Build Piano Skills: Progressions, Basslines & Arpeggios | Elijah Fox-Peck | Skillshare

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Build Piano Skills: Progressions, Basslines & Arpeggios

teacher avatar Elijah Fox-Peck, Pianist, Songwriter, Producer

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.



    • 2.

      Getting Started


    • 3.



    • 4.



    • 5.

      7th Chords


    • 6.

      Chordal Scales


    • 7.

      Additional Chords


    • 8.



    • 9.

      Left-Hand Patterns


    • 10.

      Accompaniment Patterns


    • 11.

      Apply What You’ve Learned


    • 12.

      Final Thoughts


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About This Class

Grow your passion for piano in this beginner-friendly class — part of the Complete Piano Learning Path that will take you from novice to intermediate player!

Multi-instrumentalist, songwriter, and composer Elijah Fox fell in love with piano when he was a child. Now a successful professional musician with more than eighteen years of experience, he’s here to show you how to do the same. Building on the basics, Elijah breaks down the complex steps of chord progressions, bass lines, and arpeggios into simple movements, ensuring that you’ll be able to not only grasp the information, but incorporate it into your own practice. 

Elijah’s hands-on lessons will introduce:

  • The importance of inversions and arpeggios, as well as how to practice them
  • How to find chords in specific keys using the circle of fifths
  • Your best accompanist as a pianist – yourself! 

Plus, Elijah shares how he mastered these techniques himself, as well as a final demonstration set to a song you might just recognize. If you’re ready to deepen your piano knowledge, start here!

This class was created with the total beginner in mind – if you’re new to piano, you’re in the right place. It’s also a great choice for more experienced pianists looking to revisit the basics, change up their style, or fall in love with music all over again. Since learning music takes time, this class is designed to complement your own self-guided practice or lessons. All you’ll need is a keyboard or piano (ideally one with a sustain pedal). 

Ready to learn more? This is the second class in Elijah’s five-part Complete Piano Learning Path. To continue building your skills in the next class, click here.

Meet Your Teacher

Teacher Profile Image

Elijah Fox-Peck

Pianist, Songwriter, Producer


Elijah Fox-Peck is a multi-instrumentalist, producer, and singer who grew up in Durham, NC and graduated with a bachelors degree from Oberlin Conservatory in 2017 where he majored in jazz studies with a focus in piano performance.

Elijah began playing piano at age 9 and by 13, was touring with the NCCU Jazz Ensemble as a guest soloist and recording professionally with top jazz musicians in the area. He was nominated the North Carolina All-State jazz pianist his freshman through senior years of high school and at age 15 received a full scholarship to the Berklee School of Music 5-week summer program. He has been teaching for 8 years and is currently teaching of studio of 21 students through Keys to Success in Brooklyn Heights, ranked one of the 15 best music schools in NYC.  ... See full profile

Level: Beginner

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1. Introduction: With the right techniques, you can learn all of your favorite songs quickly without ever having to read traditional sheet music. I'm Alicia Fox, a pianist, producer and composer. And I've been playing piano for 18 years. During which time I've been able to tour internationally and record with artists such as BJ, the Chicago kid music sole child in tape McCrae. I love playing piano and inspiring others to find new ways to play their favorite songs and compose original music. If you're excited to learn how to play your favorite songs, improvise, and compose on the piano. This class will give you many fundamentals necessary for creating an effective arrangement. We will be looking at how to use arpeggios, inversions, and seventh chords to create arrangements from chord progressions that can help take a simple chord progression and take it to the next level. For this class, all you're going to need as a piano or a keyboard and ideally a sustained pedal. By the end of this course, you'll understand how to use inversions, arpeggios in seventh chords to create effective arrangements of your favorite songs or while composing. Let's jump in. 2. Getting Started: In the last class, we learned how to identify the note names of the piano. We learned that the C major scale, we learned how to construct major and minor chords and how to find the notes from any scale using the circle of fifths. And then we came up with our first progression. If any of this is new information to you, you might want to check out class one before moving into this class. In this class we're going to take a really exciting approach at different ways to take a simple chord progression and bring it to life. This is a very fluid approach to piano, in which I'll show you a lot of techniques that could be applied to any chord progression or any song In help enhance it and turn it into an arrangement on the piano. A lot of this stuff can be helpful if you're backing up a singer, whether you're singing yourself or someone else is singing. I'm going to show you a lot of concepts that could be applied to any song or any chord progression. In order to become a versatile and fluid pianist, it's important to apply these concepts in as many ways as possible so that then when you see a new chord progression, you have limitless options or ways to play it. If you're backing up a singer singing yourself, it's important to pick an accompaniment pattern that's going to accent or amplify the melody. In this class, we're gonna be looking at how to create effective accompaniment patterns by using inversions, arpeggios, seventh chords, and baselines. If any of those terms seem new to you, don't worry, we're gonna go over everything. Let's jump in. 3. Arpeggios: In this lesson, we're gonna be looking at arpeggios. Arpeggios are taken from cords, but instead of playing all the notes at once, you play the notes one after another. So if we were to start with a C major chord, which is comprised of the notes C, E and G. In arpeggio for this chord would be playing the notes one after another. So for that example, I played the C major arpeggio across three octaves, but you can also play it across one octave, in which case it would be. Arpeggios are a great way to take a simple chord progression and bring it to life through an arrangement. For the next example, I'm going to use a two chord progression, C minor, the F minor. But instead of playing the chord, I'm going to switch between arpeggios. For this exercise. I'm going to go up from the bottom for the arpeggios. So for any chord, there is a corresponding arpeggio and you can practice it either in one octave or across the octave. If you're practicing in arpeggio for multiple octaves, it's important to slide your thumb under so you can restart the arpeggio. I'm going to now demonstrate a C minor arpeggio across multiple octaves. So we'll start with C, E-flat G than cross-gender to see. Then I'll go back down. In other words, in arpeggio is taking a chord in turning it into a melodic statement. Now I would like you to take the C major arpeggio and try practicing at first and one octave using the 135 pattern. Then after that, moving it across multiple octaves. Remembering the cross under your thumb. And it's important to know that the technique for this might take many years to get fluid, but it's important to start conceptualizing it early on so that you can keep growing. Before we move on to our next lesson, the CTL scale, it's important to keep practicing arpeggios for every chord so that you come up with new ways of adapting chords and playing them in a different arrangement. 4. Inversions: In this lesson, we're gonna be looking at inversions. Inversions refers to the same notes of a chord, but in a different order. However many notes there are in accord will determine how many inversions there are. Let's jump in. To start out, I'd like to take the C major chord. The notes of this court are C, E, and G. So this, playing it in C, E and G would be referred to as root position. To get to our next inversion will take the C and go up an octave. So now we'll have the notes E, G, and C. So this is the first inversion. It's the same notes, but in a different order. For the next inversion, we'll move that up an octave. And now we'll have G, C, and E for the next inversion of this, also known as second inversion. When we move this G up an octave again, we come back to our root position, c major chord, just an octave higher. So these three shapes are all the same chord, but just with the notes in a different order. It's really important to practice in versions so that you can get used to familiarizing yourself with all the versions of one chord across the piano. When we're coming up with arrangements on the piano, will oftentimes used in versions. So we can have a smoother arrangement in our hand, can mimic acquire who wouldn't want to jump around, but instead can go to the closest node. Inversions are also a great way to create interesting arrangements by taking a simple chord and bringing it to life across the piano. In this example, I'll take a C major seventh chord, which will be explained in the next lesson and move it across the piano. So in this example, I was taking the same four notes, but shuffling them across the piano by practicing all their inversions. And then I was able to create a melody by using that same four notes in their different orders. For your own exercise, I'd like you to try practicing all of the inversions of the C major chord. So once again, we'll start with C-E-G. Then we'll move up to AGC, the first inversion, then GCE, the final inversion before coming back to CEG, The root position in octave higher. If you'd like to take this a step further, I challenge you to take any chord and find the inversions that come out with it and become more familiar with them. Let's do one more example. For this. I'll take a D minor chord, which is DFA. And then when we want to find the next inversion, we'll move that d up to the D an octave higher, giving us FAD. The next inversion. We'll move this F up an octave higher, which would give us ADF. And then when we move up again, read the same chord in octave higher. In the next lesson, we'll be discovering seven chords and the three types of seventh chords, all of which have their own inversions, keep practicing in join me there. 5. 7th Chords: In this lesson, we're going to look at seventh chords and the three main types of seventh chords that appear, major sevenths, minor sevenths, and dominant seventh chords. Previously in class one, we learned about two types of chords, major and minor chords, both of which are triads, meaning they have three notes in there chords for seventh chords, we're going to add on a fourth node to the basic triads of the major and minor that we learned. Let's begin with the C major seventh chord. For this chord, we're going to start with the C major triad, which was C, E, and G, that we learned in class one. And we're going to add on the seventh note from the C major scale, which if we start back to C, would be 1234567. This node is B. So for the C major seventh chord, we would have C, E, G, and B. Another way to find a major seventh chord from any root note is to start with the root. Count up four half-steps, then count up three half steps, and then count up another four half-steps. So for C major seven, we've got C, E, G, and B. Now I'd like you to try familiarizing yourself with that chord, and then we'll move on to minor sevenths. The next chord we're going to look at is a minor seventh chord. So for this example, we're going to start with a C minor seventh. We're going to take the minor triad we had before, C minor, which was C, E flat and G. And then we're going to add on another note, three half steps above that, which would be B-flat. So for C minor seventh, we've got the notes C, E flat, G, and B flat. If you want to find any minor seventh chord, you can start with the root. Go up three half steps, then go up four half-steps. Didn't go up another three half-steps. So here we have a C minor seventh chord. Now I'd like you to try that chord on your own, and then we'll move to the next type of chord, the dominant seventh chord. A dominant seventh chord is a mixture of both major triad with a minor seventh on top, which sounds a bit confusing. But I'll explain more. For a C dominant seventh chord, we would start with a C major triad. And then we would add on another note, three semitones higher or B-flat. So for C dominant seventh, you would have C, E, G, and B-flat. Now let's look at another example to revisit these chords. Let's start by finding a G major seventh chord. So we're going to start with G. We'll count up four, then three, then four. So for G major seventh, we would have G, B, D, and F sharp. Now let's look at an minor seventh chord. Let's start by finding d minor seven. So we'll start with the root. Then we'll count up three, then four, then three. Giving us the notes D, F, a, and C. Now let's look at a dominant seventh in which we will start with a, we'll count up for, we'll count up three, and then we'll count up three again. So for a dominant seventh, we would have a C-sharp, E, and G. Since these three types of seventh chords make up most of the chords in modern music, it's really important to practice them. So you'll get familiar with seeing them in instantly knowing where they are. Allowing you to sight read through mini chord charts of all of your favorite songs, as well as composed amazing original music. In the next lesson, we'll introduce the CTL scale, which will help you see the options for seventh chords in any given key and provide you with resources for songwriting and composing. 6. Chordal Scales: Welcome back. Now that we've learned about the three types of seventh chords, I'd like to introduce the CTL scale. A CTL scale is all of the chordal options that would come out of a given key. You can think of these as options for composing or songwriting and all the chords that will be linked by the same key. For this exercise, I'd like to turn to C major. And we're going to look at the seventh chords that come out of that CTL scale. Let's start by refreshing with the C major scale that we learned from class one. I'm starting in C because it's the easiest key to conceive of as it's all white keys. So to start, we'll start with the first seventh chord in this key, which would be C major seventh. When we play this, you can see that we've always alternating between OneNote off in OneNote on. As we move up to the next chord, we would have D minor seven. Then we move up again to E minor seven. Then we move up to F major seventh, followed by G dominant seventh, followed by a minor seventh. So these are all the options of seventh chords in the key of C major. If you want to come up with a good chord progression that stays in the key of C major. You can try between different chords that we've just labeled. I'll come up with one now, and I'll pick D minor seven, E minor seven, and a minor seventh. I'll try playing around with those by using arpeggios and inversions of those courts. Those are inversions. Now we'll do arpeggios. So the whole time I'm remaining in C major, but also the relative minor, which is a minor. Let's take a second and let me explain how I know that every major key has a relative minor key, which you can find by taking the root of the major key and going down three half steps. So if I started on C and I went down three half steps, I would land on a. That means that the notes of the a minor scale are the same notes as the C major scale, but they start on a. For the minor scale, we would start on a in play up a, B, C, D, E, F, G, a. So these notes are the same notes as the C major scale, but just starting in a different order. That means that C major and a minor share the same notes in their scales. And if there's a song in C major, you could use either the C major scale or the a minor scale to solo or improvise over it, or come up with notes for a melody to wrap up, CTL scales are very important for knowing your options of chords in any given key. For this exercise, I'd like you to get familiar with the cords coming out of the sea, or a minor CTL scale. Once again, that was C major seven. D minor seven, E minor seven, F major seven. G dominant seventh. In a minor seventh. If you'd like, you could come up with your own chord progression using those chords and upload it to the project gallery. I look forward to checking out what you come up with. 7. Additional Chords: Now that we've learned the two types of triads, major and minor, and the three types of seventh chords, major seventh, minor seventh, and dominant seventh. I'd like to introduce three more types of chords you might encounter when looking at chord progressions or chord charts. The first type of chord is a diminished chord. So for this, I'll start with C. This chord starts with the root and then has two sets of three half-steps. So we'll start with C. Count up three-half steps to E-flat and then count up another three-half steps to F-sharp. If we were to play a C diminished seventh chord, we would count up another three-half steps to a. So let's find another example of a diminished chord starting on D. So we'll start with D, will go to F. Then we'll count up three half steps, and then count up another three-half steps. You can tell that this chord sounds very unresolved or wants to resolve back home. So diminished seventh chord will often be the second-to-last cord you see in a song, the next type of chord I'd like to introduce is a suspended chord, also called a sus chord. There's two types of sus chords. Assess two and a sus4 chord. For a CSS2 cord, we would have the notes C, D, and G, or the root plus two, and then plus five half-steps. For a sus4 chord, we would have the notes C, F, and G, or C, the root plus five and then plus two. These chords are called suspended chords because they have a sound that's suspended in the air in unresolved. Back to the major chord, a nice resolution. The last type of chord I'll explain is called a minor seven flat five chord. And this is pretty self-explanatory. What we do is we start with the typical minor seventh chord. So let's take a D minor seventh, which is D, F, a, C. Now what we'll do is we'll flat the fifth, so we'll move the fifth note down a half-step, giving us D, F, a flat, and C. So this is a minor seven flat five chord. Let's find one more minor seven flat five, G minor seven flat five would be G plus three plus four, and then plus three. And then to get the flat five, we move down this note. We have G, B flat, D flat, and F, giving us a G minor seven flat five chord. Now take some time to get familiar with these three chords. We had the diminished chord, the two types of SaaS chords, and then the minor seven flat five chord. Now that we've got these three new types of chords, we're going to look at some accompaniment patterns to help bring these courts to life in the next lesson. 8. Basslines: We've talked about inversions, arpeggios, and different types of seventh chords. But now it's time to focus on what our left-hand does while our right hand is playing, one of those techniques are left hand, will often do a baseline, aim to mimic the sound of an electric or an acoustic bass. And I like to refer to the analogy I made before where we looked at a chord progression as a roadmap. Every time a new chord hits your left hand is going to want to play the root note. But in-between there, you have a little bit of flexibility as notes to pick for your baseline. In order to do this, I'd like to look at an example of three courts. Will take a minor seventh, E minor seven, D minor seven. To start out, I'm just going to have my left hand play the bass note, a, e, and then d. In-between that, since this progression is in C Major, I can pick between notes of the C-Major Scale to fill in the baseline or make it more of a rhythmic or melodic pulse. Here's an example. So my baseline is which could go around while the right hand is playing chords. So that's one example using the notes of a C major scale to fill in. As you notice, I'm still hitting the root note of the baseline every time that chord changes. Now I'll come up with another example. That's another example. And if you think of the chord progression is a roadmap, let's say the a chord is New York, the E chord is Boston, and the D chord is Montreal. There's a lot of different routes I could get from New York to Boston. And the baseline I pick in-between is going to determine how it feels when I finally get to that next note. So I could go from the a to the e, I could go down or could go up. So each of those is going to have a different example. And one really good way to learn more baselines is by transcribing basest. Good examples would be Jacques OPA story is Pino Palatino. Any good bass player will often have really good baselines that then you can transcribe, which means learn by ear. And then take some of those rhythmic elements and turn them into your own baselines. Once again, when we were looking at baselines, I'm always playing the root note as the chord hits. And then in-between I'm filling in with notes from the corresponding scale of the chord. So let's do a different example. Now I'm going to move from F minor to C minor minor seventh chords. So for this pattern, I'll, I'll get it this tempo. So I'm starting with a simple baseline. Then I'll try something a little more complex. Another good option for baselines is using in our part of the arpeggio. So for that, I'll do something else today. Now, if you're not quite comfortable using both hands together, one thing I would recommend is to record using a voice memo, your right-hand pattern. And then you can practice adding a baseline. And then you can try slowly piecing it together so that you get the coordination. At first, it might be hard to play both hands together and do a baseline while you're playing your right hand. But if you record the right-hand part and then practice a baseline, it can be really helpful. Also, if you're a producer or a songwriter, you're using a program such as GarageBand, Ableton, or logic. You can use all these concepts we're talking about to come up with a chord progression and then pick a bass sound and add in a bass part that can help fit the song nicely. Now that we've looked at baselines, we're gonna look at some more left-hand accompaniment patterns we can do and good ways to enhance an arrangement. Join me for the next lesson. 9. Left-Hand Patterns: In this lesson, we're gonna look at left-hand accompaniment patterns and how to take a simple chord progression in spice it up. A lot of these patterns are similar to finger style guitar picking patterns in which you take a chord and then play a pattern around the notes. For this example, I'd like to take a progression, the same progression we used in the last example of a minor, E minor, D minor. Now we're going to come up with a pattern that we can apply to all three chords. I'll start with the a minor chord and I'm going to come up with a pattern. So you can see I'm alternating between the lowest note and the fifth and then going down to the third. So I'm going 15351535. So we'll try that first on the a minor chord. Then moved to the E, D. Then we stay on D. Back to a. D is the same pattern for each chord. And this brings me to a larger point, which is anytime you come up with a pattern you like, it could be from another song, it's important to apply it to as many places as possible so that then when you see a chord progression, instead of having one way to play it, you have multiple patterns that you can interpret the chords with. So this is one pattern, 15, 351-535-1535, which would allow a melody to go over top. That's one example of a pattern that would work over these three chords. Now I'm going to take the same chord progression and come up with another pattern. For this one, I'm going to play 135 and then the octave higher. So I'll go. Now let's try a melody on top. That's an example of two patterns that would work over the same progression. Now let's pick one more progression and try playing the first pattern. Again. I'll come up with four chords. We'll do C major, E minor, a minor, and F major, which I previously used. So this pattern was 15351535. So over this progression it would be. So I've taken the same pattern, but I've applied it to any progression. Anytime you come up with a pattern you like, it's important to apply it to as many chord progressions and songs as possible. So that then when you see a new progression, you're not locked into one way of playing it, but you have the creative freedom to come up with the arrangement you want. We can continue learning patterns by taking the patterns from our favorite songs and applying them to other songs in chord progressions. So we end up with more versatile and fluid pianist. And as soon as we see a new chord progression, we have endless ways of interpreting it and erasing it. 10. Accompaniment Patterns: In this lesson, we're gonna be looking at two-hand accompaniment patterns are things you can play if someone else is singing the melody or playing the melody. Before that, I should define what the melody is. A melody is a single note phrase that is the main part of a song that the cords and accompaniment patterns aimed to amplify or support. So if someone is seeing the melody or another instrument is playing a melody will often revert to a two-hand accompaniment pattern on piano. For this example, I like to look at the same chord progression we looked at in the last example, which was a minor seven. D minor seven, minor seven. For this example, I'm going to play in arpeggio with my right hand and play the bass line with my left hand. So for this accompaniment pattern, I'm playing the arpeggios of the chord with my right hand in playing a baseline with my left-hand, which is often a good two-handed accompaniment pattern to start with. Now let's look at applying that same pattern to another progression. For this progression, I'm going to take C minor and then move to F minor. So I'll be playing the arpeggios is my right hand in the baseline with my left. So when coming up with two-handed accompaniment patterns, It's important to remember the melody and makes sure that everything you're doing is supporting or accenting the melody. The melody again is often what the singer will be singing or another instrument will be playing. Anytime you come up with a two-handed accompaniment pattern you like, you can try applying it to multiple songs so that you get the most mileage out of that pattern. So it's almost like having the chord progressions and then the accompaniment patterns. And each could be applied to either one. You'll become a more versatile player if you apply things in as many places as possible. Before we move on to the next lesson in which I apply all of these to one progression. Come up with your own progression and try playing it with the arpeggios with the right hand and the baselines with the left hand and upload it to the project gallery so others can get inspired from it and come up with their own progressions. 11. Apply What You’ve Learned: In this class so far, we learned that a lot of different concepts, they can all be applied to a chord progression. To wrap this up, I'd like to take one chord progression and show how all of these concepts can be applied to turn it into a full arrangement or have more possibilities for composing or arranging a piece. For this example, I'd like to pick a chord progression and demonstrate all of the concepts applied over it. The chord progression I'm going to pick is in C major and will be D minor seven. F major seven, a minor in the G major. So once again, that's D minor seven, F major seven minor. And the G-Major. The first thing we worked on was arpeggios. So first I'll demonstrate how you could come up with arpeggios for each of those chords to demonstrate a pattern. Next, we worked through inversions. So first let's go through all the inversions of the chords. We started with D minor seventh, which is df AAC. So we'll move the D, F, a C, D, a, C, D, F, and then see DFA. And then you can follow that for all four of the chords, F major seven. These are the inversions of that chord, followed by a minor seventh and the G. So then what you can do is you can pick and versions of those chords to create a melody like such. So that example, I was using inversions to create a CTO melody. That's a nice arrangement booster. The next thing we worked on was baselines. So now I'll come up with a baseline that would also go over that chord progression. Once again, with a baseline, I'm always hitting the root notes. And then I'm moving to notes in the scale, which in this case would be C major to help fill in those destinations on the roadmap. The example I made before was if we were going to Boston and New York, there's numerous places we could stop along the way that would make our experience of landing in New York feel a little bit different. If we went to New Haven, it might feel one way. If we stopped in Fairfield, Connecticut, it might feel another way. So it's important to keep those options in mind because we know we're going to a certain destination, but the notes we play in-between affect how it feels when we get there. After baselines, we discussed left-hand accompaniment patterns. We went over the 15351535 patterns, which for this would sound like this. But the melody on top. Next, we worked on two-hand accompaniment patterns. And the example we used, we had the baselines with the right-hand playing arpeggios. So I'll demonstrate that for this example. So all of this ties together as we take a simple chord progression. And now we've discussed multiple ways to bring it to life or turned it into a more complex arrangement. Now I'm going to start again by playing the first simple chord progression and then demonstrating inversions, arpeggios, left-hand baselines, and then multiple accompaniment patterns to help turn it into a more complete arrangement. So we're starting with a simple root, which is the four chord progression. And then we're expanding it to turn it into a more full arrangement on the piano. So here we go. We'll start with the simple chords and I'll demonstrate and call out the other exercises that I am introducing. Go to arpeggios next. Now we'll do inversions. Now I'll do a left-hand baseline. Now we'll do a two-handed come into my pattern. Then I'll end with an arpeggio. So I used all of those techniques to take a simple progression in expanded into a more full piece, in a more full arrangement. So you can take any chord progression in practice applying these different techniques and bring it to life. So then eventually you get to a point where you can see a chord progression and have limitless options of ways of interpreting it or playing it that fit the song. Now, I'd like you to come up with your own two dash three chord progression out of the options from the C major chord with scale. And you can upload it to the project gallery so others can get inspired. In here your work. 12. Final Thoughts: And just like that, we've made it to the end of the fundamentals part to class. Although we covered a lot of topics in this class, don't feel overwhelmed. I'm gonna go over a brief recap of all the topics we covered. Starting out, we looked at arpeggios, which are taken from a cord. But instead of playing the chord all at the same time, you play each note one after another. If we add a C major seven, the arpeggio would look like this. Following arpeggios, we looked at inversions in which you also start with a chord. In shuffled the notes in order moving the bottom note up an octave in creating different versions of the same chord. If we took a C major chord, inversions would follow like this. We'd start with C-E-G. Then we'd go AGC, GCE. And then we'd get back to where we started in octave higher. After inversions, we looked at seventh chords and the three types of course there are. To recap this briefly, we had the major seventh chord in which you have a major triad and then the seventh note of the major scale. In other words, starting with the root, adding enforced semitones than three semitones than four semitones. We also had minor seventh chords, where we started with a minor triad and then add it in the seventh note of the minor scale. So that would be root plus three plus four plus three. The third type of seventh chord we looked at was a dominant seventh chord. In which case you had the major triad, but the seventh note of the minor scale, this chord would be constructed root plus four plus three plus three. We also looked at the CTL scale, in which you find all the options for chords in any given key in C major, the CTL scale would be C major seven, D minor seven, E minor seven, F major seventh. G dominant seventh is a minor seventh. Anytime there's a new key, you can find the courts from that scale by applying the filter of sharps or flats. And we'll talk about that more later. After the CTL scale, we looked at a couple of additional types of chords. We had a diminished chord, which was root plus three plus three plus three. And then we also had to suspended chords, a substitute chord and a sus4 chord. The final type of chord we looked at was a minor seven flat five chord, in which you start with the typical minor seven, and then flat the fifth note of the scale. To construct this chord, we would start with the root, then go up three, then three, then four. After looking at all those types of chords, we then looked at baselines which helped us support the chord progression and the melody. Baselines can be thought of as sort of a roadmap connecting the chord progressions and linked through the major scale. An example for the baseline, we had a minor seventh to E minor seven, D minor seven. And I filled in some notes around that. After baselines, we moved onto left-hand accompaniment patterns, which helped to support the melody which has played with the right hand. In this example, we looked at the accompaniment pattern 153535, which we could outline different chord progressions, but using that same pattern. This pattern looked like this. Moving on from there, we looked at two hand accompaniment patterns in which our right hand was playing in arpeggio and our left hand was playing at baseline. This pattern looks something like this. So although there's a lot of concepts, it's important to practice applying them to any chord progression. So you can become a more fluid player and have multiple options when approaching a new composition or writing your own music. A lot of these concepts might seem open-ended, but they can really be applied anywhere to spice up your favorite music that's already been written or for your original compositions, it's important to practice these concepts methodically one-by-one, so that you can really internalize and get all the value that they provide. And remember, with these concepts, There's no right or wrong way to play something, but these are simply options to inspire creativity in your own play. With these concepts, it's my hope that you'll be able to confidently transition between songs and play more fluidly when approaching new material. Don't forget to upload your original progressions to the project gallery so that we can all hear and share feedback. In the next class, we're going to be diving into music notation in sight reading. I hope you'll join me there.