor seven chord, okay? But the chord voicing I lie to you just like the two chord is. And sort of playing this regular minor, you'd move the thumb atone backwards and that introduces the subject. So it's much easier for beginners or intermediate layers to just move the thumb back instead of forming a whole southern court. So how great our greatest adult can then vary like this. Grade. Look out for a sex god. How Gray? Okay. Okay, so that's your chord. Okay? Try and practice this in other keys as well. The key of, let's use b. Then you can, you can do this mine, the regular minus like that. But you take that Tom bug found backwards and he gets this manner. Okay, very good. Or you could have done, of course, when you play it like that image, your de-emphasized the melody, but that's not the case. So you can just play it us a whole called Landsat. Okay, so then your last option, I'll introduce you as the minor nine chord. And if you remember a to a two chord, you play, you play the major, someone of the four on your right. So basically the four is a third of the two. So in this case we are doing the same thing here. The third of six is when you go two steps forward, so that's seven N1. So you're going to play the major seven of the one. Ok, so if this is your six, Does the one, you're going to play, the major seven of the one chord. And that's going to be a minor nine chord, which you can use for your Six Chord. So how great is Aga? Okay? So C, k, Of course, you can voice a differently by bringing this to the bottom here and play light. That's still a major seven. So how great is AGA? Same with me haggling. All saying? Yeah. Okay, so I just use a couple of the course we have already seen in this course. So first minor option. Second, the minus seven, which you can easily voice by bringing it a thumb backwards. And then your third option is a minor nine, which is going to be the major southern off and the one chord. And you can use de France chord. Inversions have very popular version of that, is this one here for the sixth chord. Okay? It's just a major, major seven of that inverted. That's that you bring this down and you get this, and you bring this down again and get that. Ok. And how you can form this majors, this kind of voice and easily show you is very simple. You can add this is how I looked at it a couple of years ago. I played a minor chord. I add the second, and then I drop the thumb down. So instead of seeing nets like an inversion of the major seven chord, I play the minor chord are the second, and drop that into seven and then I get this chord. Okay, very good. So play, play, play around with the Discord, tries to get it in every single key and practice, practice, practice. Thank you for joining me in this lesson, and I'll see you in the next one. 26. Lesson 25 - The 7 Chord Options: Hello and welcome. In this lesson we'll be looking at caught options for the seven chord. That a seven chord is generally seen as a diminished chord. But I will be looking at caught option, which works most of the time in gospel, contemporary gospel. So now as I said, there's seven chord is seen as a diminished chord. So if you're in the key of C Sharp, The Seven, which is this note, is going to be a diminished chord. But let's say you're playing a song like an ancient words, right? Ancient words, the Muslim, the one to the Southern. So south doesn't sound too good. So most of the time, the seven core that wax as when you play a sash too off the five chord over the, over the Senate. Of course you could play a regular five chord, but to make it sound nice, or you play a SAS two of the five chord. So you pick the five in the scale and play a SAS to on that card or via some k. So now the Ancients versus unlike K. So you have the SIS two of the five chord over the summer. Okay, so that's the, the easiest and best option which waste for most of the cases. Another way is to use that, of course I'm using here could be, could be seen as a three chord as well. Because the same seven chords can easily function as a three in another key. So there'll be looking quite similar so that if I want to play another inversion of it, I'm just gonna sort of plane only the seven on my left. I can add a file here. And then I play the six to five. In other parts of the world is going to be caught and Mario saw, okay. So is going to look like this. Okay? So ancient, using the same song, Asians worst. Okay. Now you see i in this case is the melody goes. The melody lines on the two. If you pick this chord is much better because of the voice and it has the melody on top. But in some situations, your mindedness court in the melodies on a fire, for example. The last one will be. An open version of this chord. And just like we did for, we do for the three chord, you can have the seven. You can add that. Note that open up the score. Okay, 2562 is just the same chord here, played an octave higher. And then you fill in the gap with our remaining fingers too. It gives you an open sound. Okay, so ancient words, I'm sure you've heard that before. Okay, alike are. And that's where this kind of sand is coming upon. So very good. So this is a very easy southern chord. You can try to take around in different keys. So if we go to any, either Qi for example. So your first option is the five. This is the five. You just play SO2 and keep it on the seven ancient words. Okay? Okay. And you can also, they can try to use the open version. So the open version, as I said, you can see it like same quart taken an octave higher. So if free up your farm to repeat the notes that is on top, which is the two. And then you fill in the fill in with the same notes. Yeah, sort of right? So they can pick up this line. Okay? Just emphasize on that nodes is called. These are in accord movements which we'll, we'll, we'll talk more about later. So if you take it and another key, key of G. So ancient words. First option, simple auction, right? And then the open version, where you try and play this kind of code voices in every single key, in every key that you, you get into. Try to play them, take them around, make sure that you always practice whatever you name in every single key. Thank you for joining me in this lesson, and I'll definitely see you in the next lesson. 27. Lesson 26 - The #1 Chord Options: Hi and welcome. In this lesson we'll be looking at chord options for the shop one coin. Now, at the beginner level, you might not be bothered too much about this. Because what you are mostly concerned with are the courts for 1-2-3, 4-5-6, seven. But getting to the intermediate level, you realize that in certain songs the chord progressions that has notes that are outside the major scale and these are the sharp one, the shock to shop for. Subfile, flat seven or the shaft six. Ok, so in this lesson we'll take a look at what chords you play. The chord progression moves to the shock one. Okay, let's get right into it. Now. The shop one chord can generally the basic form that you can have the score just to see it as a six major, okay? As a six major. Now, our demonstrates this in the key of C, okay? Because it's much easier to see this in the key of C. So this is a six chord in the key of C, Then a minor. Now if, if you were to make this a major chord is a minor here to play this a major chord. The note that has been introduced, which is, which was not originally in the scale, is the sharp one coordinate. Ok, so that's why it's the six major. And one of my students said, What if I look at it to find what major CO2 play I go to tones backwards, that works as well. So if you want that for the sharp one, you go to tons backwards and you play the major code of that. Ok. So that's the most basic form of the shop. One core to see it as a six major coordinate. So if let's say you're playing a song, usually the shot one chord is used to move. It uses a passing chord to lead you to the two. Okay? So same song, ancient words. So it moves from the one seven and then it moves there too. Now in this case, I'm going to put in the shop one chord before I move to the tool. Okay, so let's try it out. So right. So you can just do a single one or up to you, right? So S6 major, that's your most basic core form. Let's look at the second core type we can use. Now. Instead of C. Of course, since you have a major. Now what you want to try to prevent most of the time when your voice and your courts is to avoid repeated notes. Now, if I played this code, you see that there is a sharp one here, one here. So that's why I prefer to then make this as such to such two of the six places over your, your shop one. Okay, you realize that this is the same as the chord voicing we use for the three and the seven chord. In this case the shop one of the key of a is going to look like the three of the key of, sorry the shop, one of the key of C. Alright? That's one. Thus same nodes is going to be a three in the key of a 123, and it's also going to be a seven in the key of D. So the same court wasted three in a key of a, seven in the key of D, And what's the shop one in the key of C. So chain. Okay. Okay, good. Let's look at another code option. Now, when I say that if you have, you are able to identify any diminished seven chord with the shaft one as a member. So you can, in this case the sharp one. If I want to build as diminished seven caught around it's I can just build around it and gets an a G diminished seven buses that shop one as a member. If I put the shop one in there. So I put a sub one in the base, is going to be the shop one diminished seven. So that works very well. If it's too difficult for either, remember, you can. Instead of the six major, Alice asks us to remove a tone tao to the five and clear diminished 700. That's okay. So let's try to play an ancient was with us, so then I use that. Okay, so just have a chord. You can play this, or you can play that. Or that's sometime we do at this kind of moving. Then we do it as this kind of an advanced level movements. And I'm just like I just keep playing a very sense of the same part. Okay, so that even that'll work. So ancient where some voices, some inversions work much better than others, but most of the time, when you play it this way it works. The one with the five on the routes. That you can also play. The six dominant nine. Now, six dominant nine. What am I saying? When you if want to form a dominant nine or nine chord, as I said before, you just play the major chord added to all the nine and drop the one to the n. So if you play this year is going to be an 8-9, okay? And then you can play, you can play that on the sharp one. And this becomes a quite sophisticated accordion comes like a C minor seven. And then you have the HSO_4 flat five in this case. Ok. So, but just ignore it like that. This is just playing around with the same six chord. You just move notes around to make a better sound, right? So let's replay that. You can just do this. Sort of Plato says to you, drop. The one here. Creates a dissonant sound, which is sometimes nice. And in some advanced mold material, they do this kind of movement. The move from this court. So that, and then move to the two. So very good. Try these voice ends. If some of them are too complicated, stick with the six SAS to voice and, and use this as your basic voice and, and pneumonia. Comfortable with that, you can pick up some of that diminished sound in court voices. And I thank you for joining me today and good luck with practicing this in every single key. I'll see you in the next one. 28. Lesson 27 - The #2 Chord Options: Hello and welcome to this lesson. And in this lesson we'll be looking at caught options for the shock to all of the fluffy corn. Now this is going to be a quick lesson because this coordinate, this note is not usually used as a self-standing cord and is usually seldom used in chord progressions and gospel. So I'll introduce one option that's wax in most cases. In other cases, you can use other kinds of voices. But in this lesson are to treat a voice and that works most of the time. Okay, so this fluffed record, as I stated, is not use too often. And what's usually works is if you find a diminished at diminished seventh chord with the, with the, with a flat three or the shaft two as a member. Okay, so let's take it to the key of C. For example. You have this is the flat three, the shrub T2 of flat three. So if I find the diminished seventh chords that have that as a member will be these diminished seven chords. And try to look for a song that would easily fit. So if, if you, if you get this chord, you just put that in the base. So if copulation like a three, There's usually a corporation which is a 36251. We can play this as sort of 33251, okay? So I can play, sorry, plane 333. Okay. So what I did was to play that three chord and play, since I don't want to go to this example, go to the flat three and playing a diminished chord with the flat three as a member. So that's the key. So three, that then to the one. Okay? So that's usually the chord voicing that you, you'll be using. For example, this song. If once implemented as a df hands for the water's. So as the dean of my, so u, psi two has a part that actually goes the URL on you. Right? You think that that's part of also meant to shop to three and a sharp to amusing and diminished chord with the SubTwo as a member of the fluffy and move in today. So I'm going to call shaft to three. Let us onStart again. If some of the quotes I played, the unfamiliar, you can try to pause the video, go back a few times, and pick up house planes of these courts. But the most important thing is how to implement the shaft two or the flash record and try to, try to play them in. A number of keys. Tried to get them in every single key, used them in at least one song, and make sure your conversation with them. And thank you for joining me today. And I see in the next lesson. 29. Lesson 28 - The #4 Chord Options: Hi. In this lesson we'll be looking at chord options for the shop for corn and not a sharp four chord can basically be seen as a major version of the true core. Okay? So what am I saying? Similar to satellite, the shop, shop one chord, which is seen as six major. This HSO_4 can be seen as a two major. Let's look at it in the key of C, Okay? So in the key of C, this is the two d. So if I play a D major chord, and notice introduced which is outside this skill. Now I said that whenever you need to find a good chord, four notes outside the scale, the best kids look at the key of C, because the major scale up the key of C are all its notes. So the moment you see the black, then you can easily translate this into other keys. So the sharp for as a major of the shaft of the two, so that two is naturally a minor chord. If you make it a major, you have a chord for the shop for. So let's say you're playing a song progression that had a SFO in there. You can easily play a major of the two on the right-hand side. Let's see, for example, let's say you have sunlight here I'm to worship, right? It goes on the one from the ones in the five. Ok, so we are moving from the C to the g. Okay? Now, this sub four can be used as a passing chord to the five chord, Okay? So I could easily play the sub four just before the five. So, so I can, I'll try it again. So 23. Okay, so the simplest version is, the simpler version is the true Major chord. Okay? Now let's look at adoption. To make it sound a lot better. You can always use, you can use a SAS to instead of a regular two major. So you can play as to on that too. And play that the shaft on your left-hand. Okay, so with the same song. Okay, so this sounds really nice if you use a SAS to of the two. And you can play an open version as well. If you want to play an open version, you just, as I said, upset in other lessons, you can just take that. And then you double up the top note here to the bottom. And you can use fill in that gap with extra nodes i. In this course. You have the space to fail out with taken. Fill up with this too. So it becomes like this. So if we try it and as long. Okay, so I like to flip onto this. Not sounds nice, right? Okay, so that's the open version. The next option would be, of course, any diminished seventh chord with the shaft for India as a member. So you can see if I play a diminished seven on this one. The sharp voice in there, you can play the minister oven here. The shaft voice over the diminished seven on the shaft itself, domestic oven on this. So you just have to find that diminished cause, as I have said before, basically, C diminished, F diminish and GWAS seven, diminished seven adjust, inverted into other ones. So you can try out to see if it doesn't have the member you want. You can try out the f. If it doesn't have that, then you try out the G. In this case the C works fine. So let's try the same song again. Now moving, moving, moving into. Okay. Okay, so that's a very easy one to use. Again, you can use dominant nine, okay? So dominant nine would be to play in this case the two major. You add a nine or two in this case and drop the roots, a tone back. Okay, and the moment you played over the, the moment you plate over the F-sharp that works is just the same as that code by just not as introduced to make it sound a lot better. So in other songs, this Sappho quote works very, very nicely. And trying to think of a simple song that Hallelujah. So the, so the 0, it goes holy. So then you go. So over there, the HSO_4 chord West nicely to the five goes, I allowed garner died, and then to the shop floor. So you could use again go. Okay. So these are the basic operations of these are the basic assumptions of the shop. For coordinate you can use. If muscle, any of them is difficult to stick with at least two of the two coils on your right-hand, closed or open version, whichever is easy for you at this point. And try to take them around and try them with other songs in other keys and make sure you are able to play this in every single key constraints that hard enough. So thank you for joining me in this lesson, and I'll see you in the next one. 30. Lesson 29 - The #5 Chord Options: Hello. In this lesson we'll be looking at that's called options for the sharp five chord. Now the sharp five chord can be seen as a three major. So if you have to play a chord as simple code for the sharp five Player three major chord and a sub five is definitely going to be a member of that chord. Let's look into it in detail. Now. Using the key of C as an example. Again, this is the three in the key of C. So a three major introduces a chat, fine. This is the file and that's the Shafi'i, right? 12345. So three major works. Okay, so that's your basic chord. You can have the three major, and usually they're sharp five works in most songs is used to lead you to the six. So same, same as the Sharpe oneness. Usually used to lead you to the two can be used for other purposes as well. But as in most situations, the sharp fall is due to the semitone up, which is the five. The sharp five leads you to the six. So this is the usual use. Okay, so let's try to see what song. What a beautiful name address, right? So then what I did was I played, I played the three major, simple three major chord and it led me to the six. Ok. Now the next option is of course is that of plane. And this is the one I usually prefer is a planar regular to, regular three major, either Player, three SAS to, Okay, so in this case that's going to be like that. The major does acess to, to go there. Three causes is played on the ninth, right? So same song. Sorry. I'll play it again. And so that's leads very nicely to the six and get. The next option is half diminished seventh chord. That a diminished seventh chords are quite powerful when it comes to these kind of passive quarks. Alright, so a diminished seventh chord with the shapefile as a member. So how would that look like? So if I play, for example, this diminished seventh chord. So I've given an example, I said diminished seven on the two, and it will definitely have the sharp five as a member. Okay? You can also play a for afar diminished server that it has a sharp five. So basically all these diminished seven can be used, right? So if I play the same song, now, that sounds very nice, right? So you can play around with a dementia gun, play three of the diminishes before I even get there. So you can go let's try and see what I did. I just played, I played it diminishes in different inversions. Okay, so if I put the efflux and the base is going to read the same quantity every time. Very good. Let's close the last icon tries there is a free dominant nine, which can be seen as this. Like that. The three chord with a nine. And you take, you take that out. So all I want you to do is to play and the regular three major Are the two and drop that here. So just the SAS to court. With the route dropped onto dropped a tone down soda. You can have. This in the left-hand. Gives you a minor seven flat five. Not to go too much into the theory, just as very similar to this chord. You're just dropping this below. Ok? And so with the same song. Very good. So just try and try and go around, play in a couple of keys. We can try another key in the key of C sharp. So same song. Then I need to go to the end interplay as sharp five. This is the fives that doesn't shut five. I got pled diminished chord. And diminished chord with a member. Quite easy to see. So I can just play that and go to the sixth chord. Okay, so, okay, very good. Tried to play this again in every single key. Be confidence with it's, and then you can move on from them. Thank you for joining me this lesson, and I'll see you in the next one. 31. Lesson 30 - The Flat 7 Chord Options: Hello. In this lesson, we'll be looking at chord options for the flat seven chord. A flat seven chord, unlike the notes outside the scale, behaves quite differently. Ns, the simplest of them all. So let's get right into it. Let's look at some of the call option is that we can use for the flat seven chord. Now, the way the flat seven behaves is it's just a major chord. Most of the time you play a flat seven as a major. If you know any type of code you play on your four chord, one chord, or your five chord. But of course, if it's a seventh chord, then, you know, that's, it's more like chords for the 14 will fit much better on the flux seven. So in the key of C, whereas the flat 71234567, okay, floods, just does it seven and as a flood zone, right? So if I'm playing a song and that's a flat seven in there, all I need to plays, just play a rogue law Major chord, okay? You'll see that the adoption is a major ad too. So you can play regular Major chord or a major are to, of course, you can also play a cis to the same type. Of course you play on the one and the four, right? Yep, so let's try, trying to think of any song is a song with them. Yeah, so alright, so it's a flat seven chord. So Elisha di L, should I now go into the flat seven? Just a simple Major and Oman Major chord. Okay? Say if you tried to assess to us well, so arugula SAS to record the white Bethany. Okay. Yeah, let's see. Looking into other options you could use. And so you could use a major chord just like you treat the 14. So. Instead of laying this major seven, you could eat regular Major chord, you can easily other seven. South makes us on big arise. So then, so I went to the flat seven. So I'll play it again. From the two chord progression for the song is two to the five. Then y to the four, to the flat seven. Okay? So the basic trick, as I said, is if your plane and you, you learn of any kind of feel or any kind of nice chord that works so well, either on the four or under one. You can easily try it. For example, on my one, sometimes I played this kind of Ryan line. So I can translate this kind of court where I hold the 367 and the three on my rights and translate it into, onto this flat seven chord. So I see it as my one noun. So is B flats, I'm going to hold a 367 N3, okay? It's called a Major 713 chord. Okay? So in the same songs are played. Do it, right, and works. So if I know this kind of field on my, on my one as well can come. You will learn about fields later, but I'm just trying to explain that. Any new thing you'll find on your 14 core, the same idea can be transferred onto the flat seven chord. So I could do. Very good. So you can pick the song tried to practices on every single key. You can try to look for any song which has a flat seven in there and also practice it generally, you can create a chord progression for yourself for to a flat seven to a two to five and repeat over again and over again. And make sure the goal is to be able to easily move to the flat seven and play the chord them whenever you are required to. So thank you for joining me in this lesson, and I'll see you in the next one. 32. Lesson 31 - The 2 5 1 Chord Progression: Hi. In this lesson we are going to learn a very popular chord progression in jazz and gospodin contemporary music in general, this is called a 2-5-1 chord progression. Let's get right into it. Now. The 2-5-1 chord progression. As you know, you probably already know how to play your to record. You know how to play a five chord and a one core. So you might be thinking why the need to lend any 2-5-1, you could easily go in the key of C Sharp, for example. You know that i2 is that because the scale is 123456. So that's 25. Ok. So someone's okay, I know a two chord. Okay? And I know my five chord. And then I know someone might want to use a regular minus seven on the to a dominant 75 and then a Major seven or the one. That's okay, that's correct. But in injust jazz standards, the, there, there's a standard way of plane two 5s, depending on the situation. And they use sort of a special kind of courts to play this. So let's look at some of the, one of the most basic, the easiest way of playing this. Ok. So the first one is you're going to play a minor nine chord. On the two. You're going to play a dominant nine on the file instead of a dominant seven. And then you are going to play a sash two chord. So this is not really the jazz sound and this is one if you are just starting out and you want something that sounds resolving, OK, so we'll do that and then I'll show you the one which doesn't really resolve my sounds has a jazzy field to it. Okay, so with your minor nine chord, if you look on the screen, I've put up the notes in the key of C, but this is how I want you to look at it. It's the easy, easy way to look at it. Is two. Have to play a minor nine is to play a major seven of the four on your right-hand. So I'm just holding my left and play holding a 15 and the minus seven on my left and applying a Major seven of the four chord. So this is the for and playing a major seven on the F-sharp. And together I get a minor nine of the two coin. And then I moved to the dominant nine of the five chord. Now the easy way here is after you play offense scored, it dropped your middle finger by a semitone and move your pinky by a tone, right? And then you play a SAS to chord, okay, that's achieved by guess holding the uptake of that and then playing the true five and the one on your right-hand. Okay. So like that. So if you go to the key of F, for example, it's going to be the true whether may just seven for this, the force omega sum in order for that. And then that. Then this is where if you have a song you want to sound as older, like how grain? That's how it is argon. And now we're saying it's how, okay, I am using a 2-5-1 to edit. And we're saying, okay. Okay, good. Now let's, let's look at the one that sounds a bit jazzy. Okay, So for that, Let's go back to your KFC. Personally, I find that quite easy to perfect and all the 12 keys, because all you're going to be doing is moving one finger in semitone every time to the next chord. So you start with, of course, than the same chord, the major centers, the foreigner right-hand. Ok. and then all you do is to drop your middle finger by a semitone and move your left to the file. Okay, so instead of formula normal, a flat nine, I'll get an a flat 91313. C. When I take this off, the 13 doesn't come. But in the key of a flat, this is a six. So a 613 indeces 7%. Okay? And, and if I want to move to the one, I drop this to the one. And all I'm doing is reducing my thumb by a semitone. And I form another major 713 corn. Okay, so like that. Very nice sounding. So in jazz, that's how it mostly though, don't have played. So major southern honor, I drop your middle finger and move your left to the five, of course, and drop your thumb semitone each time. So I can use the same concepts and playing a couple of other keys. Let's try that. Let's go to the key of C and radio. My two, I play for major seven on my right. Dropped my middle finger by a semitone while I move to the five, dropped my thumb by a semitone wire, move to the wire. So grade is. And then how grey in my ears that sounds fine resolves, but dependent on your your, the level at which you are, it might not sound resolving for you. In that case. You can always replace the last quote by a corridor results. So you sort of play to play this kind of code, you can easily come to a regular major corridor resolves and salesman. Ok, but I would defend that. If you take it to maybe one last key in the key of F-sharp. Okay, so that's my 251. So I have four major seven. Job my middle finger by a semitone from my thumb by 70 or so. I'm doing this dopant, middle finger, semitone, dropping farm semitone. Ok, So that's it. You can, whenever you hear 2-5-1 in a chord progression, you can use this. The main use of the 2-5-1 is to get you to the one. So if you have any song where the chord progression goes, you have a one. And this one is in most songs. You can always use a 2-5-1 two lead you there. So in the same. But here I am to worship. Once the five, I'm in the key of C, Then to the six, phi four. And then it goes to the one. Now, there's four counts before the one, so 412341. Ok. So you can utilize two of those counts and play five you can, so 1234. You can use a 34 to player two and then a five, and then the one comes on the one. So, so another song starts again. Try find a couple of songs where you can use your 25t easily. This is a very, very popular chord progression, which trust me, you want to know how to play this chord progression in every single key, cause it's so essential. You find, you hear this progression in a lot of songs out there. Practice this in every single key. Thank you for joining me today. I see in the next lesson. 33. Lesson 32 - The 5 1 4 Chord Progression: Hi, in this lesson we'll be looking at another popular chord progression in jazz and in gospel music. And this is the 5.1.4 coin. The 5.1.4 is very, very important because most songs have the forecourt in there. So wherever you have a four chord, two counts before the four chord, you can place a 51 suggests, lead you to the four. And I'm going to show you a very nice and standard chord progression that is used for a 5.1.4 chord progression. Now, instead of plain regular 5-1 for like in the key of C. Let's see an example. The song As the deer pants for the water. So this song was like As the deer. And goes to the six rights. Then goes to the foreman and edifying and one. Ok. So before we get to the fall, we can play a 5.1.4. So let's see how that sounds like. 1346. So just, you don't need to play this in gospel. You can use it in contemporary style music, any genre of music, RMB, anything you want to play. So one. And then six, you're going to play one. Whether omens I played a 61 to 5145. But this doesn't sound so good because bobby lend the standard 5.1.4, you realize that doesn't sound too good to play regular 5-1 in majors. Okay? So the standard one that is uses, what you see on the screen, is you play a minor nine on the five. You play. And 913 chord, and then you play a major are to the south. So strange. But then I'll show you a very, very easy way of executing these courts. So forgetting a bio minor nine and the 9-13, This is how you format. So you're going to GO TO five chord, okay? And you're going to play a minor instead. Instead of playing the five is a major instead of L0. And major you're going to play a minor because the mine and I were trying to form. So you make your five and made a minor, and then you add your two other nine in this case, and you're going to drop the file itself by a tone. Okay. And then you put a Riblah 5A left. This is how you form a mine and my coin. Okay. I'll put it up on the screen. My knowledge of five are the nine dropped, the one to the seven. Okay. So my now the five and the nine dropped that. And that's going to be a fast code. So and then found everything gets easy. All you have to do is to play. So if i, we are going to the one, you drop your thumb and that's your next coin, and that forms the Nile 13 chord. Then you can then come to your regular four coin. Okay? So again, first chord that you drop just the thumb and then become a regular four coin. Okay, so in the same song goes to the six. Sounds much better I did. And for a much better sound or satellite Garcia sound. Is it a planar regular Major too? You can draw, it can leave. You can have this thumb here down by a semitone to form a major nine coin, okay? Just to make a sound data yard and seven, the major seven to it. Okay, so that's going to sound like that. 51. Okay, that's how you'd hear it in jazz music. Okay, so 5, 14. Let's write another case. Let us go to the key of C. So you need to be able to play this in every single key, right? In the key of C is going to be like this. In the key of F is going to be your five. Dropped the thumb to the fore. The normal foils like that. I'm keeping this year to get a major nine sounds in the key of F sharp is going to be like this, which are the key in the key of D Maybe. And thus, thus my five, right? So all I have to do is to, I guess made a five-year minor other nine job that, and thus my coin. It's very simple. As long as you use the principles you've defined. Job, the thumb. Play. Major nine chord, four chord, if you want. One last key, k of g. So this is the five. So I know the court is, I know the court is like that because after practice in a while, you know. But if you want to form its new this is your five card. Make it's on my law. Ada nine dropped the one. Right. So there's going to be five, y, four, K. I'm only bringing these hands. I'm leaving this year, so good. So there's a 5.1.4 cord and you can use them in any, any song a wax for losses. As long as you have a four in the, if the 51 for sounds good, you can always fit in there. I'm trying to think of another song with five, which we can put a 504 in there. Like how great is our God, right in the, in the key of C. So that's x. And then I got played a 5-1 for four to five to the one. So I went, I went to the six. Most situations. What does laid is as segues I for method of say, x by four, I can play 54. And it's a nice way to get to a destination. You want to write this principle, two fives. Use it at the 5.1.4 as a 2-5-1 in another key. So in jazz music in general, this 5.1.4 is also called a 2-5 because it's a 2p5 in another key. In other words, ok, so let's share one last key in the key of F. How great is argon? 176. And then I already played the 504. Okay? Okay, perfect. You want to try and practice this in every single key. Practice your two 5s in every single key played a 504 in every single key, so that anytime you are plain and you're called upon, you can easily locate this. Thank you for joining me in this lesson, and I'll see you in the next one. 34. Lesson 33 - The 7 3 6 Chord Progression: Hi and welcome. In this lesson, we'll be taking a look at a very popular chord progression. And this is known as a 736 chord progression. That has seven 3-6, of course gets you to S6. So whenever you have a six chord and you want to use some passing chords to lead you to the 6736 is usually recommended. And that sounds very good. Now let's see what kind of course we can use with this, the sound to get the sound that we want. So in standard jazz, 2-5 concepts as 3-6 is known as the 2p5 in a minor mode. Since it's taking you to a minor chord, that 2-5-1 as a major 2-5 sense it takes you to a major corn, which is the 15 for 5.1.4. Major to five, takes you to the four, which is a major, and a 736 is a minor 25. So there's minor 25, your first chord, the Southern Court is going to be a half-diminished seven minor seven flat five. Okay? So and then F3 augmented, and then a six minor, okay, but let's see. It's quite difficult to memorize the, so I'll show you a very easy way to, to get this. What I do is I play this kind of coordinate left's. Okay? I use this kind of boys and thus voice and looks like an inverted version of irregular, too cold. So the true chord, which is in this case in the key of C. This is an E flat minor, and you want to play it with, you want to play it with the four on top to be say, 25 here and seven goes here. Okay? And what you can, what you do is to drop, to get the three augmented chord. Now, I'll augmented chord is just a major chord with a raised fifth. So if this is the three, if I play just does an F-Major, the moment I raised the fifth by a semitone, that's an augmented it. If I reduce it by a semitone and domestic, diminishing itself, I raised that is going to be called an F augmented chord. Okay, so that's what we want to play. But easy ways after playing this chord, you drop your first and last nodes by a semitones. Okay? And then you, you dropped your middle finger baton to get the augmented chord. Okay, it's just another invention, so, okay. And then your less code is going to be a regular. A flat, B flat, F. A flat, B flats. So, okay, now, so first chord like that second chord. If you use this kind of trick, it helps because you might not be able to see it. Get augmented corn easily in every key, so you just know your plane. This quad can also be seen as an inverted version of the one chord. This is the one chord, right? So this is like a second inversion. So one card, the first inversion, second inversion. So when you do it, second inversion. And then you drop, you increase the five by tone semitone. So that's how you can see that as well. So, okay, and then this chord, you can play any regular minor seven chord on the B-flat zone. That's how plates, just to hold that or you can leave that. This minor seven chord is easy if you see does the major, major are two of the folk art. But you drop the four nodes itself by a semitone. And if you played over six is going to be a minus seven core. So now with some of these two fives, like for the 5.1.4 progression, which sounds like this, is asked my eyes when you proceeded with two nodes, melody like, okay, that's what the 5.1.4. But for six you can proceed with this melody. You're just playing 34. So the melodies when sunlight. Okay, so that's Ryan plate and another key, key of C. Okay, so plane seven, and you're right, and as I said is an inversion of the two chord. So you bring this one to the bottom. If you will. Confident with solvers, you can say this is Ray and phi, or you can say is 624, again, whichever works for you. So and as I said, I drop the farm and this one by semitones and dropped out by tone. And I get my augmented corn. Or you can see it like this inversion of the one chord with a raised five. That's how I see it most of the time actually. So might be better to see you that way. Inversion of this one chord with a raised five. Okay? So, okay. So tried to another key. The key of F. First chord, 625624, gets your minor seven flat five chord. And then the one chord raise five. And then that's okay, good. Let's, let's see. An example of song. As the plans for the water's still stay in the key of C. So let's use how great is AgRP? As grade it goes one, stays on the one, and then we are moving to that six to 736 is they've got easier all 5.1.4, 5, 14, and go to the five. Okay. Strides in that last game. So how great is our guard? And 5.1.4, one for grain. And good. Try and play or 736 in every single key. Because then you can easily sort of flame going into court straight away. You can inset the 736 in there to get you to the sixth chord. Thank you for joining me in this lesson, and I'll see you in the next one. 35. Lesson 34 - The 3 6 2 Chord Progression: Hello and welcome. Now in this lesson we'll be looking at another popular chord progression, and this is a 362 chord progression. Now this is still type of 2-5, 3-6 two or form a 2-5-1 in al-Awlaki. So the 36 two chord progression gets you to the two chord with ease. Whenever you have, you have a two coordinate chord progression. You can easily use the 36 as a passing chord to lead you to that too. So let's see how we can play this. Now. The easy way to go, the other way is this. 3-6 courts are played, but the easy way is to play a regular three chord. So we're in the key of C. And a three chord. The open version of the three-quarters, the one where you have your 51 to five on your right. So this is the closed version of the three chord, has a SAS to on the one on the right. And then we opened it up by plane, these two left-hand. And then we play the SAS to code up. And then you're going to play a five quarter and you're right over the cisco. So this is a slash chord. You're going to play that your plane, a five coordinate, right? Over six. And this forms a SAS. And my insights for sound. Okay, so this code is going to cut a B flat nine, sus four as the sus four. Yeah, B-flat nine says four, okay? So first chord is a regular 3 second chord. So regular 3 second coordinates, or five over six. And then the third chord is a four over the two. So I like to use these kind of slash chords. And most of that, most of the time you can use a regular sample chord of the third relative third of the actual root position by just superimposing these two courts, it gives you a big assumption. Ok, so that's what I'm doing. Now. You have first scored regular 35 over two and then four. So so three to the, and maybe you can go to the 51. So okay. Very simple. And so I've given some possible melodies you can use. Yeah, you remember, for the 25 and from general to five, you want to add some melody. So this melody upgrade at s, So familiarity do. Okay, so if you're not used to solve as this is do, re, mi, fa. So, so allows any so familiar. So again to be like a 543271 if numbers I thing. So this gives that initial Susto. Okay? So that's also a nice melody. Looking for a song with a two where I can easily use this. Okay, so as the dm part for the waters, we can try to apply this. It goes 125736 and I play my five, y four. Then I can play. So I'm using this as something called a ten around. I'm using the 362 and then applying a 51 to get to the one. So that's how I'm using it in this case. But if you have a song and as long as Malcolm into me, easy with regular true court, where we can use its lead them. Yeah, so whenever you have a two chord, you can easily use. The second melody is radio T So far, so, okay, so, so the way I do this is I play the melody within a chord knots on their father's note. So I play. So and then what does five? I flip onto the sea. So the five and N1. Okay? So then, okay, very good. So this is a very simple chord progression which you've had tried to implement it. Every single key in the key of F. Play a record. Player five over six, and player four over the, over the two. Very simple, right? You can implement your melody or another melody. And the radio. Really nice. So for your assignments, tried to play that 362 chord progression in all 12 keys. You take the key of C, go to C sharp and D. Okay, keep going. And every key. Then. Also, like you to try to create your own melodies around the progression so you can just come up with your melody is so familiar, it you know, you can go. And it's up to you. Try to create your own melodies around it and get creative plate in every single key. And good luck with practice and thank you for joining me in this lesson, and I'll see you in the next one. 36. Lesson 35 - The 6-7-1 Chord Progression: Hi, in this lesson we'll be discussing a very, very common core progression in contemporary and gospel music. And this is the 671 chord progression, or a 67 one corporation takes you to the one with. And this is very popular because it doesn't really change the sound in any way. Sometimes a 2-5-1 does not work so well. So the 67 One is usually guaranteed to work most of the time. So let's get right into it. Now. This 6-7 one chord progression. Of course, you can always play, you can play the regular 671. There's no special code to this. So you could play your, for example, in the case of C-sharp, E could play a six chord, basic one. You can drop that to make it a southern. So, okay, but also a very simple 671 that I use. And mostly this is very dependent on that. The melody that's associated with its with. So for your first chord in the key of C Sharp, I'm plane minus one as well. Just like the sun minus of N, But I'm voicing it's a bit differently. Okay, so I'm playing the B flats, F and a flat here, and I'm playing a C sharp, F a flat, and C Sharp here. Now, the way you can look at this quadrant is ask yourself, what's the third of the sexes? So the third of the six is two steps ahead. So for a sexy goes to the seven and then back to the one. So one is a third of six and all I'm plane is an open court and a one. So our plane, Riblah Major chord on the one hand, topping it up with the octave on top. Okay? And I'm playing this simple Major chord. Complain it's over the six on my left. Now the moment I do that, it becomes a minor seven chord. So this is how you break down. Some of the reasons why the slash courts are very powerful by plane or regular at a basic coordinate right? Over the left, I'm getting a little bit sophisticated courts, so that's what I'm doing. And on the nephron here I can easily add the a flats. If yellow, comfortable with that, you can keep anything. It doesn't really change much. So the same coin. Okay. So that's my first chord. The second chord plane. The open version of the 5-stars, two over seven, okay? And the open version, as I said this when I, I tried to play this year. So I played 756 and then I Play-Doh to 562. So it's going to move liner. And then I play it. I could do that as well. I can play regular inverted version of the major core here. Okay? So that's the basic 7671. If I played us in the key of C and plane, this is a six. And playing the one open version of the one on the plane, the observation of the seven chord. And then the plane irregular. One chord inverted. Okay? Now let's look at some possible melodies. I've only given two possible melody C again, buffer keeps each one melody is the Ramy Fathalla Tito, so that you can say 7671232543, okay? If solve as your interest Office as well, you can say lagged ego. Ok. And when you played the mascot, you just play. The first Gordon says that DOE is a top-notch though. So if you use the sustain pedal without the sustainability is going to sound like not too good. So use the sustain pedal. Sorry. And then next chord then. Okay. So a song like, let's see. Let's go to the key of F. So it's going to be your first called. And then, and then, so when the melody. So maybe you came from two to four to five. Then sakes summer, while yet is often in a lot of song, so I'm going to use a melody there. So you came from have then 22. Okay. It might be a bit difficult to is acute in the beginning because your hands are going to move in a lot. So you can you can just play the left-hand simple ones on the left. Okay. So I can quite okay, but if you are able to do it, play it with a full corn. So you came from have towards to firm two. Then I'll use the second melody. So that's allotted TLS alpha, k's. You came from how to learn. So because the soil is different, I'm using a different voice and of the Southern Court because I need this melody atom. So I'm using this voice, not the seven chord. Another key, C-sharp. Okay, you, you came from N 22. So sometimes I played very simple as well. I'm plane like this, 66 code and play just that. And then seven. And then the one plane, it's a bit full case so that I can play just melodies on my right. So that's another concept you can form the forecast. Ok. Just try to play around with your play this, practice, this 671 chord progression in all the 12 keys with these two melodies and have given. And then of course, try to create your own melodies with it. And when play several times so that your ES will be adopted with a NOW whenever you hear it a song and being used, try to also apply them to songs that you know how to play already. Okay, thank you for joining me today and I'll see you in the next lesson. 37. Lesson 36 The 2 3 4 Chord Progression: Hi and welcome. In this lesson we'll be looking at another common chord progression in contemporary and gospel music. And this is the 234 chord progression. Just like the 601 core progression, this 2.3.4 easily leads you to the four, so it can be implemented whenever you have a fall within a chord progression. Let's get right into it. So for this 234, now, one checkout show you is that the 671 that you play in another key. For example, when we played in the key of C sharp, if you play a 671, this 671 is going to be a 234 in the key of a flat, for example. So that's the key of a flat as a 234671 and C sharp. So you may realize that the more you practice, and the more you realize that these courts are somewhat similar, but they act differently in different keys. Okay, so with this example in the key of C Sharp, your first chord is going to be rebels to minus seven. And the way you do that, as I play an open court of the forum. And the KFC does my true, that's my 4i plan open code. So just a regular Major chord and I top it up with an octave. And I play my to underwrite. And then I play the open version of the three court like that. Then I come to the regular folk art. Okay, let's see how to implement this in a song like, well, there's one song which already has the 2.3.4 built into his court probation. So we can't do that and look for any song where I use a 234. So great. Are you Lord goes 234. Okay, so let's implement this chord progression. So one to seven. Then we go to the song continuous of their father. Okay? Yes, so 234. Now I can give a couple of melody lines which accompanied us and makes us our nice tried to always practice with these melody line so that you sound different. Yarn always play courts in every, in every situation. So the first lady S Raimi for me. Okay. So eventually, so me and then you play. Fair scored classifies on the top, the second chord are built the melody together with the court so that you don't have. Tough time doing it. Then finally, finding, Okay, so let's try it this way. You lower case a bit fast for Lesson one. Let's see. Any other song like Hub raid is Oregon. Let's see how gradients Argon, single saga. Yeah, there's a for the rights of one. And then so there's six. Then a can-do. Okay, so, so that's another melodic and use at any time if I'm just playing a regular Major chord to get it to the right. So let's look at the second melody line I have here. If I am using the asterix on top of the door to tell you that. Play it in the next octane, right. Good. So let's see. So, so, so grade. Are you Where did they build data? Works, right? As simple and easy as that's tried to practice this in every and every single key. Let's say in another key, key, the key of F sharp. So I'm going to do one and I go to a five, and then I'm going to 234. So just practice a liner so you can slow it down. In the beginning before you get the hang of it. Strides and one, mocking flats, right? So k. Two. So lasso family are really entreat you if, if you are not used to that door ME fossil lots ego, please try and adapted to it. Because memorizing melody lines really requires that you, you can. Because if you're unable to memorize melodies and surface is difficult to Ticket to anarchies because I will not really remember 23456541, 4.3.1. But our member, Ramy faster lasso family do, cause that's even sounds like words or lyrics to a song, right? So that's how come I'm able to take it to defend this with so much ease. For example, key of B flat out glare reunify, not as Ramy far so. Right, so 125. Then I go. So it makes it easy for me. Makes it much easier for me to be able to do this. For your lesson assignments, just practice the 2.3.4 cooperation with the melodies I've introduced in this course. In all keys. And then, of course, create your own, create your own chord. Progressions. Know, create your own melodies to go with this kind of core progression. Of course, you can also be creative and invent, inverts. The courts have used. You can just turn it around and then create other melodies out of them so that you can create your own style. As you go along. Thank you for joining me in this lesson and I'll see you in the next lesson. 38. Lesson 37 - The 6-7-#1-2 Chord Progression: Hi. In this lesson we'll be looking at another popular gospel chord progression. And this is a 67 shop 12. So this is a very popular chord progression because it leads you easily to the two chord and you can use it in most situations. So let's get right into it. Now for this chord progression, you're going to see the six chord as a major chord. We're going to see the Cisco has a major chord. Let's take, for example, in the key of C. Okay, so in the key of C, now the six chord is that, ok, 1-2-3, 4-5-6 in the KFC. So we're going to play 67, shop 12. Okay? Remember that the sharp one coordinate leads you easily to the two. Okay? So you're going to see this as a major chord. That's going to be a first chord. Rebels major coordinates six, a major in this case. And then you move to the southern border, which is your usual seven chord that has that as two of the five and the right-hand. And then you move to the shop one chord, which has such two of the six on your right hand. And then you're to call what I like to do on the tourists. I play a major chord of the four on the right and then top it up with an Octave of the roots. So I put the four on the top just to create an open sound. And then I played that over my two boys. Okay, so it's going to sound so that, and then that to the two chord. Okay? So if you put it in context by sunlight, Hn towards ever true in most on n. Right? Okay, then it moves to the two. So y seven and mu2. Guess before that to, let's try to fit in this chord progression. Okay? So the grain and the Son continues. Okay, very good. So this is a very, very good way to get to your, to govern. And let's try and see if we can figure it out in another key. So in the key of C Sharp. We use the same concepts. All we have to play is the major of the six chord. So 123456. Okay, the major of the sixth chord. And then start from there, y as 6-7, shove Y. And then the two, okay, so, okay. Okay, so now I'd like to always put this melody in, precede the first score would occur. So, so I like to play a melody onto, to need me to the third of the Major chord. So if we come back to the KFC, I'm actually a melody that leads me to, okay, so I just hit the notes to create us on. So I go a step higher than play the corn with our melody. So what, okay, good, so well, 111. Other thing is with this chord progression, you can use diminished seven courts on the southern and shop one chords. This, if it's not too difficult for you, sounds a lot richer. And Sal's very, very traditional gospel style. So what this all you have to do is to play a diminished seventh chord that has the 07 asset, that has your seven as a member. And then you play a diminished seventh chord or has your shop one as a member. That's x, u to the two, okay? The major chord stays. Okay, so with that, what you are doing is you just need to find out C, F, and G diminished seven. So if I play at FDMA seven, I see that myself and as a member, so that's fine. I got played that there. I don't want I move to the shop to that shop one, I got their GED Minnesota them because then it has a member. So the progression condemn Bega. Ok, so good. Diminished seven. Diminished seven. Okay, so then results. Very nice. Tried to practice this in every single key. The key is to be able to play this in every single key. Use the same concepts when he gets to Iraqis. First a major on the six, then your rebel last seven and shop one course when a SAS to on the right-hand side. And then the two chord, which he completely open version. And then you start to practice your practice in your, and start practicing that diminished version of this chord progression as well in every single key that's important to always play in every single cue because you never know which key you are faced with. And by plain in every single key is not going to be too difficult because trust me, at some point, they start to look at exactly the same setting keys are similar. So the moment you start to play in the multiple keys, you'll see similarities between the keys and it wouldn't be much of a problem. Ok, so thank you so much for joining me in this lesson. I wish you all the best with your practice time, and I'll see you in the next one. 39. Lesson 38 - The 3-#4-#5-6 Chord Progression: Hi, in this lesson we'll be looking at another popular chord progression and gospel and contemporary music. Now this is a three shot for shot 56 chord progression. This is a chord progression which is similar to this 67 shock 12 chord progression because this leads you easily to a six chord. So if you have a song with a six in there, and there's a little space. You can always fit in the score progression. Let's have a look at it. Now. In this chord progression, you are going to see your three chord as a major, okay, so the three is usually a minor, but you're going to see it as a major in this case. So in the key of C, three is going to be 123. So you're forgetting this progression is going to be a three shop for. So that's the Ford as a chef for sub five plus a five and a chef 5x to the sixth Susan sunlight. Okay. Good. Now you're going to play a major quarter new or near three, not a minor, but a major chord. And then you play shuffle. You're going to play the SAS to order to court SIS two of the two chord on your right hand. And then the next chord is the five chord. You're going to play the SIS two of the three coin on the right. And then you move to your regular six chord. Of course you can bring that to make it sound a lot better. Okay? So it's going to sound if you play it completely against sunlight. Ok, once more. Okay? And I like to play instead of planar regular minor, minor chord like this, I like to play the major chord of the one on the right and add up the top note, the roots notes on top to have an open version of the major chord. And then I put this on six, okay, so it's going to sound like that. Sorry. That's okay. You complete it like this as well. That's perfectly okay. Alright, so this court, let's just find a song, any song that has a six in there. Okay? So saying that ancient words ever true, there is a point that goes to the six, so, so to seven. And then it goes to 234, and then it goes to the six here, 671. Okay, so Let's try to fit in the 3456 chord progression there. So it's going to sound like this. Okay, so that's how you can easily fit the six there in. Let's see if we can do them in any regular. Like here I am to worship and Gesso. It goes from one to the, to the five to 654. So there's a very common quad core progression, one to the file, to a 654. So before the six, let's try to fit in this chord progression there. Okay, so, okay, so it's very important to pay attention to how the timing falls into play. So you go 123412, dadadadada up, so you're fast. There are three major chord has to be on the third counts in order for you to be able to make it. So if you delay there, you might not, you might mess that count. I miss playing the sixth chord on the one. Ok, so 12341234. Okay? And as usual, you need to play a melody. So I play, I like to play. Okay? So some people, you can do a lot of other melody lines if you want, but it's a very basic one you can use. Okay, very good. Let's try and do it in another key. Siliceous F-sharp. Sorry, let's use a simple corporation like no one 5-6 m here to worship. Okay? So that's how you can use it. And now the diminished seventh chords can be used in place of your HSO_4 and shove five quarts. So, and going back to the key of C, for your sub four chord, you can play it diminished chord that has the shop floor as a member. So C diminished works fine. And then you can play for the Shafi'i, you play another diminished chord that has the shaft vessel as a member. So from CIGS mooted a di diminished chord and it looks just like the F diminished chord, right? So that has the sharp five as a member. So it could've play this chord progression. Okay, sorry. Okay. So the first one was around this time is so gives a different kind of solid for this chord progression. Try play this chord progression in all 12 keys, in any key gets into try to find a simple chord progression like wildfire of 64. Before the six approached with this chord progression practices in all the 12 keys so that whenever you are faced with a real life situation with a song that you are playing a couple of times sometime what I like to do is if I've played a progression in a couple of times and the sound and debit boring. Then you start bringing in some of these nuances at least and Lincoln chord progressions and passing chords to get you to the sixth chord. And it sounds much better that way. So, thank you so much for joining me in this lesson, and I'll see you in the next one. 40. Lesson 39 - The 2-3-4-5-5-1 Chord Progression: Hi, in this lesson we'll be looking at another popular chord progression in gospel music, this Muslim that 2345 repeats the five and guests with u1. So let's get right into it. Now. And this, this chord progression, looking, looking at it in the key of C Sharp. And also under 234551. Okay, sounds like this. I'm sure you've heard this before. Now, let's look at the courts. We need to use for this. It's a very simple chord progression, simpler than it sounds actually. So you're left is moving from the 2345. Right hand is going to alternate between two main courts. Okay. So you're right on, you're going to play the minor version of the four core. So this is the four chord. And we're going to play a minor version. You can play this inversion, but this is fine. On your screen you see that I have this court have an apostrophe at the top. So this is What's I used to indicate that is the first inversion. So this is the root position of the form minus F sharp minor, this case. And then first inversion, like that. Okay, so you are going to alternate NFS inversion of this court. You play that chord. And then when you move to the three, you're going to play just a regular one major chord by you see double apostrophe there. So that means the second inversion. So there's the root position of your one chord in first inversion, second inversion. So all you're going to be moving as from the, for my record to that one quart mapped to the four minor coin to the Warren Court. So is o by that says I like this. Okay, very simple. So of course you got, make them in octave like this. So okay, and then you move to your regular, regular five coins and they become move to your one. Ok. So 11 way that you usually hear. And most of the gospel players play this is on their five. They can sometimes play discord over the fine. It creates a nice suspended sound. Crazy to sound. So it's sort of after playing the blame, this normal Riblah five you can play. This is just a two chord, a minor, but in this first inversion, again to minor. Yeah, that's a first inversion. So glad. And so it's a very nice feeling. Gospel music. So and yes, sometimes is that a plane, that regular format and I like to use a frill. Okay. So that is a very common ended in gospel music. If you can, you play that on the one. And then you walk from you walk onto the five. So you went from four to five on your item. And while you're working from six to seven on an IDO. Okay. So so rides on, explain. 543 and a left honestly, 765 together, harmonize it like a duet. Okay, so, okay. If you want to try and get this chord progression in other keys, let's say the key of F for example. So all you're doing is you're going to get you just need to locate your forecourt, make it a minor, and then puts, puts the four nodes on top. So this inversion, after getting that is very easy. So you move between that and your one chord. So like that. That's all. Okay. Strides and an unlucky that she wasn't a KFC. So I locate my four, make it that might take inverts its up and it played together with my bass note, so, okay. Okay, try to play this chord progression in every single key. That's very, very useful as, as one of the most popular corporations that you hear in gospel music. We'll take a look at some cetera songs that have this practice session. You see certain core examples of songs that use this chord progression. So they're going to appreciate it more and more. But for now, try to play this in every single key. After doing that, you get used to the sound and you'll be able to pick them from songs when he hear them being played. You can use other versions of this to sound a little different. For example, instead of moving like that. Sometimes I move like this. And you can do in versions, but for now starts with the basic one sense is just two quarts moving up and down. And you get really used to this. Thank you for joining me in this lesson. I'll see you in the next one. 41. Lesson 40 - The 3-4-5-6-7-1 Chord Progression: Hi, in this lesson we will look at another popular chord progression in contemporary and gospel music. This is a 345671. Okay, so let's get right into it. Now for this chord progression. Of course, you, you may want to try and play this with regular courts that you know. But some of these Corporation has special kinds of courts that gives it the sound that is really designed. So in the key of C. And this chord progression is going to sound like this. 34567. So it's gonna start like this. Okay. Let's have a look at the courts. I'm sure you've had this chord progression before. So it goes like and then, OK. So your first chord is going to be, of course a three. You're going to play. A one-quarter neurites as second inversion of the one chord. Root position, first inversion, second inversion, okay? And that's your first quarter. And then when you move to the four, you are going to play second inversion of the two chord. Root position. First inversion, second inversion. Okay, the melody we are looking for. So that's the melody of the progression. So it goes and comes back to that. So 345. And then under some 671 from here, you could actually play a regular, which other people do. So also has a good sound. Bite sounds. More and more black gospel leafy plate like this. So sometimes our planar, the plate, ok, and these courts just see them as the first chord is. Second inversion of the minor, a minor on the shaft to coil. Okay, so. This is the shaft to chord, one to shop to your player might now, and that's okay, E minor in this case. And then you play this, sorry, a first inversion, first inversion of that. Ok? And then you play the first inversion of the two chord. And then you come into the first invasion of the one core. So after playing this shop to minor with the nodes on top, and you just move all your fingers down by a semitone onto the two chord, and then it comes to the one. So you're going to play this chord over the, over the seven. The 64 creates a very dissonant sound. The very huge coin. Okay? And then, so if, if I were to measure this chord as a C minor seven, flat five, flat 13. Okay? So c, c minus, c minus seven, because there's a minus here, seven, flat five, and flat 13, flood five. Now and make it a bit complicated. So that's why it's always powerful and was much better to look at these chords as simple slash courts. So I'm only looking at it as a normal minor chord on my right over a bass note on my left. And these two coming together is forming a huge, a huge corn, right? Cause you can take this out to get your regular minor seven flat five sum, which is the half-diminished seven coin for the seven. Okay? So we'll take the whole progression. Okay? And this, this corporation is usually used. Sometimes the song goals and ends on the one, but then it has got the foil comes again. For example. Like regular gospel Berger provision, like someday you're going. And that's setting the tone for the song to start. And someday after hours, when the sun goes a bit as well like crazy. Here's where, where the to be braised. So he square. So using another popular progression that 23 is worthy to be praised. Okay, so that's a very common sound you hear. So if you, if you want to find as Corporation and other keys, just keep to their concept, keep to the principles. In the key of F. You started on your one-quarter and then move into the invention of the two core. But to the one. And then you look for your shop to minor chord. Okay? If you know your versions very well at the moment you hit a shot too, you know that as the corresponding minor chord. So this is the minor chord and then that's here on your six. Drop it by a semitone. So you guys are like this. A is m. So, so these were to be prays. He's the square, e to the beta. Ok, so try to play this chord progression. Every single key. It's not easy. But you take them one at a time. If it takes a couple of days to perfect this chord progression and every single cookie, it's going to be worth it because you're going to meet this chord progression quite a lot in gospel music. When you lend them and the more meaty hear them, your ears are going to pick up the sound and oh, I know this chord progression. And that's how you learn songs faster than others. Because for others, the moment they hear it, it needs to start practicing. But if you've practiced it already, you can easily lend the song and perform it faster. So thank you for joining me in this lesson. I'll see you in the next one. 42. Lesson 41 - The Chicago Walkdown: Hi, in this lesson we'll be looking at a very exciting quarter progression in gospel that is called a Chicago walked down. Let's have a look at how this sounds like. So in the key of C Sharp, this chord progression is going to sound like, like this. Plate again. I know it sounds like a lot sounds like there's a lot going on, but it's actually simpler than you think. This is going to, is just a combination of other popular progressions we've already learned that. So it's broken up into a couple of paths. Now. Just ignore all the numbers going on. But it's the first progression is six. At the normal Chicago organon progression actually starts from the six, sexually starts from the six. If you look at the progression in numbers here, the regular Chicago August last from the six goes to 67. And we're in the key of C Sharp. Sappho has 671234567. Okay, but my version, I put in three quarters before they're sick. So I start from three HSO_4, Shafi'i sakes sharp seven shop 12345671. So you see it's like a walk all the way to the one. Okay, so now you're going to play a regular six shop for Shafi'i, threes, HSO_4 Shafi'i, and six chord progression, which starts with using the three major. Okay? So you're going to pay the three major and then shop shop for you use the 2S to on your right. And then on the shut file you're going to use two of the 300, right? And when you get to the six year, instead of planar regular six, you're going to now use the next progression, which is the sixth seven. You're going to treat it just like you did for the three, right? So you start, you make the six also a minor K. So OK. Then another one. So it's a six as the 70 users as two of the five. And then the sharp one uses as two of the essays. And then when you get to the two, you don't play a regular two, you start with a that's minor. The minor of you're going to use a minor of the four on your right-hand. Remember this provision? So this is the first part of the progression. And then second, then the third part. Okay? And then the third part is where you play 67 and Y, okay? With this, with a minor of this sub2 minor, the two antenna one. Okay, so let's take a slow. Okay. So 444 I sang like, Oh, how I love Jesus. Let's see if we can come up, simplify it. So so g is how, Why not G? So G that okay, so and on this OHA lavatories as it goes from Assemble version is, is, ha Why? And then 567. This is a very special kind of seven 3-6 provision. Okay. It goes, you play the first scored on the seven like this as a minor 911 chord. And then you move to this three line that you play, the diminished seven of the four over three. So you can, you can pick it up. This is a very special one that goes with this kind of Him. Hymns is an advanced called voice and occasion. So this Chicago organ, honest, that's another six knots and the three k. Now, I could have stopped at my If, if any of these courts are not legis, feel free to pause and go back and slow, slow it down, check the courts out, play them in justice. C-sharp. There is why I'm using C sharp in most of the songs so that you can get it because it's quite a standard key and gospel, you can get it in c-sharp. You gradually take it to all the 11 Iraqis. Okay, so I could have played this same song and started at Chicago organi a bit earlier. So that is going to be quite a lot. But in this song it's always nice startled six incessant situations. You may be able to fit in the three to the six, and then 32345, and then 67. Okay. It's not the easiest of corporations, but if you've already practiced that different bits and pieces, it becomes very easy to then put everything together. Okay, in the key of C, my sound like this. Ok, so two tray. Then your 671234567 sharp 12345, and then you're 671. All I'm thinking is the different parts. All I'm doing is putting a different path together. Okay, so thank you for joining me in this lesson. Feel free to go out and play this chord progression in a couple of keys and explore with it's tried to fit it into songs. If the whole Chicago non doesn't fit stuff from the six, or start from any part of the walk down that you feel more comfortable to incorporate into the song. Okay, thank you for joining me in this lesson, and I'll see you in the next one. 43. Lesson 42 - Open Slash Chords - The SECRET to a bigger sound: Hi. In this lesson we'll be looking at a very, very important and powerful to in plane in general, contemporary style jazz, whatever genre of music you'd want to play. Now this is the use of open slush courts. And I've always said the slush a way to play very sophisticated courts in their simplest forms. Let's get into it. Now. Let's say, for example, I'm looking at accord like like this. Okay. It's a minor nine color. Right? But if you look at it like a Major seven or your rights over this notes. It might be a lot easier because we are used to figuring out regular post like major, minor, major seven, minor seven, the seventh and the triads. These are easy cause for us. So this gives a better sound. Now, this is the basic principle I use for my open slash courts. Now, what you're going to do is you target to play a triad on the third, okay? So let's use the same key, C-sharp. Okay? So on the one chord, you look for the third of C-sharp and a third is always two steps ahead in the skills, or the third one is three, the third of two is four in that order. So the third of this 13. And if I play a regular triad on the three, regular triad, which is, the three is a minor in nature. Ok, so the regular triad is going to be F minor chord. If I played this over the one chord, I form a major seven chord without any sweat at all. All I'm doing explain a normal triad but over a different routes notes. And that's for many major seven chord. Okay, so but this is just a slash court in that case, of course you can make it ADA octane here. But this is a regular slash code. Nadeau opened slash horde is all, all I do is to add an octave on top of that. So instead of planar regular minor chord, I'm putting the same note on top, okay? And this, nothing is going to change, but it's made some big, right? So this is a good one chord you can use in the key of C Sharp. And all I did was I played a triad of the third. Ok, let's try it for the two. So this is the two. And the third of a two is a four. By the four is a major chord. So you clean F-sharp major chord, add the octave on top, and then you get a score. Okay? So that's why if what I'm playing like 2.3.4 progression may go. So amusing. This kind of progression. And most of the time plane that we're the third on top. You see that most of us, I fits with the melody of the song. That's also one secret. So by playing this, you have a minus seven voicing, okay? And if you try it for free as well, so this is a three. And you have that. Five is a third, play, a major hurdle there. And then you add the octave. They're like that. It's a minus seven. So this works. But in gospel in general, as I've always said, We tried to avoid this seven notes within their three-point. So you can do is to then move, move these two nodes to the one. So instead of this code, you move the seven to the one and then you get a score. We've always been playing. Ok. Good. For the, for the federal therefore is a six seconds admired as I play a minor chord and other obtains. And I get an F Major seven open voicing. Since one other trick is, instead of ln 151, you can have your hands constraints a little bit. You can just stretch it onto this and you form a Major nine chord. It's a very nice, for instance, you can, one thing else is four. I usually don't do this for the five. It sounds a bit off when you try to do it for the five. So the five, the seven, the third is going to be the 77 diminished before and to form an abnormal dominant 75 form in this way. But I usually like to voice my dominant seven chords a bit differently. Okay, maybe like that's all right. And you can do this for the six as well. So forensics, the fed on the six is the one. And then you play the major outtake. And these are just easy ways of playing big chords without any sway title, okay? Yeah, now, so this is using triads on the right side. If you use the diatonic seventh off on the right-hand side, you will be getting a minor nine chord. Let's see how, how we can form that. Okay. So for, for the one now diatonic seventh as follows, You know that one is a major, tool is a minus three is a minor. So 145 are major chords, 236 minor chord seven is a diminished chord, but for the seventh, 14 are major servants. To 36 are minus seven. And the five is a dominance of a not a major seven. And then the seven as a half-diminished seven or a minor seven flat five. Ok? So if for the one chord of plane, regular triad here, if I play a minus seven, okay, on the right, instead of a minor, if I play a seven over that, I can, I can guess a minor, a major nice sound. Okay. Of course the other way I showed was that you can always stretch this head to that and then play a regular triangle, right? Same court. If you can see on the screen C Major nine, and if I play a minor seven on the right over that, still the C Major nine. Same for, so same for the two chord. Instead of this triad, you can play a major seven instead over that and forms a minor line. So this is a very nice sound music, the 25, right? Okay. Yes, and you can follow this to play every, every other key so I stay together for a bigger sound. Make other LTI one top of the triad. Yeah, so a minus l, some will be formed on the 236 chords if you do this and if you choose to use play seven cause on arrived they are going to be Forum in major 9s and minor 9s. And as I said, I recommend that you try to do away with this and works. You can use a very nicely on the one and the four and the two and the six. But five. Yeah, maybe not so much is to kind of work in certain contexts as well by UB the, that the judge, the judge of it. So for your assignments, pick common chord progressions like 1564 or 1524, and tried to use this opening voice. And so if I use it for 15664 is going to be like one to add my five. I'm going to keep it simple. I'm just going to play a simple five chord. And then I'll try maybe add the octave on top instead, okay, to forbid open sound. So then, so to say. So the four sounds good, right? And then la, five to four. And then who've, okay. Very good. Try this. Try to play this in every single key. Gets your fingers adjusted to the open, open slash core concepts and get, get us going. Thank you for joining me in this lesson. I'll see you in the next one. 44. Lesson 43 - Harmonizing Songs and Playing with Melody - The Basics: Hi, in this lesson we'll be looking at the basics to harmonize our songs. You may have. You may find yourself in a situation where you want to try and harmonize a song that's media song you've written yourself or song that is already out there, but you don't have access to core chats or a record to listen to and try to figure out a song. So I'm gonna give you a few guidelines that you can use to harmonize songs on your own. So let's get into it. Now. What to follow a few some of the basic steps for doing this. Ok. My first step is always find the melody. So the melody is very important. What, once all we are going to use to practice, it will still stay in the key of C Sharp. I give myself away. If you know the song, that's good. If you don't, just get a melody here and let's work together. Ok? So the melody goes like so, it goes 123412. Okay, so that's the melody of the song. And if you know your surface, DO RE MI fossil is easier. Because if you're using the numbers you'd have said 144433214443332321. I get quite well and that's I'm not used to that, but you can say the FAFSA, Me, me, me, me, me, me. I can easily remember this because this sounds like music already, right? Because rather than numbers, okay, now, after doing this, your next step is you need to find the roots of nodes or the baseline. Ok? So most, one of the tricks is that most of the time that baseline is a third below the melody, that's 70 to 80% of the time. So in this baseline, when a goes, that's where the first baseline comes in. So it goes. So a Fed below, I may live this. You want to find a Fed below this. You want to ask yourself, Who has the third? So in other words, you go two steps back in the scale. Okay, so the major scale, fussy Japanese. Ok. So you go two steps back in scale and that's OK. So you try to play the melody and then the baseline together. Okay, so okay, and then, okay, so that's one as well. Placing the courts as at the one beats, okay? 1234 next scored one. Okay, so if you listen to the song, the actual song, you hear that a bass guitar goals one. Okay. So the seven, then it goes to the 65. Okay, so that's one way you hear the song. Listen to the bass guitar, you know the baseline, you know the melody. Now, you're going to try and find how many sort of song, okay? So 234 again. Okay, so now let's look at the next step. So now we are going to find quad inversions. Now this way investors become very, very important. I have a couple of students who would like to hear inversion is they think it's too tiring or tedious, but it's very important and that you know your chord inversion. So now on the first chord, it's a one. Now the bass note is determining what's coordinators. So the Bayesian says 12, it's a one chord. Okay? So you're going to play a one chord. Okay? But then you're going to find, make sure that you invert it and have, have the melody always on top when you're trying to harmonize these songs. Okay? So instead of playing the one core lightness starts with a basic one chord, inverted into this invasion. Okay, so, okay. And then I go to the next chord. So you need to find where the melody meets, that. Quite a melody meets the roots notes and whatever quoted this in this case, you see that someone is meeting with this court. So it's a, you need to find a C7 chord with the melody us. There's two. And lucky enough for us, our regula seven chord, which is cis to over the two chord, five chord, has that on top. So we're lucky, kay, so okay, and then you move to that. Now that's the next chord is a six chord with that on top. And a rebel assess chord has that on top as well. Ok. So we are going to be using basic triads. We're now, then after that we ask on embellishments. Okay? So okay, basic harmony. Okay. Okay. Now it goes to okay. It was it went from three just went some ways like it before coming to the one. So you can play any chord with this ray or the two on top. You could play 55 chord and then you bring it down to the focus. Okay, so now if we try to, so if we look at the next step, you want to try and play the melodies in, in-between. So that's what exactly what we did. So not every melodies going to meet up with our CTO, you play some melody and set certain melodies are going, certain parts of the melody are going to meet up with a corner. This is going to be a long lesson, so bear with me because it's a very broad topic. Okay, so settling velocities are going to meet up with the corn that you need to take notes, those that don't meet up. You play them in the meadow, single notes. Or you can use something like cos 60, that's cost six. It makes, it gives the better sound. We'll try that as well. So you see, you're going to add the melodies in, in-between. So that's exactly what we do. So okay. Okay. Okay. Good. Now, you want to now add second, sixth, seventh. And this is basically up to you after you get your basic harmony, sort of playing this, you can, you can add your second to make it like a lot heavier. So okay. And then okay. So what I'm doing is sort of plea. There's I'm dropping that's here to get some minor southern sounds. Okay, if your hands are mega, you can always stretch, began as a wide stretch and say London. Okay. So the for all I'm doing is playing like an innovation of the folklore that's on the bottom here. We're going to try to use the same process to figure out how to harmonize. Said. There's also, if you look at I give myself away, there's the one we just played. We can try to use it for what a beautiful name it is. Okay, so okay. No, no. So it goes, I'm trying to mix, mix and that's omega. Ok. So it goes figure out the melody and the baseline. So no, still mixing up the melody. So then name mom Jesus Christ market. Yes. So so you see, you need to get the timing of where the course are coming in and where the melodies. So some melodies are friendly, they follow the courts. Some Also a bit misplaced. They are not exactly on the count. Ok. So now we know the, so, so I need to play a one-quarter with less melody on top. So, so, so, so, well what a bef on name. Okay. So okay, so if I hit, it was a four and the melody was that. So I need that to inverts my full court to have that's on top so far. Okay. That's all I'm doing. Inverts and courts and make sure that the melody is always on top. So always have the velocity on top if you're memorizing lead, because the highest note in the sequence, the highest note you play in that chord always sounds, come stands out. So that's what people hear when you apply the scores, okay? Yeah, so then you can, of course, try to add left-hand partners to it. But before that, if you feel that the melody, melody playing single notes, it's a bit disappointed warring. You can't use 66, okay? And that's goes lie there. So the way I see sixths is you look at the third, okay? It's like an inverted third. So this is the melody I do for a third of that, which is B flat, and put us on the bottom. Okay. And the same muscle. So I can if I use a pedal, ASRS matter. So so now when you add these 15 wine or 152 left-hand patterns, okay, you are them to his own? So it's very nice to use these six, okay, like the first time we played a, I give myself always. See when the moment use these six sounds much better already. So now again, you can start to play around with the different harmonies, okay? Depending on what you are used to. Okay. Yeah, so I'm going to have a practice session, one practice session using the melodies and harmonies for a complete song. And yeah, if, if we, in order not to keep this tutorial quite shot up all this in a practice session. Tried to take a song, find the melody, find a baseline, put them together, play. Use a baseline to determine what quantities and use play an inversion that has the melody on top. Okay? Most of the time is going to be the second inversion, but sometimes you'd be lucky to have it in the root position and is perfectly ok. Try this. Plates in a couple of keys, get used to it. And by practicing and practicing, sometimes it's difficult for us to figure out the melodies. No problem. Just starts from somewhere. Figured out the melody by moving up in the scale. If you press that is wrong, you say no, that's not it. Let me try and get the melody caret. And after get's an, FOR memorize a melody with your sofa system. Okay, the more you memorize melodies, the more the easier it becomes for you to figure out songs, melodies on the fly. Okay, so thank you for joining me in this lesson, and I'll see you in the next lessons.