Advanced Worship Movements Piano Course

1. Introduction: Hi guys. Thank you for following my page. My name is Caleb Fadhili. I am a music teacher and an instrumentalist as well. I have created this course that I call advanced worship movements. So this is for you that playing church. And maybe you feel you are limited in terms of your options, in terms of your playing. In this course, I have a chapter on Circle Fourths. I know most of us like these 251 Movements, these 736 movements. So I have a whole chapter on that. I have two chapters on Chord Substitutions. So that I'll tell you what to play in place, maybe over four or in place over to Chord are in place of another code. Then I also have another chapter. I'm giving you advanced Movements in the key of F sharp. So in this course you're going to learn a lot. You'll also learn how to maximize your Chord Usage. How you can take one Chord and use it in like 67 different keys. So by the end of this course, you will have learned how to apply some of these things into your worship playing. Now this is not just applicable for worship, you can use it for any other kind of music that you play. So ensure you land, ensure you follow through the chapters one-by-one. And let's see what to let you, by the end of the course 2. Chapter 1 Maximizing Chord Usage: In this first chapter, we are going to be looking at how to maximize your code usage. Or maybe how you can take one card and use it in so many different keys without changing the voicing. You can, you can take one card and use it in so many keys. Let's say this one code on the key of C. It doesn't have to be just that you can use it in so many other places. But for learning purposes, I'm going to use another code. I'm going to use this particular code inside D minor seventh chord. So we have a G on your left hand and F, B flat. Then on your right hand you have a and C. So we're going to take that code and use it in. I don't know, so many other different keys. So just the 80s without changing anything. So they are those who can't be able to do this extension. You can either do this. For those who can't extend. You can do this. So he doesn't really matter. For those who can extend that, for those who can't do that or that. So g is abysmal. That's why I started from there. So let's start with this code. The first time I learned this code, this code as a five on the key of C, or on our C major scale is F1. Visa. So you may be asking, Okay, how do I use that as a faithful and see, maybe I used to these things like that. But now this one, this one, you use it in their progression, maybe 514. Yeah, people do. Okay. Five. It's basically a flat 7/5 then to the one, then two. Therefore, if you don't understand that the left hand voicing, on the left-hand voicing I'm using. Just check my previous DVD. On this left hand voicing five, maybe five then to the phone. So it really doesn't matter. Now this chord is you start a fight. So instead of doing this five, you can use these 551 default. So you can use it by two, the one to default. So five, that God to the one. Maybe that then to the fourth. So the phi. Now that's good, is used as a five on the key of C. So that's just one use on wonky. So I got myself, I asked myself how many other different keys on how many other different kids can I use? This same code? It's just one chord. So let's just follow the circle of fourths and see how this works. So we're in the key of C. Next we will go to the key of F. So on the key of F, How can we use this code? The key of F? I think it's pretty simple. It looks like it's the two on the key of F So 12. So let's see how we can use it for today to maybe want to do a 251 progression. Okay, So they are true. Okay? So we used it as a five on C. We are using the same code as a tool on F. Okay. Let's, let's keep this going. Let's maybe go to the key of B-flat. We're following the circle for C to the F to B flat. So how do we use this card? On B-flat? Is still the same chord. B flat. Now that one becomes a six on B-flat, B-flat to have 16. So two becomes a six on B-flat. So maybe, let's say you want to do a 736 progression, you can do, okay, today, 67 to the six. So six on B-flat to the next key, which is E-flat. If not, how do we use this code? On the key of E-flat? So on the key of E flat, this is going to become a three, because this is the E-flat major scale. 123. Yeah, it doesn't even sound like a three, but let's see how we can use this. Maybe you want to go, you want to do a 1234 progression with understanding laying, then then to their fault. Okay, to do 123. That's the normal theory we may use. So what? We can do something of this sort then to default. So 123, default. So that's how we can use the same code, E-flat. So after that point, we have found that we can use the same code. Mean how many different keys in four different keys you can use it on the key of C. When the key of F, the key of B-flat on the key of E flat. Let's keep this going. Flat. On the key of F. This becomes a cell, becomes a seven. And this is how you can use it. Maybe you want to do a 736 progression. Okay, 736736. So that's how you can use the same thing on the key of E flat. So that's the key of a flat. Let's keep this going. The key of C sharp. So how do you these on the key of C Sharp, really? So this is what you do, and C sharp, in C sharp. Now, this is the C-sharp major scale. So this one becomes a sharp four, or maybe a flat five. We usually hear people do this This flat five to seven to the three progressions. Maybe you were playing a song like okay, he's here, something like that. Okay. So, so that's how you can use that code on the key of C sharp. So then to the flat file, you can go anywhere. So you can use it on the Q C shop. Let's keep this going. The key of F-sharp. How can use that same code on the key of F sharp? So, let's see. On the key of F sharp, this one becomes a sharp 12. Maybe you can do something like from there to there, flat to E, flat, two to the two. And if you can, if you check my hand properly, I'm actually doing the same codon G, the same code on G-sharp. I'm just transferring the SIM card. So that's the thing on, on F sharp. So look, it's the same chord, but we found it's used on C, f, B-flat, E-flat, A-flat, F sharp. That's a lot of kids for. This is, this is the one who thinks that they can only play in one key there through this, you actually playing in other keys, but you don't know it. Because maybe you, if maybe someone has given this code, there are only limited to think that this can only be a five in the key of C, but it can be so many other things in so many other kids. Learn how to maximize your code this edge, take one chord. It can be basically applied in very many Iraqis. I can, I can give you an example though. I will, I will do this in the next chapter. Let's say you take a C-Sharp code. Maybe you take us six. On C-sharp. Maybe you played that with this one. I covered in my previous DVD on reduced voicings. So this one is a C-sharp major seven at night. So you can use that and use that one. You can use any particular voicing. So let me use that voicing. So maybe, you know, that's good. Fix on seizure, but it can be so many things. It can be a three on F-sharp. Let's say you want to do a 736 on the key of F-sharp. You see? I read Okay. Even if I wanted to go to a two, I can still do that. I just move this. This was on C-Sharp. I moved it back to be on C-sharp, B. And I'm using the virtually the same type of code to make my voicing sound so reach. And you may really think someone has a wide knowledge of the keyboard, but it's actually a few cards just maximize the usage of your code or codes. So many different in so many different scenarios. I'll come back in the next chapter with our lesson on how to borrow from other keys. That was just an introduction. So this is basically to teach you how to maximize your code. This was the code that was using. And just imagine that we have not even move this code to another key. Just on the key of G. We haven't moved it to any other key. Assuming I move it to the key of A-flat, it becomes that, like I said, I can use this now as a five on C-sharp, 5142, C-sharp. To default. I can use this as a two on the key of F sharp. So two phi to phi. Let's keep this rolling. I can use that as a six on the key of B. Okay? Like we said, I can use it as a three on the key of E. Then to the far, 123, to the fourth. Let's keep going. I can use it as a seven on the key of a 736736. I taught this voicing in my previous DVD. Scores, so 73. For those who remember to the six. Let's keep it going. Can use it as a flat five. So two to the three fourths, then to the flat side. The three, Yeah, the flat side. So something like that. I'll go to the key of G. You can use it as a flat to the tooth. So why is definitely two to the two? You haven't events translate this code to all Iraqis. If you transfer this code to every key on this keyboard, you will have a very wide labor and just based on one chord, this one. So I transferred it to a flood. You can transfer it to any other key, transfer it to a, and start the process again. It's a five on d. It's it's a two on it. So many other things on so many different keys. So try to transfer these squads to all, all, all other keys, all Iraqis. And you will have a very wide collection of codes. I'm calling them cards, but it's just one could do this in all keys and we'll see how you are playing when improve. And don't just do it for this course. Do it for every other quote Defined. Make sure you use it to their maximum. And that's it for this lesson. I'll see you in the next one. 3. Chapter 2 Borrowed chords from other keys: Going to learn about, like I said previously, borrowing from other keys. So we are going to do a few illustrations here and how to burrow chords and Movements From Other Keys. So for those who, who think that they can only play non-key, the true these two can play in so many different keys. It's just that you don't know, you have no idea. But today I'm wearing to be showing you how to burrow Movements From Other Keys. I'm using a key that most of the lake that is a Sharp. And show you how to borrow Movements From Other Keys and bring them into the key of F sharp. So let's get right into it. This is a Sharp. We have. Let's illustrate the fast Chord. It's a stroke. Strokes Chord. So on your right hand you may have something like an E major seven chord. And on your left hand he does have F-sharp, C-sharp, and E. So that makes an S shaped seven. And on your right hand you could have D-sharp, E, G-sharp. So, so that's kinda as stroked progression. And that one leads you to the four. So this is how I'm playing my phone. I have B, F sharp, a sharp. Then on my right, and I have C-sharp, D-sharp, F-sharp, A-sharp. So, you know, maybe you've never seen something like this. So I'll show you where we Buddha disrupt. This is basically borrowed from the key of B. So this is borrowed from the key of B where we take a Sharp as the fifth. So you will hear something like so you see that hood. So this god is Borrowed data actually from the key of B there where you would just lay five on the key of B. So just come to F sharp and assume it's on. So you have that same movement. Okay? So, so there are two dimensions, so that movements, so each could be 55 to the one on the key of B. And that same movement could be a one to the foreign, the key of F sharp. So now that's on the key of F Sharp one. Therefore. So you see, we borrowed a movement data actually from the key of B, and we introduced it to the key of F sharp. So maybe if you want it to go from there, five to one of Quibi, you just do the same thing. If you wanted to go from one to the fall of the key of F Sharp, you just do the same exact thing. So that was one simple movement. Let's go to the key of C Sharp and see how you can transfer a movement from the key of c-sharp. F-sharp. C-sharp. Maybe if you wanted to play to play maybe three-sixths probation, this is what you'd play. So you would have that code for your three. So on my left hand I have F and D-Sharp. On my right hand I have a C-sharp, G-sharp, D-sharp. So you have that. That's the three on the key of C sharp to their six on the key of C Sharp. So you have that. So on my right hand I have a B-flat. On my left hand, I have B flat, F sharp, and flat. And then on my right hand I have C, B-flat, E-flat, and A-Flat. So that's the three to the six on the key of C Sharp. So that's the movement can be applied in the key of F Sharp without even changing anything. So you have the key of F Sharp. Maybe you wanted to do as 736 progression. This is exactly what you would do. So you have your seven to that three. There, 67. We need to use data three on the key of C Sharp, but now we're using it as a seven on F sharp to the 36. So that's exactly how we Borrowed that Movements From the key of c-sharp, F-sharp without changing anything. And like we said, when you're on the key of C shell, this is how you would play your six. Got this, I would say do play a six. When you come to the key of F Sharp, just do the same exact thing. Maybe we wanted to play the six codon F sharp. You just come and do the same exact thing on the key of C Sharp and this on the key of F sharp. So he Borrowed the same exact thing and transfer it to the key of F Sharp. Then on F sharp. So you have here 736. You could do that same exact movie. Maybe you can decide to fill it up and add these nodes. So you have it like that on your left hand. So maybe like that. That's the fence. So that's the same exact thing. Let's go back to this Chord, our six God on the key of C Sharp. That was our six codon, the key of C Sharp. So let's transfer the same thing to the key of B. So that's the two on the key of B. Just move down each nodes by atone, move it down by two keys. So you have that. That's on C-sharp, G-sharp, B. So then you ask yourself how could use that card on the key of F sharp. So we just translate this from C-sharp to be. Now, let's go back to our progression. You are doing a 736 Regression on the key of F sharp. Now let's add the two. So you do that same exact thing. So it doesn't matter. So you have your three, you have here six, and you have here too. So that was the same exact code in three different keys. So these one on C-sharp, this one has an F-sharp, and this one also on beat. And as it's good, that sounds really nice. So that's the same exact thing. We just changed keys. Okay. Let's still stick on that same prohibition. And this is what we're doing. When you're on C-sharp. We have this three to the six. So we have these three Chord. So let's move down the same thing to the key of B and C. It turns out this was on C-sharp. And this is going to be the same thing on the key of B. Maybe you can, You can take it, doesn't matter. Plate low or high. It really doesn't matter. So these are the same thing on C-sharp. Same thing on B. Now you ask yourself, how can I apply that codon, the key of worship? So now, when I look at this Chord properly, this god is an E-flat Vizmode, so I could as well use this as a six on the key of F sharp, so 61, Sussex. So let's see how I could use this code as a six on F sharp. So let's say we do the same exact thing. They seven to the three today, six. Then to the two. I'm just using those Borrowed Movements. Seven. The key of F sharp, which I borrowed from C-Sharp. I was using this as a three on C-Sharp. I borrowed this from C-sharp. Now I'm using it as a seven on the key of F sharp. Then to the three. I bought this code from C-sharp also. I was using it as a six on the key of C Sharp. So you have your seven, you are three. Then you have here six. So I borrowed these directly from the key of B. Then you have to borrow that from the key of B. So 736. You are too. As you can see, I'm pretty much borrowing chords from other keys. So maybe of land, do you think that you can only play in the key of Worship? The true this you are, You are blurring chords and Movements From Other Keys. On your right hand you have your F-sharp, C-sharp, and E on your right hand, you have your Sharp, B, D-sharp, F-sharp. So we said you can use that code as a one leading you to default. So that's your one to default. So 12. So let's go back to this Chord. This is the anuria focusing on. So that's EUR1. Now, let's transfer that code to the key of C Sharp, this very Chord. Let's translate to the key of C Sharp. So you can see on your left hand you have your wine, you are five, India flat seven. So take the same thing to the C-sharp major scale. So you have your one You are five, flat seven. So that's all due to become on the key of C sharp. Then on your right-hand you had your to your, for your six and you want. So take that to the key of C Sharp. You have your to your, for your six. And so you have that on the key of C Sharp. So this was the codon on F-sharp, and this is the same codon, C-sharp. So then you, You asked me How can I use that? The key of F Sharp. It's pretty simple. This one becomes a five on the key of F sharp. So let's keep our progression. We had the 736. We say that you could play the six this way, or maybe this way. You could play this, this way. Then to the 25 Chord. So you have your 736, u2 then to your faith. So all those Borrowed Chords, seven seeks to their, to their face. So all loose, it is Borrowed chords. So that's how you better chords from other keys. Let's go back to our seven Chords. This was R7 chords on the key of F sharp, which was also a three codon, the key of C Sharp. Let's see where else can you use it? Let's maybe transfer these. This is F, baseline is F, So let's transfer it to its fourth, which is B flat. So this is the F major scale. So, so F-sharp becomes our Fourths can also call B-flat. E-flat becomes forth. Let's transfer this same Chord. They key of B-flat and see how it works. So when you're on, if you had your one, India flat seven. So take the same thing to the B-flat major scale. So you got, so you are one and you have flat seven. So you have that on the right-hand. This is the thing you had. So take that to the key of B-flat, it will become this. On your left hand you have B-flat and E-flat. New. Right-hand, you have a D, you have a G-flat, you have A-flat, D-flat, so you have something like that. Then ask yourself, how can we apply this in the key of F Sharp? It's pretty simple. This one is a three on the key of F sharp. So you have the same God structure for us, seven, for you or three, and for us six. So it's, it's like you or your playing the same Chord in three different keys. So this one, okay, heavier 736. That's just see what I'm doing. I'm playing the same exact code in three different keys, but I'm using it on F sharp. So you have here seven, you are 36. So that's basically it does. That's how you borrow. You Borrowed chords from other keys. Let's see. Let's go back to this Chord This is the second Chord we did when we started. We did this three and this six on the key of C Sharp. So let's say we transfer this to the key of E-flat. This same code. Let's say we transfer it to the key of G-sharp, C-sharp. Let's translate to the key of G Sharp. So this is the sixth codon, C-sharp. So let's play the six chord on the Sharp. So that's exactly how it will look like. The Chord, C-sharp, G-sharp. See it's the same exactly. It didn't have the same structure. Then on G-sharp. So you have your F, U or C or D Sharp, you have your G, G sharp, you have your A-Sharp, you have your C and D additional C-sharp. D-sharp. Now, since we have this, how do I apply this on the gills, F-sharp, you asked yourself, pretty simple. That becomes the seven on the key of F sharp. So you have your seven. So let's say we use this same code structure for all our chords. So we had this, you have this as your seven. Now that's a six on the key of G Sharp, but it becomes your seven on F sharp. Then you have this. What we started with, that's now a six on the key of C Sharp, but on the key of F Sharp becomes your three. So you have your seven. You have your three. Let's, let's keep it rolling. Let's use the same exact formula. You have your six. Let's keep it rolling. You have y2. So you have here seven. You have your 36. The idea two. What does that movement that was the same exact code in four different keys. So you have have that, see the same exact code in four different keys. So you have your 72 or three to R6, R2. So that's, that's pretty, what I've just been doing here is borrowing chords. I'm borrowing sound from C-sharp. I'm borrowing others from D-sharp and bring others from B. I can even borrow from E. Let's say. Let's use this, actually the same Chord. So this was my six on C-sharp. So let's take this same code to the key of E and see how it looks like. So this is how it will look like on the key of E. So that's how it looks like on the key of E. Or Z trans C-sharp. That's how it looks like on the key of E. So you may ask yourself, okay, how do I have, lay this on the key of F sharp? Again, it's the same thing. This one, you can apply it in your 514 Movements. Let's say you want to do 62514 movement. You could have your six. Same structure. Then you could have here too. So take note of that code. You could do something like that. So you have your You are too, then you have your five. So it's the same thing I borrowed from key a few minutes ago, a few seconds ago actually. Then you add then to your fault. Or maybe you often see your six. Same exact formula to U2, to your five. Very much Borrowed. Now i'll, I'll, I'll explain the theory to this Chord just few seconds from now. This one, you have It's like you have your F sharp, F-sharp, C-sharp, and E. And then on your right hand you have, you have something like an E-flat major chord. So this is an E-flat major chord, D-sharp major chord. Then to your phone. So that's what's the 62514. So that was it. So these we could Borrowed eat on the six, on the seven, on the three, on the tube, on the five. Things. Quite simple. So let us pretty much it. We said we could use this on the seventh, on the three, on the six. So let's go to this code that I said I would explain the theory in a few seconds. So you ask me how today come about that Chord survey. There is this particular movement that most black Americans love to use this Chord. So I'm on assuming among the key of, so this one is borrowed directly from the key of B. So I'm on the key of B. So I'm on the key of B, and I wanted to play a five maybe. So what are these black Americans will do? They'll player 5.4. Then on their right hand they will play a major three Chord. So you have your phi here for endometrial three Chord. So one, the key of B flat. So I just transfer that very Movements From the key of B to the key of F Sharp, and I use it as R1. So these are the easy, assuming you're on the key of B, five to the 151. So when you in the key of F Sharp, it becomes how and to default. Same exact movement. One to default. So default. Okay. So that was the theory behind that. You can use it in so many other instances. But that's the application. Now, let's do one movement. Let's, let's borrow one movement. These things you just, you just Borrowed really. So, let's borrow one Movements From the key of E-flat and try and fight worship. You can borrow this Movements From which ever key. So this is E-Flat. So it's not just chords that you bought or you borrow even movements. So there's this movement that most people like to do when you're on this E-flat major scale. So you have your 123456. So this movement that most people like to do is flat five, which is an a on the key of E-flat. So therefore to the three. Or for those who like the traditional Movements, you will find them doing the 543. So they do a 543 movements. Some of us do instead of the five days, the flat 543. So let me start with Daisy I one that's the right on the key of E-flat, A-flat. What they will play when they play the five, that's the fight. This, or they'll play the five. So you have a E-Flat. Now, you are a Sharp, you are, if they're D-sharp, then our new rate, and you'll just have an E-flat major chord. So it's Laika for her, the five. So that's your faith in the key of E-flat, then to the phone. So you do the exact opposite. So here your playing a 4/5. When you go to the four, you will be playing now a five Of a default. So that's the two, therefore. Now, see what I'm doing. I'm playing a five Chord on my right and G-sharp traitor on my left. So you have a five then to the three? 4. Chapter 3 Borrowed Movements From Other Keys: In this second part, we are dealing with borrowing chords from other keys. So in this time, but we'll be dealing with borrowing Movements From Other Keys. And I'll just begin from where we left. That's the key of a Sharp. This movement on the key of E-flat, that we can actually burrow and use it on the key of F sharp. Now this movement looks like this, so this is the key of E-flat. So the movement is a movement on the key of B-flat, E-flat major scale. So you have a fight. Or for those who are more and more than, you will use this movement as a three by four. So instead of, some other sees it as a flashlight, and still others use it as a five flat five. So it just depends with what generation of musician you are. So we'll deal with all the three movements and then we'll apply them in the key of F sharp. So that's the key of E-flat. So we'll start with the, let's maybe start with the longer Movements. That's the five flat five. So this is how it looks like. For the five, you have your B-flat and E-flat, then you have just have a B flat major chord. Or maybe you can add this to make it an at nine. So you have that. Then you have this as your flat five. So that you basically have your flat five on your left hand. That's on the key of E-flat to have your a. And here you have your six Chord. You have a six minor chord. So you have that. Then. Again, you have a B-flat chord Major code on your right hand. Then you have this trait on, on your left hand. So I did this trait on voicing in my previous DVD. You can check it out. You have your A-Flat and your D. So then to the three. So you have the IG and E-flat. Then you have an E-flat major chord basically. So that's a Latin, an E-flat. Or maybe you can add this F naught to make it on at night. So you have that movement. So you have, You have this. And then you ask me, how can we apply it in the key of Worship, this is how you apply. So that becomes Laika, the flat three, flat, two, flat, three flat. So you may have something like then, you have something like that movements. So today two. So that's basically how you played in the key of a worship. So again, they two, that's going to use in the previous sections. So basically that's the moment. So let's do they 543 Movements Now without passing through the flux Phi, so we'll, disorder will have, will have null that's on the key of D-flat. So we will have a fall over they five. So you have a flattened here, you have an E-flat major chord. So then there, four Chord remains the same. The three Chord remains the same as well. So, so let's apply this in the key of F sharp. So we have our movement, I get to the city, to the six. Then you apply this movement. Okay. Let's see. So you go on to your six. So you can do something with that. So that's our second movement. The third movement is the same movement or an E-flat. Now, let's make it a flat 543. The costs remain the same. So the flat five, like we did in the fast section, then. So then let's apply it to the key of F Sharp. Okay? So that's the same movement. So that was basically a slate movement on E-flat, and how you can apply it in the key of F sharp. So let's go to another movement. So this Movements most people like to use, leading us to the two. So you will hear that Movements use by so many guys. So, so let me break it down. So this is what you do it the left hand. So from the A-Sharp to the a to D chapter. So from the three to the flat 32, then these two, you just leave them alone. Then once you land here, you land on there. So good. So that's exactly what you do. Or you can slot this muscle. You can do that. So then this card. So it's a diminished seventh of the C-sharp. Then to the two, leads you to the, let's see, two there too. So I'm now, this is what we do. Let's take the same exact movements to the key of C Sharp. And then let's see how we can use it in the key of worship. So this is to look like on C-sharp. Three flaps three. So then they two of the key of C Sharp. So So that's how the movement, or maybe you can use it. So now that movement is now in the key of C-sharp, so does come and ask yourself, how do you apply it? In the key of F Sharp? It's the same thing now, it's the same thing, but it will lead you to the six of Sharp. So this is how it will lead you to the six. So you have your one. Let me wan to do a 17. Then to the 36. This is how this movement will help you. Instead of playing this card. Or maybe these, The answer is looked at whichever Chord this is. You can just do this movement. Then. Takes you to their six. You can do it slower. So you see, so so you use the same movement here, leads you to the tube. Leads you to the, to use the same movement here, lead C2H6. So slate Movements you can use on the key of Sharp, Borrowed, basically borrowed from other keys. So let's see other Movements you can borrow. So this is a movement you can borrow. So you have the 2p5 one movement, basically. Maybe on F sharp, it looks like so. And so they two to the five. So that's the same movement on, on F-sharp. Now, let's take, let's take the same meant to the key of E-flat and Theory can have late. So the key of E-flat to this are there to look, say the two. So you have here two. If I, That's on the key of E-flat. Is this a movement to burden for my shaft? So an F sharp, E-Flat. So ah, here is the interesting perhaps. So I'll do use that movement on the key of inertia. Now, you see from, from my study, you can decide to make these, this last Chord. If you can decide to make it a major and minor save you make it a major like we've been doing. So that's the to the one. As I Major, make it a minor. Major. Minor. In regards to have Sharp, we could use it in both ways. We could use it as a major or minor. So let's use it as a major. What does it become on F-sharp becomes a seven on a worship. So This is the 736. Then maybe you can go to their to their two. I used to the six there as a major. Okay. So so this 7362, I could also use it as a minor. So let's do the same thing. So okay, and you have, there are cool 736 movement on the key off here, Sharp. Okay, good. Let's do another movement. Sharp. So let's do a movement on the key of B. So I'm a cool movement on the key of B is the 736. We use this 7367 on B-flat. On bi mean. That's the seven. So you have B-flat, F, you have your A-Flat. Then on your right hand, you have if lots Chord. So, but I think this node, so you have your C-sharp, G-sharp, D-sharp, F-sharp, C, and D flat. So that's the, that's the 71333. So you have your D-sharp, you have your GI, have your c-sharp, F-sharp, you have any additional, basically on your right and you have a B Major chord, so you have your 73. Then to your six. You have seeks this how your six looks like you have a G-sharp, you have F sharp and B. Now for those who can't extend, you could either use this route Lesson. Maybe this for those who can extend, just do this. So those who context and you can check my previous DVD on how to fill up your voicing so you could even have that. Then. You basically have your 736 on the key of B. We could even just play this. So you have your seven. Now, that's a 736 movement on the key of B. Now you ask yourself, how do you use this on the key of F Sharp? Very simple. Now that becomes a three to the six to the two movements on the key of F Sharp without changing anything at all. So let's say you in the key of F sharp. So you in the key of Russia. We want to do a cool 36 to move meso. So I did I did three to the six, to the tooth, then to the faith. So have that as you can see, one rule I'm saying to use this, I'm not playing my five with a five Chord. I will not hear me do this You not hear me do this. Not hear me do something like now this is basically playing a 5/5, which I rarely do. So basically you play a face maybe with a true Chord. I'll explain this in the next section. So you have your three Sharp there, two. So those are just a few cool movements you can, you can borrow from other keys. Let me, let me, let me go to the, let me just borrow this movement. Let me borrow this movement. I'll at least now the key of C Sharp. I'll take a 736 from the key of A-flat and apply it in the key of C Sharp. So let's go to F. So 7367 on A-Flat. I taught this card in there fast section of this DVD that so I am using it. So this one there, three, there six. Maybe that. So 736. So how do we even apply that in the key of C Sharp? Let's see. Heavier 134, then the same thing. So I use this as a flat five to the seven to the three. Then I added the other provisions so they six today, two to the site. So this is how you apply this flashlight. Seven there, three today, six. So good. So that's the same exact thing. So so that's how you ablated Sharp. So basically that's, that's how you do it. To apply this simple, simple, I just chose a few moments here and there that you can apply in the key of in other keys really, and transfer them to have Sharp or maybe two C-sharp to D, which whichever kind of movement you really want to do. So this is just to show you that you can play in all Keys. Yeah. You just don't know if you just think that your playing on wonky. But the truth is, basically you play in almost all the 12 keys at the same time. So take a step and try to learn how to play in this other keys. Don't just be stuck. Maybe to the key of F Sharp or C-Sharp. Or maybe a. Take a step and learn how to be fluent in all these keys. So I hope you enjoyed the lesson. I'll see you in the next lesson. 5. Chapter 4 Chord Substitutions Part 1: In this part we're going to be dealing mainly with Substitutions. Substitutions basically, you can do Chord Substitutions or maybe you use Movements to substitute Chords. Let's say we aim the key of C. So from the one to the two, there, 32 there for. So take note of the chords I'm using. From the last two, they took their three. So the one that I miss that you can use anything. I dealt with this invoicing to their took my tube. The three. This is what you can substitute that movement with. Maybe just making it sound a little bit fancier. So this is how you can do you a one. So that's how you guys have stitch, yarn 234, so you have that. So let's begin at random. So basically you have a, C and B on your left hand. In, on your right hand, you have an E. An E, a, B, and an E on your right hand. So this is what it looks like. Then you're going to do this movement. You can do this. So then these finger move to the A-Flat, you will do the same thing on your right answer. Then to the a. So this answer remained constant. Maybe you can change it to this. So instead of this, you can do this. You can even do it directly. So that's the one. The last one is then to their true. So you have a D and I see then you have an F, C, F. So then you're going to do that to the B-flat, then to the beat. Maybe you can even do that date actually. Then to the three. So you have left hand, you have GDG. I can even do that. To the CSO Drop DC notes to the this denotes to the so or so on. So then to the fall. I think, you know, and I started I'm going to the And their desk that you have those Movements. You can use them to substitute this chords. So that's the alarm 234. You can have through them with this. So you can even do that. Okay? So you can use Movements to substitute, instead of just play. May I Chords. Let's say you go to another Key, Like do you do this empty? So instead of playing this, instead of. So you can do a my life that you met show you can do this thing in every key, let's say go to the key of E. So, so moksha, you can do that in every key. Let's say you go to F sharp. So you see you can even do a flat safe. I'm going to be at fault. So make sure you can do that's movement in, in every key. So that's quite simple. Let's go to another movement. Let's go back to the key of C. So you have this movement. I think you've had things like this. So the coda mainly concentrating on is this I think you've had things like those. So I want to show you a few movements. You can use the service they do these Chord. You don't have to keep one playing that My enough all the time. They ties so you don't have to keep on playing it that way. So this is what you can do. Then. Then you can do, you can do something like you see that movement. So let's break down that Movements. Say instead of this. Well maybe these, because you can use a two or four. You will hear things like those. So this is how you substitute that. So your left hand, you have a D tritone that's at the end. I just Sharp. Then on the right time to play this. So in Saturday, an F minor chord, that's an F to G sharp, a, C. So then that one will be followed by this I D minor again. So I had my natural I may not So that's a, D, G, and H Sharp. So then back to an F minor. The other inversion. So then, now 2 s. So that's a sea of energy. That's Look at home. I have a D, G. I have a G, D on my left hand, and then a C code on my right hand. So so you should be able to do that instead of instead of that. So that's pretty nice substitution for that good. So there's also another substitution for that Chord. So this one. So instead of also doing this, so instead of doing that, you will still play the same site on, on your left hand that says the same detrital I naught you learn your right hand is. So it's like you're moving from the three to the two of the key of E-flat. So if the key of E-flat 123, so the three you got, so you can slide. So okay. So that's the first substitution. So he does do it. So okay, maybe you can even add to it so that you have. So that's the three to the two on the key of E-flat. Then you move back to the three and a true on the key of C, E-flat, C. Okay? So you can do the similar method instead of doing Okay, That honest, it's okay, you got, you can still do that, but if you want to sound a little bit fancier, so instead of doing that, you just do. So those are some of the little movements you can use. Um, yeah, so you should be able to do this in every key. So let's assume you go to the key of F Sharp. So he said. So instead of. So this is what you can do. All the other movements with disgust. So, so that's Achilleus. Yeah, maybe you go to B-flat, something. Okay. Same thing, you should be able to dissolve. Or the other movement we discussed, this one So it doesn't matter which key of Playing would be playing the key of B. Same thing again. Okay. Maybe the other movement to discuss this one. So that's a key of B. You can do this movement in any key, in any key, any of these 12 keys. So let's try another substitution that mostly for you. So I'm still stick to their one for regression. It's from the one to default. So instead of going from there, you can do this. Okay? So last time. So write-on. So then so that's the movement to conduct substitute the answer. So instead of doing that, you can do. Okay? So that's just some of the few movements you can, you can apply to embellish your playing. So, but instead of playing these normal chords, you can substitute them with a few movements here and then I'll come back with but two of the same. I'll see you in the next lesson. 6. Chapter 5 Chord Substitutions Part 2: Welcome to part two of the topics Substitutions. So we dealt with a few movements here and there. Last time. This time we are going to deal with other movements, as in Chords and Movements Substitutions. So let's start with this very common movement. Let's say the key of E. So we're in the key of E and there is this very common we went for like to do. So that movement, it's very common. So base color I'm doing, I'm moving from the flat six, flat seven to the one. That's C major, D major, E major. So what kind of Substitutions can use for that movement? So let's do substitution on Substitutions on one means you make them instead of just playing them as Major Chords. You play them as Major seven chords. So that one. So play them as Major seven. So basically to the sea, we are adding this V naught then to the DVR, Sharp not and to the EVA adding. So that's the first substitution you can use. Substitutions number two, let's change the baseline. So instead of playing the C, in the first instance, we will play the. So let's see how it sounds. Then instead of playing, they played a big, okay, So then you can go back to the E. So instead of even going back to the, go to the sixth C-sharp, so make it as six. So, so that's kinda easy. That's the second substitution you can use. Substitutions. Yahtzee. You said. Okay, See what I did there. So fast, God. That's a G. C. May they turned on my left hand, I mean, and on my right hand I just have a G-major chord. So then that, so that's there, that Substitutions. So the key of E. Let's see what other Substitutions can use. You can use these god. Okay? So this is E minor seven chord with C undo on your left. Then take the same code to their chapter. Sharp with the baseline, something to their G-sharp. Hey, I saw very many Substitutions. Here is the other substitution. Okay, so fast one. I cover this. Then what are you going to do this and see Major seven chord. We then a baseline. Then you're just going to drop these G note Sharp. So okay. And take your baseline to the D under that. So then you can land on the one instead of this. You can land on each die in this manner. So you can land it. That made it so one over the flat seven. So you have so many Substitutions there. Let, let, let's use the last one. So you can do, you can do this. Let's tend the baseline and week. Okay? Okay, so so agenda miscellaneous start with the D. Now, instead of starting from the sea, then you have a D major chord, G. So some of the progressions you can use to substitute that movement. Go to whichever key, let's say go to a. So let, let, let's like basically if you wanted to, Substitutions, see the same thing. Maybe you could have. Who could ask? So I'm going to be it could land it like that. So that was pretty simple. That was one of the movements that people like to use. So that was a pretty simple movement. So make sure you take note of those Substitutions. Also, another movement that people like to use. Let's go to the key of F. So you will see this Movements. That's basically a D. Then I see over the E. Then that's an F sharp diminished seventh, then to the two. So that's from the six to seven to the flats Tuesday to two. So what Substitutions can use substitute this movement. We could use a 5432 baseline so that you have something like so you see what, what do you have on your left-hand? The Chords basically will remain the same. You could enter US I D, D major chord or this D diminished seventh chord. So, okay. So that's what you play on your left hand. Again, another tritone, and then another tritone. Okay? So simple. Quite simple. Okay? That one simple. And then let's use another movement that goes the same way that there is this movement that people like to use goods. Still on the key of F, three to six. So the song. What movements can use to substitute that destined the Bitly. So we have the bids lane change your left hand calls to this trade-off. So so from day to day one to the seventh, six. So this is pretty much some of the Movements. Maybe you can have such, such a Movements. Let's say we go to the key of G. This Movements, you hear them, I love. So basically we are moving down with Major chords. So Sharp to the baseline is still the same. Or maybe they lead you to the two. So what gives you one Movements you can use to substitute that all movements. So this is the movement is substituted with the Substitutions with that seven. The key of G. So seven to the three, to the sixth, then to the flat two. Then two, they said, You do. Okay. So let me break down those chords. I'm viscal using an image record. On my right-hand in this F-sharp, C-sharp. And here an image of God. Then to the three G-Major chord. But here I have B, D-sharp and then to the six. So yeah, I have a D major chord. And on my right hand, I have this on my left hand. Then the flats to chords. So you had Sharp and E, Then here you have F sharp, B, E, then to the two. So instead of two. Okay, so, so you can use that school movement to substitute that. They are so many other Substitutions that we may not be able to cover. Even for the flat two could be something like this movement previous one. Okay, So then to the fight. So what else doing basically was covering a few Substitutions that you can use here and substitute this common movements that people normally use 7. Chapter 6 Circle Of Fourths Movements: This one is not complex. We're going to cover it in the context of the, of this progression. We have the seven. So let's say we are using the key of G. So 73 to the six, to their, to their fight, to the one. Then maybe to the flat seven, to default, then to the flat seven. So the 73625 flat seven. So that's basically their progression. And we're going to be covering the Isacoff Fourths in that dementia, the 7362514 flat seven. So the thing is, this progression can be, can be. You don't have to play the whole thing starting from the seven to the three. Now, you can even start from the six to the two to five to the phone. So I'm going to be giving you a few chords you can use here and therefore these section. So let's say we're in the key of G. So let's try and see what, what God's can we use on the seven? I'm going to start with this. Maybe that left-hand you have F, F-sharp, C-sharp and eat rice and you have a, B, E, F sharp, D sharp, and B. So I'm using my thumb to play this two nodes. So you can just do this. This sounds much better. So that's my seven chord. Okay? So you, you can play the E major chord. And you don't have to play the E major chord. You can lead, you can lead into it. Maybe. What I did, I just read from the Sharp to the, to the D-sharp to the Ito, then to the three chord. So B, D sharp, a, D, G, B. The biggest, the G major chord. So you can always lead into anything. I'm leading into this from the E, E, G. So you don't have to lead into all of them is lead into undaunted lead into the next I lead into the seven and even into the three. Then to the Essex. Okay. So my left-hand EG add a ton. So you have my 732, my two, my two. This is how I'm playing my two Chord. So you can even do that all Movements. Okay? Okay? So then my faith, on my left hand, I'm playing an F major seven chord. And then wait eight and I'm playing this bee. Or maybe you can even play the F major seven From this point. Okay, so, okay. So that's my, that's my one. Okay. So that's my five. This will my faith. So what I'll do in order to go to the one, I'm just drop this, this C naught down to the B. And I'll drop these, each, each of these nodes down by tone. So, so these then to the fall, you can have the C major seven on your left hand. Then. So that's the full 7362512. Therefore. Then maybe you can keep this going to the flat seven. So you can even have that. You can have that. Then basically then on your, You are right, Taniqua. I taught this movement in Substitutions. So you have then seven. So I said you can lead into it. So you have then. So that's a pretty short Movements. Well, to give you a variation that most people don't normally use. So that's on the key of G. So that's on the key of G. Let's go to maybe a Sharp C. What you can do, seven. Okay? I'm missing the same exact voicings. But I say do you can lead into it to seven today. Then to the two then two there five Okay, then so that's pretty cool moment. And like I said, mixture, you can do this in every key, not just in one key. Let's say you go to the key of, Let's say you go to a EasyBib or to do the same thing. So the 736, okay, to the two to the size, to go on to that flat seven. So that was one way you can voice, 7362514 flat side. Let's do another voicing. Simple Boise. Let's go to key of F sharp. So you're seven. So you basically have then 733. So these ascending god, F my 11 to the E-sharp minor 11, then 6736, doesn't matter. So the 736. Okay. There two. So you can even lead it okay. To the five. So I'm using basically the same structure of God's, the one. So this an E-flat major, F-sharp, C-sharp, E. So then you can save it. So let's, let's start with this 73625. Therefore, the philosophy, It's not seven. So what I'm trying to choose that you can switch in between these. So voicing flat, say maybe you go to the key of B-flat. So you have your 72 or three. That's the key of B-flat. To us. Six You are to you I five to you or to you I four. Then two, flat seven, which is quite simple. So we can hockey, let's say you go to the key of E. So you have the key of E, you have your 73. Maybe that'll help us. Six. I took your five, flat seven. So those are two Circle Of Fourths Movements in, in various keys. You can, you can mix them. You know, you can do this. That's on the key of G Now, seven to the sun, I did there. Then I can come and do this. Therefore, you have to two voicings for the Circle Of Fourths Movements which most Piano to use there. So many other voicings which you will discover with time. There's so many other voice, then you are not just limited to those two. They are so many other leaks and nuances that this pianists use. Anyway, that's it for the Lesson. 8. Chapter 7 Advanced Tips In F Sharp: Tricks I use on the key of F sharp. So few Tricks Yan there, which are going to help you improve your playing. So they movements that I like to use. And so this one, so this movements. So you still have your base, not on the one, so okay. So check my fingers. So you can do this. So my review, I knew when you aren't too, when you are starting lake, when you're starting as song before you start the song. And they are totally to put the thing on the Kuleshov. That's what you do. Well, maybe you can do this. So that's quite simple movement. I use the other one, the other Movements, maybe a lake to use this, this still on harmonisation. So maybe you want to go to them Major to say instead of flying this got. So instead of flaneur this code, this is what I'll do. So instead of doing this tool to the thigh, this is what I look. So then this is another movement I like to use. These are four Chord, be Major chord, then. Not on my left hand. So you have the sharp, G sharp. So combine them then to the two. So basically that's a one chord to one. So that's another simple movement. So maybe, maybe you have, let's see how you can combine the movement. And then we went to suddenly do. So that's what I'm supposed to do. So this B-flat major Chord, C-sharp and this is beat so or so. Pretty simple Movements there. So that's what I can do on my sixth, my six. I can do something like To lead me to my true. So pretty simple things there. Maybe you want to do it. I like to use VAEs is, it's very rare for me to play a five Chord over the five. That is it something I rarely do. Unless it's, it's a rock songs, you know, some sand rock songs that's required to play the face. So this rock songs are exceptions, but in most circumstances this is what a loop. So that's what I'll do for my faith. I left time, C-sharp, G-sharp. Yeah, how about to Chord? So then I'll just drop this, these two. Please be Sharp to the C-sharp and F. The F, F sharp to the epsilon. So you can even do that. Okay? Oh, okay, that's the other. Okay. So as you can see, those are pretty Movements that I use. I like to borrow a lot from other keys. Let's say you want to go to the flat two. So this is what our loop. Okay? So these are the skills I like to use. So maybe I do not 5432 Movements. Then you can do some to see that movement. So flat seeks, that's the to the five. Then 321. So you can start this scale from whichever point on the keyboard you can even started yet. So the sheer scale, maybe if you want to take it up for this empty. So I can use these. So this skin looks like that Then there is another leak that I like to use. It goes this way. Let's say you want to go to their phones. See those things. 7176, then you play two. So you've got news, pretty small things. You don't even have to use it on the seven alone. You can even use it on the, You don't have to use it on there for Usage on many other things. Let's say the two or see that 7736 Movements. Okay. The other Movements, you can event toilets up like that. So the other movements, or maybe on the six, or even their seven, this Circle Of Fourths Movements to their fault. Then to their seven. So from there four, Let's see. There seven shirt I did say instead of I did my two then. So 12 these because they didn't do these and do this. So you see what I did there at the same thing. Did the same thing on B-flat? Yeah. Movements that they like to use a mobile on your own cotton. Well, good. You can even use this movement. So six god or a combination? So I like to use a lot of slots. Okay? So those are just some of the few Movements I borrow a lot from other keys. Maybe I could use maybe minor chord and do something like this. So that's one, that's actually the same movement on the key of G. So on the key of G, Let's take it to F sharp. Okay? So those are just some of the few tricks I use here and there. But the main thing behind this DVD is to make sure you can play in all keys so that you don't have to be limited to the key of a worship. Whatever I've done on their Sharp, I can do in every other key. Let's say that same movement. I can go to the key of G or maybe F, and do it comfortably. Okay? Maybe if you go to the key of D, I can do it's comfortable. So make sure you can do these things in all Keys. Go to the key of B. Okay? Do it in every given those keys that you don't like, let's say E-flat. Okay. The keys that most people don't really like go to, let's say A-flat, B-flat. I know that people don't like so much. Sure, you can do these things in our Keys, even the simple ones, like C, E, C-sharp. Okay? Basically every other key, Gee, I don't know each key haven't covered, but yeah, that's pretty much the idea. You should be able to do these things, all those things you've learned in the key of F Sharp, make sure you can apply them to every other key on the keyboard end. You'll become a very fluent 9. Conclusion: Thank you so much for following through the entire course. If you've gotten here, you've made it to the end of the course. Now, there are some lead sheet down here that will guide do. I will give you some examples where you will have to play following the lead sheet and applying some of these advanced worship movements that you've learned. Now remember these lead sheet I in random keys. So ensure that you have land. These things very well because they are in all the 12th Keys. Now, ensure that you keep learning and keep playing a Improve your worship Playing, improve your black gospel kind of playing. And by this, you'll be able to impact more people, especially in your judgment in your locality. So thank you and God bless you