Advanced C Major Piano Course

1. Introduction: Hi guys. My name is Fazili and I'm a musician and I have created a course for you. I am calling it the advanced C Major course. Now in this course you're going to learn all the embellishments, all the nuances, many of those things that you hear professionals play. So I have a chapter on code voicing embellishments. I have a chapter on advanced minor code usage. I have a chapter on advanced major code usage. I have even put a chapter there for combined movements. At the end of the course, you will have two chapters that are song examples. I will show you how to play the songs, then at the end of the course, you shall do them, follow me through the course and we shall learn a lot. 2. Chapter 1 Left And Right Hand Combinations In Key C s: For this particular course, we are going to be using the key of C. C is particularly a very familiar key with most of you guys. We are going to do some advanced movements, advanced voicing. See what some of these professionals use to embellish their playing. Yeah, to make them sound better. Basically we are going to be, in this first course, we are going to be looking at co, mostly how you use diminished codes, how you use augmented codes, all those kinds of codes to embellish playing. In future courses we'll do other things, but for now we'll start with code work. In this first chapter, we are going to be looking on voicing embellishments, like how do this professionals voice their codes? We'll start with this code that people like to use. That's pretty much a major code. That's a major code. Now as you can see, it looks very basic. Yeah, that is not what a professional would. This is very basic. I'll take you on a few steps. You can turn this voicing into something that looks professional. You don't have to be a professional to do this. This is Mage. Now the first step that these guys use is what we call extensions. Instead of just playing like this, you could play like this. Okay, that sounds a little bit more professional. Maybe for those who are intermediate, that's what they use. Let's say something of that sort that's pretty much still amagde, but now see that your right hand, your first starts on the G. You have, you have something like that is still okay. It's not bad to the voice cord like that. Now let's see what else they do. The other thing they can do is you have your major cord. Now, instead of playing it this way, this way, as we played it, you could decide to add a few notes to make it sound. To make it sound better, The first note you could add is your two. You hear the difference between this and this. Even if you don't want to extend, just play it this way. Six sounds good. You have CDN G, that pretty much makes it and add nine or something of that sort. You have and plate combine both hands. Your left and your right hand. You have something of the sort that we are still advancing. Sounds a little bit more professional but that's not the end yet. Then what else can you do to make your code sound better? That's we've added to make it and nine, we can also decide to make it a major seven code. If you make it a major seven code, this is how it will look like. You have your EG and B. That's how you major seven code will look like. Whichever inversion you decide to use, you could use, you could use this, you could use this, you could use this. Whichever inversion you decide to use. As long as it's a major seven code, if you decide to extend the major seven, maybe this is how it will look like. You'll have something like, as you can see, I just repeated the 0. It's the bottom and at the top of my voicing. Let's play it with our left hand. You see that? That sounds much better. You could even decide to add both the seven and the two. Let's say you add seven and the second. What you can do, you can just ignore the C on your right hand because you have it on your left hand. Let the left hand do that work for you. Ignore the C on your right hand. You'll have something like you have your 57, you have to, you have three. You have your, you basically have something of this sort, okay? That could also be a nice one code there. You could also add six, instead of just playing it this way way. You could add a sixth. You could see still the same thing. You can combine all these things. You could add even the six, the seven, and the two. You could add all of them. I'm going to use my thumb to play the 5.6 Then you have the seven, you have the 23, and you have the five. Then you have that code, C major 713. All those are good options you could use to make your playing sound better. It doesn't have to be so complicated. You could use, as we've said, this is the major one. They add nine. The major seven, the major seven, add nine. You could even add both of them, like we said. So you could play then you could have the sixth, seventh, and the second. You could have both of them have some events on you. Literally could have something like that. Every note on your scale except the four. Every, or if you don't want to really compact your voicing, just extend your voicing so you could have something of the sort that's the first trick this professionals use by adding some, instead of playing it all the time, you employ some of those techniques. The second technique is your left hand. Your left hand is very important. This is what most of us play, especially when you're playing alone. Now here we are, assuming you don't have a bass guitar for the moment you're playing alone, you have this. Then let's say you want to sound more like a professional. This is what they do. I have my CG and D. I'm using my thumb to play both these nodes, so it's like I'm having a C, a nine chord on my left hand. If I do this or a C suspended two, I like to call it the other way is instead of playing the one and the two, I could play the 2.3, maybe. Play it higher. The other way. I've just play the three. You have many options now. That is, when you are not playing with a bass guitarist, you could use this, could use this, could use this, whichever of those options you decide to use. Now if you are playing with a bass guitarist, you don't want to be playing this notes. You don't want to be clashing with your bass guitarist. So you don't want to be playing like this yet. You have a bass guitarist, these notes are not supposed to be heard, basically when you are playing with a bass guitarist. This is how maybe you would voice your Seq. If you, if you're playing with a bass guitarists, you could have your one something like this. You see, I started my voicing. I started from the three, then the five, then seven. I basically have a three D left hand. Then I would play a major seven. Right, I have something. Then my bass guitarist would have to play the one. As you hear, it sounds perfect without the both of you clashing. You could have that as your one code. You could even just play the 3.5 You could maybe compact your voicing. You could do that for all the other numbers in the scale. Let's say you want to two code. You could have something like, maybe you could have the two code on your right hand. So maybe if you want to ignore this note, you just play that. You have your fourth and your sixth. You have, and then you could add even that you could have on, on your left hand, maybe you could have a F on your right hand. So you have something okay for the three Cod. Same thing. So, instead of playing it this way, you could even play something of this sort or maybe something. So you have EG and C on your left hand, then you have EG, CE. It's basically the same notes. So maybe that maybe that basically repeating the same notes regardless of where you start from. I could play a major code on my left hand and another major code on my right hand, but this time extended. On my right hand, you have C, E, and G. Let's go to the 44. You could even have such a voicing four. Then what I do on my left hand, I just major seven code ACE. Then you could have even a one code on your right hand. So you basically have or maybe a straight, you could have a Ford your right hand. Then to the five, you could have something You have C, D, then you have D. Okay, you could even be more inventive. Let's say you start with this, then drop this C to the B. Then drop this on your right hand to the drop and drop the A to the G. That still makes another five code, it's just a dominant seven code. Then you have your six, you could basically have a six code on your right hand, that's a six minor code. You could even add these two to make it sound better. Then you could have a one code on your right hand, you don't even have to play the six. You could just play the 1.31 Then to the last one, which is my send. You could go a bit lower for this. You could do something of that sort. You have B and A on your left hand. Then on your right hand, you just have a five code. That's a major code. Or if you don't want to play it low, play high. Same thing, okay. Then to the, like you say you could play a major seven, could play as a nine, you could play a major 79. It doesn't matter whichever kind voicing you really want to use. Those are the tricks to sounding when you are alone. Without a bass guitarist, you're allowed to play these low, have you two, Or maybe depending on those who can extend. If you can't, just keep it simple, then you are three, then you have four, all that. Then you have five. Basically you can see the one, the 4.5 have the same shape because they major codes, the one, the 4.5 Then you have your six or that, that actually sounds much better than this. Then you have that. It's actually the same, but voicing it differently. Then back to the one when you don't have a bass guitarist. Try to keep it ruthless. Eliminate the basins. You don't have to play them all the time. Could have you one? You are two, you are three. You are four, you are 56. Could have something of that sort. Then you are seven and back to one. There are many tricks. The professionals use for voicing the codes. The last trick you could voice, and I will base this on the left hand, is just play the codes themselves and we want to keep it seven major seven minus seven. You see that the three Cod, the 4567 and the one, that's the last trick you could use to voice your left hand notes. So instead of just playing this player code, one, you are two, you are three, you are four, you are five, you are six, you are 7.1 Whichever code you play on your right hand, as long as your left hand is well covered, that's the thing. Your left hand should be well covered. Try to base more of your voicing on the left hand such that you can even play a whole song on your left hand without necessarily playing any right hand cords That allows your right hand to be free, assuming I play something like this. Then to the two to three, you see that allows my right hand to be very free. Then the five, then to the six, you see to the seven. Let me back to the that can allow me to play some of the leaks and nuances that you hear the professionals use. Basically, for the right hand, fill up your voicing for the left hand when you're playing alone without a bass guitarist, make sure you spread your left hand. V, spread them as much as possible. When you're playing with a bass guitarist, try to keep it ruthless. That's what I'm trying to say. Try to keep it rootless. If you can't, then play high, don't play low. I would prefer that to this. Okay, so if you are playing with a bass guitarist, keep it high. Don't play, you can't keep playing that if you have a bass guitarist. So try to keep it high. You see I'm keeping it high so that the bass guitarist can play the low notes. That's it. On embellishing your voicing, your left hand, your right hand. Most of us like to play low, especially when it comes to the key of C. If it was a key like this is high, you wouldn't really be clashing with the bass guitarist, but the key of C is low. Try to use those tricks and new voicings that have taught you. We'll be using most of this in the next part of this course. That's it for this lesson, Make sure you practice. I'll see you in the next one. 3. Chapter 2 Major Chord Movements And Usage In Key C: We are going to be dwelling on major code movements or how to apply these major codes. Now, like a major code simple, right? Now, basically now what we're going to be doing is how to apply these major codes in different contexts. On the key of like for example, this is a made, we are used to this, right? This is what we are really used to. Now, I'm using the voicing I taught you in the first part, so make sure you practice that part very well. That's the key of now's my mag. That's a context I'm really used to. I'm so used to using it is in many contexts. If I wanted my one code, that's exactly what I would play. But now I could ask myself a question. What other major codes would I play in the context of KC major codes would I play in the context of C? Assuming this is my, that's my normal one. I have a major code on my right. What if I decided to something five code on my right? What my five code be? So we have the major scale, You have 134. For those who don't know the fingering that it 12345. Now this five becomes my major code. Assuming I'm playing a one code on my left hand, I could play a five major code on my right hand, which would make it sound like this. So I would have a G code on my right, a code on my left. Let's see how it will sound. Here I have, but let's say I decide to invert it, or maybe still invert it again, you hear that sound? I have a G major my right hand, and a C major code on my left hand. If you are playing without a bass guitars, then you could do something like then we could still have the five code on your right hand, you, you could even play that or extend it to the other G. So I think that sounds better. You have a major code on your right hand which sound a bit more fancy just playing this. You can play this in the, you've heard of these movements in the still the code. Basically those movements you hear, those professionals, it is just an inversion of the fifth code, let's say. Okay, so basically that movement here is basically a 15. That's the first movement we can use. Let's say you want to use. Second major code. As far as the key of C is concerned, I'm going to take you to a weird code, which you probably don't use, the D major code. Let's go to the two. That's a D minor code, two, let's make it major. That's a major code. Now, how do you use a D major code over the? You ask me how. Let me show you how maybe you are playing the song Amazing Chris. So now I will get to that part. So, so maybe most people would go to the too. So that one. So that's the part I want to change and use the D over. See, so you see what I did there. So let me play it high. So you have here too then this chord. So, so no then, no, that's part. No. So that's the part I want to have to show you. Now, you use a D major code of the C major code, apparently, if you want to go to the seven or maybe to the five, depends on how you think about music, how you approach your own music. Basically, I want to go to the five instead of me just playing the two code all the time. That's my two code. I'll teach you this voicing on later part called dominant seven voicing. But basically I'm playing a dominant seven code on my left hand, A D, dominant seven D and C. And I'm playing a six cord on my right hand. You have and I have that, that always leads me to the five. You see? That always leads me to the five. Instead of me always playing the two cord on my left hand, I could switch things up and play the major two code on my right hand and play the one base line on my left. So instead of instead of that, I'll do so then to the to play my Major to D. Okay, so you could have something. If you listen to the sound of that code properly, it's like I'm borrowing from the key of. It's like I want to move from the four to the three on the key of, but now I'm using it on the key of, this is it. You see my left hand voicing. I'm playing a minor six. I have something sharp. And on my left hand then I have a D major code on my right hand, basically I have a major code over the C. That's what I'm trying to teach you, how to use the major code over the. You have that, then I prefer to go to the seven rather than the five. Then I taught this voicing, you have B, G, and then you have a D. You have that. That's a major to the other codes you can use. But let's stick to that for now because the other ones would require combinations and all that. And we'll work that in a later part on this movie. Not a movie, it's a cost. Anyway, let's say the, let's go to the Ford. I got this voicing in the first part, so make sure you practice things very well. That's basically an F major code extended. I have a C on the bottom, On the top. Now, I don't always have to use the, the code. Let's say we make it a one code. Okay, let's see how it will sound. Maintain your left hand voicing. Let's play a one code. Let's play a C code on our right hand in. You see that sounds much better. Okay, so you could use that to sound better. That's why I'm calling this part major movements and usage because now find other uses for your major codes rather than always playing the 44. Play with the one. Okay, I'll deal with others in minor code movements, but I hope you can really see where this is headed to. Let's say you are two, you are two. That's basically basic two code code. Now this is what you want to do. You want to make this two codes sound better, right? What would you do? Let's say we play a focde on our right hand, so you have something and a focode, extend it. You see that? Sounds much better. See that let's say three code, instead of using it as a normal three code, that's what you've been playing. Try to at least get out of your comfort. Let's say you have your three. Let's say we play one code on our right hand. Let's see how it sounds. See, I'm actually playing the same thing on my left hand. Or maybe you could now play this. See that? Or the voicing, I thought in the first GCN D. Then you have major code. Or the extended one sounds much better, doesn't it? Yeah, for the seven, let's say. Let's go to the six first. For the five, just use it with a five code or a one code. If you're playing maybe a song like you Alpha. Now this is what I'm talking about now. That is where you can use a C code on your right, five code on your left. Basically, they are just those two situations as far as major codes are concerned. The other major code you can use with your five is a four. Instead of you playing this all the time, maybe you're playing, that's how you used to play. Change that, let's say employee. What I've taught you on the one play a five card on your right, you have that. Then on the one card on your right is just a basic one codo. Then on your five play a focus on your right hand. So as you can see, I'm trying to reduce this voicing on my left hand such that I don't play it like this. I play like this. Okay? And then set off, make it sound like this. Then to your one. You see now to my four, to one, to my five. I'm, I'm combining this major code on the one base line. I'm playing a five major code. On my right on the baseline, I'm playing something like one. I'm playing a one code. On my right on the five base line, I'm playing a four. It's actually the one, the 5.4 we are just switching them up. You see, play the one with the five. The one with the five. Play the four with the one, Play the five with the four. What you are basically doing is switching these things up and making them sound a little bit more fancy. That's just for the seven. Now, did you even cover the six? For the six, just one code. On your right hand on code, there is a way you can use a major two code with the six, but let's cover that later because it involves something like a dominant seven code. We'll cover that. There is also the seven code. The seven code, you can use it with the five. I think we dealt with this in the first part. You have you have your seven. Take note of this voicing practice. Those voicings, I thought in the first part you have your B G and then you have your major code on your right hand. Okay. There is also another voicing for this seven. Maybe you wanted to go to the 7361 way. There are two actually ways you could use that. You could play it with a major two code. Play the seven. Now you'll have to voice it this way. You have your B, you have your sharp, and your A. Then you have your D major code. Or maybe that seven to three. I'm basically playing a one chord on my right hand here, I'm using this voices G sharp and then to the six. I even actually forgot to talk, that you could play a five over the six. You see there are so many options. A five over the six, you have my 73. That then to my six or the other option. Instead of using a major two code, use a major six code. Okay? You could have something like this. You see now this is a major code. I'm extending it. Then I have my seven, the voicing is still the same, it's going to remain like this, sharp A. Then to the three. The same three and the same six. You have the 73, then the 65 of other six. Those are basically major codes being applied at different points on the piano. I am not saying those are the only ones, There are so many, We even cover them in our subsequent courses, but I want you to take note of those. You don't have to play a C over the C all the time. You don't have to play a G over the G all the time and the F all the time. Try to switch them up, switch up these voicings, use different major codes for different baselines. That's why I'm calling the major codes. I'm actually just calling it major codes so that you can find different uses for different major codes on your piano. There is a lot that I'll even do another course called combinations so that you can see where these different combinations apply. For now, I want you to take note of those. Use these major codes for different parts. That's it for this part. I'll see you in the next one. 4. Chapter 3 Minor Chord Movements In Key C s: We looked at major codes in the previous lesson. For this, we're going to be looking at minor codes. Now, for those who have absolutely no idea what a minor code is, we'll start from the basics. So this is a major code. It comprises of the 13.5 on the major scale, 51.5 If you want to make it minor, what do you do? You just flat the three. That becomes a in you have a major Mina. Now you ask, okay, how do I use that in my play? How do you even use a maina? Is basically you ask, how do I use a minor road in the QOC? Maybe you've never seen anything of this sort. So let me show you how you use it now. There is this particular movement that people like to use. We call it a flat six, flat 71. So flat six flat, flat major code to the B flat major code to the C. So you ask me, okay, so how do I even apply now this C minor code to that movement? So let's check how you can apply it. So instead of you playing this all the time, instead of people just play this, make it no. Instead of people just play this flat code, Sometimes they use this, that's what you're hearing, then you could use this as a passing code. That's exactly what I'm playing. Flat, flat, flat. It's basically the same three codes. You have flat, you can play it as much as you want. So instead of you playing that all the time, check out this. You see where I C minor. So instead of me playing this, I played the C minor code. You could extend it. Okay. I can even cross my fingers. So you have that on your left hand, basically a perfect fifth, flat, perfect fifth. Then that's a minor code extended. You have G on the top and at the bottom. Okay. You could, if you apply this voicing that we used in the first part, you could apply it on the key of a flat, so make it sound something like that. Then you have, you see that? That sounds much better than. Okay. So now let's make this more interesting. Now, after this, where do we go now? This is a flat. We are supposed to go to B flat. See you substituted. So we have something then to be flat. Let's play it one last time. You could still keep where you are playing before, but just change this. We've changed this. Now let's get more interesting. Why shouldn't we change the beef flat to the flat? Let's change the beef law instead of the M. Now we'll have the min, which apparently is two maybe. You've never thought of such a use for your two that's on your right hand. Do the same thing for your B flat. Just move to the D minor. Do this was your first to your second. You could even add this to make it sound better. Sounds a little bit very fancy. A very fancy. Your first A minor over the light. That's your left hand. Your right hand. Your left hand for the second then, okay, you have a here that sounds very good. Then to the last, which is now you could basically do the same. So just play the mind, You have this. Just play the mind. No one is stopping you from doing that, Basically just play like this. You see what my left hand is doing? See GCD? Then my right hand, it's like I'm crossing hands B and B. Instead of playing this, let's play for those who are intermediate. So let's switch it up. Let's play our own thing. So fast code second. Okay, so I just changed the positioning of my fingers so that if you don't want to cross your fingers, you could have C, B and C. Then you could have G and B. So your first code, your second code is something of the sort. And then your last code. Instead of playing this, use the minor codes on your right hand. Minor on your right hand, to D minor on your right hand again, then to minor. Okay, so that's pretty much the substitution for that. You see how you could use minor movements to embellish your play. Now let me take you to another code that you probably don't use a lot. You have minus 23 as a minor, as a minor. Let's say you seven, which is B as a minor. Let me show you another minor code that you don't like to use. Let's go to the B minor code. That's your seven. Normally, on your major scale, your seven is supposed to be a diminished year. You have major, then diminished, then back to your major one. Normally, this one is a diminished code. But now I want us to make it minor and see where we can use it. Okay? We made the B a minor code instead of the diminished the number one. So let's make it minor now. We made it, or I want us to use this in version, just bring this sharp to this side so that we have something like. Now you might ask me, okay, where do I use that? In the QOC? Yeah, where do you even use it? Because it doesn't seem to have any application on the QC. Let me surprise you. Let's go to the song we use earlier. So, Amazing Grace, see that card? That's the one I'm talking about. So at the end of this course, I'll teach you how to play this whole song. So you don't worry, I just want to stress on this part. So this is the code. I think you just had me use it right before I go to the five. Instead of me using this kind of codes every time or this kind of, I could use this minus seven code. It's actually a minus seven, it's a B minus. You will hear most musicians do that. Let me break the movement down. You start with your one on your right, you're probably not playing anything on your left hand. You start with that GCE, then leading to this minor on your right hand. Seven D, dominant seventh sharp. And so this one will lead you to the six code, which is always a minor. Okay. Then to the 55 I taught you, check out the first part correctly. I taught you this kind of five. You say that's this code. Maybe you've never even thought it has a. That's the use. It's like a major two that takes you to the five, okay? Even simple songs like you are okay? Okay, so that's a code I want you to get. So basically I think that, that's not a bad code. Let's stick to the same, this one. Where else can you use it now? I want you to use it with the three code on your left hand. Let's say you do this, then you'll hear, I just want to take note of that. Three, do you hear that? So this is a movement. I'm using the code again. Starting from the one, just like in the previous, a demonstration one, then to the seven here. Now not going to use it. Two code you are going to use it. To the three code use you have and D. Okay, so that's the code you have, then you have that, then that's a five over the six basically. So then six code, then to the five code, Six code, then to the four code with a two on your left hand. Okay, so this is what I taught you. Playing the four with your five code, then move it to the seven code, 75 code. You hear that movement? I'll create a track for this at the end, 33 to six, then to the two. Let repeat the movement on last step, slower. So that's the use of, and if you notice, I used a minor movement somewhere. So you see then started from the six then if you noticed. I also played the six over the five, basically, that's the movement. Okay. Instead of you even starting like this, instead of you doing this all the time, that's what I've been showing you. You could even lead into it from the previous minor. So this is a minor, we could lead into it from the B flat minor. Looks something like this. This in version, what will you be doing instead of you doing this? You could be doing something like, you see that flat min to the B minus. Then now, what did I do there? What did I do there? I just started now from the min. I started from the minor to the B flat minor to the B minor. See just leading into it. These are what we call minor movements you could do. Let's slid into it. From the B flat minor. Just the B flat minor. Okay, let's lead into it. Now if we are coming backwards, we have done this, let's lead into it. Let's say now this is minus. We could lead into it from the C sharp min. You have the Hmm, then you have the min. You could lead into it from that. Let's see how it sounds. In, in I'm just giving you different tricks. You see? So that okay, let's lead it directly from the mina now. Instead of we could even do that, just that's enough. So then, then, okay, there are so many minor movements, this coming back, you could start anywhere. Let me give you an example. You could even start from the mind, you could have that movement. Let's see how you could use it. This is what I did there. I started from the flax minor to the minor, to the B. Flax minor to the B minus. Let's see. Quite simple, isn't it? The other minus I would like you to learn. You could use the three minor with the five. Have you had people do something? You see that movement? So you start from the four to the three minor minor code, to the two minor, then to the one. So instead of that you could do, okay, so that's pretty much another movement you could use for the five code. So those are just basic minor movements you've seen. How we lead into different minuss, minus seven to the minus six, from the minus three to the minus two. Those are basically simple minor movements that you could apply. You could use them to embellish your playing. Make sure you practice. These things are just fine. There are so many other minor movements you can use, but decided to give you some which sometimes I don't use them, but you could use them to embellish your playing. That's it for this part. I'll see you in the next one. 5. Chapter 4 Quartal Chords s: Now in this one, let's just look at codes. Now, let's see how you can apply quota codes on the key of C. Now there are some of you have absolutely no idea what a quota code is. Now basically, let me explain this in a simple way. Let's start from the major code. This is a major code, okay? This is a major code. Now, if that's the C major code, we have something like suspended two code. Now how do we form a suspended two code from this? You just drop this third to the second. So you have something. Okay, so you have a as two code. If maybe you, you wanted to do some other thing, instead of making it as to go back to the major, we could also make it as four, which means we sharpen the third to the fourth, so we'll have something like see that now that becomes a CS four or an S two, but that really doesn't matter. This is a CS two, S four. Okay. The main reason I did those suspended codes was to form a basis for what we call quotes. Now, codes are basically in versions of suspended codes. Okay? So assuming I play this suspended code on my right hand, then instead of playing this C here, let me play it. Yeah, so you see that, that now becomes a T code. You see instead of playing it, this play becomes a to code. Now, how does a to code apply in the KFC? Let me show you another way you can form a code. Ways in which you can form a court code. Number one, you either in a suspended code, okay, So suspended two or suspended four code, so this a suspended two here, here it's inversion, here, it's inversion. So then the suspended four, let's invert it becomes a T code. Okay? So you have, okay, that's basically a quad. How you form a cord, you just invert a suspended two, suspended four card. The second you can form Tdt counting. Okay. Let's take the C major scale, 134567. Okay. Let's take our starting point is, is your first we're going to play and, okay, you have C major scale, one to 34, which is the next that we need to form A. Now we will go to the major scale. Okay, the F major scale looks something like 461234. We'll take the fourth of 1234, that becomes an shop or a B flat. Actually it's a B flat. 14. You have, you have, then you have B flat. Okay. So let's now get to the use, basically, that's our form, a quota code. Let's say you want to form another quota code starting from the key of, let's say you find out the major scale. What's the major scale of one to 345-67-1234 A and D. Then go to the D major scale, 123-456-1234 Anyway, so that's your Acord. That's just how we form a quad. So where do you use the quota cards? Let's start with this one, the C quod. Okay? So where do you use? Let me show you something. So one to two to the two to 34, see such a movement on the number one? Basically a one can see that too. Now, on my left hand I have D and A D and B flat. Then my, on my right hand I have F and B flat on my left hand. Then on my right hand I have this qu, that becomes my two. What do I do when I go to the three? Just move each of these nodes by a hole tone. Just move it up by two steps. This is what you'll have. 23c, then you have GC, then to the four. So basically that's what you have. So you have your one, okay? So one to two to three to 4234. And as you can see, I'm using the voicing Ites in pattern and then I'm playing a six coat on my right. And then I'm leading into each, like last time to two. So that's pretty much it for those two to cards. Now that's the to code. I don't think you're going to use it anywhere else apart from this. Let's go to this, this one. We've even used it. We've used it here. Two to three, we've already used it. That's okay. That's one use. You can play to the three cord, the three to four. Now let's say we can't find another use of this code, Okay? Now there's a certain movement, assuming I want to go to the four, assuming I want to go to the four which is my, I could play that four with this. Same with this D D, you see? All right, is there so one that's 24, my right hand code, DGC, that's a D code. It doesn't have to be 1234. I'm just using that progression for an example. It doesn't have to be. It doesn't have to be that. Okay. Uh, you can even 62514 like most people like to do. You have your six to basically the 6254, and you start with the one code on your right hand. Drop it, okay. Then go to your flat seven code, which is a B flat major code. Then drop the F to the. Then go to the four code, this 6251 to your four. It doesn't have to be 1234, it doesn't have to be 234. You could use that six to 254. See what I did. Then you have your 64. That's basically something simple you can use. Now let's see where else you can apply this quota code. That's the three you can use it for there. You can use it for the four. You can even use it for the six. Now if you use it for the six cord, you make it a complete. It's just a but with four, now this one has three. If you add six, it still remains as a code. But now with more notes, you have 625.1 on the six. Maybe you are doing a 736 movement like the one I taught you, where you play the seven with a major two in the previous section. So check that out very well. Then to the three, then to the six. Instead of just playing the six with the five code all the time, you could play this, okay? You could play it with that code. That code GC. Gc. So the major 61 I taught you what I did there. What I did there, I just started with the D from the Td AD, then back to GC. So the seven, the one I taught you earlier to the three, then see that basically that's it. Let's go back to this set. Another issue, another way you could use it is you see this 51 progression, like the one I taught you, six, true? I just said you drop your first. Then that instead of playing this all the time, especially this 51, you could use squads. You have your six, you have your six. Instead of the two, we play the flat 66. Don't make this complicated, not by a semitones. Here, comes here, comes here, and drop every tone by Am that will substitute two. That's what you would have played. 62, if you play like that. Sounds funny. You will tell the basis to the flat six. Then you have your five. Your five, then to your one, then to your four. Use the same to codes to, let's review that movement. You have your 665. Let's use another code for the, You see that you have G and B flat. Then you have the quota. And D, you have that 665. Then to the four. Instead of doing this all the time, 62514. Instead of doing that all the time, what you can use this move. Okay, so 665124. Take note of this one code. You have G and B flat. Then you have an E quota code on your right hand and D, you see that quota Cod movement. Now, the other way you can use quarter cords is by leading into them. Okay? Maybe I want to go to the three, like I said, you use the three with quarter cords. So you have DG and that's how basically you use them. Like I told you on the sixth card way you do this, you could do that for the three cards, You'll hear people play, or maybe this is just a good perfect code. Let's do that again. So you have your one. Let's say you want to go to the 73 with AD, AD, then with DG, then to the one that sounds is just this code that I have cut. Instead of playing this D note, I assumed it I did something like. But now if you want it to sound better, you use a grace. You're leading into this A from the you hear that you could play it as a maybe cut it. So then the same cord for the four. You could do so many things. Let's use the six. We used the five, you see I just cut the Td, I even used that. That's another DG, F, and C On your left hand, see that basically make something simple out of every They are very simple, you could lead into them from the right or from the left, doesn't matter. So, let's say you wanted to play the This quote I showed you a few minutes earlier, G B flat. Then you have AD, this one always leads you to the 41 to four instead of you. You could do okay. If you want to lead into it, you could just drop each of the by a semitone. Will come here. This will come here. You start from there, you see that? Then if you don't want to do that whole movement, you could just keep your code as it is, but then slide into it. From this, slide into the, from the flat. It's like doing some. You see and take note that these three notes land at the same time. So don't do something like, okay, so these three notes land at the same time. So let's see how it sounds. You see, or the way I showed you earlier. Okay, so this, they're just so nice. Let's see another movement where you can apply water codes. Okay, let's say you want to go to the flat 05:00 A.M. A saved. See that? The saved A, right, like me, A and D. Then you have quote the five, that code. You live and hear such movements. Then there's a diminished code on my right hand. D, diminished, G sharp, and D is basically an inversion, this code. Okay? So you see those to codes are, they're just simple things. Let's say you want to play a seven code, like a five, a normal five, then that cord. So you have GCF and so you have B, then you have DG to press. To press. Okay. So basically you have such quota codes. Basically the theory for quot codes is this. Assuming your quota code starts from C, you play to the base line that's at, on higher, okay? Assuming now that your quota code starts from your base line is D. So you see that you don't use it for all numbers on the major scale, okay? You can use it for the two, you can use it for the three. You see for the three, the tad starts from two, okay? You can use it for the four. For the four breaks the rule a bit for the four, the code still starts from the two doesn't start from the three. Take note of that. You could even use a six code. Four for four baseline, you could use A starts from A whichever suits you. Then for the flat five, same thing you see this is F sharp, but the To code starts from the To code starts from the base line is A. Hi, this one is your flat six, you see it's a sharp. The Ta code starts from sharp B and E. Maybe you wanted to do a 736 instead of doing the three, you see that 13, that's a flat six Cod Substituting the three, then then to this diminished then to the six to six. You see the Coto code starts from five, then to seven, starts from six, then to the. This rule doesn't apply to all points on the scale. Like you see for the one, if you wanted really a protocol to use. For the one, you would use one that starts from the seven, not even the 76. Can you imagine the 662.5 G on your left? You could just play it like that. Then you one, if you have a bass guitar player, some others lead into it from there. Remember the rule doesn't apply everywhere. It doesn't apply everywhere, It just applies in some little points of the scale for the others, as I have shown, you do the flat five, for the four, for the one, show for the one, for the six, for the seven, But the rule doesn't apply at all points on the scale. You take note of that rule, but make sure remember that it doesn't apply to all points in the scale. Just use the points I've shown you. Okay. For the rest. They're just the normal to codes, okay? Yeah, that's it for this lesson. For the lesson. I'll see you in the next one. 6. Chapter 5 Diminished Chords s: Now this one is going to be about diminished codes, diminished seventh codes, if they are diminished, any other type of diminished code. But basically, we're going to dwell on diminished and diminished seventh codes. How you can use these kinds of codes to embellish a playing in the key of C. Let's start from the very basic thing. This is a major code. We said earlier, if you wanted to make it minor, you drop the third if you want. Now to make this diminished, you just drop the fifth. This one becomes a diminished code. Okay? In the key of C. You can use so many other diminished codes which are not necessarily. Let's do a run through of all the diminished codes you have. You have the sharp, we're just moving each tone up by a semitone, the flat or D sharp. Sharp. Sharp. B flat and back to the C are those are the 12 diminished codes you have on the keyboard. Now, each one of these can be used when you're playing in the key of C. Let's start with the first one. Where do you use this? Basically you use it with its constituents, like let's say this one has D and F sharp. Basically you're going to use your base line. Could either be a shop or an F sharp, or an let's say you want to do something of that sort. We have one, maybe want to go to the two, then to the flat three to three. That's where you can use that diminished code to make our work easier. We'll now turn these diminished codes into diminished seventh codes. Once you have this diminished just at the sixth and get the diminished seventh, you have your C diminished seventh card. Hypothetically speaking, there are three diminished seventh cards we have on the keyboard the diminished seventh, the C diminished seventh, and the D diminished seventh. I say that because all these others are just the same thing. If you invert diminished seven, you will get an flat diminished seventh. If you invert the same thing, you get an Sp diminished seventh. Invert the same thing again, you get a diminished seventh. Basically, the C diminished seventh covers four key C flat sharp. And a same to C sharp sharp now covers C sharp. And. A sharp, then the D covers D, D sharp. And basically you have three types of diminished seventh cards on the keyboard. Now, instead of us doing what we are doing, make it diminished seventh. Okay, for those who are mostly used to playing the 151 kind of voicing on your left hand, That voicing will not really help you in terms of as far as diminished seventh chords are concerned. Because assuming maybe you wanted to play that movement, assuming you wanted to do that, assuming you wanted to do that. Now assuming I was playing the 151 formula, this is how it would look like, this is how it would sound. You see there is a particular note that we don't need in that voicing. We don't need this one, you don't need that. It sounds a little bit sloppy. For those of you who are used to playing the 151 formula on your left hand, it's time you start exploring other kinds of voicing. Like I thought in the first part, this voicing will not really help you, this one. As far as diminished seventh voicings are concerned, this is what you could play on your left hand. Turn to the two, then the three say that you could play even a diminished chord, D sharp sharp. And then on your right hand you could have the C, D sharp sharp. And that's as far as the diminished seventh code is concerned, You don't have to play it from there. You can even play it from somewhere here. You can invert it. Any of those four will work that inversion. Or one, or one. That there we would talk of the flat five which is the most common, like the song we use, see that movement. So let's even focus on that part. So basically the part I'm focusing on is this, that code that one shop diminished seventh, which is the same as the diminished seventh. Basically C diminished seventh. Other instances you can use it, but the most common ones are there, and the flat five. There is a way you can decide to embellish the diminished seventh code. You could turn it into another code. Assuming we have this diminished seventh, what you could do, you could sharpen the sixth and make it a seven. Basically, you have a code that sounds like this. That's how the code sounds. Okay, say it sounds something of this, how you would use it. Basically, you start from this code, then back to the diminished seventh code, then to the three for the F 3.5 the code is just the same. That's the diminished seventh code. Let's go to the next one, which is diminished seventh. When I talk of D, I'm talking of D and B, it's the same thing. Where do you use this in the key of C. You could ask, where do I use that in the key of C? Let's start with you three code. That, that one is basically a code that leads you from the three to the six. You have three basically on your left hand, you could, there are two choices of voicings you could use. You could use this and D and B. I mean, G and B, that is just an major code together with your diminished seventh code. On your right hand, you have F, G, and B. Then that leads you to the six. Like I thought in the first part, you could play a five over the six, basically, something of that sort. The good thing about this playing this voicing, you can use the same voicing for so many different keys. Like the same voicing can bust in the key of G. And we'll look at that in a later. Which is learning how to think like you're playing on all the 12 keys at once. Because the same thing, the same exact thing can be used in the key of G. There's a goodness about learning these things. You need to practice that by the time we release the next course on a different key, you can be able to relate these things that or maybe you could use the quota code we did in the previous chapter. You could use that same quote code we used. That's exactly how you use the diminished seventh code. On the key of, see, okay, you could invert it as much as you want, so you could play it from there, you could play it from there. You could play it from there, wherever to that cord, doesn't matter. Now there is this rule again on embellishing your voicing, let's say. We've done the diminished seventh, we've done the diminished seventh. Let's go back to the up diminished seventh and see where we can use it in the key of. I'm talking about sharp, I'm talking about sharp. And all those are just the same thing. They are all the same thing. Basically, you could do something like this. Now let's try and voice it. Let's voice it from here. Or maybe let's plate higher. See that six code. Now if you check properly, the same thing I did on D is the same thing I'm doing on D. So what nodes do you have a sharp, you have basically that's an, A major code. Then you have a sharp. That code leads you to the two. That code leads you to the two. Okay? You could voice the two that way. You could have and then on your right hand you could have AC and you could have, you could have something. If you have a bass player, if you really want to play the bass line, then you could do this six, the diminished seventh call to the two. That's how you could use your voicing. The other way to do it is now instead of just playing it, playing it like that, landing on the six code like that. So instead of just landing it on it like that, you could decide to use a substitution. This substitution looks like this. You see that then? Okay, this is how it looks like you have on your left hand, then you have G sharp, B, D, and F on your right hand. That's probably a three code, that's a three. Then to the six. See that I'm basically moving each note down a half step 333 code to the six code there, not I do, still on the six. I could invert the same thing so that I have something like this, the same thing but now inverted. Instead of starting from the start from the, which is actually the same, basically moving this from a low octave to a high octave. Inverting the code, you have something of this sort. Then to the two, you see that the 66 still on the six, then to two. That makes it look more professional if you say so. Instead of just doing this, maybe you do something like the diminished we did at the beginning, three to six to two. Instead of doing that, you could do, that's basically a simple diminished movement. You can use the other code you can use for the diminished, let's say you are playing a five code instead of you playing it as a five all the time. Instead of getting used to that, you could use a diminished seventh code. To substitute, That diminished seventh code would look like this. G sharp, B and D. Maybe you have your five. Is that's how it looks like. On your left hand, you just have GND, then one. Now, as far as embellishing is concerned, this is what you can do. Now, sharpen this two and take it to the three. So you could have, like we did in the other movement, we could have something. Whatever you can do here, you can do at another point on the keyboard, that was the five. Let's try to do the same thing on the six code. This is the diminished use for the six code. Instead of you just doing that, let's try to embellish it. You see that instead of just playing this straight diminished, you could come back down from the fossil Then now let's do the same thing on another key. I want to importance of this, of learning how to play in several key, the key C. Let's use this diminished. It's a, it's actually a C sharp diminished seventh, but now I'm voicing it from the sharp. Now, we can use this with one, we can use this with one. But now if you voice it like that, it will sound as if you don't know what you're doing. Let's embellish it. How do we embellish a diminished seventh? You just sharpen the last. Let's sharpen the five to six. We have something of this sort, have something of this sort. Now that looks more like a. I would use see that one then to the four. Or if you can't really play this voice, just let your fingers help. You could play this note on your left hand, then just this on your right hand. Okay, see that? Or you can even ignore this so that you have something like, basically that's it, let's use the same diminished code. Again, we had this something of this sort. Let's sharpen it, something of that sort. Basically, you can use the diminished seventh codes as the year or you can decide to embellish them by sharpening the last note. I've used so many examples on that. Sharpening the last note, that will be pretty much it for this lesson. Make sure you practice the diminished codes by themselves and then the embellishments there. Extensions, by sharpening the last note. That will really help you even when playing in other keys, not just necessarily the key of C. But that's it for this lesson. I'll see you in the next one. 7. Chapter 6 Augmented Chords: Now, this is our sixth part. It's going to be on augmented codes. For those of you who have no idea what an augmented code is, an augmented code looks something like this. Now, that's a C augmented code. Assuming you start with the major code, for you to get an augmented code, you just sharpen the fifth, you'll get something like this. Yeah, it's the one, the three and the sharp five, I think four sets. There are only four sets of augmented codes on the keyboard, you have this one. This is the same as this one and it's the same as this one. The augmented code is the same as the augmented code. And the sharp augmented code, that's just the same thing then the augmented code, It's something like this. It's the same as the augmented code and the same as the A augmented code. Then we have the D. The D looks something like this. It's the same as sharp. And a sharp. Then the last one is the flat, which is something like this. It's the same as the same as how four sets of augmented codes on the keyboard. Basically, this is the use of augmented codes on the K of C. This is how you could use, let's say, an augmented code. The theory is this, as long as you're using an augmented code, let's say you're using a augmented code, your baseline is supposed to be a ton high. Same as the theory for the quarter codes. Like for example. Let me give you an example. For those who like to do this 66251 movement, then this 6251 movement, for those who like to do the 62514 movement. Now this is how you would substitute such a movement. Let's say you play the six code. You, let's say C major seven on your right hand. Then you will have an seven code. On your left hand, you have maybe you could even add, but it's not necessary, E and G. Then you could have a C major seven code BC, something of that sort. That's your six code. Or you could even ignore this upper G and just something of that sort instead of going to the two, which would probably give you something like this. Okay, Instead of doing that, this is what you could do. Instead of going to the two, just go to the flat six. Could have something. You could have such a code. You can have a flat six. The five as normal five you have and D on left hand, then you have B flat and C On your right hand six, you have flat 656, flat six, you just play the base line. The left hand, the disaugmenteddr right hand. B flat, and maybe you could play a triton on your left hand, something of this sort. You could have G sharp and D. Okay. But I don't have to repeat this. D on my left hand, I have it on my right hand, so that works for me then five. Okay. Or maybe if you wanted to play tire, something of that sort. Let's do the movement again. You have your six, okay? I'm pretty much using closed voicings. You could open them up. So you could have something of this sort. You could have something of that sort. Depends on how much you want to open your voicings. It's still the C major seven code of the you have that you have something of this sort, okay? Or maybe decide to invert it, whichever kind of inversion you decide to, then you have your five code. Then you could have your one code like we did in the previous chapter on Porto codes one. Then your form. Instead of doing this all the time, you could do something of this sort. See that sounds much better than just okay, so basically that's how you could use an augmented code in such a situation. And then the other substitution you could use instead of now after the five, instead of you playing the one like this, you know the tricks. You could use this, that instead of you just playing it that all the time, what you could do could, you could substitute that with flat five code. Basically you have six you augmented code there, you have your file, then you have something of that sort. Then to the four. Okay, that's sharp and that's an sharp tt on your left hand. Then here you have sharp and C, which is a augmented but now inverted. So we are starting from, it's something like this, but now inverted. Just inverted. So you have something of that sort then to the form. Okay, so you have six to five. Okay? If you have your six again, let's do it for the last time, okay? Then your five, then to the four. You basically have such kinds of substitutions. Let's say there's this other progression, people like to do the 251. The two I'm basically playing D, C. And on my left hand, if you can't do that kind of extension, just keep it simple or play high. And then you have C, and F on your right hand passing. It's just the inversion of the code, basically. Then I thought this movement earlier in this course, from the to the m, to the m then to the C, that's a good movement. There's no problem with you playing like that. You could substitute it with something like this. Yeah. So instead of you playing the two of playing the 251 all the time, you could play the two, okay? The two maintain your two, or if you're playing it then to the flat two. So you have and G, that's a C sharp triton. Then you have a augmented code or a B augmented code, like I said, a augmented code, that inversion. So you have and like I taught you in the first part, you could play a five over the one, okay? If you are keen enough, you could use that same movement in the K of, you could use that very same movement, assuming you wanted to do a 51 for now. This is just by the way, you could do to the four, okay? It's the same thing, The same, you could play something of this sort, let's say that's true. You could voice it that way. You have DNG on your left hand, then you have ENG on your right hand. Then you are augmented anyway, so basically those are simple augmented movements. Another substitution you could use with augmented code 736 progression. I wrote you something like this in the previous part. Then basically you have some seven. Let me repeat what I thought I said. You have B sharp on your left hand, then you have a you have an A major code on your right hand, but I'm extending it so I have at the bottom and at the top A. Okay. Then G sharp left hand. I have just a C major code on my right hand. You could extend it, then I'm basically having a five code on my right hand and a six code on my left hand. I have GC, then I have GBD on my right hand. So anyway, so that's 736, so instead of just doing that all the time. Yeah. Let's substitute the seven. Instead of playing the A major play, the augmented, it's actually that simple play, the augmented you have then you have a sharp, then to the three, you could have something of that sort. That's an augmented over the triton. Then the augmented code, so that we have this is a sharp augmented code, just drop it back to the C using this voicing. You have sharp and here you could have that. You could just and octaves on your right hand, on your left hand me. Then you could maintain your six something of that. Okay, so you could basically use the augmented codes to do a lot of substitutions. As far as your playing is concerned, there are so many. Let's say now we combine the movement. You have 73, you have six instead of the two, we have the five. Then you have the five. Instead of the one, we have the flat five. Then you have the four. Let's say you have the 33. You could do this augmented code, okay? You have and up on your left hand, if you can't extend, just play the from here. Then I have augmented code. Up and C again. Okay. Then you have the six. You see the six. I'm still using an augmented code. Maybe I could use this B sharp, then to the two. Instead of going to the five, I could use the flat two like we did the flat two. Then back to the one. I basically substituted a lot of movements with augmented codes. That's how you can use the augmented codes. You don't have to be so complicated, just get this in order simple and clear. You use an augmented code. On your right hand, you play a base line that is at one high. It doesn't necessarily apply everywhere, okay? It doesn't really apply everywhere. You don't have to use augmented codes all the time. This is just a section to show you how to use them on the key of C. Okay? Make sure your voicings are correct. Okay? This voice, your left hand, really helps if you're used to playing the 151 technique. Again, it's not really going to help you. As far as augmented codes are concerned, you might want to consider changing your mentality about your left hand voicings, okay? They don't have to be, you don't have to play that all the time. Consider changing your mentality about your left hand Voicing will really help you when you're voicing the augmented codes on your right hand. That's it for this lesson. Make sure you practice. I'll see you in the next one. 8. Chapter 7 Combined Chord Movements s: For this one, we're going to do combined movements. We did augmented movements. We did quarter code movements, we did minor movements, we did major movements. What else did you do? Okay, we did all those kinds of movements. For this one, we are going to be doing combined movements, and I'm going to be showing you progressions that can give you combined movements. Okay, so let's say on the key of C, let's say we start with a movement like, okay, that's six flat 65 flat six flat five. I mean, six flat 655. So you will hear people play something like, okay, I'm trying to show you that, that movement uses combined codes. Let's say, let's see how that movement goes. The 66, this is a minor code mind, simple minor code inverted. You have, and then you could have A and C on your right hand. Okay. Then the next one is going to be a flat six card. Now that one is going to be a diminished seventh card. You see we started with a minor, we are moving to a diminished seventh cord. On my left hand, I'm going to have Sharp and B. Then on my right hand I'm going to have the D, diminished seventh card. I'll have B, six then on my left hand, then on my right hand, now this is A diminished seven. It's a D diminished seventh word or, or, or shop, whichever you decide to, however you want to name it. Then to the five. For the five, we are going to be using a major code. On our right hand, you have GNC. Okay, on your right hand. Then you have GNC on your left hand. Then to the last one, which is a flat five. For the flat five, you are going to be using a quarter code. So A D on your right hand, then S D on your left hand. So, okay, so this is a quota code. As you can see, we started with a minor code, then to a diminished code, then to a major code, then to a code. Okay. So you see what I'm trying to explain to you is called combined movement. It's called a combined movement because you have four different types of codes in the same movement. So you start with a minor code, then you go to a diminished seventh code, then to a major code, and you finish off with a code code. Okay? So. I know you've heard such a hymn. How great thou, that last part. So there is a substitution. I am kind of using a lot. So you will just start on the minor code, then the diminished seventh can still, you'll maintain that. But now when it comes to the flat five CD's like you're playing at nine then could do something like that. You will have a sharp D and E on your left hand now, and a fall at the same time you will move to the sharp, see what happens there. And all at the same time, then you move the E to the sharp, so the remains, the next movement. E, F sharp, then back to, then, then the D S, then again, then, then, then the whole thing sounds Okay. This is supposed to be more of a ghodn'tally Play it for long. Okay. So now this is something I taught you. You play the four over the five. Ah, okay. Let's leave that aside. There's another kind of, especially when the band is holding on the, there's something keyboardists like to do, especially when the, then you'll hear basically that is flat five to four to the 35 we played with a major code on our right hand, that flat five, we played with a D major code, D major code. But now the bass guitar is supposed to be just playing the one code, you could be doing something. You see that you're playing the F sharp on your left hand, then you're playing the D major code. Df sharp and A again, on your right hand, you have something. Then to the form. Still on the one. What is this code? This code is an F minor code. You have a you have an you have a P. Okay. It's an F minor code. This is the major code we are used to. Cf just the one. So if you play the whole movement on the other, start with the D major, to the F minor, to the C major, okay? Okay. Now that's at the end of a song, probably that's when you all you hear them do just inversions, assuming I start with from here. Then in the inverted again again as I go up the keyboard. And this is just the D major code, inverted. Up and up, and up and up and up. Then the same thing for the minor code. Then to the one that's basically what they do, what you hear them do. There is also another way you can use, you can, you can use combined movements for the same movement, flat 543. Some of them do this. Play the flat five, which is the F sharp. You play it with a minor code, which now is a six, which is you have sharp, then you have, okay, you have a major code. You have a major code. On your right hand, that's a five, G and B. Then on your left hand you have a triton and B. Okay? You have A and B. Then to the three. For this, you're going to use a code that is D, G, and C. Then you have E and C on your left hand. G and C, Then E and C. Okay, so you see how you can use that movement in a song like flat 53. Then you can go to the one, the one that I taught you in the section on to codes, Then to the four, okay? You can play the four. The one to make it sound more interesting, G, A, C, EG, okay? Fg, or if you can do the extension good for you, so you have E, A, then you have the CEG. Those some of the few movements you can combine. Now, like we said, you don't have to do. We started with this movement, 6565 flat fight. There is also another movement that can lead you somewhere. Let's say the three flat 32 flat two. It's just now the same movement, but on a different key. Okay, Now we did this, okay? So. Let's see. Okay, let's see where this is taking us to. Let's see. So you see that. Now that looks like a movement on the key of G, so let's break the whole movement down. Basically, I'm actually playing the minor code. You could play the minor code, EG and then on your left hand or you could play the C major code, depending on how you want to think about it. So you have G, okay? D sharp and sharp on your left hand. Then you have C, D sharp, sharp on your right hand. That's another diminished seventh code. This is basically that, Yeah, that's a diminished seven. Then you have G, then you have DG, That's a G code, basically, the whole of it. You have G, then DG, then the code, you have C sharp, and then you have B, E, and A. Okay? You have something like that, the whole movement. Then where does that take you to as far as the key key of C is concerned? That takes you to the two do something like for those who cannot do the extension, just plate like this. You have on your left hand, then you have CEG, your right hand, that's A -11 for those who can do the extension and F, then the same thing on your right hand. Um, so supposed to lead you to that, to that too. Let's try. Yeah. Like for example, if you play a song like you are, you see you see what I did there. So let me do it the exact way I did it. Then you see that, check out that song. I'll also put a T at the end for the same song, so that you practice how to do that movement. I'll put out a track at the end of the song so that we can play that same thing. Those are the movements. The other one is the same thing, you see for the first one, we started at the six to the flat five, then we started from the three to the two. The last one is going to be the seven to the flat six. Now that leads you to the six. Okay? So same thing. It's actually the same thing. It's like now we are doing the same thing on the key of D. So. Let's demonstrate. Basically it's a minor code you have on your left hand, then you have sharp B and D on your right hand. Then to this P, then you have and sharp third D major code. You have D, then you have sharp D on your right hand. Then you have something of this sort as your last cord, Sharp. Then you have sharp B and E, that's a code. Right hand. If you do something then you ask me, how will I use that in the k of C, the same song, you alpha, instead of doing this. Instead of doing that, Okay. You don't have to do that all the time. So you could do this, so something of that sort. So that's oh yeah. Okay. The other way people like to use that movement, you just use major codes or you could use major codes. So let's say the seven over the. Basically your right hand, Major code sharp, major code, major code to major code. Left hand is B, B flat flat. You could do something like takes you to the six, okay? Or you could decide to use diminished codes. So we'll start with the D diminished seventh code. To the C Sharp diminished seventh code. To the C diminished seventh code. To the B diminished seventh code. Okay? So you could do something like. Okay, so you could do so that's how you could substitute the same movement. Okay? Or major codes, or diminished codes. Whichever codes you decide to use. I guess that's your own choice to make a few combined movement movement that different types of codes, you will find them having even three types of codes in the same movement. A minor diminished, a diminished code. You could apply those movements. I will put a, I will demonstrate how to play a certain song using the same movements that I've done in this chapter and in the previous chapters. And then I will put out a play a long track at the end of this course. Okay, I'm going to be teaching you how to play a particular song demonstration, just for demonstration that you don't just have an idea of the movements, but you don't know where to use them. I want you to know where you use this movements. Okay, just look out for the next chapter and I want you to go practice these movements. If you see what I did, I was doing the same movements in different keys. Like I did the same movement on C. I did the same movement on I think, or on A, and again on D. It's just the same particular thing but on different keys. I want you to go practice these movements. Are they really going to be of help? See you in the next chapter. 9. Chapter 8 Song Example Amazing Grace s: We are going to be doing a demonstration song on this part. All that you have learned in this DVD is going to be applied. In this part, we are going to play a simple song, a common hymn, Amazing Grace. This is the melody if you've never had the song. So the melody is quite simple. So fly one last time. So this is the progression starts on the one when I'm playing the melody. My left hand voicings are very crucial. Again, I'm trying to help you eliminate the mentality of 151. I'm trying to help you eliminate that mentality. My voicings are very crucial. I will start with the five to the one. My left hand voicing G, and then yeah, then then back to my left hand is CNG, then my left hand voicing is F, C, and E. And then back to the five. I'm using some kind of aggress and on my left hand see what I'm doing with my left hand, see that basically that's the melody of the song. We're going to use some of these tools that we've learned in this DVD to embellish the song because you can't literally keep on playing like that. Are really going to sound like someone who's just been taught how to play that song. Or someone who doesn't know much of their way around the keyboard. This is how we are going to play it. First version, I'm assuming you don't have a bass player. So you don't have a best player. So this is how you'll play. You will play that cord, that's G, so you'll start with, that's C, but I'm bringing this C up from the B flat, then I'm playing that cord. You have C, D, and E on your left hand. Or maybe you could just play the C and G on your left hand, then play the D, E, G, and C on your right hand. That's a C at nine, that's a two. Start with a two cord. Df, You are not playing anything on your left hand at that time. Then you have DNG on your left hand. If you cannot play that extension, you'd rather just play the normal way, but that's too low. So then on my right hand I just have a C. Then I'm going to be using a quarter cord movement then, like the one I taught you before, assuming you're playing alone. So that's so you have a sharp on your left hand, then you have this quarter code, and D. Then you have C, and A, or E, and depending on how you want your code to sound, then you have this quarter code on your right, D, G, and C. Then I'm going to be using steel quarter codes. Okay, So that's on my left hand, then I have A on my right hand. So then I have on my left hand DG on my right hand. So let's play it from the beginning. The okay, so C, G, E, then DG. Then we're going to go to the three I'm using, that kind of code. You have E and G sharp on your, on your left hand. Then you have a C major code on your right hand. Okay? You, D, G, A, D and C. I mean, if you can't play that, just play the AN C here. So just play this. You have D, G, and C on your right hand. You have something like then, so you have that, so if so 2321, 23dd E, DC, then D, E again. C on your left hand, then a major code on your right hand. Then what you're going to do is move this left up to the F sharp. You have such a code, D, F sharp C. Then you're going to play the minus seven code that you covered in the minor movements B and D on your right hand. Then to the five, something of this sort you have on your left hand, then you have ACE G on your right hand. Basically, that's four over the five, but now the four looks F major 79. I also thought that movement. Remember that you have CD, Then you have a two code on your right hand, then you drop to the G and the C to the B, I thought that earlier. Then you have CGB, ADG. Then you G, and F, and D, E, and then you have this code GCE. It's actually an augmented code. You have base line, but you have sharp CNE. That's an augmented code to our code, like we did in the first part. We repeat the same thing. Okay, The same thing again then. So, okay, we could play from the beginning. So then repeat the same, then from there the same code again, G sharp. Then you have the major code on your right hand. Then to the six, we've done that code before. You have GC, then you have the code on your DGC. You still have the same code on your left and you have A and C. Then you have something like a C, that's a minor code. Combine the whole thing, that's basically a five over the form. You have GCD on your left hand, then you have ACE, that's an F major seven. Do the drop I showed you. Then back to the one. Now you want to consider playing the one like that DE GNC play as a nine, just like we did in the first part of this DVD. So let's play the whole song. So you have something like then, so repeat the same thing again then. So that's the whole song I've been using. I've mainly been following the melody. That's quite simple. You could insert a certain movement at this point instead of just following the melo at that point, you could insert a movement you did in the previous chapter. You could still follow the melody if you want. You see that? I thought that as well. You could either use that six, that's a minor to the dish. Sharp, diminished seventh to the major code. To that code. You have Sharp and D, then you have AD. I thought that movement in the previous chapter combined movement. Same five code. So you could substitute, you could insert that movement instead of playing it the same way all the time, you could insert that movement. You could also insert this movement. That one. We did that movement again in the previous chapter. Like I said, it's just the same movement at different points. This one in D, diminished seventh, more of a G code over the two. Then that code over the flat two, you have C sharp, and then you have A on your right hand. Then to that five use quarter cords. Okay? Basically. So those are the kinds of movements you will apply. This is how I'm going to make my truck look like. For the first part, you will play the melody like we did. So that's the first part. Then the second part, so that's, that's what I thought in the second part, the coat of D. Then repeat the same thing. Okay, and now the last part you are going to maintain still the same thing. That's how you'll play the whole song. I'll be putting out a track for this song. Along track, you can play along the track. It's a simple song. Try to insert those movements that we have done in the last part of this lesson. Then you love things, movements like those that we have done in the last part. But make sure you practice, especially the part on combined movements, very well if you want to have an easy time playing this song. That's it for this song Demonstration number one, I will do a second song, then we'll call, that's it, I'll see you in the next lesson. 10. Chapter 9 Song Example You Are Alpha And Omega s: In this part, we're going to do a second demonstration song. Second demonstration song. Still on the key of C. Let's choose a simple song that everyone knows. Let's say we're going to choose your alpha and omega simple song. It's known pretty much worldwide. This is the melody of the song. Simple. So that's the simple song. So that's the simple melody of the song. So here is the base line, the one to the two to three to 451, then 36. That's pretty much five of the four, then to the four itself, then to the four, To the, the five that's one of five. Then back to the one. That's a simple, that's the simple melody of the song. Let's see what you can do with it. This is how we're going to play it. This is just suspended, or you could use squads. Okay. So then GCF on your right hand pod. Take each note up by a tone. So you have B, then ADG, then to the 1671. Then you could do something like this, Surely play from there. I have and C, That's basically an F major seven cord something. That's okay. Then on my right hand I have D, F, and C three. We're going to use a Cd. You have ENC, then DGCd, then that's basically a C code. Okay. So, what do I have on my right? I have a six code, a minor, and like I taught you, the three nodes fall at the same time, then that. Okay, so then on my left I have C and A. Then to the code C, maintain the base line. I have G and C on my left hand. Then I have diminished code. D, diminished code, I mean, you have G sharp and that inversion, this is the diminished, then I'm using that inversion. On my left hand. Then I have GC, that's a five of the one. Then you have C on my right hand which is a minor code, that's a six. Then this dominant seven code, you have D, F Sharp, and C on your left hand. That is still an mind, I just eliminated the. Okay, so this is just the same. I'm playing G and B on my left hand. Then I have a seven code. That's A diminished, B diminished F, G, then C, FGC, G. The FGC then move again, each by a tone, GA, GAD. Then back to your one. You have C, E, G, and C on your left hand. Then you have D, E, G, and C on your right hand. Okay, this is the verse. Then to the chorus, we are going to use those movements. We did something, sit down, so instead of doing so, you're going to do okay. Okay. So what kind of movement is that? Like we did in the combined movement segment, you could use majors, major codes. Then then you have that, you have diminished seven. So you have a B on your left hand and then sharp on your right hand. If you can see what I'm doing, that's what I'm doing from the A to the B flat to the B, then to that six code which has a quarter code on your right hand. So you have GC, then DGC on your right hand. Okay? Okay. So we will use the codes that I Okay. Could use that Qd AD on your right hand, then C, G, and a Sharp on your left hand. Then to the one you have B flat B. The B. Okay, so you have an F tight on on your right hand and a G major code on your left hand that then move it down to the code and move this B down to the suspended code G, then D, G. Okay then, so I'm going to be using a mind that's a minus five. On my right hand, you have flat DNG, then I have the three base line. I'm doing that same thing again. C, A, E, C, then the same, same thing. Okay, so that's number one. Then we're going to be doing the vers twice for the second time. Okay, so this is how the first verse looks like. The first cos, I mean, then, okay, so we did that in the verse, so I'm basically repeating that same movement. Okay, so for the second part of the verse, we are going to be doing something. The A major six of seven code that I talk earlier. You have F sharp, and then you have a C sharp and on your right hand, okay, you have that, You have that. And then this diminished seven movement. Okay, let me teach that. You have A on you left hand, Then here you have D sharp sharp, and that's a diminished seventh chord. Then drop each note by a semitone, You have G sharp. Then you have G and B. Then in the same thing, in the same code, instead of starting from the D, we'll start from the. Okay. It's the same code, but invert it. Now you have B and D. Then take this to the B. Then the five over the six code, you have GC, G, B, and D. Okay, so you have your seven, then you are three. All that is your three code, okay, then you are six. We will do that from the five to the one. Then you will do this code. Basically, we are just trying to change the progression I taught this on the lesson. On Youtube so you could check it out. You have A, then you have Sp, Sp, and it's a sharp minus seven. So for those who can't do the extension, just do this, do that code. Sharp, sharp and A on your left hand. Okay, you have a dominant seven code on your left hand. So you have A, then you have a C diminished seven code on your right, D, F sharp. Then we could use this Qd. Okay, So then B, E on your right hand, then then DG on your right hand. So then we repeat the same movement we did. Okay? Instead of even doing that, this is what we did in the first part. Instead of doing that, we could do, you've done your movement. You could do this movement. Just the same movement on a different point. It's the same movement as this one. Again, start with the diminished seventh. Okay? You have a sharp sharp, E and G drop to the dip diminished seventh. You have dish up on your left, and then you have a dip sharp, drop it again to the D diminished seventh. You have G sharp, B, D, and F on your right. Then you have just the D not on your left. Drop it to the C sharp diminished seven, you have C sharp on your left, then you have a sharp sharp and on your right. Then come back to the, come back to where you started. Okay, so that's a two cord, so you will have DFA and C on your left hand. Then you'll have a six card on your right. So you have E and C. So then we repeat the same thing we did in the first part. Then you could do this movement, I thought in the previous chapter, chapter seven, I think I thought that whole movement. Okay. Six diminished seventh. The G over the C. Then the code, or you could substitute this with this movement. I thought this whole thing in chapter seven on combined movements, something of that. Then to the five. That's the four D. Then you have FAC, the five over the four. Then we could make it at three of the four. G and B. Maintain the same thing on your left hand, then finish the song on your one. Okay, so this is how the second part looks like. So you have your seven, then that's your three, then then, okay, then. So then the two. That's the second part. Okay. The first part was pretty simple then we made it a bit complex. In the second part, you will play the verse one time, the chorus two times. We just substituted those movements with some other movements. So the first part started like then, then it was quite simple then. Then the second part. Okay, what's the second way you can play the verse? You have two ways you can play the verse. There are so many ways you can try to make use of those tools. I was trying to incorporate some of them into the song so that your work would be quite simple. 11. Conclusion: Thank you for following through the course. Now, the last two chapters of this course have some examples. You have amazing grace and you are alpha and omega. I'll put the lead sheets down here so that you can see the codework, but the major code work is in those two chapters. Ensure you follow those two chapters very well so that you can do the project. Give me feedback, you can send me videos. Show me how you're learning. Show me how you're improving. Yeah. And keep learning and keep growing.