The Ultimate Piano Chords Course - for Piano & Keyboard

1. The Ultimate Piano Chords Course : There have been so many Greer songs over the years, and most of them had been written using carbs. You don't need to be able to read great 8 music notation in order to be a great musician. In fact, some of the best singer songwriters can only play it by ear. This course is giving you the champs to be able to play piano without having to spend years learning to read sheet music. The current starts with the basics, but quickly moves on to learning about the different kinds of cards, how they are built, and how to read them off a card sheet of piece of music. I will also teach you different plane techniques, rhythms, and patterns that get steadily more advanced throughout the course. And by the end, you'll be able to play songs following a call sheet, but sound like a probe. I also believe the best way to learn is by applying your knowledge. So after each new pass in our technique, we'll go through a famous song, our core progression relevant to what you've just learned. The cause is for complete beginners. But later parts of the course would also be valuable for anyone wanting to understand more about cards and how to use them in your planning. So if you're a singer wanting to be able to accompany our self with the piano or play keyboard in a band. Maybe you want to learn carbs. See you can accompany other things or even have a go at writing your own songs. Or perhaps you just want to understand more about cards and different plane techniques so you can enjoy playing for yourself. Well, this course is for you. So why not sign up today? And I'll see you inside the course. 2. The White Keys: right, Let's get started. I want to get you playing the piano as quick as possible. But if you're learning from scratch, I need to go through a few things beforehand. First, let's look at the names of the tees. Can you see on your piano? There were black notes and white notes on the black. Notes are divided into groups of twos. Language of threes on that pattern repeat itself up and down the piano groups of two or three in groups of twos. On getting down here, two threes groups of 2 to 3. So all the way up and down the piano, I should say, When I say up, I mean to the right. So is to the right I'm gonna say it down. It's to the left, so up and down now to go back to the keys. So depending on the size of your piano, a keyboard, the amount will differ. I'm using a full size keyboard, which has 88 keys, but I have zoomed in on the center of the piano just so you can see the notes easier, so it doesn't matter if you're using a smaller ball. I would need to find the group of two black keys in the middle of your piano. So on mine, the middle of my piano is here on. There's a group of two black notes there. If you go down to the note directly to the left of these two black notes, this is middle C. So the scent of the piano the two black notes into the left is middle C. I want you to think of this as your anchor point, so when you sit down at the piano, you should line your belly button up with middle C. So you know you're sitting in the correct position, so two black notes into the left is middle. See if you go to any other groups of two black notes and to the left of it, it's philosophy. ISI City. Go to another group of two black notes, and to the left, this is another. See, go to another group of to bat notes, and so those are all sees, but the seas with different pictures. So going to imagine Whitney Houston singing a high pitch see here Onda, a big, burly opera singer singing low. So these Cesaire, the same notes on a piano but with different pictures. High pictures on low pictures on the ones in between they get Now we've talked about these C notes to the left of the two black nuts. I want to talk about the alphabet. So a normal life There are 26 letters of the alphabet, but in music we just use the 1st 7 So a B, C D E f g and then it repeats itself So it goes to the start again. A B C d e f g a b c d e f g That pattern repeat itself opened down the piano. So here's how to use it. So let's go back to middle C on. But if you go down so left to white notes for less ago 12 that will land you on an A OK on then I need to do is go through the 1st 7 letters of the alphabet moving to the right. Oh, and I'll give you the names of these notes. So here is nay. Be soon. Dean E. Like I said before, the pattern repeats itself so it doesn't go to hate. It starts CNN A. So you wanna g let me go A B c So the pattern repeats itself all the way up and down the piano. You could start on. Let's find a C first. Okay, so too bad looks into the left on you Come down to the left to our backwards, through the alphabet. So C s u can count up from there a again they the genes they see all the way and down the piano. So with that knowledge, he confined any notes on the piano by just counting up and down the cardinal e. So if you found to see wherever you are on the piano and just go up and down the alphabet from a to G. So let's do a few more together. Let's say you want to find the name of this. No see, go to the two black notes nearby. Find the sea on. You can count backward. So see, let's do another one. Let's say you want to find this not here starts on middle C and count up from sea to sea. Let's do another one. Let's say you want to find this not here, which is in between these two seas, so if you need to count backwards. If you see B a then to the last night of the seven, which is a G or it might be easier to go from underneath. Circle Teoh See down here and come up C D E F G. So that's how you find the names of the white nuts and a piano. You got the 1st 7 letter that the alphabet on. If you know where to find a C, you can count up and down accordingly. That more you go through that process, the quick you'll find it on. Eventually, you won't need to think of told you'll just know. 3. White Key Note Learning Exercise: If you can memorise the names of the notes at this early stage, you'll find it much easier to take on board what I'm learning in the latter part of the cast. So we're going to do an exercise to help you to learn them. I'm going to play a note on the piano. They're not. Leave it a few seconds, and in that gap, I wanted to figure out the note name and say it out loud. Then I'll give the answer. Feel free to parts of video. If you need more time, you can also go to the bottom left off the screen, and there should be a white box with the one and an X next to it, which means it's paying a normal pace. If you click on that, you can watch a slower pace are you can also watch it a quicker pace. Let's begin. That's a G. That's a C. That's enough not to be. Mm hm. That's a D. That's an A Not to see. That's Cindy. Ah, that's a G. Yeah, but it's enough. Um, that's a D. That's a G. That's a B, uh, personality. Ah, that's a C. That's enough um, that's in a 1000 E. Uh, that's another A. That's a bay That's a D. That's a G. Not tonight. Did not move onto the next lecture. 4. Black Notes Explained Sharps and Flats Tones and Semitones: Now you've hopefully got to grips with the names of the white nuts will move on to the black ones. But first I need to explain the meaning of a couple of musical words that are used quite a lot. The first is a semi tone, so a semi tone is the smallest movement you can make on a piano. For example, if you here and they go up to the Blattner there, that is a movement of one semi turn. So here to hear it, it's a meter here to hear Senator Senator to these at smartest movements, semi tones, it is also known as 1/2 step. So from that is a step. And here to here is 1/2 day have to have to have to have toe after. So the called semi told 1/2 steps. OK, Thea. Other word is a tone Now a tone is to seven tons. So from here did you hear it going up one to suffer from here to here is a full turn to go in one to sell from here. A full tawn is not to there because that's just once a meat on or half step sort of full tone is here. Teoh here on again, full tone from here is not to their cause. That's one semi tone. It's there is one too. So it's to them that sometimes also known as a full step. So you could say hot that it as 1/2 step there today is a full step, are semi tone on tone. So now you know what terms and semi, Tonda, Our steps and half steps I can teach you about the black notes. So each of these but notes has two different names on It depends on where you're coming from On the piano toe, what are called will start off with what we call shops. So if you start off on the middle C and we move up by one centimeter, that is called a C shop, that you can see this shop sign looks like, Ah, hash tag. So you got to see on up to the right a seizure. If you are a bigot book to the right one semi term that is called a d sha Never go to this s here to the right to the Butner eyes f shar. So if you got a gene here. Look to the right Is a sheesha on then, eh? Up to the right isn't a shop. So think about it. Becoming up to the right. You sharpening. Okay, now, that's if you come in up to the right. The other name, that looking recalled a flats, and it looks like a slightly squashed be Okay, So the flat is when it coming down after the left. So this see show could be called a D. Go in down to the left. So it's got two different names a c sharp and also D flat. So let's go to this. Not here. This could be a d sharp. Also coming down to the left of the E U to me flat. So this one here, if you're on a G and you come down to the left, it's a g flat, this one here from a and it comes down to the left on a flat on here. You want to be, you got down to the left B flat so that we each got two different names depending on where you coming from. And how do you know which name to use the Blattner? Well, that depends. on what the key of the song you're playing is or what cards are using such factors like that. But we will look at that in Martita later on in the cast. So for the moment, you just need to know that each Buttner has two different names. 5. Black Keys Note Learning Exercise: so we'll just do a quick exercise to help you get used to it. We're gonna work with shots first, So I'm going to point to a black note and I want you to tell me what the sharp name is for that button up. For example, I'll point it this note and you would say, an f sharp so pointed to a Blattner that I'll give you a few seconds to figure it out, then ugly for the answer. Let's begin. So we worked with shops. What is this? No called? That's a C shop. What's this? Not called that shop on this one that's in a shop. How about this one? That's a day shop on this one. That's a Gensia. How about this one? Um, that's a DIY shop. This not, that's a C sharp on. This one was in a shop. This one that's a G shop from this one. That was a lecture. Now we're gonna have a go at figuring out the but notes, but using the flats. So this is the one where if you want to find this no, here you go from the A and then come down to into the left that there be an E flat. So again I'm going to point out the note, and I wanted to figure it out. And then I give the answer. Let's begin. So what is? It's no cold. That's a B flat. How about this note that's in a flat? How about this note? That's a D flat, this one that's a G flat. That's a D flat. That's a B flat. That's a D flat. That's an effort that's a G flat. 6. Intervals Skillshare: In this course, you'll be learning how to play cards. For those of you that don't know a card is made up of two or more notes played at the same time. So technically, this could be a car, but usually it's three or more notes. For example, this is a card thing is a card march as the cars even more distant calls like this, or even this is a card. So that's what Carter, but rather than memorizing that many different kinds of cards, which can take a long time, is much easier to remember them. If you understand how called are constructed on in order to do this, you first need to know what an interval is as card to made up of certain intervals. So, first of all, an interval is the distance between two different notes. So if I use a C major scale, it makes it much easier to explain to the C major scale. For example, if you go from Bill ISTEA on including Middle C counted born not to the D. So one Teoh is called a second, just like counting wanted. If you count up to an E from see it just said 12 3/3 and it carries on. So up to the 1234 5th 12345 That was actually the example. A surety for two. No card. It was also an interval of fifth on, then six, seventh and hey, otherwise known as adoptive. Now going to go into a bit more detail because it's all good and well using the C major scale. But you need to understand help to find these intervals. Starting on what the North. Figure out now to go into a little bit more detail. You may have noticed that when I was showing you different intervals just then, I was missing out the black notes. Well, there are different kinds of intervals, depending on the amount of semi tones between the notes. I'm going to quickly take you through it so you can see the overall picture. Then we'll go into more detail if you move up by the smallest distance from C. So one summit on it will take you to a C sharp. So from here to here, this interval is also a second because that was a second, wasn't it? But this is called a mine a second. So if Ugo another semi Thanh, you'll be on the d. So this one is called a major second. So there's two different kinds of intervals There you've got mine a second and a major set thats pattern repeats itself again. So move up another Sim itan on its the minor third. But then a major search and then you come to what is called a perfect fourth on augmented fourth. What the minutes? Fifth it is sometimes also try toe this distance here. Then you've got perfect 50. Then we go back to the minor Major pattern ser minus six, Major six minor seventh, maybe seventh. Then you're a full active. So it goes back to the sea again. So you've got minor second made a second minor third medicine on, then tryto minus six. Major six minor, seventh major seventh. So that was quite a lot of detail all at once. There wasn't it. I just wanted to go over it quickly, find they're just so I'm not missing anything out, but we don't actually need to know a lot of the other ones for the moment. We just need the earlier ones the 2nd 2/3 Okay, but I will include a pdf of the names of common intervals on the distances of cemeteries between them. So let's go back to the things we need in this car's gonna go back to the minor second. Okay, So the minor second is the smallest intimate what exists. So I can start anywhere on the piano and find a mind second so that what I showed you before was this from smallest distant. But you can do in mind a second. Anyway, you could start on a G Angop, Senator, that's a mind A second get start on a big and go for Senator Mina Second could do it any way you could go mine a second a second. That's a minor second. Now if we take the major second, which is moving up to seven terms. So skip one out that's a major second. Benefits that anywhere on the planet and find a major second son in F one out. One to turn a benefit will find a major second care. So, miss for now, one Teoh made a second, and if you do any way to go on a C show, she'd skipped one out and got today. You got that one too? Uh, anywhere made a second. Major second May 2nd May deception. Now we're gonna go on toe the third intervals. Which of the ones you need to build cards? Okay, so after the major second, if you got what more summit on this is the minor third. So we're gonna see Got minor Second made a second. Next. What is a mind? So from a C to an e flat? Notice how There's two notes in between. This is imparted. I want you to remember this. So to find a manifest leave to set returns on. Okay, let's do a few more. So minor. Third for meth. Leave you out. It's my third form A So leave to out to sea manager from Dean. So Skip Teoh, 1/3 girl from B flat. So big Zehr Skip Teoh 1/3. Go to hell. Go from the flat. Skip to out Uh, Mina said the one ma go from a tree Here. Skip Teoh minus going up. One more semi tone from a minor third takes you to a major third from a middle C minus second made a second amount of third Where you skip to now got one must return, take you to the major third. So this time there's three notes in between them. Can you see 123 So remind a search, too. A major 33. So again, this is important to find a major third, you miss out 37 tons and again you can apply to anywhere on the piano. So we've got from if we're gonna find a major 30 girl who's get 3123 takes two and a bigger from a D. So may just skip out. 3123 g o May just said another one will go from a factor sign. Keep going to skip up 3123 Major said. Duma's won't be flat. Skip out. Three. So 123 may just that do want Mark. So we're going to go from the f Sharp will go up here so f sharp. Let's get about 3123 Play the next note up. That's a major third. So defined a minor third unit up to And to find a major third, you miss out with three 7. Minor 3rd Major 3rd Interval Exercise: it's important that you get used to finding these two intervals, because with these two intervals you'll be able to construct lots of cards. So we're going to go over. Some are together to help you get used to them. I'm going to play an interval, and I want you to say whether it's a minor Third are a Major said. I'll give you a few seconds to name it, Then I'll give you the answer. Let's begin. That's a major third because this three, it's a mind because that's too yeah, that's a major said, because there's three. That's another major third because there's three in between. My mind said this to it's another minor third because there's too. That's another matter. Third, because it's too. Uh, that's a major started because this three that's another major third was three. Uh, what's this, too? Because it's too another minor third, because it's too major said, Well, that's wrong, Major said, Because this three so you can spend some time getting you to these intervals. If you want to sit down with piano, Andi practice playing the different major and minor thirds, then I'll see you in the next lecture 8. Using Intervals To Construct Chords: Now that we've looked at intervals, let's look at how cards a constructive like we said before a card is two or more loss played at the same time. But we're going to be looking at try at cards, which have three notes. There are far different kinds of basic trade cards made up of three notes. Major triumphs Try us diminished triumph on Doug went to try us, but But for the moment, we're going to be looking at the major on minor triumphs. Major cards could be described as happy sounding. Where's minor cards could be described as sot sounding, For example, Happy major sat sound in minor happy major Suck it up Santa Minor. These cars are made up of major, third and mind third intervals that we looked at this before. Like we said the minus, it has to some attended between, and then the major third threesome returns in between. Here's how to build major cards, so a major Carter's built off a major third interval undermine the third interval. So all you need to remember is a three on the two. That's the easiest way to remember. So let's say you want to play a C major triad card. So it starts with a C on then because it's a 3 to 2, you leave three out and play the next note three out of the major third. And then it's a manifest. Which is to say, Leave Teoh on those three notes on you wouldn't play it like this. I'm just putting my fingers like this so you can see you play it with the arch in your head like that. So that's a seeming also, when playing cards for the moment, trying to use your first finger thumb on the route, your third finger on the middle of the card on your fifth, a top like that first can do. Some are so we're looking for a major card that do F major. So you play F the sound of Thumb Lee. Three out. Play the next up, which is in a and then you leave to our It's a major third in a minor third. I got three and a two. That's an F major. Let's do D major. So start on D Lee three out, then you leave about 3 to 2. Let's do a more complicated card. Let's do F sharp major so you can find the F sharp. Leave three out. So 123 which sex then to the a sharp B flat leave to out take it to the three is left out. Tip. You see how easy that is to find those card so easy? I wish I had been taught this when I've learned piano. Let's do another ball. Let's do be major. So be then you leave. Three hour takes it to the D Sharp leave to our, which is shops. That's to listen it with that 3 to 2. You can play any major card triad on the piano. Let's look a how to build minor cards. So to build a minor card is the opposite way around toward it for a major. So it's a minor third Onda major third. So a two out of three let's play G minor starting a G minus 30 leave to so want to you know that least three, sir. 123 Virtus 23 Let's do some are together. Let's do D minor. So we'll start on a d s. So we want a minor certain. Also leave to out on denim Major serves. Leave three D minor two and three. Let's do another. Let's do a minor. So some leave him out and least three out. Hey, my, let's do a slap minor. So a flat you leave to out and then you leave. Three out. 123 two and three for the might because a couple miles F sharp minor. So start on he f sharp. Leave Teoh next of their lead. 3 to 3. Next shot. Mine What? Let's Well, let's do C Sharp minor. Nice, complicated cars. Well, it's no if you use this so see shop. Leave to out 12 Excellent. Another 3123 How cool is that? With that, 2 to 3 should play any minor card. So for the major cards a 3 to 2. The minor cards. A two or three 9. Chord Building Exercise: So let's put this into practice. I'm going to see a card and I want you to then find that called on your piano. Then after 10 seconds also, I'll play the card so you can see whether you've got it correct again. You can pause it if you need more time. Also, it doesn't matter where on the piano you choose to do the card. For example, you might figure a high d card appear on Did when I show you the card I might be playing it down here is correct. But I am going to be showing you by examples in the middle C area, so it might be an idea toe. Try and figure them out here, but it still corrective. It's off. There are down here. Let's begin. So I want you to find an S major. So 3 to 2. Okay, F major, it's here. A minor. So a 2123 OK, a minor e major. An e major. There is. Hopefully you got that. Correct. The more you do this, the more you'll get used to it. Let's do G minor. Next G minor. Gee minor, uh, be major. So three nitty a major major, Last one s Shop Minor. And here's of Shot Minor. There is hopefully getting user finding those major in mind the hearts Let's move on to the next section where we're going to apply to a song. 10. Learning Through applying your knowledge: e. I believe that the best way to learn properly is by applying what you are learning on DSO. Throughout the whole costs have chosen songs so you can put into practice what you've just learned. I would advise sticking with these songs I've chosen, but I understand that everyone has a different legs and dislikes. So if you really don't like a certain song, please feel free to skip ahead to the lecture where I teach how to find your own car chiefs and learn from other songs. But again, out advise using the songs in the costs because I've chosen them specifically so you can apply what you've just learned in the previous lectures. 11. Let's Apply This and Play A Song Someone Like You: way before we look a rhythms. I just want to get you into playing a song straight away. So just for the moment, don't worry about how long to play it card. I just want you to see how easy it is to play a song. Once you understand how to play cards, for instance, let's take the famous song Someone Like You by Adele. Here's what it sounds Life, mind Find someone I e. I wish nothing but the best for you too. Don't forget me. I I remember you said Sometimes it lasts sometimes since Teoh sometimes soothe. Get out of this. That was signal of the top of those cards. I just wanted you to hear what it sounds like with just the card. If you just sing on top of it, you can recreate the song straight away. Just say I'm not pretending how the best voice in the world, but sometimes I think it's just like to show you as an example. So let's look Teoh. Now. If you look at these cards, can you see the 1st 1 is a C. So we're looking at cards. If it says see it mean to play a C major so that next card can you see it set a G. It would be a G major. Could you see the next one along isn't a with a little end. That means play in a mine. So if it's just a capital letter, it means you play whatever card is. So if it's an F, then you would play an F major. But if it is small and next to the capital letter, it mean to play the minor. So let's look at it together. The first card says, See, doesn't it? So you play a C major, so I'm going to let you find that card on your role. Then I'll show you where. So if you about 12th to find that car. Okay, so the C major, but a 3 to 2. So I found that the next card is a G. So how device going down to the G with its one. But I think it'll sound better so you can go down to G below middle C to find RG card on. Then you can check it against mine in a few moments. So you D card was so just how you check those two cars, first of all, get used to finding these energy, so just do that few times. Use that moving the distance. See? Again. Played with your 13 85 fingers first. Certain fifth. Next. Once a minor, we're gonna let you find that. Okay? The A minor was here. You might sound up there, but if I were you try and do the neighbors card for the moment. So the G, the next one is okay. Finally got s. So I'd probably advise going down to the F for this one so we can go down to the f from the A on it's an f major because there's no little them. Okay, so you hopefully found this car. Major took a C May minor Major. Spend a bit of time getting me to those cards. You can pause a video if you need toe. Don't you on speed? If you feel you need a bit more time to find the card just got slower. Ticket your own. Pierce. It's totally fine. It's fine to play songs slower at the start. So if you're departed video and get used to these four cards, So now you've got you to play. Those cards have a girl playing through the full chorus so, as it concedes, played through five times. If you want, you can try and sing along to the cards on. If you don't, that's fine. Just just play the cards on in the next section. We're going to apply some basic with him to the car progression. 12. Basic Rhythm 4 Beats Per Bar: I have had to go playing part of a song. I'm going to introduce you to some basic rhythms. When playing card in songs, you need to know how long to hold its called Far on in music, we use beats and bars to decide how long to play a card or melody. For example, Far bees per bar is very commonly used. It is, It's simple. It sounds you literally count too far, and then the pattern starts again like this. 123 Far 12341234123 for no if we take the cars from someone like you from afar, these card is played on the first beat of every bar. So it would look like this. So you play like this 13 for three, 234 So I want you to have a go up playing along with a click so you can get used to playing in time. So I got Metrodome here, so I'm going accounting for beats. And then I want you to try and play in time with the click, and you can count far out loud if you needed to keep the time I can comment in your head. What have you found? The easiest, but I'll give an example. So click start by then, I'll count. 12 three. Father had come in to three so we could have a go at that. This is just to get used to playing in time and finding the cards in time for the baby. Okay, so some of you might find it easy. Some of you might find it a bit harder, but if you find a hard keeping, practicing it until he can play in time with the beat. Okay, So we're gonna play the full chorus, which is five times through, so I'm gonna count far beats, and then you come in on the first. Be ready. I'm gonna give the first card as well. 123 Far we can. Hopefully you're able to play that in time. And member. If you found it difficult. Keep on practicing. That was a slightly slower pace than the track is. You could move on to the next lecture if you want, but if you want to have a go at doing it at full Pierce, we're going to the same again on account in far beats and then you come in on the one and then you can have a go to a full piss. Let's go Well, to free for Okay . Hopefully enjoyed that. I'll see you in the next lecture where we're going, Toe had left hand. 13. Adding The Left Hand Someone Like You: Now it's time to bring in the left hand to your playing. For the moment, we're going to keep it simple. So you're just going to play single notes in the left hand for the moment. So every time you play a card, whichever card to play, I want you to take the route of the card. I what the card is named after on play that single note in the left hand, one octave lower like this. So if you play a C major in your right hand, the card is named after a C, so the root of it is a C. C. Go down one full up tive. I play a single see on your left hand like this. Let's do another one. So if you want to play an F major, you would play an F while knocked it down in your left hand. Our a d major, Do you call it in the right single day, one up, two down in your left. Let's take the sum you learned before so you can have a go adding the left hand to it. So it was a scene. Jean Minor s left hand. You play see Jean. I notice when I just play that Then I was using individual fingers. If you wanted to do that, just give it a finger or not on which ever fingers over the note you need just push it down . This case, it's one three to save you two having to move your hand around books. You might find it first that that might be quite hard. So if you want, you can also just movie thumb each note like this. So whichever thumb your plane left splitting up to lower, you might find it easier at first. Todo dio individuals is your tights for the moment, right? Then that's how we do it. You just play it up to down in your left town with single notes. Now, if you look at this car progression here before you were playing one card in your right hand, I went up ago it playing four cards in your right hand and what and you left for each bar should go Want Teoh Holder left underneath for the full four beats. But you're right hand plays. One card per p. A place like this, you've got one neuron goes down, so I can do it with the left hand, moving with the thumb to reach no free. So, as you can see, your right hand explained far by your left hand holds for the full for bees, for one. So have a girl practice in that with both hands so I could get used to it. And then I'm going to put the click up again so you can practice playing it with the beat cancer. Let's get the beat up. You could have a practice with a slow bigot first on, then we'll do a faster on after again. I'm going to count in the 1st 4 beats, and I also play the first card on. Then you can continue on, but just going to go through the car progression two times this time. 12 free four. - Okay , that was slower. Have perhaps it that keep on doing it until you feel like you're really getting in time. If you're struggling to play along with that, you can always practice it slower and come back to play along with that baby. If you find with that just then, let's have a girl with a fast temper. 1234 That's it. I hope you enjoyed that. So in the next lecture 14. Quick Chord Test 1: it's time for a quick call test. So like we did earlier in the class, I'm going to say a car name. And I'm going to give you a few moments to let you find it that I'll show you on my panel and you can compare to see you've got it. Correct. Let's begin. B flat major. So 3 to 2 B flat Major is a major. A manager is E minor. So 203 IHS e minor. Hopefully you got that. A flat, major. I can't go to play this one. A book. Middle C. You might have had it down here. Correct. E flat. Minor IHS e flat Minor. Uh, okay. We'll do one more C sharp. Major K C Sharp Major is hopefully you are managing to find most of them. See you in the next lecture. 15. Half Beat Rhythms: you can divide Full beats have been to smaller lengths, and in this lecture we're going to look 1/2 beats. So to count 1/2 B, we use a plus sign, but we call it in. And so where's before you accounting? 123 far you can now, at an and sign in between the numbers like this one on two on day three on before and and then that would repeat itself in the song. So this gives you the ability to see exactly which beat to play a card on. So if you want to play on the half, be in between the numbers. You go one on day two So just so you can get used accounting in full beats and also half beats, we're just going to do a couple of exercises. So we're not going to play the piano. I just want you to clap along. So the 1st 1 you're gonna be clapping on the main be on the numbers. So we're just gonna go four times through Andi clap along with me. So I'm just gonna put a click with it. So I'm gonna wait for far clicks and then you're gonna count on the man beats no to three. Oh, no. To three. Oh, one to so one to three. Okay, so that is just clapping on the man. Be now. We're gonna have a goat clapping on the half beats as well. So this case should be going one on two and three and 1234 So we're gonna have a quick got that. So we're gonna wait far beat, and then we're going to do far full bars clapping on the main beat and also the half beat. Let's go. 123 and four and one and two and three and one and two and three and 123 Okay, so that's half beat. So it's clapping on the wall and the end of every full B and half B. Now I've had a look at counting with full beats on half beats. We're going to look a song that uses some half beats to someone like you had a very simple rhythm, but you learn before which was playing on the first beat of each bar. But let's look a stand by me by Otis Redding so you can see the rhythm here again. We're just gonna cut of them first. And then you can learn the cops. It's playing on the one. But then on the and after the two. So that rhythm would sound like this. One on two on three and far on one on two and three and four. So capping on the one on the end after two on with this one, we're going to do eight bars so you can get used to the rhythm. So we'll wait for far clicks on, then joining with May Gone on to can. Free and far on one and t bad three and four and one and two Free on for that one and two and three far we'll take a free man. Far out to 3412341234 Okay, so hopefully you were able to clap along in time with me. Then Now we're going toe. Apply that to the song stand by May 16. Half Beat Rhythms Stand By Me Skillshare: Now we're going to apply that. Happy with him to the really famous song Stand by me covered by Lord people, including the Beatles. Now that but originally was by Ben E. King on just seeing a slightly simplified the left hand part Just seeking folks on this right hand rhythm for the moment I play for you now seeking here. What? You're learning, Frontal. Also sing along just seeking Hear what it sounds like? I just to the first verse and chorus night This the land is done on the moon. With that, we'll see. No, I won't be afraid. Be afraid, Mrs Long as you stand. Stand by me. Stand by. Stand by me. Stand by me. Uh so, first of all, I wanted to spend some time getting you to the cards. The card. We've got a major. So if you can remember, a major is a 3 to 2. So I'm gonna let you figure that card out and then I'll show you it so you can see if you've got it right. The case of the A major start below middle C. You might found it up here, but so you've got the A on Lee three out. See shop leave to out. She's an A above that. That's a major you might have figured about that, I think for this soil starting the lower middle. Seen like here. So if you can figure out the next card now the F sharp minor. So it's at minus two and three. So if you figure out the little middle C again in this case, I'm gonna give you a few moments to figure that one out was, well, f sharp. Minor. Okay, so they have shot mine it. So you've got a shot. A little bit of C. And then it's a matter for leave to out on a leave. Three out. See shop on top. Case, you've got a major. The next one is a D major. So again, if you can figure this one out but below middle C Okay, so starting here, it's a d major. So 3 to 2. All right, So should have got this. Imagine Kate and then the last card we need for this is an e major. So for this war, when he figured out if you go up to the above the d wave, just bean, give me a few more moments and then I'll show you it. All right, so here we have team aged three. Leo, a major shot Minor D major. Yeah. Four cards Don't play that, Mike. I am. I'm just took in the fingers in so I can see it. Remember, teeth gnashing your fingers. Spend some time getting used to these cards just so you can find them nice and quickly feel free to pause the video. You need to practice it. And then we're going to apply the rhythm to the song. So let's begin. So it's that rhythm you were clapping with far playing on the wall at the end. So if you to just do one bar, it would somewhat this Teoh and rhythm repeats itself throughout this car progression. So we're gonna play through it slowly, just with the right hand first, and then we'll at the left hand you've got. Now, I'm just gonna go through the full car production here sick and hear what it sounds like. And then I want you to have a go a plane along with a click. Okay, so let's begin. That's what it sounds like. I wasn't do the left hand, that kind of thing. Because I just want to focus on getting the rhythms at the start. We will start in more complicated left on parts later on in the cost. Okay, so now what? New tiger? We're gonna go through the car progression twice, slowly the first time I want to play with you. On the second time, I'm just gonna move the hand. See? You can see where they should be on we just do it right on. First of all, so let's begin with a wait for far clicks on. Then we're gonna make it so that this little version well to free Oh, - on repeat far. And 123 three. Uh uh uh wah, uh, to, uh, three. Far on what? On two and three and far. What on to free? Uh, far 123 uh, far And like it. Hopefully you were able to keep up with that purse If you need to practice it, Maher, feel free to do that. But now we're gonna go faster. So we're gonna go to Pierce now. And also, we're gonna add in some single notes into your left hand. So if you remember the far in someone like you which ever card you were doing, you would play a single note in your left hand. We're gonna do the same thing here. But you're just gonna play at the same time with the right hand. So it would be like this. A major cardinal writes a single anger left one Teoh. The next one is F sharp minor. Do you play an f sharp? You can move your thumb down if you want. You can play with 1/3 finger Teoh on a left hand as well. Right, then let's have a girl. So I'm gonna wait for far beats and then let's begin. So here we go. Okay. That was quite fast. Hopefully were ableto keep up with the beat. They're playing the cards on the correct beats. Now, this last part of the lecture is additional practice. Really? You can't move on if you want, but for those of you that might feel you need a little bit extra work on this rhythm, we're going to go through the car progression twice, but without me playing just so you can get used to playing with the beat. So I want to do is count, right? I remember you paint on the wall in the end. So we went for four beats just going to play the first bar. And then you continue on the road. Let's begin, Teoh And And I thought, Well, and on and on and on 3123 And on. What and what? Okay, that was taking a look at half beat using the song Stand by me. I'll see you in the next lecture where we take a look at card inversions. 17. Chord Inversions Explained: So far, we've been working with basic triad cards. They're called, that's our aid, what is called root position. Because the bottom of root note of the chord signifies what the card is called. For example, a C major chord. The stage at the bottom, or a G major chord. G is at the bottom. Minor age at the bottom of the court. But there are two other ways to play the same chords. And they do this by inverting the cold, one of the words using the same three notes but changing the Alt with them. Cotton versions I use all the time by piano players. They just made the card sound a bit different. First of all, let's take a look at first inversions. Let us take a C major chord. If you take the lowest note, which is c in this case, and move it up a full octave higher. But keep the other two notes are the same. It's still a C major chord because he had a CBG. But you'd need to see a full octet. So you've got CEG just in a different order. This is called a C major first inversion. So you've got root position. Then adapted book in the sea. Inversion. In music, we use Roman numerals to identify and versions. If you were to see this on a call sheet, it would look like this. Let's do some art together. So a G major first inversion, you can start off with a G major chord. Then you take the lowest note with the J in root position and move on octave higher. There is your three knots. You've just changed the order. Another one, F Major. F major calls, move the bef an octave higher. It's an F major, first inversion, D major. So again, you'd move that up an octave higher. When you're doing this at the moment, you might find it easier to use both hands so you can remember where the notes are. What you can do is you can find a card. Then you can find the octave with your left hand. Then once you've found the three nerves, move your hand back into position. Then you've got the cars. Will do what was a black mouse this time. So you've got a flat minor. So we can take an a flat. And then to say, I'm idea ready, you just take the lowest note, which is a nice flat. Then you move it an octave higher. Just need to fill those three notes. That's how first inversions work. To find the second inversion, all you need to do is the same process, but from the first inversion position, if we take the C major first inversion, which is here, you would move the lowest note, one octave here. But if you keep the two notes, the step that takes to the second inversion. So you've got root position, first inversion, second inversion, you'd go from first to second. Root position. First inversion, second inversion. And if you notice, if you do it again, take your lowest note this time, which is G up an octave. Just takes you back to C major card, but a novel root position to see is at the bottom of the card. Let's do a couple of mile second inversions. What we're gonna do, we're gonna go through the first inversion process first and then onto the second inversion, just so you can get used to it. Let's take F-major. F-major. You find your first inversion. And again, you do the same for the second. So you take the lowest note, which is now an air, up an octave higher. They have y'all F-major second inversion. Let's do D major second inversion. You find jar, the major, three to two. That's fine too. You first inversion, so take your day but an octave higher. The first convergent. Take your lowest note again, which is now an F-sharp. So I move that on octave higher. Asd, second inversion. Let's do a B minor second inversion. So you've got 23 now, so minor car, so 23. Let's do the first inversion first. Then found that card. Now let's find the second inversion. Move that up an octave. B minor, second inversion. Let's do one more F sharp minor. Play, an F sharp minor down here, which is a 233. Then we'll find the first inversion, the octave. If the F sharp, then you've got that position. And then lowest note here now is an eight open up tiff to find the second. The more you go through this process, the model that you used to finding them, and eventually you're just built a pleasant straightaway. So in the next lecture, we're going to do a quick game to help you get used to it. 18. Chord Inversion Exercise 1: Let's do this exercise. I'm going to say according version that aren't going to give you about ten seconds to find it. Then I'll play the chord inversion so you can check it to see if you've got it right. Feel free to pause the video if you need more time. You'll find that the more you go through this process, the more you'll get used to it, and the quick yield gap. Let's begin. C major, first inversion. Case of C major first inversion with a C root position, and then an octave. That E minor second inversion, second inversion, fed up here or down here. At the process, bringing position. First, second inversion, G minor, first inversion. Do you manifest inversion is got G minor, and then first inversion. Let's do D major, second inversion. D major second version is this code. Down here. It starts off with the second two. That's how you might found that. Let's do a major first inversion. Imagine first version. Is this reposition. 19. Let's Put This Into Practise Let It Be: Let's take what you've just learned on Have a look It let it be by the Beatles. This is a slightly simplified version in order to introduce you to card inversions in a song. Well, look at more detailed version. Let in the cost. When I find myself Mary comes to me, it's begin Waas speaking Waas. So here's the cards you're going to see. You gotta see second version to start off with on and then it goes into a normal G minor on then f all root position on. Then it's goes back to see second inversion G and then F second version and then normalcy card. So not gonna spend a long time looking at this song is just so you can get used to these cards inversions and have a girl within a son. So I want you to start off by figuring out the C major second inversion on your own. Then I'm sure you what you should have got on just seeing others. First card is in the middle isi area of the piano. So have a go see major second inversion. Okay, so hopefully you've found see made a second version here. Okay, And then the next card is a G major, which is Yeah, And then the a minder way and on. And then the next one is see second version against you've got that G then here, just do it F major second inversion. So I'm gonna give you about 12th to figure that card out. Have a go now. Okay, hopefully found the just like in the version you've got 1st 2nd to see position on that. Go through twice and what we've got there now, just for the sake of playing the silent quickly, you play each of these cards twice, and it had been a bit more technical. This song has four beats per bar. So you'd be counting to Teoh three ladies car twice on the main beats of the back. So I want to play through it now so you can see and you can play along if you want. 23 Teoh. And just so you could hear it in context, I'm just gonna show it. Sounds like with the singing on top and I'll put some left handed as well. When the find himself Mary comes to me, it's begin waas. She's standing in front of me speaking. That's what you've got there, too. May have noticed just then that I was playing that with some left hand notes. Now I want you to have some left done note, but need to be careful with inversions because before when you were playing to say, See, Major, you could find way through loss and going up to blower. But with an inversion, the bottom of the card is different. So you need to be careful if you're playing a left and no with an inversion Cardini right that you still playing the note that the card is named after? That sounds complicated, but why I mean, is if it to see second in virgin. Need to make sure you're still playing a senior, not play a gene, right? So I need to make sure so again, when you're playing the F second here, I need to be doing it. What I want you to do is play two cards in your right hand for one in your left, so don't go to 30 E. I want you to play, start together and then you write and place twice. CIA holder left underneath like this. He left under the plain box. You run this plane twice. Have you got that? Andi? Hope you enjoy it, and I'll see you in the next lecture. 20. How To Use the Sustain Pedal: this'll lecture. I'd like to introduce you to the sustain pedal. So this is Dan Pedal. I think mixed. Everything sounds so much better. If you've got an accusing piano, you may either have to pedals are three pedals by your feet if you've got to the left. One is sometimes known as the soft pedal Andi. The right one is sometimes known as the loud pedal, but it's called the sustain pedal because it makes the notes ring out. So if you play it without a mix of notes, ring out. If you've got three, it be the far right is the sustain pedal the middle one. It's a practice pedal, so it makes the key sound really quiet. If you're using a digital piano or keyboard, you may have two or three. I may just have one single pedal, which will be the sustain pedal if you don't have a sustained pedal at all, I would advise buying one, so if you look in the back of the key barred there should be an input, which would say sustain off sustain pedal. You combine to stay in bed for quite cheap, but just make sure it's compatible with your keyboard. Okay, So if you didn't know that sustain pedal makes the keys, that's longer. So without it keys on, then you pick them up on the sound stops. If you play card already know it pushes to send pedal down, which I've just done now mixing Bring out. Okay. I want to teach you how to use the pedal properly because it just makes everything sound so much better. I use it all the time. I'll just give you a quick example. You've just been learning. Let it be. And if you're not using the sustain pedal, it was like this way. Still some good, I think. No, but immediately if you make it sound so much better if you start using the system and put a listen to this, it just sounds nicer. All the car too joined up, and it just helps the peaceful oma Cancel Hayes how to use it. You can always try holding it down through all the cards you might find a way cords start to melt together. You hear that? The role melding who's joining all the notes so that where you use it a matching it's glue when you're gluing different cards together, but in order to use it properly What you do is almost like a slight echo. So you play and then you apply glue all have you push it down Afterwards she play on pushing down I'll show you what my foot's doing Playing, pushing down So playing left handed play on an actual sheet music It was a sign for this which looks like a line, as you can see up up there with a little triangle are little bump at the end. That means when it's flat, you push it down on. Then when the slight triangle comes up, when you lift up the triangle so they conceive applied that to the car progression. You've just learned you can have a go at this. But also, I'm just gonna put my left hand here on. I'm going to lift it up when my foot comes up so you can kind of see it cause I was hit some of the piano so you can't see it. Another thing. You should have a here on the floor so pivoting from your heel rather and lifting your whole leg up. Okay, so what you do, you play card on Hold it down on you. Play your next card. Still holding the panel on your flick it back up and down. It's going to come up, down, holding down, up and down. It might be a little bit difficult when you first try some people on the first Try this. I might find it difficult because often people do stuff together so they'll play a lift, the pedal up on, then pushing out. I mean what you first played not too bad to do together. It just means it's got between the cars. The idea is to join them, see playing down, down. Uh, so that's how to use it. To stay in pedal. You lift it up and down just after each new car change, and then you hold it for the rest of that card. You don't have to do it straight away. I just wanted to introduce it to you. So when you feel comfortable with which ever card progression, you're learning in the cars. If you just want to make it sound a bit nicer, a bit smoother concert to add the sustain pedal 21. Sus Chords: When reading car signs, you may come across something like this. I see so far all this de to these instructions telling you to change the basic Triad card slightly. Let's start off with this this card. So Soc Sharp was suspended. And what that means is you are to suspend another note into the card, so hold another note into the cart. The most common kind of CIS card is a sous far. This means you are to suspend a perfect fourth interval instead off the third interval like this, for example, because a normal seem ages that sees as far as this Jesus far would be this because a normal major thing. Oh, let's do it, if I may, just as far So I've made just as far as this eso. You probably recognize the sound. It's in a lot of songs. For example, do anything full off by meatloaf that sound. There isn't a us far even Disney songs. Uh, booth. The easiest way to do this is too worked up from what you already know. So let's just say the card saves GS as far so go to the G major. So if you need to supply. Aji three leave, too. No you need to do is bring the major third interval, but by one centimeter or half step. So the third is there. 123 So being the up, some return to their This'd Jesus far. With these kind of card, try and use your 1st 4th and fifth fingers. Don't be skipping fingers out like those. It's awkward. So trainees, the 1st 4th and fifth eso fingers out. Leave these fingers split up there, actually fingers on your hand. As usual, it's another one. So let's just say see, so far. So you would find the C major card 32 between And then the third girls of semi turn to that ceases far. Let's do that. Ace is far, so find yourself in a major card on then Middle Third Girls book the 72. This time it's going from black to white on 1 March B Flat SA's far. So you funded B flat major card, then in the middle of things, time to block. No Teoh fact. Their thoughts how to find so far calls another comments. This card is a sauce, too. In this case, you replace the third interval with a major second interval. For example, see suss to so the C major here third is the so you need to go down a full tall, off to seven tons to find the major third. So if you were to go down 1/2 a step, it wouldn't work because it would take you to the minor. So you two got full step two terms 12 those diseases to Let's do a Jesus too. So you find your major card good on a full term. So Miss one out would go down again to 70 0 k g sauce to will do and asks us to. So, Neff says, to find F major, we got down to some returns 1 to 2 there, so that's a is going to a G on that will do. Also the B flat sauce too. So you find a B flat major card on, then you go down two steps so that day is going down to to the but through Wal Mart was a so to so find a major card. And then this time it's going down from the C sharp down to to the be So with these cars that suggest, Do you want to? Five Fingering that Now spend some time getting to know these six cards than in the next lecture. We'll do a quick card exercise. 22. A Song With A Sus Chord You Raise Me Up: Let's learn the car progression from the sun You raise me up by just Grogan has also been covered by lots of different people. First, I'm gonna show you what it sounds like. And I'm also going to sing along sick and hear what it sounds like with the singing. And please remember, I'm a professional kind of player, but not a professional singer. So just bear with me. But it just taking here. But it sounds like when I am strong on my soul is free When troubles come on my heart way until you and sets a while with you, raise me. You raise me to see I am your shoulder. Raise me to more tonight and me a case. That's what it sounds like. Now let's just take a quick look at it, Okay, so when reading CACI's that quite often just have the cards. But what I've done for the moment is I've written how many towns you need to play each card . So let's go from the beginning. So if you're playing with both hands for each card, play a right hand. The Harmony Town that says so. The first cart has details to so you played that twice, but just hold it left hand down. Wants with a single? No. So this kid be won't Teoh just make it sound better? So gonna go to then it goes down to the G. So trying to run back up to date 1234 minutes. Card is D against one Teoh g one. No, he's a sous far. So if you could take a moment to find that card and then I'll show you it again. So hopefully found the aces Focus there. Uh, so to those, you played a sous far twice with one year left, and then you can see it says a normal say Major. So you were just good under the A major. So that sounded a common sound. It's called resolving card progression. So it's going from a It sounds unfinished, isn't it? So when it goes to the A, Major is resolving in a sense that the next called is B S O B minor. So two or three, So be minor more than twice on DE twice de times. So it was a composite video in front of 70 parts of Unita, but I'm just gonna go onto the course. Fierce. You've got Do you mind? Times to G major. It's all the same cards. Really? D major name Major. The Major D. Yeah, but hey, consider work through that. The many thing is getting used to this bases. So have a go at that. Get used to playing those cards. And if you wanted to have a go playing along to a click seeking carry on developing your rhythm skills on playing along to a beat you cannot have a goat playing it along with me So we're gonna count in far and then it begins. Wow to three. Oh, uh uh, Way to go. I hope you enjoyed it. 23. A Sus with no number: thing is just some extra information for you here. So sometimes you might find in a song assist card with no numbers. This is open to interpretation and is often just a source far, but can also imply assist to Onda so far, along with a flattened seven. That might sound quite complicated, but I'll just explain it. So we look at how to find flattened seven. It's led to in the cars, but the basic and easiest way to find a flat in seventh is to go up a full, active and then down one full term. Like this soap, the seventh from C is, but not if down a full term. So to seven tons 12 that's just flat to the seven. So if you had the sense to and this is far like we said, you find thesis to him. This is far here, perfect fourth on a major second on, then with that, the flat, which we looked at before the flat and seventh play that with a C in the left hand. So that's what a source with no numbers could imply. So that's kind of other said, open to interpretation. Let's do another one just because if you come across it, at least you understand it. So let's do it. Aggie sauce, But with no numbers on, you might decide to do this kind of card, so we'll do a tuna far. So take the G major part and take that. Made a second on the Pfaff there, and then you need to figure out the seventh. So you're a full octave bump on the G and down a full term, two semi tones. You may realize that these are just first inversions. That's the first version of the bath. To do that with a gene left sounds like it was a finish. What we've talked about resolving, so I just did one mark. Let's do a source with no numbers on again. You'll decide to do this for the option. You would find the A major, take the second and fourth instead of that and in fact, that seven. So go up before Buck tip down Fulton and then keep their in the left hand said that was just some extra information for you. But for the moment, we will just be sticking with us too far calls 24. Add Chords: That means you are literally adding that interval into the cart. So you're not changing any of the notes like in a source card, just adding it into it. One of the most common at cards is an ad to which changes a basic sounding card to a slightly dissonant but kind of mellow sound like this. Like this. Find out to card. All you need to do is at a major second interval to your card. So let's take an a minor not to. So you find a minor. So two under 3 to 12 free. Okay, then if you remember, a major second interval is going up to seven. Towns are full term. So you go up a full turn from a which take it to be okay, So just at that be to the rest of the card that would look like a minor to if it was a major to you play a major on, then way to have a second. Let's do a couple more together, so let's look at the C major. That too, so you find a C major car on our second took up full term from the root position of it should to see uh, let's do a G at two Sergey at two. So I just second into one. Teoh do Omar D major at two. So d major and major second whilst around that will do a D minor to actually say d mine. And second. So that's how ad cards were. You could have an ad six, which would be the sixth interval added to the card, so it would be C major. Just 6123456 That's a major six There. Is there a bit distant card there added six to the G one, you'd be really J and then you don't do 123456 So it's just adding that interval to it. So now I would like you to spend some time building some ad cards up. So any cardio on then? At the major second interval 25. Finger Strength/Technique Exercise: I think in this lecture, I'm just going to give you a quick exercise that is going to help you to build up strength and stamina in your hands and your fingers, as well as to help develop dexterity on also just help with technique in general. So this is actually a Hammond exercise, and it's actually the 1st 1 in the hand and exercise Siri's. It might be worth checking out Hanon exercises if you want more of these. And just so you know, I have slightly modified this. So it's just going to be one active on just going up from bottom to top the original hand and does go a talkative and it goes up and down. But just for where you're at, I think just this one active is suitable. So here's what it sounds like with both hands, and then we'll break it down after its So to start off with, we're just to your right hand, and once you understand the pattern, it's hopefully relatively simple. So middle seats here and he going to be using all your fingers run, but 12345 So it starts off your thumb. Middle C on. Then you skip out the D. Let me gonna go playing through the thing. That's the pattern on Let's not really think about Nazi. Let's think about numbers. See going up. 1234532 Enough. The pattern really is skipping between starting number one and under two with the second finger here. And then just move the whole pattern up and down. Watch this. That's one power. It's a film that doesn't return to the sea. It just falls into the dean and you skip again. So there's that pattern you're skipping after the first. No, on you go up and down, not skipping anything fingers out or anything that is so on an escape on using all your fingers on your not doing any Skips platform after the first note, play and and skip thin that part in this goes all the way to the sea above. You see what's happening there. Remember, just when you get to the second to last night on the way down the thumb Falls didn't skip back down. It goes down a step on finishes on the see above, so that would be one active when you play this is aimed to have an art in your hands and fingers. Just general technique, really a good hand share toe have. If you put your hands on your knees on, then keep that hand ship or put the piano. That's a good handshake toe have okay. And also just another tip. You should be aiming toe have stripped back, relax shoulders and also a nice flat risk. You don't want to be a plaque that we'll have it flopping down below the piano with with, like a bend in your wrist and try and have a nice relax shoulders and then your elbows close to your body and flat wrists on with it. Bend in your hands and fingers, so that's your right hand. It might be worth practicing that separately until you get comfortable with that. It might not happen straight to wait, because it might feel it first that your father and fear fingers feel a little bit weak and not be able to control them as much. So just be aware of that in your left hand is the same. But you starting with your little finger with your fifth. The pattern. It is exactly the same. They're gonna start on the sea below. Your five's gonna fallen that they're playing skin on. Use all your fingers waiting for you. Don't skip back down you the day you step up. Five falls your skin 55 biscuit way Finish, soothe. So for a lot of you, especially with the left hand if you're right handed, this one might feel a little bit more difficult at first because a lot of it's dependent on the five on skipping up there between your fire on your fourth finger. So this might be worth just getting control of it separately. First as well. Remember, always start slower when you're first starting. Anything like this just got mice controlled feeling on when you do not just have it a nice , even temper. Nice, even temper. And then when you get control of that separately, it might not be stretch to it. It might take, you know, a few days or even a few weeks to build up the control in these little fingers, depending on where at your piano learning journey. But then both hands. It's just the pattern to play together, but with opposite fingers to start five in your left one in your right thumb. Slowly skip in your fingers, you falling onto the day and it skips way for about five stepping up again we owe, and that's it with both hands, and you can start off slowly and gradually build up the speed with this. Just use it as a warm up when you sit down at the piano. Whatever state you are in the costs, just use it to bomb your hands and fingers up on what you'll notice is. The more you do it, the more control you will get, and you gradually build to go the speed as well. But it also noted the coordination will grow as well. You have more control over your little fingers, and when you first start to meet together, you might also find that might not be able to play at the same time straight away, because it's all about building up these connections between your fingers newbury in and also the strength and the ability and the technique to be able to do it. So you're noticed that if you do it just every time I sit down at the piano, you'll get better It it you get more control on also the air keenness, which might happen. At first you might feel a little bit of an EC that will start to go a swell. 26. A Common High Energy Rhythm: I'm not going to teach you a very common rhythm that involves half beats. This is what it sounds like. That is very common. And it looks like this. So you can see that would be on the one and then a be on the and after two and then on the four. So if you were to clamp it, Ugo one on two and three on Oh, and then that would repeat itself. One on two, Free on on on two on free. So first of all, I want to get used to clapping the rhythm. So I'm gonna turn a metre. Norma Andi It have about clapping along with May on the one hand, after the two and then the far So we're far beats and insight clapping 12341 and two on pre on God Well, I'm 23 and 41234 Well, on to free and far Well, and two and three and four and two and three and one and two and three and four Well, and 23 and four. So that's the rhythm you're gonna be playing now. So hopeful you've got usedto clapping along to it now will at some cards to it. So a South offered some simple cards so you can get used to it. And then we'll do a famous song by John Legend. But first of all, the staff for the basics. So I just wanted to put a card of CEO minor thing. And for each bar you're gonna do three of those hits on those cards should be one and change in the next booth. So you start off with just the cards and your and if you want first, so be Thio Thio three. Andi Then you can have the single loss in the left hand Onda again. For the moment, just do single notes on If you just put it wants the start of each bath would be free to put together. You could just go round and round practicing that rhythm with those more simpler cards just so you can have a go practicing with a click. Let's do it with a master alarm again. So let's begin. So the wait for four beats and then begin every day 23 with me. - Now if you wanted to have a good that car progression, but without me playing. I'm going to give you the chance now. So I'm going to do is I'm going to mute the piano so you can still see where your heart should be, but you'll be able to just hear the click ready. So let's begin. I'm gonna go through the competition four times. 22 3 Oh, - right . Hopefully you are here with that the next lecture. We're going to make it a bit harder. 27. High Energy Rhythm Applied To All Of Me John Legend: Now you've got used to playing that rhythm with some more basic cards. I'm going to make it a little bit harder. We're going to be looking at the car progression at the beginning of all of me. By John Legend. It's got a mixture of cards in route position. First inversions on second inversion cards. That's but last, this high energy rhythm we've just been looking at. So here's what it sounds like. I recognize that. So first of all, you just need to have a look at the cards. So let's go through them together. The F minor card. So a 2123 I'm gonna give you a few moments to figure that f minor card out, and then I'll show you it so you can compare. Okay, so the 1st 1 is the F minor. So that got that? Hopefully to under three. Okay. And if you play the one above middle C next carts has C sharp first inversion, there's no little end. That means it's a C sharp major and then a first inversion. So I'm gonna give you a few moments toe, have a got figuring that out. Then I'll show you it. Okay, so that is. And if you, Montana have to find that you got from a C sharp major, which was the free to two Major, sir. Leave three out. 12312 And then the inversion was to take the lowest. Not but an octave higher. So that's a C shop, But not on that, sir. C sharp major first inversion. So let's just get used to this complication if you go out for F minor is actually only what no changes to in order to play the sea shop first inversion. It's just that seagulls up a senator from their Teoh. That's actually quite a class card, isn't it? Trying to get those 1st 2 cars in your head on, then the next one is in a flat second inversion. Have you got figuring that out? Then I'll show you it. Okay, so the second inversion is this. So a flat second and I'll just show the process again to a flat route position and then the first inversion to a flat tire Sex. It's the first on the same process again, this sign it to see at the bottom. So make that go up adoptive U two notes the same way that states that second. So let's go from a static f minor see shop first, which is that? Wanna change there on then the A flat second The middle of is the same so that top nuts coming back down to the sea And then the F is going down to the C o f minor see shot first a second and then lives one more card e flat and that's just rude position. So if that major so three eo so minor, see shot first a flat second and Eastland take a little bit of time getting you to those cards because when you try and do it with the rhythm, you need to know the cars really well in order to get it in time. If you had detecting, obviously you might not be toe hit the card right on the beat just to do with the finger. And I would suggest maybe starting off with a 135 on the F minor and that you could just bring your five up to the sea shop there tha on. Then you need to do so. Pivot your hand So you thirds off, not confine five in the one down on then here is up to you. I would probably do want to for that's what feels natural to me. But you can always stick to the 135 If you on their kick take some time getting used to those carts on, then we'll apply it to the rhythm. Hopefully you compare those four cards now applying it to the rhythm we did in the last lecture. So you're playing on the wall and after the two on the far with each card So it's card is played three times So it began one on 23 on you move on to the C sharp. 1st 1 Teoh free on thought for a second on 23 on phone on Teoh Free on bond that repeats itself. So have a go practice in with the beat. Their you know, I was counting on if you want, can count out going one on Teoh free on bond like I am there on then, just to add the left hand in what you thought about that. So we're gonna keep it the same singler in your left hand and just play it wants through the whole bar. Now here with these inversions. If it's a C shot first you need to make sure playing a C shop in your left hand. Not just what's Your film is played in your right hand so you start off by going Teoh free on any place. See shop in your left might be easier. First of all, though, just to practice doing the left time in itself, she go t o far one and for then a flat. Next 1234 just so you can get the hand position, I would suggest putting fingers of reach of the notes you need to see. She may flat. I just said, after watching as much. If you start, do thumbs, then you solve have to watch your hand moving. But if you have fingers over on four notes, then you can just press the fingers. So just get usedto. Go far left on notes and then together. So it's just three new right to when he left with that rhythm. 23 And that's what it sounds like. So have a go practicing that if you're struggling to get the beat in that might mean, you're going too fast. So just go slowly. Even this pass one end, Teoh free on bond and so on. Just until you get you to play the cards on the card changes between the beats and then he cannot be speeded up after and now again, you don't have to do this, but if you want to go out playing along to a click now, you can. I just think that the more you get used to playing along with a strict rhythm, it will really help you to develop as a musician and also your found it a lot easier to apply these rhythms you're learning now to other car progressions in the future. So when accounting with far beats on, then you will join in and again I'm gonna meet the piano, but I'm sort of a place you can see where you should be, so let's begin. I am going to count out loud so you can hear where exactly you need to play. We're going to go through it four times. 123 thought one anti gun three but on one on TV and and but on 123 from well to well to free one, huh? Three. Well, well. Two and three and 412312 free. But 123 and about. Well, 2312 on phone. Well, too. Come and thought one on to something and thought, Well, 123 and four. Okay. Hope you are able to play along with that beat. If you didn't maybe just need to practice the car to bit Mara to slower speed, they can always come back to it once it sinks in. 28. A Song With Inverted Chords and Sus Chords The Scientist: Now we're going to take a look at the Scientist by Coldplay. This has been ever so slightly simplified just so you can apply what you've just been learning. We're just taking it one step at a time. But I just think it's a good song for you to do. At this moment. I'm going to show you what it sounds like. So I'm going to play and sing it fire. But if you're not interested in hearing what it sounds like, I want to get straight onto the learning. Please get the next minute or so. Meet you. I don't know, Meteo. Tell me. See, it's as me questions. Let's go back. Teoh run in. No, but no. Easy. Uh, sick Move back, Teoh. Okay, that's that. And I just said it's been ever so slightly simplified. Just so it's suitable for this point in the cost. Okay, so let's take a look at it. First, let's figure out these far collards and then we look at how to play it. It's the first card is a d minor. So I like to find that demon a car, please. Now the wall just above middle C hopefully found it here Because to on a three. For the manner cars. Okay, the next card is a B flat first inversion. So if you'd like to find that now, please. Okay, so hopefully found and on If you wondered how you go from there B flat route position and then the beef fat goes a productive to find the first inversion NextCard f second inversion if you like to have a go at finding that can be found here. And if you're wondering how I got there, you've got root position on the F major. An octave higher gives you the first virgin do the same for us again. And the last car there is a see saw us far Don't worry about the four slash at the moment Cease thus far. So if you'd like to try and find the ceases far, please. Okay, the ceases for hopefully found that right now let's just go through those first far cards Put a d minor with you one too far can. And then the B flat first in Artois is actually only while not change The is going up to the beach So one semi turn up. Did you play that with the one too far as well. I got one for the D minor. Gone too far on the B flat. First the reason being because if you know the song, it's got that, isn't it? So you need five free, so it's ready to go. All right, so you've got the d minor beef. 1st 1 then you've got the 1 to 4 on the F second as well, because it's I think it's easy to go. But then this is just my personal preference here, and then the third is free for the C S. Father God, do you mind? B flat first inversion. Then you've got the extra second, then ceases far. So if you want to get you to those far cards and then the next day just to and it's each card is played five times, so it's going to be 03 three for than his way at the extra. See active cigar. Fall on just one Teoh. 34231231233 123 How to go, Perhaps in that go slower if you need toe and that we're going to add the left time did So , for the moment, just to play single notes again. So the first card is a D minor soap. A single dean you left on for the moment on. If you just hold it underneath just plate wants. But this next we got B flat first inversion simply a single B flat in your left hand, and then you beef that first card and you're right. Just hold them down. See, that comes up there. Next f second c Just play the death in the left hand. Single left and then right, thank you. See, this next one is said. See sous far forward slash f That mean you play see sous far in your right hand, but the left hand is differently, playing an F in your left hand. Instead, it's a rather than C as he would otherwise. It's an F. It's the sea called of the top of the FCC's Fall off the efficiency with four times Get in your way. So that's the interests played through twice, and then it just carries on through the verse with that cop progression four times through so altogether, it six times through if you're playing it and if you want to have a go singing on top and then on to the chorus, which is slightly different. So we've got B flat first inversion and that's fit eight times. So you just go through that 1234567 in the second version four times to three ceases far on with the FBI left four times be success again. Just goes to a normal see card here display Seeing left for two hits on back to the office Second to see again but for five they just let it ring out. That's right. Singing Oh, take me back, Teoh the star on We're just gonna go to their for this song. So the cars is all together without me speaking. - So have I got that the time it isn't too bad because you mainly just playing each card four times all the way through, apart from in the chorus of written in the amount of times you should be hitting each of those cart there, so have a go at that. I hope you enjoy learning it. Like all of this stuff you're learning. You might find that you have to practice it over a couple of days and then come back to it so you can play it smoothly. Oh, you might get to grips with its straight aware. Everyone learned a different purses, especially if you're a complete beginner. Just take your time on, then eventually you'll be able to play it. So, yeah, I'll see you in the next lecture. 29. The Kick Drum Rhythm: so far in this car's, we've been playing with both home to the same time. I'm not going to introduce an extra beat into the left hand so it won't just be playing at the same time as the right. It will be playing independently. The reason why I call this the kick drum with him is because it's quite a common with drummers use when playing a far beat bar and then at this extra beat onto the kick drum to give the rhythm more energy. The beat comes in right at the end of the bar or just before the start of the next part like this so you can see it's the end after the far but with your left hand. Three, you can use this rhythm in the left hand to add some variety to any simple to are far beat rhythm. So just so you can get used to the rhythm and called Nash in. First of all, I want you to just play some single Martz so you can think about this rhythm so your right hand is playing on the men. Be 1234 k But you left done. It's going 1234 And in the end, after the far. So if you can't it slower 123 on far. So it's on the on after the far. If we repeat that through a few bars. 12 and three and four and three and four and 2341 If you put it together now your right hand is playing on every man Be on the left on this plane on what we just went through Then the one And in the end, after the fall like this 1234 and three three So have a go at practicing that rhythm slowly . It might be easy to think about this rare if you go in together Right? Right, right. Let together. Right, right, right. Let together. Right, right, right. Left together. Right, right, right, left. It just depends how your brain works Just to do with the coordination with which hands coming in where it's up to you you can come. 1234 And I could do what I just did a moment ago with the right, right? Right, right is up to you. But I'm just gonna work with the one and two and three and foreign 30. Left Hand Kick Drum Rhythm Applied to Dont Stop Believing: So let's apply that to the card from Don't stop believing great Some. So here's the cards you've got C G a minor F We're not gonna worry about any inversions or anythin. We're just gonna play. Are the cars in route position just sick and focus on getting this kick drum rhythm. So each called, he's played four times in your right hand and then you've got the left town for them on the one on the and off The far you should be getting used to these cards now. So I'm just gonna play it so you can hear what it should sound like. And I'll just say one thing when it comes to the sexual line with the e minor, I'm gonna go up to the e minor, but down in your left hand. So ago streetlights and then but the manual right, But down, single note. You left then it together. So here's what should sound like Teoh the 1st 2 lines. So have a go a practicing that car progression nice and slow with that kick drum rhythm in the left hand. Now, if you interested, I'm just gonna show you what that sounds like. with this singing on top way for those of you that feel like you're benefiting from practicing these rhythms along with the click now just wants to have a girl with its car progression. So we're just going to go through the car progression, wants nice and slow, and then we'll do it again at a faster pass. So wait for far beats and then begin heavy go well, two on three full and three three. Have you got that? A few times. If you need to know now, we're gonna go to faster Pierce. Let's go 23 way If you don't want to have a go play if you don't want have a girl play along with me on the metro. No, please feel free to go on to the next lecture. 31. Off Beat Rhythms: Another common rhythm style that I want to teach you is an offbeat rhythm. This is often using reggae and funk music, but also in pop songs such as Hazel, Sister by Train Are I'm Yours by Justin Meraz. On Off Beat With them is exactly what it said it is. It's off the main beat. It's anomaly. You play on the main beat like this 123 So you are playing on the main beat, which is the numbers. But in an offbeat with them you would play on the hands in between the numbers. Let this 1234 So just for a quick exercise, I want you to have a go clapping this rhythm, so clap along with me to get used to it. Then we're playing to a song. So I want to put the Metro Norma and that's usual. We're gonna wait for far beats and then you're going to join in with the collapse on the hands ready 12341 on to ban preplanned. Put on one and two and three and 41 on to on Be bop on 1231 on two on 34123 on two and three on one on to free up 32. Off Beat Rhythms Applied to I'm Yours: you are here with clapping along with the off beat rhythm. Now we're going to apply it to a song. So let's use I'm Yours by just Miraz. So here's what the cars looked like. And I put the rhythm next wit so you can see. And here's what it sounds like in the chorus with singing. But, um, you they go. So when playing this with enough beat with him, I still want you to play single notes in your left hand throughout the full bar. So you left on starting on the wall. Then your right hand is following on that at this one and two on three band for one, Teoh three earned far again, up to any man to three. Far down to the sea. Teoh on three on far See left hand begins starting on the one on hold to the full bar, then you're right handed on the off. Be after that. So, firstly, spend some time getting used to the cart on. That would suggest playing the G below middle scene and then going up to the day and then e minor there in the sea. Right now it's time for you to have a go playing that card progression, but along with the click track. So play it first with May that it can have a go playing it with the piano on mute. And it is nice and slow to start off with so you can get used to read long. 234 on two and three and and 333 Far Repeat, Um, and Teoh. Three on fall on 12341234 Free. Now we can have a girl with the piano on mute Sagan. Here, just yourself. Let's go, Mom. 23 and four on one on T and three and four and one on T and three and far on wall. And two and three on far and one and two on three on for Repeat one, two on three and four and one and two and three and four on one and two and three and four and one and two, man, three on for that. Okay, hopefully got the hand of that. You can always have a goat trying to sing along as well, if you want. Until then, I'll see you in the next lecture, where we'll be looking at another different rhythm pattern 33. Groups of 3 and 6 Rhythm Patterns - Waltz Time: In this lecture, we're going to move away from the basic four beat rhythm patterns and look at grouping beats in 3s and 6s. This timing is sometimes referred to as a waltz time because the famous waltzes that used to happen many years ago used a three beat per bad timing. There are many songs with this three-beat style rhythm. For example, feeling good by Nina Simone. More recently, Pat facts by at sharing. You'll find that this timing is often used for balance. We're going to look at hallelujah by Leonard Cohen, famously covered by a Geoff Buckley. But first let's look at the rhythm. So as you can see here, the bars are split up into groups of 6123456123456 and so on. Just briefly, I want you to have a go at clapping this rhythm. But I want you to put what is called an accent on the first beat of every six. So an accident in music is when you apply more pressure. So on ANOVA would be 1, 2, 3 4 5 6, 1, 2, 3 4, 5 6. Yeah. So how about cutting the rhythm in groups of six? And I want you to see the counts out loud so you can get used to the timing like this. 123456123456123456125 says. So have a go at that now. Just get used to it. And then we'll take a look at the sum. Now we're used to that. Let's hit the cost to Algeria. 34. Waltz Time Applied to Hallelujah: First of all, I want you to take a few minutes going through and figuring out the cards. So pause a video and have a go, and then we'll apply the walls with them to the progression. Can I suggest when finding these cards to end to play them below middle C for this song? So it starts off in C, so the next card is an A minus her good down to the end. Minor. Don't go up. Go down to keep them lower down. It'll just sound better. Also, you'll notice that one of the cards has a seven next to it. Don't worry about that. For the moment, just play an E major card. We're going to look at seven cards properly in the next section of the cost, surpassed the video and work through those calls. Now you've got you to the card shapes. Let's try playing the three and six rhythms. Card cheats with just the lyrics tend not to show you how many times to play a card, but to help. You have written in the amounts for the moment, but it's the kind of thing that if you know the song well, you'll probably be able to tell when the CART should move. So here is what it sounds like. Wade Davis gave way. Well, it is the full with other fun way. So that's what it sounds like now to apply the rhythm. And it's hopefully self explanatory with me writing out the numbers fire. When it says six, you play six cars on your right for every main beat on in the left hand. Just play one single no in the left hand. So if it says see time six Ugo a minor ton six. Go through this car progression with the waltz time I just showed you. Now, once you feel ready, I'd like to have a go at playing along with the Metrodome. On this time I'm gonna meet the pillar Straight aware second half ago with just the bait. Wait for six beats this time, Mr Far And then you can begin. She'd be going 24 56 Let's begin. And I just said the temple slightly slower just so you can get used to the cart movements on this new rhythm. Let's begin. 123456 Hurtful. After doing that, you've got used to this. What time rhythm. With groups of threes and sixes, you'll find that now you'll be able to apply that with him to any of the songs with a similar rhythm and vibe. 35. Figuring Out Beats per Bar by Ear Skillshare: sometimes at the start of a card cheat, it will tell you what kind of rhythms to do. But quite often you will have to decide this for yourself in this car. So I'm going to teach you the most common types of timings and rhythms so you can pick and choose from them, like building up the fundamental tools off the musicians trade. So if you search for some online on, it doesn't have any indication of timings. If you can't send it straight away, you may have to listen to the trap to figure it out. Some of you might naturally be able to pick up the right rhythms to play, but others might struggle. Maher. Everyone is different, depending on how well developed your musical ear and sense of rhythm is. I'm going to do a few exercises so you can get used to hearing whether a some has to are far beats per bar or whether beats could be grouped in threes are sixes. So I'll play an extract from a song, and I want you to clap along and decide how Maney beats per bar there are. Then I'll give you the answer straight after so you can see if you've got it right. If you find it's too easy, please feel free to skip the lecture just so you can see what I mean. I'm gonna try and show you by playing on. Also not clapping but clipping. So it's going to be playing with one hand on clicking Muslim with my left like this, So be going. So I was clicking then and that was in three time because it was going 123123123123123123 If you to try and count for along to that, it probably sound quite strange, actually. What I mean. 123412341234 BC doesn't quite work. So when you do in this exercise, if you count out loud, you probably find it will be a lot clearer. Okay, so let's begin. You're gonna clap along and decide how many beats per about There are way. Okay, That was far beast for bar. If I can't along with it, you'll be able to hear. Then you might have recognized that that was back to black by Amy Winehouse Let's do another one that was another one with far beats per bar. I'll show you. 1234123141234 And that was next to me by Emily Sander. Here's another one I cannot fall in by Alicia Keys. Andi, that was in groups of three or six is because become too low. 456 So either three or six would have been correct for that one. That's doing of the moment way you might recognize that from a James Bond film. It was Skyfall by Adele That was far beast about again. If you listen to it, listen to the main be Teoh. So that was a 123 fight inherit in your right hand. Okay, so you got that correct. Let's do another one, - right ? That was another one. With groups of three r six, it's because 123123 666 and now by the animals House of the Rising Sun. Let's do it at the moment, - hopefully figured out that one is three beats per some of you might have found that hard to figure out at first because of the melody going on in the right hand. Hope you got it by the time it came to the cards. Because it's going all right, let's do one way. And that one had far baseball Bar. Because if you listen to the right hand card, hits three. So hopefully you got that one correct as well. You might recognize that by Michael Boo Blair called Just haven't met you yet. I hope you enjoyed that decides on I'll see you in the next lecture. 36. 7 and Dominant 7 Chords: they're different kinds of seven cards. And first of all, we're going to look at seven and dominant seven cards. They're so like this. Okay, so first of all, before I teach you how to build these kind of cars, I just want to talk about the difference between a seven card on the dominant seven card because there's lots of conflicting information online. So if you see a C seven, you play this card here. If you search, see dominant seven online. It will tell you to play this card here the same, but in music Dominant is referring to the fifth notes of the scale. So, technically, if you to play a dominant seven in the key of C, it would be this card here. Strange, isn't it? Well, what's happening here is if you take the C major scale 1 to 5, that is achy. So a dominant seven in the key of C means you build this seven called from the G from the fifth no, or the dominant of the C major scale. Okay, so, again, if you take a dominant seven in the key off D, you would take the fifth notes of the d major scale a and then build the card from the through. The important distinction between a normal seven called are a dominant seven, this way of building the card from and where they're playing a dominant seven card in the key off. So in the here, the sea in the key of G or if you just playing a normal seven card on for a moment for where you are on your learning process, all you really need to worry about is how to read the card. Simple. So the G seven are the C seven. The easiest way to find the seven car is to play the major card, then find the full active, but both from the root position. So we're doing a C major here, so you go up a full active for the see above, then go down. One full term are 27 terms. Full tone. Is that so? The seventh in this case is a B flat. It's the same interval as a minor seventh. You could count up from root position if you prefer, so you'd have to go minus second. Make a second minor third major perfect fourth tryto perfect fifth minus six. Made six minor seventh. But that's quite a long way to go up, isn't it? So, from my experience, my people prefer to find it the first way I mentioned. So we'll do another one. Let's just say you wanted a G seven. See it go, go up a full active and then down a full total to seven times, or want to be Oh, that's a Jeep. Seventh will do Ottmar D seven. So you find a D card d major active, and then you go down a full toe there. That's a day. Send symbol for a seven card will be shown with just a number seven. So if it was a C seventh, it would just have a C seven. Should be that, uh 37. The E7 Chord in Hallelujah: So if you remember just before in Alleluia there was that e seven card on We just played another will try out for it. But I would need to have a go figuring that e seven out now to remember found it, e major. Then find the Optima both. Then go down a full term. I'll give you a few moments. Have a good that, Then I'll show you. Okay, so the e dominant seven. You do this a case that you found the major card, which is three on a two on. Then Ugo up a full active from the root position so that he above And then you go down a full tone 27 term so Well, so that is the dominant seven card. Andi, in this car progression, you're playing the E down here, so you have to play there. Seven. There. Now, if you play with that car progression, it sounds like this, but it goes way. You hear that, Mice living warm sounding e seventh. You can also change the position of the seven, so it doesn't always have to be the top, so I want to figure out what notice is. You can bring that down an octave lower, and it will change the sound of the card. So if you're playing the e seven appear, bring that D because you've already identified the seven is a D, but play it underneath and just change the sound of it. So if you want to add that, how your e seven into it it some of this one thing to remember. If you do change the position off the seven in the cart when you're playing that single notes in your left hand still play the root position there in the left hand. So if you're playing the he here, so in your don't display de in your left hand, cut it thumbs pain. Today, make sure you're still paying the roots left. Let's just do a couple more together just so you can get used to it. So F dominant. Seven. So f seven have a go at figuring that out. Then I'll show you K f dominant seven Ugo f on, then full active on down to the fact that they could also movie flat down, uh, seven. That's doing one with my bat nuts. A flat seven. A case of a flat seven. You've got a major on, then full active down a full term to in this case, 1 to 7 turns to the G flat. And again. You can move that down an octave if you want. Yeah, I was do a B flat seven McKay beef at seven. That because you've got beef, major beef, like, was opened up to down a full term. And again, you can play that below, if you want to with one more B seven. Okay, maybe seven. Is this because B goes up adaptive and doubtful? Turn to seven. That's the be Dublin seven. And again, you can move the position of the seven if you want. Okay. So hopefully one to sound that on next will be looking at minus seven cards. 38. Minor 7 Chords: minus seven cards very ever so slightly to the dominant seven. You just need to change the basic car to a minor third, so a two or three than agile minus seventh on top. In the same way as before. People also refer to the minor seven Interval as a flattened seventh because you are finding the major seven and then flattening it. So if we're doing a C minor seven so it looked like this either a. C with a little and a seven, you can sometimes see them as a C, a small dash and then a seven. So if you're finding it a C minus seven, you find it C minor card on, then do the same process is the dominant seven. You find your active of the room position and then go down a full term again, that is also classes. A minor seventh interval. Let's do another one. So let's say you wanted to find an F minor seven. So find F minor s. So that's a two and a three, and then you're seven. So find your activity from the repositions of the F on, then down a full tongue, a minus seven. So fun to a minor thing. Go full active down a filter. Eyes a minus seven one Last one e flat minor seven to find b flat minor. So it's a two or three. So leave to out. Leave three on, then seven. So up a full octave and down and again with these, you can change the position of that seven. If you want, we could play that you flat minus seven like this. Quite nice. Only told that. 39. Slash Chords AKA Over Chords: Sometimes you may notice that card sign has a Ford Slash and then another letter after it like this. This is telling you to play the Sikh art in your right hand, then play another note older than the root position in the left. Because normally I thought, This is telling you to play in this case and e in your left hand. The's also known as over cards because you're playing a card in your right over the top of another. Norton your left. Let's take a look at another one. So that says, a foes last see shop in this case, you playing a major cart. Was it right? Hunt Undersea shop in the left? So it's important to remember that the card is always with your right hand here on your left hand. He's after the slap. So if it said G thought B B G cards with the left hand, since its simplest that 40. Putting 7 Chords Into Practise Easy: Let's apply what you've just learned to the song Easy by the Common Dolls, which has plenty of seven cards in it. A bit older songbook classic. And just so you know, we'll go to simplify the rhythm to this for the moment as the original is using what is called a swing with him in the left hand. But I want you to just focus on getting these seven cards. For the moment. We will take a look at what's wrong with him is a bit later in the cost. So this is what will sound like really nice summit calls on that on with the singing on top in the chorus. Good tune. So let's take a look at it The first court G major, which I'm sure you'll be able to figure out by now. So if you start off below middle C with this of the G below that, imagine the next car you need to be minus seven. So, like you tabla, go figure in that card out now, please. A B minor seven hopefully got this card here, B minus seven, which is minus two or three on. Then the seven go from the root position of B, but the full active down a full toe. So to seven times that's the 27. The next one is a binder seven. So I'd like you to again have a quick figuring that card on the A minus seven. Okay, a minus seven. Is this which is lovely sounding cars again here on its lowest know again from the A minor cars. A productive on down town. No se minus seven. Those the seven cause you need for that, then you've got one of these. See? Slash card. C U slash D. So if you remember rightly, that's a C card in your right hand, and then it will be a left handing way rhythm. Others said it's been selected. Simplified. You're going to use an element of the kick drum of them from early on in the cars. But instead of going Teoh you just to hits per card. So what you're gonna do for every card you're gonna play together on the wall, then you're right, hon. Players in to your left is gonna play in the after the two. But this one would move onto the next card. So be one Teoh and cardio again. I also like this together, right, left, right, left, right, left together, right? That's the rhythm player on the one of the two on the left arm comes on the and after the two to, and then you follow the direction of the cars. And also this is the end of the car rece. There's a bit of a rhythm change. A taken see it says F see followed slash e See thoughts. I stayed in G so it's a bit way goes way. You can kind of hear the rhythm there. If you know that something, you're probably just play it. So after this, see far touch D on that line, which is for two beats, it's just one of those each once with a scythe. I went down to the chief, the O. So now I'm just gonna play through for you a lot with a click so you can hear what it sounds like. And if you want, you can have a go up playing along with me here 41. Diminished & Diminished 7 Chords: So far, we've been working with Major on minor triad cards. There are another two car families diminished undocumented. Let's look at diminish cards first. So diminished cards sound like this. So kind of a spooky dramatic sound. And they wanted to think about it like shrinking the card on making it smaller. So you diminishing it, making it smaller on the card symbol for diminished looks like this. The sea dim our A C with a small circle almost looks like a degree sign, doesn't it? To find it, you go to the minor so two or three then flatten the fifth interval. So drop it down by one senator nor half step. So that would go down to there. Can you see what I mean By making the card smaller? But it's gone from there on. It's shrinking into their diminishing Mr A few mall. So if you wanted to find a G diminished card, you go to a G minor on. You'd flat in the fifth. Just this to the figure in for these It's up to you. You can do 135 If you want our won t. Oh, let's do be diminished. So you find a B minor and such in the 5th 1 mile a diminished. So a minor on the fifth. This is a In this case, it goes down on e sense quite often. You'll find that diminish cards have a seven with them that looked like this. Si, Dem seven. Aw, see, with the small circle on, then seven. To find the seven, you need to find that minor seventh like you did before. But then flatten it like did with the fifth interval like this. So you find you see mine and on. Then find that dominant seven circle up, full, active and then down. Full term. I did before. Okay, on. Then you need to flatten the fifth on seventh way of the Bullets to the G minor diminished seven. So you find a G minor card, find his seven So up full, active down a tone get Then you flatten your fifth, which is the desire d flat and then flatten y'all seven from there really is shrinking, isn't it shrinking there from that Do it was to be one then. So you've got b minor. So the minor find you minor seven so open active down a full turn for 27 terms and then flats in the fifth on foot in the seven on our probably advising 1235 for these 2 May seven cards. I will also do the A minor diminished seven. So a minor find the seven set up a full up to, then down a full tone. Okay, and then in the fifth on the seven so far in fifth from seven. So that's that process. If you found that process a bit lengthy to get to the card, it may be easier to think about it like this. Play the book note. So let's say we want to find D diminished seven. So you find your the then you leave two out of 12 for the next note up on. Then you leave another two out one to play the next note of hip of that on. Then leave Roberto want to, then play the next one up like needed to find the major, which was a 3 to 2. So play the note than least three. Further not live to thing is the same idea about 2 to 2. So if you want to find F diminished seven you can find and then leave to let the next hotel leave to the next tough on leave mother to and then played a notebook that so that diminished seven. Okay, so that's how to find diminished cards and also diminished seven cards. 42. Half Diminished 7 Chords: just so I'm not missing anything out. You can also get 1/2 diminished seven card, which is very similar to the diminished seven card. But you don't need to flatter the seventh interval so you would find the minor court, so C minor then flattened. Fifth Theun. Add the minus seventh interval, which is the cinemas, the dominant service so productive down a full tone. But you don't flatten it this time. You just because before, for the full diminished flat on that. But this time you don't so find your minor fifth family active and then down a full time that's 1/2 diminished. Let's if the Jews well to seek and see the process. So g minor fund 1/5 there on, then go a productive down the town s that's 1/2 diminished on a symbol for 1/2 diminished looks like a tiny circle, but with a line through it like this. So a c in the circle with a line and then a seven or sometimes you might just have a C with circle and a dash through it without the number, but that just for your information, we're not going to be using these in the class. I just wanted to explain this to you in case you come across it at some point within your own playing. 43. Augmented and Augmented 7th Chords: Now let's take a look. Augmented cards. So we talked about Diminished Car Does making a tribe smaller? Our shrink like this? It's coming in. A lamented card is making it expand. I'll get bigger like this. Thick this. They looked like a C with an R Next to it are sometimes might see a plus sign like that. So to find an augmented card, you need to start with a major and then sharp in the fifth interval, So raise it by a scimitar. So if you wanted a C augmented card to play see major on, then you would sharpen or raise the fifth interval by Senator. You see how it's of expanding outwards of getting bigger than smaller just diminished. So let's do another one. Let's do the G augmented So you pledge e major man burn. Sharpen off. Raise the fifth Mr F F major on then Sharpton, already the fifth. Let's do a so a major on then certain process the fifth girls. But again, quite often you see these cards with a seven, so it might look like C ogg seven. We'll see. Please sign seven on to find its cards. You just need to go through. The same process is when you're finding the seventh are the minus seven. So play the major. And then there is the fifth of shop in the fifth, uh, on. Then find the optimal route position, which is to see a productive and then down a full term to seven tons undetected to a B flat . That's a C augmented seven card there. That's it for the G S O g major thin raise the fifth on, then same process to find the minor. Seven. So up a full locked if then down a full term. So 1 to 7 tons. That's a G augmented seven. Let's do it for a So you go on a major card, raise the 57 turn shopping it on, then a full active down a full tone eyes in a augmented seven. So have a quick practice, it figuring out some augmented cards and some augmented. Seventh on. In the next lecture, you're going to be doing a car building exercise 44. Pushed Beats: a push beat is when you play on a beat right at the end of the bar just before the start of a new one. So a rhythm with a push be could look something like this. So as you can see here, your play on the first beat of the bar on the wall, and then you would play on the end after the far or the half beat after the far. So if you were to clap it, Ugo one on two and three and four on one on two on three and foot one and two and three on far on one on two on free on far. So that's what I pushed. Beat it. You're playing on the end after far, just before the start of the next bar, so just so you can get used to it, we're going tougher. Got clapping it together so clapping on the one. And in the end, after the far let's go 23 far one on two on three on on one on two and three and thought one on two and three and four on one and two and three and 41 and two on three and far on one and two and three and 41 and two and three and four on 123 Hopefully, we're able to clap in time along with me then. Now I've got you two doing those push beats. We're gonna add some cards to it. So we're just gonna go some basic major tried car C A C g f then G just so you can get used to it. I see on then get up to the G Theun down a full step to the F major, then back up to the major. So just take a few moments to get used to those cards on on. Then we're going to do the same thing. You're gonna have a go playing along with the beat should be doing on Dio on three on far on one and two on free on far, one on two on free on far, too on three on some. So one thing you might notice, then, is just because the G is playing on the on and after the far in the first bar, I wasn't picking it up because of the vice itself on this one and two and three and 412 and three and four. It would mean that wouldn't be anything in that bar. So what you can do? You can hold the key for the next bar, even that there's nothing in it. You can hold it for the full bar like this on two and three. Unthought. Hold on to on three and four. So that card was holding off the second bar, even though it's starting on the end after the fall of the previous bar. So the full thing one and two and three and thought on one on two and three and fucked on two and three on Dfars on one and two on free on farm Have I got that? And then I wanted to have a go playing along with me to a click on. We're going to go through the court progression two times to three. Fuck on two and three and four and two on free fun. 123 and four on two and three on Fucked 123 and four on two and three on Fucked 12 and three and two and three on fun. Now, I would like you to have a girl the same thing, but with my piano, a mute See it playing along just to the beat and me counting. Let's go Come enough to file baked as usual. So 12 free Far one and two and three and so on. And one and two and three and thought one and two and three and on 12 and three and one and two and three and four on one on, too, UM, three on a farm one and two and three and thought on one on two and three on far. 45. Stay With Me A Song With a Diminished Chord and a Pushed Beat: e. I always think it's good to apply what you've learned. So we're going to take a look. A Stay with me by some Smith as it's got a diminished card in the chorus. It's also got a minor seventh a slash card inversions Onda a pushed beat. So it gives you a chance to bring a few of the things you've just been learning together in one song. Good, but I still need love. Justin Nice. Never seem to go to plan. I want t o Me Teoh Darling, stay with So let's take a look at it. If you had to print a Carty straight off the Internet, it might not show you what inversions to use. It would look something like this, but just to help you, I've figured out the inversions that are actually being played in the song on rooting them in for you. So let's take a look at the main car progression. You got a minus seven an F first inversion undersea second inversion. So first of all, let's work through those cards a minus seven to just in a minor tried called with the seven on top, so I'd like you to figure that caught up now on just to give you a heads up is below middle C So start on the A here. I can't have you got that? Okay, so the A minus seven. Is this OK? One would have found that it's in a mine and then find the mind. Seventh soap Adoptive and Donna Fulton wake the f first inversion. So let's see if you can remember how to fan Thean Virgin. So have a go that f first inversion. Okay, first in virgin. So it's this e find that bike, go into the ring position on, then the lowest Not which is the f go up a full active toe. On the other card is the CEO major second inversion. So that city confined to see second inversion. Okay, See, major second Virgin is this. Find that by going to the root position our staff lower. Find it easy. It's the sea. Get to the first version and then to find the second do the same against that team. Productive See second inversion. So if you put them all together you've got the A minus seven the f first, which is actually just very close to the A minus seven Because you going from there and then just playing the no in between the top two. The so the f the tune ups the Seine on. Then they see second, so C is still in there. You just need to move the thumb down on. Then for that, he got the way you want a cup of the finger. Now I'm doing so. I was doing 1245 They're not just bring him a five down on picking a farce, playing 125 on the first. And then I was keeping a second on the sea on being my thumb down to the G. And then the fourth is hovering over the 1245 on, then 1 to 5 want to farm? But again, it's up to you on the fingering. Do whatever feels most comfortable. So part of video and half ago getting use of those cars because most of the song is that those three cards in the order I wanted practice 33. We're just going to take a quick look at the other different parts of the song. So you can see is the intro, which is any minor seven FC and that's played through twice. And then the seeing comes in and it's the A minor seven f c on that go through three times and then it goes on to the I don't want to leave. Will you hold my hand? Which is the last line of the verse and it says a minus seven. Then you go on f slash g So a slightly different there. And if you remember, the f slash to you means you play the card of F and you're right on then g in your left hand as opposed to a novel f she would there in the left hand. So you're playing a genial after I went back onto the sea. So you played any money? Seven. And if you're playing in the left hand left and then f slash tree to pain F card in your right, we're still gonna stick to the first Gene FTO got a minus seven. First junior left on then a C card with the singer. See, second inversion. Okay, so that's a little bit different. They're just so we've taken a look at all the different cards before we try playing it with the rhythm. If you look at the Congress, this the same again a FC FC But then it says G five. So a G five is what's called on open card. It's not too hard. It's a normal G, but without the third in the middle. So it's called the Open. 5th 5 next to it sometimes called him a power called on the guitar. But in the piano is called the G Open Fifth, because you've got a 12345 with no fed. So that's what to do. If you see a G five R N F five or anything like that, just miss up the middle third interval of the trial on the only other different carded going. This is a G sharp diminished. So there's no seven, So just a g sharp diminished. So let you have a good figuring that out and then I'll show you what it goes like, so have a go now. Okay, so g sharp diminished. So you should have hardly found this healer. And if you want to it have you got there you find your G sharp minor card two and then a three, then you flatter in the fifth. So down to the D such a g sharp diminished. So get used that card on, then go for anything that you're not sure off. And then we're gonna have a girl doing it with the ribbon. Okay, so the intra is the same push beat with them as you're practicing election before. But now you're playing these new cards to rip. So you've got on a minor at first and then a C second. So it might be an idea to practice with the right hand first. Before you add the single mothers. When you left so slowly, it's 123412 on free on thought on 12341234 So have about practicing that it might be an idea to count along so you can get your own pass count out loud. The numbers like how was then so that rhythm and cop aggression is the same for the intro on the 1st 3 land verse. Then it comes suit. I don't want to leave you. Will you hold my hand where it's got the slash card? So it's the same with them, but with this last card like this 12 and three chorus. So it's the same rhythm and pretty much the same card. But the A minor doesn't have a seven to Saddam. A minor try at Won't you stay here? The rhythm is slightly different because you've got the G five on the far after the sea. So you've got 12312 and three on forms. The G five is over that far that it carries on to on three and the same thing happens with the G Sharp diminished. So the GI shot diminished comes on the fourth beat after the scene. The next line as well. So you've got the 123123 on phone on 23123 Founded in Arizona. Teoh. So you've got those actual beats in there with those different cars there. So I play the full chorus. What? Teoh? Three and 1233 23 23 233333 Thought 123 three. Free for 11231234123 234 333 Okay, so you can have a go play along with me there if you'd like. And now you can have a girl without me plain but with me counting So you know exactly where you are. Let's begin 12 Free Far Bomb on 23 and four on free on Farm one and two and three and four and 12 and three on far well, two on free and four on one on two and three and thought 1234 on 12 and three and Fun one and two on three and four and one and two and free and far, one on 23 and four on 123 on far one on two on three. Thought on. Want to free on far? One on 23 and four on one on two. Free on far. 123 and four. Out 123 on far, one on two on free on far on one on two and three and far. And here's what it sounds like with this singing good, but I still need love. Justin Nice. Never seem to go to plan. I want T o me. It's good tea. Oh, but darling, stay with 46. Following Chords Signs Using Sheet Music: you. You will find that a lot of actual sheet music will have the car symbols written about the notation, so you'll be able to use sheet music to play what I'm teaching you in this cars. It can also make it easier, because it will show you how many beats to play per bar. If you look at what is called the time signature, I'll show you an example using Google. So let's just such piano Man By Billy Joel. So Perelman sheet music of such that the far So let's click on hotline sheet music. So you click on that, and most the time you can find most sheet music online. You can buy it so you could buy this for night tonight if he wanted. So if you look at this, can you see? It has the card symbols of you back here. Look, there's the card single soup, Lacey. There the mess with a senior left C major seven. And then there's three cars here. See you then the energy that's the intra. So if you just following the card signs, you follow that. But can you see this here? Three over far. That's a time signature. That's telling you, harmony beats a player per bar. So if you're to play this, you could use that knowledge of the three far, which means three beats per bar. Andi, you could apply the cost to it. So if you were to use that, you could count three beats per via Ugo 33 on Can you see here? There's three cars symbols in that one bar, so you play each card once for each beats Ugo. Many go on to the next bar, which is the C E O. So you could follow that using the card symbols in the time signature. I'll just show you the next bit counting three beats per bar, but reading purely the car symbols and it should sound pretty much like the song free three . It's nine on, then that's the first page. That's that's where it stops. So, yeah, you can use caught sheets, but you can also use sheet music with the nuts because quite often they have the cards above, and in the time. Signature can also help you with how long to play its card 47. Split Chord Rock Pattern: I think in this lecture, I'd like to teach you a plane technique that I've called the spit card rocking pattern. We're going to start off with a basic cart button so you can get used the technique. But then, in the next section, I'm going to show you how you can apply it to more advanced cards on DCAA progressions by using this song My Way by Frank Sinatra. But first of all, here's what the split card rocking pattern ISS and have to use it. So we're going to use far card in this lecture, the D minor B flat major F major on C major. And here's what it sounds like. Okay, so it's just another technique that you can use to make your playing sound a bit different , rather just going on. So you might have figured out how it works straight away There, really? There's a reason why I called it a split card rocking pattern. Let's take D minor. Okay, The reason why I called it split card is because it's splitting the card up normally play a demon like that, but you take the top part of the court, which in this case an effort and a and then you go back down to the root of the card, which is a day but any alternate between that. So you can see rocking between the top half of the card on the bottom room like that. Just have a go with the D minor rocking between the way this should be playing the third new fifth on the top two notes on your thumb underneath on the way. Okay, so let's just try it with another card. So, B flat major, the next card that will be doing in this car progression. So B flat major is that s o top two notes, which is a DNF now on gonna rock back down to B flat. So to do this, you might have to push your hand higher into the plumber. Otherwise, you might find yourself, like happen to twist your wrist around like that because obviously it from its charter. So push in the new thermal reach on Just rock between those cheese. Yeah, I got that. Yes. So just have a go. Those split card rocking patterns with those d minor B flat f and C carts, and then want to you to that. Here's how to count it. So So if you play this complication with a simple rhythm, you just go to three Teoh three on the main beats with a split card rocking pattern. Or it accounted at this. So you account the half beats as well. One and two and three and thought and OK, here's how you count it. The man beat is the top part of the card can. And then the half beat is the root, like this 12 and three And Okay, so the next one is B flat. Major fall doing far beats for each of these cards would be one and two and three Next one FC, go to and finally see Teoh. So have a practice with that. Counting the man Be on the half beat for four beats Burkhart on. Then we're gonna add a single north in the left hand. Okay, But this and three and two and three and three. That's the next day to practice that with both hands, you might have to start off slower at first, not get there on time because we're doing this leaving gaps. That meeting going too fast at first, you might find that you have to leave the last on day after the fall off to give yourself time to get to the next card like this. 123 That's something which you might have to start with just to get usedto getting to the next card on time. They just give you an extra half beat. But what you can do that comfortably? You can always add the last armed with the thumb, like this one on black. He always start off slowly and then build up the speed. We might not get it in the same practice it might take a few days are just gradually over even weeks. So eventually you could play nice and fast, and then he built. Apply that to any complication that you might think it suitable far. You can even change the time. For instance, if there something with three beach, you could go one Teoh easily adaptable to other things. But in the next lecture, I'm going to show you how you can apply to more advanced cards using my way by Frank Sinatra. See you there 48. Split Chord Rocking Pattern Applied to My Way (Part 1): now going to show you how to apply the split called Brooking pattern to my way. But what you will find is when you see this competition, there's a lot going on this slash calls as major sevens, minor sevens, suss cards, all sorts going on. So show you how to apply this court pattern, but to more advanced cards. But first of all, I'm going to play the car progression, and then I also share with some singing, - and there is now with hymn singing to seek in here by just here. I'm definitely not a crudeness, so it doesn't necessarily suit my voice, but just for your own references. And so I finally, my friends save state my case, which chimes I it denies that my way. Then it carries on, but it's actually the same car progression repeated throughout the whole song, so that's all you need. Okay, so the first thing to do when you're applying some kind of pattern if you're not fully familiar with the cards, is to go through with a simple pattern. So I would suggest going through the full court progression, but with a simple rhythm. So in this case, you would just do the cards. And you're right with a single note you left like 123 Let now, just so you can get used the cards. So with that in mind, I'm just gonna take you through this progression on dive, taking it directly off the Internet, and we're not sure you just have to decipher it to make it sound like the sun. So the first card is D major, so it's a normal made to try a card with next one, says D major seven. So if you remember, the major seven is one of these ones. Way you add the major seventh interval on the way I showed you to do that. The quick way is to go from the root position of the car selective down on Senator s. That's a D major seven card care. Now there's something going on with this, and this happens quite a lot when reading card sheets very quickly. I'm going to go into the next card for a reason. Despair with me a second. So the next card says D seven doesn't. It's That's just a normal seven. So that's where you go. A full, active and down the tongue. Which the minus seven D major d major seven Theun de seven on. Then be seven, which is again. You go up, adoptive. Donatella, don't trust them yet. I want to explain something, K. So if you know the song, you know that the cars that really Okay, So what? Sometimes people do with card cheats, you kind of have to decipher what they've written. So if I want to play this, you could just play at face value Could dio. But sometimes if you know the song, you kind of know that that doesn't sound 100% correct. So to me, what they're suggesting to do if you figure out these seven ups, but they want you to follow it with your thumb. So actually going todo you gonna go down with the O Major seven interval and it can even take the d out because of the way it sounds. Clash on. Then you can go down again to the CEO. So pain de seven que on, then. One thing on top of that is they've actually written Dean D major seven. But if you hold on the dino left hand, it's been clashing so you can actually follow your thumb with the left hand as well. So you can go down to the C O on the same again for D seven, you can drop down again, left, and then you want to be seven. That's just a little comment on following Kochi. Sometimes they want you to follow the sevens underneath and then therefore, follow with your left hand. But I'm just gonna right the slash cards in fear just to make the left and easier for you. I'm not just gonna take you through it. So you could just copy me from now on. A case. The first card is Detroit cottoned on then d major seven d seven and then Lisa play. That was 1235 you? No. And then e minor. That's called E minus seven. So you find the minus seven out there on getting our players underneath. So bring the dean down there. Okay, Next card, E minus seven with a C shop. So then if you play that exactly as it is, it would be that to me, that sound too classy. So I get on, do the thing that topped about bring your thumb down. Left on the plate now E minor C sharp. Yeah. Then a major seven. Which is eso you go up not down a ton carries on and on d seven soothe a major. It's a Sfar if you remember that. Define us as far ago. But one semi turn inthe e major triad, third in the middle last year From there to that. Yeah. Okay. And you might need to work on that. First of all, just get used to all the different cart. Obviously, you can pause it. You can work on in each card as long as you want, until you become very familiar with the car progression and just out I'm going to play with through, but with just a simple rhythm. So I just play on the men bees. 49. Split Chord Rocking Pattern My Way Part 2: all right. Now, all you need to do to apply this split card rocking pattern is whatever called plane. You take the top half and then run between the nuts and the 12 and three and care to the next card is a D major. Seven. We talked about dropping down to the sea. Shot for the next one is a D seven. This woman you notice it's got Martin three nuts. So in this case, you would just take the top part of the called and then you still run back down to a single . No, you're not gonna go, Could It Sounds strange. So you gonna take whatever is on top? However many notes era you are, we gonna rock back down to your thumb. Okay, so in this one, that would probably go 235 on that card if you can. And then going to rock back down to your thumb. So some of this No on then be seven the same again. It's the B seven card. It's actually very close to the O rocket between e minus 7235 and run down this one here. The e minor seven with a C shop. We talked about taking out that seven, If anything, is just an e minor. But instead of taking is definitely off the Internet. So it's what you would find. So it's just takes a little bit deciphering. As I said, So that's a E minus seven, but you rocking back into the sea on then a seven s all the same top part of the car had been practicing and back down to thumb on it. Kids going on just a quick note and then it just keeps on going to keep on a plane. That's you've got Teoh Minor. Can you just run between those g? I think the timing Just to remind you, you go in Bowman to on three and ready the beats fire there. So just count the man, be the top half of this bit called, and then you just throw down for the half. Be so right now I'm gonna play see the full car progression with the counting. I just say if you're gonna have a good singing that I would do two bars of D to start off with and it kind of start something a little intro to that's up to you. Another thing, Just remind it if you're finding it, hard to move quickly between these carts. When you're practicing this split car pattern, you can knock off the last Onda the bar Sugo. 12312312303 That's up to you. It just might make it easier to get to the next card on time. Yeah, so I hope you enjoy learning this. And remember, sometimes it takes time to get used to something that's a bit more difficult. Don't just expect to get to internally, keep on coming back to it until he can play it confidently on smoothly. 50. Broken Chord Patterns 3 or 6 Beats Per Bar: So far, we've been looking at card symbols on playing the notes of the cards all at the same time, like this C major on F nature are. Do you mind a seven, That kind of thing. Now we're going to take it to the next level. You can follow card signs, but using certain patterns, you could make your playing sound much more advanced. We're going to start off with the simple broken car pattern. So instead of playing the notes of the card at the same time, you split them up like this. So that was C major on a minor, but with a pattern. So for the moment, try and keep the past in the same. I want you to play the bottom of the card in the middle and then the top bottom middle. You can use his pattern for anything with a three R six beat rhythm, like the song Hallelujah that we used earlier Wrong. So if you take a look at six beat pattern, I put B for bottom and for middle and T for top, and then you'll see the passing girls Bottom middle top bottom, middle top on the 123456 On that pattern, repeat itself. Bottom middle, but a middle bottom, middle toe. 123456123456 So, using C major. All right, Have a good that going about a middle middle middle top Middle. Have a go that right now try and get used to that pattern of bottle middle top, and then we're going to apply to hallelujah that we learned earlier on. 51. Broken Chord Patterns 3 or 6 Beats Per Bar Applied to Hallelujah: So let's have a look. So when you are playing it before you're playing the full card for the full bar, which is six beats, So you're going? 123456123456 and so on. Now you're playing a note each beat of that card to use. In that pattern, you'll be going. 123456123456 Okay, that makes sense of each card you're playing. The bottom middle top pattern for six beats Teoh. Six. That would be the first card on a minor next called 123456 So I'm going to walk you through it with that broken car pattern. But if you're doing this pattern on, come across a card with Martin. Three notes. For instance, The E seven, which you're doing appear I remember rightly, could also play the D lower down. It's hard to do that. 123123 courses. Four nose, isn't it? So what it can do, for the moment is missed one of the notes out, So you're still playing the bottom middle top pattern. Andi, in this case for the E seven out would suggest missing the because you can still play the in your left hand. The car will sound very similar. I'll show you it without the pattern. Could play that if you missed out here. Sounds very similar so that you can still do the bottom middle top pattern like this. That's what you gonna do when you get to the you seven from the King Pat. Watch like that. And another thing Sale. Notice what I've done for you. It have put times six for you to show your harmony beats each card being played. So the first c is one Teoh 56 and so on. The reason why I put that is when it gets down to the third line where it says, But you don't really care for music, do you? That's an F times three on a G, times three. So that was the about beat. So in that case, you disc your 123 Then we move on to the next card. One thought line is 1234561231 456 So now I'm just gonna play through it slowly so you can see what it should go like on. Then I want you to have a girl yourself. And I'm just going to count the beat for the intro. I'm not gonna count all the way through because I don't think you'll need it. Andi is still doing one single note in your left hand holding through the full bath. Let's go. 12345612345123456 So have a go at that practice at your own temple, seem after sat slower on Deacon. Slowly speed at the pass. And then if your singer, why not have a Goa singing along as well? 52. Alternate 3 or 6 Beats Per Bar Broken Chord Pattern Fallin Alicia Keys: you can change the ardor of thes broken card patterns, however you want. A good example is the really famous piano riff from Fall In by Alicia Keys. So that's what you're going to learn right now. Now, just a quick note about card treats from the Internet, especially free ones. They don't always right in the inversion for you. So when I first looked at this, it just said E minor on and the d with a B and it did not the inversions. So if you have played exactly like that in the root position of the cards with no inversions, it would have sounded like this. So sometimes it might not sound quite right if you compare it to the actual track. So you might have to try playing it with different inversions to see what sounds close to the song, because that didn't sound quite right. So I just went through the two inversions to see what sounded colossus to the sun on a figured out for you, that is the the minor first inversion on, then the D second. That's just a note on card cheats. So when you eventually get around to it, just be prepared that sometimes you might after adjust them slightly yourself. If you're following the card symbols from actual copyrighted song books, that probably will have them in there because they're normally a bit more cura. So let's learn the piano riff. So first of all, you've got the e Man of first inversion. You may have already seen what I was doing, but if not, I want you to try and figure out the e minor first inversion but below middle C e minor first inversion and just play as a full car for the moment. Are you manifesting virgin? You've got the normal the minor on. Then you play first inversion. So the lowest note of the eagles up a full active first card. Next is a D major second inversion, So I'd like you to figure that out, please. D major second inversion and that's in the middle C area again. Okay, D Major second Virgin, sir. It's here. You found that on the process. You've got d major from the first inversion. So giggles a productive first on Do it again. So the F shot this time the lowest goes up. Adaptive maker D major second a minor first D major second to go toe. You might first again that it's got the d major first the second time. There she just figured out because he went from them to then two, then to the second. So you just gonna go to the first thing this time you've got first. He made a second. You might have first d major first. So let's have the left hand. So you might at first. And there's no fart slash which me? To play a single note in the left hand of an E way should have for the 1st 4 cart on, then next says D major second ford slash B So if you remember rightly, that means you play being you left rather than you d So it's like this came with NextCard is e minor. First inversion against you. Go back to the first part that you did on then d major. First four slash b C played D major first and again left hand, and I would like to practice those cart first without the broken pattern. So So just go around that a few times until you're really sure where you going. I'm just not fingering. I'm doing 1 to 5 in my right hand and then I'm going 135 for the D second Virgin getting plain walnut to five for the A minor first. And I'm just doing 1 to 5 again in D major. First on the left, I'm going on 31313 Again, it's your choice. But that's why I'm doing so. Part of video practice those cards and then will do the broken car. Patton. Okay, so the broken car pattern this one is slightly different to the one you did in the previous lecture. This is going to be bottom middle top top, middle bottom applied exactly to those cards on again. It's six speed per bar, so let's just do the right hon. First, you've got the E minor first, but with the pattern of bottom middle middle, take on, then the next card is the D second. So the same person again bottom middle middle blotter on it goes back to the e manifest with the same pattern bottom, middle, middle bottom and the same again. But on the day major, first bottom, middle ton, ton middle have a practice it that with your right hand getting you to the bottom middle top top, middle bottom pattern sounds, bit crews. That doesn't it. But that's what is so once you've got used to doing the right hand, if you just at the left hand remember your left hand just holding underneath the full six beats. So play it for slowly now seeking. Hear what? It sounds like a middle, and not without me speaking. Okay, so have a go that you might need to practice that slower at first, just so you can get the joins between the bars. If you find to do in this e means you're going too fast for each bar. So I was better practice slower, but with an even temper, which means no gaps between the bars rather than playing fast and stop. So go slow at first. For example, Snow, even this purse himself chance to find the next on the next car even slower if you need, and eventually you can speed up second playful piss so on that piano riff is just an example, but you could apply it to other car progressions with six beats per bar that you think it suitable far 53. Broken Chord Patterns 4 Beats Per Bar Someone Like You: You can also use broken car patterns to play songs with far beats paper. For example, Someone like you. You originally learnt it at the start of the costs, using single cards, but also in a simpler key with the sea. But now you're going to learn in the original key because you will be getting my usedto mark complicated cards, and with it you're also going to learn a new broken cart pattern when it to same pattern that's being played in the original track. So this pattern is taking the trade card ship. But playing the pattern bottom, middle top, middle bottom, middle, top, middle. So if you take the first card, which is in a major, you're going to be going bottom on then middle top, middle bottom, middle middle. So that is the basic card pattern. So let's take a look at the cards, and there's quite a good example of something I want to warn you about. So before we look at the broken car pattern, let's just look at the first far cards now the 1st 1 says a major with next one says a fault slash g sharp. So if you were to play that exactly as it says. You play in a major on your right under four slash g sharp in your left. You hear that sound? Very clash. It isn't it. That's because it's not quite right. If you were to play it with the pattern, it is not right, is it? No, this is what I want to warn you about. Sometimes when you get in free car cheeks from the Internet, it's not 100% correct. So in this situation, what they're hoping you would do is not what they're telling you to do. They're telling you to do this, but the hope in that you will play a g sharp with your thumb in your right hand the hope that you'll drop the car down like this. Okay, technically, what they should have written is a This is a first C sharp minor second inversion. So if have bean technical, it should say C sharp minor second inversion forward slash g sharp, but quite often with free car seats from online. If you've got a card and then the next card has a left hand, that's very, very close. One to meet on down. I want you to follow that with your right hand. So you follow where the left handers. That's something we should just kind of have to listen and go. Does that sound right? Okay, it doesn't sound right. Let's try putting that nerve in your right hand. The same is the left hand on it? Probably be right. Just a warning. It's something you just have to watch out for. And with that in mind, I decided not to adjust this country because it was one of the most downloaded and reviewed card cheats for this some. So there have been thousands upon 1000 people that would have used it, so we're gonna keep it as it is. Also, the original has inversions, but with what I just said in mind, we're gonna play it at it says with just these root positions. So there's gonna quickly explain how long each one it last far. So in the intra on diverse, each card last for two bars. So 1231 technically eight beats all together. And then from the bridge on the chorus, it's just one bar per card. Okay, on very quickly. Just gonna take you through the intra just so you can see what is supposed to be doing first. Carter's name, Major. And then you've got on aid for Dusty. We just talked about that. Gonna bring the thumb down in your right hand to the G sharp or a flat saying no and then shot minor on. Then demand. Just play below Bill C now in the moment. And then we just need to apply that broken car pattern. So as it's the interest you're playing each card, the two bars. So the interest like this 1233 to 3 on three three. Okay, so that's the card pattern. I'm not gonna walk you through every single step of the way because now we know how to do that broken car pattern. You just need to play through it. Remember, for the interim verse, each card players for two bars, so eight beats all together on for the bridge and chorus. Each card is playing for one bar so far beats all together. So now I'm just going to play through it just up to the end of the first chorus. Just say you've got something to refer to when you're teaching yourself it so have a go at that. And remember, as always, girl slower when you first doing it just so you can get used to the different car changes on that new broken cart pattern. 54. 9th Chords: Sometimes you might see a card sign that has nine are on 11 next to it. This means that they want you to other ninth or on 11th interval to the cart, so I'll show you how to make the called city nine. That means that 1/9 interval on top of the C seven card. Okay, so si seven. Is that so you need toe added nine, which is 123456789 So that's the card is a big card. It's a big called. First of all, I want to just talk about how to find the ninth easily because it's not just simplest counting up, because if you're on different cards, you can't discount it white nuts. So it is. Where is to find a seven and then add a major third on top. And if you remember the way to find a major third, it's a missed out three semi terms and then pleather not above sea place. And if you wouldn't be hard to find the C seven again, we were doing it by finding your route position given up adoptive on down the Fulton. That's how you're finding your seven and then you had a major third. So, Mr Out 123 player not above Now I've got that stage. As you can see, it's a pretty big card. I mean, I can't I can't stretch that far. Well, just about, but hardly so what you could do in order to play that you could either play the sea in your left hand on bond. Play the other car tomorrow easily. By moving your hand up. That would be C nine. You could play the sea, which was there, a narrative high. So it's classier is your choice. You know that now you might have noticed the deer A Both. That's assume it is when you do a C out to the reason why the put in C nine, rather than see at two, is because they want that d to be on the top of the card. And also it means including the seventh as well. So that's the reason why they're not just putting CN to because they want the D on top. And also it's kind of quite jazzy stuff. Really. You've got these added third above, so let's do another one. Let's do G nine. So what you do, you find you g major? Then find your seven, which is G but a full octave down the terms that g seven and then you need Thio added on top. So you would at a major search. So you go miss three out. 123 then pleasure. Not both. So you found out that that g nine those notes with a on top on again it is a very, very big card, So you could either miss the G O and play that in your left hand, even do it. They're on and play the other nurse. How many fingers you could play the gene in your right hand There into that? That's a gene I as well. Let's do another one. Let's do F nine. So find F major card, then find a seven. So we were going Beth, but productive down a full term to semi terms, which takes toe a flat. Then you need to add your nights on top. So the major certain, really 123 other notable Get F nine. Then you need to find a way to play it without being so much of a stretch. So I just said a moment ago you could either play F in your left hand. Move your right hand up to cover. The rest of those notes are you could play the lot of higher, so it's easy, Teoh. So that's nine cards. 55. 11th Chords: So let's take a look at 11 cards. You probably won't see many of these cause. This is heading into the realms of quite complicated jazz card, but I'll just explain it. So here's how to find a C 11. So it's a similar process, really. So you find you see major seven, but then added nine, which is a major third on. Then you need to add a minor third on top of that, which is leaving to out so that a C 11. And as you can see that very, very hard to play with one hand because it's six nuts, so you'd have to figure out a way of doing that. You could first of all, play that seeing you left done down there, and then he you'd have to add the E above there as well. So it's getting a little bit complicated here. See that in order to play that again, you probably will come across these much, especially at this stage in your learning. But I just do one mile just in case you do see you've got something to refer to in how to figure them out. So let's do a G 11 So then you add you're seven. So a productive from the route down the term, that odd major third. So 123 and up there, that takes you to the G nine. And now we need to find the 11. So manifest 12 I see. So that's G 11. And again, it's a massive card, so you would have to first of all, player, the junior left. I mean, you could always just split into. I saw two hands do that. Oh, you could play G down there and then at be up there. So that's how to find 11. Cause. But other said these nine and 11 cards, you probably won't come across them that much on a lot of car chiefs, but if you do, that's how to figure them out. 56. Rock Rhythm Pattern (This Is Me - The Greatest Showman): another rhythm pattern you cannot tr Playing is what I call the rock rhythm pattern. This has a nice driving energy on could be used for lots of different songs. It sounds like this. So here's the pattern you're playing right hand on Every man beat. So you going? 1234 But your left hand is playing on the one on two on three and four. It was playing on the main beat, but under half beats. I just played the car progression from a song called This Is Me, which is from The Greatest Show, meant the film. So let's just take that car progression from the chorus so you can have a girl but learning this rock rhythm pattern. So from the start, you paying a D major when you play the d major and you're right. And also that single day in your left, on the wall on your left town, paying on the and after that right and held down. So it's we left together and three together left on the end, form a pattern together, left together, left together, together, left. So let's just go through that complication. Now you've got two bars of the D Manager, two bars of the B minor, one bar of the G major, one by a major and then another two of the D. So here is 1234 on again on day 1234123123 23 and two on three. So have a good practice that slowly, just to get used to the toward notion of the together, left together, left together, left together, left on. So I'll just play fast. Fear 33 So have I got that Justin. Example. How these rhythm patterns can be applied to lots of different songs. It's your choice, the scientists, by culpa that actually use this rocket within pattern. When you talked it, we have color focusing on just the cards, so we're doing a single notes and left hand just holding for the full bear. But you can use this rock with an pattern like this together together together, so you could even have a go at trying to apply it to the scientists by Coldplay. Because you already know the cards. You just need to add extra notes into your left hand. On the one hand, on three and four and 12341234 and three. So that's up to you. If you want to have a go at that, you can try playing into that. 57. Rock Rhythm Pattern Alternate Hands: You can also flip it around so you could play eight beats per bar in your right hand and far in your left, which would look like that. So let's use the same car progression from this is May. So this time you're playing to get them on the wall on your right hand plays on the to get them on the run and together write together. So it's one and three, exactly opposite to what you didn't before in the right for on your left. So have I got that through the car progression starts in the three again, so there's another rhythm pattern that you can use whenever you like. 58. Arpeggiated Chord Patterns - Waltz Time - 6 Beats Per Bar: way. You may have heard of scales and arpeggios before, and arpeggio is essentially the Triad card broken up and played up and down. The uptick is like this. You can take that arpeggio concept on use it whilst following card sheets like this. Yeah, it is, in fact, very similar to the broken card pattern that I talked to you earlier on in the cast. Except you're adding an operative on the top. We used it in Bolivia before you're going bottom, Middleton Middleton. But now, with the arpeggio pattern, you're gonna be going bottom, middle top active of the reposition top Middle on that can go on in circles. Bottom, middle top Active middle. So how they got that dis using the C major card on this is in groups of six is super going . The 123456123456 That's the pattern. Practice that, and then we're going to apply it to a some 59. Arpeggiatted Chord Pattern Applied to Unchained Melody and Trusting Your Instincts: Let's take a look. A unchained melody by the righteous brothers. I'm assuming that if you're teaching yourself a song using a card cheat, you'll probably know that some quite well. And sometimes you need to use your instincts to be able to tell how long to play the card or went to change over because Carty's often don't tell you how long to play each card. So after not taking these cards directly from the Internet, so for most of his birth, you clear this arpeggio card pattern. Twice she go 123456123456 And then he moved down into on the a minus 123456123456 That pattern. But when it gets so I use of mine. If you know the song, you'll see that it needs to play on the G for longer, rather than playing it through just to bow out of six. I'll show you what I mean if I go from an time, goes by and I'll sing it seeking here and so So that was twice. But you can kind of hit. It needs to go along on the G, so you would play it for twice as long. Should go still. Oh, you see what I mean? You can kind of hear that needs to go longer. So again, these cards sheets don't always tell you how long to play. So use your knowledge of this song using instinct. And if you feel like I need to hold on that card for longer, do it. Okay, so what? Nothing. There's a C seven. So all of these cars tried Qazi going bottom, middle toe active middle bottom for one bar. And it's card is played twice through, apart from the G, which we talked about but the two C seven on the last card here. So rather than going but the middle motive top middle here you can just play the seven instead of playing the active. So again, the seven. You find the sea magic art and then go a productive down the term That's a C seven. So if you to play the arpeggio pattern go what's a middle topping and just laid on top? 123456123456 Now, if we go into the chorus. The lonely rivers flow orbit, but far in the verse. Each card was playing through two bars each. But just talking about using instinct in your knowledge of the song. If you were to play the F twice on that, lonely with its floor did hear that it doesn't sound right with. Plus, if it were too long, I think you see it doesn't affect, so then you have to listen to it. OK, maybe just try and play that for one bath to this. You hear that the calls are actually above the words that the change in that so you can use that to help you. But if accounting exactly each of these cards is played for a full bar, which is 61 Teoh six pattern, it's just for one time through. But then again, it gets to the to the open arms of the sea. 1 to 6. You need Teoh again. I think that's the longer Teoh it needs to be longer. It's all about this saying there's been random, so that's the idea. You just need to trust yourself of things are do I need to play that for longer? I don't need to play for charter on. More often than not, the cars are over the words that you need to change out. So I wanted to have a go really knows cards, but applying the arpeggio pattern to them and you can just do a single notes in your left hand. And now I'm just going to play through it so you can listen to it. If you need to check anything, my goes. So so way I'll be coming home with me. And then it goes back around again, into the verse. So that's that. How they go that obviously you can do the full song if you'd like. 60. Left Hand Octaves: So far, we've been focusing on right hand cards and patterns. I'm just using single notes in the left hand, but now I'm going to show you some left hand patterns and techniques to bring your playing to another level. The first thing you can do is simply add an active into your left hand. This is something that most piano players will do, especially in rock pop on blues. You could apply this to any of the sun we've used in the car so far, so let's take all of me. By John Legend. It's the call to a minor C sharp. First, a flat second on E flat on Do you were just playing with single lots and you left like this . So hopefully, if you've been following the cast, you can play that, not weaken at octaves in the left hand. So remember on activites eight knots of parts of playing the same. No, but an octave apart. So might be 90. Just practice playing the first, at least Lisa, you might find it's a good idea yourself left. I think if you just move that share down on, then you can just put together with both hands and I just said You can apply that to any of the songs have learned so far even though one is just don't unturned melody by this. 61. 1st 5th and 8ve Pattern - Left Hand - Jar of Hearts: another really common pattern used to fill out the left hand is a first on active pattern. So with that you condone brick the notes up and create some good rhythm and energy. You could go bottom, middle top, middle bottom, middle top men are bottom middle top, middle top. You can change up, however you want on its use all the time by loads of piano players. For instance, Einaudi. He uses it all the time, and it's very Miss Nouveau Beyonce song so that there is just the person of bottom Middle top, middle top, middle bottom, middle top metal top. So it depends on what time you looking at? How many beats per bar so you can have a go at this. First of all, we're going to take a look at how to apply it to far beats per bar, and we're going to take the song Jar of Hearts by Christina Perri. So the first thing we need to do is figure out what notes to play, and then we'll take a look at the pattern you're going to use, so we're going to learn the first verse on cars for this song. Andi in the verse. You're just gonna do basic cars, so we're going to do The pattern in the car is to bring the energy of So we need to figure out what no to using for the cars cars. So, as you can see, the first card say's de so that b d major So you play D major theory. Easiest way to find your notes in the left hand is to play the call that you're playing in the right hand in your legs, but to active lower. So you know that and an octave lower. Okay, once you got to that, take the middle of town, so that will give you a position. Perfect. Fifth. You don't need to said so. Rude position on fifth, then, while you need after that is the active. So that d goes up adaptive. That will give you first my position. Perfect fifth adoptive. So those the notes for the teapot. So let's just apply the pattern first of all, So the pattern we are using is bottom middle top, middle bottom, middle, top, middle, and that would apply to one on two and three and farmed. That pattern will cover a full far beat bar Middle bottom middle. If you count out 123 so it could do it, he could play just one carton. You write and play that pattern underneath, and that would be middle, middle, middle. That's a pattern he could do. You could hold your right hand of the top for the full bar. Worry about your left, but in this song, I wanted to play the card in your right hand on every man. Be so going one, 23 song, but with the left hand Could you go in one on two Man three Man formed with that bottom middle top, middle bottom, middle top Middle pattern. Together it's 123 So that's how that pattern works. So let's do the next one together as well as the next card is a major, so you find a major on. Then you find it two octaves down in your left hand so you play that made your left hand, take up third and then make the root position go a productive root position. Perfect. Fifth and active and again you can perhaps up atom but a middle top, middle bottom, middle top que on. If you add your right 100 top. You've got one on. Okay, the first card is decent. Got one and three and the next card is B minor. So let's do the same. Your right hand b minor simply the same. Carney left town to active Lower on. Then you take the third out, so you've got the root position. Perfect. Fifth on. Then you find the up to the buff. I should say that would suggest the fingering 5 to 1, because that's the closest fingers available, but it's up to you as usual. But again, I would suggest 52 person again. Bottom, middle top, middle bottom, middle, top, middle. And if you do this, right hand cards on top of that on and the next card is a G. So you take a gym age in your right hand on, then find the left answer. Play a two octaves down G on, then taking third out. So just leave your position on your perfect fifth and then you find your activity. Some on this pattern applies to far Bigsby Bar on their fight platter two beats per bar because you could go to the middle middle one and to the reason why I'm saying this is because in this song, collecting a jar of heart tearing love apart actually just stares on the G for two beats and then move City minor on the next CB's. So it's going. So that's what it was like to be. It's on the G two beats on the team minor, so you actually don't need to move your left hand all because the third in it, which affects the metro card. Just playing a musician. Perfect. So those two cards there you go on and on the right hand would just move to the G minor card on the next to base on the three. Let's just go through the first fall card there together and chorus with those patterns of the bottom. Middleton middle bottom, Middle Middle with your right hand playing on the men, be of the 123 far. So go through what I just taught you then for that chorus, then what? You've learned the cars with that new left hand pattern. We're just gonna quickly go through the whole son toe. Learn that chorus now with the left hand Pattyn on, then we'll continue once you've done it. Okay, so let's just look at this song, OK? So we're going to quickly blast through this verse because you do know a lot of the techniques and cards already. As you can see, it's got B minus D's images. The miners you should be getting you through all these cards now is also somewhat forward slash cards. Um, and there's a D five, which we have mentioned before, but we'll get to in a moment. First of all, it doesn't say how long to place card for does it? If you know the song, you'll probably be able to tell when the car changes just by your knowledge of the song. All of the Carter played far times up until you lost the love I looked the most that g there from that G. But until I learned to live half a life and now you want me one more time. All those played twice. Okay, so it's four card hits the start, and then it changes after the G. And then another thing I want you to do is try applying the kick drum rhythm you learned earlier on in the cars. So if you remember that rightly, you're right. Far beats on your left hand comes on the end after the far. But this to be. Oh, and you apply that to any card is. So if it's day you play Dean Kearney right on a single dean you left. So let's go through it. 233 Now it's two hits reach card to beats, but I still want you to do the kick drum with them applied to two beats. See it go. So now the repeated left under is played on the end after the two like this to end. The next card is a d. Ford slash f Shops. You play D card. You're right. D major andan F sharp Teoh. Be one Teoh on that carries on for two card hits. These next two lines to to to now it says D five for Touch A for that card. So I have briefly mention this living the cost. A D five means play card. Also, there is a power card in guitar, so you leave the third out of the car, so it's just the open fifth on it said afford slash A. So you play in a left and a defied me, right? That's what I call this. See that same pattern in the kick drum two. And then it's a major. So So from the south of that line go Teoh, then you into the chorus, you know, not text to the end of the chorus. So that was the verse in the chorus to Joe Fats with the new left hand pattern in the chorus. And for the verse, we used other rhythms and techniques that you've learned so far. So I want you to have a go learning that and, as usual, start off slower so you can get the joints between different cards and then speed up the pass and just say, you've got something to refer to. I'm not going to play through the verse and chorus, but without me saying anything. Uh, 62. Left Hand 1st 5th and 8ve Pattern in 3 or 6 Time: you can apply this left handed technique to any time in with just a few adjustments. For example, if you were playing a song with three beats per bar, you did the same thing. You get your real position first on and the perfect fifth on the adoptive. Then you just play with three beats per bar. So, for example, you could go bottom, middle, top, middle tongue middle. And that would take you through one man, two on three so you could just repeat that putting around in circles. But middle, middle, middle bottom, middle, middle, middle and now the counting. 123 and one and three off. Let's just sit or six beats provide. You could do the same thing, but just bottom middle top bottom, Middle top like this. 123456 I just show you it's a shark are progression with the idea for 666 Middle, middle, middle middle. You get that? So this really quickly so shouldn't have ago. Playing with different timing in your left hand, we're going to just do a really cool car. Progression, which has been used for Lord different songs, is actually the same car progression is the scientist, but it's useful order stuff. Even right there, you can hear parts of Caribbean. Yeah, that complications so common. We're going to just use this car progression to learn this just so you can apply this left hand technique. So let's have a go. So, first of all the calls that D minor and then B flat first inversion major second inversion Theun See major route position D minor position B flat major first again, major position there and then see major first inversion. Okay, so the left hand you go through the same process that we did in the previous lecture. So find your card. Whatever called Do it with your left hand to active Lower that take you third out. So you've just got the first? The fifth. I find it eruptive off the room, which is the way. OK, so that's the first part. Let's just go through the timing. So the pattern is bottom, middle, middle, middle. OK, on the 123 Okay, so with that played together, just hold your right hand over those three beats on the left and goes one and Teoh three and the 1st 1 to 3 bottom middle middle NextCard B flat first inversion. So with this to find the left hand, you always need to go from root position. So the root position to B flat major. So find the left town talked of lower on, then third out that gives you a route on the perfect fifth, then finding the tip of the route with. So that's the next well. And if you first inversion in your right hand, but in the left hand is the same pattern. So it's together. It's one Teoh on. See it? Have you hand stretched out there with your fingers up. Outwards are just current in the men so you could see them. But it's out that so it starts off. But 23123 Next card is the F second version, so you can do the root position, but for here, then go down to actives. The third out. Find adoptive care, such a left hand woman to freedom and to middle top middle top men Right hand. It's the F second through this next couple years. Safeguard D minor. 123 1st see, hopefully getting used to this idea. Okay, that's the first far cart the next far pretty similar, but a couple of changes in the inversions. So it starts off with a D minor again. Freeman save again here, beef at 1st 23 And here it's slightly different. You've got F major. And you're right. The left on the same so f major route position in your right on this one, he is just slightly different as well. You've got a C major. First inversion left the same pattern. So I'm just gonna play through it so you can hear what you're aiming far, and then you can have a go. 12333 And that's the call progression. So have a go at that with that left hand pattern, it might be an idea to start off by just focusing on the left Town CEO way. Uh, because it might take some practice just getting used to the jumps because there's big jumps here, so that might you go over this kind of thing that might you'll get used to it. I remember this is a technique that you will be able to apply to any of the songs in three or six time of your choice. So just go three car progression so you can get your head around that left hand part, and then you'll be adding another string to uber so you can apply it to anything you want in three or six times. 63. Left and Right Hand Pro Sounding Broken Chord Pattern: You can also take a broken car pattern on a plate with your left hand that if you use the arpeggio pattern e right hand, it can give a really professional sounding effect. So I'm going to teach you this really cool pattern that combined broken cards and arpeggios in both hands, and you'll be able to use it for songs with four beats in a bar so you can apply it to anything. I'm going to apply to the card in the chorus of someone like you, because it's far nice, easy cards so you can get used to this pattern first, see G a minor F. So, first of all, here's what the passion you're going to learn sounds like with those four cars. That's just apply to those far card. But as you can hear, it sounds quite advanced, isn't it? Because you're playing constantly in the notes of flowing up and down. That was actually just a broken card in your left hand on the output to a new right. So here's how it works. You're playing something on every beat and half beat like this. 234123 Touch the beats You playing on the one on the end so that every beat and half beat on the way you do it is you play the full card in your right hand, played with 123 fingering rather than 1 35 because he eventually going to be going up the arpeggio. Okay, Right hand started with the finger in the card and along with that the left Hampl it a single root note. So you play together full cardio, right? Singling your left, then go through the broken card in your left hand. So if it see you play the broken cars on, then you go through the pitcher and you're right on finish off on the play card and singling you left and then you repeat the root position. Your left e didn't go through all the broken card, but the picture in your right hand do not coming back down on that. So if anything, it is like a broken called all the way through. But this e could think about the right handed its half of the pedja. But if you count that you doing one man to free for that's taking you through all of those beats one on 213 and four and 1234 So it's together and then you left repeats. That's the most important thing. Repeat the bottom now. So you going 234 Otherwise, what will happen is if you go straight through, you go on to bring on far yet another half big to play so you could come back down just to make up the beats. But it's easier to keep it bottom to top. So repeat the bottom nerve just for this exercise at the moment. So let's do that, see? And then we'll move on to the G next. So you do the sea. Then you go through the the next one's G. So do exactly the same thing, Ugo. Full card in your right hand of the singling you left on you repeat the process. Go through the call. Yeah, and then it carries on in that pattern. So a minor. So together it repeats the left hand, goes to the right, hand up to the active on top on, then semicolon F. So card in your right, singling you left when you go through, and that's the far card pattern. There on the C G A minor. So I'm just gonna go through it now with accounting to free four. Band free. So have I got that? You probably have to start off slower just so you can get used to this new pattern. So any pierce you want, as always, start off slow at first so you can get used to it on, then build it up once you've got used to that pattern under playing it to those four cards . I'll see you in the next lecture where we're going to apply it to another song. 64. Pro Sounding Broken Chord Pattern Applied to All of Me Skillshare: As I said, you can apply this pattern to any song with far beats per bar. For example, All of Me by John Legend. You've already led the intra anniversary office, and then after that, in the bridge and chorus, there are more variations on the piano on Do. You could apply the pro sounding broken cart pattern to those cards, so let's take a look at them. First of all, I'll play it with the pattern so you know what you're going to be learning on. Then we'll look at it a little bit closer. So after this booth, it's a free cars, and then he goes on to the cars so that you can hear it. Sounds quite cool, doesn't it? And it is just the exact pattern up in teaching you on. Oliver Doing is reading those card symbols, so it's quite cool that you could just learn a pattern and then apply to these cards and you're reading card. But it sounds like a really complex Peter learning. Another said. You can apply it to any song with far beats per bar because of the one. The pattern covers four beats, so let's take a look through starts off on the bridge, also known as the pre chorus. Um, with a B flat minor card. So I'd like you to find the B flat minor above middle C. So not here in this position. I'll give you a few moments to find that. So hopefully you got this car appear. If that minor with your 123 fingering so 75 to play The Octopus. There you do the same in car in your left hand with 531 and then it's the pattern, so you start off together. Then you repeat the lowest. No, remember, and then you go through the broken car pattern to get the card you left. I'm single and you go through. So 1234 and it plays that B flat minor card for eight beats altogether. So it's kind of played twice. You go 123 and then in F minor, and that's just for four beats. So it just played once. So same pattern F minor. I want you to have a go finding that f minus. Copley's okay, F minor. Hopefully, you've found you do to save me a left hand, and that's the ship, but it's the same pattern as before. So card in your right singling you left one Teoh on the next called it is a flower so e flat major. So I found that e flat major car, please. Which is a 3 to 2. Okay, a flat. I found that. So to say Patton Teoh. So let's go through the whole pre chorus again. What? 23 for now. Ominous next part in the chorus. Can you see there are some assist cards. You can still stick to the same pattern and still pay the such card if you just jumped to assess card of f source to So if you remember, the F says to rather than the plane the F minor, you suspended a second into the card. So a second is a full turn up from the root. 01 to 7 cf, too. So with this pattern, you do the same in both hands. So that's the both hands. You might just have to slightly adjust the fingering it's up to you depends on the side of your hands. But with this pattern ago, same again together and then you go to the broken car audio. That would be that Teoh to go from a staff of the carcass of a flat that a flights paid for eight beats. So it's kind of fled twice. So you've got 12 to 1 minus. So 123 Now, these are all cards that you've been doing in the pre cars that B flat minor. So it's just this beef up twice to go e flats thus far now, So the flats is far. If you remember rightly, you play the e flat major card, and then you make the third girl percent return. Yeah, so the same thing you play the card single he left and repeat, 123 Next is that major normal? So you do the same pattern with that card ship, and then it just repeats the same car progression again. You've got a flat to the next B flat minor too far. That's that part. And then after that, you onto the last part of the chorus. So the F minor. So again, this is what you've already done. So 1234 c sharp, major. So I'm just gonna go sit into that which is this and major, too. 12 again F minor to Major major, and then you finish up on E flat major. So it's not exactly what don't. Legend is playing, but it sounds good, doesn't it? So I want you to slowly work through those cards with that pattern of it together and then repeat the bottom of those far beats. Andi. Want to get used to it? Practice slowly, and then you can, as usual, build up the purse. 65. Pro Sounding Broken Chord Pattern All Of Me Tempo Practise: So just so you can get used to playing this in time, I'm gonna play along with it slowly with a click. So it nice and slow so you can practice this pattern with the different car changes on. You can play along with me now, so we're gonna wait for four beats and then we're gonna come in on the B flat, minor start of Greek chorus. So it's not about fast. So it's gonna be this kind of pierce one and two on free on foot. And so let's begin. Ready? Wait for four beats to free three Teoh And then after that, it goes back around toe. So practice that have a go trying to play along to that click it become and then, as usual, wants to get used to doing it slowly. You can speed it the pass until eventually you can play a pitiful pierce. And with the singing in the chorus, it sounds like this because of imperfections. Me Give my my way, way. So that's what it sounds like on what you're used to doing that pattern you'll be able to apply to any car progression with Fall Bigsby bar that it's suitable for 66. Find Your Favourite Songs Online For Free: theme with the great thing about using card to play your favorite songs is that 99% of the time you can find them online for free. There are lots of websites out there that have car cheese, but I think one of the best wants to use is actually a website called ultimate guitar dot com. I know you think it would be just for guitars, wouldn't you? But it doesn't matter the same cards, so you can use them for piano, too. Another good thing about this website is that they have reviews so more often than not, if you choose the one with the most reviews, it will probably be accurate. Are sometimes card sheets online can be wrong. So with the review system in place, you can choose the ones with the master will probably be right. Let's just say you wanted to teach yourself a song using the carbs, So let's because some Elton John you also now it's important to type in the word carbs because you're wanting the car's not the sheet music because you wanted to free. So the top searches are the website. I mentioned the ultimate guitar. You can use the Web sites if you want. Like this e cards that's often quite good, but ultimate guitars frilly. Good to be. Click on that. Here is the review system are talked about. So there's different versions off the same song and you can see the star threatens. These are the top ones that won't hurt. So 111 like top reviews there. So let's use this one. So here's your song and here's the cards here, so let's just take a quick look. Um, can you see here this stuff here that's and it's off guitarists. These are the different frets. You press down for the cops do. You don't need that. So this is the card, so you can just print this up. If you want, you can either drag it and copy into word or something. Oh, you can go to the bottom of the page. It's and click print so you can click on that button you click print on their website. It might have these checked here, which is stuff aimed guitar. You can take off the meta info, which was aimed it like couples into for the guitar and the tunings. You don't need that you can take off the cards because that's the card shares on the guitar Fret bar. You can keep the strumming if you want, because remember, we talked about timing. This is actually helping you to play the rhythm here, showing you what rhythm to player. So it's got one and two on three and far under, and this is when you're playing in between the beats, so that would be one on two on three. That's quite complicated rhythm, but you could use whatever rhythm is there to help you. I could use here I could use basic rhythm patterns are anything I've been teaching you in this cars. You can keep that. If you want, I can take it off. I lose up there on. Then you just prints off. They dont just click print on, then that's it. Then you've got the car chiefs in front of you for when you're learning the son. I'm going to show you how to use this website to transpose songs into different keys 67. How to Transpose a Song to Your Own Voice: Some of you may be taking this cost to play the piano on its own or to a company of the people are play in a band. But if you're wanting to play and sing, sometimes you might find that a song is too high or too low for your voice. The good thing about the ultimate guitar website that we talked about in the previous lecture is that you can easily change the key of the song to suit your voice. So let's just say you wanted to learn met you feel my love Go panic AUVs So E cards come up first there. But let's do the one by Adele, cause that will be too high for me to sing so I can show you as a good example. So obviously this was Don't buy a Bob Dylan. First of all, but a Dell covered it. So this one here has got lot to review, so that is probably gonna be the best warm. So if you to go through it, you could try singing it. Andi, let's just let's have a look at this bit that that goes high, doesn't it? So it's good. Hi. So if you wanted to move it down, Here's what you do. So if I was 200 saying, You think I care? Well, let's go down. So we talked about semi turned in the car. So half steps. These here the Trump Spurs that minus one plus one, removing the solo part down by one centimeter. I just see what I mean. So at the moment that song starts in G. So if you go to the Trump Spurs on, go down, just one see a little one pops of their minus wall, it's going down to the F sharp. So if you go down again, it goes down to the F. So you would play the same song, but not a slightly starting in the F. So if I go back to the big up before, but it was too high, it's now seeing a sharp so which is the same as a B flat. So you go. I know you have now. It feels a bit better, for my voice is a bit lower, but you could go even lower. He could go down another full term, which is to those let's go down. The two, which is of mind far altogether. So now it's on to sharp, which is the same as a flat Citgo. Again, that's even lower for my advice, So that might be even more comfortable. So this here is kind of dumb to you. Try and sing along in the different keys on think. Does that suit my voice better? So this is kind of down to you, really. You need to judge it in to be asking yourself, Does it feel like I'm pushing my voice? Does it feel to high? If it's too high, transpose it down and if it's too low, transpose it up. So when you're starting, it would be doing in a hierarchy. So that is down to you need to do it yourself. But that's how you transpose the songs opened down using this letter, Trump's Balls button on their not receive and print off once if found the key. I should also explain what a key is in musical terms. So in musical terms, when a song is to say in the key of G, which this one said it's in the key of G, it means is based around the cards on scale of G major Obviously we're not doing scales, but in this case it means it's playing G on it. So it's starting with G on. It's often coming back to the G card as well. That's the best way to explain it to stand with. So if you were to change the key but going up one full turn, can you say it's now on a So it starts with an A. It was in the key of a now along with that, so it's in the care off A. That's what key means in musical terms. 68. Using the Words and Your Knowledge of the Song - American Pie: I have mentioned this earlier in the cause. Sometimes, if you know a song, well, you can use that knowledge on the lyrics to tell you when to move on to the next cart went to change. You don't always necessarily have to count, for example, American Pie this song. So let's take a look at the cards Quite often. When people write card cheats like this, there will try to put the card symbols over the correct lyrics. So the first line a G. I'm going to play a G major second version there a deal with the Left Shop on an E minus seven. I'm just quickly going through these cards because I'm not teaching your card in this lecture. It's more to do with playing cards along with lyrics, So if you know the song, you know it goes a long time ago. Now, as you can see, those calls were over the correct lyrics alone a long time. And if you keep going how the music used to make Miss Person has done this car tree has placed the cart symbols over exactly the parts of the words that they need to be played. So if you know the song? Well, you can just sing along and play the card in time. I'm not going. 12341230 counting on just playing in seeing So what? I need to have a go at that. Obviously you'll need to do it with a song. You know? Well, but just try it, cause it might save yourself a lot of time because you don't necessarily have to count everything through. Your instincts can often serve you well in music. So if you think hang on, I feel like the car should move on here because in the summit moves on, trust your instinct and change the card. So if you do know this song well, have a go up following the cars, using the Olympics to change Andi. Right now, I'm just gonna quickly cleave the first verse and chorus using that technique second hair. What? It could sound like a song time ago how that music used to make me and down news. I had my chins that I could make those people dance. Maybe that be from Rwandan. Check wary. Made me shiver with bad news on the step I take one monster e can't remember if I cried when I read about it with a bride, but something touched me deep inside. But so seen will be the day that I die I think the day that, uh and that's that another was doing there was following the cart symbols singing along because I know the song using the lyrics there. And then when it came to the chorus, heard the song. I knew it was playing these cards twice, so I just played each one twice. So have a go at that. Either with that song or another something that you know well, and see if it works for you. 69. Numbering Chords Using the Degrees of the Scale to Understand Chord Progressions: One thing we haven't really looked at so far in this course is the numbering of cards. And so we're going to take a look at that now. This is really useful because it helps you to understand how chord progressions are constructed. And it's also essential when explaining some of the more advanced techniques that we're going to take a look at. The reasons why I haven't gotten through this previously, is because the initial goal was to understand and read card feats. But with this knowledge, you can start to unlock music and see how it's all connected. Previously in the course, we've talked about intervals when building cards and numbering cards is similar except that rather than numbering the intervals within a cause, we are going to assign numbers to cards in relation to a scale or key instead. In case you don't know a scale, it a series of notes played in order. This is the C major scale, which goes from c through all the white keys to the C above, like this. Don't worry if you can't understand the music notation in the examples. I will write out the notes and carbs as well. It's just a visual reference. So if you give each of these nodes a number from one through 27, these numbers are called the degrees of the scale. So 1234567. And then the Topsy is a one again because it's the same note as the starting note, a C, But just one octave higher. Each of these tones does have a technical name. And the ones you may be familiar with from earlier in the course are the tonic, also known as the roots. So that one and that the dominant being the fifth. Now let's turn each of those into a diatonic triad. Chord. Diatonic means in the key of, so, in this case, building codes using only notes from the C major scale. So all you would do start on the number of the scale. So the one here, and just play a triad, which is the one where we play. And then we skip play, scape, play, one 35. And then you would just go through the scale of the C major, but your play that same shape only using white keys. Because the diatonic in the key of C. And you go, You see that? So now each of these chords in the key of C has a Longboat one through to seven. Roman numerals are often used, are you can't just use numbers, but we're going to use Roman numerals for the moment. And there is a reason, notice that some of the Roman numerals are uppercase and some a lowercase. This is referring to whether the chord is a major chord or a minor chord. Uppercase for major, lowercase for minor. So using the diatonic chords in C, you say that the Sea cod is the wall. At D minor is the two. Y1 is the three, F is the four. G is the five is six. B D sharp, and B diminished is the seven. And then the C is the one. Again that now if we take the simple C, G, a minor, F KA progression that you learned to the start of the course and apply the numbers to it. This chord progression is using the 1, 5, 6, far cop regression. And it's extremely common. 156 years the end. Someone like you, never mad alpha. And also hold onto that. And I also used it in let it be. But you went down to the G instead. When the fans, to me. And I'll just quickly draw your attention to that is actually a 15 minus 6 and then fall because it's a minor six up here. I am going to talk about moral common core progressions. But first, let me show you something. If you use the key of A-flat major and do the same thing, and so apply the diatonic chords in the key of a flat. If we then take the 15 64 called from this key, we can play that same chord progression, but in the key of a flat major. So the wall is the major. The five would be the E-flat major, the six is the F minor, and then the fall is that. So then you could then play don't so I believe in, but in a different key to small town. Yeah. So you can play the same chord progression using the numbers, but apply it to any key, is called transposing. This concept is often used in jazz improvisation and a lot of musicians in Nashville use a similar system as well. This being the Nashville number system. They might say, Hey, let's jump onto magnitude 51 minus six in the key of a. And everyone will straight away be able to dive in and play along with the same key. Using that color progression. I will give you the formula for the basic major and minor scales. So you can figure out these diatonic chords in any key yourself. But first, I want to put this new knowledge into practice and show you how you can turn a basic one 56 for cooperation. Being a much more interesting, such as this. 70. The Circle of Fifths: I just want to take a moment to look at the circle of fifths. This is going to help pull out when looking at this really cool passing car technique that I just showed you. The circle of fifths is a way of organizing the 12th Musical keys by arranging them into a circle, clearly showing how they're all related. And as suggested in the name, the notes arranged using fifths, specifically, perfect fifths. I'm not going to go into all the details on the many uses of the circle of fifths right now, like the key signatures. Because all we really need to look up for the moment is the relationship between the keys. The top of the circle starts with a C and moves around clockwise using perfect fifths. The outside of the circle shows the major keys, and the inner shows that related minor keys. And that means they have the same key signature. If the relative minor key, they use the same sharps or flats, lets you use the major keys. So the outside, if you count up on the piano using white keys from C five, you'll notice that it will take you to a G. Watch this. Three. Noticed that you will need to include the C and the counting. So 1, 2, 3, 4, 5, o from C-D takes you to g. And that is the next one on the circle of fifths, C to G. Now if you go at five from G, 12345, it takes you to a D. And as you can see, the next one on the circle of fifths is a D. And if you keep on going 1234, again including the d, so that would take you to an a. And again, you can see it takes you to an a on the circle of fifths. So that's how it works. He goes round in fifths, but counting using white keys doesn't work all the way around because the black key start to get involved. Can you see there's an F-sharp down there and a C-Sharp, and that if there's some flats on the left side as well. So make sure you're counting a perfect fifth, which is a specific interval distance to make sure it's correct. You can also count up by exactly seven semitones or half-steps. Watch this. So yes, so it's important when you're moving by The semitones, it doesn't include the starting node because you're counting the distance of semitones, semitones. So one semitone, three semitones, 67, that makes sense. The distance that is one semitone to that. Yeah. So you can find any perfect fifth by counting by seven semitones. I'll just do a couple of random monsters show you. We'll go from an a, so that's the E, so 1234567, That's a perfect fifth. How about an F sharp? So that might not be obvious because you can't count up the white key. So to find the perfect fifth, we go a shot then, 12, 4567. So the perfect fifth is C-sharp from the extra, but they're one mole will go from a B flat. So B-flat, perfect fifth. So you see now, perfect fifth from the pace plan is. So that's another way to find a perfect fifth, seven semitones. Now why am I showing you this? The reason is that when you're talking about carbs and chord progressions, different cars have different functions within the key. Remember I said that every tone has a specific name. Well, the fifth tone in context here, COD, is functioning as the dominant. And we have talked about the dominant chord earlier in the course. So in the key of C, You've got the C chord. And then the dominant chord in the key of C is the fifth, so it's G. So the dominant means a fifth. Yeah. A dominant chord in C is G. So in the key of a, the dominant chord or the fifth is an e. We can use this knowledge to create some really interesting sounding techniques using secondary dominance as passing carbs, which are also used in a lot of great songs. 71. Using Secondary Dominants as Passing Chords: A passing card is a card that is used to transition between one color to another and connect variety and color to simple chord progressions. Let's take another look at the chord progression, C, G, a minor, F, which is the 15 minus 6, fall COPD progression. Now played as it is, it's nice. If you want to take it to another level and make it sound more interesting and soulful. We can add some passing carbs. We've spoken about dominant carbs being the fifth chord in the key you are playing in. Just to note, dominant cards tend to be seven carbs, which is where the term dominant seven comes from. The dominant chords in the key create tension and give a feeling like it needs to be resolved. Which is also why they tend to be seven carbs, because the leading note, which is also known as the minor seventh from the dominant chord, feels like it needs to resolve on to the tonic note. Let me just quickly explain that and show you. So if from the key of C and we take the G dominant seven chord, can you hear it sounds own thing. It feels like it needs to resolve, doesn't it needs to go to the finished time for the route of saying never finished, finished. So if we take a look, The one in the key of a major, and we take the dominant chord, the dominant seven. And can you hear it sounds finished. So it feels like it needs to resolve. Backed down today. A major chord, the root or the tonic. So that's what's going on there. A secondary dominant is the dominant or fifth card in relation to another code other than the root, you would refer to these as a 57 of five card. So in the key of C, if we find that dominant clade of g, Actually second, then find the dominant of the G. So go up by five. It will land on the D, D7. Now, the D7 in this case is classed as the secondary dominant because it is the dominant chord of G. And within the chord progression, G is the dominant of C. So you could call it a temporary dominant. Can you see that you've got the D7, which is the dominant of G, which is the dominant of C. So you've got to dominance. That's why it's the secondary dominant. You can use these secondary dominant to transition from one chord to the next, like this. So if we take that chord progression C to G, what you can do is you can go and then transition to the gene using the G's dominant, which is a D, D7. Yeah, so watch this scene. And then you'd go up to the D7 and then to the chain C transitioning. So to find the secondary dominant, you need to find the dominant chord of the cord you are moving to. So let's do the next card in that chord sequence. So we've got C, and then we added the D7, and then we move to the G. And then the next chord is a minor. So if we wanted to add one of these passing carts using a secondary dominant, we need to find the determinant of a. So a minor gonna go to the E So that E seven. So if we add that E7 passing card now, so we're going to go seven. And then we said it was an A7, right? So it's a really nice transition you've used. They're using a secondary dominant. Now I'd like you to figure out the dominant chord when moving to F. So I'm gonna give you about 10 seconds. And remember, you can pause if you need more time. But I wanted to figure out that passing called using a secondary dominant. So in this case, the dominant chord of F. Okay, so hopefully you figured out that it's a C seven. Yeah, because it was an F chord and then up a fifth to the c. So if we see seven in between the man and the f as a passing chord, what's this? A minor. And then C seven. To be nice, right? So let's try all that together. So we've got the same D7, the G minor, and finally, see seven to the n. So some really nice passing cards. They're using those secondary dominance. And if you want to have a go at that, disagree with rhythm. I was just playing the passing card on the last beat of each bar. So 1, 2, 3, and so on. So it sounds really nice, isn't it? Now it's your turn. I want you to have a go at playing this chord progression using these secondary dominance as passing cards. 72. Formula for Major Scales: As I mentioned, we would, we're now going to take a look at the formulas for the major and minor scales. Knowing these will enable you to understand card numbers in all of the different keys, which in turn will help you to see the code, patterns and structures within the songs you are playing, making them easier to learn and remember. It will also help with many other aspects of using cards, particularly when applying more advanced concepts, such as using certain passing chords and extensions. Here is a formula for the major scale. Whole, whole half, whole, whole, whole half, whole, whole step, and half the half-step. And if you prefer to use tones and semitones, it would be tone, tone, semitone, tone, tone, tone, semitone. So just to be clear, a whole step is 2.5 steps or two semitones. So if you go home secco, we'll turn, well, and then a full tone of whole step here would not be too there, but would be two there. Okay, So with that, then you can start on any key and play the major scale. For example, let's start on D major. See it starts a day and then it go, whoa, and then up to the F-sharp. And then we've got a hole here which is to the C-sharp. And then finally, a half-step. Let's do another one. Let's do E major. So on the whole. So take it to the extra, another hole, which is nice to the half-step that the a, and they've got another hole and then another hole which the shop and finally half step. And let's just do one more. But hopefully you get the hang of this, a major so the staff in the air. And then it's also up to the bill and on the whole, so not to that in a half-step change to the another whole, another hole which takes you to the F-sharp, another hole. And finally after today. So using that formula, you can now figure out and play any major scale in. And in the next lecture, I'll show you how you can put that into practice and use it in relation to cause and core progressions. 73. How to Use the Scale to Number Chords in Any Key: Let's now take this knowledge of how to play any major key and apply it to your coupling. So let's go with the scatter of a major to figure out the diatonic chords of a major. Diatonic, remember meaning only using notes within that scale. You just built triads from each degree of the scale. Remember that the one 45 a major costs because they are uppercase and the 236 minor because they are lowercase. The seven being a diminished chord. So with that in mind, the one would be an a, and then the two would be a minor. So it was a B, so it'll be a B minor. And then the three is a C-sharp and it's a minor, so it would be a C-sharp Minor. And then the far is major. So it was a D Next or DMA engine. And then the five is another major and it's the next and the scale. So your major, and then you've got a minus six. And the next note was an F sharp, so it'll be an F sharp minor. You've got a diminished seven card, and the next note was a G-sharp, so be a G-sharp diminished. And then finally an, a major for the one again, their staffs, all the cars in the key of a major, diatonic chords. Now if you take a song in the key of a that you learned earlier in the course, being stopped by me. Remember? Yeah. And then we'll go to number those cards. So the progression was a F-sharp minor, D, E. So this chord progression, if you apply it to the numbers, there would be a 1, a minus 6, 4, and 5. So 1, 6, 45, copper Griffin. This is a very common chord progression, BUT low to songs. In fact, you've actually played this exact cop aggression in another song within this course in Unchained Melody, except it was in the key of C. If you look at the diatonic chords in the key of C, C, which is the one, a manner, which is a minus x. And then add B and F, which is the far. And then a geometries the file. So it's the exact same chord progression but in a different key. And it's used for loads and loads of sounds like a sack. But with this knowledge, here's how you can take it one step further. If we take that chord progression in a, but then he was some of those secondary dominance is passing cars that I've just showed you. Then you can turn this cop regression. Do something much more interesting. Listen to this. And it sounds cool, doesn't it? So let's just quickly break that down so you can get used to the process of finding those secondary dominance. So the first card was a major thing on the one. And then remember to find the secondary dominant and to use as a passing car, you need to find the dominant of the car, but you're going to go to an F sharp minor. So you go to an F-sharp, first of all, to find out the dominant. So you could use that seven semitones trickier because it's not white keys, it's not as obvious. So you'd go 1234567. So that would be the perfect fifth. That's the dominant. So it's a C sharp seven. Alright, so you've gotten a major. And then he go to the seashore and enter the F-sharp minor. And the next card is a dy, so dominant D is an a, so it's going to be a 7. So we've got F sharp minor 7 to the dean. And then the next card and isn't a now you don't have to add passing cars every single time, but I did in the example, so find the dominant from a, so a repaired be so B7, so that's the passing card there. So d. Then you mentioned that. And then finally, it goes back down to the 8. If you're going to play that coproduction again. So you'd need to find the dominant form, a, TSO, E, so E7. And then back to the a. So caught up with us passing cars just by year would have been quite tricky if he didn't know about card numbers. And we're able to figure out secondary dominant for the passing carbs. So straight away you can see the value of knowing about these cognitive bias and a bit of theory that about secondary dominants. So feel free to play around with this yourself. Maybe have a go at play that chord progression there. But also perhaps even have a go at figuring out the card numbers to some other songs that you can play and maybe even add some of these secondary dominance is passing college while you there to see what it does to the sound of the progression. 74. Formula for Minor Scales: You can do the same for songs in minor keys as well. So here's a formula for the natural minor scale. Whole half, whole, whole, half, whole, whole tone, semi-tone, tone, tone, semitone, tone, tone. So for example, if you wanted to play a minor, it says an a. And then you go, whoa, which is to the F sharp. And then half step, whole step, whole step, half step to the side. Step. And then one more whole step. We'll do another. Let's do a G natural minor. So step, whole step, half step. And then WHO, which would take you to the paper? And then a half-step which would be to the if, and then hold to the app, and then hold to the king. So using that formula, you can find any natural minor. And just because I'm a teacher and I feel like I should mention it. There's also a very common minor scale called the harmonic minor scale. And the only difference, the seventh note of the scale is sharpened. So if you go back to the mine that we did. So B, whoa, whoa, whoa. And initially the seventh note, the day that, so with the natural mine, it was the day that the harmonic scale, It's shop and not D to the D sharp. And then we'll go down to the GMAT as well. So go. So the seventh for the next role was on the F sharp and if the hominid, and then so the G. So with that formula, two different minor scales, the natural minor and then the very common harmonic minor scale as well. 75. Applying the Chords and Numbers using the Minor Scale: Here's how to figure out the calleds for the minor scales. The wom is a minor and a two. Is it diminished minor. Three is a major. The fall is a minor, the five is a minor, and then the six is a major, and then the seventh is a major. And the reason why it's called flat next to it is because of what I mentioned before with the harmonic minor scale. So that's a very common scale and that's often sharpen, so it's flat and back down that. So then if we apply the cards, Let's just do the scale of a minor. So the a minor scale, the natural. So if you apply the triad cards, we've got the one as a minus a built in a manner that she was a base or B, a B diminished cart. And this is what Ditech remember, so it's all in the key of a minus, it's all buying keys anyway. But because C major there is a major cost. And the fourth is a minor chord, so B, D minor. And then five would be a minor again. And the six are the major. The seven would be a major as well. And if it had been a harmonic diminished stamp and it's just major and the seven there and then finally won a manner again. So that's how you can figure out the card numbers for any key using the natural minor scale. 76. A Quick Chord Progression Test: I want you to put what you've just learned into practice. In the next lecture, you're going to learn a new left-hand broken called arpeggiation that you can use. But before we do, I want you to figure out what the colleague saw using the numbers. So the cop aggression is 1 minus x monotone five in the key of G major. So that's a 1625 in the key of G. So let's just quickly recap the steps. First, figure out the major scale using that formula. Then apply the correct major and minor chords to the degrees with that scale. Once you've done that, it will just be a case of selecting the correct cause according to the progression I have just given you. So please pause the video and figure out those columns. And I will give you the answer once you resume. So hopefully you figured out that it was G major, E minor, a minor, and D major. And if you feel like you need to see the process that you first of all figure out the major scale. So staff and the G. And then, whoa, whoa, then, and then half-step, which would be seen within another whole step, would be another whole step. Whole step, which would be F sharp, and then half step to G. So that's the major scale. And then you need to build the triads on top. So you start off with a major. So the wall is a teenager. And then I might not want that to be minor. C major, D major, E minor. And the seven would be a diminished. So from this F sharp, diminished minor, and then finally a warm the G-Major on the top. And then you just take the wam 65 from those calls. So hopefully you got that right. Feel free to work it out in other keys if you feel like you need malpractice. 77. Left Hand Arpeggiated Broken Chord Pattern in 4 Time (Over the top): I'm now going to teach you another arpeggiated Cart button that you can use. But it's just a little step up from the previous one that you've learned in the cost. This one involves going over the top and the left hand, like this, and so on. So as you can see, it's a little bit trickier, but it adds more depth as to re, enjoy using is bigger and creates a more flowing sound in the left hand that can be accompanied by either supporting cards knee, right? I can make melodies, or you could even carry on the arpeggiation like this. So let's take a look at that left-hand pattern. Now we're going to use the COPD you've just figured out in the previous lecture, which was the G major, a minor, a minor, D major. So here's the pattern. So you start from the G major. So you play the first octave. And then you jump up to that top octave and he played through the triad called as well. So G-Major that she go five to warm with fingering and to hop to five on the top octave there. And then they go through the triad 53. And then you would repeat it and carry on. I just want to quickly say that if you've got a sustained pedal, I would advise using it because without set, it kinda sounds have been staccato a bit detached that. So just add the sustain pedal then. Just make stuff a lot nicer. And it can reset in between each car changed in a moment. So let's carry on to the next card was a minus. So to find the pattern, you go to the a and he put a first up-tempo and then you jump up, and then you play the triad carbon top. To paint on top of that. The next card was a minus. It played a first. And he put a fence up to, and then you go to that top octave and you repeat that and go through the minor triad. And then you repeat this. And the last card was the D-major. See it go first, fifth buck teeth, and then jumped from 53. And repeat. And I'm just going to play it through all that. And China all look familiar. He came. And this can be used for corporations are Psalms in fall time. So there's four beats per bar. So if you need a little bit more help with the rhythm, let's break it down a bit mafia. So you'd go 123. And if you want me to break it down even more, a break down on those beats in-between, it go wrong. And three, mom memoranda and a 31 that mandate, and 33. And so that's the time in practice that with your left hand on its own. First of all, just until we get nice and familiar with it, because it might feel a bit awkward Festival during the jump that thumb to your pinky. So you'll have to use it up. First of all, is when you're running around day, just complicated model, doesn't it? Just go back to the purlin, resets it between the cause. But when you start adding all your right hand, you might have to break up each time, see it go down and read, and read, and so on. So just, you might have to do a bit more petal about there, just so it doesn't merge too much together with the right-hand. Once you've got control of that left hand, you can start to add cards in your right hand. And for the moment, I would advise just playing on the first beat. So with your right hand, you just go first. Yeah. That's just so you can focus on the left hand while getting era and involved as well. I've, once you've added that one card, you can start to play on the first and the third. Honest, this time it might be nice to add a DCIS at the end as well. So you pay on the first and the third year right, with that left-hand button. And see you soon. So have a go at that. And once you've got used to it, it's a pattern that you could use in your played and it makes, it sounds really nice to be asked that nice flowing sound underneath. And it can also use it in any key as well. For example. 78. 9-8 Suspensions: We're now showing you those examples of the left-hand arpeggiated CAR pattern. I was plenty around with some chords and melodies planned it using suspensions. They can start to introduce melodies on top of your car to never have. So we're going to do that now. We'll go to take a quick look at what's called a 9 8 suspension is what they sound like. Such a good, hey, that's a bit of a melody given on top. And we are going to elaborate and use some other kinds of suspensions. But that's just the 98 suspension. And it just adds a bit more interest with an element of melody on top. The call to 98 because it uses a ninth interval and then it resolves to an eight. Let's use that same chord progression you've just been using. The G major minor, a minor, and then D major. So you take the chain. Okay. So that's the operative. So you go to the 9 which had a full tongue up so that the car but the nine and then it resolves down so you can hit the tension and then it result. So the next one was an E minor. So you're asking me octave up a notch, which the full tone to the F sharp. And then he can resolve down to the knee or the 8. So 9, 8 are due to a minus, so that's the eight, so up to a nine, and then back down to eight. And then you don't have to do it on every single one. But this is just to show you how to use these neonates. And then it was up 10 bucks. The main I've counted the anions. So practice those costs festival. And then you can introduce that left-hand card pattern as well. Just because the cartoon version I was choosing, you might want to drop some of these left hand up tips down. Instead, just see Dr overlap as much. It's up to you. But if you add that left arm down as well, it sounds like this. 79. 9-10 Suspensions: I'm not that useful. Suspension you can use is a 9 10 suspension. It sets up in the same way as the 98 we've just looked at. Except rather than resolving the card to the eighth, you go up to the tenth, like this. And as you can see, the third are the same as the 10. Let's use the same chord progression. So the G major, E minor, a minor, and D major. And here's what it sounds like using only nine, 10 suspensions. So it uses the same process. As you can see. I'm using first inversions and I'm right, and I'm using that pattern with a left-hand. And then you need to do is you need to find the ninth, like we did before. So octave, but the full tone, a full step. And then it's slightly different here because before you're going down to the n. But now we give it up to the tenth. Now, slightly different, depending on whether you're playing a major or minor cod. If you're playing a major caught, you go, Oh, a full toner, whole step. Whole step. Or if you're playing a minor chord, you go up a half step to find the tenth. So let's go to the E minor. Want so as an E minor, find the ninth. And then the 10th is a half-step semitones, so that to that, to find the tenth. So there's the first two cards with this chord progression. And then to the e minus one. So the amount of all, let's do it together. You find a cart using the first inversion on their mind other. And then you find the 9th of a full step. And then this is a minor chord. So to find the tenth, he got up a half-step to the Sea and go. And finally, the last card there in this progression was a D-major. So fungi Decartes. First inversion there, and then up to the ninth, that Falstaff. And then this is a major chord, so it's another full set to find the tenth. So here's our password again. Now, with this one, if you've got a smaller hubs are just struggling to play the inversion. You can drop the third underneath and we just have fingering. So what I mean by that is if your stroke to do that and to stretch or you could just try bring the third out there and bringing your thumb to that fifth, that, and I just try and map that. Because when passing in. So then again E minor. So if you're struggling to do that, we just bring the third the fifth and do that. That's up to you. So have a go, apply that to those cards. And when you feel comfortable, you can add the left-hand backend. And just to do with the timing, if you want to play it with the exact rhythm that I was doing, which you don't have to if you do. I was going up to the 10th when my five was hit in the octave there, like this. And so then when you feel comfortable, you can try switching between the nine and then 910 and experiment to see what it does to the sound of the progression. Again, you can apply this to any carbs are core progressions you want. 80. Chromatic Passing Chords: Another way you can add more variety to your playing is by using chromatic passing cards. Here's what they sound like. The work in a similar way to the secondary dominance. Because the color you choose dependent on the car to move into. For instance, if we take the 1, 6, 2, 5 COPD progression in the key of F. So the calls are at D minor, D minor, and sing. First of all, in the example I played, I was adding some extensions. So let's first of all add those seventh and niacin. So the first one was an F major seven. So the F major, and then adding the major 7, which is just a semitone down from an octave up from the root there, so up to seven. And then it was a D minor seven. D minor seven. Is this the minor seven interval that I put down below? And then the G minor nine hours playing a seven and the left hand. And then I was playing the inversion, the night on top. So first octave nine. It's unresolved if your answer. And then finally, a C card. Or you could make a C 75 percent. Okay, So those are the basic cost there. Now, if you didn't know already, chromatic means moving in semitones are half-steps. So a chromatic passing card, card that's moving from a half step above or below the cord you are moving to. For example, let's take a D major chord. Chromatic passing carbon would be going from either a C sharp, C sharp, D, D sharp, or E flat, back down to the column. So we'll just do what might a major. So it could either be an, a flat or a beef. One thing to note is that with this type of passing card, it sounds much better if you use the same tonality. By that, I mean, if you're going to do a D minor chord, and here we're choosing to transition to it using the C-sharp chromatin. You would use a C-sharp minor chord rather than a C sharp major because you're moving to a minor chords and B, C-sharp Minor to DMO, not C-sharp major. Let's start by moving from a half step below. So starting on F major seven. The next card is a D minor seven. So the chromatic passing car needs to be 1.5 step below D minor, which is the example I just showed you. So that would be a C sharp minor. Let's make it a C sharp minor seven. Okay? So you'd go if major 7. And then it was a C sharp minor 7. I'm not sure about the inversion and kind of bring us out of that area. So let us invert it down. So I'm gonna go maybe done to that. And then to the d minus 7. Again. And I'm playing with my right hand. So we've got F major seven. The passing card. For my sake, that sounds nice. And to keep doing. So, the next card we're going to is a minor nine. So we need to find the passing card. So you go to the G. And, but doing chromatic passing cars coming from underneath. So B and F sharp. So we're going to play an F sharp, minor or man. Okay? But look again, it's a bit of a jump away, so let's invert that. So maybe to that. So then you'd go from B, F-sharp, a G9. And I think that needs to come down to resolve to the eight. That sounds nice. Okay. And then that final card, that is the c. So we're going to come 1.5 step down from the seat of a b. So it's going to be a B seven there because this is a major one now, right? Which could be a B separate. And again, I'd probably invert that. You could play that with a C7 as well. So together, using those chromatic half-steps can be found below. You've got the F major 7 and then C minus 7 to the, the amount of seven, and then the F sharp minor 7 up to the team and I resolve that if you want. And then the B7, C7, that's with the chromatic passing cars coming from underneath. Now let's try moving from the half-step above. Okay, so again, the major seven to start moving to the D minor seven. So we're going to come from above, from the E-flat, E-flat minor seven out of the seven underneath. And then the next called is the G minor. So we're going to come above from the a flat minor. Yeah. And again, that one can maybe infer that. It's nice, isn't it? And then finally, we've got the C, C major seven. So we're going to come from above. So C Sharp, and this is a major cost. It's going to be C sharp major 7. And again, probably in that they go. And when you are using these, like I am right now, I would suggest playing around with the inversions and voicing to see what sounds best. Don't always just use the root triad cod. And if you put those together coming from the chromatic passing caught above. So how it play around with those passing cards. And once you get used to them, you can then start to mix them up coming from either below or above. That's ever feel free to try them on the core progressions as well, so that you can get used to using them. 81. Diminished Passing Chords: You can take those chromatic passing cards one step further and play them as diminished coughs like this. You use the same process. So play a half-step up or down from the call who are going to. But instead of playing a seventh chord like we were previously, you can turn them into a diminished chord. And just a quick tip for you. Diminished chords are built using only minor thirds. So if you're not familiar with playing them, then you can find them quickly by starting on any key. We'll do a C diminished, so, and then skip two half-steps. So 12, it's a minor third and then skip another 2, so 2, and play up to them. It's another minor third and then one mass, so skip 12, and that's all minor third, C diminished. So you can use that tip. We'll do one more quickly or skip one to play. Skip one to play. Skip one to diminishment is so those are all minor thirds. So you can use that to quickly find that. So then if we look back at the car progression, it was F major seven and then go into d mine it. So I went from a C sharp, diminished, so C-sharp. And then you play. I did inverse. Again. I've put a shop underneath D minus 70. And then I played an F sharp diminished up to the G. So F sharp diminished is that I inverted it down. That's it. Then again. So that went to that. Then I went up to the GI that the amount of nine. And then I did B diminished to the C7. So it be diminished to the dynein. And results so that you can have a go at playing that. 82. The ii-V-I Chord Progression: In the next lecture, I'm going to show you another passing card technique that you can use. That sounds really good. But the farmer do. I want to quickly explain about the 251 chord progression? This chord progression is used all the time in just piano. And all it is, is using the magnitude card, dominant five card, then finishing on the one or the root. If we take a look at that in C major. So the diatonic chords in C, C major, D minor, E minor, F major, seven, a minor diminished. And so the two 51 cards here would be D minor. On the 25 would be a G, G7, because it's a dominant chord. And then the one or the root would be the C, C major. Let's do it again, but in another key. But this time, I want you to figure it out. So I want you to figure out the 25 one chords in the key of G. Please feel free to pause the video and we'll take a look at the answers once read a resume. So first of all, the diatonic chords in G major, and then a minor, minor. C major, D major, December. He Viner. Now that F sharp diminished. And then finally, on the one again. Then you just need to take the two 51 cards, which are a minor. Five would be D or D7. Then G. In the next lecture, I'll show you how you can use this to create really interesting passing chord transitions. 83. Using the ii-V-I as Passing Chords: You can use the two 51 copper aggression is passing cards within your main progression. Now what kind of entering into the realms of jazz piano here. But that's not a bad thing. Using this passing chord technique could add a really nice smooth vibe Joplin, and certainly adds a lot more interest to a basic chord progression. For example, if we take the 1625 in the key of F again. So I've got F major, D minor, G minor. And then, and if we play the same chord progression, but use a 251 progression as passing cards within it. It could sound like this. And so on. So how would you apply it? What you do is figure out the two 51 cards in relation to the next card or the card, you're moving to the same approach rarely as the other passing cod techniques we've been using. So if you are moving to the D minor, you class, this is the one. Then figure out the 25 from there. So if the D is the wall, then he go up one full step to find the two. So half that four-step. So that's a minor cod. So in this case, it would be an E minor. Then find the fifth from the D to find the 5. So 2, 3, 4, 5. And remember dominant call to normally played a seven, so that would be an A7. Okay? So from the D card with a warm, the two is E minor, and then the five. I see a seven. So from that you would have the E minor 7 and debug. That would be the 25 one. Okay? So if we add those extensions back-in and inversions, F major seven, then the E minor seven, the 708, and then the A7. Then d minus seven. I want you to have a go at figuring out the next couple of cards. So using the G minor. So if g is that one, watch the two. I'll let you have a go at figuring out now. Okay, So hopefully you got a minor because G is the one of a full step, so and it's a minor chord, so a minor. So now the five, what's the five there? Hopefully you got a D or a D7 because genes are 12345. Yeah. It's the 25. What that would be a seven. And then the G minor. Then if we add the 77, I actually inverted the a minor seven to that. And then the D seven. Let's play that. And then the G minor, the exam planets, he paid a lot of that when they did their mind in the left-hand J. So that is the 25 one going to the G there On this next one is the same as the example I showed you in the previous lecture, because the one is the C, move into the scene. So then the two is a D minor, and then the five is the G7. But in the example I showed you before, I played it as d minus seven, G7 like that. And then I went to the sea, and then I think I did a nine, then it resolves to the 10. Are they however you want to think about it? And then I actually did another to 51 transition back to the start of the chord progression. So I will let you have another go. So if we're on the sea, but then we're gonna move back around to the f. So you need to find the two 51 go into the f. So what's the two card? So in the key of F to hopefully got a G, G minor. And then the 5 again, when you have a go at figuring out the five. All right, hopefully you figured out that it say it. So a C7 because FSC for so those two curves there, I played it as a t minus 7. And then C7. Think I just took out the fifth on top that the background to the f. So for them together, major seven, minor 77 to the d minus seven. Again, a minor 7, 7 to the GMAT and nine. Then D minor seven, G7 to the job. And then finally, you've got the G minor seven. And then this is a seven and back ground today. And when I was showing you the example at the start, if you did like it and want it to try and recreate it. I'm just playing around with the rhythm. Soft pass into the left-hand just to solve how big a bit of energy to it. And whatever you want to do with it, just have a play around. But first of all, get used to the cards. Just keep it simple and then you can start to play around with the rhythm. So have some fun with that. And feel free to try this passing car technique on other chord progressions as well and see what he can come up with. 84. An Introduction to Improvising: Okay, got to this point in the course, the caudal knowledge you have learned gives you a solid foundation to being able to improvise. And they wanted to include this section as a bonus for those of you that are interested sitting down on the piano and improvising like I was just then, is a really nice thing to be able to do because it comes from inside of you. And it can be really fun and rewarding permanent with your own music on the spot. The thing is, if you've not done it before and try to improvise without any kind of advice on guidelines. It can feel like a lot of random guesswork, which can then sometimes come out sounding a bit off. It's a good idea to build some kind of foundation. And then once you've done that, you can experiment and move away from the rules of guides when he get more confident. I'm going to show you how you can use what you've learned in the course so that the colors you choose when improvising will work. We'll also take a look at incorporating scales so that you can create your own melodies. And we'll build on this mall by exploring how you can improvise melodic harmony as well, we'll dive into some common chord progressions that you can make use of within which the key you are improvising in. And I'm also going to show you a selection of left-hand patterns that you can apply to your improvisations that will bring extra energy in style. Finally, we'll look at bringing everything you've learned together. Whether it's applying your knowledge of the many different types of chords and chord progressions using different rhythms, broken called platens, incorporating passing cards called extensions and melodies and more. My hope is that after completing this bonus section, you'll feel comfortable with being able to sit down at your piano keyboard and improvise while most implicitly having fun at the same time. 85. Starting Off Improvising Using Diatonic Chords: The safest way to start improvising is by using cards within a certain key. We have already looked at the concept of diatonic chords. So it should be relatively simple to apply. Let's start off working in the key of F major and play the diatomic cards within that key. Remember, diatonic means using only notes from that key off scale. I'll just quickly go through the process so you can get used to it. So the formula for the major scale was whole, whole half, whole, whole, whole half. If you don't know the F-major scale, you'd simply start on F and then go home. And then, ha, ha, ha. So the F-major scale is B-flat, C, D. So if you then play trad cards on each degree of the scale, remembering it's all white keys basically, except for the B-flat. And it can't you play will be within the key of F. So F major, G minor, a minor, B flat major, C major, D minor, E diminished, and then F major on the top. You can then start to play around with those carbs. So all I was doing then, was it choosing any card in the key of F, which is the one that we went through just then. I was playing around with the rhythms basically. And notice I was using both hands to create the rhythms. Now, I would like you to have a go at play around with those cards In the key of F. If you're not feeling confident with playing around with your own rhythms, you can always fall back on the rhythms you learned earlier in the cars. For example, the kick drum with MIT, which was yes, so I was keeping it super simple then. I was choosing cards from the key of F and I was even just using the root position. Whereas before I was playing around with inversions, I always keep it super simple to start off with. Another rhythm you could use, for example, was that common high-energy with them that you used in all of me. But you could just apply it to cart and this key. Yeah. So straight away with the knowledge of what caused the play in the key of F and some basic rhythms, you can start to create your own core progressions. And using this approach will work in any major key. For example, let's try it in a more complicated key, a flat major. So you take that Major scale formula, a fats, and then he go. So that's the scale of a flat manager. And then he just played cards, but only using those notes. And then you can just play around with cars from that. Anyway, have a go playing around with those cards and F, which were diminished, and then play around with the rhythms, play around with the order of the court and change the inversion to using. And then once you've had a go at doing that, we'll look at introducing a scale so you can start playing around with some melodies. 86. Returning To the Root: This is just a general tip, but whichever key you were improvising in, it's a good idea to remember to return to the root card. So if you're doing an improvisation in F-major, which was the example I used in the previous lecture. F major would be our root card. So think of it as home, and you keep on returning to it in between all of the melodic journeys you take, for example, in F major. And then you're going to go back home. Returning in some, again. And again, you're going to run it. And then finishing up the app. And I was just using some simple rhythms and only using those diatonic chords in. But I was thinking of the F-measure cart as my home, and it just gives it a little bit of structure. But this is just a suggestion. So if you play around with these cards and perhaps it's sounding a bit lost and without direction, you can use this tip just to stay yourself back on costs. 87. Introducing Melodies in the Right Hand: Once you get used to improvise him with cards, you can start to introduce some melodies and your right hand for the moment, I would advise sticking to the key you are playing in. We've been working in the key of F major at the moment. So you'll be able to use any notes from that scale. And they all sound correct. For example, I'll, I'm going to do is play some basic triad, caught him a left-hand. And any of those nodes from the F major scale in the right. And let's see what it sounds like. And all of us do that as assertive, as simple triad cause and the left, and using some notes on the F major scale in the right. So have a go now, don't worry if you think it sounds wrong, just hovered play and see what you can come up with. 88. Passing Notes: One thing you may find is that some of the lowpass you play may sound a bit classier with certain cards. This is because even though the carbs and notice you are playing a role within the key of F. A right-hand note you choose may be clashing with the card, for example. So these are essentially what are called passing notes and give you an opportunity to resolve the melody to a harmony that works, for example. So you creating tension and then resolving. So these notes are not wrong. They are like you just said, creating tension, which sounds nice when resolved, passing notes and the use of creating tension, melodies and then resolving is used all the time. For example, think of the song yesterday by The Beatles. The melody lines, dots like this. Yes. So it starts with that tension and the passing note. And then the results. Once you will find is that if you play one of these passing notes and want to move it to a note that isn't clashing. Don't jump around and hope to get to note that harmonizes perfectly like this. You'll find that if you are playing a note that is clattering, you will only ever be one step away, either up or down. To resolve the melody. Let me show you what a mean. So if you've played this amoeba clashing sound, native itself down. Because many have called the unit play. But the fascia resolving. As long as you're playing within the same key, it's going to work. But put down which this so how often did that go up paying about but those college and your left hand on to creating the melodies on top and your right-hand unexplored the use of passing notes as well. 89. Major Scale & Chord Exercise: For those of you that aren't familiar with scales and have so far only played cards. And it may feel like a stretch to suddenly start improvising with them. Being able to play with speed and fluency requires consistent fingering, which then results in muscle memory. This part of the cost isn't going to go into great depth on the many different kinds of scales and the correct fingering. Although like the major scale, I will give you formulas for some of the more common scales so that you can figure them out yourself. However, I would like to give you an exercise that will help you to be able to improvise more fluidly within the key, I am showing you these examples at the moment. This is what the exercise sounds like. So that's what the exercise is going to be learning. Sounds like. I've tried to make it so you get into practice the scale. But it also has gone nice chord progression underneath. So it's quite a nice sounding exercise. And then eventually once you get used to the exercise, it won't be too much of a stretch to start improvising and playing around with the notes and rhythms of the F-major scale. So first of all, the F-major scale was okay. And then it's just making sure you get the correct fingering. First of all. So I did start a above middle C and they've noticed. And then the fingering is 1, 2, 3, and so forth on the B flat is the most important really. And thumb underneath onto the stage. And then you go up to the f. So stopped off practicing that scale with that exact fingering just OK. Now you've practiced the way up and way down is exactly the same, but it's just making sure that you go 4321 and then over the fall onto that B flat there, it might feel like a bit of a twist there. Often people go with the third run out of fingers and then half site going over the top and changing it. So really important, 4, 3, 2, 1 over the fourth finger onto the B flat, and then 3, 2, 1. So open down. Practice that F major scale of one octave going up and down with the exact fingering. Okay, now you've practiced that. I'm going to show you, how are you going to apply that scale to that chord progression to make the exercise? So what I was doing, I was going, Oh, okay, Well OK, save. And then I was repeating the F in the middle and starting again with the math them on. Yeah. Okay. That's the way up. And then on the way down it was exactly the same. You repeat the top again. So and again here, you repeat the Fs again. But flip to your fourth finger. Say you're repeating all the f's, That's what you're doing if doubling up the Fs. And the reason is because it makes the rhythm work with the left-hand cop regression. So here's the right hand up and down. Practice that right hand up and down with that exact fingering. And don't forget to repeat the Fs. Okay. Now you've practiced that right-hand scale up and down with those repeated Fs and the correct fingering. We just need to apply the left-hand carbs. The left-hand cards were B-flat major, so middle C here, so starting below there. And then it was going to the edge, and then going to the C major. And then the D minor saw the left-hand days, and then he would just repeat. So just quickly practice that left-hand chord progression. On itself. First, B-flat Major, F major, C major, and then D minor. Okay, nice practice. Start putting it together. This exercise works in four times, so four beats per bar. You left down, there's just one chord per bar. So 1231234123123. Your right hand is playing on the main page and then the half p as well. So it's going 1232. Yeah, I'm on 31234. Okay. So what's going on with the timing, but essentially, he left and I never stopped together. And each time you start one of these new scale, so the F made it up to that is for the B-flat. And then you stop the F-Major. I didn't you play your left hand at the same time in the middle there. And then again you do another cart change and you put the same time on the f's. And again, the next call, they repeat the same time. You see it was good on that stuff. And these bonds again and again when you've paid the Fc left and changes and you caught the F left on the left-hand column the same time. And this exercise, you can keep on going round and round as many times as you want. But I'm just going to show you it twice through right now. Without me speaking. Just see can watch it if you need to. Have a closer look. And then it's an Auth0. So just a couple of points. You can press up nice and slowly. But just with this kind of thing, if you find that you play it. And then there's big gaps, i, then it's like a set thread. And then a B out of five just start off at a steady pace. So just keep the tempo nice and even. And then just try and get it. Say again my join between different paths. And then once you get more comfortable with the movement, you can start to play. And so on. And then once you eat more comfortable, you can start to add a little bit of pedal if you want. So that is the exercise for you. I hope you enjoy learning it. 90. Some Tips on Creating Melodies Leaving Space: I'm now going to go over a few quick tips when it comes to improvising melodies. But I'm not going to go into too much depth because ultimately, I want your improvisations to be your own. These are just suggestions. The first one is when you're improvising, you don't always have to be playing. Sometimes leaving space can enhance the notes when you do play. For example, if you constantly playing, etc, there's no space, there's nothing to latch onto, is just constant playing. Whereas if you try leaving some space, it can make the notes that you do play sound Besser, much this the Missy, I'm leaving some gaps there. Yeah, I'm not constantly playing, leaving some gaps and I'm letting the song breathe. It's almost like you're, you play something. Let, let the song take a breath and relax again. And so on. So it's just the idea of not always playing. So it depends on what you're after obviously. But what you'll find is creating a strong melody. Sometimes it requires some space. So have a go at that. I wanted to try improvising again, but explore the use of space and no melodies. And if it makes you feel more comfortable, feel free to carry on working in the key of F major, but feel free to explore other keys if you want to as well. 91. Rhythmic Variation: Something else you can try when creating melodies is varying the rhythms in your right hand. The variations can make what you're playing sound more interesting. For example, will stick to the key of F for the moment. So if you are just played the same rhythms all the time, etc. And can sound a little bit monotonous if you start to try and play around with the rhythms and so variate, that can create our interests. So again, I'm just playing around, but you could hear the difference, the first one sound a little bit forward one step at a time, whereas I was playing around with the rhythms. So what I was doing there, I was actually playing like, I would suggest you play if this is all new to you. So with doing simple left-hand track costs, and then I was playing around with rhythms and the F major scale in the right hand. So you're keeping the beat with the left-hand phone to 32. And you run a hand is exploring other rhythms, so you're going to keep the beat with the left-hand. So start off by playing in either three or four time the left-hand, nice and simple. And then, as I just said, you can concentrate more on the melodies in your right hand. 92. Repetition/Motifs: One thing to be aware of is that it's okay to use repetition. If you play a nice melody, repeat it. You don't always have to be playing something new. And this is often what I see people do when they first start improvising. They feel like they should be constantly playing all the time. Everything that the plaintiff should be new and not related to anything else at play. But if you think about it, most of the tombs are songs you listened to have repeated melodies, especially in the choruses. For example, let's take Elton John Muir saw, yeah, I hope you don't mind bender. When it's all the way through the repetitions everywhere. Or even in other styles of music like classical, they make use of repetition as well. For example, probably one of our famous classical piano tunes and goes again and so on. So, yeah, it's everywhere, use of repetition and sometimes called a motif. So let's go back to the keyword in, in. So we've got to make a melody. Okay, and then let's repeat that first part again. And then we can bend and move away this time. Again, just examples on the spot. But you can see that it creates a little bit of structure and a melody that you're doing. But it also gives the person listening something to latch onto. If it's continuously moving and continuously different, it can sometimes be not as easy to listen to. So, yes, make use of repetition within your melodies. 93. Improvising Harmonies: A nice way to add harmonies into improvising is by using third of six. For example, if we stick with the F-major scale, the third would be, yeah. And then if we just move up and down, using feds with the F-major scale. And the sixth would be yeah, 3456. And I can just move up and down. Okay, and this sounds really nice again, but just stick with the basics. And then we'll explore more complicated left-hand Parsons and improvisation concepts later. But just for the moment so you can keep on building these new concepts. Left and caught. Let's just say I'm making some melodies up. Yeah, sounds nice, right? Then let's explore the six. So, yeah, so I just went into those six and can hear the sound, it sounds dice of improvising the harmony. But if you're just trying to improvise how me, without knowing that theory behind it, it becomes a good chance that you'll place them off notes from there. So if you understand that a third or sixth within the Kieth laying in, we'll create a harmony. Then it makes it a lot easier. So something you can't do. We can first of all, get used to playing thirds. I mean, he comes to cobalt three if you want or you can go with different fingers. Sub c, you ever feel the smoothest. But with six, It's quite tricky to just do everything else. Rarely it's going to be 15 or 14. And probably the pedal, The smoothness. But just practice moment of pin down with fancy sit on its own. And then you can start to add it into your playing around with this one as well. Remember, we talked about passing notes in a previous lecture. This works for this as well. So what you can do, you can play one of these cards and sixth. And if it's got that classy sound that you don't like the sound the way you can resolve in the head. That sounds nice. Let's just do another round of bonds. Are plenty man and a player, something like this. Okay? Quite well. I mean, unless you live in that kind of sound, but we want to resolve that. Yeah, For me that so again, if you hit F6, our third I just sound quite right there. Third. Yeah. Most of the time you can resolve it by just going up or down. 94. Call and Response: When improvising melodies, you can also use what's called call and response, which is where you play a phrase which is like a musical sentence, and then answer it with another, for example. And you see what I was doing that I was making the question almost. And then OPIA out and straight, and so on. So it doesn't always have to be a phenomenon, but that does quite well because it can hit a difference. So it's just the idea of a call and response, like asking a question with the melody and then answering it with another melody. So those last few lectures were just a few examples that may help to bring some ideas to when you're improvising these melodies hub ago. And remember, it doesn't matter if when he first try, it doesn't sound right. Just keep on going. And eventually you'll get used to it. Things will start to feel smoother and you'll eventually get into a group. So it's really all about experimenting and trying things out. 95. 3rds Exercise: Here is an exercise that I've come up with that will help me to get used to playing thirds in your right hand. And it can it do it in any key? I'm going to show you an F major for the moment because that's the cube inverting it. But yes, it will work in any key. Here's what it sounds like. Here's how you play it. So first of all, you're gonna take the third from the root above, okay? And then you just go up the F-major scale, the third each time. And you get to the F on top with the third above. And then you go back down. And then when you get to the Buxton, you come underneath the root. And that's the end of it. I didn't go back to this. You can go up and down again. And the fingered I was doing starts off with the 13 and then he go to fall. And then you alternate between 1324, so 13131313131313. And then here you go. 12. Just because it's MOSFET either identified, go back up and down again. If you registered with that, you can't go beyond three if you want and just do the same up and down. You might just have to add some sustained pedal. A joy, a bit more smoother that. And the chord progression in the left-hand was, uh, 15 minus 64 chord progression. So that would be d minus a, then B. And then together, the timing is four beats per bar. So you just play the cards on the first beat of every bar and then hold it like this. And then it can keep on going if you wanted to and if you wanted to use this exercise. But in another key, either do is use your knowledge of cards. So the bond 56 fall would be a minor. And then there are a 100 just being together. Okay. So have a go at that didn't in S If you want to have a go at playing it or the keys if you want as well. 96. 6ths Exercise: Here is an exercise that will help you to get used to harmonizing with six. This is what it sounds like. So here's how to do it. So the left-hand codes are exactly the same as in the previous exercise. So F and B flat, okay, Now the right-hand six. So I started on a six here. The F, but a below. Okay, because that works with the first card. So that's just a general rule. The sixth is just a third. But it's below, isn't it? You see that? So if a plaintiff calls and we want it to be within the same cause, you just start on an F, a plain a, the six that it chooses, the roots and then the third underneath. And that's how to do a nice harmony using a six there. So that's where it starts. And then I just go up and down. Major scale, keeping that shape, the six. And then when you play this, kinda just have to lock your hand into that distance there. Kind of a twist slightly there, but when it's it's all the same distance. So just lock your hand. Yeah. So you started on the a and just lock that distance. And you just go through the F-major scale, but keeping the sixth interval. And what you're aiming for is any fall. The octave are both on the a there. And then straight back down. And then you go below the flight from back to the start. So that's your right hand. And then putting them together, it's the same as the previous exercise with the third, is it full time? And you're playing the chords on the first beat of each bar like this. Oh, if you go back around again if you want. And what you might find, because it's quite tricky to make that goes smoothly without the sustain pedal. So I was actually adding some sustained pedal and to make it some smooth, That was pretty much reassessing it every two are this. Now so that you can add in if you want. It just makes it sound a bit smoother. But again, it works in any key, a shoe in C. Again, watch this. So have a go at that practice. The right-hand first get used to the sixth, and then you can add the left-hand chords underneath. 97. Improvising in a Minor Key: I'd like to introduce the idea of improvising in a minor key now. And like with working in a major key, you can stop playing around with just one scale and a few simple carbs like this. So you've got super-simple. And it was just using diatonic chords in the left hand in the key of a minor. And I was using the a minor pentatonic scale in the right. And we aren't going to add more techniques to build up the sound. But for the moment, that was just the first step. Here's a quick reminder, first of all, and how to find the natural minor scale. So the formula is whole, half, whole, whole, half, whole, whole. So then if we're working in a minute, so starting on and then you would go and then and then so that's the a natural minor. And you may have noticed it's all white keys, but you can use that formula on any key to find that natural minor scale. Once you've found the natural minor scale, you can then build cards from any degree of that scale using those notes, and it will sound in tune. So building cards using only those notes in a minor is just white keys. The scale I was using was the, a minor pentatonic scale. A pentatonic scale is a scale with five notes, hence the pent, meaning five, like pentagon for instance. So five notes. And the a minor pentatonic scale is a, c, d. And then you could go up to the octave if you wanted to as well. I will include a separate lecture focusing on how to play the scale in any key. But the formula for the pentatonic is minor third, hole, hole minor third. And just to show you that in context, and then you'd go minor third, which is three semitones, 1, 2, 3, and then hole so that B. And then WHO? Then minor third, so 123. Yeah. So first of all, practice the a minor pentatonic scale. And it may notice it's all the white keys apart from the beer and the app. So practice that a minor pentatonic scale. And then once you've got used to that, I would like you to start improvising with this scale on top of some carbs. If I were you, I would start off by using the call and response method. So player cart and then respond with your right-hand scale, making up little melodies like this. And then, so you may have noticed that I was merely playing a card and then I was answering with a melody using any of those notes from the a minor pentatonic scale, it's sometimes good to stick some kind of structure as well when shooting in the cards. For example, I was mainly using the a gene. And notice that I kept on returning to the a minor because that's the root. And we've talked about this in previous lectures. The route provides a base to work from. You could also throw in a dominant seven chord has a curve ball here. For example, a fifth form, a minor is an E, and if you make it an E 7, sound really cool. It sounds cool, doesn't it? As the extra bit of tension and that bluesy kind of sound. So have a go at playing around with that scale along with those diatonic carbs and even the E dominant seven. And see what you can come up with. For those of you that are struggling to incorporate that scale, I'm going to include an exercise that will help you to get used to playing the minor pentatonic on top of cards and your left hand. 98. Flatten the 5th for that Blues Sound: At the end about our previous lecture, when I was showing you the example of using the dominant seven chord as well. You may have noticed that every now and again, I was imagining bluesy kind of sound in the right half, right? And all I was doing was adding in a flattened fifth to the minor pentatonic scale. So the minor pentatonic that you've learned. Okay, a flattened face to face. So first, fit, first and the fifth. They go so you've got an E flat. So that is actually the a minor blue scale. So a minor pentatonic scale can be turned into the minor blue scale by adding a flattened 5th. 99. "A Minor" Pentatonic Exercise 1: Lack the previous scale exercises I've given you. I would like to give you a couple of exercises now that will help you to be able to improvise more fluidly with the a minor pentatonic scale. Because again, if you're confident with the notes, you have to spend time thinking about which notes play or which fingers to use, and to be able to focus on creating nice sounds with your piano. Here's the first object societies. And that should hopefully be not too tricky. Fire ADA is, is played through the a minor pentatonic scale with all of the fingers. 123454321. And it's just going up and down, up and down. And left and colleagues that a minor, G minor. And it just goes round. And you can go many times as you want. And then when to change the carbs is basically whenever you thumb goes back down to the root of the a in your right hand. And change. And change. And change and change. So if you feel like you need it, you can use the exercise to get used to the notes and the right hand. And it also helped me to build up some technique as well. 100. "A Minor" Pentatonic Exercise 2: This next exercise is a little bit more complicated because it involves going up the octave into scale, as well as some fingering changes as well. Here's what it sounds like. Okay, so that's where it sounds like. Let's learn it. Now. The right hand is again using the a minor pentatonic, but it's going up as you could hear. So here's what's happening. You start off on the a and then you go and then underneath with the one. And then you split your handout and two on the G and then your thumb comes underneath onto the a again. And then you starting off on the next octave up. And then you simply go through the scale of only fingers. Then 54321 and you finish that. And that's the right-hand fingering and pattern 1231212354321. So first of all, practice that right hand with that exact fingering. Next, the cards in the left-hand, the same cards just been using in the previous exercise. So A9 and A10. And then you can keep on going round and round with this exercise again. So the left-hand called hopefully nice and simplify it. And then it's just a case of putting them together. So this, again is in full time and the cost of playing on the first beat of each bar. So you go on the wall. Then it changed again. Is tiny. Go back down to the a that at any point of time as well. Okay. That's how you put it together with both hands. And if you're interested in what's going on with the timing, you're actually playing 1234. And then the account is empty. Wonder rounded to well-rounded three year round and round a three-year band of and and, and so on. So that is how you do the exercise. And it just sounds quite nice if you add a bit sustained pedal as well. But that's up to you. And it'll just help you to get used to something coming that will help you to move around the keyboard with a scale on top of some nice left-hand chords. 101. Blues Exercise in "A Minor": For those of you that find these exercises useful, here is another exercise that you can use to help you to become more fluent with the a minor blue scale. Here's what it sounds like. So the left bound is the same as the previous two lexis, the a minor, G, and so on. So it's more to do with the right-hand. Now the a minor blue scale was C, D, then E flat, G, a. So first of all, the important thing is getting the fingering correct. It's walled 2, 3, 4, twists underneath with your ball, then tail onto the G, and then three on the top. And then coming back down. A lot of people try and put the third that, but it's really plot, twist mall and put your fault that. And then Tuesday on background and you relax your hand and you third then falls onto the day. So really important to do that exact finger around on the way down, trace over the fall, then the third falls onto the second on this. And the reason is because then your belt get fluency and play with speed. If you do a three-to-one, suddenly you find yourself doing oh, fingers and the toes. And then suddenly you're out position. And then you're going to maybe a fact that venue ended having to make up the fingering as you go along, which can slow you down. So first of all, practice the scale with that fingering, and then it's just a case of putting it together. This is actually in three of six times. So let's call it six times. So the counting is 123456123456123456123456. So whenever you hitting an a, it's on a wall and you are changing the left-hand calls whenever you hit the bottom a in your right hand like this plate to get thanks again. And see that. And change. And change. And you can keep going round in circles. 3, 4, 5, 6, 1, 2, 3, bank. They go. That's the a Minor Blues exercise that you can use to help me to get used to playing the a minor blue scale is some set fingering to help with fluency over the top of a left-hand cop regression. 102. The Minor Pentatonic Scale in Any Key: You may want to branch out and improvise in other keys using the minor pentatonic scale. So with this in mind, you can play it in any key using this formula. Minus ho. Ho, minus said. Hello. For example, if you wanted to play the minor pentatonic in the EFC, you're stops off on safe. And then you'd go minuses, you don't want to say then hole and the hole minus n. So 1, 2, 3, and then 0. So C minor pentatonic would be, Let's do another one. Let's do it in the key of G. So it starts off on G. And then you'd go minus third. So 123, then whoa, whoa, whoa. And then minus third. So 123. Then hope. And we'll do one more. We'll do it in B-flat. You'd start off B flat. Then it go minor third. So 123, then hole. So that the whole minor third 123. And then WHO now would be? Yeah. So with our formula, you can figure out the minor pentatonic in any key that you like. And then you can start to improvise an app solars to other tunes or songs of your own choice. 103. The Minor Pentatonic Exercise in Any Key: If you're finding these technical exercise is useful and you want to build a practice that minor pentatonic exercise in any key k time to do it. So first of all, you would figure out the minor pentatonic scale in your right hand, which I've just taught you how to do in the previous lecture. And then it's a question of choosing the correct cause in the left hand. So let's just decipher the carbs for the one you've just done? Yeah. So the left and carbs start on the ribs and it's the minor chord. And then you go a full step to the left to the major cause of that. So it'll be full whole-steps or a to a G, a G major. And then you do it again. So the G whole step to the left, and it's going to be a major. So and then you go back up to the previous card. And these are all diatonic chords. So if you're interested, that's the roots on the a minor. So the G is actually the seven there. Yeah. And the F is the six. Yeah. But they're just both move down. Yeah. So let's do it in another key. So let's imagine you want to do it in D minor. So it starts off figuring out the minor pentatonic. So you'd go deep and they'd go minor third. So 1, 2, 3, then my third, 123 up to the C, and then Okay. And carbs, you start off on the D minor, then go whole step to the left, so d to this C, and it's going to be major. And then another, so C to the B flat. And then back up to the same. I then need us to put it together. Let's do another one. Let's do it in G. So you would start off by figuring out the pentatonic so manifested, so 1, 2, 3, then hold so C, and then WHO? D minor third. So 1, 2, 3, and then 0. So b, k left and carbs. So G minus is down in the roots. And then a full, whole step to the left, so g to the F. And then you do it again. So f to the E-flat, major, backup to the end. And then you just put together. So as you can see with that, you can figure out that technical exercise in any key that you wish to. And it's just a nice way to get use of the pentatonic scale. It any k of a nice chord progression in your left. And it will also improve your musicianship in general, because the mall keeps you working, the better you will become. 104. The Minor Blues Scale in Any Key: Like I mentioned a few lectures ago, you can easily send the minor pentatonic scales into the blues scale by adding the flattened fifth. The formula for the minor pentatonic blues is a minor third, whole, half, half minus said, Whoa. And with this then you can play it in any key you like. For example, let's try and date. So it starts off under D. And then you would go minus third. So 123, then WHO? Then half, and then half, and then minuses. So 1, 2, 3. And then Let's do a and C. So you start off and then minus said so long to three, and then hole and then half minus third. So I'm 23. And then whoa, let's do it in one Maki, let's do it in f. So you would go f minuses, so 1, 2, 3, and then hold so on. Then half, so half, minor third. Then, Whoa. So with that formula, you can now play the minor blue scale in any heat. And again, it's really useful to get familiar with these scales in different keys because then you can apply them to different cells. Or if you're playing in a band or you want to try improvising and fill out a bit of a solo on top of a cop aggression that it can easily fall Buck and rely on these scales. 105. The Minor Blues Exercise in Any Key: You can play that minor blues exercising any here as well, is simply figure out the minor blue scale using that formula. And then figuring out the left-hand core process is exactly the same as the minor pentatonic exercise. So let's do it in. So you start off by figuring out their minor blue scale. So we'd go and then minor third, so 123, then hold. So the minus third, so 123. And then the left and carbs, you'd start off on the root, so the minor farms. And then you'd go to the left by a full step. So e to the D, So D major. And then you go to the left again by a full step, so to sing, and that's a major cloud again. So seeing and then backup. And then with both hands, this was just one octave. Let's do it in another key. And this time let's choose one might be a little bit trickier without this formula. So E flat, so it starts off with an IV, and then you'd go minor third. So 123, then he'd go whole so and then half, half minus third, so 123. And then he left and carbs, so E-flat, E-flat minor. And then a full set to the last would be D-flat major. And then a full set to the left again would be B. And then you'd go back up. And then with both hands. So just shows you that you can play these exercises in any key that you want, simply using the formula for the scale. And then with your knowledge about diatonic chords, you can easily figure out that left-hand cop progression to put underneath. 106. Incorporating Passing Chords: So far, we've been improvising using mainly diatonic chords. But in the previous section of this course, we looked at numerous passing car techniques. And it's possible to incorporate these into your improvisations to create some really interesting sounds. For example, if we take the basic a magnet G, F cards that we've been playing around with. And using some subdominant as passing chords, Check out what it does. So how cool is that? Let me just quickly break down a couple of those transitions so you can see the process. So they started off. Okay? And then I went to the dominant form g. So which is the d. So at D7, an inverse it in, and then the gene. And then I went to this cloud here. So what's this dominant of F? Which is the see, so I just did a seed sediments. I inverted. So bad. Yeah. So when a minor in segment G and then C7. And that before we get to the root again at the end. And there I went to an E7, which is the dominant of the a part of that. Then you could also have a go at trying some of the other passing caught techniques as well. For instance, you could use the diminished seven, sliding from a semitone below or above the CTO of having to like this. Again, let me just quickly show you the process to finally those cards. So his name minor. And then I was going to the G. So I use this diminished and a slid from the semitone below which the G-flat. And I just did a diminished seven, which is, remember the easy way to fund diminished seven, leave two semitones between instantly because it's built up a minor third, g. And then the next card was the f. So I did this caught healer and watch this. This is actually the inversion of a diminished seven below from the name. Yeah. I can actually better, yeah. Which is quite nice. But I just added that on I. Then you've got to G. And then I just use millet diminished chord from below before the a minor, the a flat. So it's really nice to be able to add some of these passing car techniques. And just when I was using those examples, then I was using relatively simple voicings. Just so you can see what was going on. But of course, you can do that if you want. You can take up nodes to be thinking it sounds too smoky and it could drop down the octave just well, it's up to you, but have a go at incorporating some of these passing car techniques into your improvising and see what you can come up with. 107. Combining Melodies with Chords in Your Right Hand: Once you are confident with the chords and scales within the key off chosen, you can start to combine calleds within the melody in the right hand. For example, if we take this melody here, okay? So in the left-hand I was going to be decreasing. So if I add those codes within that melody, watch this second inversions, then he adds a bit more depth to it. Carry on. Yeah, so you can see my name cards and then playing the melody on top of the card. Never at home. Yeah. So I'm just playing around here rarely. And the best way to start to play around with this reading is to add the melody on top of the column. So the melody is going to be at the high end. So what's there? So you've got the E minor, D and C. Write a melody is on the higher. And then let's just take another car. So let's take the a minus 0. So fed a minor cod and I'm playing around with the melody on top. Yeah. So vase the cards around that left hand if I were you. So if you're playing an a, the left plate and you write just for the moment, and a C on the left. So you can see inversion in your right. And then you can start to play around with them passing notes in between the college as well. Yeah. Now you don't have to do anything too complicated. Just play around and play card and then passing notes. So it's up to you. And when he tried this just about the left-hand because I was playing cards in my right hand. What I was doing is I was actually playing a first, fifth and octave, putting in an F Tom. Yeah, so that's something that you can try doing this. But if you want, not first, fifth or octave pattern, Watson focusing on the call to melody in your right hand. So hub ago, combining the melodies in your right hand with some colleagues as well. 108. Advanced Left Hand "Flowing" Pattern in 6 Time: I now want to show you a left-hand button that you can use when improvising in three or six time. Here's what it sounds like. As you can see, it's got a nice kind of neoclassical sound. The time you'd expect to hear in maybe an eye now the piece I've just stabbed to the same person, but I'll try adding some repeated melodies like he does. So you get the idea, it's a really nice person to learn. And once you get the hang of it, it's really nice to improvise over the top off. So here is the pots. When we have a call to using, you use the first fifth octave and then he got to the tenth, and then back to the octave and then the fifth again. So let's apply that to the chord of C. So if you go on seeing 2 first, and then the fifth is the GI, and then the octave. And then the tenth. So 8, 9, 10 sentences that, so first up to 10, and then back to the upton and then fix. And the pattern is the same for any car to using. And the fingering I would suggest would be the fifth second and then the thumb of the first. And then you're gonna go over the top with the second and then back down onto your thumb. And that makes it, so that's what makes it tricky, going over the top and then back down. So, so that's the passive without fingering, fine. Well, so let's use it on another car, maybe a little bit of a more complicated one, a C-sharp Minor. See it, go see Xiang. I then up a fifth to the G-sharp. Remember, fifth, seven semitones, 1, 2, 3, 4, 5, 6, 7, well tif, C sharp, and then here, the tenth, so by the 10th, but we're doing a C sharp minor. Yeah, So C-sharp Minor cause so they're not just goes up an octave that, so if I was David about QIAT, maybe go 54321. But it's up to you depends on the size of your hand. So stopped off by doing perhaps an easier one with maybe just white keys. So I wanted to practice it may be on a BMI, so let's go and E minor. Then what the fifth to the pain, and then up to me and up to the 10th. So that's the G. So practice them. First of all, Animoto just to get the coordination on the finger incorrect. And as you can see, there are six notes or intervals. So if you're interested in the timing, you can either count well onto R3 outlet, this one num 2312, not three, all just count through to six, which is probably easier. 1, 2, 3, 4, 5, 6, 5, 6. So practice this position. Now. I've tried to make it see you not stopping in between each sequence. So there should be no gap between the six and the wall that this 1234561234565656 109. Lets Apply this Pattern to a Chord Progression: You can use this left-hand pattern for improvising using any progression that you want. But for the moment, just so you can get used to it, let's use a set chord progression. Then you can have a go at improvising over the top of it without having to worry about which cards to choose in the left-hand. So, but go to use E minor, C, G, and D. So first of all, I want you to have a go at figuring out that pattern for those cards. Please pause the video and they'll give you the answer once we resume. Okay, So hopefully you got this. The first of all, 0s, man, it was the water we did in the previous lecture. And then C major was this. Yeah, it might fit together. Open octet, but that's fine. Then G-Major, this. And then finally, D-major was this moment to the knife, sharp or number. Okay, so those are the correct note that chord progression. But I'm just going to suggest something like we did with the previous advanced left-hand patent. What you can do to make the transitions between the carbs easier is you can put up the last two nerves on each broken color pattern and it makes the transition between the next card easier. I'll show you what I mean. So rather than just go down every time it jumps can be a little bit tricky if you're going fast, say I did a little smudge then so what you can do is go 123456 and then don't play the 56. And then it just gives you two beats to find the start of the next called. So then you'd go finishing on the tongue, 156123456. So it just gives you a bit more of a gap to find the next called. Adding the extra gap does make it easier and eliminates the chance for slips in the left-hand and also meant to. So you can eventually focus more on playing with your right. So you don't have to do that if you don't want to. But for the moment, I would advise it. So I wanted to practice that left-hand person until they can play it without stops. Then the next lecture, we'll look at adding some right-hand on this is what you're aiming for. 110. Lets Add some Melodies in the Right Hand: Now we're going to improvise some melodies in the right tons. For the moment, let's use a combination of the natural minor and the minor pentatonic on top in your right hand. So first of all, I want you to have a go at figuring those scales out using the formulas. Let's start with the natural minor. Press pause and figure it out. And I'll show you the scale once we resume. Okay? The E natural minor scale, hopefully you got this. And if you wanted to know the correct fingering for that, you would go 12312345. Now have a go at figuring out that minor pentatonic. Again, press pause, and I'll show you the scale once your Zoom. Okay, the E minor pentatonic scale hopefully got this. So e and then manifest to that. Then, and then manifest to the day and up to the side. And remember, you can also flatten the fifth if you want to add that blue sphere. So you could add an a B flat. So just to do with the fingers for that one, if you're interested out, which suggests 123123 seconds. So I'll just have a little play around with those scales on top of that left-hand Patton. So you can see some examples. And then you can have a go on your own. Let's have a go. So crazy. Nothing too complicated. Just single notes from those scales. Yeah. I was just having a play around. So how the player bound but those scales on top of that left-hand pattern. And if at first it feels tricky to do both at the same time, I'm going to include a couple of exercises that you can do that will help you to develop the coordination needed and will also help with your timing as well. And just one more thing to remember if you are diving straight into the improvising. Don't forget about passing notes. So if you play your right-hand and it doesn't sound quite right, but not for instance. Remember, if you move a clot down in the scale, it's going to resolve the melody. Yeah. 111. Exercise - Pentatonic Scale Over Advanced Left Hand Flowing Pattern: Here is an exercise to help you to get control of that left-hand flown pattern in six time. Along with the minor pentatonic scale in your right-hand, it will be much easier to improvise and play around with the rhythms, et cetera. This particular exercise will help with the timing and coordination so that you can play a slow and steady rhythm in the right hand. Over the top of that left hand. This is what it sounds like. So the left-hand is exactly the same pattern that you've just been doing. And again, dropping out the last two beats of each card pattern. Yeah. So finishing on the top, the second time round, the right-hand is the minor pentatonic. You're going up two octaves, but not all the way to the top. So here's the notes, first of all, starting on the E, and it's a middle C. And then you go up the pentatonic, the next octave. And then you go to the b on the top so you don't go any further. So the fault and the beta, and then it comes back down and get us thinking in a second. And now the fingering our suggests some underneath on the wall now. And then, and then when it gets the next octave, a sum underneath again. And then you just go up to three, fall back down 3, 2. And then when you get to the middle here you can over the top with your, with your Wanda of the sum. So that's important in the middle of that. And then finally three. So here it is, right hand. Okay, and practice that right-hand with the exact fingering on it. So first of all, and then once you've got control of that, will add the left-handed. Okay. Putting them together then. It's insects time 123456123456. Yeah. Your right hand is playing those notes you've just been practicing but only on the wall and the fall. So the first and the fourth b, I'll show you 123456123456 pounds 5623456123456561234561236. Yeah. We found were you first of all, it might be a good idea to practice counting. I'm playing with the one at fault and your right hand like this, 1234561234561234561234561234563456156123456. And then you can add the left-hand in. Of course it starts slowly, first of all, and what should we all be that counting. But you could do this 123456 and so on. So that's something you can do if you're struggling to count out loud and play at the same time. Another way to approach this to get the coordination. It's your right hand, is playing the notes of that scale. When you left hand is playing at the bottom of each column pattern and the top. Yeah, watch this. At the bottom and the top. The purpose of the tongue. The tongue, the bottom, the top and the bottom, and the top. The bottom. The button, the button at the top. And so on. It depends which way you find easiest counting and pay on the one and the four are doing it more visually and playing at the bottom and the top with those right-hand notes. So you can learn that exercise and it will help you being able to improvise with that scale and that rhythm over the top of that left-hand button. 112. Exercise - Minor Blues Scale Over Advanced Left Hand Flowing Pattern: This exercise is going to help me to play the scales at faster speeds on top of the left-hand pattern. So whereas in the previous exercise, you were playing on the wall and the fall in your right-hand. Here, you will be playing on every beat, but also going to add that flattened fifth for this exercise. So it'll turn it into the blue scale and you're right hat. Here's what it sounds like. So that's it. The left-hand, again, it's exactly the same. It's just the E minor blues in the right half. So the main thing really with this one is using the correct fingering and the same fingering every time it starts off on the E above middle C. And it goes through the monopolies scale. So B flat from underneath. And it's just all of the knots. Up and down, two octaves. Yeah. So it's just a fingering. It starts with your thumb and then it goes up onto the B-flat than thumb underneath on the second goes up to the day, then thumb underneath onto the middle. And then it just the same again. Twist them. And then you gotta go to the top of the third and then constraint that down. Very important when you go back down over the top to the B-flat. Yeah, third goes second. And again here is important thumb over the top with you from Denise, With the same as on the previous scale with the pentatonic minor. And then over the top with your fourth on a bit, again, third toxin into the two and then one. And that's it. So practice that scale now opened up the two octaves with that exact fingering. And once you've got control of it and you're doing the same fingering every time. We'll add it on top of that left-hand button. Okay, Hopefully you've now got control of that right-hand scale. Now it's time to put it together. And there's nothing funny going on with the timing here. You playing on all six beats and your right hand. So the only thing to remember rarely is you dropping out of the 1, 2, 3, 4, 5 6, 1, 2, 3, and 5, 6, leaving that gap. So you're finishing on the top on each left-hand called yeah. So putting them together, is that this I just play it nice and slowly so you can see. Yeah. So your right hand and he's got two notes on its own at the top there on the beat and just do that again. Yeah. And then he goes to the next card. Again, two notes on insert at the end and 56. That's called your right hand again, and then the last card again. So that's what's going on. It might take some time. You might have to tough, super slow just to get used to it. And just be aware that when you are playing it slowly, you might find that some no's do clash. That's because you saw holding on the notes for longer when he played it faster eventually, you won't be able to notice those clashes. And remember it's also just an exercise. So I'm going to play it for you but last time, nice and slowly, so you can use it as a reference point. 113. Including Previous Techniques: Once you feel comfortable improvising with these scales, you can start to incorporate carbs. Ah, you could include those third, sixth harmonies in the melody like this. Remember to try out those melody tips I suggested earlier as well, such as the use of repetition, call and response, and the use of space in your melodies, amongst other things as well. You could even try adding some of those passing car techniques. Let's see what it sounds like. Adding some in this style of playing. So it works with that as well. So try incorporating everything that you've been learning and see what you can come up with. I didn't get round to incorporating everything just then. But you can see with just even a few of them, you can come up with some really interesting improvisations. 114. Wrapping it Up & Breaking Out: Remember that any of these techniques I've been teaching you can be applied to any key chord progression or improvisation you like. It's all about playing around and seeing what you like the sound off. For instance, for the last few techniques we were looking at, we were working in a minor key. But we can take them techniques and use them in a major key. What's this? And all of these techniques that we've been looking at are purely guidelines. I've just been giving you tools that you can use in your improvisation. But then you can start to break outside of the techniques. For instance, you can start playing around with broken cards in your hand. You don't have to stick to the patterns all the time. You can pull back from as much rhythm. And you can obviously change the key at all. Salts, there's lots of things you can do. Fenton. I'm just going to have a little play around and show you that you can dip it in and out of the techniques that I've been teaching. Yeah. Okay. So that was an example of some improvisation using different techniques that we've been looking at. So now it's over to you, is time for you to play around with improvising. I do hope that you enjoyed this bonus section. I am aware that improvising is a massive field in music. And this could have easily run into hours and hours of content. But I hope that I've given you just enough to work with so that you can get started and have fun improvising with your own music. Enjoy. 115. Chord Course Ending: you completed the class. Congratulations. Please check up. May the Carters on here. And thanks again for signing up for this one. Bye for now.