Advanced Piano Chord Voicings Course

1. Course Introduction : Hi guys, My name is Caleb and vision, I have prepared a course for you. I am calling it a piano. Chord. Voicings cross. Now, I know most of us Play Piano. They though you've been playing it. But in this course, I'm teaching you some new Voicings you can add to your playing to sound better. So in this course, I'll be covering Left Hand Extended Voicings. I'll be covering Left Hand Reduced Voicings. I'll be showing you how to feel Up Your chords. I'll be showing you how to use tritones and the lake. So follow with me from chapter one to the end. And you are going to learn a lot of these things. These are things that these pro musicians use. So it will be good for you if you land such things. So ensure you follow me from chapter one to the end and you're going to learn a lot 2. Chapter 1 Left Hand Extended Voicings: In this first lesson, we're going to be doing Left Hand Voicings. I'm going to be dividing them into several paths in this fast, but I'm going to be whacking on Extended Voicings. So let's just get right into it. Assuming you choose the key of, let's say, See, this is normally what most people Play. Yeah. See perfect East or something. Let's say you are playing the two most people plate-like that. Same thing for the three. Or maybe this maybe this depending for their fault. That same thing for the five. Then for the six. All LEDs. Maybe that then for the seven, you will see things like this or this. Or maybe this, depending on the chord. And then back to the one. I don't know. Maybe something like that or that. Okay. So those are normally the standard Voicings. You will find this one Left Hand. But today I'd like to introduce new Left Hand Voicings. So this first part, we're going to work on Extended Voicings. So let's say you are on your one. Instead of playing just this. You can play something like this. You have like C suspended to chord one Left. So you have USE U, I see. So you have something like this. And maybe you can also play that. You can also extend that to you. I had some people played this way. So that's basically as he called. Or some will play it this way. So you have a C at nine chord. So you have your C, G, D, and E. So I think you can already see where this is going. This is still going to happen in all. They have a number. So for these ones, you can play them with Iran chord. You can play that, you can play that you can even play that way. Yeah, that's your one. Then let's go to our To basically, it's the same thing. This is what we are playing before. You can even extend this to the tab so that you have something like that. So let's say you're playing it with a two chord. Okay? You can even extend it to the fourth. So you have something like or you can even these two together. So you have something like still the same thing. You can lower these six nodes to the flat six note if you have to play a minor for chord or diminished to chord. So you can play something like if you have to do this, then three Chord, it's still the same thing. What do I doing? So you just extend it to the five. So you have okay, or maybe if you wanted to play a 1/3. Now, this seventh note is, just take it to the answer. You have something like you have a C over there. So you have E C, and then to UFO, it's still less empty You can either do this. I'm going to be you can do something like tickets to the six, so you have CG and so you can do any anything of that sort. Then to the five. This is what you're doing. You can either take this to the six. So you have IG, IG, and an eight. And I'm using my thumb to play these two keys. Yeah, so maybe you can take it to the seven. Then you have your Essix. The same thing. That was six. So you can take it even to the seventh. So you can even take it to the one. You have, a, E and C. Then you can even lay these two notes together. They began DC. So so you can do anything really. Then to R7, R7 we normally plate, maybe this way. So what I just wanted to do is to take this seven nodes. So you have something like BIG and your D, something of that so, well maybe some plate with the F. So you have there, sometimes you will have to play to this node, this one. So you only play that to a new, maybe one to play to their major, to codon you are right, or something of that sort. I may just six Chord. Anything we want to play to their major to D. On maybe I may, Jessica, I will cover this in future chapters on stroked regressions so you can play this with that. So that's just your seven and then back to one. So if you had to do this scale, you'd have something like then you are three, that then you are for linear 567. And back to you. And that's just an easy way of voicing. Yeah. Left Hand notes. And I know I've asked we complain that they can't do this extension saw in the next chapter I'm coming back with Reduced Voicings. You can do this in any key. Basically, even if we go to the key of E becomes 0123456. Back to even do this in any particular key. Word to be good to G. So you can do this in every key. I just get a hold of the theory of how you're supposed to voice your Left Hand notes. I saw that towards it for the first part of our Left Hand Voicings. I'll come back with part two, which is Reduced Voicings. This one was Extended Voicings. I should learn how to stretch out to do these exponentials, especially when you're playing alone. They will really help you. So that's it for this lesson. 3. Chapter 2 Left Hand Reduced Voicings: Welcome to part two of Left Hand Voicings in there fast, but we covered Extended Voicings. This one's whichever key. But it's now in a second part. We're going to cover Reduced Voicings. For those. Maybe who thought in the fast part that they can't extend. You know, some of these extensions are pretty difficult to hack lake, let's say the key of C Sharp. Most people can't really be able to stretch up to that point. So A-Flat, same thing. So to, to cover those people, we also have to do a bit of Reduced Voicing course. Not everyone has long fingers, so something like that. So we'll cover this Reduced Voicings. Let's demonstrate how they work. This is the standard Voicing normally. So if, let's say we want to reduce these, what should we do? This is the one, the five and this EGN. They see, if maybe you want to reduce it, we can't reduce it to the seven, this last node. You can bring it back to the seven. So you can have something like that. It's like you are holding a C major seven chord really. But, but, yeah, that's the voicing. So you can do that. And what God's Can you play this on your right? And you can play this with a five chord. You can also play this with a major seven chord. That one. But I may just 7.9. So you have something like C, D, E, and B. So you have all those five nodes. Yeah, you can have something like that, like that. So anything of that source really you can Play it with this. So you have your C, U, G. And then next thing you can also do is you can also drop this V to the B-flat so that you have something like that. You have a C dominant seven chord. You can play this easily on your left hand. So this one, you can only use it when it's supposed to lead you to the fourth. You can only use that when it's supposed to lead you to the fourth. So let's say, what chords can you play this? You can play to the US Trade Desk. I'll see. You can even play with, with a D minor seven chord. So you have Sandy Lake. Then you can Play it. That one. You can even play to that B-flat chord so that you have A-flat seven over the land. So you, I'm E-flat chord. B flat major seven doesn't match up. B-flat major 7.9, really doesn't matter. So that's how you can voice you are one, if you want to reduce your voicing, Let's go to the 2k for there to you. Jeff, do the same thing. This was the standard. You can bring these z-naught back to the CISO. You bring these two nodes back to the one. You have something like that. Hours gods, can you play this? You can play to that. Who got? Can play with that to Chord as usual. You can even play with, I forgot. You can even play to the origin chord. You can play to that four major seven. You can really play this with anything. So basically, it's the a and C The other variation to this is maybe when you may have to drop the a to the influx if you are playing a minor or diminished to chord. So you will have that if you're playing something like this. Or, or. So. Those are, You are Voicings for the two chord. You can even bring this back to the F sharp. Now instead of this, this as well. If you have to play a major two codon, right? So, but you can still play the major to God without necessarily having this F sharp NO2 can just have the six nodes. You can Play it and still be comfortable. So those are, You are Voicings for the to code for the three Chord. The same Theory. Maybe you do this. So let's start maybe with this. If you do this, just drop these inodes, something like that. Then what's God's Can you play this with just a one over the three? So a C code. You are one. So that's, that's it. Maybe a one at nine if you wish to do that. So to the next Voicing. This is the standard voicing that most people use. You can drop these to the D. Now this is not just the same Theory. So you have that. I watch gods, can you play this on your right? You have a five chord. Maybe you can have also diminished to chord. So, so you can have something like that. Or maybe then if you wanted to play to their major three Chord, it's the same thing. So that's just it. The last voicing you can use for the 3s this. So basically we did this. They be on a bit of the B-flat. Now, this one, you can use it with amino five chord. So this is your major five chord. This is your minor five Chord. Can use this inversions. So basically you can, You can do something like that. You can even play with that one. So that's the last voicing for the three. Therefore, it's the same as the one. Just drop these two there. So instead of having that, you just have this. I just want you can play with we, the one chord. You can play to their six chord. You can play to basically very many things. I would advise you. Maybe if you wanted to play for Chord, just use this Voicing. Just use these, these so that you can play a focus on something for them. And if you want it to play as three to one chord, I would advise you to use this Voicing, this. So that's what, that's basically for major chords. For the five, it's still the same thing. Five is also a major chord. So maybe we lose these Voicing. Instead of this, we're going to use this, this one. You can Play it straight with a five chord. You can even played with, with a C minor seven chord. A minor seven chord. Just Play to this voicing. That's actually a chord that sounds really nice. It mostly leads you to the land. Then you can have other five Voicings. Is the standard. You can drop these two, the 3.5, something like that. Now this one, you will only use it when you have to play a one over the five. So that's it for your five Voicings. To the six. It's the same thing. This is the standard one, so we use it to the five. During this six, back to the five. I watch chords. Can you play this with? You can play with your six. Good. You can even play to the Aramco. All your one major seven. Yuan me just saving. It certainly doesn't matter. You can even play this with your five chord. There's also another variation, but I will delete that later. The other Voicing maybe you can have for us six chord instead of this is just to take these three to the fourth. Instead of that one is you just Play when you're playing a four of other six. So maybe for suspended to maybe when you want to do as 671 movement, that's when use that God already moved to the seven. The seven. That's what we normally use, but now, bring this back to the six. What's God's Can you play this? You are five code. All your five suspended to. You can have another voicing where maybe you, those who played with that also played this. You can Play it that way as well. Maybe if you wanted to use a chord or to God. So maybe this will lead you to the three. So that's Your to chord, four chord. Then you can have your last voicing, which is now this. This one is meant to be used when maybe you Are, you add it to play a major to chord, or maybe a majestic Scott. So that's basically your Voicing. You see this 671 movement I was talking about. So you can even voice your one that way. You can have your C, a, and B. Then on your right hand you can Play it with a, with a six suspended to chords. So you have something like that. So these are just extra Voicings. You are six or seven yuan. You can even have your two like this. So those are just extra voicings that you may need to use. So you can now view a, D or B flat and you are sick. And here you play to that B-flat, suspended to Chord. So you've got 67123. We worked on this. You can have the same thing for UFO. You play to that D suspended to Chord end. You have your F, D, and E. You can't have that for the face. You can only have it for the 67123. And therefore, you can't have it for the five. Those are just some little extra voicings. And as I said, you can apply this in every key. Like let's say we go to the key of F sharp. So you can have that, that you have desk covered traits. Now. You can have that you are to you. I took three or three or four or 555 your seats. Six or seven. Maybe that then back to our on maybe this, like we said, when you can Play it with two minus seven caught. So those are just your Voicings. Whichever key, C-sharp, C-sharp, 1234567, MDR1. Or if you wanted to play a straight one chord. That's I just, You Are Voicings for these kids. I tried to learn this Voicings. They'll really help you, especially when you're playing with band. Next chapter I'll be coming back with Rootless Voicings. So that's it for this lesson. 4. Chapter 3 Chord Voicings With The Root: Welcome to but three over Left Hand Voicings. In this, we're going to be doing Chord Voicings. Chord Voicings. Basically. What I'm saying to say is whichever chord you play on your right hand, you can transfer it to a left hand. So we'll start with those that maybe have The Root. And then we'll go to those that don't have The Root. So for those ones that have The Root, let's say you are one Chord. I'll be doing this in the key of C, you and Chord. Like we said, that's your one chord. Now, if you probably have a bass player or something, or maybe you don't even have a bass player. This is what you can do. You can play a full major seventh chord on your right-hand, so you can play that. It's the same thing you play on your right hand. Now you are transferring it to your left hand. So translate to a Left Hand. This one now allows you to be kind of three linear right hand side of that. You can even less care. Or maybe you can even play a chord. So this one allows you to be free on your right hand. So you can play that God, you can even play if you can, these, it really doesn't matter. So we are working on those chords that have their roots. Lake for example, this is your anchor. This one. It has roots, which is your one. So you can Play it really a lot of things here, three Chord, you align my desk, seven. You can do a scale that's, that allows you to be free on your right-hand. So that's about it. We can also play a dominant seventh chord. So we just drop this B to the B-flat. So you have your C-E-G and B-flat or Asia. This one leads you to, therefore, like I said, you can play this to the uncaught flat seven chord, which in this case is B flat. So you can play all these things. So it's a chord. Then you have, you are to you or to Voicing. You are to voicing now will become an dust, whatever you playing you right hand. So two minor seven chord. So seven Chord. Just transfer this to your left hand and play it that way. Then you will have maybe four chord, four major seven chord. I seek Scott. Okay? The other voicing you can use for U2 is just to drop this a. So this one is when you need to play my inner four chord or diminished to chords. So I'm an advocate. Diminished to chord combination of the two. Then you have another voicing, which is now You Are D, dominant seventh chord. That is exactly what you Play new right hand. So you have that, you can play that to that six chord. Or even the D major chord. Maybe you can plate. This, got this one is B minor seven, or they're just Something like B may not chord. So you will hear less professionals doing something they see from the B minor to the amine, then to the site. So I'm back to the eye. Okay? Then I two there, three there three is also a minor seven chord. So, so some minor seventh, Good. You can maybe transfer this B2C so that you have that. You've gotten play that with you. Yeah, so you can even have it as dominant seventh chords. So you have here E, you are A-Flat, you have B and D, or D. You can play this with a diminished to God. The good thing about this God Voicings. You can even choose to ignore this node. So you can play this way. If you think it's limiting, you just avoid this. You can even take it to the one leg, the same thing for the two. You can choose to ignore this. You can choose to ignite and played that. Let's go back to our three Chord. Play this with diminished seventh chord maybe of the four or the flat six or seven. They to. When do we ignore these? It can assist you somewhere. You can ignite this B naught and have that. Then on your right hand you can play around chord now. So you can have, that leads you to the six. Then that's basically the other voicing. You can have this, maybe the one on this one, which you can play with a minor faith chord that I, three diminished seventh chord. It's actually the same thing. So that's basically it for your three, for the, for the same Theory as the one, it's a major chord. So use a major seven. So 7.9 if you can. You can even play that. So that's the standard, the major seven play to their seats. So that's that's pretty much it for the, for, not much to say there are course therefore is a major chord just like the one Chord, 17 to the five chord. So what we do, we make the five dominant seventh chord so it becomes that. So I'm playing it to the five chord to chord. So basically that's it for the G. For you. Five, good, maybe if you entered To Play 1/5 dusts Use the Reduced Voicing I taught in the last chapter, which was this. Then to a six. You are six is a minor seventh chord. So basically the same Theory as the two are the three Play. This is the one caught me just saving or something of that. So what I seek squad itself. You can even add these two notes so that you have this. So that's it for the six. For this seven, it becomes something of this up. A diminished seventh chord, something of that. So BD. So play this with maybe a five card alteration you can do is just to take this F naught today. So you have that and now you play to their faith. If you wanted to take it to play maybe image2 Chord, I just do this. Make it a minor seventh chord. Maybe I may just six. So basically those are the Voicings you have. Those are the Chord Voicings. Chord Voicings which have a Root, doesn't matter the key. Let's say you go to the key of F, maybe that's your one, or two, or three. Or maybe that you are for you or five or six. Maybe that you are seven or that one or that one. Then back to our, okay, maybe let's say you go to the key of B. It's basically the same thing. You, u1, u2. You can even have that dominant seven, you are three that you are for. You're five, or six, or seven. That, well that bacteria. So these are the Left Hand Voicings you can use to free You Are Right? Okay, doesn't match. I go to F sharp, same thing. 123. Maybe that you are four or five, You Are seven. That one, That one. Also bacteria. So you can always use this Voicings to free writer. Those are the Chord Voicings which have. Now in the next chapter I'm going to deal with Chord Voicings which don't even have a Root. So you're going to be playing some rootless voicings that works best when you have a bass player with you. That's it for the Lesson. Make sure you practice these things in all the 12th keys. And I'll see you in the next lesson. 5. Chapter 4 Guitar Style Piano Chord Voicings: Welcome to part four of Left Hand Voicings. I like to call this Guitar Chord Voicings because when you listen to many guitarist, I will hear those codes. They, they really love to use them. So I'll just go straight into this. Maybe let's say this is the one chord. You'll hear something like this, or I'll be using the key of C L, demonstrate in other keys as well. So this is normally our standard Voicing. You will hear something like this. Maybe you can plate higher. Okay? So that's exactly the voicing. I'm talking about this one. Now. You have your C, you have, you be, you eat. Now, the only limitation to this Voicing, especially on newer one Chord, just limits you to a major seven chord on your right, or maybe a five chord. So a major seven chord. That so it does limits you to a major seven. So that's your one. You don't have to play this. You don't have to do this trich at once. Although if you can do it, the better, you don't have to do this stretch. You can, You can just play and play this. So you just play and play this. So as you have your base not in the background, so okay. So make sure you have a sustained pedal hold you sustain vendor on their best not. Then you can play whatever you need to play. Guests may or may not have that event played with that three Chord. Got a five chord. It doesn't matter. Or maybe nowadays that one is done. That leads you to therefore, then you Play to this trade-off. So I'm play to the arm Chord. Enough, faith, God. That's one. Really doesn't matter. Condensed play this. And then you can do that. Hold your basement. Then do that. Same thing for the two B, C, and F. So you can do something like that. And for this event, play with one chord, four chord itself. But I took God. So, okay, then you can also have these. Okay? Now, as you can see this a very long extension. Note most you can do this. So what you do is just play your business. Then Play these other two nodes. Okay? Well lead to death as stain. Play these other two nodes. This one is only one to use a major. A major to chord, or maybe a chord like this. So, okay, Well maybe late higher. So, so that's basically the Voicing. Then you have your three. That's one lady said, Lady Sudan. Maybe you can drop this to the land. But this one nose and Extended Voicing suggest do this. Lead to, lead to the five? It doesn't matter. Faithful run. Then you can Hi, add to the G-sharp. So you have receipts are very long extension, so just play a bass note. Then play this together. So then play that. This one, Play to the major three Chord. Or a diminished seven of the two, or something of that sort. Therefore, only to latch onto definitely assembled some holy. So that's your three. If you can't play this extension all at once, just play a bass note earlier sustain and Play. So it's as easy as that for therefore, they Theory is the same as the one. Play to their Sikhs are four, major seven or even a two, or even a minor for. But if you wanted to play to them My enough for just make sure you drop this to the true. Take this here and have that. You can even, you see these two chord that you have covered. You can even play to the minor, forgot to call it to the form. Play to the one. I six. I thought. There are so many codes are for the five. It's the same thing. Lately, that five chord to chord. So if you maybe want to sound good, if you're playing it with PHI without to chord, you can do this. This is what you're supposed to play, but you can extend this to the one, then drop it so you can have something like so. Take it to the sea, drop it to then back to them. So you can do something then to the G and this trait. So basically that's your five chord. Six Chord, same thing. So you have, You Are see, so you can play a bass note, then do this. So you can play to their faith, God, god. You are one, major seven. Okay? Then to us seven. You can play to the five. You can play to that major To Play to them in there six. So actually this Guitar chord voicing allows you to pretty much played with every other code that was maybe being limited by the Reduced to Extended Voicing. So then you have your one bacteria. So these are Guitar Chord Voicings. I'm calling them Guitar Chord Voicings, Course, that's what most guitarists play. Then we can have some extra Voicings, like we just did in the Reduced Voicings Are you can have your six. You can have that Play to the suspended tool before. To the seven. Oh, maybe. That's an inversion. This is an inversion of these. So they're one to their true. You can even do that. Okay. So for the land had so you could have these other two. But even if you just Play to see the same thing for the three. Well, these two therefore can do that. Later. That lake we just did in the Reduced Voicings. You can't do it on their five, can do it on the one day to day three. Therefore, they 6.7. You can do it on the five, because five is mainly a dominant seventh chord. That's why we have weight. So those are just extra Voicings. You can have these 23 or four. You Are 67. So those are pretty much simple Guitar Chord Voicings. Maybe let's go to the key of E, is the same thing. Make sure you can do this in every case. So this Guitar chord voicing, you can see our when you go to either extension is a bit long, It's very low. So what you do desk play a bass note. Then play this there too. If you can do that, good for you. There three. Therefore, C, Therefore, it's very low. Yeah. So does play a business then? 6. Chapter 5 Rootless Chord Voicings: In this part will be doing Rootless Voicings, rootless voicings, and some kind of improvisation. In the previous four chapters, we've been dealing with different types of Left Hand Voicings. So in this will be doing Rootless Voicings. What I mean by Rootless, maybe let's say you are in the key of F sharp. Let's say this is one chord. So this one, this F sharp is Yahoo. So this is your output. But now if you decide to play a Rootless Chord, what we lead do you will eliminate the root, which is the F-sharp. Maybe now, if you play it this way, if you played this way, that becomes Rootless Chord. Instead of laying this way, lead this way. That becomes Rootless Chord. So we're going to look at various rootless chords you can use, let's say, for you or one chord. Let's Cynthia, in the key of F sharp, Let's just stick there. So that's your shop. Maybe you want to play around chord. You don't have to play this way all the time. There is this voicing that that people like to do. You will hear something like. So. So that one involves a B on your left hand, on your right-hand, you have an F sharp and D sharp. So then actually this is the caudal be stressing on this one. So you have your, you are A-Sharp, you have your D-sharp, you have your sharpened C-Sharp. So that one is the one chord you hear now and I play the bass note. And it sounds really fancy. Hey, it sounds, yeah. You can really use that as your OneNote, especially when you have a bass player. So what I was doing here, this one is just to lead me. So, so that's my land chord. You can use that. We also have another one could that people make to use. You remember in our, in our Reduced Voicings, we dealt with a chord like this. So this one we saved leads you to the fourth. So you can imagine something like this. Instead of doing it this way, you will find some people are doing a decent. So instead of doing it this way, for doing it that way. What are they not in these? Do you have your E? You have your G-sharp, you have your E-sharp, B-sharp. Then here you just have F-sharp, C-sharp, I mean, F-sharp, C-sharp, G-sharp. So that's you and then that's their fault. So, okay, So it sounds really fancy. Basically, the idea behind this chord We were just playing an E major seven chord, but you can even played this way. It doesn't matter. It's really doesn't matter. You can You can drop these two, the three so you have what? Whatever I should do. Especially when the band is holding at the one and the drama is playing the symbols, you can play this. Or if you don't want to play it With The Root, just play this. So that's pretty much simple. You can have, let me just give you those are the other one. You can have this play the straighten and play to the arm chord. So this one leads you to default. You can play with any inversion. So basically it's about being creative. You can even play an E major chord, major Chord night. So that one really sounds good. So those are some of the Voicings you can use. Let's say you go to the to. So I'm using the Guitar chord voicing. I taught this one in the last chapter, playing it to that one. So what can you do? This one sounds really nice. So what you can do, You can just eliminate their The Root and have something like this. You see this one? I'll maybe this. Yeah, it sounds really fancy. You can even decide to fill up this code. So you have something like, you know, and have the whole of this thing. Now that one is a giant God, but anyway, it sounds really nice. So you have F sharp, G sharp, a sharp, B. You have C-sharp, D-sharp, F-sharp, C-sharp, G-sharp, C-sharp On the other side. So sounds really good. I'm going to, You can decide event to play one chord, C. So I want codon, You Are Right. You sliding it. So it doesn't matter. Maybe if you wanted to play a, a major to Chord, just Play to this trait. So Play to that six chord. Or that it really doesn't matter. You can, mythically, That's Betsy, I think that's the two I see you to Voicings. Basically this Voicings all about being creative. You don't have to stick to the exact Voicings. I'm teaching you how you can add in nodes in-between end while that maybe let's go to the three. So you can do this for the three. You can play a one. Then you can play the same thing. So instead of I'll maybe this So that you can really play a lot of things there. Three, maybe if you wanted to blame. One that has a flat fixed, you can do this. You can play this trade-off. So the and D-sharp, then you can F sharp major chord. So then seek this. I really think she can do. The other voicing you can have for your three is a very simple Voicing. This whole chord is diminished seventh chord. So you can do it now. It's quite simple, so you can do it on your left and one right. So this one will most probably lead you to the six. So six, I will deal with this one. We get to the six, then two there too. I remember teaching you this on the to, to see the six. Maybe they, the giant Chord We did. They sound really good. Just got to therefore, whatever you can play on their to you, you almost can plate on the fossil. I can do this. I can use these Jan Chord. C-sharp, D-sharp, F-sharp, C-sharp, D-sharp. You can even add this note. So you can even add these. So it's all about Filling Up Your Chord. Maybe if you wanted to do a minor four. So you can do this. Instead of, you can salon Chord leading you to this. You can slide is as simple as that to your face. Maybe if you wanted to play a one over the face. If you're playing a 1/5. If you are playing a two over the five, or God, or maybe you are playing a desert. We did this chord on the one, this emptying on C-sharp. So what you can do, You can do maybe five chord like this. So here you are playing a four chord, F sharp, a sharp, B, D-sharp. And here you just let one codon, you write F sharp, a sharp, C-sharp. So I'm sliding this sharp from G-sharp. So you can do something of that sort Are What else can you really do? You can do a lot of things. You can even play this. You can even play this. So you can play off B may desk seven chord and an F sharp. So let's go to your six. What can you play on their desk flare one major seven. You can basically play anything. I like the Chord we did on their arm. You can really play anything. So c-sharp, F-sharp, C-sharp, and here a C sharp major chord. So, so those are some of the Rootless Voicings you can use R or newer seven. So this was what do I using in the Reduced. So you can maybe just ignore this seven and play these two nodes and play a five chord on your right hand. If maybe you wanted to play it with a major to Chord, same thing. Can play this. Okay? So that's pretty much it. You can be Creative, get creative with this Voicings. You can do anything with this Voicings really want to harness this giant got three before the same John's got even for the fight. For their six. Or maybe that they seven. Maybe that then to the one. So this ones are mostly used to and you have a best Play. You can even do some. Something good on their seven. Let's say you have. So here I'm playing it With The Root. So you can do is ignore The Root and play this vent to their one. So those are some of the Voicings you really can use to make you playing much, much better. In the next chapter, maybe I do how to fill up your right hand chords. I would not, you can add. So that was the chapter on rootless voicings, and I'll see you in the next lesson. 7. Chapter 6 Filling Up Your Chord Voicings: We're going to be looking at some of the right-hand Voicings you can use. Sound good. That's just is the key of it. Let's maybe start with something like this. So let's start with a maybe something like Laika six chord. This is your six chord. So you are six is an F sharp. You can voice it, maybe something like this. That voicing sounds really nice. What, what Voicings CIV, right hand. The keys, you have a, you have C-sharp, E, G-sharp, B. So if you wanted to voice it Rootless, you could do something of that. So that's a really nice six chord you could use. So I started with the six, so let me go back to the three to show you something. The three Chord. So this is your three. So this is your three. Cooler equal voice. Your three, I feel Are those kinds of people who have to maintain The Root played that way on your left hand. So you have a C-sharp will have F food, you have a and B. So if you don't want to maintain The Root, just play this way. Then you have something like a new right hand. You have a sharp and E again. So we started with the six. Well maybe this. Now to the three. We can go to this seven. I wanted to show you a 736 movement, but I started backwards. So let's go to the 77. You can use this chord. So you are seven is going to be a G-sharp. Can use this Voicing. If you go on to to give it a Root, maybe you can voice it this way. And I remember he did this code somewhere. Rootless Voicings. We did it as two coordinates shop, but now you can use it on the key of a Gantt chord. The F sharp, G sharp, a sharp. Have C-sharp, G-sharp, D-sharp. C-sharp again. So that's really meant to help you feel happy or voicing. So if you want and maybe To Play that 736, this is how it would sound then to the three, then to their seats. So those are some of the Voicings. That certainly sounds good. So seven 36. So it should be able to do this thing in holiday keys. So let's say we go to, let's say go to A-Flat. So this is how you, seven is going to look like. That's the one which has a root. If you run to Root your voicing, you can do this. Then to the 33, then to this six. So you can do something. Let's voice it down here. Well, maybe this way. So you should be able to do these things in every key. So you are seven, or maybe then two or three. We can do that. Then to your six. Those are some of the Voicings that really sounds good. So what I'm trying to teach you in this chapter is how to fill up your Voicings, especially for those who use electric piano sounds, amazing. Grand piano sound so that you can see their notes clearly. So let's, let's try maybe at two chord on the key of maybe see I to chord. You can have something of this sort. So even have that. Depending on do this in every key and let's say you go to the key of a lake we started. Okay? So two, you should be able to do this in every key. Let's say you go to the key of F sharp. A very nice Chord rate there. Let's try maybe as seven chord on the key of, let's say, the same key we started on. So that's the code we're using for the three. You can actually use the same Theory on the seven chord. So let's say you go to the seven chord. Just look at that. I'm doing the same exact thing now on the key of E, which gives me my seven to their 36. So I'm basically trying to teach you how to do your voicing. So let's say you want to, do you want to play you a one? You are one. Or maybe that you are to see you can do something of that You are three. Lately I've done you can even ignore this and have just this. You can have your 4567. Then back to our on. So those are basically voices that you fill up. If you have a one tray to make it and at nine, you have a one tray to make it an at night. Or maybe a major seven. You can even add the to make it a major seven at night that really gives richness to your voicing. You can even extend it to the other side so that you have this. If you have afforded the same thing, the same theory applies to the major chords. If you have a 54 or five, you make it a dominant seven. So probably love to do something like for the minor chords that is the to the 3.6, I tried to make it maybe minor seven chord. That's your first step. You can add this. You can make it a minor 11. You can even make it a minor nine. Okay, you have that option. So fill up your Chords. Let's say you have the seven now, which is mainly a diminished chord. You can make it a diminished seventh. So maybe Candace, plate, or plate with a five chord actually to make it richer. Six, to use R2 to R1. So those are just some of the Voicings you can use. What I'm trying to teach you here is to learn how to fill up your, your Voicings. Just make You Are Chords sound a bit? Reach? This one. This one probably sounds better than this. It sounds much better than that. Do this in african, let's say you go to C-sharp. You can have your six days. You had to cut. Have your five chord. You're on Chord. So that's the trick. Fill up your voicings and try to move this to every other key. So if for example, how that as the one on C-sharp, you, when you go to the key of D, Make sure you can do the same thing. Go to F sharp. Okay? Make sure you can do the same thing in all keys. So try to fill up your Voicings as much as possible and make sure whatever you can do on any key, you can do on all the other 11 kids 8. Chapter 7 Tritones: Welcome to this lesson. In this lesson, we're going to learn how to use tritones in our Voicings. Whether it's on your left hand, right on, Yeah, right hand, doesn't really matter. But we're willing to be using Tritones. So let's get right into it. Maybe let's say we use the key of G, doesn't matter. So that's the key of G. Let's see which Tritones can use. Let's say you are on your one Chord. You are new and chord. These are the Tritones you can use. So if you don't really understand what I'd say, Tony's at satan is quite simple. It's just like its name. It's a different of Tritones. And you know, I like to color tone a difference of two kids. So maybe that's one. These are Tritones. That one is, I see Tritones. Why? Because if you count from C to F sharp, you have three terms in-between. You have this, not this. So I see Tritones is also an F sharp Tritones. So just like let's go to the next key, C-sharp, C-sharp and G. It's the same thing. So D. So this thing really simple to use. Let's go to the key of G. So let's say you aren't, you wanted to do something of this sort. So I'm amazing tritones in certain parts of this league. So that's maintaining my G naught at the bottom. My GB is not. Then I'll start there. Then I'll do this. We can do all, maybe if you can do all of those, just follow onto the V naught. Okay? So that's actually don't, I'm using these. So I'll drop the F to the E and C naught. So then I'll come back and use another tritone. And I'm trailing it up from the one. Okay? So that's how you can use tritones in your leaks. They are quite simple, so you can use those to Tritones. Those are the two Tritones. Isn't there? So you can use them in your legs, especially when you are, before you start at song can use them in that league. Maybe the song asks you to put him in the key of G. So you can do that. Tritones. Make sure you can do this in every key. Let's say go to F. So this is exactly what to do. So these are the Tritones. Okay? So whichever key, let's say maybe you go to the key of B. I'm trying to teach you how to use all keys. So this is exactly what you do given, let's say a sharp. So that's how you can apply Tritones on your leaks. And it's not just about that. Okay, S2 and the key of F sharp. Let's see. Let's see. Let's see how you can use this. Let's say you are one chord. So you, one chord. You want to go to the, you see this traitor leads you to the heart. So let's see how you can do that. Satan, you are to chord. Maybe you want to do something like image2 chord. Okay? What I'm doing on my right hand is so, so you don't even have to You can You can even play the whole straighten itself. So that's how you can use that straight on one or two. Maybe you can use it in this other mama. I did that. I use this Tritones And I, five Chord, C-sharp Chord. Just to make it nine chord. So maybe you want to move from the one to the one to the two to three. So take note of that. So it to the three, then two, therefore, you can, You can do it. Anyhow you want. Let's see where you can use maybe add Satan in the three Chord. So this is where you can use the traitor. Use the one with the detrital. Basically what, what they liked to stay. The theory they like to give is that this idea, Tritones. You can use it with its major third. So on the D-major scale, you have 112. Left. Tritones. Use it with an F sharp major chord. So let's go to another key. Let's see how this Theory of life, maybe you are using a B Tritones. So that's a bit, so Aidan. So this, You Are beat Satan. Since it's a B, you will use it with its major Fat one. That's a D-sharp. So basically that's how you add lead Tritones. So in this F sharp three Chord, I used to that. So this one can lead to the 66. Let's see. Where else can use Tritones, maybe in your five chord. So five. So you see, even when you're doing these leaks, these are traitor. Those few Tritones, let's say the six chord. So I can use oxygen, you can use this traitor. So what's written? Am I using? I'm using the fish app Tritones. Are I can decide when to use the Jeep site on. I don't have to Voicing this, I can place it. So I'm using this diminished chord. Diminished seven. E, G, B flat, D flat. Mostly lead to the two. You see how you can voice your five. So even veteran is enough. And it involves that Tritones. So how can you apply tritones in different keys? Lake Check this out. You use this in the three. You can use the same thing in your six, including the baseline design, it looks like there 636. You can apply this same exact Theory on your six. For example, these are three. Let's go to the six. We can. You will basically be using major chord, that's a form on your, on your right hand. And here you will use this trade-off. Like we say. Do you see this is a G tritones. G, the scale of G1, G1 major chord. So I did Tritones with a B major chord. And how can you apply this when you're playing in the queue fascia, you can do this. Then. You see what I did there? Six. That's mentioned elena six then to the two. Okay. You can do that and really sound nice. So you can play to the baseline. If you decide to include the baseline, this is how to look like. So let's break down that movement. So six. Then you can move to the major two. And if you, if you look at that Chord, Tritones. So basically they are so many ways you can use Tritones. Let's say in this quarter Chords, you will find people using these codes a lot less adjust the column cultural codes, but these are just inversions of suspended to chords. For example, an F sharp suspended to chord looks like this. If you invert it, it looks this way. So this is a photo chord. We can, we can tweak it a little bit and make use of a Tritones. So let's desktop sharp, this node, this C-sharp, let's take it higher to the D. You see that we had these. So basically this will be used with three. So that's how it looks like. Without that Satan. Now, let's make use of that Tritones. See that. That one sounds really good, especially because it's mostly unexpected. So you can then use basics one, what I'm doing. So as long as you have maybe a dominant seven chord, just know you have a trade-off in there. Let, let me give you a dominant seven chord. That's a G-sharp dominant seven chord. You see it inverse these two tritones in the chapter where I was teaching you on Chord Voicings. Okay? So as long as you have a dominant seven chord on your left hand, you have at. Let's, let us learn to Apply this Tritones. Just so many, there's so many users of Tritones, you can have three or six. I can't even give you such a chord. Maybe you have your 17. Just look at how Voicing it. We don't have a trait on their 73. So here we have a straight-on. You can choose to ignore the baseline or just place it there. Then you have a six. You see this Chord, C-sharp and an F sharp. So, so, so athlete as a trait on to the sixth also has actuator. The two. So those are some of the few Voicings you can use, even, even maybe when you're playing, or you can play on that To Play on your right hand, something like this. This is exactly what I'm doing. My writing. Tritones. Maybe she want to be lead to the fourth one. So these are just simple things maybe then they five. You see that one? Tritones. So this Tritones, I really useful in your playing. You will find them in so many, so many instances. Let's even, even in different regressions like this, they use the fight to default to there 32, this equal to the two. You see, five. When you go to default, you are going to that Satan, this actuator, playing a five over default. But we are using this trait on to the three. Just look at that trait on to the six. What Tritones do we have to the true? Which traitor? That one. So phi, check the notes correctly to the whole, to the three to five. Mainly find those in charge. So as long as you have this Tritones, you can, You can throw one of them into a playing and just make your playing look good, okay? 9. Course Conclusion: Thank you for following through from chapter one to the end of this course. I hope you have learnt a lot. Now. Below here I have some lead sheets. I have some song examples which you are going to use to apply the Voicings that you have learnt in this course. Remember, this course required due to play in all kids. So even the lead sheet in random keys, you will see which key the song is in once you open the lead sheet. Yeah, keep planning. Tell me if you have any challenges, give me feedback. Telling me it's nice. And that's it. I hope we will keep planning and you will keep improving