Advanced G Major Piano Course

1. Introduction: Hi guys. My name is Caleb Dill and I am a musician now. I have created this key advanced course for the piano. Let me give you some information about myself. Key G is actually my favorite key. It is the key I used to play in before I learned how to play in all the other keys. So keg is a very interesting key. Now I have created some of these things so that I can teach you how to play this advanced stuff, this cool stuff, the stuff that you call cool, that you hear people play in church, or in recordings, or anywhere else. This course will teach you the advanced use of major codes, the advanced use of minor codes, the advanced use of suspended codes, the advanced use of diminished seventh codes. At the end of the course, you will have two song examples so that we can test whether you have learned or you are still learning or you're still trying to catch up. Yeah, join me as we check out the course and ensure that you learn. 2. Chapter 1 Right And Left Hand Combinations: This course is going to be on the key of, this is going to be a advanced course. In this first chapter, I'm going to be showing you some of the few intermediate or advanced combinations that people use on the key of G. If you don't know the major scale, so this is just, that's the major scale. I'm going to be showing you some of the few things that might make you sound a little bit intermediate. The first thing I would want to allude to this is a major code. The first thing you want to do to make your code sound a little better is you want to be using this instead of now just playing it as a major code. You might want to plate is something like this. You might want to play it is something like that. That is a nine code which are now involves something like a, B and D right hand with D on left hand. Then the other thing you might add to the same codes to make it sound a little better is this seventh. So you might have something of the sort. Okay, so it's still the same. Add nine, but added with an sharp note that becomes like a major seven, add nine, something of that sort. So that code looks like that. Okay, and you don't just use this in your one code. You could use it in your Ford probably if your Ford is your C. So you could have something of this sort or you could have something of this sort. Okay? Or maybe you could want to voice it differently. So you could have something like this. It's the same as this. And these are the same thing. It's the same this and these are the same thing, okay? You could even play both notes. You could use your thumb to play, and you have B, D sharp. And again, you could have something of that sort that is something you could use to make your voicing a little bit better. I'm going to be using a lot of that. I had to show you that because I was going to use a lot of that. Even your five. Okay. So yeah. Such kind of voicing. I'm going to be using a lot of that in this first chapter. So I had to show you how to make it a major seven, how to make it a major seven at night, how to make it at nine. Same thing to you. So you could have a this one is supposed to be a boat combination. I'm just going to go right into it. We have one code. You can first use it with a one code. You are straight to one code. As major seven. As seven at nine, okay? It doesn't matter. Even a admin seven which is something like this one, maybe what you want to do is just play a major code. Your right hand and then play something like this on your left hand. Okay? You have G and F. Or if you want to add more notes, you could have D and F. But it's still the same thing on your right hand, so you don't have to play, you don't have to play. Then on your right hand you just have a straight major. You have B, D, and G. Okay. You have something like that. You on whether a dominant seven I seven. This 17 at nine. Yeah, something like that. The other combination I'm going to be using is the three cord over the one you could have something like this. Okay. On my right hand I still have on my left hand I have the same thing, which is the right hand, A sharp and D. Okay. So that's basically a three over the 13, which is your B minor code of the one which is. Okay. So that's one of the combinations we use on one code. You could also combine it with, I skipped the two code. You could combine it with your two code. But in this context, in something like this, okay, If you look at my right hand, all I'm playing is a two that C E. You could decide to add this, no other, it still remains the same thing. You could have a CEA or maybe you could decide to also add the notes that you make it something like this. Okay? But it depends on what you want to play. Really, you could have this. Then on my right hand I have something like G, D, and F. What I'm doing in order to use it with the two code is making it a dominant seven on my left hand. So I have something like that. Okay, I'm making it a dominant seven. So you have D and F, and then you have now your two code on your right hand. So you have something like, okay, and that always leads you to the four. You will hear something, okay, so that's one to four. As you can see, I'm combining my four with one on my right. This is just a code on my right hand, D, G. Then here I have G, which is just a four code. You have something like that. One always leads you to the. You can combine one with a one code with a two with a three. Also, you could combine it with a four. But in such a context, I think you have heard this when some songs are ending, so you will hear something from the four to the one. Now when you're playing it with the four, you want to have something like and on your left hand, okay, So that you play with a four, you play with a CEG. If you want to do the extension, you could also go, so you have A, C, E, and G. Okay. So then back to your one G, D, then B DG, or you could make that one and add nine like I started in the beginning, so Okay. So B DG or just a G? Okay. So we could have then. Okay, something like that. Okay. Then on. E51 is still possible, we do something of this sort. You could have G and F sharp, left hand, some could even add five. You have D and F sharp, but you don't have to have it since you have it on your left hand. So you can ignore it. So you have G and F sharp. Then your five code here, which is a D major code, you could have a D, F sharp, or maybe you could have D sharp, whichever in version. Okay, So you could have something like, like I said in the beginning, you can also make it an add nine Cod, something of this sort. Okay, You can make it and nine code you have, and that's why I started with add nine codes at the beginning because we are going to be using them a lot, so Okay. So there are making it an add nine code then one with a six. It's still possible so you could hear, okay. Okay. You could have something like right on your left hand, I mean G, F. Then you could have a minor code on your right hand which is now your six code which is an you have, you could extend it, you have GB. Depending on what you want to do. This one always leads you to the like, when you combine it with the two code, this one leads you to the four. Okay, So on my left hand I have a C major seven code which is G, B. Then on my right hand I basically have one code GB. So all of that makes a C major 79 code. That's what they do. Then that's pretty much it for combinations on the one code. Then on the two code, you obviously you have your two code. You'll always play your 22. Okay, but now let's explore other options. You could have now two code with one. You could have something like this. You have G left hand, then you have DGP on your right hand. Okay, so we have something of that sort. Instead of you just playing a two D as it is, maybe you are playing a two to five. Instead of you just playing that you could ten to one, okay? So that's the 1/2 which is GB of G. So I'll show this movement when you get to the five, then the one which I'm now playing as an add nine. You always want to do this to make it sound better, rather than just playing on the other one, you could have. You could have a major Three Cod, but that's in exceptional circumstances. This one, I will teach it in a later course, but just to allude to it, you could have a code which looks something like this. You could hear these songs which have a certain loop at the end. Maybe you could have something like a two, then to a five, then maybe a six, then they go to a two. Mostly people will lose something like this. Then they will play the two as a major, then now as a minor, then to the five. At that point where you play the two as a major. That is where I want to introduce the major three cord. Instead of you playing the two as a major, then to the minor to what you do is now you play the two with a major three cord on your right. You could have something. The loop from the two to five to six, you see that? That's a major three code. Then to the minor two. Let me finish your s, this is what I'm alluding to. I'll teach this in a later. But for now you just need to understand that you can also combine the two with a major three on your right. On my right hand, I'm basically playing a big A major. You could either play it this way, this way, or do the extension. Okay? You have B, D sharp, and sharp. You could do each, ever. You could have something like this. You could have this, which now brings you back to the major two, okay? So you could have something of that sort. At the end of the course, I'll probably put a truck that will have something like that, but for now just not a major three. You could play it this way on your right hand or this way you have A and C sharp. On your left hand, you have obviously a four over the two. The C, G, as I said, you could make it a nine, you could make it a major seven, you could make it a major seven at nine. Like I said in the beginning, take note of those three chords, the major 79 and the major 79. Okay. On your right hand you just have N G. I'm trying to take you away from these kinds of voicing, something of that sort. You have something like that. You could have that or that the major, the nine major, 79, whichever works. Then you could have something like a six D. Okay? You could have a six score. What I've done, instead of just playing it to the four, I just moved back to the, to the B so that I have a six D. Now I have G and G. Okay. So then that's pretty much it for the three. We say you combine it to the one, you have B, then you have GBD or whichever. Combine it to the one, then you could have a two. But mostly we use the two as a major, so you could do something like. Teach you the uses of this in the later parts of the court. Then you have and sharp you could have the three itself, obviously you could have the four, but we always have the four as a minor, something like you have G and C, that's a minor minor. That one always leads you to the six. Then you could have a five sharp, then D sharp. Okay. For now, I'll keep it at that. Then you have the four combines with the one as well. You have something or maybe let's play it from here. You have C and B. Then you have DG and B. We have it here. You have C and E, then you have B and D. Same thing. You could combine it with that too. Okay? But that's mostly in African songs, you could hear things like those. It's just a straight two code, C, E, and A. Okay? You have C and G, obviously. Then you could have a five code as well. Obviously you have the, then you could have the five, okay? But now you play, the four is a triton. You have then you have a D. You always play to the six. Instead of just playing to the four. Play to the six, okay? B, E, and G. Then you could also have a seven. Instead of combining it to the five, you could have a seven, you could have a 77, then you have 55. Always play with five anyway. But I don't normally advise that unless in special circumstances, I will show you later five. As I said, you can make it add nine so you have something like what did I do? I just made it a nine on my left and a sharp. Then on my right hand, something of that sort. Then obviously you can play it with one. I'll show you the use of that. Also you have GBD and play with one. You can play it with a two, DA, then CEA, you could also have three. Could also have something like a major three could have something like this. You have DC, then you have F sharp B. I'll teach you the use of this. Also one or less leads you to the one. Then you also basic C code, You could also have a six, you also have a six in place over four. Lastly, you could also have a seven, could also have a seven, then you have six. For six you have a 11, you could also have a two, but under special circumstances, which is a mostly a major two, then you could have your three, Obviously you could have a four. In special circumstances, you always have a five, then that's just it. Then finally you are seven. For your seven, you could have a two like you could. That's two. Okay. Cea. Then on my left hand, I could have a or you could add this as well. That's the same thing. That's a two. You normally have your four. Hear something like yeah. Then you have your five. You obviously have you seven. Lastly, you have a major six. I'll show you this one in the later part. This one leads you to the three major six. Those combinations we normally use like on the key of G. But if you see what I've done, I've borrowed those combinations directly from the major scale. I haven't gone into other nodes on the keyboard, I've borrowed them from the major scale. Those are some of the combinations that people use which can help you sound better. In the next chapters, I'm going now to show you how to use them. Okay, that was just making you aware. Make sure you take note of the add nine code, the major seven code, the dominant seven and the major seven add nine. Mostly. Those are four very important codes you need to know in the course. I'll introduce other codes, but take note of those four for the time being. 3. Chapter 2 Advanced Major Chord Applications: Welcome to the second part of a lesson. Now this one is going to be a lesson on major codes. We are going to see how to use different major codes on the key of, okay, rather than just the major code. We're going to see how to use different major codes. Major code, maybe a major code. How just use a major code on the key. On the key of. I'm talking about a major code. Like I said in the beginning, you could have a code, you could have a major seven, you could have a 79. You could also have something like abdominal seven, but I'm not going to be using much of that. This one, this one. This one or this one is the same thing. This one, this is just the same thing. Let's go right into it. Now, how to use these major codes? Like I was saying, what you need to do is we are going to be using these major codes in the form of combinations. So let's say you start with your one code. Let's see, major code number one, you can use the G code. You have your major, okay? A major code consists of those three nodes, C sharp, and you could use whichever inversion, C sharp and E, you could extend it, so you have A sharp, and it's still an A major. So where do you use that? With a G. So you have something like this. Okay? Okay, So that's how I use it. It sounds like something on the key of D, but it's not okay. Okay? You can use it in the key of D, but no major two over the G, you have E, then you have C sharp, then takes you to the seven. This one also leads you to the seven, you have sharp and D. Then on your right hand you just have a D Major, you have Sharp and D, or you could have A and D or like I said, make the Da9e, sharp and D. I said take note of those codes, the dominant seven, the major 79, and the major seven add nine. Okay, so you have that, you could have something like this song. So you see what I did there. So you see what I did there. So I used a major code, so that's a one over the G, E. Then you have ACE to the seven or so. So anyway, that's just it. So, that's a major two over the one. Let's say you have the four over the one. The main idea is just this. So you have E, G, C, E, G. Okay. Back to the, you could have heard songs like this. The other option you could use is this. You play the G from there, you have GCE. Then you have, okay. Now, this was just from the four to one. I can add five to the four to the one, so you have some. Okay, So we start with the five. In the five, you have G, F sharp, then you have a D, F sharp, then to the four. E GCE, G. Okay. The one. So, I know you have heard something like that, that's basically, you can have a five to four to the one. Now, the other part of a major part I want to show you is the major six. Major six of the one. When I'm talking about a major six, I'm talking about an E. So you have G sharp and B. Okay, so that invention, that one, that's an Majd, you may want to ask me. Okay, How do I, how do an image in the key of G? Now, there are two ways you could. Okay, There are many, but let me, There are two ways you could use an image Accord in the key of, let's say you have something like this, maybe you have had something like this then you might have had that so many times. Okay. So this one is a seven. Is a seven. On the K of you have sharp and then you have something like this. You have an E major code on your right hand, so this is the melody. 6712. Okay? You have sharp, and then you have G sharp. And sharp. So that's an E major code. Then you are three. Okay. I'm also applying the use of another major code now This one is major code. I say F sharp, sharp and B. I told you earlier you could make the code. Add nine, no one is prohibiting you from doing that. Okay. Make it an add nine Cod. Look something like this. A sharp sharp And you could play the same thing with still the add nine code. Okay? Okay. So you could play it this way or let me just use this for now, but I'm going to be explaining it in a future course. It's a triton spoiler. You have something like this, That difference on your right hand, I mean, you have an F major code which is F and F and A. But if you see what I'm doing, I'm bringing it up from the flat, from the flat or the dish to the, to the. I'm doing something like. Okay, these three fall at the same time. Then you just move the central up twice. Okay. That's what I'm doing. On my right hand, I have something like B, D sharp, and A. Okay. I have something like. Okay. That's how the Cod sounds. Mostly we'll see people doing it this way. They start from the E to the sharp. You'll hear something, normally we'll hear something like that. But for me, I wanted to make it sound a little bit, a little bit fancier. Instead of going to the F sharp, from the E, I start from the flat to the then, Okay. So I do this. Okay. Then to the six. On my left hand I have something like E, G, and B. Okay. Okay. That's my left hand. Then on my right hand I have I have and falling at the same time. So I start with that, then take the up to Sharp. Okay, then I finish this, E and G. Okay, so combining the movement, it's a 736 movement. Okay, so you see that movement sounds a little bit fancy rather than playing the normal 736 thing, okay? Okay, so instead of just playing it that way, so instead of you just playing the 736 the normal way. So you could play it this way then. Okay? Okay, so that's a 9736 movement using major codes. So the major codes I was using, the major code on my seven and the major code on my three. It's just that I'm tiling it up from the any other use of the major code I wanted to apply was this major three. You could have something like this, a major 36 which is major in this dimension. So you see that code? I have an major code on my right hand and B, then on my left hand I have G. And so that one is a code that leads me to the four then. Okay, then four you could ask me. Okay, how do I use, how do I use that? Here, I think. Let me give you the code cover that. G, F, E, G, B. Then four, you have C, E, G on your left hand, then you have G on your right hand. These are six called B G and C, E G. Then you have that, you have 124, you ask me. Okay. How do I even use that? In the key. In the key of, this is how you use it. Now we always have this sort of movement. You have six, many people will play like this. Then to the one. If you are an intermediate player, you should have seen that somewhere. You must have seen that somewhere by now. Six to 54. This six, okay? Normally it starts from seven, let's just do the whole thing. Seven, you'll hear things like this, then, then six, then two, then five, then one, then four, okay? I'm repeating it slowly so that you get the notes, okay? Egc, then to the three. Then you have D sharp AD. You have GB, that's a six chord on your left hand. Then you have D, F sharp, G and B. That's just a G major seven D. Okay. Then to the two. You have G on your right hand. On your left hand, I mean G, then you have Sharp and B on your right hand. Okay. Then to the five mind you have then on your right hand you just have an F major seven code which is a EFA one. You have F, then E on your left hand. I've already taught you this for you have EG and BEG, you may want to ask me, where do we apply this? Okay? We apply this. Here is where you apply in that movement. In fact, you apply all the things I've taught you right here. Instead of doing this 736, what you do is you do the one I have taught you. The three. I want you to do A at two, which looks like this. Okay? Okay. So that's the one I alluded to in the first section playing a two is the major three. When you get to six, when you get to six, it was this then, then. Okay, so that's okay. Sharp B and D. Then on the right hand, you have You have this N G. If you can actually extend play that G and C sharp. If you can't, you could probably opt to play this C sharp or play a root less one. Starting from you have G and C sharp along with a B major code. Okay, let's start 736, then to two, I'm starting from the F sharp to the F, to the E to the D. So like I said in the first section, you can extend it to here. Then you five looking something like this, which is basically an over the D minor. Let me just play it simple then to your one. Now this is the one I was talking about, the major six over the one, then to the four. So now, instead of playing this, instead of playing that, you do this 73, then six, okay? Then to three, then to you. What? That's the two. I mean, to the five. To the one. To the four. To 7651 to four. Take note of those codes properly. They are quite simple. Okay? Take note of them. I'm just going to run through them slowly so that you see what I'm doing. Seven, I already toward the 362. Okay. Five, then one, then four. Okay, so you have a cool 73651. So, so maybe this song, I think you have heard that song. You are great. Okay. Okay, so if you've heard that song, this is what you do then then, then you have something as simple as that, okay? So you use those kinds of major codes to embellish a plan. I've majorly dealt with a few that's like we said, the one, the one over the two. Okay. So that's one of the two. I've talked about the major six over the seven. I've talked about the flat seven over the three. Okay? And the other one I've talked about is major three over the two. I've also talked about the major seven over the five. Okay? I've talked about the major six over the one in the beginning. I was forgetting this one. I talked about the major two over the one. It's that simple. Majorly talks about the one code, the major two, the major three, and the major six, and the major six. Take note of those codes. I chose them because they are rarely used in such a combination. They're used if you check the previous chapters. I also talked about something like five over the three, the previous chapter, and something like a major two over the three. Okay. I chose those ones specifically because they are less used. They could help you sound advanced. The other ones probably you have interacted with them. That's it for the chapter. I'll see you in the next one. 4. Chapter 3 Advanced Minor Chord Applications: Okay, welcome to the third part, of course. Now in the second part we looked at a few major codes that you can apply in the key of G. Major codes which aren't commonly used. Okay? There are very many major codes you can use on the key of G. But I was trying to, to give you some new uses of those major codes. We looked at the major two, we looked at the major six and the major three code. Mainly those are the three codes we looked at that you can use on the K of G. How to combine them with other nodes and other baselines. In this course, I'm going to be looking at minor movements or minor codes, how you can use them. We could have something like this. This is what we call a mind, you have as a major code, this is what we call a minor code. Those are the inversions. You have something like that in code. On the scale of, you have this 22 as a minor code, two as a minor code. You have three, which is a minor code. You have six, which is a minor code. Okay? So you want to be using some of these minor codes to embellish your leg. Let's say now we have the major scale. You have one as a major, two as a minor, three as a minor, four as a major, but you can also use the four as a minor. You can make the four minor, You have five as a major, but you can also use it as a minor. Okay? Six is always a minor, no problem. Then you have seven as a diminished, but you can also use the seven as a minor. You can use a sharp as a minor. Okay, I'm going to be showing you common movements which use minor codes. This movement there is the three code. Like in the previous section, we did the three code with major seven. Yeah, this flat seven. We did something like that in the previous section. Okay. In this one we're going to be using now minor codes. Here is a minor code. People like to use the three, they normally use a minor five. Okay? You will hear something like, okay, as you can see, it's sounding a bit different because on my left hand I'm going to apply something which is going to form a trait. But for now, let us use it as just that straight code. This is what people do. Okay, so let me use it from top mind, Minus five code, that's DF. Then on my left hand I just have B and what most of us will normally do is play that then to six, then to our two. Okay. Then you'll hear something like that. And this one is also a Minds minor code. The mind A minor code, you will hear things. That's BF. You have DF. Now I said if you wanted to make this sound a little bit fancier, instead of playing the, on your left hand, just play the B and the dish. Okay? Instead of playing the, or play the three of them, the dip D, I'm using this D to form a ton will look something like this. Okay? So you could have something. It actually sounds much better in your plate lower. Okay. See that What I'm doing with the minus five, I'm coming from the flat five, flat five card, that's the C sharp minor to the D minor. I'll start from P, then two D F. Okay? You hear that right on this. Not if you wanted to keep it straight, just play the F now. Okay? That's just the straight code. If you wanted to make it a triton, make it that one. Normally, this is what they will do. So that's then you will have Di, okay, Maybe D to E, depending on how you want to cover it. Okay? Whichever, when you get to this, you play this code. Now this code is a major code. This is A, E. Then on your left hand you have an dominant seven code. That's G sharp and D. Then that leads you to the two. Okay, I'm just playing a straight two code. A minor, I have the A, C, but what I'm doing is I'm bringing this up from the G. I'm doing something, I'm doing something like that. So you'll have something like then. Okay. So the two. So you have CAC. Okay, so that's just the movement then. That's the two. That's quite simple. 55 alongside the three. As I said, if you wanted to spoil the voicing a little bit, just use this triton. For me, it actually sounds better. And use that triton, just use this triton, make that face, usually you've ever seen those lemon faces. Okay. So that's the 36. Now the other thing you can do with this is bring it up. Now this is a five. You bring it up from the three minor. It's like you're playing four consecutive minors. You have in to the minor, to the minor, to the minor, minor B, D to the minus, D to the C sharp min, which is C, E to the minus ADF. Okay? Okay. This is what you do. You play those four minors? Now, when you land here, you will land on the three base line. Okay? The rest. The same, okay? So sometimes I like to use the root less. If you have a bass player, I will normally do something like that. B, C, and E on your left hand, then you have a G on your right hand, GB D. Let's do the thing. Okay, so that's a two code. If you have a bass player, if you don't have just player two code, that's ACE. Then you have GBD. That's also another Mina code. Okay? So you could have this if you wanted to actually play a Mina four code. Okay? Okay. So you just make your code in, you have C, C, and E flat. Okay. Then here, so like this song. Okay. That song then why I applied the movement. So here played slowly then. Okay, that's why I applied then. Yeah. So then, so instead of just so when you get a, then that's where you do the movement. Okay, then then I think I'll teach this song at the end, so don't worry. What I wanted you to get was this movement. The that's the movement I wanted you to get. That's the Mina, five D. Then there is what I like to call five mina, four movements. Okay. Here, when you want to play the min, four codal, you will hear something like this. So that's the movement. So you start with that, you start with this, it's basically supposed to be D, B, then then D. Okay, then Sharp, that's a four code. Then to the A, D, that's a minus five code. Now you start with the minus four. Minus five, then the minus C. The DB then, okay. So you have a F, that's a Mina five, then C which is Amina four, then back to the one. Okay. So you have something like, if I repeat the whole thing very slowly, so that's a movement. Okay? So if, if you just play that song, the same song again, the then, okay. So the same thing. You just use that movement on the mina focal. Okay? You don't have to use the whole movement. You don't have to do what you can do. You can just cut it so that you start from here. Okay? Minus four. Minus 54. Again, back to the one. Okay? This actually needs you to understand inversions very well. Mostly I'm using those two cods, I'm using A and A in five. What I keep on doing is just inverting them upwards or downwards. Okay. You have this, you have something of that sort that's minus four and minus five. Okay? I'm trying to choose minus switch. People don't normally. Okay. Let me just go to another one. You, what I like to call the minus seven code. This one. Okay? The seven is always a diminished. But now, let me make it a min so that it becomes an sharp minor. You have this inversion. Okay? Sharp, sharp. And where do you use that in your playing? I'll show you a few instances. You have one, this is the first one, Maybe you have, you have a song. That's the song, how it ends a song that ends on the 251. What musicians will normally do. You will hear something like three to six, then to the two. I'll just make that movement. Then you see, okay, this is the movement again. You see I'm using something I'm calling a ton spoiler. I'll cover that in another course. In another advanced. I like to call them Triton spoilers. Because if I just play this, that's okay. Okay. Still sounds okay. Okay. But if I had this, I just spoil the whole thing. This is how it sounds. Okay. This is the three. I'm bringing it up from the code, the min to the sharp, Mina. Okay. You have F, G sharp, then you have sharp and A. Or you can even take it four steps down, like we did with the Mina. Five. You start from flat two to two P. This is how it will sound if I use the four steps. Two then. Okay. Then again. Okay. So that's the quote I want you to get. So, I'm using a ton spoiler. So, I have B, D, and A on my left hand, then I have sharp sharp and on my right hand then then I have something like that, E, then I have G sharp, D and G. Then I have the two code I showed you earlier. Okay. So okay then. Okay, so you have so many options. I read this in the previous part. Okay. So you have that. The other use of a minor seven code is here, so you still have the same song. Okay, so here instead of going to the 362, you just go to the two, Then to the minor again, I'll use that code with the two, then I'll use that first. Then come back to the minor G on my left hand, then C sharp sharp, then back to the minor. I'm basically using a four, that's a C, GCE. G. Okay. Alongside the So. Okay. So I'll use both movements. The 362. Okay. Now the major two. Okay. Okay. Then the last. The last thing I'll show you in this chapter, the same thing, major seven, but now we are going to use it with another base line. We're going to be using it with a six baseline. Okay? I'm still going to be using the same progression, 251. Okay? So you have something, then 36, then the two. The second one. Okay? This is how the second on E, then you see what I did there. So this is how you're supposed to voice it. Like you have a D sharp and it's like you have a E flat major. You're not supposed to touch this B flat. I know most of us like to do this, but in this circumstance, you're not supposed to touch this, if at all. You are going to play another note on your left hand. It should be the C sharp, Okay? It should be like a dominant seven or something of that sort. Okay? Okay? This one is not allowed. Okay? For those who can't extend that much, just play that P or again, as I said, the rootless voicing dish. Okay? So you have so, okay, so let's say the two then then. Okay. So you have three uses of the seven. You can use it to the three, you can use it to the two, and a flat six. Okay? So those are the uses. We had the minus five, minus four, we had the minus three. Minus three we had the minus four, we had the minus five, we had the minus seven. I've taught you three uses or many more of those codes that aren't commonly used. That will be pretty much it for this chapter and then I'll see you in the next one. 5. Chapter 4 Advanced Suspended Chord Applications: We dealt with some major codes, and then we dealt with some minor codes. In this one, we are going to be looking at suspended codes, suspended two, suspended four, both on your left and right hand. For those who don't know what a suspended code is, if you have a major code, we are still on the Q of G. If you have a major code, then drop this, Drop the three to the two, you have a suspended two code, okay? Or if you take the B upward to the C, you have a suspended four. Okay? So suspended four, Suspended two major. Okay? So that's what a suspended code is. But now I'm going to be using many suspended codes on different keys. Let's say the suspended code, the D one, Okay? The, the, the, the event. Let me just give you a basic theory. This is what we use with base line. If you have one base line on the key of G, this is how you use it. You have something on my right hand I have suspended two colors. Okay? Then I'm extending it so that I have also I have E, F sharp, and then on my right hand I have E and F sharp. Okay? So instead of just playing the G like this, always could play it like this. Okay? Some people even ignore the E so that you have you do something like, okay, okay, so you have that as your, your one code. Okay. Then so that's your code and others will do something like, okay, so basically you repeat what you're playing. On the right hand, you play the same thing on your right hand and on your left then D sharp sharp, back to E, okay? Okay, so that's still your ankle. Others play it this way. Dg, you have B, E or B. F shop, and B or the suspended code itself. Okay? So whichever way you want to play it, okay, So we have this, you have this, you have this, okay. You have this, this, okay? There are so many formats, you can play that one code using the suspended two code on your right hand. Then we go to the two. That's now, this is how you play the two, and then you have some G and C. Your right hand. Now this is an suspended two cord. Okay? So this is the whole of this just an suspended two cord. The same thing on your right. Then what people will do is, okay, you'll hear something like that. It's like I said, you play the same thing on both hands from F to G to the other nodes, you just maintain them, okay? Okay. Okay, so you start from G to F to F sharp or to E to F sharp, but the E one really doesn't sound very fancy, so you'd rather take the F one, okay? Okay, so you have those ways to two code. Then you have the code for the three code, we just use the suspended two code. So you have G, then you have GAD. Okay? So that's your record. Then you will hear something that people like to do. Okay? You'll hear things like those. Okay? But let me just break them down. So to a, to, to, to A, then to again maintain the other notes. Okay. That's pretty much it. Okay. I think I skipped something, but it's okay. Okay. On the one. This one, it just sounds the same as this one. On the two. On the two, it's a bit different. Okay. Then the code use for the one you could use for the flach two. So you could also use for the flash two. What you just need to do is to change this from the G to the Ha, that's all the same movements, okay? Maybe I'm playing from one to F, two to a two, This is what I'll do. Okay, I want suspended two coding, okay? So see that. Suspended two to the two, or use the code I showed you something of that sort. Okay, Then for the flat three, we'll ignore the flat three for now. Then we have done the three code, so we go to the four. This is a code. Now for the four cord, you use it with a suspended two code. This one B, and then on your left hand you have A and B. Then this is what people will do. Those movements are very similar. On the one on the three, on same same thing. So here A to the B, then that's sharp to the A to the B, then back to the. Okay. Maintain the other notes. Make sure you this is just the central nodes that are moving, okay? That also works. You could just cut the progression, that's the four. And. The same thing for the four. It's the same thing for the flat five. Same movement. Same. Okay? You just sharpen this note to the sharp four, Okay? Then if I wanted to play something that takes me to the five through the flat five, this is what I do, okay? Okay, let me just do this, Okay? So, okay, so flat five then. That's just a five code. Okay? So that's flat 55. Then for the five code, we are going to ignore it. But normally I think I showed you this earlier. We have something like major three over the five. But now what? We try to avoid using the major three as a suspended code, okay? We can use the B as a suspended code. You can only use it as a major. You can use it as, if you do this, you're going to mess up your playing pretty bad, okay? You want to stay away from this, okay? You want to stay away from this. For the five, we leave it as a major, so you don't have to use the five as suspended. The only suspended maybe you can use the five are these. So it's a four suspended two code. I'm using number so it's a suspended two code. Yeah. G. Okay. So for the five. Put that on a hang. For now, let's go to the flat six now. The six is what you use with the suspended two D. Okay? So the six, the movements are still the same. If you want to do the, all of that, okay, or just plate that. You have D sharp, B, and C sharp. Then you have sharp B, C sharp, and F sharp again, so maybe this song. Okay, so that movement. This one. So you could substitute the whole of that movement with suspended, okay? Okay? The first one from the B to the P. Okay? Okay. That movement, the three with its suspended code, the flat five or the sharp four with its suspended code. And then the sharp five, then to the six, which I'm now playing as an 11. On your left hand, you have B and D. Then you have a, B and D. Okay? There are so many ways the six, you could even voice it this way. There are so many ways you can voice your six, But I chose that voice. So that's the flat six or five. Okay, let's go to the six. The six would now look like this, okay? You see the movements are the same. For all those, the movements are just the same. So you have C and D, then you have C, D, and G. Okay, the movement C, D, then that's B, C, D, C. Okay? If you wanted to do that movement, if you don't want to do it, just fly straight. Okay, so six. So let's use the same song again, substitute the movements. Okay? Okay, so this is where I'm alluding to, 35 flat 66. Then you can continue the song. You can even change, you can even introduce that then. Okay? So you can even introduce the 123. Okay? The last baseline is going to be our seven. Now this is what you use, the seven suspended. Two, okay. A D suspended two D and E. Then you have a D, E. Okay. The movement is the same as for the other keys. So you have something if you wanted to do that movement. Okay. So that's the seven. For the one, this is the one, Okay? For the two. The two is the one which has a slightly different movement. Okay? So then the three. Okay? Okay, let me repeat one. We say this code that you use for the one, you can also use for the S one, okay? Then to the two, okay? Then the three, then the four. The same you can use for the five. We said for the five, you use it with a major A suspended, so I skipped it then to the flat six, then to the six, you see the movements are the same. Then to the seven, if you wanted to do that movement. Then back to the one, Okay, I alluded to the song Alpha, I said I put it at the end in the key of G. And then I'll apply all these movements so that you can see where and how you apply these codes. But that part then you see I'm using the 71. I used suspended code on the six and on the seven. That's the one which is also the one. The 234 which is also the four, then the five, then the six, then the seven, then the one. Okay. You have I don't know how many they are around. There around nine or ten. Okay. So the one, the one, the two, the 345? Yeah, the sharp four. The sharp 56.7 Okay. So there around nine. I think they should be nine. So that's it for the theory. So I was supposed to show you something else. So this is where you will normally use suspended code. Go back to the suspended four cards. Okay? If you see what I've been doing, I've been using suspended two cords the whole time. Okay. So this is a use that I like to do on the suspended four card. I think I said, I'll show you this later. This is usually my five card. This is usually my five card. Okay. Maybe you you could ask me where the suspended four code is. Here it is. I usually play it on my left hand so that I have a, D, G, and A. Okay. Then on my right hand I have a two code. That's an A minor code. I have E and A. Then on my left hand I have a suspended fodor. It's just an inversion of the suspended two code. Okay? The D four is just an inversion of S two. But now it has to start from, it becomes a suspended four now with a two code on my right hand, so. Okay, then I'll drop to the F sharp, then I'll drop the E to the, so I'll have something like this. It's a D seven code. Okay. Yeah, that's just a D dominant seven code then to the one. Okay, So this is what I'll do. Okay, so the five starting with the suspended forward which brings you back to the major, then one, then the other way I use still on the five code is now the rootless voicing. I'll use a, I'll use a suspended Ford. Okay, suspended four, then I'll just drop the back to the F. Okay, So that again becomes a dominant seven code. Then back to the one, all that is happening on my left hand, not on my right hand. Okay, so maybe if I'm playing a song. Okay, so that's the rootless side of it, instead of me playing. Okay, So instead of me playing the basslines, instead of me playing the basslines, I play them on my left hand. Okay? Okay? So that's my two, so then my five. Okay. Then my one. Okay. So starting from the suspended four, so you have G, C, and D. Then I have this melody. C, D to E. Then I have that, then I have C and D. Then I have Sharp and D on my right hand. Then I'll play this, which is A and F sharp. Then back to the one cord, which is B, D, and G. Okay. On my left hand I have AB and D. It's the same thing, just a different inversions on both hands. Okay. Those are the two uses of suspended Fords? I usually apply. So you have the theory of the suspended two codes. Now that's from the one to the seven. We only excluded the five because you said we use the five with a major. Use it with a major three code. You don't use it with a suspended code. Okay? If you wanted to play the five code, you would have to play the three as a major, okay? So you'd have to play something like, you'd have to play something like that and not this. If you play it that way, there is some kind of voicing that will not be so convenient. You play as a major. I think I taught this in the major code section then to the one. Okay. So you cannot This inversion, I actually thought this inversion. Okay. That's the inversion. I thought for the others you suspended codes. The one, the two, the three, the four, the 6.7 and then you add the flat two or the sharp one. Then you have the five or four. Then you have the flat six or the five. Okay. There are 99 ways you can use suspended two cords on the Q of G. They're actually so many, but I just chose nine. Then I've showed you how to use suspended four cords, especially on the five code. Okay. This one. Okay. You have that. That's pretty much it for the suspended codes. Advanced leaks using suspended for cards because they are very advanced leaks. You'll find them in another course, but for this course just make sure you master how to use the suspended two cords and the suspended Fords. Very well. That's it for this chapter. I'll see you in the next one. 6. Chapter 5 Advanced Quartal Chord Applications: We're going to be looking at codes. I made sure the chapters follow each other so that these quotes are just in versions of suspended codes. But I want to give you some different usage of the codes. This was our suspended two code for the key of G. Okay. If I decide to invert this code upwards, it will become a quarter code. It's the same thing. Okay? So this is are the same thing. If I decide to invert the suspended for which looks like this, it will look something like this. Okay? Are the same thing. Okay. First we'll start with the theoretical part of it. The theoretical part of it goes like this. We have a major scale. If for example I'm playing something like a two on the key of, my code will start from the one, okay? Something like that. If I'm supposed to use a code on A, my code will start from, on my right hand, I will have something like a C. Okay? The same thing applies. For example, I had to play a baseline, so my coat card will start from A. Okay? So okay, assuming I wanted to play a sharp baseline again, my coat card starts from B. It starts from A tone below. C sharp, A tone below. So that's B. Then your coat will start from there. Okay. Then if I wanted, let's say to play an flat base line, that's now my flat six on the key of G. That means my, my quota cord is going to start from C sharp, so that's C sharp. Sharp and B. Okay. So assuming I wanted to play a six, that's my T cord. Starts from D, Okay, And assuming I wanted now to play sharp base line which is my seven myod starts from. Okay. D. I have those quota codes on. The key of here is my first one. I don't have a to code on the one. Okay. I don't have a code on the one. I have one. My first I'm going to be using now the chromatic scale. Okay, Not the major scale, so I'm going to be using almost every key here. So I don't have a to code on, but I will have on a flat which will look something like. Okay, if you wanted to play maybe two notes on your left hand, the other note you would play is an E. Okay? So you'd have a G sharp and an E. If you look at those notes properly, this is suspended two code. That's why I was telling you that a code is just an inversion of a suspended code. Okay, Sharp, then sharp B and E. That's your flat two code. Okay? If we apply what we are doing with major and minor codes. Let's say this movement we were doing on the three maybe, something like this movement. Yeah, make sure you check out the, the minor code section. Very well then assuming you wanted to go three to six to the two. Such a progression instead of the six per two or Us. Progression changes to 32, then two. Okay, maybe I'll do something like this. Okay, So, okay, in the progression we are doing at the end of most songs, you'll have two to the five. I covered this in the previous section. Okay. I think it was the major code and minor code, section two. Then you will have. Okay. So I'm doing. So we covered this code in the minus section again, the three to the six which I'm now substituting with a flat two, then to the two, then to the five. Okay, That's another movement. That movement. So from the one, we covered this again in the major code section. We covered all this code which is the major six over the seven. Okay, we covered this again, so that you have B, D sharp, and then on your right hand you just have a major code. But starting from this, D, B, A, B, C sharp. Sharp. On your right hand. Then on your left hand you have sharp and maybe you want to add another. No, you would add the C sharp note. But since it on your right hand, you don't have to play it on your left hand. That's the one of the three straight. Then you have GBD. That's five of the six. You have GBD on your left hand, then you have a D on your right hand. That's just a five Cod. Okay? Then to our flat two Cod you have and then you have sharp B and E. Then to the two, you can just play any normal two code that you know, or a four over the two, or this one that I taught you. Then to the five, the movement the last time slowly. Now, then to the six, to the Okay, so that's how you can apply the flat two code in that progression. Then you have our two code, which is the for the. You have GC and on your right hand. Okay, you have something like this. If you wanted to add another note on your left hand, you just play the A and then you have GCF. Okay? I'll combine the usage of that with the next code, which is now on the B. The three, You have B and G. Then on your right hand, you have a, D and G. You have that code. This code is just as good as a G. A nine code is just a different voicing. Okay, So we have the 23. You could even have the three if you wanted, but we only use that as a passing code. Okay, So now we'll have A sharp and F sharp. Then you have sharp. Sharp and sharp, but we only use that as a passing. Okay, so something like. Okay. Okay, so that's the 323. If we have that, if we have that same progression, the 251. So then, so I applied, so then I changed the progression a little bit to two, then the three using the same ten to the four. We covered this code in the major or minor section. Then to the five, combining the whole thing starting from here. The, so that's the first movement. Okay, so for the second, you just go to the three, then to the six, or you use the movement I showed you. Okay? That one, you could use that same thing. It's still a 36. Okay. We covered this in the major code section. Okay. Then, okay, so, so repeating that Okay, again the last time. So then, okay. Now from there I'll go to the flat five, which is a, as I said, it's still the same thing. Then you have BEA. Okay. You normally use that when you, when you want to go to the five or seven. Same progression. Then I'll do this, see what I did, the two, then to the five. Then, okay, to such a movement. You have your tal, cord there with the flat five. Then to the four which I'm playing is diminished. Diminished two cord, D sharp and A on both hands. Okay. Then then you have B, D on your left hand. Then you have and B on your right hand. So, so this one then to the two. So okay, repeat the movement the last time. Okay. So that's your flat two card, then that's your flat five. I mean, then you have your flat six, which looks something like this. That's D sharp and B. Then you have C sharp and B. Okay? So that one is obviously a substitute for the three. Okay? Instead of playing, okay, instead of playing that all the time, you could use this movement, okay? Okay, so from the quarter code to this, okay? And then on my left hand I have an minus seven code. That's GBD. You could decide to add the not so that you have five notes, you have GBD. Okay? So that's flat six to six. It's just a substitute for the three codes. Instead of me doing this, okay, Instead of me playing that, I just play this then, then, okay, just the flat six code. Then I have the six code. That's with G and C on my right hand. On my left hand I have E and C. I'll combine the use of that with the seven. That's the six. Then the seven, you have this you have D on your left hand, then you have AD on your right hand. Okay. You have something like mostly that leads you to the one. Okay? Okay? From the six to seven, then to the one. So it's just simple. From the six it's a substitute. You can substitute for the 251 progression instead of the. Okay. Okay, So. Okay, so that's it. Um. For the seven code. You can use it even when you want to lead into a three code. So assuming this is a seven, then to the three player six, okay? So 73, okay? Seven to the 36, okay? Now I told you to take note of that code. That's the major 79 in the very beginning of this DVD. Okay? The seven A D with the F sharp. Then what you do just drop to the dish B then did, then to the six. Okay? The same thing happens, the 362, so you have this quarter code, that's three. Then to the six, you just drop to the flat, you are three. Then to six, okay, you have sharp D and then two, you are two, okay? Okay, So you are three then. So those are very main uses of records. And the very last use I would like to show you is maybe on the one code, the one code, you will hear things like I showed you the major six of the one, that one. Then you have your leads you to the force of the one. This one. Instead of playing the major six all the time, you can decide to play this code, this B. You can use that to substitute the other code, okay? Same use leads you to the form. Instead of playing the major six code all the time or the minor six like we said, then just play this quote code. Okay? Others, just play the F on itself if you wanted to play it rootless, okay? It looks something like that. B, if you wanted to play rootless, if you want the root along with it, just play the n. Then again, for this four code, you can play with this quart. Instead of always playing the six code. You can play the quart DG if you under it rootless, just play there. The note alone, you have DG. Okay? Yeah, Then you have other quarter movements, they are very, very advanced. You'll have to get the ones fast. Okay? So make sure you get them properly, get the theory properly. So you have this, then, then, then, then you have now this, okay? Then this 362 movement, then the 736 movement, okay? Basically that's what you have. They are quite simple movements, make sure you get them very 7. Chapter 6 Advanced Diminished Chord Applications: Okay, this should be our sixth part. We looked at a codes in the previous section. For this one we are going to be looking at diminished codes. Okay? A few applications of diminished codes that might help you begin to sound like a professional. I'll just, if you don't know what a diminished code is, this is how it looks like. If this is a major code, then you have this as diminished. Okay? So you have your one, your flat three and your flat six. That is what forms your diminished code. Then you have something like diminished seventh code, which looks like that. You have a sharp, sharp, and that's your diminished seventh code. We only have like three sets of diminished codes. This one inverted is this one? It is. This one is still this one. Okay? So these, these, and these are the same thing. Okay? Then you have the second set which is this then. Okay. Then you have the last set, this one. Okay? So you have those 12 diminished seventh chords, but in essence they are just three. Okay? One is the same as the B flat on, the same as the flat one, and the same as the one. You have such things, okay? You only have three sets which form the 12. Okay? We're going to be looking at a slight application of diminished codes. So we're going to be taking the progression. We are using the two to the five to the one. Okay? Okay. Okay. I just want you to listen to what uh, I'll do, okay? Okay. Okay. So, so you have that as the first one, okay? Then this has the second. Okay. Okay. So, so I'm going to be showing you how to do this. Say you have that. The first one starts from here, you have a diminished seventh code. That's the diminished seventh Cod, but inverted. It's an A sharp diminished seventh. Cody, along with an base line. Okay. Okay. Then if you want it to sound a little bit better, you would want to use one voicing. One means I'll first note from the right, which is this. I'll just drop the and play it on my, on my left. Okay. So that I don't repeat the note twice. I'll just drop the on my right hand and play it on my left. You can play all the four notes if you want to. Okay. You can play that way, but you can also play it this way. I just dropped the note and I played it on my left hand. Okay. So that's the first. Then I'll just go a half step down. Okay? Just go a half step down. Okay? Start here. Then you have a C sharp and, or a sharp, Sharp. And you could have that or just a sharp. Sharp, and G. Then I'll go a half step lower. Okay. I have sharp on my left hand, then I have a C and F sharp on my right hand. This is the diminished seventh code, but as you can see, I dropped this not and played it on my left hand. Looks something like that. Still the same thing. Okay? Or you can play the whole thing. Okay, Then what I'm going to do is invert this diminished cord. When I invert it, it's going to start from here, from C. Okay? Okay, Then the same diminished seventh, but inverted. Now I have, then I have sharp sharp. And I can also this sharp note so that I have sharp and then sharp on my left hand. This is how the whole movement looks like. Start from there, then that always leads you to the six. Okay? So repeat the thing again. So there's something I'm doing on my left hand when I get here. So there. Okay. So I'm playing the E to the F to the F sharp. Okay? Okay? And very, very fast. Okay? Then that takes me to the six, okay? So that's my first movement. That movement is supposed to substitute a 36 movement. Instead of playing maybe one, maybe. Let's use the major six code to use the seven to six, then to the six. Instead of doing that, instead of N playing this three code to six, what I'll do, I'll just play that. I'll play seven and then I'll do this now. Then I'll come back to my sixth Cade. Okay, so to our progression 251. Okay, so same thing. So it's the same theory I'm using here, but these are not diminished codes. Okay, we can just show you that movement. It's a five code movement. Okay, so then I'm using the same theory. This is supposed to be a, maybe seven D, but I'm dropping this to my left hand. I'm playing something which looks like that. I'm left with E and B on my right hand and on my left hand. Okay. Instead of playing this and on both hands, just drop it from your left hand. That is what I'm calling drop one voicing. Okay, I have this. Then instead of playing the whole of this thing, which is now supposed to be a dominant seven, instead of playing this the F sharp and plate on my right, so I have something like I do the same for the diminished. Okay. Then six then. Okay. Okay, So that's the first movement then. Then the second movement is one, which is supposed to take me to the two. So it looks like this. Okay, So it looks something like that then. Okay, so the movement will start from this diminished seventh cord, which is, it's a diminished seventh code but inverted. So it's flat. Diminished seventh card with a two base line. That's okay. I'm dropping the A on my right hand, remember I'm not playing A, I'm dropping it. I have A on my left hand and then sharp, sharp and on my right hand, the same thing. Go a half step lower. Is there the same thing we did with the other movement? A half step lower for each. Then you have D and B. Okay. Then invert G sharp and D. Okay. So, that's your last cord? It's an diminished seventh cord, but what I'm doing, I am omitting the B on my right hand and playing it on my left hand. Okay. Okay. The whole movement. Do you see what I'm doing with my left hand? Very first. Then takes me to the two. You can use these two that I showed you. Root less one, okay? Then it is important that you get ahold of the drop one voicing. They will help you sound better because sometimes playing the same note on both hands makes it look a little bit crowded. Okay, For example, if I play this, it's not wrong to play that. But I have the note on both hands. Why should time my on my right hand and plate on my left? So see that, it sounds a bit crowded. Takes you to the six, then this one takes you to the two, takes you to the two. Okay, that's pretty much it for that movement, for the diminished seven movement to take you to the six and to take you to the two. Applying the second movement in our progression. So you have your two. Okay then. Okay, so, so something I'm doing with my left hand. Okay, from a, then when I land on the land on this, then the same thing. Okay, then the five to one. Let's apply both the two to five. Okay. So the two. The five then. Okay. So read. So then then that's the sixth one. Next I'm going to use the one for the two. Okay? And remember to use also this drop one. Okay? Okay? Okay. So the first movement substitutes a 36 movement, the second one substitutes a 62 movement. Okay? So then you have many other diminished chords like in the other song you are using. There's also a certain theory, okay? So assuming you're playing seven sharp, you're going to use a diminished seventh chord. It's like a Smith, that's seven. You see I'm using the seven with a diminished seventh code. Then I'm going to use the three with a diminished seventh code. Okay? You see it's a semitone higher. Okay? Whichever inversion, even if I decided to use this inversion, or this one. This one. This one. As long as it's a diminished seventh code. Okay? I'm going to use the F, which is seven with a diminished seventh codes, a semitone higher. Okay? Then the same thing for the B, Okay? As you can see, I'm playing the B as a dominant seven code. I told you to take note of that. So I'm playing the B, D sharp sharp, and then then a diminished seventh code on my right hand. Okay, you have this then, to the six, maybe then the same thing if I wanted to move from the six to the two. This is my six is supposed to be an no. I'm going to be using an diminished seventh code. That's just the theory. I'll use an diminished seventh code, assuming I wanted to move from the six to the two, okay? Okay? If I wanted to move from the seven to the three, I'll use a diminished code that is a semi higher sharp with a diminished seventh code. Okay? Okay, if you play, you can also play the sharps, dominant seven code. F sharp, sharp sharp and with the diminished seventh cord, then to the B, B, dip sharp with the diminished seventh Cod. Then to the six, which is an dominant seven along with the diminished seventh codo. Okay, that's just the theory, it's quite simple. But what you have to make sure you do is to get all these inversions. Make sure you understand these inversions. We make sure you understand them. Okay? Maybe you are playing a song like those that have. Flat five code. Okay? So it's okay to just play that way, but if you can invert these codes upwards, it sounds better. Okay, so like, so what I did there, so I just inverted the same code upwards the. Okay. In the end I'll try and put a track for him that has such a movement of flat five to five. Then you can, you can use the same movement. Okay? The same thing. Then the other thing you can do is instead of just playing it this way, you can sharpen this note up by, at this, not take it to the shop, you have a Sp and Sp. Okay? Then now return it to the E. You start from here, okay? Okay, So just sharpen it upwards. Then probably the last part we'll do on this chapter six. Okay? You have your six D. Now, like I said, you will play the sixth cord with an diminished seventh no matter the inversion. Okay? You can play with any inversion you want to play it with. So I want to choose this inversion. Okay? I want to choose this in version that says from D you have D, F sharp. And I want to choose that inversion, there is something you can do. You can also sharpen this B to C. You have something of this, okay? You have F, G, and C. Then that leads you to the two. Okay? Again, I was talking about drop one voicing. Same thing. You can see I'm playing the note on my left hand, so I'm avoiding it on my right hand. Okay. So I just have C sharp, E, and B. Normally I would play the chord like this. Okay? I would have the E on my right hand, but I am avoiding the gut and playing it on my left hand. Okay? Okay, So the six, okay? Okay, So this is a movement six, so you can decide to play an E major code on your left hand, doesn't matter. Or an augmented code. Okay? So then with that code, and then do this. Just play a on your right hand with this, okay? Okay, the code starts from here, C sharp, sharp. And B. If you look at that code properly, it's a code code. But now I'm dropping the F sharp to the E. Okay, sharp to the seven code we know, which is our five. The one, okay, which I'm playing as a nine. The six, Okay. So I said you can play either a major code on your right, on your left hand, or an augmented augmented. Looks like that, depending on what kind of voicing you want. Okay. Then to the five, to the one you have that for the diminished code. But as you can see, I altered it a little bit. Okay? That's just it. Even if you wanted to use it in the 251 progression to the 66x2. Okay, That's quite simple. You'll have such things. Make sure you take note of those diminished code movements. They are simple. They are more advanced movements. Anyway, we'll cover them later. Okay, but for now, I want you to get those few diminished movements. That's it for this chapter. I think I'll see you in the next one. 8. Chapter 7 Song Example: Welcome to this chapter of a DVD. Now in this chapter, I'm going to be giving you an example of a song. Okay? How you can use whatever I've been teaching before in a song. So I'm going to using the hymn Holly. For those who don't know the melody, it goes something like A. So that's the melody and then I'll be repeating the chorus. Okay, So one last time. H. So that's the melody. I'll be having a truck where you can practice. Okay, I'll show you how I've changed some of the progression on the track and how you're supposed to play. As long as you're using the truck to play, we're using the key of G. The key of this is how I start. All I'm doing is keeping the melody. I may have changed the base lines here and there, but I'm trying to keep the melody. Okay, so this is your first code, okay? Okay, so this is your first code. You have C sharp and F sharp on your right hand. Okay, on your left hand, I mean, C sharp and F sharp. Then you have B, E, and G on your right hand. So okay, this is what you have. So that's the first line. Okay? Then then you have something like this. Okay? Or for those who want to play truth less, you can play it like that, but this is the exact code I was using. Okay. Second code. So you start with, then that's your one. So you have D and F on your left hand, then you have ACE G on your right hand. Okay. This is the major seven a nine code I was talking about in the very beginning of this DVD. Okay. So that's the major 79. Okay, that's the second code. Other code is, is something like this. Okay. For those who are keeping base lines, the baseline is at two. Okay? You have G, then you have C on your left hand. If you don't want to do that, just play four. You have B and C on your left hand, or you do AGC for those who can play the extension. For those who can't just play this ABC on your right hand, you E, G, and B. Okay. You have G and B. Okay. This is how the song goes. That's the third, the fourth. The fourth. That's B. What do we call that? We call that a B suspended. It's a B at nine. Actually, it's, it's just the inversion. I told you to take note of this at nine. I inverted it as to keep the melody you have then to the two, then the other. I'm doing to C, to C sharp. Then on my right hand I'm playing a major three D, which is A B that sharp and B. Okay. The tracks A baseline. The baseline is still a two. This is the, I was talking about the major three over the two. I was playing it like this in the major code section or something like this. Here I'm playing it like this. Okay? For those who want to play trot less, I was, I was doing, that's what I was doing. If you want to play rootless, just do this, okay? You have A and C sharp on your left hand. If you want to play ruthless, okay, If you don't want it, then it's the same code I was using on. Now I'm bringing it to D. You have DAC on your left hand, then you have GBD on your right hand. Then I'm changing this melody to something like this. Okay, that's five of the three, I think I showed you that in the beer section D, you still have the same thing on your left hand, then you have sharp sharp B and D on your right hand. Okay. This, I think I showed you that on the five code I was doing something like, okay, for this code, I'm doing the same thing on the one now. Okay? The same thing I was doing the same thing on. So I'm doing it now on. Okay. You start with that suspended code, we talked about suspended codes. Then you play a minor, 55 code, A, D. Then you have CD on your left hand. Okay? Then drop the C to the B and drop the to the G. Okay, Then the next code is I'm playing a rootless one. If you wanted to play one with a root, just play this. The rootless one looks like this, BC, and that's a seven. Anyway, okay. Then here I'm playing an minor code that's BEG. Or we could play it here if you wanted to play it with the root, That's G on your left hand. Then maintained the same thing on your right hand. Okay, BEG. Okay then, okay. So E to F, Sharp to G. So that's the suspended code we're talking about. Okay. That's the six to seven, so the suspended code ECG. Gdg. Okay. Ecd then GCD. G then, okay. So that's sharp D, E, ADEA. Okay. We covered this under the suspended code section then. That's just a one code at nine code. Okay? So I'm playing GB on my left hand and G code on my right hand. That movement, it's just two over the one. Okay? It makes an A minus seven. You have A and C on your left hand. Then you have GC on your right hand. Then you have and A on your left hand. Then you have a decode on your right hand D, that makes for just a decoded back to your code. Ab DB. Okay, then I'm doing something like this. Okay, so 12345 ABCD. Then when I land on the D, I'm landing on such a code. Okay? It depends what you want to do, really. You have sharp, sharp and on your left hand, then you have this quad on your right hand. Ad, I think I thought something like this undercut code that looked like that. But now what I've done, I've added this sharp. I'll come to teach you that in a later course on tritons. Okay. Then back to the one. I'm playing a 19 cord on my left hand, then I'm playing a three cord on my right hand, that's sharp, B and D on my left hand. Okay. Then that takes me to the three card, that's B, D, and D sharp. And then I have a G code on my right GBD. Then I taught you this code, you have GBD on your left hand, then you have a nine cord on your right, B DG. Then I did something like that's a code. You have C sharp A, then you have EA. You will find all these things in our course, we covered all of them. That's a Dd9d. Then you have D, D sharp. Then you have AD, you have B. Then I have DAD. That's the next D. Then that brings you back to DG, B. Okay, then I say, I've already played this code on the G. I've played it on the D, now I'm playing it on the, okay, like a G then B sharp. You will hear something like then. Okay, you start from this D sharp. D, then A, then A and A sharp. But you're bringing it up from E then back to the six which is BE. Okay. You are maintaining the same thing on your left hand. Okay. Then to the five code. Again, we've covered this code before, DC, E GBD. So that's the first part. So the first part goes like, okay, like I said, I'm playing it slowly then, then, then. Then, then, then, uh huh. Then, then, then, okay. Then the start is the same, the flat five, then D G, then back to the code. The same thing we played at the beginning. D GF, EEG, then the two code, the same thing. Okay? So the same thing. So we had this then the same thing again. The B, B a nine code. Okay? Then the same thing again. Okay? Same thing again. Okay? Same thing again. You repeat the same thing again. The three to the 227. Then now here is where the melo D changes. On your left hand, you will play an M which is B. You play the same thing on your right hand which is BEG the inversion, then I'm doing a 543. Okay? So just a five. Df, ADF, C, D, E, then GCE. Okay. Then B, D, GB, D, then then back to the four CDE. Gce, then three G, B, D, D. On your left hand, the player two ACE. Ac, okay. Ac. Eac. Then I was playing something like this. Okay. I'll teach you later in this course. It also involves a triton spoiler. You have, you have sharp. And then in the second part, when I repeated that last part, I did from here I this, okay? I did a diminished seventh code, which I taught you earlier. We said then then to the two. The two is a normal two, something like this. Abc, then AC, then the flat six code I taught you with the minus seven code, okay? Okay? You have sharp and then you have C sharp. Sharp. And you could play here. If you can't play here then. Okay, the movement on the five code I taught you. Okay, start with D, G, A, C, E, then drop, then back to the one G, D, ABD, G. Then I was doing something like this. Okay? Okay. Okay, so sharp and D with the base line still there. And then C and D and B. E and C, back to D and B. Okay, then there is a part. The second part, this is how the second part looks like. I taught you the Then then there is a part I did. So the second part then the same thing. Then I did something like, I did something like that. C sharp, B, the base line is a flat fight. That one led me to the seven sharp and then B, E, G sharp, and B. I think I taught you this earlier. This is the same as this, but it's on the key of N. Okay? Then then you can do the three movement I taught you, okay? Okay. Check the major code section if you haven't checked it properly. And then then you can continue with the song. I said we did this and then this is how I played the song very slowly. Okay. I'm going to play the whole of it. So I started here, okay. Then, then, then to the five. To the one to the four, then then, then, then, okay. Then then somewhere here I might have done this. Okay. Then I did this upward movement from, it's just a code to the sharp. To the A to the sharp. Okay. Then my baseline on my left is D sharp before I started the second part. So you might hear something like that. And then do you repeat the same thing again? Okay. Then then I told you this. Okay. Then, Okay. So that's the whole song? That's the whole song the way it is in the truck. You can add any other leaks that you may have understood during the the DV, D. But that's the full song. I've played it the way I played it in the song. I'm playing the first part and the second part. Then I'm repeating the second part. It's still the same thing. Okay? It's still the same thing. Same same everything. That's it. That's the whole breakdown of the song. If you don't understand the track, just come back to this lesson. Okay, you will find all those codes that you need to play that track. That will be it for this lesson. I'll come back with a second demonstration song and then will be done for the course. Yeah, so that's it. 9. Chapter 8 Song Example: U. That's the melody of the song. Okay, there is a practice track for this song if you want to know how to play the song, but I'll be explaining some of the things I did in that track. Track has an electric piano background, so you can just grand piano over if you want to. This is how I played it with something like that's a simple pentatonic scale. That's the pentatonic scale. We have 56123. Okay? D, E, G, B, G A, B. Okay? On my left, I just have a straight on one at nine. Okay. Abd then you have that note then. Okay? So you have DG on your left hand. Okay? D, G. Then you have A, that's a diminished code for the two, this inversion, then to the one G, B, then to the other inversion of the same code, D sharp AC. Okay? So then the one, the one DGA, then DG, B on your right hand. Okay? Then I just repeat the same thing. C, D sharp, then D sharp, G, then the same thing. So it's the same thing I'm repeating. Okay? So then the next base line is at two, is at six, then to the two. Okay? So this is how I played it. B and D on your left hand. Then you have the diminished seventh card. I told this in the diminished code sections. Okay. Then you have your two card. Okay. Sounds Sounds if you want to keep the baseline so I have A and G, then I have AC, or you don't have to keep the base line, just play this, this ABC. Then you have EAC. I'm bringing the up from the G, so that's a two. Then I have the four. I'm playing the four diminished two code, something like a. Then CDs, both hands, that's one of the five G. Then you have G on your right hand. C sharp, A, then you have F sharp, so that's a five over the four over the four. Then I did this movement here. Okay? Okay. I think I taught you this movement in the minus section. Okay? Okay? Where I said you start from from B minor to minus. C sharp minor to D minus, okay? Then you have B, D sharp, and A on your left hand. So if you didn't understand that correctly, check that section, the minor code section. Okay. Then G sharp, D, then GCE. Okay. I thought that whole movement. Okay. Then to the two, so it's just a 362. The five is just the same thing, the one of the five. Then here I have a sharp ENG on my left hand. Then I have B G on my right hand, nine F sharp on left hand. Then I have ADF. Then I have such a code. Okay, I have ENG on my left hand, then I have C sharp and G on my right hand. Like I said, I'm using some sort of a drop one voicing. Okay. Okay. Then looks something like that. So instead of me playing left on my right hand, I just play the C and the G. Then I play the on my left hand, or I can add the note on my left hand as well. Okay, then the movement I showed you for the five chord, okay? Okay? So C on your right hand, then on your left hand, then sharp, then CDA on your right hand. Okay? You have on both hands, then E and C, then D and B. Okay? Then you have something like this. That's the whole song. Okay, so that was the first part. The second part I did something like. Okay, so I thought this movement in the diminished code section, then the two, then you might have had something like this then same progression there. Okay, then you might also have heard that. Okay, I broke down that movement in the major code section, so I said you have a and then you have CFA. Okay? Okay? So something like then this diminished code movement. Okay? Okay. Okay, so those are the things you might have heard. The other thing you may have heard is this, may have heard that you have, and then you have a major six code on your right, which is an major code E, D, B, B to the four. I also that in the major code section, the song repeats itself. Then you may also have had this. Okay? This is just the same thing, it's just a substitute for that. Again, I'm using drop one voicing. You have B, then you have, and then you just drop it in half steps till you get to G sharp with D, F, and B. So you just drop it in has steps, okay? Okay? Even this movement. Okay? When I said you have G, then you have C sharp, E and B. Then back to the five, then I also did this, the five to the 41 combination section. Check that part very well. The whole song looks something like this. A second time. There is somewhere I did that movement. I thought that in the minor section, I was talking about the -5.4 movements. Okay, it sounded like that. So check that movement very well. In the -4.5 section, it's in the minor section, basically, you'll hear such a movement, then continue the song. Then I did these three To the one, then to the four, then this movement. Okay, so sorry. Okay, I did our movement to that D. Okay. That's pretty much the whole song. So make sure you have gone through all the section of the DVD before you start trying out playing these songs. All of the things that are in the DVD. What I'm to play here, the two songs, the first song, second song, which is We Give You Glory. I'll put a link for those who have never had those songs before. The songs might not necessarily have been done in the key of G, but because I'm trying to show you how to do these things on the key of G, I just chose those songs to help you here and there. Make sure you go through all the section very well. Make sure you get a movements, the minor movements, the diminished. Make sure you get, especially those drop one voicings, okay? Because you're using them a lot in this song, okay? And those few rootless voicings that I showed you, make sure you get them very well. Make sure you get this movement, okay. Then you have something like this one. Make sure you get those things very well before you start playing this song, okay? The song has lots of ideas. Has lots of ideas. With those materials, in the course, you'll be able to come up with your own ideas for the song, but that's pretty much the breakdown for the song. You can add your own ideas depending on how you understand the 10. Conclusion: Thank you for watching this course. Now, the last two chapters of this course are song examples, that is, chapter seven and chapter eight. Now I want you to use those song examples to test how much you have learned. Now below, you will have two lead sheets for the two songs that I have used as examples. Now ensure you check them out. Ensure that you give me feedback. Ensure that you practice first, then you can give me feedback on whether you have any chal***ges or you have enjoyed the entire thing and you've learned everything, and maybe you want more information. So yeah, so keep learning. Keep practicing. And I hope that you will get better in the key of G.