Advanced F Sharp Piano Course

1. Introduction To The F Sharp Course: Hi guys, My name is Caleb Fadhili. I am an instrumentalist in my pianists. I am basest and I'm a drama. And I have created these Advanced F-sharp costs for the Piano, obviously, so that I can teach you some of these new tricks, some of these nuances that you've heard professionals play. I know you've listened to a lot of albums, a lot of recordings, and maybe hear some things and you wonder what they are. So this course is really meant to teach you some of those things. Now, this course is meant for intermediate players, for people who know what a Major Chord, these water Minor Chord, these. Now you can play some progressions there in such things. So now this course has a few chapters. And in these chapters I'll be showing you an advanced use of Major Chords. Advanced use of Minor Chords, advanced use of Suspended Chords, advanced use of Quartal Chord, advanced use of Diminished seventh chords, and such things. So I hope by the end of these course, you will have learned how to apply all these things in an advanced manner that you will move from being an intermediate player and become an advanced player. So join me along as we check out this course. 2. Chapter 1 Left And Right Hand Combinations: So this is our fast chapter. In, in this chapter I'm just going to be showing you a few Combinations like to use in Advanced Music. So I'm going to be using the Major Scale mainly. So this is your one. And so that's the omega squared. By now, you should be knowing that. Okay, So, so that's only just kept. You may just feel, so if that is your major scale, so this is going to be EUR1. You are to your 3457 box1. Now, even in normal circumstances, you have your one is a major. Then you have your tube. As I Minor, you have your three as Minor. Love your fork. Is a major, your major, your seats. As I Minor, you are seven. Diminished and do a one as a major. Okay? So that's mainly the basic thing. But now here in our advanced course, I'm going to be showing you some Combinations we use. So there are three, I would say, three types of codes that you should really master regarding the, the first one is going to be our major seven chord. So this one, okay, so that's F sharp, a sharp, C sharp, and F. So that's our Major seven. On us scale degrees, that is 135.7. So that's your me just say that that's the fast code. You should take note off the second chord. You should take note of ease. You are at nine Chords or something like this. Okay? That's an F sharp at nine. Or maybe this Sharp, my name. Okay? So these together with the inversion. So you have F sharp, G sharp, a sharp, and C. So you are 123.5, so that's the other inversion. Okay? These, these, so those IUIE inversions for the ad Namecoin, further Major seven, the same thing. Ease. Then you could add this. Okay? Then you have this. Venules have this. Lastly, you have basically moving the F sharp note upwards. Then you have these c-sharp, F-sharp, a Sharp, and lastly, F, then the F sharp major Chords. So that's pretty much eat for the Major 7.9, so nine, something like that. Okay. Then you have your third quartile, which is going to be a combination of the two, F sharp major seven at night, okay? So you have something like this. It looks something like this. So it's basically the F sharp major seven, then the F sharp at nine. Then you combine the two, so you have at least, so you have F sharp, G sharp, a sharp, C-sharp, and F. Okay, so that's awesome. People will plate like this. Okay, Let's see, Land F-sharp major seven at night. So you have an sharp, a sharp, C sharp, F, and then G-sharp. So that's you have any question. On the other. Sheldon Cooper normally use is this something like that? So you have F, F sharp, G sharp, a sharp, and C Sharp. So something of that sort, or maybe that I mentioned before, normally uses these C-sharp, F, F sharp, G sharp, and Asia. So basically, but Playing versions you'll see mostly in this course this once these entities and maybe this going to be seeing these So those are the three Chords. Now. Those are the three Chords you should really take note of in this course. We're going to be using them a lot today. Major seven, they add nine, and then they may just seven at night. So they Major seven at name is basically a combination of the previous two. Then you have, now you are numbers, which is, you have 12345. So you have your one, which is F sharp. So basically, I'm going to be telling you what numbers you can combine to form your code. So you have your one, which is, you can play you a one. We then on one which is just there Sharp. And like I said, you can use the Major seven. You can use their name. You can use the Major seven at night. Any of those works. Okay? So you can use the normal one. You can use the add nine. You can use the Major seven. See the inversion I'm using there. So that's The select, the tidying inversion now. And then you have your Major seven at night, which is the 14th version of that chord. You can combine it with those. Then you can always combine it with that too. I like now you are two is always a Minor Chord, okay? So that's your trees or may not have it. You can have your one baseline with a two on your right. Okay. So, but that is in special circumstances where you play like you're one is Dome9, save it. You have Sunday. Okay. Okay. So you have F-sharp, C-sharp, and then he able to have now you are to Chord this inversion. These, okay? Okay. So mainly we use these two lead you to four. So what I'll show you that movement later, but we normally use these two lead to the fourth. Then I one baseline with the two. Then you can have a one baseline with the three. Okay? So that's quite simple. Inversion will get whichever in Russia. So record you are be Minor. And on my, on my left hand you can see I'm playing 15.7. That is F-sharp, C-sharp and F, Okay? So then you have your 1.4. But in special circumstances where you will find yourself doing something. I think you may have heard that in so many songs. Okay. So what you normally do, just play off record on your right-hand. Then on your left-hand, have sharp and D Sharp. So you are one in the US, six, then you have your focus. So then that results back to the one, to the Naaman. And as you can see, I'm playing it as an admin. Okay. Then so that's basically that. Then you have the one on the five. So you have, you have the same thing I was playing with the three. So that's a sharp, C sharp, and F. Then on your right-hand you can have your five Chord, C-sharp major, whichever inversion. So instead of just playing, you are one, is this all the time? You could just do this. That's the three that's the 55. The three you could use, whichever. Okay. Then you have you or one endure six. It also acts But in enough pressure circumstance, like you have. This is your six. That's your D-sharp minor. Okay. So you have then on your right-hand, you on your left hand, I mean, you basically have you or one in your flat seven, so that's F sharp and E lake we used in the two Chord lake, we played it in the two chord, or you are 157, so you have F-sharp, C-sharp, and then you can play it with a six chord. Then that are less resolves back to the four, just like the two chord. Okay, There's record looked something like this. So for the six God, it's the same thing for altitude there for Combinations. A few minutes from now. Then you have, That's you on India six and that's basically the last, the last combination you have for you or one. So remember the six could also be a major six. So you could have, instead of then, some combination still does the same thing, resolves to the fourth. So there's something, this is now six is a major, so this is D-sharp major, B-flat. You have your slot and you have here. So you have then you could extend it if you on tape. Okay. So that leads. You could also have the two is a major like I said. So like something like that analysts results back to the seven, So like maybe to the whole altitude that movement later. But for now know that you can also combine a one didn't media to And Right. So it takes you to default to the height. So I suggested for the one chord, then you have your two codes, which is supposed to be a minor. So you can combine it with you all one Chord on your right hand. So, okay, so as you can see on my right hand, I'm playing F sharp, a sharp, and that's one chord. That's a sharper. Then on my right hand, those who can't live extension, you could play it like this. D sharp, F sharp, and B. And then if you can't play the extension, then just do this. So they know more to Chord on your left hand, which is D-sharp, B and D Sharp. And then you have one Caldonia Right Hand. Okay? So that also acts that are these basically whichever kind of inversion you decide to use these. Even that one works. And as I said, you can use the oneness and at night, you can use even the one is a major seven. Okay? Like I said, you can use it even as one Major seven at night. But not always resolves to the fight. Give you an example of a song types. Okay? So like I said, take note of those three chords, then Major 79 and then you have you or 2.4, okay? I don't want to combine the two, is they three for now? But it's also possible. The same as combining it with the one Major, save it. This Kali, the same thing. Okay? Basically the same, but I want to do, to do that and combine it with the four. So therefore, you have your fault. That is B, D-sharp and they're Sharp, then you have G-sharp, F-sharp on your left hand. And like I said, you can make it and add the name chord so it will look something like this. Okay, So B, C-sharp, D-sharp, F-sharp. You can make it a major seven, so it will look something like this. Okay? B, D sharp, F sharp, a sharp. You can make it Major 7.9, so it looks something like this. So just a Major seven. Then you add this C-sharp template like this. You can extend this. You can't just do it this way. Even this, it's this empty disease. They be Major seven at night over the two. Okay, so then the other chord I would want to combine with the two is six. So, okay. So you have D-Sharp and F sharp on your left hand, then you have a six Caldonia Right Hand, so that's E sharp, D sharp, and D Sharp whichever in voucher. That to anomaly results to the five. Okay. So I'll teach you that movement as well. Now I'm just showing you the combination which is six over the two, okay? Then you have the three. The three can be combined with the one. Okay? So this basically my own Chord, my F-sharp major chord, along with the three. And what I normally like to do, I played it three and the two. So you have your B-flat and E-flat on your left hand, then you have your card on your right-hand. If you look closely, this makes it a sharp at the name chord. So like I told you previously, take note of that chord. Okay? So that makes it an at Namecoin. Okay? Then I would also combine my three with five, okay, so that I have something like c-sharp, F-sharp, C-sharp, F, and G, then you have a Sharp. And I would want to combine it with my faith, make that I can also combine it with our four, but I have to make the four amino. So instead of me playing this fall, I can make it a minor so that it becomes that. Then I can use that three. These inversions that aren't normally resolves back to the six. Okay, So here, things like that. Then this is before, but you won't really find it majorly in this course. Then you have the other last combination is a major two chord. A major two chord. So you can combine it to that too, but make the two major, okay, so, so that's on A-Flat Major chord. So nuts, the Minor we're used to. So I made, which is C, D-sharp into Sharp, okay. As you can see, my left hand is constant, F sharp, that is B-flat and E-flat. My left hand is always constant, constantly playing those two nodes, whichever combination I use, okay, So when I use the five, are there one or the major, two or the other? The other one you have is Diminished to call the, to the A-Flat but Diminished. So the half-life Diminished looks like this. So you have G-sharp, B and D, Okay, so as the other combination, so that one also resolves to six mostly, or even the Diminished seventh chord, but we'll cover that in the Diminished section. Then you have your four. Basically, you combine your four with the one on your right-hand You have this. You have B and B flat on your left hand, then you just play on chord, okay? Like I said, you can make the one and I've named. Okay. So you see that? I just made my one and at night. Okay. So that's also possible. Combine it with the one, then definitely combine it with the for itself. As I'm Major seven is abnormal for its name. So make sure you understand this Chords very well. They are denying them Major seven. They may just seven at night. Then the other combination before like to these six, so they six, so just before with the six, brush on the Minor. And lastly the other combination with the five. But that is in special circumstances, which I'll show you later. So you have your B, then you have C-sharp major code on your right hand, okay? Okay. Mostly it resolves today. Three, okay. Then you have your five. Your five is simple. Combine it with the one. Okay? So your fight with one. Very simple. You are five. We the two again, very simple. Your faith with the two. You have your to your face. Then you have your five with three again. So normally you will hear movements like but it's not really used normally. So that's the three sharp and C sharp. Then back to the one. Combine it with their four, like I said before. Make the for me there. Seven. Mickey tab Major 7.9. Okay, So you live on sea gods like this. This, this shouldn't be something to scale. This is just the five with the four major seven at night, okay, so then combine it with the six. You will hear movements leg. So again the seven. So the seven looks like that or Louis Armstrong around. Okay? So that's, that's the five simple Combinations. Then you have the six Play to the one. Like I said, you can make the one. I'm Major seven, so make it an unnamed. Make it Major 7.9. Combine it with the three most times. And combining it with the three kinda mix it like as if you're playing it with the one major seven, so it makes no difference. Three. Then you have your five as the last one. So the enslaved, nice. So I have my C-Sharp code on my right hand and then I have my D-sharp baseline. So that kinda makes the task Sharp at nine Kodak, it's still an at the same code again. Then you lastly have your seven. Yeah, seven is quite simple because you can combine it with a five. Okay? So you have your five. That is if, And then you'll see Sharp code on your right hand. Your five Chord. People normally uses the major two, or even the two. That aren't normally lead you to that three. I'll share that with mental later. So I just wanted to know this combination there, five and the two are the media to the other one is the major six. So these are a major six. So normally lead to two there, 36. Okay? So that's the major six chord with your server. So basically those are the Combinations you will find. As you can see, I was just highlighting the combination so that, you know, you can use the one with five around with what they are so many other combinations, but those are the major ions that these professionals use. So you will find those different combinations, combine them, use many inversions. Inversions also important. So make sure you get this in batches if it's a major six, nor the inversions, lady. Okay. If it's omega to know you're in bash on today well, because you can combine them with different baselines on your left hand just to make you sound a little bit better. So that will beat for this chapter. And I'll see you in the next chapter. 3. Chapter 2 Advanced Major chord Ideas: Welcome to the second part of Advanced and Sharp Course. Now, in this part we're going to be dealing mainly with Major Chords. How US made Jacquard in an advanced way, Major Chords and such things. So I'm going to be looking at how use different media Chords. Basically on your scale, the media Chords, you have. This one. You are four or five. But I'm going to be including allow Major scale. So Major Chords, like, let's say you are to eat normally a minor, so you make it a Major. Okay. You also have a three which is a minor. You can make it a Major. I'll show you how you use that. Then you have a six switches are Minor. You can also make it a major. You have a seven which is a Diminished Chord. You can also make it a Major. And I'll show you how you use all those in the key of F sharp. So let me start with this common on that I touched on in the fast section, but I'm going now to be looking at it extensively in the second section. So now let me start with the use of them. Major six chord, which is something like this. Then Major six chord. So you have your six squared, which is normally a Minor, I, D-sharp minor. So make them Minor Major, which becomes a D-sharp Major. Make it Major. Okay? So inversions. Then you have this. So this is an extension. So you have this, then Lady, B flat on your right hand. So you have now this chord, as it is, has many uses. Okay? So I'm going to start with the first one. The first one is with the one basically, okay, So this one with this baseline. So you may ask, how do you use Amiga six with a one? So this is how you use it. Okay. So let me break the movement down. So on your left hand you have F sharp and E. Then on your right hand you have B-flat, E-flat, you have G, and you have B-flat. Okay? So the code looks like that. Okay? So if you have a bass player, you don't have to play this. So mostly we'll hear. Okay, so you'll hear something like that. Yes, this movement, sharp F. Then, then read that Chord. You've done other, basically I just played like that. Okay? So then that results to the fork. So this Chord. So let me give you a trick that I normally use. As long as you're playing a four chord to chord, you can play it with any note on the keyboard, except you are saving any note on the Major scale except, except the F. So this 16, okay? Except the seven. The only instances where you use the seven or when you're playing will be five for Y, therefore, I favor the two, but normally that's what you do, that what helps me in my voicings. So I could voice my foot like this. You see, I'm playing literally every note on the keyboard on the Major scale or where Sharp apart from, apart from the seven. Okay? So whichever, whichever kind of voicing, so these, these, whichever kind of wasting you want to use these. Okay? So long as it's any note on the Major scale apart from the seven. And the same thing would be happening if I would probably be playing the two chord. Okay, So any anything Anything apart from, but that was just a, By the way, that towards the two and therefore, you can play it with any notes apart from your seven on the Major scale. Then. So as I was saying, this Chord, Major six over the one normally leads you to your fault. So now I was trying to give you different voicings for the fall. So you can use event that voicing. It doesn't matter, okay? Every node on your Major scale, apart from seven. So even if I play it like this, is still this empty steelworks. Okay? You might, you might see, I see these very big chord, but it's nothing really. Just Sunday late. Okay? Okay, I just lead a normal for this type on my left hand and on my site and they made it destiny that movement. So a C-sharp, D-sharp, back to C-sharp. Okay. Okay. So that's another movement on the hook. So you have your one. And then instead of just playing, you are your fault. You can plate like this. Okay. I'm play that. And I'll teach this later. I'll tell you what kind of chord is called. D sharp, G sharp, C sharp, and F-sharp. Okay, so that's a fork. Okay? But mainly what are stressing on this, this, this God leads you to the fourth line two. Then the second use of these major six ******* touching on the Major chord is that you don't normally use. So as you can see, I'm avoiding the one before and they five course, you normally use them as Major Chords. These everyone uses that. Okay? So you're saying to look for other major codes that you can use on the key of F Sharp. The other use of these Major chord is when you are playing on 77 chord, when you're playing a seven chord. So this is what you do. So seven. So we said for the one, you have your F sharp and E. Now for the seven, you have your F and D Sharp. You could, you could add this C naught in-between. But normally, if you play like this, F sharp and D sharp, F and B Sharp, I mean, okay. Then on your right hand, as you sure you have. Okay. You are E flat major chord. Voicing is this one. Now this is on the seven. You are seven, okay? Now, what people normally do if you, if you go back to the key of E-flat, I know some of you don't play in the key of E-flat. F. F is the, the 21 day E-flat major scale. So this F is the two. So if you are to relate our Sharp and E-flat and use the rule that I told you before. As long as you are playing the four and the two, you can play it with any number on the Major scale apart from the seven. So that's exactly what I'll do here to make my voice, my voice in a little bit, which is okay. But something like this would sound more appealing. Something like this. Something like which it looks on the left. Yeah, the difference. These or something like this. Let's say this. All these voicings is related the key of E-flat and they're Sharp. And now I'm playing it with any, any note on the Major scale of e-flat apart from the seven, which is the second play, an E-flat, F, G. I can play a G-sharp if I wanted to. And unclear and a sharp node if I wanted to And also as seen, any of those notes sheets here, okay, on these seven chord. What I've done here, what ever, you, I'm death. I didn't notice onto my hoisting. Okay. Any, not so any of those notes wax. So back to our basic voicings are basically wasting all this. Then this normally leads you to the three. So now another use of your Major chord. So you have your F sharp major Chord, C-sharp, F sharp, a sharp, and C Sharp, okay? Have you Major chord. But then on your left hand you have something sort of a dominant seven chord. So you have sharp, D, and D Sharp. Okay? That's an A-Sharp dominant seven chord, okay? Then a sharp, D, and D Sharp. Then you have your F sharp major Caldonia. You don't have to extend, you can just play like this. Then that normally leads you to this six. Now, I want to give you another another rule that I normally use. It's not silly at all, but just something that helps me to embellish my voicings. As long as you're playing a six chord, okay? As long as you're playing a six chord, or what is this an accord or one Chord? A six chord or a one code. For the add-on. We're talking about a two chord and we said for the 2.4, play, anything apart from, you are saving anything on the Major scale apart from you seven. So whether you've wasted as long as it's anything. Apart from this. Now, for the six and the one, this is what I normally use. Any notes on your Major scale apart from the, for me, not only are Major scale apart from each doesn't apply all times, but it applies in most times. These you will play up or not in exceptional circumstances, but more things. Any nodes apart from your fault? 123567, okay? So any of those nodes wax on there, one or they six. So if, for example, I wanted to voice my six Chord, I could do anything of this. Okay? Now, if you look at my voicings, IF played every node on the Major scale apart from before. Okay? So I have a six Alpha-1, Alpha-2 ever three, I have a five. I have never had a two here. Okay. So any node apart from the, for, something happens when I'm playing my one chord. I can play any note on the F sharp major scale apart from before. So if, even if I decided to voice it like this, still on chord, okay? Every node apart from these. So that will help you improve your voicings and try to fill up your voicings as much as possible. Now that you know you have six different nodes you can use to voice. You are six chord, okay? So instead of just playing two or three of them, these just use any node on the F sharp major scale apart from default. So these, these emitting any of these. So I'm just playing around with the Nazis, but it's anything on the Major scale apart from before. So however you decide to voice, you are, your six Chord or Yuan chord is no problem. Then remember having so they six and they won every note except before. For you are true and false. Gods. It is every node except the seven. Okay? So every node except the seven. So that's our to God. I got news that I can use this. I can use these. These, these as long as I'm playing in, in order partial. So those are the two rules say normally use to help me reach my voice and say set of medias Playing. These are these. This is a normal six chord. So instead of meet Linda Now I can play any notes apart from the fossil. Okay, So if I use that voicing C loci, so if I use these silicon mu naught apart from before, so that gives you some homework to try and figure out what voicings work for you. What voicings don't work for you. So you see that works this wax. Any note apart from that for you just combine them however you want to. Any node apart from before. So that was the Major six. Good. So we said you can use it on the one. So it leads you to them. Then you have with the seven. And as I said, the seven meet two to three, which normally lead C2H6. So, And as I said, when you relate E flat, F sharp, you can use all these notes. D-sharp, F, G sharp, B, B-sharp, be flat, I mean, And so whichever of those, not as long as you're playing B7 chord, okay? So whichever of those nodes wax. So even if I wanted to do play, some kind of strange voicing even demanded to do this. It will still work, so as long as it's not. Okay. So that, ah, I can teach you that movement. So that's ten to the sixth. So what I did that I just played a one, c-sharp, F-sharp and a Sharp. And then I just did this. So that's a movement from D-sharp to F. Then you repeat it. Then here you have your C-sharp, G-sharp. So I'm playing it like this. So these three nodes fall at the same type, C-sharp, D-sharp, and D Sharp, okay. Then. Okay. Okay. So like you are 72 or three. Okay? So whichever you want to use. Then the last, the last use of that code I might highlight is playing it with the five. I know you've never heard of that. So I can play very Major six with the five. Okay. And I'm play my Major six with the five. Something like I normally, I think I should do this movement before I highlighted it somewhere. Okay. Okay. So it's this empty I can use for my my C-sharp. Okay. Or my E-flat. Something like Sharp. So something like then. Okay. So that's another 736 I'm showing you that are built from Miami Jazz six chord. So the normal chord. Then you play this note that my normal six ones, so you are seven. I think you may have heard that melody. So then I highlighted this when I said you could use them in a four with three. Then you just drop the F sharp to the F. And this is that I just voice it normally, The D-sharp minor. But I can decide to, to embellish my voicings. Like I said, every node apart from before Maybe I can do this then. Okay. So what did I play with there? May blend it with an F sharp major, 7.9, like I told you, take note of these codes, Delaware. You see this voicings be as long as you follow that should get you a voicings, correct. Okay. Any not apart from before. So even if you decide to raise it, you see what did they play? He I played a six liter five, I play that seven as long as I've not played the far mocking. If I decide to add any other notes in between, I can add them. Okay. So I can maybe play something like steelworks, as long as I'm not playing a four anyway. So I can even add this seven note here, okay? And maybe play like this, steelworks, any naught apart from there. Okay, so still locks. So take note of that. Then. I have, I have another Major chord that you don't normally use. Your major three, major three chord, okay? Media three. So this is going to the second Major chord. I'm touching one that people don't normally use your media three. So you are three normally looks like this open axial Major chord. You have, it's a B-flat Major chord, B-flat, D, and F. Okay. So where do you use this? Use this with the two. Okay, so maybe you've had this hymn, Amazing Grace here someday like. Then. I'll teach you that fat, and then we'll cover the whole song. So you will hear something like so that's the melody. Then there. Okay. So that could, there is normally a major three, is normally a major 3/2. So you have, you have something like this. You have G-sharp, you have Sharp, okay? Then you have something like this. You have your B flat major chord, D, F sharp, and B flat. But if you want to make it sound a little bit better, make the code and add nine chord. That's I told you you should really take note of ADP name chord C. Okay? So, okay, So make it an at night, and that means you just add this C naught, okay? It makes them a difference. Just add the C naught. So it becomes like that. So that's the five I showed you. You have your C, C-sharp, G-sharp, and B. Then on your right hand you have D sharp, F sharp, E sharp, and C Sharp, okay? Okay. So that's the be Major seven at nine over the C-sharp. That always works on the time. Okay, so that, so that I'll show you the song at the end of this tutorial. But what I wanted you to take notice these. So if you can't play this expansion, just play these two. Ladies with your right hand, the CDF and B-flat, okay. On your left hand, you can just leave it G-sharp, F-sharp. No problem. Okay. Then the other use of these ease with the five, okay. So the Samsung at the end. So, so, so these codons, on my left hand I have C-sharp, D-sharp, and then on my right hand I have D, F and a Sharp. Okay. They Major three code. Then all those results back to the. So you're not restricted to that voicings. So you can use this. Okay? So you can use these or these. Back to the one. Okay? So, so, okay, so know what, what, what you may have noticed about this Major chord, this, as long as you can use it with something, you can use it with the five of it. Okay. If I used it with the two, I could use it with a six. If I used it with the 0. I mean, if I used it with the two, I could use it with the five. And if I used it with the seven, I could as well use it on their three. It is possible. So here I've just demonstrated how to use it on two, how to use it under five. And for the major six Chord, how to use it with your seven and with the one. Mostly because those are the most common Major, major chords that you don't normally use apart from the land. Therefore, if I do songs or coma, so these are the other media Chords that you need to look at. Check this video very well. Make sure you get this properly. This is the one they seven. Then the major three with the tube, and the major three with the five. So those are the four main movements you are supposed to get from this video. Okay? So that will be it for this lesson, and I will see you in the next lesson. We'll be looking at Minor Chords 4. Chapter 3 Advanced Minor Chord Ideas: This is that chapter on our course on the key of F sharp. So in this chapter, I'm going to be looking at Minor Chords. In the previous chapter, we looked at major chords that aren't normally use. And I mainly based my lesson on to Major chord, that is the major six, this one, the major three. In this lesson, I'm going to be looking at mine upwards. Now, in your major scale, you have, you have how many Minor codes? Three, you have the 263. You have the 26. Okay. So those are Minor. You're normally used to. But now I will introduce another kind of Minor. Okay? So let's start with this simple Minor. So you are seven degree on the scale. That is, F is usually played as a Diminished Chord. So that's you. You are Diminished Chord, that's normally are seven. But now let's make these seven Minor and see how it will sound like. So if I decided to make it Minor to look something like this, that will be F, G sharp and C. Okay? And normally on the key of F Sharp, I like to use this inversion. That is C, F, and G Sharp, okay, this environment. So once you got that Chord on your right hand or what, How can you use it on your left hand? Now, I'll demonstrate something. You have had songs that came off. So what I did there, so maybe the song starts on the six Lake. I gave you the two tools. As long as you're playing as six chord or the one chord, you just play anything on your scale apart from anything from before so you can voice it however you want. Okay. So that's your six. You can see my voice sounded like D-sharp, C Sharp, and they've Sharp on my left. Then I have Sharp have something like an F sharp at the name called the Southeast. Then then I'll go to the two. Okay? I think I covered this in the Combinations section that you can play a one chord with the two baseline. So I have D sharp, F sharp, then I have c-sharp, F-sharp, and a Sharp, okay? And I'm doing something like F-sharp, G-sharp, the A-Sharp. So then, so then the Minor, which is supposed to be the, the F minor chord, which is now you are seven. Okay? So that is C, F, F, and D Sharp. So the one to the minus seven, back to the one to the minus seven again. And now this, for the second time, what I'm doing, I'm doing something like I'm telling this up from the E-Flat, so that's what I'm doing. So these three for the same time, then stayed on the two with laying the G-sharp and they're Sharp. Then then Okay, so let's call that movement is a passing chord. It's on its own. The six. So a sharp, D sharp, F sharp. Then. So that's your seven chord. Now as a normal seven chord, notice I'm Inaki, that's B and G-sharp. And like I told you, I'm telling it up again from the B-flat. Okay. So on your left hand you just have C sharp and F. Okay? So here is the movement. So like you have many songs that go in that direction. At the end of this course, some song Sweet shoves out movement. Yeah, So that is simple. Then you have something like this. So that's seven Minor with the two. That's what I was teaching at this point. The seven Minor with the to the minus seven with the two. Then you have something like this. You have something like this. Again, you still have the seven Minor or new on your right hand. But now on our left hand, we're going to change the baseline to D. So what changed was the baseline, okay. You can see I was playing G-sharp and F sharp. G sharp to D. Okay? So can extend. You can play the one on the lower octave, but also can't just lay one on the High Arctic. Okay. So some movement then? Yep. So you play the first time then. Okay. So so you have something of that. They Minor seven. So it actually two sets of the minor seven with the two normally resolves to the five. Or the flat six, which is your D, which also resolves to the face. So that's quite simple. Then take you to have a two minus that you don't use Minor foreign Minor five, okay? So this is your Minor for Chord. Normally you use B as a major, okay? So make it Minor. And you also use five as a major, C-sharp, so make it Minor. I'm talking about be Minor and seizure Minor. How you can use such codes on the key of F Sharp? Yeah, he's, he's a little movement you will he also such a movement? So the movement goes like this. So you start, it's always played on the two. On such a progression of five, Leica, the song, We Give you Glory Lord, decorous. So that's how this on bus. Did you the song on to the end. But for now, I wanted to base my, my movement on this Chords. So this movement, so fast chord, so they all of that thing is played on the two. Okay? So if you have also like to play it like this, you'll have to change your voice in course. Now that one involves my interval. So since it's not this chord, voicing will have to change to the lake I like to do, um, I safer voicing. This is one that safe harbor easy. Because whether you played with my interval or you play therefore as a major, you are still okay. So these for me is always, I said always think the only time you want to, these wasting is when you want to play the two is a major. But as long as you're playing there for as I Minor or as a Major, this voicing, it's just safe, okay? And for those who can do this, just play that. You can even play troot left so that you have these. You have F sharp, G sharp, and B. You can play that, but if you don't use root Left voicings, just consider G-sharp and B are for those who can place extension, The G-sharp, F-sharp. And so they all of that movement is played on this course. Okay? Maybe Diminished, but it doesn't matter. So, how do we start to start with the one? The C-sharp and B-flat, okay, and Asia, okay? Then then you have your Minor four, which is D, if sharp and B. So then, then you have your Minor five, which is E, G-sharp, and C-sharp. So then normally I like to do this, bringing it up from the C-sharp to D. So that's the Amina for the whole movement. So that's F sharp, B and D. So the whole movement is okay. So if you want it to sound better, you ignore the, the middle notes. So instead of, Okay, what do you want to do is just ignore this middle or so. Okay. Okay. So on as a substitute, instead of playing this, instead of laying the, you said, of this type code, you can just play this one. So so that's as a substitute, but normally we use it as a main effect, then just return. You can normally use them enough. So that's E, G-sharp, and C-sharp, then the Minor, which is D, F sharp, and B. So the whole movement Then to the one chord, which is c-sharp, F-sharp, and A-Sharp, then this one is more of a B Diminished Chord. So you have B, D and distributed G-sharp diminished, G-sharp diminished chord, or a minus six, something of that sort. Okay. So then the next one is, make it Minor, be Minor, B, D, and F Sharp. Go back to the C sharp minor, which is your Minor five. So that's D sharp, C sharp, and E. Then back to you or Minor four, which is F sharp, B and D. And then back to our, which is there Sharp. So they all movement is so the whole movement is normally play the one with the five baseline. Okay. So what do you really need to work on? How far as that movement is concerned? Is your speed? Your speed is the most important thing. So if you, if you are not fast enough, you might not be able to To Play that movement efficiently. So just practice it slowly until you get it. Okay. So now if you don't want to do the whole movement, as you can hear, it's a very long movement, okay? And it's the class, so much precision. So if you don't do that loan movement, just do the shorter one. Okay? The satan looks something like you don't have to start from here. Okay. So what you do, you just cut that movement and such from here. You just asked from this Minor fall to the main, advise them enough. All right. So assuming you're playing that song, I did. So for those who use these voicings, take care because if you press this not anywhere, you will have ruined your voicings. You really have to play like this mixture Etudes like this, okay? The shoulder movements, shut down movements designed to then you can even play what I showed you. Then I'll show you and I'll break it down in us all. Fluxicon. So it's a very long so you can actually split it into two, okay? So you might decide just to play the fast, But then go to the face. Okay? Play the second pass. You have two parts because that's all you can play any part you want. Okay? So that's the Minor four and Minor five. Okay? So that's the Minor four. And then my interface. Now they have I use, I told you in the beginning of use for the Minor for ease when you're playing the three that leads to the six, okay? But normally we like to make it a Diminished Chord rather than just the Minor four. Okay? So we like to make it the administrative, teach you that in the Diminished Chord section. But for this, take care of the Minor four minus five. Then the other Minor normally uses the five. Ease the normal Minor to Chords. You will hear something like then you'd hear something like you normally hear something like that. So that's movement is normally as improvement. It's just the three to three to the two of their played. The three has a minor, so that's F sharp and C sharp. Then you drop your notes chromatically, semitone down. So that's EAC, then To The G-sharp minor, which is D sharp, G sharp, and B. So, so okay. And on my right hand I'm playing a C-sharp, G-sharp and be okay or Minor to use. Instead of playing that in version, instead of being these evenly when you're playing that. So the last swatch instead of link gastrinoma face. So that always works. Holiday. So that was it. Minor is still on them. I NO2. So when you're playing the five, instead of the time, you could play this one. I've eight and I have, on my right hand, I have a Minor to Chord. No more G-sharp minor, B, D-sharp, and G-sharp. Then on my left hand, I have c-sharp, F-sharp, G-sharp. Okay. So that's the other voicings. Okay. Okay. Or maybe, maybe you want to take it a little stepfather, So okay. So what you do, this code, you just dropped the D-sharp to the D, drop the F sharp to the F and have such a code. Okay, So just taking matters a little bit too far, but you can still do that. So maybe you can drop it even further to the C-sharp. So drop the dish after the C-sharp. This one just remains. Now if you view, if you can play now that keys, you might notice that that was something I literally stole from the key of E. Okay? So that's a movement from the key of. A good thing about learning to play now keys because if you can just see movement from India, okay? Okay. I got stolen from the key of E and then transfer the same movement to each key. Is it the key of a or the key of C Sharp? Something like, yeah, the key of C Sharp. So use the same movement or the key of C Sharp, and then do it on F-sharp. So you will have something like this. You'd have something like these, which looks like this. Okay. So on my right hand, this is the Minor seven I told you about the D-sharp, C and F Then on my left hand, I have I have a sharp, D sharp, E, and F. And as you can see what I'm doing, I'm playing, I'm playing the fast and lastNode fast, then the central North lead. Okay. So these what I'm doing, I'm not just laying it. So then what I'll do, I'll just drop, drop the C to B, then drop the Sharp to the D. Okay? Okay. Then that takes you to the sixth okay. Movement. So this is the same time, C-sharp, D-sharp, and G-sharp. Then take this off to the F. Then I guess one on the dish sharp. F sharp. Okay, so that's a very good movement to the six. So instead of just playing the survey, he said I'm just playing the seven today. You could just do this. Okay, so the salmon to this. So basically simple movement. I just literally stole it from the key of C Sharp. And then I'll still the same movement from the key of B. Yeah, I'm still the same movement from the key of B. On my left hand, D sharp, G sharp, a sharp on my right-hand, C-sharp, F, and a Sharp. Okay. Then I'll drop the G-sharp to the G. I'll drop the F to the E. I'll do that same thing. Okay. There's something I did here. Just detail though anchored to this. Okay. So, okay. So that's more of a nice Minor movement. You can, you can play there. So this is a three Minor. If you noticed, then you just drop it, make it a Diminished seventh, but I'll cover more of that in the Diminished section, so, okay, So those are a few minor movements you can add to a Playing, okay? So Minor seven Minor for Minor five, Minor to in a different way, Minor three also in a different way. And as you can see, I'm also stealing movement from other keys. Okay? So that should be it for this lesson. So make sure you practice those things very well. They require a lot of speeds and a lot of precision 5. Chapter 4 Advanced Diminshed Chord ideas: Welcome to chapter. These are Sharp Course, so this is going to be about Diminished Chords. As I'm dealing with Diminished, I'll mainly be dealing with Diminished seventh chords. Okay? So Diminished seventh chords, I, Diminished Chord look something like this. That's an F sharp diminished chord. So from the Major you just drop your third or fifth. Then in order to make it a Diminished seventh, you have to add this node becomes a Diminished seventh. Okay? We're not only going to be using the Diminished seventh, but the F sharp is the E, is the C. Well, those are the same thing. They're just inversions of each other, okay? Sharp one. The second group we have is G Sharp, and the last group we have is. So we only have those three groups. They're all inversions of each other. Okay? So the head Diminished seventh is just an inversion of the F sharp diminished seven for the C. And so they're destined versions of the same thing. Okay? So they are normally many basic uses, okay? So like the movement I was talking about on Minor, what they, five Chord movement. Basically, you can see I was turning the code from a Minor to I Diminished seventh chord. And what is the Diminished seventh chord? This one. Okay. So this can be, That's what else do. But I thought to this moment in that previous chapter, so check it very well. So basically that's one used along with the five, okay? As long as you're playing, God, you can play to the whole Diminished seventh, okay? Okay. Okay. You want to make it sound a little bit fancier? You just start from the Major seven, then bring it back to their Diminished seventh. Be Diminshed. Major seven. Make it a Diminished seventh. Then back to the line. Okay, So that should be quite simple. Okay? So can, you can just choose to extend the Diminished seventh chord a little bit. Okay? So, okay, So instead of dropping the whole thing, you just drop the two middle not so that's the D sharp. F sharp. Okay. So you just drop them. So that's what you can do. Something. Another, another movement I could teach you is the 625. Okay? So the six letters, six. We, F-sharp major seven chord, F-sharp, C-sharp, and F, Okay, nothing. F-major seventh edition baseline. Then to the, to make it a Diminished seventh. Okay? So that becomes an F sharp, a, C, and D Sharp. Okay? So and then to the five. And as you can see, I like to play the, the five is a dominant seven. Not illustrate five, okay? Not something like I'm playing it as some kind of dominant seven chord. So instead of doing that, you can play the whole thing on. You can do as we did here. These you can start with the two With the four major seven, then the five with the Diminished seventh, like we said, then to the one. It's the same thing we're doing here, the six. Then they Diminished seventh. But what you can do, like we did here, we said you could play it like this. So you just drop the, the two nodes. So there's anything. You can have a two chord which looks like that. So start with the two, or maybe the secret. Then drop the A-Sharp to a group decision after they see my face. So basically that's on then they have a movement. Let's Left Len as exhaust these movements completely. You have me play Taya. Now. I have this. Then. So what I did them. So again, I use the same formula, just dropping the two nodes. So, so I have the six to the two. Okay, we've done that. I have this code now. It's there for the five. Okay. The baseline is the five. The five and the two, that C-sharp, G-sharp. Then my right hand is playing this long chord, five-note. They'd been Major 7.9. But now what I do is I play this be not on my left hand so that I made my AAC easy. Okay. So I believe this way, but I was speaking in musical terms. I'm supposed to be Playing like this. So that this is B Major 7.9, like I told you in the beginning. And then here I have my face chord, but now normally like to distribute the rock. Okay? Then after you play this chord, so you have C-sharp, G-sharp and be on your left hand. Then you have D sharp, F sharp, a sharp, and c-sharp on your right hand, what do you do? You drop drop the D Sharp to the D. Drop the Sharp to the F. Okay? So you have that Chord. So maybe, maybe you have the Sikhs, like we said. So there five. Then, then back to them. So you have the 251, which we say these this then drop. Lindsay two bucks. Okay. Then you have the six to five, which we should be something like like this. To the two, drop. The five if you want to go back to the one drop again. Okay? So there's always a substitution for this chord, okay? But that is normally used by very Advanced players, okay? This Chord days usually a substitution to this course. Normally I would use such a chord. But then this Advanced players who allow turn it into a combination of two Diminished seventh chords. So it's a chord that sounds very funny. You will hear such a Chord. So for them, these discord, normally songs like that. So you have your F Diminished seventh chord. So that is F, D-sharp, B, and D on your left hand. Then on your right hand you have E Diminished seventh Chord, C-sharp Diminished seventh chord, but it starts from E, E, G, a sharp, C-sharp. So you have those two. Now, if you own that Chord to sound, better, make sure you don't play all the notes at once. So don't, don't just like this. If someone was listening to you, they would wonder what exactly is wrong. But if you want it to sound better, you, you play each note. Hello, app once. Okay, play each note alone at once. So what you'll be doing is something like this, okay? Okay. So just play it up once. Don't play. So they do snake, you're doing something. Then that's normally I chord, which very advanced players? You won't find it in many cases. But if you really want to sound very fancy, heights up to yourself. So you will have things like car. So let me repeat to that seeks to five movements. So you are Pfeiffer. So bisschen, so this movement we did in the Minor section, you have to turn it into a Diminished seventh chord. Okay, we did this in the Minor Chord section. I taught this movement towards this dot. So basically that's I told you I would explain it further here. That's kind of movement is basically meant to tan the code from being a minor to a Diminished seventh. For example, let me use this to explain. You see this is a minor, B minor, B-flat minor. Change it into a Diminished Chord. Just dropped the F to the E, okay? Okay, so I'll just chew that momentum later, but so you have something of that sort. So you have the Diminished Chord, the end again, you don't have to do this 625, okay? He doesn't have to go. Seeks to then to the five. You can still play this codon, the two. So Play board the two chords on the two. So then you can, so the Chord I showed you, it really sounds funnier, especially if you're not used to heat, okay? But what most people normally do instead of playing the whole thing, They usually ended on their three. Okay, so, okay, let's see, Back to the one chord. So odd. Okay? So basically that, that's a good movement. You can use, okay? Diminished Chord. We like to use their movement. You will hear very Advanced play as using something like this. Instead of these, this movement, vigilante, that Minor section. Okay, so just let section very well and make sure you must study smooth. Okay? So, so instead of these, instead of this movement that takes you to the two, what we know Mily lake to do is to do this movement. You will hear things like this. I don't know if you have had them before. You'll hear things like then to the total. So this movement is a Diminished seventh chord movement, okay? Normally the code is this, D Diminished seventh. So you have D, F, G sharp, and B. Then drop each tone, each node down by a semitone. So back to the fish up Diminished seventh, C-sharp, E, G, and a Sharp. Then invert the C-sharp Diminished seventh. So when you invert it, it's going to start from E. You have E, F-sharp, and C-sharp, C-sharp E. Then you play the one chord. And normally that one called displayed with the two baseline Like I said, this can't extend. You can even play the whole G-sharp minor code on your left. For those who can extend. So this is the code. Now, what we like to do is to do what to call. What I like to do personally, they are those who play. There are two types of movements you can use here. You can use drop one movement or dropped two movements. Now, the drop one movement involves you dropping the fast naught from your last one on your left leg, for example. I normally use drop one voicings, so this is what they call them. You drop the first note from your left. Okay? So this is the undiscounted as zero. You can't drop your last node, okay? So you drop the first note from your, from your fattest not on your right, Really. Yeah. So you drop this and play it on your left hand. Okay? So instead of playing this, he dropped this node on your left hand. Okay? Then if I was to do a drop-two voicing, what I would do is drop the second note from the farthest, not on my Right. So my father snowed. That means this is my first node. This is my second node. So I would drop this and play it on my left hand. So that's how my drop-two voicing would look like. Okay, my drop one voicing looks like this. And that is what I'll be teaching here. Drop one. So now that I taught you do the drop one for that was the D, D Diminished seventh. So we're going to do the drop one for the C-sharp efficient Diminished seventh. Looks like this. Okay? So when we do then drop one, that means we'll drop the G and play it on our left. We have the D Diminished. Back to the C-sharp Diminished seventh. The third Diminished seventh chord was they eat Diminished seventh. Okay, So this is how it looks like. But we are doing a drop one voicings, drop the sharp node plate on your, on your left hand. Okay? Okay. So this is how it sounds. Then what I normally like to do. Then I just do this. Okay. Okay. So then to the two. So that was the same movement as instead of just playing it like that plate with some emphasis on your drop one voicings, okay. Then takes you to the two. So that is usually a substitute for diesel movement that I taught you in the Minor section here. So you can do this. I thought that all movement in the Minor Chord section, so check it properly. So that is congestive to the one chord you don't have to do. And I taught you how to do that Toile in the Minor Chord section. Then there is also touching the Minor Chord section, this one. Then that on day two to six, okay? So there is also a movement for that. Okay. I'll movement for that. That movement looks like that. Okay? So this is how it looks like. I'm using drop one voicings again. So I'll start with a Diminished seventh. But because I'm using one voicings, I'll drop their D-sharp nodes and plate on my left. So that's how my code looks like. Then from the air, Diminished seventh, I'll go back to their G-sharp diminished seventh, G-sharp, B, D, and F. But because I'm using a drop one voicings, I'll drop the end plate on my left hand. Then what are you doing for the last for the last round? Just invert this and start on the B. You have a be Diminished seventh, B, D, F, and D Sharp I'm using a drop one voicing. So I'm dropping the F, Playing it on my left hand. Okay? So basically that's the whole movement. Then back to the sixth. You can play it with a five chord or do the movement I told you. As you can see, I'm feeling my voice sing up. I'm just filling it up. Because I said, as long as you're playing a six chord, you can play any notes on your Major scale apart from before, except in special circumstances. Okay. You see I'm filling it up. I'm not just playing it like this. Okay. That sounds okay. But if I play C, So I, I played the six, the one, the 2.3. And here I play the HIV Chord, C-sharp, or do this. I thought that in the Minor Chord section. So this is how the movement looks like. Okay? One last time. Then, then, then. Okay, so it's the same thing. I just told that movement from C-sharp, okay, if I was playing on seashell, I'll use that movement to take me to the two. Okay. Okay. So I just told them what went from CSIA. We did the one for the F sharp. So this one looks like, okay. And if I wanted to go to the key of B, I would still that same movement from F sharp. So that's the good thing about knowing how to play in all keys because I'm doing a lot of relating here. I'm taking some movements from C-sharp. I'm taking us from B. As you saw in the Minor Chord section, I was taking a movement from the key of E and bring it to the key of F chapter. That's, that's what will help you in your Playing relating these keys, okay, so that you're not stuck to Playing on a particular key. So that's basically it for that movement. The movement that takes you to the two, then the movement that takes you to the six. Okay? Then the other substitutes you could use for that is the 736. Basically play the seven with an F sharp, diminished seventh. Okay? F-sharp, C-sharp, D-sharp. And then you play the three-minute G-sharp diminished seven, which is D-sharp, B, D, and F. So that actually helps you build a certain melody. It's like you want to play such a melody. So now this under to go to the two. So I basically a few Diminished Chord movements. The other last movement I lead to is when you break down the whole Diminished movement, okay? Assuming you wanted to play the seven. I'll just demonstrate it and then I'll show it. Okay. Okay. So what did they do on my right hand? I just played the seven and I played the seven over the two. Okay, so that's F D-sharp and G-sharp. D-sharp, G-sharp, and be okay. For those who can't play this extension. That's play the, the, if. Normally as I Diminished Chord because it's your seven. Okay. Then then I did this. Okay? So what I did the, I just did the walk-up Diminished seventh chord. So this is D, F, G sharp, and B. So I just played it to not separately. Then back to the three, that is your B-flat, and then to the seven. Then play this six chord I told, I showed you. Okay, so that's a good thing. So you normally hear people, events start from here. Okay? So F, E, E-flat, then you can do the same thing for the two. Okay? Like this. This is how they two looks like. So I bought the same movements from the key of B. Okay? So this is the Diminished Chord I'm using the good Diminished seventh. So G, B-flat, C-sharp, E, E-flat, B-flat, and then most people will start from the B-flat. So is there something? Okay. So that was simple movement. So to take you to the two, take you to six. If you noticed, most of my Diminished seventh movements either take me to the six or to the two. If you have noticed. Either take me to the sixth, to the two, there are some that take me to the one like the one I showed you this meeting. They one, make sure you practice those Diminished movements, especially the drop one voicings, okay? Those ones take time, okay? You cannot just land them instantly. Those ones take time and a lot of practice. They drop one voicings, take note of those voicings very well. At the end of this tutorial, I will put us on where I will have such a movement, okay? I will have the Diminished seventh drop one movement and both downward and upward. Okay? So that will be it for this chapter. I'll see you in the next one. 6. Chapter 5 Advanced Suspended Chord ideas: This is chapter five on our course on the key of F sharp. So in this chapter you're going to be looking at Suspended Chords. And when I'm talking about Suspended, I'm talking about two types of Suspended Chords that is Suspended two, and Suspended for gods. So if this is your F sharp major chord for the Suspended to, you just dropped this tied to their second. So you have That's your SAS two. Okay. Then for the Suspended for you just shopping these Tad to the fourth. Okay. So that's the your F sharp SAS for ash Sharp sass. Sass for us to four. So we're going to be using Suspended Chords for many keys, okay? So maybe they like E-flat Suspended to I went to be using E Suspended to Sharp, E-flat, B-flat, B, C-sharp. So we're going to be using very many types of Suspended Chords. So let me start with the basic theory. So this is your one. So if you're going to be Playing using Suspended Chords, this will be a one chord. Now, this chord is a D-sharp Suspended two. Okay? I'm doing the extension here. As you can see, I'm playing the B-flat, B-flat, B-flat, E-flat, F, and B flat again. So then on my left hand I will have something like I have F sharp and F on my left hand soap. So that's my one. Okay. So instead of playing your one like this all the time, you can play. Okay. Most of them so to like to do is just going up there. He flashed there so you can ignore this node. Okay? So you just label them. Then this is the O2. Okay? So you have G-sharp, E, and F sharp. Then on your right-hand you have B, E, F sharp, and B. So that's two. Now this is the E Suspended to chord. Okay? So that's where you're two or three. You will have. On my left hand, I have B flat and they're Sharp and I have E-flat, okay? Then on my right-hand I have C sharp, F sharp, G sharp, and C-sharp. Okay. So you have your 123. You are far. So you have B. You have G-sharp, you have a Sharp, then you have D sharp, G sharp, a sharp, and D Sharp, okay. That's your fault. Then for the five, we don't really like to use the Suspended Chord on the five chord for the fight for two normally do is we use, we use B-flat, but notice that Suspended Chord as a Major chord, okay? So normally they will Play, and I think I taught you this earlier, the major 3/5, okay. Like I told you earlier, it always comes back to the land code. Okay. So as you can see, I used it as a Major notice that Suspended. You cannot even use it as a Suspended because he views it as a Suspended. You're going to have to play this note. This note, it's not required in your voicing four or five Chord. C-sharp, G-sharp, B. Then on my right-hand, F, F sharp, D and F, Okay? So if I will use a Major chord, then Songs back to them. Okay? Then you have something like the six. So you have D-sharp, you have B, you have C-sharp. Then you have F shampoo or B or C Sharp and F sharp on the right-hand. Okay? So that's the six chord. Then for the seven, you just move each knot up via tone. So you have F, C-sharp, D-sharp. Then you have G-sharp, C-sharp, D-sharp, and G-sharp. So that's the 765. I said it's a major for their, for for the three. Okay. So now they're these movements people like to do in-between the Suspended Chords, you will hear something like so. When you have this Suspended Chord, just start with the F. Okay? So you don't play this note, you just ignore it. Or that lake I told you in the beginning just to elite up. New Sharp to F with this end down, okay? Then you just drop the E-flat on both hands. Okay. You just play the same thing on both hands. Sharp to ask back to any kind of movement you want. I could decide to move down from F to E to E flat, okay? Okay. Okay. Any kind of movement, maybe they could decide to do something like F to D to D-sharp on my on both hands. Okay. So it's whatever you want to do with both. And some will do movements like Ni shop to shop to D-sharp mixture. You hold every other nodes done, okay? Okay. Then for the two, okay? So for the, to the kind of movement I'm doing it from the F sharp, E. F. Okay. So okay. Then then to the today. Todd, for the top, they usually do this. So they D-sharp, F-sharp. You can create these movements. You could even do that. Whichever kind of movements you want to do. Okay? Okay. Then you have for the same movement as for the one for just anything you want to do. B-flat, E-flat, E-flat, G flats. You could do anything you want. Anything you want to do it. For the six they normally do is C-sharp to B-flat, to be doing it on both hands. For the seven, It's essentially latch to see, to see Sharp Okay, so have your 1234. You are seeing back to one. So those are, And you don't have to do those movements are lead time, okay? Sometimes you just hold down the chord. You don't have to do these are letters. You can do it once in awhile. Okay? So even if you are Playing I song make you, I'll find omega. You can see what I did there. Then. I used my Suspended Chords is done for the 67. Okay. So even at the beginning. So Suspended, Suspended. Each really helps you in terms of your voicings. You'll have to Purdue. So maybe normally you use it to, let's say they, song has ended in. The band is playing on the one chord, okay? The button, maybe it's holding down on the one chord. What you can do is a keyboard player that I ease, just something simple. So this Suspended Chord, that's the Suspended for the F sharp, Suspended for, oh, the B flat. B Suspended to, I mean, yeah. So they'd be Suspended two. So this is what they do. So your left hand, E, F. So then to the six. So E-flat, E, F on your right-hand, you just play the five chord, which is D sharp, C-sharp, and F, D-sharp, F-sharp. Then you have B, C-sharp, and F-sharp. Okay? So all that is play. The bass guitarist is Playing the one chord. So that's just a simple movements. Don't have a bass player. You will just have to hold down the F sharp note for yourself and focus on better, you might consider Playing the extensions. So instead of just playing it this, or you could play this. Okay, So that was mostly part of the Suspended to Chords. Now we demonstrate Nava kind of use. Now this is, will be more Suspended for Chords. Now, Suspended for this is what we'd like to do. I will start with the F sharp Suspended for code, this one. Okay. So even, even when you are playing with the band, this is what you said of these. You could do the inversions. Ok. Ok. So your left-hand F, the right-hand, G-sharp, C-sharp. Okay. Then bring it back to the D Sharp If Sharp Suspended for code on your right hand. So that's F sharp, B and C Sharp. Okay. So all that while you are Play. So I simply, it's for the Suspended for chord, F-sharp, Suspended for. Now, this is another use. We normally use it when you're playing the five chord, okay? Okay. So assuming you're playing alone, you don't have a base Play. This is what two you would want to do. So so okay. Okay. So I'm assuming progression. So you have your one seeks. Then to use the movements I taught you in the Diminished Chord and Minor Chord stations. Okay, so, okay. So then movement I'm stressing on is the movement I'm playing on their face or the one seeks to the two last movement. I don't, this isn't the Minor Chord section. Not one where you bleed the, to the five. Basically you're playing the same notes for each Hand, except the C-sharp and E-flat, okay? They do Sharp and remain constant or both hands. Then for the left hand you have the same Sharp. And then I tend to have the E-flat. Then that's on the fight. Then still on the five. Ok. Ok. Ok. So okay, so this okay. So there's such a movement. So this is what you do on your right. And so then C-sharp, G-sharp, and B, then Suspended for F sharp, B and C sharp. Then just drop their Sharp today. So so, And as I said, for the fast God the right-hand, you are playing a two chord. Then. Okay? So as you're playing this code on your left hand, on your right hand, you just play a normal four chord. So that's F sharp, B, and D Sharp. Then when you drop that shaft to the F on your left hand is just play a five chord. So that's F, G sharp and C Sharp, okay? Okay, Juan to the to the two. So that's one half words. It's usually more of a Suspended to chord. Okay? So Yes. Digit is called upwards, F sharp, G sharp, and seashell, that's the two. So that was for the face. So we have one for the for the 66, it looks like this. This one is a substitute for the six that leads you to the two. Like we said in the Minor Chord section, you had this, this movement. In the Diminished Chord section, you had this movement, this movement, that one we did in that Diminished concessions. Now in the Minor Chord section, this is what you have. Ok, OK. Ok. Ok. So on your left hand you have a G-sharp, C-sharp, D-sharp. Then you have a normal five codon your right hand, okay, on your left hand you have G-sharp, C-sharp, D-sharp. That's now the A-Flat Suspended four, okay? Then you have a faith Chord, G-sharp, C-sharp, and F, Okay? Then not one leads you to this. So you just drop the, the G sharp to G, Okay? Then, then, so that now you have, on your right hand you have E-flat major chord, so that's D, a Sharp, and bishop. So not only see to the two, like we say, this one leads you to the one. So this leads you to the 26, good. Okay? And that movement, you can hear the song. Then. This movement is just the C sharp diminished seventh. Okay? So I'm playing it like this, C-sharp, E G sharp, and then I extend it to the other C-sharp. So then today too. Okay, so so that's basically it. You have done that leads you to the six. You have the one that leads you to the to the two. Okay. You have done that leads you to the one I mean, another one that leads you to the two. So you have another one that leads you to the six. If you noticed the one that leads into the one starts from there. Okay. So this one this one leads you to the two. It starts from the two. Then then that leads you to the six will definitely start from the six. Okay? So this is how the thing looks like on your left hand. So you got that one is now at record. You have D sharp, G sharp, and a Sharp. Then you just dropped the D-sharp to that D. Then that takes you today six. Okay. Then you have that coordinate Right Hand. You have that. Okay. So you have that. So you have be sneeze. On the right-hand, you have these. You have a flat major chord, so the sharp, G sharp and C, you could decide to make it Minor, okay? Okay. So D-sharp, D sharp, and B, then this D, F sharp, bend to the 66. Okay, So you have that. If you'd like to sound more fancy, make it Major. Something. You can do the same thing on C-sharp. C-sharp, E, F sharp, G sharp. On your right-hand, you just have one Sharp Major chord. Then drop this to the sea, then make this a flat. Okay? Okay. So that will be, will be those movements. So you have this one, this one, this one. These are for one that leads you to the 11 that takes you to the 21, that takes you to the six. That takes you to the five. So you have those four movements. So that was really a very extensive cover off Suspended Chord. So you need to practice those things very well. You don't have to apply them everywhere, okay? So you just apply them at specific points in your Playing. I'll demonstrate using a few songs at the end of this course. But meanwhile, let will beat. I'll see you in the next chapter. 7. Chapter 6 Advanced Quartal Chord ideas: Okay, Welcome to the last chapter, wire. If sharp major course. Now this is the last chapter I am teaching. And then for the other two or three chapters we'll be doing demonstrations. So this one is going to be on Quartal Chords. I followed this up with the Suspended Chord section if you, if you have seen, because Quartal codes are basically inversions of Suspended Chords. Now as we were saying, they, the F sharp Suspended to chord loop, looks like this. Okay? That's the F sharp Suspended to Chord. Now, the F sharp Suspended to chord, inverted becomes a Quartal Chord. Okay? So assuming I play this F sharp on higher, it becomes something like that. So this is what I call Quartal Chord. This what I call a protocol. There is one I call it a Quartal Chord is because it usually involves fourths, okay? Assuming you wanted a Quartal Chord that starts on F sharp. Okay? Assuming you wanted a Quartal Chord that starts on Sharp, what you would do ease. You would use the Major scale over Sharp, okay, So you have 12. Then play the fourth. So that's still not a Quartal Chord. It has to have at least three nodes. So the next node will be on the Major scale of be default on their Major scale of B, and this should be one. So you have that becomes a Quartal Chord. Okay? So this is a Quartal Chord. This one. So eBay play all the quota Chords, Let's say from C to be, this is how they look like. C. C sharp, D sharp, E, F sharp, G. G sharp, a, B-flat. And say No, you have be the 12th CocoaPods you have on day Piano. So you have those 12 and remember they have different shapes. So make you see the see Quartal Chord. C-sharp, D, E-flat, E, F, F sharp, G, G sharp, a, B flat. So that's how Quartal Chord look like. Okay, so we're going to, to see how we can use this quarter codes on the key of F sharp, on the key of F sharp. Now, we'll start with common uses, okay? So on the key of F Sharp, we have something like this. So if you have your F sharp major chord on the Major scale, what we like to do is if the Quartal chord, Let's see stats on, stats on F-sharp so that if that is your Quartal Chord, the, you are bezahlen on the right is supposed to be at on higher than F-sharp, G-sharp. So if you're Quartal chord starts on D Sharp, mean, that means your baseline will be a Sharp, okay? Okay. Let's say you are, you or your baseline is C that are flat five, okay? Your baseline is C. That means you're Quartal Chord will start from B-flat. Okay? So let's say you are bezahlen is D, which is a flat six on the key of F Sharp. You Quartal Chord will start on C. Let's say you have this Quartal Chord, C-sharp, F sharp, and B. As long as it starts from C-sharp, your baseline starts from D-sharp. Then you have these. Let's say, now you're play on the key of F Sharp. We don't normally have a Quartal Chord. Okay? So first Sharp, we don't normally have a Quartal Chord, but I'll show you another way. We can have a Quartal Chord on Sharp, but using this general rule, you will not quite have a Quartal coordination. So you will first go to Chord will start from G, which is flux to Worship one. So as long as you are Quartal Chord, your Quartal Chords baseline is G. Then you Quartal Chord start from F, G, then you have sharp and D Sharp. Okay? So how do you use that? That is used as a passing chord. Let's say you want to move from the one to the two so you could use, okay. And as you can see, these 2 kt, I just repeated my beta and F and B-flat, okay? But, but my baseline nice G, okay? Okay. So use it as a passing chord. So what today two. Okay? Then you have the two. You always have a Quartal Chord for that. So you have this G-sharp, F-sharp, B, and E on your right hand. Okay? So basically, I'll teach you the third one, which is on the three. On the three, you have this A-Sharp, then you have G-sharp, C-sharp, and they're Sharp. That's your hotel quadrant three. So basically if you wanted to play 1234, you would consider using Quartal Chords, okay, So you have your one. So you will want to Quartal Chord, the three Quartal Chord then for you so 23. And take note of the voicings I told you for the for in the to the 601. We need to help you. Then. The 203, we don't normally like to use Quartal Chord for the fall, okay? So we normally use a protocol for the flat five. The Sharp for this is C. So this one. For the C, you have a sharp, D sharp, and D Sharp, okay? Okay. So it normally leads you to the five. It's usually a substitute for Major two. So instead of who Playing like this or the minor seven chord, eight to two on the Minor Chord section. So instead of that, you could substitute it with this. Okay? Then, for the flux Phi for the Sharp four, then we usually have another Quartal Chord for the sharp five sonar to their faith. But the shelf five. These. So you have D, then you add C, F, and B-flat, okay? Six. Instead of this woman that I taught you in the Minor Chord section, this, I could just substituted this. So instead of these that we did in the Minor and Diminished Chord sections, instead of these, this movement to you Playing like, make something like this. Okay, Please sit of that desk substituted with one chord. Six. Then that's the flat six. Then you have one for the 66, D-sharp, then you have c-sharp, F-sharp, and V. Then you have one for the seven. So that's F. Then you have D sharp, D sharp, and C Sharp And that's the last one. Okay? So, so that seeks to the seven, to the one. That was the movement. You could substitute it with this in the Suspended Chord, section seven. Okay, see you in the center. That's the Suspended Chord. Now these are the Quartal Chords. Okay? So as you can see, a bonus kinda leading into these Suspended Chords, Let's say I want to so I could start from a tone high. Okay? So this maybe auto-play the three I sat for my tone higher. You can start from anyway, okay? So basically it, It's a simple, simple, simple Chords. So those are the CocoaPods in our basic use, in our basic use. Okay, so there's lots, two to three, flat five, flat seven, then the cell. So those are the Quartal Chords in our basic ease. Those are the ones who use for basic use. Now, there are other uses of Quartal Chord switched and now more advanced than what we have just two. And now there is this movement people like to do here, things like, okay, As a friend of mine likes to do. So that's autopod movements. Okay? So this is the basic thing, okay. So be We're on your left hand, then on your right-hand you have the F Quartal Chord, that's F sharp and D Sharp, okay? Then you back to the B flat. Then on the right-hand you have the D-Sharp Quartal Chord, C-sharp, G-sharp, and C-sharp. Okay, so then you can always lead it to this B naught from wherever you want. Okay? So normally people do this. A B-flat, be a friend of mine who likes to start from G. Okay? Okay. So that one, that movement is a movement for the one chord. Bass guitar is simply the one. The one, no, it's okay. And you will play this. Okay. Some other gay likes to do. Then. He just did there was he just went a semitone lower. Okay. So these so that is a, then you have TGC, okay? So it starts from this. Then he goes a semitone lower than this. Okay. That's personally ease my is one of my favorites. So you don't always have to do this movement or SunDu lake. Okay, however you want to live. But Normally, now, if you're playing the one chord, you don't have to do that only take what you just do. You can just play the record itself. So just lead that. You see that. So I taught you this movement in the Suspended could say when the band is holding down on day one Chord. Okay? So that's the one chord. Then you, you just take the same movement at translates to another key. So let's, let's transfer the same movement to two. Which key, which keys this. Let's transfer this same movement to another key. Okay? Lesson, sudden movement to be. Okay. So there's some movement on Quibi, looks like this. This was an F sharp. The best line is Sharp. Let's take the same thing to be. That movement is usually meant to take you to the form. So this is how it starts. E on your left hand. Then you have a sharp, D sharp, and D Sharp on your right hand. Then D-sharp, then you have G-sharp, C-sharp, and F Sharp on you are Right Hand. Okay, so okay. So you could even do that if you wanted to. So that's the chord. That one is for. Holding down the baseline. If you don't want to play the best light, you could add these little slots on your left hand to make it sound better. So you could lead into it from F sharp, from D. So that's the four-part. So if you don't want to do this movement, you just play the chord. So for the one chord you have this. They forgot you have this. Okay? So this movement, these could be used. Let's say you're playing a 6251 form of media, the movement I like to do so 662. And I'm using code that I've already shown you. So 6625. And then to the one. So let me break down that six. And I'm playing it with F. We then F sharp major 7.9 code, okay? This one. So then, then this is the minor seven chord, Minor Chord section. Check it properly. Then to the five. What I'm playing it with ease. I'm playing the C-sharp with an E major seven at night. Images seven at night. So the Chord C-sharp and E on your left hand, then G-sharp, B, D sharp, and Sharp on your right hand. Okay. So some other too late to do that. Okay. So let me break down that movement. B-flat, be Sharp. Okay. Then when you get to E-flat, two plates together with the F sharp, with the E, I mean, okay, so so D sharp and E, I played together. Okay. So that's how it looks like on your left hand? Okay, And then on the right-hand you play this chord. So you have F sharp, D sharp, B, and D Sharp. Okay? So that's your face. So you could just flake like I played it. You could play that out. So you could have such a Chord. So that's the five and then the one. Now when you get to the one, you could play this chord that we did in the Major chord section. They may just six over the one. This one. Then two default. Instead of playing this one, you could now play the movement after less instead of laying bees and then to default. So when you get to the fight, one, so that's the one. Then four. So that's your fault. Okay? So you have your us seeks to the two, to the five, then to the default. Okay? So that's basically what you have. That movement can be used to substitute, okay? So these are the movement can also be used to substitute. Can be used to substitute, assuming you're playing a 251 movement. Okay? Let's use the example used in the previous section. Okay? Seeks to the two to their face. Then the Ally seeks to find the one. You see that meant. Okay, fine. Okay. So six sides. One, okay? So those two movements can be used to substitute. So you have this chord. Then you have this Chord. We have this course taking you back to the one. So as you can see right now, I'm playing the bass lines, okay? So this one, this one takes it to the right. Okay, so those are simple movements you can, you can use here and there to embellish Playing. Okay? So the other way you use Quartal Chords is simple. Assuming you want to do at three-sixths two movements, what you do is you play the Quartal Chord for the three. Okay? So that's a Sharp then G-sharp, D-sharp, F-sharp. Now, if you want to go to the six, all you do is just drop the G-sharp to the G. That's all you do. Okay? So then to the 236, to the two. Okay. It's very simple. So okay. So basically something like that. If you wanted to do the 736, same thing again, okay? So they Quartal Chord for the 77, which is D sharp, G sharp, and C sharp, F. The three, D, G-sharp, C-sharp. Just drop the dish after the okay. So basically just dropping the quarter notes. Okay, So the three-sixths to do can see my voicing for the two. I only have B-flat, B and F sharp on my right hand. Then on my left hand is G-sharp and Sharp. Okay. That's why I could place it this way if I wanted to. That's now the a B at night be Major seven or nine. Okay? Okay, so that's fine. Okay? So what I'm basically doing here is taking movements from other keys and introducing them into F sharp. Okay? So Laika, that movement, this one, they 731 is a movement on the key of C Sharp. Okay. She are Playing then the three-sixths, two, C-sharp, E would just use the same moment. Okay? So basically those are the major uses of Quartal Chord. The last uses when you use what we, what I like to call spoilers. Okay? So instead of you playing the three Quartal Chord, maybe as these, you just Sharp in the note on the middle, okay? Yes, chapter in it so that it goes to two D. The fish app goes to D. So you have half. You can even play both notes, the C-sharp and the diesel. Okay, so something like then there's something happens even for the flux Phi, this one. Okay, So you have that. Okay? So you have something like this. Okay, so that's boiler, the E naught something for their seven. So instead of laying like this, you just introduce this a naught. So in fact it, it will become something like this. So these are to become becomes handy later. So there are so many uses of petawatts, those are just a few spoilers. Yan there. You don't have to use this playlist if you're not yet used to them. Because they might sound a bit strange, but that I use this, make sure you get them very well. So that will be it for this chapter. This chapter is on Quartal gods. In the next chapter I'll be using a demonstration song to show you how to apply some of these things. Yeah, so that's seat, and I'll see you in the next chapter. 8. Chapter 7 Song Example 1 We Give you Glory Lord: Now, if you checked the previous video, that was a demonstration video for the song, We Give you, Glory Lord. Okay, so, so this is the basic progression of music. So I'm playing from the one, you Glory Lord to the 23. Okay, then two, therefore, we Phi, then 736. Then still on the six to fall. Then not so faithful. And therefore then the, then for five weeks, seven. So that's the melody of this. Okay, So I was just giving you the progression of the song. So at some ways I did these flat, flat 61, okay, so that's just the progression I was using. So now I will demonstrate to you how I was playing it. Okay, So I started with our 671. In this one is in the Suspended Chords section. Okay. Okay, that's how I started. D-sharp. And if Sharp on my right hand I have B, C-sharp, and F sharp, okay. Then so that's F and D Sharp. On my right hand I have C-sharp, D-sharp, and G-sharp. Then I have an F sharp at the same code. So I have F sharp, G sharp, and a Sharp on my left-hand, The nabla, F sharp major codon, my Right Hand, c-sharp, F-sharp and a Sharp. Okay, So then I might have played something like this. So that's a two chord. So you've got G-sharp, F-sharp, and B. Then on my right hand, I have an F-sharp major chord, F-sharp. C-sharp, okay? Okay. So I say for the two, you don't have to face it this way. You can visit this one. Okay. Play or two, codon your left hand, G-sharp, B, and D Sharp. Okay. With the uncode on the right, you could even play anything. I told you. For the two, you can play any note on the scale effort from the seven. And so the swan event, that is, if you wanted to play each rootless, you could play this one. You already have a bass player. I've put bass track down here so that you will practice. You have F-sharp, G-sharp, Sharp You have B, C-sharp, D-sharp, you have F sharp, G sharp, and C Sharp, okay? You could even have that. Two, then three. So this is in the Suspended Chords section again. So that is a sharp, F sharp, and D sharp, C sharp, F sharp, G sharp, and C Sharp. Okay. Then I made, have done something like this. Check the Minor called section. I taught that movement, this one. Okay? Okay. So the movement goes like so, C-sharp, G-sharp, D, B, E, C-sharp, then F sharp and D. Then you come back, this empty, E, C-sharp, D and B. So that C-sharp, E-sharp. Then you have B, D, and G-sharp. B, D, and F sharp. G sharp, C sharp, and E, F sharp, B and D. Okay? All that I'm playing while I'm still on there for be, okay. Then I go to this Chord, C-sharp, and then on my right hand I have F sharp major chord, F sharp, a sharp, C-sharp. Okay, so then from there, Playing a To of other seven, on my left hand I have F, D-sharp and G-sharp. And on my right-hand I have B, D-sharp and G-sharp. So if you can't play this, then play this. Then. Okay. So I was doing this, going to use this as a parsing node. Then. That's sharp, F sharp, G sharp on my left hand. Then I have D, G sharp, and B on my left hand. So that's basically ES6 code. Okay, D, F sharp, G sharp, a sharp. On my right hand I have F sharp major seven Chord, C-sharp, F, F sharp, a sharp, okay? Then, then I have that chord, D sharp, G and H abducts and E flat major chord. Then on my right hand I have a C sharp diminished seventh chord. The Diminished Chord section. Check that very well. So C-sharp, E, D, E, F-sharp, and C-sharp, okay? Then to the two. So I'm Playing a basic two codon mind Right Hand, that is D-sharp, D sharp, and B. Then the same way song on my left hand, G-sharp, F-sharp, and B. So I have a focus on my left hand, be D-sharp, F-sharp. I have a two chord on my right-hand be D-sharp, D Sharp. So then that's a one over the five. Okay? So on my left hand I have C sharp, F sharp, G sharp. On my right-hand, F, F sharp major chord, which is a sharp, C sharp, and they're Sharp. These are passing chord. Then to that chord. That's a five of other four. So I have B, F, and G Sharp on my left-hand. Then I have a five Chord, C-sharp, F, and G Sharp. Then I was doing such a move. Okay? Okay. Okay. Such a movement. That's Diminished Chord movement Which is a dropped to movement. Okay, so fast Chord, a Sharp on my left hand. Then I have EGN c-sharp on my right hand. Then just drop the tones, each of the nodes down by a semitone. A, then D sharp, F sharp, and C, The second. So G-sharp, D, F, and B. Then you have G, C sharp, E, and a Sharp. This I taught such kinds of movement in the Diminished Chord sections. They drop one voicings. I taught you this movement. So I taught you this movie. Instead of even these, you could use that movement. You could also use that. So check the Diminished Chord section very well. Okay. So then you repeat again. So the movement I taught you, that I taught this movement, these are then that's a sharp, E, G, and C Sharp. Okay? So then they Chords the to the two of other four. Okay? Then, okay. That's the facial. The same code as the first time. The first time we did. So UDP the same Chords. Then once you get here, you do. So. So, so, so, so this one. So you have a six chord, D-sharp, F-sharp G, and H sharp, G-sharp, D-sharp. Then you have c-sharp, F-sharp, and C-sharp, D-sharp and F sharp, then a sharp, D sharp, F sharp, okay. Then five. As you started, the five, C-sharp and F, Then you have G-sharp, C-sharp, and F. Suspended chord, D-sharp, F-sharp. Then G-sharp, then you have C sharp, D sharp, and D Sharp. So this is what else do. Start with that F sharp and D. Then you have B and F sharp. Then back to them. One chord, F sharp and C then G sharp, a sharp, C sharp, and repeating the whole song. Then that. Then. Repeat this. Then. So what you really need to do as far as practicing these songs is concerned is the speed is what is most important, especially during such movement. You see, if you haven't practiced these things, you might not be able to get such things. So start slowly, then build up speed. Okay? The second movement, I did. So starting at the chorus, okay, so Play the same thing that I did. So that's the record I showed you in the audit. I show you this intermediate code section. Yeah. So sharp, D, G-sharp, then you have c-sharp, F-sharp, and C-sharp. Okay. That's the three. Then to the six. So I'm just playing the same thing on the key of B. Same thing. I'm transferring to the key of D sharp, G and C sharp, then F sharp, B and D Sharp. Then I'm starting with this Chord, C-sharp, E and H sharp. So I just play the highest C-sharp, G-sharp, F-sharp, and B. Then I have D sharp, G sharp and B, okay? Then I did such a movement. So that's D-sharp, D and F sharp. I mean D and F sharp, then C and D Sharp, okay. Then I played a c-sharp, F-sharp, G-sharp. Then on my right hand, I played that for chord which is B, D-sharp, F-sharp. Okay, Then the other movements repeat themselves. I also did that. So that's the same movement, 569. Instead of playing the same it, you do this. So then one. When you play this card. So you go to the F sharp on your right, on your left hand. Then on your right hand you play a, B, D sharp and a Sharp. If you look at this code properly, this is just, this is just the be Major seven, but using a drop one voicing, okay? So then you drop their chapter, the F, you still have the B, then you have the C-sharp, G-sharp. Okay. And then you finish. That was the to dose adjust the two movements I use. So you could, you could use every kind of movement you want, Laika instead of doing this. Instead of these, you could do the movement I taught you in the Minor section. So make sure you check that movement very well. That takes you to the two. Okay? Okay, So then I also don't do that movement in the minus X0. So check that movement. I'm just giving you substitutions. Then to the six. Then, then we'll met, I get, I showed you in the Diminished Chord sections. Okay? So then you see what I did there. So instead of playing this, so I just went straight to the two. And you see what I'm playing with the two? I'm playing a G-sharp and F sharp. Then on my right hand I'm playing a, C, D, F, and E Sharp, which is a three chord. Okay? Like I showed you in the Major chord section, I covered the major three chord and a major six chord. Okay? Then, then you have so many different, you have so many different options, okay? So you could even decide to use the, the Suspended Chords at the beginning. Then. Then So you don't have to use the tool rather seven, like I've showed you here, you can use it and they Major 6/7, like I showed you. So you see these movements? I'm playing the F, D, G-sharp, and then my Right Hand and Playing an image and Chord, so that's a sharp, D sharp, G and H, uppercase, B flat, a flat. This Chord, B, D, and E-flat. Then on my right hand I have B flat, F, and F flat. Then you could do this. Okay? So D, E-flat to the E, then today, A-Flat. Okay. So this one, then six, I should do that movement. Then. The movement I showed you. Then this movement. The movement I showed you. Then, Quartal Chord section. Lady, with all these new movements. Okay, Good. This course does not in the photo. What section? So make sure you, you, you practice all those movements. Now, I'm saying could put all those movements into contexts. Not just movements you Learn for FUN there. They can be put into contexts. But one thing I want you to ensure as you're playing, you don't do too much, okay? You don't overplay. You have to produce so many then. Produce so many things, Okay? Okay. So you don't have to do okay, So you will hear people do so many things happen for so many things. Make sure you get the contexts of this movement. Their contexts is the most important thing for you to use this movement. You have to understand the concepts and a standard contexts in which such and such and movement can be used. So here I was trying to break down some of those concepts into a song. You don't have to use them in ensemble. Okay, So I'll demonstrate and other song 9. Chapter 8 Song Example 2 Bow Down And Worship Him: This is going to be a breakdown on the demonstration we just saw before of this song, Bow Down And Worship Him by Benjamin to be so I moved it to the key of F Sharp. It's normally on the key of D, But for learning purposes, I'm just going to be using the key of F sharp. So yeah, is there progression I used the first part, I used a 6721. So Okay. Then I still use that 671 twice. Then I use the 245. Okay? Then I use that three. Okay, so that's the first part. So here the codes for the first part. So you have your six. Okay? So you have such a God, you have D-sharp, F-sharp on your left hand. Then you have D sharp, a sharp, C sharp, and they're Sharp on your right hand, okay? Okay. So this is an F-sharp at nine Chords. The inversion. First inversion, I believe. Yeah. So then you might have had me do something like this on the seven. Okay. So that non ease these settings from the alarm. So that's C sharp, F sharp, and a Sharp. Then to this Chord, C-sharp, F sharp, and B. So then I have D-sharp, D Sharp antigen, but I'm leading into the dishes from their Sharp if you noticed, something like that. So you have your six and that's your seven. Okay, so just play the four naught. So then, so that's B naught on your right hand. Then the one you have, F sharp, G sharp, and they sharp on your left hand, then you have c-sharp, F-sharp, and Ayesha on your right hand. Okay. So fast fat. Then you might have had something like like this. Made about something like that. So on my left hand I have D, F sharp and Asia. So that's a D augmented chord or an F sharp augmented chord. You don't have to play this inversion. You can play this one. So that's F sharp, a sharp. Indeed, the inversion of this just sharp, D and F Sharp anyway, use whichever in Russia is this inversion because I'm playing this codon. Or maybe whichever. Then on my left hand, I'm playing an F-major to an F-sharp major. So instead of playing that augmented chord, one Left, And you could play a Diminished Chord, you could have G-sharp. So let's apply or land to actual G-sharp, B and D, G-sharp B and D, then you still have your F major Sharp Major chord on your right-hand. You could have that as well if you want it to. The reason why I'm playing this, because you already have a baseline, okay? They practice track, you will have a baseline. So you actually don't need to be Playing, going to be filling that. So you can also play that as you're three. So you have G-sharp, B and D, Left hand. Then you have F sharp, a sharp interstitium, that's an F sharp major course. They're there. So like I said, you can play one note apart from you. For as long as you're six is Amina. You have D sharp, F sharp, G sharp, and a Sharp. Then you have C-sharp, G-sharp. That's your second six. Okay, then repeat the movement again. So yeah, so, so this is the whole thing from top. So then that then from there, I played a flat two. I played something like this, just an E-flat and named chord. If you look at it properly. So D Sharp and D-Sharp on your left hand, then you have F, a Sharp and D-sharp one, right? And so any of these, so that's the next chord you are to chord. That's your G sharp, a sharp, and B. Then you have B, C-sharp, D-sharp, F-sharp. You have, you actually have your B, C-sharp, D-sharp, F-sharp, and B. So I'm playing this tree with my left hand. Then these. So that's your, that's your four chord. From there to go to default. So you have D sharp, F sharp, and B are new or Left hand. Then you have one codon your right hand. So that's c-sharp, F-sharp condition. So so that's C-sharp, G-sharp, D-sharp. That's a five Chord, C-sharp, G-sharp, D-sharp. Then you have a two Caldonia Right Hand that B, D-sharp and so then that three chord. So it's this Callahan chord, but we are playing it at baseline. Okay? So that's F sharp, G sharp, a sharp, C sharp, F sharp, and Asia buggy. So you have B, D-sharp, F on your left hand. Then you have a sharp, C-sharp, D-sharp, F-sharp, Right Hand. Okay. So from top to that point, so then there. So that's the Hello, The first part, the second part looks something like that's a fish and C-sharp, FMT sharp, F sharp, and D Sharp. Then you have D sharp and E, Okay? Then on the right-hand you just have F sharp and E. Okay? So after I play that Chord, I played the one not just the for code we had before. So that's B, D-sharp, F-sharp, and then a sharp, C-sharp, D-sharp, and they've Sharp. Then you have C-sharp, D-sharp, F. Then you have G-sharp, C-sharp, and F. So that's a C-sharp at nine chord. Okay? Then you have the uncode we started with. So that's an F sharp at nine chord, six, which is E-flat. D sharp, F sharp, G sharp, a sharp, C sharp, and they're Sharp. Okay, So then then I did this movement. I did not want to assign the one. So Left hand have sharp knife. Then on the right-hand you have this Chord. Once you land on the E, that's a sharp, D sharp, G-sharp. I taught this under the Quartal Chord section. Okay. So that's the good. Ok. Ok. Ok. So you have been next, you have D, then you have G-sharp, C-sharp, and they're Sharp. Okay, That's another Quartal good. Okay. So that's the 412. Therefore then again, five, maintain the same code used in the previous section. Six. Okay? Then you have such a code. Okay? So you have, you have D sharp, G sharp, and a Sharp Left hand. Then you have this course. You have a three code actually on your right hand, that C-sharp F Asia, okay? Then once you've played this chord, you'll drop the G-sharp to the G. Then it will drop the F to E. I thought this was it under the Minor Chord or Diminished Chord section. I taught this somewhere. Or maybe something. You don't have to drop it to the E, you can drop it back all the way to the E-flat, okay, so you can do that drop. We don't have to do this. You can do this. Then. So again, the four chord. So I, oh, that's a two code. Actually. You have F sharp, D sharp, E sharp, and B on your left hand. Then you have these B, C-sharp, D-sharp, and be on the right-hand. Oh, it's VC sharp, F sharp, and B on your right hand. Okay? So that's your two. Then four. We maintain the same chord. So you have a focus on your left hand and one codon your right hand. Okay? D-sharp, F-sharp, B, then C sharp, F sharp, a sharp than the five chord again. There Do you have Cutler that looks like this. So that's F sharp and E on your left hand. Then on your right-hand you have a sharp, D sharp G, and Asia. Then back to our focus. That's the exact forgot to use a few minutes ago. So the second section looks like this, the whole of it. Okay? Then the whole of the fast, they are two facets. Okay. So that's the two masses then to them to the courthouse. So you have this as the course. So you have basically a face codon your left hand, so that's F, D-sharp and C-sharp. Then you have this Quartal Chord on your right and D sharp, G-sharp, C-sharp. Okay? Then I'll go back to there. I'm chord, but I'm playing it over this course. I'm playing it over this course. So you don't even have to play the lower D. Just play this so that you have F sharp, G sharp, and B on your left hand. Then you have D, G-sharp and be, okay. So you have these. Then. Back to the uncode, okay, so one chord, F sharp, G sharp, a sharp, then you have c-sharp, F-sharp, and Asia. The previous code, they said you have F, G sharp and B, then you have D, F sharp, G sharp and B. Okay? So these, okay, then you go back to us, seven chord. So you start from the seven, then to go back to us. And then you have that kind of chord, D, F sharp, and B. Then you have c-sharp, F-sharp. And we repeat again the seven Chord Jazz seven code we've been using all through. Then you have something like this. So you have F sharp, G sharp, and B. Then on your right-hand you have D-sharp, E, G-sharp, and be okay. Then I want you to do some kind of a drop so that you play this chord. Okay? So you have still your air sharp, D sharp, a sharp, then you have E and H AB data tritone, okay? So that leads you to therefore then just lay there for It's been using then to the phone five the five we've been using all true. Then six, we've been using all through again. Then you just play, play there. The Diminished. So you have E flat major chord on your left hand. So you have D sharp, G, and a Sharp. Then you have C-sharp, E, G, and H. Then you ask these. So you have F-sharp, G-sharp on your left hand, then you have a Sharp. You have B, you have D-Sharp and F sharp on your right hand. You can use that inversion as well. Leaves just be Major seven chord then to the five chord. But I'm Playing their one Chord before. So the one chord and to the c-sharp, F-sharp, G-sharp, B, D sharp, and G-sharp. Back to the lungs. Which I'm playing is an acronym because I told you earlier. So this is how they look, say no. So that's the first part. The second part of the chorus was quite simple, starts the same way. Then the one. Then I did something like this. I did something which looks like so. So I started with this. So that's G-sharp, C-sharp, D-sharp, then I have F sharp, a sharp. And if you can add the C-sharp so that you make it me just seven, but you don't have to. You can ignore it. You can ignore it. Then drop the A-Sharp to the G-sharp and the F to the E-flat to the D-sharp. Then you'll drop the C-sharp to see that, to finally have that Chord. So you have G Sharp, C, and D Sharp on your left hand. Then you have F-sharp, G-sharp, D-sharp on your right hand. So you have something like that, looks like this. Then. Something like that. I have F sharp, G sharp, and B on my left hand. On my on my, what does this on my right hand I have D sharp, F sharp, a sharp in C-Sharp. So this then back to the one again. Then. Okay, then you could have one Chord. This quad a few minutes ago, okay? Same progression, five. Then change it into a Diminished Chord. The rest remain the same, the two then back to the lungs. So that's the one song. So maybe I can just play it through kinda slow. So, so then, so don't forget that. Good. The first 5 s, then the score. Okay, the car. Then the second chorus. Keeps the course. He meant, I read. That asks remain the same. That's pretty much song. That's the whole song. So make sure you observe those chord changes very well, especially on your left hand because you will not be Playing baselines on your left hand. Tetrachloride has a baseline. So I'm trying as much as possible to teach you how to avoid Playing baselines on your left hand. So that's just eat for, for this lesson. That will be pretty much it for the song. So you don't have to use the Chords I've used. You. Can, you really have all the tools in the course so you can find out what other Chords you can use. So put the Chords into context and you will find your work ease 10. Class Project And Conclusion: Thank you for watching this course. I'm glad that you have done so. Now, the last two chapters of this course are very important. That is chapter seven and chapter eight. Those IU or two song examples. So below you will find lead sheets, those Iowa two projects for this course. To ensure that you have been learning, that you have been understanding these things. Make sure you check out the projects. Kindly give me feedback. If you have any challenges regarding the projects. If maybe you haven't understood something clearly, or if you have understood everything clearly, it's also important that you tell us so that we know that we're making progress. So thank you, and I hope that you will keep learning and that you will keep improving your Playing