A Flat Advanced Piano Course

1. Introduction: Hi guys, My name is Caleb Fadell. I am a musician. I have created this flat advanced course for the piano so that I can help you learn a few of these tricks. Learn a few of these nuances that you've heard people play. Now, Key flat is very famous in the US, in America, and in South Africa, maybe in other countries as well. But those are the two countries that this Key is most famous in. So if you've listened to their music, you will hear a lot of stuff that they play. This course is meant to help you understand this stuff. So I have a chapter on advanced use of minor codes, advanced use of augmented codes, advanced use of suspended codes, advanced use of quota codes. In the end, I have about three song examples for you to use, and I have a practice track for the augmented codes because they are not very common. I hope you will join me in that you will learn and by the end of this course, you will be on your way to becoming a pro player. 2. Chapter 1 Left And Right Hand Combinations: Now this is a new course, we are releasing on the key of flat. Okay? So this is a course that is going to be on the key of flat. Many of you have been asking for this course. Like I've always said, we are covering each key after the other. Now that we've done sharp sharp and C and G, now we are going to the key of flat. We are basically covering each key at a time. In this first chapter, I'm basically going to be teaching you on combinations, combinations that some of these professionals use to sound a little bit better. If we may look at the flat major scale. Looks something like that. Okay? That's flat as one, B flat as 23d, flat as four flats, five as 67, back to a flat one. Okay? Basically that's flat. If we do it in terms of triads, we have that flat major is one, that's flat. C and D flat. Then B flat minus two, that's B flat, D and B flat flat. And then minus three flat. D flat major is four, that's flat and flat flat. And B flat flat major is five flat, that's minus six. G. B flat. D flat is your seven. That's the G diminished, back to the one, okay? Okay. So you could even practice playing this on both hands. Okay? It could be a good exercise for you. Okay? Both hands, but I'm not here to teach you those exercises. But they could help you master the scale of flat, if you are not very familiar with the key of flat. But that's it. I'll be teaching you combinations. When I talk about combinations, I mean, left hand and right hand, maybe assuming your left hand is playing the base line, okay? And your right hand is playing a code. Which code can you combine with? What base line? Let me start from the one. That's your flat. Let me start from the one. You can always combine the on e and the one. See that? That's flat then flat and flat on my right hand. Okay. Now, because this is an advanced course, I want you to learn some new voicing that's nine. You could play nine, not just the flat on your left hand. You could add the flat. Okay? The flat flat. Then you have a flat. Flat and flat. You could play a nine. The other way you could play. Now you could invert this ad name, You see that? Still name B flat, flat, flat. You could still invert it flat, flat and B flat. Or the last inversion, flat, flat, flat and C. Okay. Or as a major seven that's flat, flat and right hand inverted. If flat flat, invert it again, flat. And the last in version that's flat, flat. Yeah. Then the last way you could play this is major 79. Okay. It's basically a combination of this flat flat flat and when you're right, you could play it however you want. Okay. That's the inversion B flat flat flat. Flat and B flat, That's another in version could have this B flat. And these are the last in version. Flat flat and flat. Yeah. You could play it like that. Yeah, we don't just do that one. We'll do the same for the four. Yeah, we'll do the same for other cords but let's get to the next combination. That's the two over the 122, over the one. Now, how do you play this? Now if you want to make this sound better, because this is just flat, then B flat flat, just add the sharp note or the flat on your left hand that you have a flat flat. Then you have B flat flat on your right hand. Now this is an Or D flat major seven over the flat. This normally takes you to the four. I'm giving you this combination for the four, but we haven't gotten to the four. This is the one. This is flat, flat over the four, That's flat, flat, you see normally takes you to the four. Okay? Okay. So that's the two. You could use the two as a major. Okay? But I'll show you in the next chapter. For now, I'm sticking to the major scale the way it is in the major scale. Two is a minor, right? So let's go to the three over the one. So basically if you play the three over the one, it just makes the one a major seven. You have flat flat, then you have flat, whichever in version that's C and D flat, whichever inversion. The one of the four. No, it's not the one over the 44014 over the one and flat. Then you have fight on your left hand. If you want to make this sound better, just at the notes that you have a flat and then you have flat and flat. This brings you back to the one, okay, maybe I can play the one at 99 there. That's an inversion of the nine, that's the first inversion here. See that? Then you have something like a five over the one that's flat, G and B flat over the one you could decide to, you could decide to add. Normally we play the flat. And this stretch stretch, it's a very long stretch. The flat flat. And see then you play the fight flat and B flat, it's a very long stretch. Certain stretch, okay. So that's the 5/1 Instead of just playing the one like this all the time, we could, could use that one. Then we have the six over the one teach. The six is a minor. Right looks the flat the inversion. And flat, I'm going to be using that inversion. This is how it looks like. On your left hand you have the flat and the flat. Then on your right hand you have and flat you can even extend it so that you have F. A flat and yeah, that's the six over the one. Then you can also play the six over the four. This one normally takes you to the food. You see that I have a Ford on my left hand that's flat and flat. Then I have and flat on my right hand, it's basically the six over the one to the six over the four. Okay. This normally takes you to the instead of okay, could do this or the voicing I taught you earlier, the one over the four. Okay? The six of the four. Whichever voicing works for you. That's it for the combinations on the one, you see nothing complicated there. Then we'll go to the next number on our scale, which is the two. What can you combine the B flat with? We can have a one over the two over the two. Which looks something like, if we played in literal terms, simple terms, it looks something like this, Flat and flat. You can use this in place of a normal two instead of just playing this. You can play this. Now to make this sound better, you're going to have another stretch. You see the stretch you did on the one, the ten stretch when I was teaching 51? Now there is another stretch for the two. It looks like this. You are playing something like a B flat, minor seventh. Okay? Yeah. You have B flat flat and D flat on your left hand. Then now you can play the one on your right hand. Okay. A flat and flat. Yeah. You can even add this naught here so that you have a flat and flat. Okay. So you can have that. You need to practice this stretch. Okay. That's the one of the two. Then we have a two over the two. That's obvious, but I don't like to use it that way. Okay. Let's go to the three over the two. It looks something like this, you might ask me. Okay, where do you even use that? Yeah, that's B flat. Then you have flat and where I would use this code, this one normally resolves back to the major two. Okay, Once you play this, the next code is usually major two. That's B flat. B flat. Yeah, so that's a major rule. So then takes you to the five. See, I'm playing the five also as another nine. I have G, B flat, and D flat. Then I just flat on my left hand. Yeah. This one. This one. Okay. Okay. Okay. You could even instead of a major tone in your right hand, you could play a six. Okay. So that you have a major tone in your left hand and a six on your right hand, you have flat, flat. Then you have a flat. Yeah. Then to the five. Okay. That's three over the two. Then we have the four. The two, that's another obvious option here I'm using. This is the second in version of the four that's flat flat. Then I have B flat. And now, like I said in the beginning, make the four major seven. So you have this, you could have this as well. You see the voicing on my left hand changes. Now I have B flat and flat on my left hand. Then I have flat, flat and C on my right hand, that's a major seven. That's a C sharp or flat major seven in, like I say, there are so many inversions. He It's the same nodes, just invert them. Then I also said you could play a major seven at nine flat flat, flat. Invert it, Okay? Flat, flat. And voicing on my left hand remains flat and flat. Whichever voicing you really want to play. Even that one is still a C major seven at nine, flat A and flat. That's still A flat major 792. Then the next one is the six over the two B flat flat, then flat, instead of you just playing the two, you could just play six B flat flat, then F flat. Then the last one is seven over the two B flat flat flat. Normally, when you're playing 1234, sometimes you just play the one. Then you play the seven over the two to three and the four, okay? Okay. I'll teach you some of these movements later. That's basically it for the two. Let's go to the three. We have the one over the three. The one over the three. Instead of you playing there like a three, maybe you want to go to the three to four, you could just play the one over the three. Then the one over the four, like I taught you in the beginning. A. Okay. So it sounds very nice. Okay. We could even have the C and E flat on your left hand so that you have a flat and flat on your right hand. Yeah. Okay. Then we have we today like to go with the three as far as the major scale is concerned. We have the three Of the three, I'll skip the two because the two comes in another form. It doesn't come as a minor, it sometimes comes as a major or as a diminished seventh or something. I'll teach you that in the next chapter. But the three of the three, That's obvious, but we normally don't like to play the three over the three if you've had most of the professionals play. Okay, so we normally substitute with the one over the three. Or the other substitution for that would be the five over the three. Now that's another combination, the five over the three. So you have C and B flat, then you have flat G and B flat. Yeah, whichever in version then. Okay. So that's the five over the three, that's another combination. Then you could also have the seven over the three sevens are diminished seven over the three. Normally we would make the C major, you could have the C and E, then you could have the B flat and D flat. That normally leads you to the six. Okay. The voicing amusing for the six. Amusing flat then flat and okay, you could have such a voicing for the seats. That's it for the three. Then let's go to the four. I'll start with the first combination I showed you, the one, the four, that's flat, then flat and flat. You could even add this flat. You could even add this B flat so that you make the one on your right hand at night. Okay? Could have such a voice, D flat flat then flat flat then in it. By now you should be knowing the inversions that those are just in versions of the flat nine on your right hand. Okay, that shouldn't be difficult. Yeah. Let's go to the next one which is a 24. You see, that doesn't really sound very conventional, but we use it in some African songs, most English songs, you wouldn't find such a co. For African songs, we normally like to use it. It normally takes us to the one over the five. Yeah, Yeah, that's flat, flat then I have flat and B flat. It normally takes us to this code, the one over the five, that's flat, flat and B flat, flat and flat. Basically, I'm just playing. The one is nine over the five. Yeah, but you didn't find it in the Western or English songs. It's just an African. Right. Then we have the five over the four you could have that, you could have flat then flat, flat. Where does this take you to? This normally brings you to the one over the three like we covered in there. Yeah, I'm playing the 19 again. Flat, flat, flat and flat over the. Could even have D flat and G flat and B flat, flat, flat, flat, flat. That pretty much not a problem. Then we have the 64. That's a very good voicing for you. You could actually play both cords on both hands. You play a four on the left hand and a six cord on your right hand. That's flat, flat then flat. That's a good substitution. I'd like to end it there for now. Then we'll do all the other combinations later. The five. The five, you can always play one over the five that's flat, flat, flat in many circumstances. Then the two over the five, I like to voice it that way, That's flat, flat, that's a two, B flat minor, then flat, flat, and B flat on my left hand. That takes you to the one or takes you actually, then we have the three over the five. Okay? So you could have flat flat and D flat. Then you could C and D flat. This one also resolves back to the two over the five, like we've done a few seconds ago, takes you to the one, Okay? Okay. So that's the three. Then you have the four over the five. I, the same way I voice it as when I'm playing the two over the five. Flat, flat, flat, then flat and flat. Okay. Then you have the five over the five, that's obvious. You have the six over the five again. Yeah, I voice the same way. Flat, flat, flat then flat. That normally leads you to the seven over the five most times. That's the other combination. The seven over the five, that's flat, B flat flat, and the inversion. See you can combine the five with pretty much every number on your scale. The 123,456.7, Then we have the six. We normally play the one over the six. Okay, That's pretty much obvious. Flat then flat else do the six. Play the six with the three flat then flat. And now I'd like to give you another stretch for you to practice the flat flat. Then you have the three code on your right hand. Yeah, that's flat. And maybe even if you're playing a one over the six, you could A flat flat. Could I said you could use the 197. Okay. You could practice the stretch flat, flat. Yeah, you could practice that. That's the three over the six. We have the one over the six, We have the four over the six. But I'll teach you that. It's in special circumstances. Flat, flat, flat. I'll teach you the use of this, it's in specific circumstances. Then we have the five over the six. What I normally like to do is to play the six code on my left hand and the five code on my right hand that's flat then flat, flat. Instead of you voicing the six like this voice, it flat, flat, flat. That's five over the six. Okay? That's pretty much it for the six code. Okay? So we have the one, the 34.5 Then for our seven code, which is the last one, you can combine it with a two, you can combine it with the two. So that's the B flat flat. Okay. You can combine it with the two. The other number you can combine the seven with comfortably on the major scale is a five. So you could have something like this. Yeah. F, then flat, B flat, whichever inversion, by the way, could we even have the B flat flat? Flat, flat, you could even make it And nine, that becomes flat. G and B flat. Yeah, something like that. Let's make it a nine flat, flat. That's 5.7 Again, can combine the seven with the seven. We can also combine the seven with the six. But that's another story that I'll teach in the section. I think I'm using the six as a major, not as a minor. Those are the basic combinations as far as the major scale is concerned. Yeah, from the one to the seven. In the next chapter, I'll be teaching you how to use these combinations in context. And we're also going to add some new codes, maybe two as a major, six as a major, three as a major and all that. But for now, that will be it for the first chapter. I'll see you in the next one. 3. Chapter 2 Movements Based On Major Chords: Welcome to chapter two of our course on the key of flat. In chapter one we covered pretty much combinations. That was all we did. We based our combinations on the major scale. That's all we did. But for this chapter, I'm now going to be delving into new codes. And movements are starting from this chapter to the end. For this chapter, I'll take you through movements based on major codes. And when I talk about major codes, I mean any major code on this piano, not just the 14.5 Okay? Any major code? Maybe a B flat. C sharp. Okay. There's just movements based on major codes. Okay, Maybe I'm going to be inciting May 7 major ninth, something like that. Let's get right into the first movement. When I was doing combinations, I covered the two over the one. I said you could do something like this. Okay, let's make the two major, because the two at that instant was a minor. Let's make it major. Let's make it major still over the one. Now, what do you do with such a code? You have a flat and then you have B flat, D. And where does such a codes lead to A. What does such a code resolve to? This one always resolves to the five of seven. If you have something like this, see that I'm playing the 5.9 okay? You have a flat D, then to the, then you have flat seven. You can use it to substitute, instead of just playing the major two, then to the seven. For the major two, the five play the one to the seven. Assuming you're playing a simple song, then maybe you could now do see that. Now it's the same code. What I did was just to invert it instead of playing it this way. Okay, I just played it this way to follow the melody. D, I told you you can play the flat at nine as well, you don't have to keep it, okay? B flat, CDF inverted that CDF and B flat, then you have a flat on your left hand. Then the next could even have flat, then GP flat flat. That was just a simple demonstration of how you do this, but I'll give you the demonstrations later, but for now just know we have sand. Okay. So that was the first use of the major two, that's the flight major, okay? The next one is over the seven. That's a pretty common use. You will hear things like a. I like to do something like this. Seven you can actually do whatever you want. But anyway, let's keep it simple. At nine, you have, then you have B flat CD. And that's the seven always leads you to the three, okay? Then the, then you have flat, flat, flat. Then you have your six. I told you you can play your six with one, like let's say a major seven, then you flat major seven. The inversion, the last inversion should be the third inversion, flat C flat major seven, A nine. Like I said, flat flat flat 73. Then today six. Now you don't have to voice it. This is the close voicing the E on your left hand. That's for the three. You could even play the lower if you don't have a best player. So that you have C and E. It's important to learn to stretch. How to do the stretches the on your left hand. Or maybe the, you could even play the 17 at nine even before I continue. Let me just give you a rule. If you are voicing your six as a minor, if you're voicing a six as a minor, you can play any note on your major scale apart from the four, Okay? If you're voicing the six as a minor, whichever code you form has every note on your major scale apart from the four. Let's say I decide to play it. Say I decided to play it this way. You see what does my code has a five, he has a one, there are three S, five again as a 67 has a two. You see I have every note on my major scale apart from the four. Yeah, Yeah, this also applies when you're playing the one. For some instances, this same code. I can use this code for the one. Yeah, see that same code, Let's say you decide to voice it even this way. Simple, so that you have a flat, flat and flat. Then you have GC. Those are different voicings for the one. As long as your code has any note on the on the major scale apart from the four. Same for the six as a minor, because sometimes we have six as a major and the rule doesn't apply. Then we have the 2.4. Yeah, for the 2.4 the two as a minor, again, not as a major. For the two as a minor and for the four. The four as a major, four as a minor. How do you voice this? You can voice it with any note on your major scale apart from the seven. Okay. Yeah. That doesn't apply in all circumstances. But in most, let's say I decide to voice my four something like the. See that my voicing has 6123, has five, has six again, 1.3 it even has a four. Every note on the major scale apart from the seven, I could use the same voicing for the two. Let's say I decide now not to play the four. The two, I just changed the baseline 42. Whichever voicing you can extend your voicing, you can reduce them, You can do everything you really want to see that that works. That one. Yeah, this one. As long as my code has every note on the major scale apart from the seven, that's the two as a minor and the four is a major. For the other one, we have the six as a minor and the one as a major. That will be pretty much it for. That was for you to note that going forward, when I play a certain in voicing on the four, on the two, you don't have a hard time trying to figure out where the voicing comes from. That just a they, let's continue. We did the 71, then the six, see the voicing again? Just an extension of the, what do we call this, The flat major seven. The AC flat on my left and flat C and D flat. That's pretty simple. The other, you can use, your major two is maybe alongside the three. Yeah. You see that? Maybe you want to go from the one to three to six. Just play a number one, that's a number one. Then the stretches, you have to get them correctly flat and C or the G and C, you can do whatever you want to do. The flat. G and C, or the flat, or even both. The flat flat and you can decide to play the whole. Okay. But normally the flat and is enough. Okay? So learn how to play the stretch. If you can't, just play this. Yeah. Flat flat and yeah, just strength, fill up your voicing. So you have your one flat, B flat, then flat flat, then to the three. Now the major two over the three, you have G and B flat. Okay? Then you have DF and B flat. Now, that's a major code. I'm making it A. Okay. Cdf and B flat. Then you have some GB flat. Then you can play, you can even play it this way, C flat flat. Even play that. Within the course of the course, I'll be giving you different voicings for the 6.2 You can no each of them down, you don't have problems in future is just for the major two. The other use of the major two, which is, it's not very common, it's the major two over the six, that flat then G, B flat. This code is very important because if you can learn this code in every key, this flat, then you have G, B flat, D, and F. This is just, let's say you learn it. There is a movement people like to do. You have, I don't know if you've heard it somewhere six to one, that's how we use that code. Then you have B flat, D and F. Then you just move each tone up by a semitone three times. Yeah, the next code is a flat, flat, flat, flat. The FEG to the flat, that's flat, flat. The flat, flat and flat. Then the four. Maybe you played the one like we did previously, then that's the major two over the three. Then maybe you want to go back to the one, then the four, you can play such a movement. The major two over the three, we just covered that. The six, this is major seven, major seven over the now. Just played and change it to this. B flat, that's the major two. Then flat, we always add the gene somewhere there. Okay, You have 136. Then the movement, the up to the flat to the four. If you remember this voicing from the first part, the flat flat, then flat flat on the 36. Then you see that you see voicing for the four again, that's another voicing for the four call that's flat flat then C flat flat and C. Okay. Now if we use the same theory, the major two over the six, we get codes like this. We just transfer this code, the flat, this code as leads you again to the 41, maybe on the 36, then the one, then the four. In a later chapter, I will show you how to resolve the same code, but transfer the same code maybe to h. You have a five code for flat. This same code to flat. I mean, it looks like it looks like flat. Flat. Flat and flat. That leads you back to the one takes to the one. This one takes the four. See another voicing for the four. There are so many voices for the that's flat flat. Then you have B flat flat. Or you can even voice like that, B flat and flat, you have so many Ds. Then this movement, that's basically simple. Then the other code we'd like to play, the major three, we normally use threes. A minor minor, let's use the major major. I'll try to come up with a progression for like a song ending. Let's say the song goes like, okay, so the six, then the two, then the five, then 36. Okay, then we repeat the progression. Okay, so let me show you the progression is the two B flat flat, then you have C, D, and F flat. That's a C sharp major seven over there, B flat. Then you play this as the melody flat, then flat flat. That's the P over flat. Okay. Then on your right hand you have B flat flat ENG. We'll explain more about this type of code. B flat, flat, ENG. Okay, Plate with the C, then the six. Okay, so that's flat, flat. Take care of this stretch if you can't, just play the F, G, and flat if you can't. On the right hand you have E flat and flat. Or maybe B flat, flat and flat you said you can play at. Okay. Then you repeat. Instead of just go to the flat and then you have B flat flat. And we have flat, flat, flat, and then flat, flat, flat. The extensions are good for your practice. Then to the one flat, flat, flat, flat, flat, flat and flat. Okay, there you. Okay, so let me show you a movement you can insert somewhere using the Ja three code. Now see that code. Just repeat it once more. Okay, layer two, then to the five. To the three, then to the six, then to the core. Okay? It looks like that you have B flat flat on your left hand, then G on your right hand. That, ma'm, starting with a G. Bring the the so the C, D, and G four at the same time. Yeah. Then you move the D up to the. Don't do that. Don't play. Don't play. It's just Okay. So then go back to your code. Okay, so the 62536. Then the code. Okay, so those are just a few movements. Now this code can also be substituted for, you can use it in place of a major two. So let's say you are playing a song like Amazon Gracia. See, but yeah, so see the card I taught you. So I don't want to go to the next part. So I'm not even playing cards on the son. I'm just playing the melody. I'll inside the cord where I need to, inside. So the, I just played major three over the two, but I played the major three as nine. Do you see that? I played a nine. I played DE GC. You can even play this, you can play this GCE. G. Yeah, that's the extension nine. Yeah. You have flat flat, then you have G and C. You can have that as well. Then changing it to this code, I'll teach you this in the minor code section. B flat flat, then B flat, then to the five code we just covered here, that B flat flat flat, C and D flat. Then you can continue the song. That's the major three over the two. I just wanted to get that. Then the other codes I would want you to get is the major six over the one, something major over the flat. But I'm not going to be using this in, maybe I'll just use it. Let's say the code looks like that. Flat flat. Then in the combination section, we covered the six over the one. But we said the six was going to be a. It looked like what changes here is just that the flat goes up to the flat flat. Then you have FAC where does this take you? To the four. Just like the other code be taking note of these voicings for the four. There are so many I don't think I can exhaust them. Flat, flat, flat, then flat and flat. That takes you to the, this code takes you to the, whichever voicing of the fo flat, flat, flat, flat. That's another voicing for it serves the same purpose as the minus 61, we say takes you to the four. Even on the major takes you to the four, There is a movement we like to do on, on that same, actually land it first in the Fs, the same code. Instead of just landing on the. You start with the movements with an sharp major seven that's flat or sharp, then flat, flat. I mean, that's flat, flat, flat to the one, flat, flat, then flat, flat, flat. Okay. Then the last cord is major, then you extend it to the C. Okay? Okay. On your left hand, you still have the flat and the flat. You have to practice this very slowly until you get it. Okay. The four flat flat then Flat flat. Yeah. You can also do the same movement of the major three. Major three. I say you play it on the two, but you can also play with the five. You can have something like you can have the major three of the five flat, then you have GCE. Yeah, that normally brings you back to the On. It serves the same purpose as the major 6/1 takes four. The major three over the five flat, CEG takes to the one. Okay. Play the 19. That's an extra code I just gave you. The major three over the five. Yeah, you see that? I played the four over the 542. I played the major three over the five. Then the one is a major 79, you see that? You don't have to play. Yeah, that sounds much better. Just an extra code. We'll demonstrate this further. I'll give you some practice tracks to do this, but for now, make sure you have those codes in mind. And the movements that I've taught in between the lesson, that will be pretty much what do we call this, two movements based on major codes. Next we look at movements based on minor codes, then we continue with the rest. I'll see you in the next lesson. 4. Chapter 3 Movements Based On Minor Chords: In this chapter, you're going to look at minors. Now, if you look at your flat major scale, if you look at your flat major scale, the minus you have are the two, the B flat minor. Then you have the three, the minor, Then you have the six minus on your major scale. Those are the three minus you have. You have the two, the 3.6, the B flat minor, minor and the minor, but I'm going to be moving away from those slightly so that I'm going to be using probably other numbers in the scale, but making them in codes. Okay, I'm going to be making them minor codes. Let's say like the one is a major, we can even make it minor. Or maybe the four can make it minor. The five can make it minor. Maybe the seven is a diminished, but we can make it minor. Let me start with the, the seven, okay? The seven is usually a diminished on your major scale. But in this instance I'm going to be using it as a minor minor. Now, instead of the diminish going to be using it as a minor, you have flat, B flat, and D. Okay, Just playing it in both hands. On both hands, Let's invert it. Let's make it something like this. And B flat. Okay, That's the second version of the. Now, what you want to be doing with this code, instead of starting with the DG, B flat, start with the F, B flat, then til the F up to the. Okay. You start with DFB flat, then bring the F up to the G. So it sounds like okay. Okay. Then has to be very fast. Okay? You probably want to be doing that for instances just to make it sound better, I'll give you the first use of this code. Normally we like to use it with the two. Okay, so. So instead of maybe playing a major two, Yeah, maybe you wanted a song. Yeah. From the one to the major two, then to the five. Okay. So let me just show that moment. You can use it, it's basic, but you can use it sometime. Yeah. So a stretch. The flat flat or the flat. Yeah. Okay. So yeah, we can just use that for now. The flat flat C. Okay. So I'm playing the E and the B, then moving the B flat up to the C, Okay. Okay. So that's a one card. Okay? Then let's make the major two, like the B flat, let's make it another night. So it looks like this. That's flat flat, then C, D, and B flat. Then this is the melody, the flat and flat. That's a long stretch, but I think it's you can play the flat, flat, flat. You can do that. You can do that. If you don't want to play stretch. You have flat, flat, flat. Then you have flat, flat. Then we'll just flat to the drop to the flat. So that you remember that 01, that one at nine. Inable telling you a flat flat then flat, flat, flat and flat. Now, where do we insert the minus seven code? Where do you insert the minor? Instead of using the no major two code, we're going to turn it into a minus seven code so that it looks like. Okay. Like I told you earlier, you would consider doing this. You'll hear things. That you still have B flat and flat on your left hand, but now you have G and B flat on your right hand. Okay. Then to the six. Yeah, we are using minus, so that's why I'm doing that. So then to the six C, F flat, that's on your right hand? Yeah, the left hand remains flat, flat. Okay. Then, okay. Then just go to the 51, that minor D, GB flat. Yeah, then we drop it down by a full tone, so you have F flat. So maybe the 79 play like that. So that should be pretty simple, right? So maybe you are playing a song that use the songs you have used. Yeah, that's amazing Grace. See that? Use that code there. Flat flat, DGP, flat a minus seven. Okay. So basically okay, then we can continue the song. So basically that's how I apply it. Okay. I'll give you my exercises later so. So that was the movement. Yeah. Start is the one. Okay. So that's simple. Yeah. Minus seven Cod. Let me give you another use of the minus seven code. Assuming you want to go through what do you call the flat six. Back to the five. Maybe you're playing a six, you're playing a six. Maybe a 662516 to five. Maybe you're playing such a progression. I'll give you the six. You can voice it like that, flat, and then you have flat. And then, okay, you still have this at the top. D and C on your right hand then. Okay. The falls at the same time with D and C. Okay. Then you drop it to flat. Okay? Okay. You have your six, let's say you have that five flat, flat, flat, flat. Then you have flat, flat, flat and D flat he. Then you can have the one that we did in the previous section, the major six over the one, the flat flat. Then you have FAC. Then you can play the four. Now that's flat, flat, flat, flat. Okay. You have your six, you two, you have your five, You have your one, you have your four, okay? Okay. Okay. So where do we insert? What do we call them, seven instead of playing the two like this? Okay. You could not inserted 62, you see that? B flat flat, Then DG. B instead of, you could do this. Okay? That's one. Okay? You could insert it into that progression, the minus seven of the two, then the 51. Another thing you could do, instead of you playing the two, you could just play with, what do we call this? The flat six? Yeah. Maybe you play the 66. Okay. Instead of going to the two, you play the flat 66, flat 651. The rest remains the same. The 66. You can even play like that so that you have and flat, then you have G and B flat even have such a code anyway, But let's just have that flat, then B flat, you see instead of playing it with the two, just playing with the flat six, then the 51, that's another, you can use it with the flat five, assuming you're going back to the five, Okay? I'll show you another way. The other way looks like this, but I'll show you that it's in the augmented section, so that's the major seven. You can use it with the two or the five. You are using it with the two when you want the two to become a major two, you can't use it to substitute that's two as a minor. You can't use it to substitute two. Use it to substitute two as a major. Okay. That's the minus seven. That has been. Hope you've gotten that very well. The maybe the other minus I would like to cover. The minus four. The minus five. The minus four. Minus four looks like a D flat flat. Okay. The minus five flat flat, flat. Yeah. That's how the minus five looks like. In new playing, you will have instances where you have such progressions, especially if you do a lot of black fell. You have five. I'll just give you the straight away you have your five, it's normally a one of five. Okay? So it's like you're playing the same thing on both hands. Okay? You have flat, flat, flat and. Okay. Then you have flat, flat. You can voice the one however you want to voice it. You can even have that flat, flat and flat on your right. Okay. That's a nine over, but it's over the flat. Then you have the four. You have the five over the four. Okay? It's normally a five over the four. You have D flat and B flat. Okay. Left hand. Then you have flat G and B flat on your right hand. Okay? Okay. Then you have a 33. Looks something like this. May let me voice it using the minus five now. Okay? So you have flat, B flat, and flat on your right hand. Then you have C, G flat, and B flat on your left hand. Okay? Or you could even voice it that way, so that you have C and G flat on your left hand. Then you have B flat flat and flat on your right hand. Yeah, you could use the inversion. Okay, So those are just inversions. Ah, okay. But normally we like to. And then after that, let's go to the six. I'll give you a voicing for the six, which looks like. Flat, then flat flat. Okay? Instead of this, could also play it higher in plate A flat, then a B flat flat and okay, then the other code. The last code is you have B flat flat, then you have flat, flat, flat, amina, then you go back to the one of the 543, then the six, then the two. Okay. So side sounds. The four. The three. This is what I did there. I just in four but as an inversion. So the flat, flat instead of this, I played the two. Yeah, I'm just playing it so you can get the progression there. Basically, that's a progression, the 5436. Now this is where you apply in four and minus five progressions. Okay. That's why I said I'm doing the four in five. What would you want to do? You would want to do something like these. Let's say you have 54. The next code is always a minus five over the three. That's a minus 54. I like to use these two persons or code. Let's see, what can we do to embellish this codi five over the three? What can we do? We can play something. That's the first, the first way is to make sure you have a triton somewhere in between or like I like to call them spoiler. Instead of just playing the C and the, The flat. Yeah, play the C and E. Okay. On your left hand you have E, then you have flat, flat land. Okay. But I normally like choose it with this in part, the CE, then B flat flat flan. If you're playing alone, you don't have a base player, just play it low. That you have C and E so that you learn how to play the stretches, okay? Then you have B flat flat and G flat. Let's say you have 55 to five over the four. Then you see that. You see how it sounds. It now sounds like it's more professional or something. Yeah. What other thing am I doing to make it sound better? I'm starting with this. I'm starting with a G flat major code, but I'm moving the flat up to the flat. Okay. Here that I'm using sine, then maybe six or this. Then you could do something like. Okay. What did I do to get to the Mina four? D, I started from the Mina five. I started from here. B flat, flat, flat, drop it, permit DF then flat, flat. Okay. Okay. Going to go back to the five. If I apply the two movements I've taught you the twod, I'm playing it slowly, then you see that the six, or you don't have even to start from the minus five, you could start from lower, like a lower. Instead of starting from here. Maybe start from here, flat B, D, up to GC flat, then flat, flat. Okay? You can start from top or bottom. Let's say 536. Let me say I start from bottom. Okay. See that? See what I did again there with the three code. Instead of just starting from here, I started from a tone higher. I started from here, F flat, drop it to B, G, then come back to B flat flat. Okay. So that's the 66 is a mina. Then to the flat six, to the Mina. Five. Okay. So I did something like five and I'm still playing the C and E on my left hand. Okay. So I just played now this in version, so the E flat flat, that's a minor four over the B flat. Okay? Okay. So, okay, is what I did there, what did I do there? I played the minor four, the D flat minor, so that's E flat flat. I went to the flat maina. Again, that's the flat, flat, flat. Then to the inversion of the main four, that's the flat flat. Okay, so let me show you how you apply that. So let's come from a higher, see that? Then to the six then. Okay, let me insert another movement. You see that, that movement. So how does that movement look like? Start from C minor, okay, that's C flat, go to D flat in that's flat flat, then minus D to the flat, minus B, E flat, okay? So that's minus five. Let's say I'm playing 12345, then I'll do this. See that if you could at least slow this down so that you get it fast, it would be very nice for you. So let's say you play 5436 after that movement five, then to the F five to the Mina. Okay. You see that? That's another movement? Yeah. So we sat here flat, flat. Then you go back to the minor five, that's flat, flat, flat, flat, flat, flat. Then you play the B diminished, that's flat, flat. Then you go back to the one of the five. Okay? Okay. That's another way, instead of, you could even play this, you start with the min five, the flat flat, flat. Drop it down by semitone D, then flat flat, That's the minus four. Then this diminished so that flat E and B flat, then back to the one of the five. Okay, Let me play It hiked higher, I'm using a lot of slats. See for the min five, I'll do this. Okay. Then, then, then see that that's another movement. Yeah, I'm just giving you a variety of movements. It's the inversion, so you just start with the D flat. That's flat. Flat to the D in, that's AD. And on the flat in that's La. Okay. So the five for then. Okay. There. I thought that movement there there. See that? That's what it is. The other movement. Let me give you another movement. So basically this minor code section is more of minor four and minus five movements. Yeah. Because they are not normally used. Yeah. Keep it simple. Three, then six, then two, then you'll hear movements like. Okay. Okay. Okay. So that's the first code all those chords you play while you're on the two. Yeah. Okay. B flat on your left hand, then you start with flat and flat on your right hand. Then you have B flat, flat and flat, then flat flat and then to the five. The one of the five. Yeah, I taught you that's the basic one, flat, flat, flat. It's like I'm starting with the last two nodes and then playing the, the fast not yeah. Okay. Okay, that's all I'm doing. Okay. So okay. Okay, that's a good movement. So the 54. Okay. Then I could use another move, a scale. You could use that final minor minor four card over the two. You could use such a scale. Okay? So it's the B flat flat. Okay? Then flat flat, That's the 21, flat six, then 543. Okay? So you can take it as far as you want. So let me just demonstrate it. Okay? You'll practice scale later, but get the notes. And I'm using these three fingers, okay? My thumb, my first and my middle finger. Starting with the middle to the first to the thumb. Okay. Then I cross over. Okay. So the file's say the three then takes me to the five again. Okay. So you can do whatever you want with that scale. I hope you got the scale correct. That will be for this section, the mind section. You see, I based my lesson on three minus the 74 minus five, especially the -4.5 movements. If you could actually get movements, you would actually sound really good. Okay, That's it for the chapter. I'll see you in the next one. 5. Chapter 4 Movements Based On Diminished Chords: Okay, so welcome to part four of our course on the key of flat advanced co, definitely. We covered the minus seven and the minus four and minus five movements. We covered such movements in the previous section. That was movements based on minor codes. Now for this one, we're going to do movements based on diminished codes. A diminished codes. Just diminished. Yeah, but let me say diminished seventh code, because that is going to be my main focus. Okay. A diminished code looks like this. That's diminished code. The B and D. If you want to make it a diminished seventh code, it looks like this flat D, That's the diminished seven. If you invert it, you get a B diminished seventh code. If you invert it again, you get a D diminished seventh code. Yeah, if you invert it again, you get an diminished seventh code. Okay? The same thing. Okay. That's the same thing on the diminished seventh code is the same as the diminished seventh code. It's the same as the D, diminished seventh code, and it's the same as the diminished seventh code. Based on that theory, we only have three sets of diminished seventh because one constitutes of keys. Okay? The other one maybe start from A, It's a diminished seventh, it's diminished seven, it's flat diminished seventh, and it's sharp diminished seventh, or G flat diminished seventh. Okay? Okay. Then the last set starts from B flat. The B flat one is the same as the B flat, the D flat, the E, and the, those are the constituent keys. Okay? So, B flat invert, it becomes B flat again. Okay? So those are basically the three sets of diminished seventh cards we have. And we're going to be using them randomly, everywhere. Okay? Okay? So let us start with a simple movement. Let's say a 736 movement. Okay? I want to go to the seven, to the three to six now, diminished seventh codes. Okay? Using diminished seven codes, what would I do? Just take a look and listen, and then I'll break it down. So. Okay. Okay. So that's the movement. Okay? How does that sound? It's not bad. Yeah, let's do this. If you play that movement, very basic, this is how it would look like. Okay? That's the, that's your seven G and F on your left hand, then you have B, D, and F on your right. Okay. That's the basic way. Or maybe you can decide to make it a little bit more advanced. So you play the extension. It's still the same thing. You have DF and okay. The this way again, I said you can use any of the inversions. So you can play, you can play, it's the same thing. You can, you can even play this. Okay? But I normally like the extension. The flat B, D and flat. And on your left hand, then to the three C, E. Then you have B flat flat and on your right hand, okay, extend it, That's flat, Flat E and G. Okay? Okay. The 73 to six. Okay? I remember teaching you this voicing for the six. You have flat and flat on your left hand, a long stretch here, or maybe G and flat for those who go on to extend the G and F flat, then you have flat and B flat on your right hand. Okay. So 6736. You see how I played the six again. I played it with an flat at nine this time round. So that's flat. Then I have a flat. Flat. Flat and flat. Yeah. Like I told you, I'll using so many voicings for six code. The four code. The two code and even the one code. Yeah. It's better you note them down or practice them so that you are familiar, so that you can change those voicings anytime you want to. Basically, the movement, the seven, the three, then the six. Okay. What did I do to make it sound like the way it sounded at the beginning? This is what I did. He I read something. You see that? Did you see what technique I'm using? It's like I'm playing each note on its own. Now, for this seven chord, I'm starting from the top. It's like I'm doing, it's like I'm playing each note on it. That's what I'm doing. But you have to do it very fast, see that? Okay. That's exactly what I'm doing. The seven then. Okay. Then for the three D, I'm starting now from bottom to top. Okay? So that's G. B flat flat, and J. I broke this down already for the seven cards. Start from the top there. You see I'm doing the same for the six card I learned on this left hand cord, the flat and flat once I've reached the. Okay. See that? So you don't have to go always top or bottom. You can choose, I could decide to go from top to bottom for both of them. Like then I do the same for the G diminished seventh. Okay. Then see that. Okay? Basically it's just playing each at a time, whether coming from top to bottom, or from bottom to top, or, but you see for the light diminished seventh, this feels more comfortable coming from the top to the bottom. Yeah. Than this. Okay. But it just depends with your hands. Okay. You can always bring it from the top or from the bottom. Okay. Okay. This sounds better. So those are the techniques the professionals use. It's not like they use anything very fancy. Yeah, they don't use anything fancy Y. So this was the inversion I used for the three, I use the diminished seventh. We could decide to invert it and have something like this. Okay. I can also use that so I don't have to use this all the time. I can use this for the three. I could use B flat flat, G and B flat. Okay. So I could maybe do see the same thing. Okay. So that's it. It's, it's a simple movement, but it sounds really advanced. Yeah. Okay. So you could do whatever you want to do with that movement. Okay. Let's try another movement from the three to the six to the two, okay? I'll basically be doing the same thing but in a different key. Whatever I was doing on the, on the 736. Now, let's assume you do the same thing. Which key is this? We want to go now to the 36 to six to two. Now, let's assume we are doing the same thing on the key of p. Yeah, relating keys, this is where relating keys comes in. If you land the key of, it's very easy to land the key flat because they're related. Okay, Let me do the same thing in P. And let's apply it on the key of flat, assuming I did a 736 on the key of C sharp. Yeah, this is how it would look like a seven that you see that seven to three, which would look now like something like this. Okay, then to the six, now what does that sound like? That's definitely a 362 in the key of F flat. The same codes, we're not changing anything three on the key of F flat, like I said, play the C and E always. Then you have flat, flat, flattened. D flat. Okay? D flat, E, G, B flattened, and D flat. And you could play it from the top as usual, then just drop it to the C, so that you now have flat, flat A and C. On your left hand, you have and, and A to the two. It's actually the same theory. So you have flat, flat and D flat. Then you have A flat, C and E flat. Okay. Again, I'm starting from top. Okay. Okay. So the three looks like. Okay, Then to the six to two. Okay. So and like I said, you can always use invasions. You don't have to use this. You could even use this. Yeah, I'll use invasions for both of them. Yeah, see what I did. I just moved this from here to here. I moved from here to here. Be we have the B. Okay. So let me just break down this. Yeah, that C, E, then B flat flat. E, G, and B flat. Okay. Then it flat on your left hand, then you have a flat flat, and then to the two. I'm giving you so many voices for the two. Okay? B flat flat. Then on my right hand I have a S, D flat major 79. That C, D flat flat and flat. Okay? Okay? So, so you can play as well. Okay? You don't have to play it for, you don't have to play it from there, really. You can actually even play it from here. Okay. It's just about awareness. Yeah. You can play something like what does this thing look like? Okay, so okay, so it's basically about in fashion, learn how to play the code from here. From here. Which is the next code from here. From here. From here again. Okay, it's just the same code, but you're inviting it into different positions here. So that's the 7360, not much of a house, right? That's a simple code which you can use. Let's say you want something like what. Let's go to the next movement. Really the next movements are going to be based on what I call drop 1.6, okay? Drop one voicing. Drop one voicings are very nice. They sound really nice. If you can master how to use drop one voicings. Now I'll use a simple illustration. This is the flat diminished seventh. You have a flat, D and F. Okay, That's what you have what I would call a one voicing is you from the top. Okay? We normally don't count. And the last, the first note from the top. D from the top, I mean. High. Okay. I don't mean yeah, from the top. I mean, higher as in the voice that sounds higher than the other one. This is the first note from the top. That's all from your right hand side. Okay. That's normally, we don't count the F and F flat. We don't count the last note, so use the notes that are in between the D. I'll drop the D and remain with a flat, and then I'll have the D on my left hand. It's still the same diminished seventh, but I dropped the D from right hand and played it on my left hand. Now this is what I call a drop one voice. Okay, let's maybe use the inversion. The inversion looks like this. Okay? Df and flat. What would I do? I would drop the from my right hand and plate on my left hand. Assuming I play the two inversions, it would sound like, you see that if I invert it again. Now, here I dropped the flat. Okay. Instead of playing it like this, I dropped the flat. If I invert it one last time, I have B then flat, D flat and D, okay. Basically dropping. That's why I'm calling it a drop one voicing. Okay? There are also drop two voicings. But in this course, I will basically base my teaching on drop one voicings. In a future advanced course, we'll advanced now, that's more advanced than this one. We'll cover two voicings, but for now we'll cover one voicings because they are also a hassle. They're not that easy to master. You'll have to do a lot of practice. Yeah, let's use a simple Some. Yeah. As the cross. Yeah, then. Okay, so I'll listen. I'm not really showing you the codes that actually there is a free lesson for this song, but I think it, so another key should be F. Okay? You can transcribe it to a flight. Okay? But I want to show you a movement you can use in the middle of that song. So this part. Okay, so Terra, that part, Terra. That's where I want to show you how to insert the drop one voice. And so then I'll do this. You see that? Oh, no. You have to catch, you have to understand this very well. Okay? Okay. So how does that look like? So, so that's a four. Okay? Flat flat, then a flat, flat and yeah, then the next code is usually a flat five. If I was playing it traditional, this is how it would look like a D. Then flat and flat. Okay, Then I'll just leave the flat. So I would have just leave the flat. Not yet. The same code. That's how I would sound. I was playing it traditional. Okay. But now we want to sound a little bit modern. Okay, So. Okay, and do you see what I'm doing with my left hand? So how does this look like? No drop one. I'm supposed to be using this diminished diminished seventh cord. Df and flat, but I'm now playing the F on my left hand. Okay. So I have B, D, and F flat. Okay. And it's like I'm leading into the from the F. So that's the first cord flat. Yeah. Then I invert the same. I have D on my left hand, then I have a flat B and F. Okay. What am I doing? That's what I'm doing with my left hand. Okay. Then I'm going to the three, but that depends. You could go to the five as well, depending on how you learned how to play the song. Okay. Okay. Okay. So that's how it looks like. Yeah. So you have to practice this to be very precise. Yeah. Okay. So Okay, but that's not I'm eking for now. I just want let you to master where that movement is used. Now, let us substitute that movement with another movement. Okay? So just use your ears then. This is what I'll do. Okay? Listen to what I'm doing. Okay? So that's a very long movement. Yeah, then you have the see that movement. So let me put this in context. I'll put it in context. This is the whole movement. D then flat, okay? I'm using drop one. Voices D then flat, then inverted, then B, D flat. Okay? Then the next, then you have flat, flat and okay. Then you have the flat. D and F flat. And I mean, then then you have a flat. Flat and flat. Okay. So the first movement looks like. Okay. Then the second movement is okay, flat. Then you have flat, flat and C. Okay. Drop one voicing. Then you have on your left hand, then you have flat and B flat. Okay? Invert it again. Then you have B flat flat and okay, then the six. Then you have flat and flat. Okay, I'll be doing it slowly. Then second movement. Okay, then the last movement looks like, then you go to the two. First flat, then you have and flat. Then you have A, then you have flat and okay, then then you have flat flat. Okay? Then to the two. B flat flat flat. Then B flat and D flat. Then you can continue it into context. Okay, so that's the old movement, you can imagine. What do you get from that movement? Yeah, so this one. Okay, so you start, let me start with the third movement. Yeah, this one. That's a movement to take you to the two. You don't have to use it in that song. Yeah, the last movement always takes you to the two. Maybe I wanted to play one to three to six to two. You see that's the last movement I taught you had. Takes you to the two. The other one takes you to the six. Looks okay, let me just break it down. Then B, D flat, then then B flat flat, then you invert it, then flat, and B flat takes you to the six flat, then flat flat. Okay. It okay. My left hand. Yeah, that's the F to the N, T to the six. You see this movement? Taxi to the two. That's the last movement in that song. Yeah. I usually get so myself. Then this tax to the six. Maybe you wanted to play seven, then player six, okay. Maybe to play three to six to two. You play six at three, I mean, then you play the movement, Okay? Those are some good movements you can use as far as drop one voicings are concerned. Okay? That's what basically I'll teach for this chapter. So make sure you master the one voicings very well. The other thing is you have to know how to invert the diminished seventh. I've been teaching. You know how to invert them, practice the drop one voicings. Those ones are very important because in future when I teach on drop two voicings, you might not be able to understand them very well if you haven't gotten the drop one voicings. Okay? So it's good that you do a lot of practice. I'll be giving you exercises definitely, But this is up to you to do your own practice. Okay? So that will be it for this chapter. I'll see you in the next chapter. 6. Chapter 5 Advanced Suspended Chord Movements: We covered diminished codes. In the previous section, we've covered movements based on major codes, minor codes combinations. Now we'll be looking at suspended codes. Suspended two, suspended four. Okay, let's get right into it now. This is an flat major code, okay? It looks like that. Flat and flat right. Now, if I drop this, which is the third on my scale to the two, which is flat. If I have something like this, now that becomes flat suspended two, okay? Okay. Now if I have the major code and I sharpen the C to the C sharp, which is pretty much the four on my scale, on my major scale. Okay? So, so that becomes an flat suspended four. Okay? Okay, So those are the two kinds of codes we're going to be using, the suspended two on the suspended four, not just for the key of flat, For pretty much all keys. Yeah. Normally we like to play the suspended code in this format, that one, okay? You have a flat, this is just that. You have the same on top and at the bottom, it's pretty much an extension, but I have the flat at the bottom. This is the format we like to use while playing suspended codes. Okay, Now that you have the theory behind what a suspended code is, T's, okay, let's get right into this. How do you use suspended codes on the Q of a flat? I will start with the basic theory for the one to the seven, okay? Okay. Normally, we don't use a suspended code for the five using this theory, okay? But we could use other suspended codes for the five. We don't normally use one for the five. Yeah, I think it's just the five. Yeah, Let's start from the one, the one which is the flat. The first the suspended code you use alongside the one is the suspended two code. Now we like to play like this so that you have CF and then on your left hand you can have something like this, flat and G. Or maybe flat and yeah. Yeah, that you have such flat F and G. Then you have FGC. Okay. That's the one. If you use it on the one, you can also use it on the on the one is the what actually changes is just to the aka the rest remains the same. So you can have a FGC. Okay. That's the one. Maybe if you wanted to play, maybe the one to the sharp one to the two. Okay? So you could do this, Okay? Okay. So the sharp two. D two. Okay. The same suspended code used for the one is the same use for the sharp one, right? So I hope you got that correct. Then we have the two, We have B flat flat and flat. Then you have D G flat flat and D flat. Yeah, D flat flat, flat and flat. On your right hand, I think it's the same one you could use for the sharp two as well. Yeah. Okay. It's just this that changes. You could have B flat flat, then D flat flat, flat and D flat. Yeah, but I'll probably demonstration. I'll show you the three code. Yeah. Okay. Then we have the 33. So you have C flat and B flat. Then you have flat flat. B flat and flat. Yeah, three. Yeah, three. Assuming you wanted to play like 123, you could use suspended code 1234 maybe. Okay, so to the four. That's just theory behind it. As long as you can use it on the three, this one, you can use it on the four as well. This is another voicing for the four you have already. Okay? That's flat, flat, and B flat. Then you have flat, flat, flat and flat. It's the same thing. It's just the base line that changes. Just like for the two, Okay? You could use this voicing for the four, maybe 1234. Okay. That shouldn't be complicated. The four, you also have another suspended. Okay? Not just this one. You could use this as well. Okay? You have flat flat and then B flat and yeah. That's also another suspended code you could use with the four, assuming you use different suspended codes for them. If you play the one to the force of 1234, okay, that's how it looks like. Flat, flat, flat and that's how it looks like. Okay. Then I said if you can use it on the four, you can use it on the sharp four or five? Yeah. What changes? It's just the sharpen the D. The rest of the notes are the same. B flat, B flat, C and F. Okay. You can use it for the sharp four, the flat five. Now that one can be used to substitute maybe a major two. Okay? We are using the song. Then you could see that instead of, of the major two or the minus seven which I showed you, we could use anyway the four. Then for the five, we don't use a suspended Yeah, because of not differences here. What we like to do, this is the suspended code we probably have used on the five. It would have looked something like this. This is how it would have looked. If we were to use a suspended, we normally don't use a suspended code. What we do, we use a major code in. This was the very last code I showed you in the major code section, the major three of the five. We don't use it as a suspended, we use it as a major flat, flat then you have CEG. Okay? This one always leads you back to the one, maybe the last part of amazing grace then that. Okay, so it's just the same coding T, it's normally the 5/3 over the five. So something like. Okay, so something like that. Okay, so for the five, we don't use a suspender. But now this suspender that we're supposed to use on the five, we now use it on the sharp five or the flat six. Yeah, for the flat six, looks like that D. Then you have GCD. Okay, Now you see a song like Alpha. Instead of you just playing like that, you could suspended the three to four to five. Then to the six, you see another voicing for the six I told you for the 146.2 I'll be giving you so many voices. Then then you have the six. So the three. Okay. Okay. So you could do that. Yeah, this is the flat six or five EC DGD. Then we also have one for six, looks like that. Flat, flat then flat, flat, flat and flat. As long as you can use it on the six, you can use it on the sharp six or the flat seven. You just send the base line to flat, flat, flat, flat, flat, flat, flat and flat. You can use it on the flat seven as well. Then we have our last one, which is the seven I'm playing it on. A low octavia is the same thing. Flat and then B flat, flat and flat. Okay, that's the code. Then back to the one which is also the one. Then we have the two which is also the two, same code. Then three, which can also be the four. Then we have the four again, which can also be the four. Then we have the five. I said it's not a suspended, it's a major. Then we now have the five flat six, which is now the suspended. Then we have the six, which can also be seven, or the sharp 67, which can also practically be the one. It can also be the one you can use this on the. You could have a flat, flat, flat, flat, flat. There are so many options for you. That is the basic theory I showed you. That a yeah, you could do something like I'm using suspended throughout from the three to the sharp four to the five to six. Then I continue the see what I'll do here to the six. I'm using the suspended code again to the seven, then to the one. You really need to do a lot of practice to know which suspended code is used to be. Which base line so that you don't mess up. Yeah, so something like okay. 67. So I just wanted you to know those two parts A and this one. Or maybe because you said for the five use a major use that GCE G then to the six with its own suspended code. To the seven, then back to the. You could even charge for the. Okay, Let's just keep it straight. Yeah. Okay. That simple work right there, but it's only simple after you practice, before you get these things into your system, it's not going to be that easy. So you need to do a lot of practice and preferably begin practicing with a metronome so that you have something like, I just passed through the chromatic scale all the way from a flat back to fly. Yeah. The 122344, again, the four, the five with the major, the 56, the flat seven or the six. Then the seven, then the one, and then the one again. Remember the 4.1 I think they have two suspended codes you could use, you could use this for the one or you could use this for the four. There are two suspended codes you could use. That's the basic rule for suspended codes. That's, let me show you movements you can use now within the suspended codes. Okay? Now, maybe for the one you're supposed to play this as it is, but what you do, you separate your middle notes? Yeah. The G on both hands? Yeah, the F, G you start with, the rest remain the same. Okay. Okay. So, you could play such a movement or to, to, to, to, then to again. G. G. Okay. So the rest of the nodes remain the same? Yeah. Okay. You have to do it quickly, so you have to practice. Okay. You could even do that. Okay. So those are some of the movements you can use on the one. Let's go to the two. They like to do that a lot. You see, this is how the thing should be, okay? This is how it should be. But what do you do? Especially on your right hand, the G flat to the G to the. So once you land on the on the flat, you also land on the flat on the left hand of the. You see that? Okay. Then you back to the on both hands? Yeah. Okay. Then for the three, just like the one Yeah. You could hear something. So how is that Flat, flat, flat. B flat. Back to flat. Yeah. Okay. So B flat flat. Okay. Then we go to the four, the same theory. You see that flash to C, then to A to B flash to back to B flat, Okay? Okay. Or you could even use it on the S. Okay. Then we have the 55. It's not a suspended code. No need to for the five, same thing I'm doing. D, then CDC, that's on the middle fingers. They have to be really flexible on both hands. Then the six, I'm using the same theory. Flat, flat, flat back to flat for the seven. Okay. See that flat then D flat back to flat back to the one. Okay, that's the different one. The one for the two, then the four, then that's a S567. You could even come up with movements of your own. The basic theory for suspended cards. I hope you get this very well because it's going to be going to take a lot of practice if you are not very familiar with such movements. Okay, so if I want to play one to three, so one to the four to the four, what happens there? It's just using those movements in your middle notes, Keep the top notes intact. Yeah, that was basic. Let me show you how else use suspended. If you probably have a bass player, this is what you would want to do. Okay, maybe you have a song that goes 25, then 16. Does that the progression six, then two, then what I did there, that's where the baseline, the base line is at. What I did with my left hand. Now the suspended code is on my left hand, It's not on my right hand. This is what I did. I played an flat suspended four, then I dropped the flat to the all that is still on this base line, the five, then to the one. Okay, That's flat nine flat, B flat flat. Start with flat, flat, flat, drop the flat to the G, then back to the one the song goes to. I don't know if you have given this voicing for the two already. Flat, flat, Flat, Flat in here is where you, instead of going to the five, the base will go to the five. But you will do something like, okay, you have this flat flat, that's the four. Then to the five. B flat flat To the six flat. Yeah. Then something like that, then you have flat and that's the seven to the basically like you're going up here. One that's on your right hand, this is a 4567. Back to the one now when you and on the six card is when you play the suspended four on your left hand. Okay. What happened there? Back to the one. Okay. On my right hand I have an flat nine card flat. B flat, flat, flat. You see that should be quite simple, right? Yeah. So that if you have a base player. Okay, let me show you where else we suspended cords. Let's say the movement you want to a movement like three to six. Here I'll be combining both the suspended, the minor and the diminished codes. Okay. That's the three you have F that's a suspended for the. On my right hand. I have a minds start with this, That's a mind on my right hand. Suspended for on my left hand. Then I'd The D to the C sharp, and I'll drop to the rest, remain the same. Okay. So here I'm forming like a diminished card at the center. That's an diminished cord. Okay. Or a D flat or or B flat. Yeah. Then takes me to the six Okay. Flat, then flat flat, and that's six card. Okay. You can even let go of the top notes so that you remain with the diminished code alone. Okay? Okay. Then you can let go of the C. I think the see what happened there. You can keep the top notes or you can let go of them so that you have the diminished code alone. Then let's use the same theory for the six. Okay. So this is what we start with for the six. B flat, then flat C. Okay. That's an suspended for have a minor. Yeah. Then to the sharp. While you do that, the B to the, the rest remains the same. You can either keep the C or let go of them. Okay. Then the two see the voicing B flat flat, then flat flat. Okay? Okay? Okay? Or you can let go of the and see the top. No. That's a movement that pretty much combines the minor suspended and the diminished cords. Okay. Maybe you wanted to play on the 7736 instead of you just playing cords. What would you do? Play seven, then you do you see that movement? Then the six. Okay. Maybe you wanted to play the six. The three to six, then to the two. Just play the three. You see the code? I'm using a flat, then I have B flat and okay, I'm bringing the B flat up from the flat, then use the movement then to the two. Okay, so that's simple. Then the two for the 736 looks like. So this is the code I'm using for the, I'm using F and B on my left hand. Then I have B and D flat on my right hand. Okay, bringing the B flat from the air game, then the three. Now you use this code taught you this voicing, all 736 or maybe the 36. I also this voicing A. That will be pretty much it for the suspended code section. There is a lot you have to practice to get this into your system here. Because these are things that you grasp at a go. You have to do a lot of practice for you to get some of these things. That will be pretty much it for the suspended code section. In the next section, we look at quotes to codes are actually in versions of suspended codes. But I do want to join them with the suspended codes because their use is slightly different. I'll see you in the next chapter. 7. Chapter 6 Quartal Chord Movements: How to use quota codes to create leaks and movements. Now, a code, like I said, I just mentioned it briefly in the previous chapters. A code is just an inversion of a suspended Cod. That's why I started with suspended codes, then I moved on to quotes. Let's say we have now the flat suspended two. If the flat suspended two code looks something like this is how do we get a Otter code from that? You just invert it just in this flat. Instead of playing it. Here you play, here you have some B flat flat flat. Now that is what I call a code, that is exactly what I call a quarter code. It's always the first in version of a suspended two code. Okay. As long as you have a suspended two code, the first inversion always gives you a tad, and it's always the second inversion of a suspended Ford. Assuming I have, this is the flat suspended Ford. If I invert, it becomes this. If I invert it again, it becomes this. Now it becomes a to code. A quarter code is always the first inversion of a suspended two code or the second inversion of a suspended for code. Let me give you all the 12 cards we have because they are only 12. You only have 12 keys. So let's say starting from flat here, you have this flat flat and G flat, right? Then you have this DG, that's the next one. Then you have B flat flat and flat. That's the third quarter card we have on the keyboard. Then you have EA. Okay? The next one is F and B flat, okay? Then you have D flat, flat and B. Then you have GC. Okay? Then you have flat, flat, flat. Then you have E, A, D, then you have B flat and flat. Then you have flat B and E. Then you have CF. And that's the last one here because we started here, we started at flat. D flat and flat. Okay. So those are the 12. Okay? Okay. So those are the 12 cards we have. So we're going to be using any one of them randomly. So let me show you a movement we like to use using quota. Okay, let me start with the basic theory, just like I did with the suspended cord. So we usually have quota cords for certain numbers on the chromatic scale. And I'm calling it a chromatic scale because we have the sharp on the sharp five or things like those. It's not just the major scale. Let me get to it. For the one, we don't use a quad as far as this theory is concerned. Okay. I don't mean you cannot use a quota code on the one. You can use a T code on the one. But as far as the theory is concerned, let's keep the one as it is then. Now you have the sharp one. For the sharp one, you use something like this. Okay? So that's a, then you have GCF, okay? Now you can see if my Tcd starts from, my base line starts from A. You see that the baseline is always a ton higher than the start of your quad. Okay? So if your Cd starts from G, then the baseline starts from A. It's always a ton higher, assuming, let's say you wanted a quota for the two, the B flat. If your base line is B flat, then that means your utter code starts from a tone lower, flat. Flat and flat. You see that? The baseline is always a tone higher than the start of your utter code. Yeah, that's the two. Okay, that's two. Then you have the three. The two looks like B flat flat, D flat, and G flat. I said the flat two or the sharp one looks like GCF. Then we have the two, then we have the three, C, B flat flat and flat. Now I decide that's three. Okay, Let's continue then. We have the 444. We don't have one for the four, but we can using other rules. But for this rule we don't have one for the four D, then you have F and B flat, okay? Then we don't have one for the five. As you can see, we don't have codes for the major codes on major scale like the 14.5 that's the four or five. Then we have one for the five or six, then D, G. Then we have one for the six, that's then flat, flat, flat. Okay? Then we have one for the seven, that's B flat and flat. Okay? Using this rule without having any contradictions, we have one for the flat two, we have one for the two, we have one for the three, we have one for the sharp four, we have one for the sharp five, we have one for the six, we have one for the seven, we have one for the one. We don't have a code. Now, if I decided to do it as I was doing in the suspended code section, this is how it would look like. We have this for the seven, right? The G, then B flat flat. You can use this for the one as well. Okay? If I decided to do what I was doing in the suspended code section. So you can have this for the one, okay? So you can have your one sounding like that. We're using the same code code for the seven and the one, Okay? The flat, flat, flat. You see that goes away from the rule. Yeah, the rule means the rule always says that your baseline is a higher than the start of your coord. But you see now the the baseline is a ton and a half higher. Okay. That's why I started with the basic rule, the exception, so these are the exceptions. Seven, you can use it for the one, Okay. I'll even show you how we do this. Yeah, that's the one. Then you have a sharp one, then you have two. You can use this for the sharp two as well. The Acord for the two can be used for the sharp two. Okay? Okay. Then you have the three. You can use this for the four as well, okay? These are the exceptions. Have flat, flat, flat, flat. Same protocol for the 34. Then you have the one for the sharp five you can't use for the sharp four. I mean, you can't use this for the five, trust me. You don't want to? Yeah, you don't want to. Let's go to the 66 then. What do we call this? The six sharp five. Then you have the six that's flat, flat. You can use this for the six as well. That's flat, flat, flat, flat. Okay? Then you have the seven. You can use it for the one as well. Okay? So that was the basic, basic rule and its exceptions, okay? Instead of you voicing the one, always a 97 at nine, like I told in the first chapter of things, what would you do? You could voice it like this. You see the B flat flat? Okay. Maybe you wanted to play 1234, like we said in the suspended code chapter. You could do this. Venae 234, but assuming I decide to use con, I use the same code for the 7.1 and the same code for the 3.41 flat flat flat. The two D flat and flat three C B flat flat and flat. Then I use the same thing for the four B flat, flat and flat. Okay, we did this song. I did it somewhere in the middle of the previous chapter. Even for this, you don't have to use suspended codes all the time. You could use codes that was 345. Six. Okay? But this is what you can do, you can use to codes the one, the three, then B flat flat flat, then you have the C and B flat to codes there. Then then you have G and C, that's the three, flat five or the four. The flat six or the five. Then to the six. Okay. You have flat and flat. Flat and flat. Okay. So then you continue. See what I did there. Again, in the previous section we used suspended cords, so I'm going to use codes for the 6.7 then you have, then you have flat flat and B flat. Then the seven, B flat flat back. I'm voicing it kind of low. Okay? So that's flat flat. Then you have flat flat. B flat flat. Okay? If you want to use suspended, okay, substitutes. You can always substitute suspended cords with codes. Okay? That's simple. Now, let me teach you movements related to the code. Let's say you want to go 1-4 Okay? Let me give you even this posing so that you may note them down. Okay? This is simple flat, flat, flat, flat, flat, flat. That's just flat at 94. Looks like that. D flat then flat, flatten. Okay? Okay? Could have flat flat on your left hand. Okay. So that's the one, the form or like I showed you in the first chapter, you could have some delay. Okay? So you could still have that flat and G flat. Then you have flat, D flattened then to the four. D flat, flat, flat, flat. Okay, so the one to four. Instead of using all those codes, what else did we cover in the major code section? Remember this, the six over on the six over the one, then to the 46, you could use that, the 66 minor four. Instead of using that all the time, you could decide to use a code movement instead of four. Could see that. So I use the Porto code on my right hand, B flat, then I have flat and flat on my left hand, I'm bringing the F up from the flat. I start with the three, the flat and B flat, bring the flat to the E and the F. That's the one code. Then the four still using Porto have flat and you have to train yourself how to play the stretches. Or maybe the D flat flat. Then you have flat, Flat and flat. Okay? So that's the one. Now what I did here, I played the 1.4 while playing the base lines. You see what I did? The one, the four. I don't want to play the base lines now. I want to keep it root less so that if you have a bass player, he will play the 1.4 for you. That's how my 1.4 will look like. That's the four, okay? One looks like that, flat, F and B flat. Then my four looks like that. B flat. Flat and flat. Okay? Okay. So, instead of, we could do this. So that's the one to 41. If I play the base, line 14. Okay. If I keep it ruthless. Do you see what I did with the, with my left hand? Okay. Flat to G2g flat. Okay. So what I did there, again, flat, flat. Yeah. Okay. So that's one F. Okay. So let's say you're playing, you are the song Amazing Grace. I've been using that song a lot. I think I should do a demonstration of it at the end, so you see that? Okay, let me show you the part where I want to insert a pot, then. There you see, it's like we're moving from one to the four. So that's one still on the one then then we're supposed to go to the four. Now you see that? Instead of me just playing that, Okay? So instead of me just playing that, what would I do? I would now insert the. Okay. See that? So that's the one. Okay? See that? Quads flat and B flat. The B flat flat flat. Okay? Now, I want to teach you another quod that you can insert in the, immediately after. Immediately after you do this, you could use another set of Quds as well. Okay? So that's what I'll teach you because the song goes like then. Now listen to this, you see that that's another set of quota codes. Okay? So this is how that set looks like. You have flat then GCF, okay? Flat GCF, then you have C. Then you have B flat flat. Okay? Flat on your left hand. Then you have GCF. Then you have C on your left hand. Then you have B flat flat. Okay, let's play the song. I'm just playing the melody. I'm not inserting any codes. Then you see now I used the two sets of potter codes I used to this then. Yeah, so that should be pretty simple, right? Yeah, repeat the same thing, so I'll just play the melody of the song and insert the Oto cord. So I need to insert the song potter another set. Codes again then. Okay, so basically that's it. I just demonstrated it. Where you, okay, so when you want to play, probably you want to create melody. It's also good that you create a melody in form of codes. Okay, so I think that that's quite simple. The one to four, remember this is supposed to be a one code. Okay? Then this is supposed to be a four code. Now, for the next set we did, we did D flat, then GCF, okay? Then we did then flat flat. Now this one naturally is supposed to be a five code. Okay? If you play it like this, the baseline is supposed to be a five, okay? Okay, let me play it higher so that you hear this correctly. Flat, then GCF. Okay? See that? Then this one, the next one, which is then B flat flat is supposed to be a one code. Okay? This is 51. Instead of you playing, what would you do? You would play then the one. Okay? Five. Okay. So I think that, that should be good for you. Now, the other way I would like you to, to know how to use the quads is to insert what I call spoilers. I just like to call them spoilers because they bring a particular sound. It's not even a musical. Okay? There is a particular sound they bring. Okay? That is very different from how you would use a normal. Let's say if you are playing, you wanted to play seven to three to six using quota codes. Okay? Using quota codes except for the six. Let's say we use quota codes for the seven and the three and then we use no more code for the six. This is, see how you seven looks like seven. Then the 36, I think I've taught you this voicing before. This is flat, major seven. Then on your left hand you have C and flat, okay? Okay, so seven, then 173, then six. Now see that sounds good, but let's make it sound a little bit fancier. Okay, how do we make it sound a little bit fancier? I'm going to add a particular note, let's say on the seven that can be added, Either on my right hand, on my left hand. Okay. We can always add the note on my right hand, on my left hand, that note, which I like to call spoiler, is usually the third, the major scale of your base line. Now, for example, I'm playing A 736. My seven is the base line. What note am I going to insert? The E I'm going to insert should be the third on the major scale of G. That's why you need to, at least, even if you don't know how to play in all keys, at least the major scale of all, Okay? So that's the third major scale is B. I will add this, not somewhere in between, okay? Instead of me just playing, that's the B flat flat. I will add a note. I can add it on my left hand. On my right hand for this case, because the left hand would sound a little bit too low. You see that? Let me add it on my right hand. See how now the code looks like. Then I have. B flat flat. I just added that. You see that? Now, that sounds a little bit more fancier than this. Let's add the note that if I was playing this a little bit higher, this is how I would voice it here. You see that? Then I still have the B on my left hand so that I can just play the normal code on my right hand, B flat flat. You can either add it on your right hand or on your left hand, depending on the depth. You don't want to add a note that sounds too deep. You don't want a lot of notes getting crowded on your lower end. You don't want something like. You see that? That doesn't sound very appealing if I would have done this. See, it doesn't sound like a very fancy voicing. So I need to look for a higher octave to insert the B note, okay? So this is your own judgment. It's for you to weigh. Does this not sound good on the lower end or on the higher end? If it sounds good on the lower end, then go ahead, insert it on your left hand. If it sounds good on the higher end, just add the note on your right hand. So if I was playing the D from here out, I inserted the B on my right hand. If I was playing it from here, I inserted it on my left hand because now it doesn't sound too low. Yeah, that's my seven. You know what we're going to do when we get to the three. This is what we have for the three. You have C, B flat, flat and flat. What am I supposed to do? Add, not to spoil the code, spoil the cord. The note I'm going to add is the third on the major scale of what is the third on the major scale of the third is, you see now I added it left hand so that then B flat flat, flat. Okay, now let's try the 736 using the spoiler. Six. Now if you play like that, you sound pretty much close to this professional 36 is that sounds very good, right? You can always add the spoiler anywhere. Let's say you want it to go from the one to the P one to the 211. Let's use the one. That's the one. Then to the. That's flat. Flat, flat. And that's the two code I'm using for this. 0.1 add nine, the two. Where do we add the spoiler? What I did, I added a flat or a C sharp note on my right hand so that I have flat And I could even add it on my lower end. But if it sounds too low, I'd prefer to add it one. That's how it would sound if I added the flat down here. But since I think it sounds too low, why not add it on the right hand, that C, D flat. And that makes you sound a little bit more professional. Okay, you can add the spoilers. Let's say the flat five. The flat five looks like this, the sharp four. Where do we add the spoiler? You could add it on your left hand, you see that D and G flat then, and B flat. These things help you sound a little bit good. Let's say you wanted even to play a six to two. What do you do? You take the D. This was the D, F, then flat, and D flat. Then because I'm playing it high, I can add the E on my left hand, then flat flat, and B flat. This can lead me to the two. I already gave you this, 0362. You see that you can add spoilers anywhere you want to add them. As long as your spoiler is the type of your best licenses, I gave you the basic theory, you can try work on them. That's simple. I'll be giving you exercises, actually this at the end, but for now, that's all I will teach you for the cord section. Time doesn't allow me to continue. That will be make sure you check out our exercises at the end. Yeah, I'll see you in the next chapter. 8. Chapter 7 Augmented Chords: Okay, welcome to our last chapter. That is our last teaching chapter for this course. It's going to be our last teaching chapter. For the next chapter, we're going to be looking at exercises and application of all these things that we've learned. We looked at a codes in the previous section. In this section seven, we're going to look at augmented just a little bit, the basic theory to just play, make you sound more professional and all that, so I'll just get right into it. We are in the key of flat. This is what an augmented code looks like. We have a major code, which is a flat. And flat then if you want an augmented code, like I've always said, you just sharpen the fifth flat. And apparently if you invert this code, you will get the augmented code. If you invert it again, you get the augmented code just as they are written here, flat. And that means we have four sets of augmented code. This is the first one, the flat C and E, Okay? The second one looks like this, the flat and. Okay. Then we have the third one, the B flat, DNG flat. Then we have the last set, which is the B flat G. Okay? So those are the four sets we have. If you invert the flat augmented code, you will always get the augmented code, okay? If you invert the augmented code, you will get the augmented code. If you invert the augmented code, you come back to the flat augmented code. Basically, that's what an augmented code is like. Did I talk of suspended and codes? The augmented code has pretty much almost the same theory. I normally like to use it for the flat. Okay. The flat two or the P one, The flat three or the Sp two. I like to use it for such purposes. So I'll just teach you the basic theory. Now like I said, I like to use it for the flat. I'll start with the flat two or the sharp one, which is A. In this instance it's actually A. As long as my base line is A, I'm going to use it either augmented code and a augmented code looks like that's A. Then we have B and E flat, okay? Okay. Assuming maybe I wanted to go to five to one. Now, you mostly use this in Jersey setting, songs that look Jersey or sometimes you can use it even in gospel, but you just play around it. What you have to do, say was moving 5-1 I'm playing five like that with flat augmented code on my right hand. Okay. That's flat, flat. Okay. The flat flat on my left hand and then to the one as a nine. Yeah. Like I've always insisted flat, flat, flat, Flat, Flat, flat. Yeah. What would you do? I would maybe play the five there. Then I would pass through the flat two or the sharp one back to the one. Just see that I basically use this augmented code, the augmented code with the base line G, B flat. But I extended it looked like a G, B flat. And again, I just did this, then I did this, and I did this. Okay? So if in fact it was a just setting, you would actually finish with such a code. Flat, flat. That's flat. B flat flat, and that's flat major 7.9 you would hear things like, Okay. Or maybe you could even add the sharp A and D flat. Then you have the back to the one, okay? You would have such things that the flat two to the one, I normally like to use it in a downward format. The next one is the F three to the flat three, back to the two. The flat three back to the two, looks like this. Okay? B on left hand, then you have A flat. And on your right hand, you could even add the third of B. I like to call them spoilers. You have flat, then you have a D flat. And here, do this. Let's say you wanted to play three to six to the two, okay? Okay. Just a simple, That's a five over the three. Okay? B flat flat, then over the C, that's a flat at nine. Over the And flat, that is the two. B flat flat. Then on my right hand I have C, D flat flat. Okay. Okay. Okay. So that's the 362. What would you do now with having in mind that augmented code? So you do the three, then instead of going to the six, now you'd play this augmented call. Okay? So instead of going to the six, you just play this augmented call to the flat three B, then a flat, then to the two. I used a different voice for the two. I have B flat flat, then I have a flat and flat. Okay. You could even use the Sure. Okay? Even such a voicing. A B flat, flat, flat, flat, flat. That's three to the flat. Three to the two. Instead of going to the six, Even the 36, there is this 362 movement that a lot of players like 0. That's the first code, C, B flat flat. Then you have B flat, D, okay? That's the major two over the three, okay? Then this code, then flat, flat, that's over the six. Then you have flat, flat, flat. Then you have a flat and flat, okay, It looks like, okay, look, that's how it looks like. Now, instead of going to the 362, you could again use the augmented, have that instead of going to the six like this, just go to the augmented, the flat three. Okay? So then you could have this, okay? Then then the B, then a D flat, the two. You can always have that. Yeah, the 32. That's how it works. It's basically that simple and straightforward. The next one, the 21, then flat 32. The other one I like to use is the flat five or four. That is when I'm coming back to the four. I'll give you a progression of 5514. Okay. So people like to use that progression? Yeah. Okay. So this site looks like, so let me give you that kind of code. I have flat F and G flat. Then I have flat, B flat, D flat, and K, That's my five. Then I'll just give you a simple code that's flat. Then on my right hand, I have a flat diminished seventh code that's flat and flat. Okay, Then to the form, mine looks like that I have a flat, flat and on my right hand, then I have flat and flat on my left hand, something like that. Instead of you just playing the 514, I want to substitute the one with a certain code, okay? Just the five. I'm just using different voicing, okay? So don't worry about my five voicing. Then I'll do something like this. Then I'll go to the four. This is the code I used, the five to the flat. Five to four, instead of 51, I basically use the 54. What's that code? What's that codes? On my left hand, I have D and G flat. On my right hand, I have this augmented called E flat. For the case where I played the five flat 54, I just extended it so that I have flat and C. Okay? Okay. So I have something like that. I played with A D and G flat on my left hand. Okay, So here is my new voicing for the five. I'm just giving you different voicing for the 514. Okay. Flat, flat. Okay? Then I have B flat flat and flat. Okay? Instead of, you can also use I basically inverted. Instead of playing like this, I just play it like this. That's five. Then to the flat five, that's the code I. D flat flat. And then to the four. D flat and flat. Then I have flat, flat. Okay? You have five to four. That should be simple enough. So you could substitute that for the five. That's simple. Could substitute that, you use it. I like to use the augmented codes in a backward formula. Okay. Then the other one I have is flat six. Yeah, the flat six leading to the five. Okay? The leading back to the flat that's on the, of a flat, flat six. Normally use it with such an augmented code. Okay? So you use it with such an augmented code that's flat and B flat, that's a augmented code. I use it with the E. You could even add the spoiler, the flat, then flat flat. That's quite simple. Do I use this? Let me pick a simple song. So he has done great things. I'll just pick that song. Yeah, then, so I don't even have much interest in the first line. I have much interest in the first part. So then the next is what I'm doing in the second part. So the second part goes. So I'm basically using my augmented code to cover my melody. So I'll start with the two code, Okay, so that's B flat and flat, then I have D flat and B flat. Okay, Then I'll go to my augmented code. And flat then D and G flat. B flat, yeah, on my right hand. Then that to the five, E flat flat. B flat, then D flat and B flat. Okay. So it takes you, if you want to go to the, from the two to the five and you want to pass, you want to insert a passing card there. You just insert that cos that's the whole song, augmented card. And did you how to play that song at the end of by the end of the course? I'll just demonstrate it in the next section, but that's what I wanted you to get. The six to five. Okay? Or the five. B to the five. Then the one should be the seven, and that's the flat seven down to the six. Okay. The seven down to six, what do you use for the flat seven? I think it's pretty obvious. Now, flat then you have flat. I mean, flat flat. Okay. So that's and cord use it with the then what you do, you add the B flat again so that you have flat flat then you have flat. Okay. Assuming you wanted to go from the seven to the three to six. Like that part. That part. Okay. I just lay a 73. This is how my seven would look like. I have F and B flat, then I have D, F, AC. Okay. Then this is how my three would look. I have C, E, and B flat, then I have flat and B flat. Okay. Flat, G and B flat. Then I have and flat. Then I have C flat flat. Or maybe flat, flat, flat. That's the 736 I have. Instead of the 736, you can do the seven to the flat seven to six. This is how it would look like. Just stick, stick to my seven code then. Okay. Then to my flat seven, then to my 67, Cod maintained. Then instead of going to the three, I go to the flat seven that's flat, flat, flat and yeah, I've already tout this cord, the six, and I'll voice my six that way. So that's flat flat, then flat G and B flat. Okay. Seven flat 76. That should be quite simple. An advanced player. Yeah. So instead of playing seven all the time, you just okay that movement. Yeah, it looks something like this. B flat flat. Or you could play the whole two B flat and flat, the next one is flat. Or you could play the whole one flat flat. And the. These two fall at the same time, the F and B flat. Then you keep switching from the F to the G. The B flat doesn't move gestures, it's another way of voicing. This one isn't that simple. Those are basically the augmented codes I wanted to show you in this chapter. Simple. I like to use them in a downward format. There are some augmented codes which you can use, let's say the three card you can use a augmented cord on. Yeah, maybe a flat and then back to the six can lead you to the four can lead to a augmented cord flat and you can use it on the C as well. Take six. That's quite simple. It's straightforward what you normally like to do to make it sound better, instead of you just playing a normal augmented code flat. And you just sharpen the C to the flat so that you have D flat flat and then you have C and B flat. On your left hand you have C, B flat, then D flat flat and C. Okay. We call it a augmented seven, flat nine, something of that sort. Yeah, you can do that. Take you to the seven, to the three, that B flat flat, flat and to the seats. Okay. So you can always use that. You can always use that to take you to the seats. Let's say you want to play a major to. I've been using the song, I'm using grace a lot. So like I said, we are using a major tune, basically nah instead of you following the now, then the major two. Use that code. That's flat and flat, then I have flat, G and B flat, okay? Or you can even let go of the F so that you have B flat and flat. Then you have flat and B flat. Now you want to make this an augmented code. What do we do? We just your first three flat and drop all of them by Amt looking for this augmented cord, DG flan fla plus the B. The left hand remains. Okay. Okay. So it's just start with this then is just a drop for me. Okay. Let's do that on another number. Let's say the six A that's flat, then B flat, D, and then you'll just your first three notes on your right hand, that to the S. Okay. The augmented codi. Then you can take it to the To is just a way of making them sound better, like adding more notes. That it's just that simple. It's what I call resolving. Yeah, You can use the augmented codes to resolve. You resolve from this then takes you to the two to the five. Basically basically resolving. Yeah, you don't resolve everywhere, but it's good for you to know how to resolve, especially on the sixth code. Okay, That should be quite simple. It's all about solving, it's all about creating this augmented codes, learning how to extend them. Okay, I'll give you an exercise relating to what I've taught you. It will be simple, let me just highlight it. The progression will be, then I lose 5537676. Then I'll have something like a two, that's a 332. I'll have the, it's just an exercise to help you master where to use this. I'll just teach you this at the end. I just ask you to get prepared for it. I think it's the next chapter. Then you have the, just an exercise to know how to use the augmented codes, but for now that, that's the last movements based on augmented codes. That's the last chapter I'll be teaching. In the next chapter we do exercises, okay, So that you can put all these into context. You can know where to use which, which code. That will be it for this lesson. I'll see you in the next chapter. 9. Chapter 8 Song Example Amazing Grace: So, welcome to chapter eight of our co. Like I said previously, chapter eight is going to be a demonstration. I've been using this song a lot during this course. Amazing Grace here. I'll just teach you the breakdown of the whole song. I'll just break down the whole song for you. I'm going to be using some of the tools that you've learned up to this point. Maybe when you are more conversant with those tools, you can come up with your own version of the song. But this one is quite simple. It's more of just following the melody, but bringing in some codes to help you follow the melody movements. I just started with 51. Yeah. Okay. I'm using an electric piano for this. I thought it would sound much better. Okay, so something like that. On your left hand, that's the B flat to the flat, that's a two to five. When you land on the flat, you have such a code. So that's A flat, C sharp and okay. Then to that, that's flat, flat. Then you have G. B flat and flat. Okay. That's the one. Okay. That was the next I did something like that. Yeah, that's are supposed to be a three. The base line is a three. The movement starts from the four to the five. C sharp, D flat, E. Okay? So that's B flat flat and flat on your right. And that's a quote code. Yeah. Okay. Then the next, so that's F sharp, then F and B flat, so that's again another quarter cord on your right hand. Okay. Then to then B flat, flat and flat. Okay? Okay? So from the beginning then, then the next. Okay? So that's C sharp, then GCF, then C, then B flat flat. Okay? I'm more leading into the middle. Not always. Yeah, It's like I'm starting from flash to C and then from flash to B flat. Yeah, So then from there. Okay. So, okay, so the movement looks like so you have C, then you have G, B flat sharp, and E. Okay. That's a diminished seventh code. It's a diminished seventh code from the three to six. Then you have C sharp, and yeah. Then the next code looks like that, D. Then you have flat, BDF, looks like that. That then B flat sharp, E and G. Then we have US code which looks, you could have something like it looks like this. I have flat and on my left hand then I have G and B flat. On my right hand, I mean A and B flat, but I'm always leading into the G from the twice. Or maybe you could play such a code. So you could play the flat, flat and flat on your left hand. That's six. That movement was to lead you to the 63, then the 45, then to the six, which now looks like now the basis could play something instead of 3456. For my case, I did 3176, I did something like, Okay. That is also acceptable for the base player. You can also do that with your left hand if you don't have a bass player or maybe 2176. Yeah, that always works. Okay. But I like the 3176 more. You can play a straight one or you can play it as a major seven. Okay. I just did this movie. Then then to the two, Let's flat flat then flat. Then what I would do that start with the one that's flat, flat, flat, flat on your right hand. Then you'll drop the flat down to the flat, then to the then to this code. That's D, E, G, and C. So that's a major three over the two. Yeah. Okay. Then that is what I call resolving. Yeah. Because you start with this, then you resolve to this. Okay. So Okay. So okay, so that's flat, flat C sharp. Then you have a flat and flat. Yeah, that's the five code. From the two to five. Yeah. Then somewhere there I did a moment a movement which looks like 66, that's flat. Then on my right hand, I have a flat major, 7.9 That's a flat, flat. Flat G. Then to the two. That's then yeah, I did something like that. Flat and then B flat and I'm leading into the from the. Then you have a flat flat, then you have B flat, then C sharp flat and B flat. Yeah, Then to the one, she looks like that. Flat flat. Then flat flat and Okay, six to the two, then to the one. Okay. The 5671. So that was just to lead me to the next part. So the all of the first part looks like then, then, then, then I maintained it to the one, so once you learn on this one, you change it to this again. You have A sharp, then you have a B flat, C sharp, and flat, it's called resolving. I'll resolve twice, actually, I'll start here then to this still on the flat sharp then. So that's the major six over the one. You could even use the six if you wanted. The six is A so that, and which once you come out of this, just play the C and B flat. The same movement we did in the first part. The B flat flat flat. The same movement. C sharp. Gcf. C flat flat. Then the same movement, the same diminished seven movement. Okay, this is the same movement. I've broken this down just like a few seconds ago. So once I got to the six, I did something like. Okay, so then I just went back to the previous code. Just went back to the diminished seventh code. So that's G. B flat, C sharp, E and G, then back to the sixth. So that's flat, flat, flat. Okay. So that code we start with, that you have B flat flat, then C, then you drop the down to the. Okay, then you finish, That's coded flat, flat, flat, then C sharp, B flat. That's a five to one. Okay? To the one that's flat, flat, flat. B flat, flat and flat. Yeah, that's the all of the song actually. That's. I played it. So then three to the 14, then that's the three. Then the six, then to the five. Remember that movement? The six to 5671. Then I remained on the one. Okay. Repeat the same thing again. Then this movement. Okay. Then the movement I was doing to separate the first part from the second part, I was something like. Okay. So that's a 2345671. Okay. So you have that you have B flat, then you have flat. That's a two? Yeah. Then you have G, You have flat flat, five over the three. Yeah. Then you have a six over there over the four. That's flat. Then flat. Yeah, that's just a flat. Nine flat. Then you have B flat. Flat and Okay. Flat. Then you have D and flat the B flat. Then you have flat and flat. Then back to the one. Then you have A flat. B flat, flat and flat. On your right hand, the movement looks like 2345671. That's the movement. You have to practice it so that you can do it on tempo. There is a practice track for this. You have to to practice the movement so that you can do it on temple. So it has to be that fast. Yeah. Especially the code changes on your left and you really have to get them very well. Yeah. So if I played the first part leading to the second part, it's just the same thing, So okay then, okay, then 62567. You have to remember that movement then to the one that's the four. Then repeat the movement again. Okay. Then, okay, then that movement. Okay. Then you repeat the whole thing again. I could teach you that movement. On the left hand. In the first part, I started with the 44 to the sharp five for the second part, so that it doesn't get monotonous, you could start now from upwards. So you could start from the seven down to the flat six, that's to the sand the play in that. That's the B flat flat and Okay. Okay. Instead of coming from all the time, it could come down from same thing. I'm just giving you extra actually this might not exactly being the trucks. Okay. Then to the three to 67, looks like that. That's and B flat, then FC. Okay, I'm just giving you tools so that you can come up with your own version of the song that. C, E, B flat, then C sharp sharp, and B flat. Yeah, that's flat flat, then C flat, G and B flat. Okay. So then then, okay, that's the same movement. So then the that's again the five to the one. Yeah. As you can see, the movement is long. It actually starts from the two, but I I don't have to start from the two. I can start from the five. Okay. The whole movement is the one we've done, So the two. But in other circumstances, I don't have to start from two to the one. Just start from the five. I can just decide to start from here. Okay. I don't have to start from, okay, Maybe I was playing then I can just do that from the five to the one I don't have to go back to. Okay, so then, then, so I played the whole cycle twice, and then I repeated the last part for the third time. That's a part I repeated for the second time. Okay, that's the whole song. I pretty much broke down what I was playing. But you can always come up with your own version of the song. You don't have to play it exactly as I did. But the practice track somewhere down here, I think it only has a baseline and it doesn't quite have a T. Because this Or song is just, I used the same track to demonstrate this course. The count is still the same song. You can use all those tools to come up with your own version of the song. Mainly for this song, I used the quo codes. I used a lot of diminished code movements, I used a lot of combinations. Just like I was saying this, I didn't use a lot of augmented codes, but for the rest they were good enough. Like the major six or the one minor maybe. Okay, and I'm also trying to teach you how to fill up your codes, especially when you are playing with an electric piano. You don't want your codes to sound very open. Yeah, that's why I'm insisting on such voicing. You have to make it a nine. Yeah, you have to make it nine. Something like this. As in your code has very complete. You have to find all those nodes to fill up your code working. It has to sound very complete. Don't make your codes sound as if they are not complete. That will be pretty much it for this lesson. In the next one will be probably looking at another song. Then I'll give you the exercise on augmented codes. That will be for the chapter. I'll see you in the next. 10. Chapter 9 Song Example Augmented Chords: Welcome to chapter nine of our course on the key of flat. Like I told you, I'll give you an exercise on augmented codes. This is simple and straightforward. It's exactly following the theory, the basic theory of augmented codes, where your base line is a tone higher than the start of the augmented. Here is the progression. So I'll just show you the codes. This should be short just so we don't need to do a lot of explanations. I started with a 234. Okay, The count 66 counts, then it starts with a 234. I decided to use that. Don't ask me why that's flat, flat then sharp and C sharp. Okay. That's my two to three, looks like that, that B flat, then flat, flat. Okay. It's flat, major 79 sharp, major 7923. It's actually the same thing. Okay. Turn to the four, that's C sharp, flat. Okay. Then flat, flat. Okay. Then, okay, so that's two G, six to seven, then you land on this code, that's sharp, then F flat. Okay? So the flat five. Okay. 234, then the flat five, then to the four. Here I'm using an augmented code on my right hand. So I have, then I have B flat and. Okay. Okay. Okay, then you play this as the melody. Then flat, then B flat flat. That's a 5/33 sharp, B flat. Okay? Then I have a flat and okay, that's a flat seven leading into the six, that's flat. Then flat B flat, it looks like the B flat, C sharp. That's another augmented code. Then to the two. You can use the char voicing for the two, I think I, different voices. Flat flat, F flat, that's the two. Then to this flat, then sharp flat, then to the five, That's flat, flat, B flat, then C sharp, and flat, then C sharp. Then you have B flat, then to the 179, that's flat, Flat, flat and flat. Okay? Okay. That's the whole thing. 23, then F543, then F76. Okay. Then flat 32, flat 32, then flat 65, then F21. Okay. So then you could play this. Could actually play this, could actually play B. And then you could play the flat to flat, flat, flat. Then in the next part, for the first 2 bars, I was doing that, Yeah, the 234. Okay. Then then in the next part, I started with that, instead of starting with the 234, now I started with flat, that's D, then C, E flat, C. Okay. So, I started with that, that's still an odd entered on my right hand. Okay. Instead of I started with then to the four. The other remains the same, flat 54, instead of the four, maybe you could use it then the seven, you could still use the seven, the F, then the B flat. Okay. The rest remains the same. Seven flaw flat 21. Okay? So you could even play that, that's the six. Down to the flat five flat D. Play the D together with the shop. Or if you wanted to play Truth Less, you don't have to play the D. You could actually start from A down to the sky. So you leave this for the best play. Okay. The rest remains the same. Okay. Could even do this. Okay. So that's 17655. Okay. So basically that's who exercise, I was just giving you this exercise so that you get familiar with placement of augmented codes. The whole thing goes like 234 flat 543 flat 76, the flat 32, flat 65, flat 21. That's for the first 2 bars. Then for the third and fourth bar starts the flat 54. Okay? Then the same probation flat five, then seven. Use the same augmented code, 73, flat 76. Okay? Like I said, you could even use this flat three, the flat then flat flat three, then 22. I've broken down the flat 6521. Okay. That's pretty, the whole exercise. It is just an exercise of mostly augmented code so that you learn the placement, the practice track is available after six months he sat on the two. Okay. That's it. That's it. For the augmented code section. That was just a small practice. Will break down another song for the next chapter. Okay. Maybe I'll give you another exercise, but for now that will be for this chapter. I'll see you in the next. 11. Chapter 10 Song Example 2 5 1 Exercise: Okay, so welcome to, this should be chapter nine or ten of, this should be chapter ten of our course on the key of flat. Now for this course, I just decided to give you some 251 exercises, okay, I'm starting slow. And then we begin to like double time. The code changes, begin to be a lot faster. So this one is just to train how to implement the code changes fast. Okay, I'll just go straight into what I played. I started with 1765, the 43 to 671. That's the progression. Okay. 17653. Okay. I'll just start with first, that's flat, B flat, then flat flat, That's flat at nine, that's one, B flat flat, B flat. I'm leading into the G from F, that's 76 flat. Then you have B flat flat, flat six. Then you have five like that, let me just keep it that way. You have flat and sharp, then you have flat, sharp and later that's 54 sharp and flat. Then you have and latish seven, really. That's just played five of the three that flat then I have B flat and then I played my two this way. I played it like A major, A, B flat, dominant seven, you have B flat, then you have A flat. D and flat. Yeah. Then I use the suspended codes for 676c sharp and flat. Then I have A flat. C sharp. Flat and flat. Yeah, that's the six. Then to the seven F, then B flat and B flat. Okay. That's the seven then. Okay. You start with this on the one, you start with flat, then B flat, C sharp, and flat. Start with that, then you resolve back to you. A flat flat. Then B flat flat and flat. That's flat at nine. Okay? Okay? You can even start with that. You can start with B flat, C sharp, flat and flat, so that the only thing you'll do is drop the C sharp to the C and drop the F to the flat, Okay? Okay. I think that sounds more complete than just, Okay. Okay. Basically that's the progression of the song. I'm only adding passing calls in between. That's why I call it a 254 exercise. Okay. It doesn't look like 254 for now. Yeah. 7654, then three, then 26. Okay. Yeah. That's what I did for the first I did it for two cycles. Yeah, for the first 2 bars. Now, for the next 2 bars, this is what I did. Okay. So one, then I did a I did a 36. Okay. So I went to the one instead of just going to the seven, then to the six. I used that three as a passing code. This is how it looks like. On maintain the one that's a flat, flat then flat flat, then I'll give you two voicings for the seven, that's the rootless one. You have B flat and D. Then you have AC, okay? B flat, D and C. That's for the rootless voicing. Then you have the, this one is done with the root now. I, F, and B flat, then DFC. Okay? You could either use this because anyway, the truck has a baseline. You don't have to play this. You could just play that DFC. Then on your left hand you have F and B flat. That's the 71. The seven. That's three, it's a rootless voicing as well. Okay? You could have that flat and B flat, then you have flat, Flat and C. Okay. You start with your 17366, looks like that. You have flat and then you have flat and flat. Okay. That's the rootless voicing. You have one, then the 736. Okay. Let me deal with those. Who would like to play the root one? We have already looked at 73, so it's just the E, B flat. Then you have the flat flat and B flat. Yeah. Okay. Then you have the six that flat and flat. Then you have C flat, G and B flat. Okay. That's the 1736. For those who like to play the root, it will look like. Okay. For those who play rootless. Okay. So that's the only difference that some are playing us, some are not. Depends on whether you have a bass player or not. Okay. So that's the 1736, then I went to the 514 straight, so five. Okay. Let me give you different voicing. The other time I gave you this, you could still use that, but now let's use this. You have flat and sharp. Okay? Then you have a flat, flat, C sharp, and sharp. And I mean, you could even ignore this. You don't have to play that. You have flat splat sharp and five, then that's flat, flat, then you have sharp and flat. Okay, that's the one. Then one. Okay. Maybe if you'd like to plate rootless, you could have something like. Okay. You could have that, if you play Ruthless. You could have F sharp, then A flat flat, C sharp. And okay, the best player will play this note, see that voicing? Okay, that's a really nice voicing. Five, you could have that flat, then sharp and flat, okay? That's the one, the best player will play that. Okay? Five, then one, okay, for those who play with the root, okay? Then then to the four. I maintain the four. Maybe that C sharp and flat, then C and flat. Okay? So the 176, then the five, see that? 514. Okay. Then from there I went to the 362. Okay. So I use that, I just made five. I made my five major seven, so that I have an E flat major seven. So I have B flat, D flat and have C and G on your right hand. Okay. On your left hand. I mean, there that we are on your right hand. So you have a D flat and Okay. D flat and then you have And flat on your left hand. Okay. So so the three, then to the two that's flat and then flat D and F. Okay. Then I went to the six like in the first. Okay. So that's the second bar bar goes the third and the fourth bar. Yeah. So the first and second bar, it was just okay, so that's the first and second bar. The third bar. This is what I introduced now. 73651. Okay. Then the 62.6 you see now I'm introducing to 51 passing codes. That's for the third and fourth bars of the practice truck, which is available for the fifth and sixth bars. We are still making this a little bit faster. Okay. Still started with the one, then the seven, you could use the seven, or maybe, let me give you another voicing for the seven. You could have, you have F and B, then you could have B flat and C. Okay? But also like to voice it rootless. You could voice it this way. Okay? The G and B, then B flat, and Servicing. Let me give you a three voicing. Is that the B flat, then flat flat C and D flat 736. Okay? Or maybe you have flat and C on your left hand, then you have flat G and B flat on your right hand. Okay. 17362. I played 23 over the two. I have B flat flat, then I have E255, that flat sharp, then B flat sharp, and flat five. Then you could use that flat sharp. Then I have CF and flat. Okay. 514. Let me give you a new voice for the four. Sp flat and then flat flat 51. Then from there I went to the seven. Okay, I used F, then B flat and B flat. Okay, So that's the seven. You could use that voicing then to the three. Okay? So that's G, then B flat, D, and F. That's the three. Let me just play from the beginning so that we don't get lost. I started with one, then 36, then to five, then one, then four, then seven, then 36. Okay. Maybe you could use that. That's flat then sharp, sharp and okay, that's six. B flat flat. Then you have a flat and flat. So that's the two, the simple six like we did in the first section, seven, okay? One, this is how the fifth and sixth bar looks like. The 1736 to 51, then 736, then two, then 671. Okay. You see we are adding passing codes in between here. That's the third bar. The fifth and sixth bar. Yeah, I was doing 2 bars for each section. Yeah. 1.2 simple. 3.4 we added a few passing codes. 5.6 we've added others now. 7.8 we'll still add others. So this is how 7.8 look like. I started seeing seven. We're supposed to go to the seven, but I passed through the flat. Five D, F sharp. Then I have C and B flat. Okay, that's the 515, then seven, you could use this voicing, still remember this voicing, FB flat then. And then let me give you another voicing for the three. Looks like three B flat. Then you have C sharp sharp and flat 73. That's flat, flat. The, and B flat. Okay. Then that's the other voicing for the two B flat and flat. Then I have D and B flat. Okay? And I'm leading into the D from the C. Okay? So it's one flat. 573. Okay. The 62. Okay. Five, you could use such a voicing. You have flat, sharp, flat, B flat, and C sharp. Okay? Flat, sharp, flat, flat. And up on your left hand, then you have sharp B flat and C sharp on your right hand. Okay? Then what you will do on your right hand is just drop these two. Drop the B flat to the, drop the C sharp to the C, then you win with that code. Okay? Then you could use such a voicing, you have sharp, flat, flat, and C, that's a root less, that's a one. Okay? If you like to play with the root 51, you could still use that. Okay. That's the flat. Flat and Okay. If you'd like to play root less, just introduce the sharp. Okay. The 51. Okay, then the four. Let me give you another voicing I like to use for the foil. Looks like that. You have a sharp flat then. Flat, flat and Okay. Yeah. That's the four voicing. Let's recap. So you have one then. 573. Okay. Then 62. Okay. Five, then you have one. You could even have that on your left hand flat. Yeah. Okay. Then four. Okay. From the four, we go to the seven. Again, that's GF, the B flat. B flat. Okay. Then you have the three. That's then you have D and B flat on six. Okay. You have flat flat, then you have flat. G and B flat. Okay. Okay. Then that's the two B flat, flat, flat. Okay. Then I did something like, okay, start with that F, F, then flat, then B flat, then I have flat and B flat flat, then C sharp flat and flat, then to the seven, B flat flat and B flat, Then finish the one like we've always done, okay? This is the first section. Here is how 7.8 bars look like. So 573624, then seven, okay? Then three, okay? 36, then two, so 15736254, then 7362, then then, okay. Yeah, this one, okay. Pretty much. That's the whole exercise. You really have to take your time, especially to master those code changes. For the first section, it's easy. So I'll just play each section once. Okay, In the practice truck, each section is played twice. The first section, you play that twice in the truck. Okay. This is the third and fourth section are the side looks like then 514, then 36267. Okay, so you play that in the third and fourth section. Then the fifth and sixth section looks like 17 362-514-7362, then 671. Okay. That's fifth and sixth section. Then section 7.8 this is what you play. So start with that flat five. So F57. 3, 6, 2, 5, 1, 4, 7, 3, 6, 2, 1, 7, 6, 7, 1. Okay. So pretty much that's the whole exercise. Yeah. You can practice those changes. May have introduced, no, I don't think I really introduced anything that is so new from what we've learned. This one was just an exercise to help you master 251. You really have to master them. It's not just about mastering them, it's learning how to put them into context as well. That when you're given a song, maybe you're given a song song, amazing T we did. You could do 736, then the two, you see that. Then the five, then 36 to five. Then you see that you could still do that six to five, then one, then four. Then you could do the 5766 to five. You could insert all these changes, even a song like you are, okay. So no you could introduce these changes to any particular song. You really want to learn how to put them into context. So that's just it for this chapter. No problem. I'll see you in the next chapter. The next chapter will be the last one. Yeah, I'll break down probably a song. That's the last chapter. 12. Chapter 11 Song Example Lamb Of God: Okay, so welcome to the last chapter of C on the Q, F. Now for this, I decided to break the song, Lamb of God by N featuring Benjamin. It's a simple song, If you listen to the first version, it started from A sharp, went to F, and then finally I decided to break it down on the key of a flat. Yeah, the version featuring Nazi Benjamin. There is another version, but I won't be breaking down that version. Breaking down the first version, simple, basically started on the one. Okay, That's a flat flat, then flat, flat, flat, flat, flat nine. That's the one, then this is my melody. That's a 67. Then to the two. That's B flat flat, then C sharp flat. Okay. Then to the three. Okay. Then that's flat. Then I have B flat, flat and flat. Okay. Then to the six, that's flat. Then I have flat, flat and sharp, right? Then to the seven, B flat, then B flat flat. Okay. Then I went back to the one. Okay. I showed you this in the previous section. Okay. You can do that. Just bring it sound a little bit better. Yeah, I just show it again. Flat then B flat. C flat flat, then drop the C sharp to the C, then drop the F to the flat. Okay? So first, okay, then to the two. Again, the same two code. Then to the same three cord. Okay? Then 123, then 671, then two again, the same code, then three. My Melody's flat flat, that's one to the two. Then this code, that's the seven. And B flat, then DC, that's what I call the major seven. Maybe you could play rootless. That's B flat, D. Then FC. The best player, you'll give you this. Okay? Then to the three flat. Flat, then flat and flat. That's the rootless. For those who want to keep the root, just play B flat, then flat. Flat and flat. Okay? If you don't want to keep the root, or if you want to keep the root, that's the 736. That's flat, flat, and then flat, and B flat. Okay? That's the rootless voicing. If you want to play. The root doesn't move the flat up to the three flat and the six, okay? Then from the six went to the seven. I play that as my seven code F, then B flat, G, and B flat. Okay, Then I do some leg. Okay, so I start with this code, then C, E, G. Okay? Then I just move each tone up by a semi tone. I have flat sharp. Then I have B flat, C sharp, and flat. Okay, Then you just drop these two flat down to A and C sharp. Do you have that? Flat, Flat, sharp then and flat. Okay. Then that's the next code sharp. C and B flat, the movement, then then B flat, flat and flat. Okay? Okay? From the beginning, the same code. Then then to the seven, then, okay, Then to 362, okay? So that then B flat flat, then to the six, F, the sharp, sharp, Okay, flat, flat. Okay? So that's the melody. F, G to flat 671 on this code, flat, flat. B flat, the C sharp flat, then that's flat, flat, flat, flat, flat. And then you have the B flat flat. And then back to the one at nine, flat, flat, flat, flat, flat, flat, flat. Whole of the first part, looks like the 736, then to the seven, then this movement. Okay, forget that's another seven threes, if I give you, made me break that down. F, then B flat. C sharp, okay? Then C, B flat, then C sharp sharp, flat. Okay. So you could lead into the F sharp from the. You could do, then you see that. Okay. I have flat and flat on my left hand, then I have G and B flat on my right hand. So I'm leading into the G from the F. Okay. Okay, Then you could even play this for your five. You could play something like this or maybe, let's play lower then you. Flat and flat, okay? Play this, okay? I'm just giving you simple code changes. You could play to the song. Then instead of just going to the one direct to the five, you could do such a movement. The movement looks like 3456 on my left hand. Okay. So C sharp flat. And then you play this F and F sharp together. Okay? Okay. Then on your right hand, you have a flat, flat. Sharp and Okay. So that's a rootless five? Yeah. Then sharp, then sharp and flat, that's one. Okay. Then the C sharp, flat, then then something like this flat, C, E, B flat. Then flat, flat, flat. The movement then to the two flat. Then flat, flat to the two, to one, then to the C. I've told you that. Flat flat then, and B flat leading into the G from Dean and flat, then to B flat, then flat, then to the two. You could have this on your left hand, B flat flat and D. Or you could have A flat flat. And you could either use this or start with CF. Move the C up to the D. Okay. Then back to the, the C to B flat, that's the two. Then it sounds like that's flat, C sharp and Okay. Then here we start with the flat and to the five. B flat flat and six and flat. Okay. Then now you hold this C sharp and on your left hand. Okay? Then flat flat to the one which you're playing as a nine. So you have a flat flat, then flat, B flat flat flat. That's pretty simple. Those are some changes you could introduce to the song six, then you remember this, okay? Okay. So this is what I did for the first section I just played. I just did the 766 to seven to one the suspended flap. Flat, then G flat flat flat, and B flat to the one to six. That's what I did. Then I went to the second part, you could introduce this CE, then B, B flat, flat and flat. Okay. Then I didn't go to the 671, I just went to the four C sharp and flat. Then you have C flat and flat. Five flat, flat, flat, sharp, flat. Then to the one, to the two. Again, same code to the three. Then instead of just going to the seven, I use the passing code. I did something like that. A flat F sharp on my left hand. Okay. Then I played this call CF and Island. Okay. Okay. So that's just a passing code. So maybe you played that passing code. Seven. Okay. Show 36 to seven again, 51. Then I did the 36. Okay. This is how 62 looks like. A B flat flat then and D flat. Then I have a flat, and then my two. Okay. Then 51. Okay. Then for the third part, I did something like Okay, that movement 4321736. Okay. So the fo you have C sharp, and then okay, on the right then you have C, then you have B flat and D flat. Then you have B flat, then you have flat and C sharp. Then you have flat, then you have C, then you have the C, then you have C, then you have B flat and C sharp. Then that B flat. B, B flat flat. Okay? Okay? Then, and flat, okay. You could even add the C and E flat, okay? Okay? The 75. See, I'm giving you an option. Then the six, then to the seven, that B flat flat, then to the one. I'm playing it to the F sharp with the seven at nine flat, then sharp, flat, flat, sharp. The flat flat, then I have sharp and flat. Okay. You could do something like that. So then we could do something like, how does this look like? C sharp, sharp, B flat. The one flat flat then flat flat. C sharp on your left hand, then sharp flat shop on your right hand on flat, then that's flat, flat. Then D, the five that's flat then you'll drop that flat. Gcg flat flat. You have so many options. Okay, Particular six to seven to one. In the last section, I actually passed through the flat five before going to the N. I use this code and shot then E flat. Okay. Then that took me to the four, then I've been doing 36. Okay. Okay. So something like that. Then to the seven, To one, then flat five, then to the four, then three. That's pretty much also you can introduce as many changes as you want. You can make it your own, but the practice truck is available. You can practice your own thing. I check out what I did at the beginning because that is exactly how you're supposed to play the truck. I've just been breaking down segments and showing you a few co, changes that you can implement. You don't have to play it exactly the way I play it. With all these tools, you can always come up with your own thing. That will be it for the flat advanced course. That's not all you have to learn on the Q. A lot you have to learn, but in future courses, for now, make sure you check out all the sections. We practice, all those code changes. This course mainly about code changes. A practice, those code changes and progressions, the 251 and all that, are the little movements that the professionals use. Practice them very well. Yeah, hopefully you'll become a better player. That will be the end of this course. We'll see you in future courses. Yeah. 13. Conclusion: Thank you for watching this course. I hope you have gone through each chapter carefully. The last three chapters are examples. Now, I have one example for augmented codes. It's not really a song, it's a track for you to practice how to use these augmented codes. Then I have about two song examples. The lead sheets will be done here, I hope you are going to check them out, ensure you practice each example correctly, and ensure that you are taking your time and learning these things. Give me feedback in case of any challenges. Give me feedback. Tell me how you're making progress. Yeah, let's keep learning. Let's keep improving in the key of a flat.