Using Push 2 to Play Chords and Scales | Will Edwards | Skillshare

Using Push 2 to Play Chords and Scales

Will Edwards, Artist. Creative Problem Solver. Musician

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16 Lessons (40m)
    • 1. Introduction and Overview

      1:20
    • 2. How to Build Major Scales

      2:39
    • 3. Important Major Scale Homework

      1:13
    • 4. How to Play a Major Scale on Push 2

      1:54
    • 5. Major Triads (Chords) Explained

      1:41
    • 6. Using the Major Scale in the Real World

      8:09
    • 7. Major Scale Patterns - Playing Music on Push 2

      7:27
    • 8. Major 7ths Explained

      1:12
    • 9. Major and Minor Harmony (Chords) on Keyboard

      4:40
    • 10. Major Arpeggios on Keyboard

      0:35
    • 11. About Major Chords on Push 2

      1:33
    • 12. How to Build Minor Scales

      0:53
    • 13. Important Minor Scale Homework

      2:16
    • 14. How to Play a Minor Scale on Push 2

      0:50
    • 15. Minor Triads (Chords) and 7ths Explained

      2:00
    • 16. How to Play Minor Chords on Push 2

      1:16

About This Class

Since this curriculum is intended to help electronic musicians who use Ableton and Push 2, most of the demonstrations and walkthroughs are presented directly in Ableton and/or on Push 2.  This means that learning music theory like major or minor scales and chords is different.  In this short course, you'll learn the concepts in a way that makes more sense with Ableton and Push 2.  There are definitely useful aspects of traditional music theory which is why *some* lessons ALSO demonstrate triads, intervals and scales on a traditional keyboard (Novation LaunchKey 49), so you'll see how music theory is based on piano.  Scales, triads and intervals are the alphabet of the musical language and its hard to do much without them.  You'll find this course is packed with condensed lessons that explain everything you need to know about building and playing scales and chords on Ableton and Push 2.

Transcripts

1. Introduction and Overview: my name is Will Edwards and welcome to my course on able to theory. And this is focused on minor and major scales. So we're going to talk about how major and minor scales are built, how they're different from each other and how they're related. We're gonna learn about how they're built from half steps and whole steps. And maybe more importantly, we're gonna learn how cords air kind of extracted from major and minor scales. And that's going to give us some clues and insights as to why certain chords work well together and why certain songs always contain the same court. Also going to give us some indication how major and minor scales are related to each other when you're done with the course. If you have any questions, of course, always reach out to me. I'm always available to help students, but I've made some recommendations for a class project, and that project is really gonna help you begin to internalize the lessons in this course, especially with regards to understanding how different chord progressions can be played and used in your own compositions, harmony and the use of chords. It all goes back to major and minor scales. It's the real meat and potatoes of music competition, so I'm looking forward to getting started and let's get started now with the first lesson. 2. How to Build Major Scales: now we're gonna build our first major scale. The major scale is by far the most common scale, and the one will come back to the most in this course and really in any study of music theory. So it's the first scale we want to build. And we want to understand that major scales follow a specific formula of whole steps in half steps. That formula is whole whole half, whole half. Now, the idea here is that if you start on any note within the chromatic scale, it's just pick one. For example, I start on, see how we give a whole step. Then we get D and another whole step. We get eat 1/2 step, we get ah, whole step, we get g another whole step. We get a and another whole step we get be Then finally, 1/2 step we're back to see are active. That is a whole whole half whole whole whole half formula. No matter what note we start on whether we start on deep lap where we start on f sharp or would start on G. If you follow this formula, you'll wind up with a major scale that correlated to that note. What I recommend you do now is spend time building every scale that you can. Every scale for each of the 12 notes in the chromatic scale followed this pattern. Now there are two rules that you want to follow Usually scale a major scale. That is, first of all, you want to follow this whole whole half a whole whole half pattern. Second, you want to make sure that every note name every letter is included in your scale. You don't have two kinds of these or two kinds of age. You have to have one note. Every note has to be included, but only one time. So the best way to write these scales out is to download the worksheet that I prepared for you. That is, with this lecture and print it out. Look at it. You'll see up provided spaces for every note that's in every scale. Up started every scale off from a note in the chromatic scale. You follow the whole whole half whole whole half pattern until you fill in all the notes. And the easiest way to do this is to just write out every letter. So if you're starting on the right e f g a B c. Right. And then you get to figure out Well, what kind of see is it? Is it a C Sharp is a scene apple is. Does this key included G or G sharp? That's we come come back to the whole whole half whole half pattern. You go through the chromatic scale following that formula and you pick her out, you're gonna need an f sharp in D major, and you're gonna need a C sharp in the Madrid so on. Make sure that every scale contains every letter and then use the pattern to make sure that you're getting correct quality of each note. 3. Important Major Scale Homework: major scale is something we're gonna come back to again and again. And no matter what you study or what you do music theory The major scale is always an important point of brethren's. The most important thing that you can do at this point is practice writing out the scale and memorized. You actually can memorize all 12 major scale. Know them like the back of your hand. It'll just make a whole lot of what you do with music much easier, much more enjoyable. It's like memorizing the alphabet. It just makes a whole lot of other things much, much easier. Spend time with it right out the scales and check your work against the cheat sheet that I've prepared, which has every scale in it. Make sure that your scales are written out correctly before you memorize them. Okay, that's very important because you don't want to go spending time doing work and then having to undo that work. Start with the right scales. Practice writing the mountain really get a feel for how this whole whole half a whole half pattern applies the chromatic scale to reveal each of the major scales and then memorize the major scale, memorized every note in them, whether they're sharper, Platt and just get familiar with each of the scales and the process for deriving. 4. How to Play a Major Scale on Push 2: let's quickly demonstrate how you can play a major scale on the push to now. The push allows you to select from many scales, and then what it does is it makes sure that every pad represents and within that scale, the pads that air colored match the color of your instrument channel. And that way you can kind of see which instrument is selected visually from the push. Another feature is that the in this case, the yellow pads are indicating octaves. You'll also notice that light slide up for all pads that share similar note name. In order to make sure the push is only playing notes from a major scale, you want to select the scale by pressing a scale button using the rotary control to select scales. Here. We're going to select the first option major, and you want to make sure that this selection here is in key. If it's in chromatic, then it allows you to play every note in the chromatic scale while still giving you visual representations of the notes that are in the sketch. By ensuring that in key is selected rather than chromatic, you can ensure that every pad is a member off the key. Furthermore, you can select the key using the letters along the top and bottom. You'll see that I have selected E major here, but you could select D major Changing The key is as easy as that one. Last thing you want to make sure to set is that layout is set to fourths. Typically, this is the default. But if the pads aren't reacting in the manner that you expect, make sure that layout is set to force. Now each note in the scale is represented on one of the pads, and the yellow pads are matching color to our channel and we get an octave. 5. Major Triads (Chords) Explained: So far you've learned how to build a major scale. And I promised you that that was really gonna be important. If we're gonna talk about melody and harmony and here we're going to start talking about major harmony, I want to bring your attention to a C major scale and we're gonna use this is an example in this lecture. So we've got the notes, See, they e f g A and B coming round to our see our octave. And this scale, which is a C major scale, is built using the whole whole half hole. We'll have formula that we talked about earlier. Now I want toe focus on the C, E and G. These are the root third and fifth, and they are the essential building blocks for a C major court. Now you can build accord from any three notes in the scale as long as each of the notes is separated by the interval of 1/3. Okay, so from CTE is 1/3 eat a G is 1/3. If we build this cordon off a, we find that we get a C E because they're the three notes in this scale that are separated by 1/3. If we were to start with the we would wind up with D F and A. Those are all separated by 1/3. And there within this key. So the essential thing about building chords within a key is to make sure that you only use the notes in that key and that you follow thirds to build the cord. You build a basic triad and you wind up with a C major chord or a D minor chord on a minor court. We're gonna talk more about minor harmony later, and we're also gonna talk about adding seventh to these chord in the next lecture. 6. Using the Major Scale in the Real World: So we've talked about the major scale and how the scale is built. But now we want to talk a little bit about how you can actually use it, right? So the main thing to be aware of is that the push auto magically presents the whole whole half pattern to us. We don't really have to think so much about the actual note names. And what key worried It's presented to us as a visual pattern. I want to go over that a little bit more, and I want to talk about how chord tones are within the scale. So in other words, all the chords that sound good in a key are gonna sound good because they're made up of notes or tones that are within the scale. Right. So in other words, cords are extracted from the key. That's why some chords sound good together. That really implies the third point that I want to cover, which is that a key and a scale are exactly the same thing. I'm gonna talk a little bit about that. I'm gonna show you really quick demonstration of how cords and melody work together. Just using a really simple melody that we're all gonna be familiar with. So first of all, let's look at the visual pattern ized structure that's happening on the bush here because this is really essential to performing live and using this practically So I've got this color selected. It's it's kind of a yellow. I've been actually gonna go ahead and change that color. I'm gonna hold the shift key and I'm gonna select. Let's say red now it's a little more obvious. It blends a little less red is more contrast in color now the way that the scale is presented. Here we have the colored pads, always indicating the route. So let's see. We are currently in the key of E we have, he highlighted. We could highlight a or D. Let's stay on E for now, and you always want to make sure that layout is set to fourths. That is going to keep your experience playing. The push. Exactly the same is what I'm demonstrating here. Of course, you can change the layout, but then some of my lessons won't apply because the layout of the pads will be different. So just make sure layout is left in fourths and then we've got major scale. Of course, Is all these scales here to choose from the main wants You ever going to use our major and minor? We have major selected, so we're in the key of a e major. And what that means is that all of these are these, right? So when we have a melody, we're gonna be basically using the pads weaken, just basically play anything and in the key, that's what it means when we have the scale selected over here in the upper right instead of chromatic we have in key that basically is saying like, Yeah, whatever I play here, it's gonna be in the key. Whatever cords I play and whatever melody I play even when I'm improvising, it's all gonna sound good together. And in the next lesson, I'm going to kind of demonstrate how, no matter how arbitrary I get, they're still not going to sound good because the push is magically managing note names and pitches for me to keep it within the key of E major. So let's look at how chord tones and scale tones are actually very much the same. So we've got this scale going up like this all the way to an octopus. So these are the same note. These are both. These is just a lower e. And this is a higher on the way that this scale works is where you are. It's basically from the colored bad to the country pad. So if you start here like that, think of it as kind of like a grid of three by three. Okay, but really, this top corner one is a repeat of the the second note or the second interval within the scale. But I'm always looking as a performer on push at this kind of three by three grid. All right, so I got the route. 2nd 3rd 4th 5th 6th 7th and then back to knocked it. A major scale only contains seven unique notes and adoptive 1234567 and a doctor. Now, if I play chords like this, I could stick to this kind of, uh, Herschel harmony structure here where I'm playing thirds. And by doing that, using this triangular shape and by making sure that my pushes already configured the major , essentially, I could be sure that I'm always playing chords. That are in the key of the majors, all the cords, that player in some musical. So if I go ahead and I play chords, that's all gonna match any Siris of notes that I play. No matter how random or arbitrary they are, all of these notes will go with anything. You you can hear how, no matter what I do. All of that was just completely arbitrary. No matter what I do, it's always going to sound good together because we're looking at having the push configured with this scale. I'm playing chords that are made from notes within the scale, and I'm playing a melody from notes of the scale. That's the essential value of playing in a key. That's why musicians for hundreds of years have recognized the value of tuning all their instruments and then determining to play together in a specific key. It's a way of making sure that all of the different constituent parts of your musical composition work musically together. So a key and a scale are the same thing. You could say we're playing in the clue of the major, but you could also say that this isn't the major skin right when you play a chord based on the route of the scale. In this case E, That's an e major chord because it's a root third and fifth extracted from an e major scale , and you could also see that is the two major. So these cords are all in the key of E major. This scale is the major scale, and all the notes are in the key of the major scales, and keys are fundamentally the same thing. All right, so just to close out this lesson, I want to do a quick demonstration off like Twinkle, twinkle, little star. Now I know this is not particularly exciting tune, but it's one we all know, and it's just a good demonstration because it is really a simple melody, and it's one that everyone's familiar with. So essentially, what's gonna happen here is I'm gonna be playing chords with my left hand, and I'm gonna be playing the melody with my right hand, but what you gonna notice and what I want you to be able to watch? And you may have to watch this lesson several times in order to really fully grasp this is that whatever court I'm playing over here. The same pattern of notes is gonna be these these three that I have highlighted. Let's call those quarter tones the note that I'm playing with my right hand, though it's in a different octuplets in this different three by three grid over here, it's gonna be one of these three notes, so just watch what I mean. So we have So that is this note and that note on. That's why this cord goes with that melody. Now move up to this note. The left hand is playing chords. The right hand is playing melody, but the melody is completely constructed from notes that work with in the courts. That's gonna be something that becomes more and more clear as you progress through this course, but I wanted to give you that quick demonstration. Try playing that on your own. Try to start recognizing these groups of three by three pads as an Octa, recognizing that really, it's just the 1st 7 unique notes and then the act of the red color or whatever call you've chosen start getting used to seeing the patterns on your push, and in the next lesson, I'm gonna basically do a little bit more demonstration. Talk a little bit about how you can use this scale born an improvisation. 7. Major Scale Patterns - Playing Music on Push 2: in this follow up. Listen, we're gonna discuss three million topics. First of all, always understand the patterns on the push that represent chords and keys and scales. And so I'm gonna go over that in war detail. The second thing is to understand that everything we're talking about here in the context of the major scale will be exactly the same in the context of a minor scale. In other words, if we just change the scale from Major to minor, we're gonna be playing in the minor. And it's gonna be that straightforward because still continues to use all the same patterns and ideas for finding notes, intervals and chords as well as octaves. Lastly, I'm actually going to do a little bit of an improvisation to show you how you can actually just rely on the push to have made sure that all the notes you can play whether you're playing accord or a melody are gonna work well together as long as you have the in key feature selected. So I always wanted Make sure you press the scale button and in the upper left hand corner here, make sure between your choices of chromatic and in key that you have in key selected. That'll make it easier to follow the examples that I'm sitting here. We've talked about using this three by three pattern and recognizing that more or less as the scale because you have a root 2nd 3rd 4th 5th 6th 7th and octave colored pads are the same pitch name in this context. E because we have e selected under a scale feature, but more or less, they comprise this pattern that makes a three by three grid. Although there's kind of errant extra grid up here. Of course, if you go 1234567 you'll find that it works this way as well. But you see 1234 So from this perspective, you have 1234 Whether you come at this pad from here 1234 or from the grid 1234 You wind up with the same interval. So this is always your four. This is your five. This is your six. Whether or not you go. 123456 or 123456 This is the sixth scale degree within your major scale. So I prefer to just look at the scale as being this three by three grid and I ignore the upper right hand corner. 1234567 One of the reasons that I like to use the grid pattern is that it reinforces an easy way to play chords. So I'm gonna look here with my left hand, just playing this simple try Attic triangular shape. Now I say try attic because a triad in Western music is comprised of a route 1/3 and 1/5 in a key. So 135 that makes an e a major court. If we were to change our scale, for example, to minor, we would have were still root third and fifth. But now we have any minor court using this triangular pattern and relying on the scale feature here to keep us in check is a great way to just make playing music a little simpler with the push to its one of its great features. In the last lecture I played Twinkle, twinkle, little Star, and we played it in E major. So I'm just gonna make sure that selected and it goes like this. Uh, now if we were to change the scale to minor and play exactly the same things we wind up with this way notice a big difference in the way it sounds. It doesn't sound like the familiar twinkle, twinkle, little star. But actually that's the way that the twinkle twinkle little star melody and harmony Melody being my right hand and harmony Being my left hand That's the way twinkle, twinkle little star with sound in e minor Let's switch back to major now And I'm just gonna do kind of Ah, simple demonstration here of how heavily you can rely on the push to to make sure that all your notes and all your cords are gonna be in the same unified key And you can just kind of mess around just kind of improvise. Okay, so what I'm gonna do is I'm gonna want tohave Ah, harmony and melody Track. I'm gonna go ahead and duplicate this channel setting the whole down duplicate and I've got a patch called Love. The key is loaded. I'm gonna use this channel to simply record a loop consisting of these three wards going back to our route and If you look in able to here you can see how it's laid out and let's give it a listen. Oh oh, you can see that on the push to It's actually highlighting the pads as let's get played in the editor. Now I'm gonna leave that playing and switch to my other track is the same sound. But now I can play melodically. Any notes that I play in any order are gonna sound kind of good or appropriate because I'm gonna be playing just within one octave off my scale. Now if I want Teoh and ideally, you should practice doing this. You want to think about what chords are actually playing and use the chord tones or, in other words, the tones from those cords to make humility. So, for example, if I were to do that, I would do something like this. The reason that that melody sounded a little nicer in a way is because I actually chose note from the chords being played to construct my melody. Oh oh, just to review you want to make sure that you're always thinking about patterns on the push so that you can take advantage of pattern ized chord shapes, but so that you can also understand which interval you're playing in the scale. You want to understand that no matter what, you change this scale value to minor Dorian diminished. Whatever. You're gonna find that as long as you have the in key feature selected that you can kind of mess around no matter what. And it's all gonna sound pretty good because push is automatically making sure that all the notes available to you at any point in time are within the same key. And that's the essential structure that you want to have in place for your melody and harmony to sound good together. Finally, we did a little bit of a recap playing Twinkle, twinkle Little Star in the key of e minor. We switched to minor, but we also did an improvisation, and I hope that you could see how the push to actually really empowered me to do that. This whole thing is just happening. Based on a simple e major scale, I've got cords and I've got melody, and even the very most advanced music is essentially the same structure. You have a key. You have a pool of notes that operate within that key Well, and then you build chords and melodies out of those notes, and then you assemble them together. 8. Major 7ths Explained: In the last lecture, we build a C major chord from the C Major Skip. Now those two are obviously related C major chord C major scale. We took the route the third and the fifth to build a common triad. Now try ads are the most important, most fundamental building block for harmony. It's the most basic chord that you can come up with, and it's essential that you understand how to build a try it in any major key. What I'm gonna show you now is that we can typically add a seven from the same key, and we get a new chord, which is known as a major seven court. So if we add B, which is the seventh in our key, we're following this from last lecture Where we use the key of C, then be is the seven. And if we add that to our try and we get a note, C E g B. Those four notes together make a C major seven court. It's really that easy when you separate, see t being third e g being 1/3 G to be again being 1/3. You wind up with four notes and you put them together. They're all extrapolated from the C major scale that makes this a C major seven chord. 9. Major and Minor Harmony (Chords) on Keyboard: we've seen how major harmony works on the push, using simple triangular shapes as long as your layout is set to force. However, on a traditional keyboard there's a lot more variation. A C major chord, for example, consists of the notes C, E and G, all white keys. However, the cord, a major consists of one blackie into white keys, a C sharp and E. So there's great variation on a traditional keyboard about the combinations of natural white notes, or sharpen flat black notes that you play in order to construct the same chords that the push can construct. Using the same fingering. So using the same triangular shape, you want to practice playing every major chord on a keyboard. The main reason for this is that playing on a keyboard is the most effective way to understand music theory and be performing at the same time. Let's start with a major, which is a C sharp and E. Then be major is B D Sharp and F sharp. Then we have C major, which is C E and G D major, which is D F sharp and A E major e g sharp in B ah F major, which is F A and C three. And then finally G major, which is G B and D thes air all the cords, major chords that are played on the keyboard off of natural roots. Now let's look at a flat. This would be a flat C and E flat B flat, which would be beef lap DNF way. Want to look at D flat, which would be D flat F and a thief. That would be E flat G and B flap. Ah f sharp would be f sharp A and C shirt theme and then g sharp would be g sharp. Be sharp, which is actually C and D sharp. Thes notes are the same whether or not you call this a g sharp or a flat chord G sharp be sharp and D sharp is a g sharp chord while a flat see an E flat is an a flat major court. They're both gonna sound exactly the same, but the cords actually have an harmonic equivalent. Now let's look at the minor chords. We're gonna take the third from each cord and drop it down 1/2 step to create a minor chord . Ah B flat major chord B flat minor. Then B C minor is gonna be ce flattened. G d flat major was deflect f and a flat so d flat minor is gonna be d flat f flat. Which is this an harmonic equivalent E. And in a flat, the major D f sharp in a becomes D F and A for D minor B flat minor will be e flat, G flat and B flat. The minor will be E G and B uh, f minor will be f a flat and C F sharp minor will be f sharp A and C Sharp G minor will be G B flat and D themed. Then finally g sharp minor or a flat minor would be a flap see flat and even. That's a summary of all the major and minor chords. Understand that the octave moves from a A and then just repeats again. So if you can play a chord anywhere within one octave, it's exactly the same fingering in any other active on the key boy 10. Major Arpeggios on Keyboard: Once you know how to play major chords, you also know how to play major arpeggio. That's a C major chord consisting of the notes C, E and G. When you play those notes linearly over time you're playing an arpeggio way were to look at an a major chord that would be in a major arpeggio or a D major arpeggio thes, same as a D major court. You're just playing the notes linearly rather than at the same time. 11. About Major Chords on Push 2: Now let's look at how you can actually play harmony or courts. Earlier in the course, I mentioned the importance of setting the layout fourths. When you set the layout 2/4 using the scale feature, it ensures that harmony follows a very simple pattern. This would be your route. This'll would be your third on. This would be your fit. Of course, the route is always represented by a colored pad that matches the color of your instrument . This way you get a nice triangle represents each chord, and you can just simply play the appropriate route for each chord, following that triangular shape to play any chord you want. In other words, that's a record. That's a chord. Based on the second note of the scale or a to court. That's a four chord. That's a five chord. When you're playing the scale or you're playing harmony like this, it's helpful to see a square off pads as representing your active 4567 This way, you can play a 145 court very easily, just using these simple triangular shapes. Theo to cord is a minor chord, but you'll notice that that's already taken care of by push once you selected this scale so you can use the same shape and rely on push to play the proper major or minor chord within that key for you. 12. How to Build Minor Scales: So we've already learned about how to build a major scale using a pattern, whole steps in half steps. And now we're gonna talk about building a minor scale, using a pattern of whole steps in half steps. Pattern here is whole, half whole, whole have whole. And if we apply that pattern to the chromatic scale, starting at any note, then we wind up with a minor scale. We're gonna do that here, starting on a now we're gonna go a whole step. We're gonna arrive it be then 1/2 step to arrive it, see another whole step two d, another whole step two e and then 1/2 Step two f ah, whole step G. And a whole step back to a are active. That's how you build a minor scale using whole steps in half steps. And in the next lecture, I'm gonna talk to you a little bit about how you go about practicing and learning and memorizing ultimately all the minor scales 13. Important Minor Scale Homework: Now that you know how to build minor scales from the whole 7/2 step pattern, it's really important, just as with the major scale that you memorized these scales, that you internalize how to build them and then ultimately you memorize and commit the actual scales to memory. Now there's a really useful tip toe understand when it comes to memorizing minor scale, especially if you already know major scale. That is that if you start any scale on 1/6 degree of a major scale and you keep all the notes the same, you wind up with a minor scale. So let's take it from our major scale example of C major. And then we'll look at the sixth degree, which is a and we'll write a new scale using all the notes from C major. But starting and ending on a high, we're gonna wind up with a minor in scale. We built in the last lecture, using our whole in half step out and for minor scale. So in other words, there's a relationship between a scale built from the sixth degree of a major scale is a minor scale of some kind. So if we were to look at C major, go to the sixth degree and build a scale from that. A. We find that we get that same a minor scale that we built in the last lecture. So if you know your major scale, you can also just recite them from sixth degree. If you want to remember what your minor Stanley is. However, I do think there's really benefit in just memorizing the minor scales as if they were their own thing. Thinking about major and minor. That's fundamentally different scale. So write them out, memorized them. I've put together a worksheet that can help you build out the minor scales, which you can download with this lecture. Have also created a cheat sheet that has all the correct minor scales so that you can check your work and make sure you memorizing the right scale. I want you to take a little bit of time to consider how each minor scale is built off the sixth degree of another major scale. There's a cold relatives, by the way we call a minor the relative minor of C Major, or we call C Major, the relative major of a minor. They're related because they actually contain exactly the same notes, work on the worksheet, check it against the cheat sheet and then memorize the correct scales and then we'll move forward. 14. How to Play a Minor Scale on Push 2: I want to demonstrate how you can play minor scales. It's much the same as bling. Major scales. First, you want to hit the scale button on your push. You want to use the rotary control to switch your scale from major to minor. You can select any key here I have de selected. So I'm gonna be playing a D minor scale. I want to be playing in key rather than chromatic. So I have that selected in the upper left. And of course, I have fourths selected is my layout so that I can use the nice triangular shape to play harmony. I'm gonna go out of the scale mode so that now my pushes all set up, but I can actually see notes. You'll notice now that it's playing a minor scale. 15. Minor Triads (Chords) and 7ths Explained: Now we can go about building our harmony or are cords using the same principles that we use with major scales, but apply them to minor scales in order to get minor chords. So, for example, in the scale that we just built in the last couple of lectures a minor, we followed the whole half a whole half whole pattern, and we applied that starting on a wind up with a relative minor of C major. And if you have any questions so far, maybe go back and check the last two lectures to help understand and explain the detail. But we're looking at a minor. We understand that it's the relative minor of C Major and we're going to do the same pattern that we did with our c major scale when we were looking at C major harmony and we're gonna move by third. So we start with a and we moved 1/3 to see another third E and another third to G. This gives us an A minor seven chord. Now a cny all by itself. That's an a minor triad. We add the seventh and it becomes a minor seven chord. Now you can build harmony out of any other note within the A minor scale and that you'll wind up with different courts. So, for example, if you were to start with B, you'd get B, D, F and A, and that would actually be a coordinated as a be half diminished chord or a B minor. Seven flat five sometimes is another name for I don't want to confuse you. What I want you to understand it right now is that you can follow the same triad pattern for both minor and major, both minor major. You can use Seventh and Make seven Chord, and that you can build from any notes in a scale and you'll get a resulting court. That may be a major court and maybe a major seven reminder. Seven. Maybe 1/2 diminish court. There are different court qualities, but you can use the principle of following third to build out triads and seven court from anywhere within a minor scale as well 16. How to Play Minor Chords on Push 2: we've learned how to set up the Bush to play major and minor scales as well as chromatic scales. We looked at how to play major chords using a simple triangular shape. As long as layout is set to fourths within the scale feature of Push, then that triangular shape will always be playing the correct court. Whether it's major a minor, this is a quick review, but essentially playing minor chords is the same as playing major courts. If we've selected a minor key, I've selected D Minor and lay out his fourth and I have my in key selected. Then, as I'm playing, I'm getting the appropriate cord qualities from a minor scale. Whether or not the court is half diminished or major or minor. That's up to the push at this point. If I switch to the major scale, of course my harmony changes, but the push is still playing the appropriate cord. Forman, playing minor scales and playing minor chords, is basically exactly the same, as long as you have the push set up to the appropriate scale