Baffled by PIano Scales? See them instantly

1. Intro course: You're about to learn how to instantly identify the notes in any scale, using a brand new method that will save you hours and hours of memorizing and frustration. Hi there. If you're here, it means you're ready to take your piano playing to the next level without diving into complicated music theory, right? Well, you're in the perfect place. My name is Simon, and welcome to the Companion course to my highly popular baffled by piano chords, where I showed you how you could memorize hundreds of chords almost instantly. Now, you don't need to take that course to do this one, but they certainly do help each other. Here, we're going to explore scales, core progressions, and rhythmic patterns in a way that's fun, simple, and again, in a way that's easy to apply immediately with no need for any music theory at all. Once you've mastered that, we'll dive right into discovering which chords fit perfectly into each scale. So you can create beautiful sounding core progressions with confidence. But that's not all. We're going to add some amazing rhythmic patterns that will make your playing so rich and dynamic, whether you're just jamming for fun or playing along with others. And I'll also show you how to use the Roman numeral C chord system, which is the secret source for transposing any chord progression into any key, again, without needing any theory. That means you can play songs in different keys and get creative with everything you've learned in this course. Whether you've already completed my first course or you're starting fresh with this one, you're going to gain new skills and a deeper understanding of how music works without getting bogged down in traditional theory. So if you want to expand your musical toolkit, create beautiful core progressions, and make your playing sound better than ever than this is the course for you. All you need is a piano or a keyboard and the willingness to explore and have fun. I'll be with you every step of the way, breaking things down in a simple and easy to follow way. 2. See any scale: Do we do this then? If we look down at the piano, you can see that most of the real estate is taken up by those white keys. But if you look a bit closer focusing a bit more on the top of the keyboard, you'll see that the spacing is actually the same between the black and the y p. The difference in pictures is the same and equal as we travel up the keyboard, going up in what we can call half steps or semitones. Let's take a piece of paper and place it behind the keys like this. We're going to start with the scale C major because it uses only white notes, so it'll be easier to demonstrate and start with. We're going to line up this piece of paper next to C. If you don't know where C is, find a group of two black notes And it's the note down to the left. I'm going to mark out a line in the middle of each white key here on this piece of paper. Are you ready? Can you see? So we're going to mark a note there. And I'm going to mark a note there. I'm going to mark a note there and there and there and there and there. Okay. And then we're back to see again. Okay? This is the scale of C major. Now, this is where the magic happens. If I line up the first pink line on a different piano key note, that pattern will also reveal all the notes from the major scale that that note starts with. Let's shift it up to D. So you see all of these pink lines align with notes. It doesn't matter if they're white notes or black notes? D Major Scale. And it's told us what it is. Let we go. E major scale. Amazing. Really cool figures. Doesn't matter if you start on a white note or a black note. Brill. How amazing is that? If you want both the major and minor scale template, then you can print out this template that I've created for you at home, hit the link in the description. You can download it. Keep it, print it. You'll see that it has the black keys marked on it. This is really only for when you first use it. Line up the major scale against C when you first try it just to see if the red dots, which are the notes you're going to play, makes sense and line up because some piano keys are wider than others. If it matches up and sounds right, then great, if not, then just use a blank piece of paper and mark it with a pencil in the way I described. 3. See any chord in a scale: I am genuinely really excited for this video. It's especially useful if you've ever wanted to experiment with your own chord progressions, basically writing your own songs. But you weren't sure what chords work well with the others. I'll give you a tool to see instantly which chords work with others in every major and minor key. My last video, showing you how to use a similar piece of paper to instantly see any piano scale has been really popular, but it struck me this week that hang on a minute. As amazing as it is to be able to see any scale, we can use that same technique to show you so much more than just what notes are in what scales at a glance. Before we get to instantly knowing chords, and instantly knowing chords. That's amazing. Before we get to that, I'm going to give you a 32nd recap for those that haven't seen that original video, how we can instantly see any scale, cause I think it's really important. All we need to do is slide a piece of paper in place behind the piano keys to calibrate our scale finder. What we do is we make the first mark in the middle of the white note C. Can you see how at the top of the keys, you can visually see that steps between the keys are equal. Between both the white and the black keys. If you carry on making marks at points in the middle of each white note until you have seven marks, you can see how this gives us a pattern. Now, this is the magic bit. That pattern of a scale remains fixed. You just need to slide that first mark to a new piano note to reveal all of the notes in that scale. Mind blowing. It's because of maths or magic or something. Why do we start at see when we're calibrating, simply because it's a key that just uses white notes, making it really easy to do that calibration or marking. So that pattern initially is easy to get onto the paper. You can do this yourself with just a pen and a piece of paper. You don't have to do that, though. It's all in a PDF, linked in the description where you can download it now, and I've updated it with all the new information that's yet to come in this video about the cords? Remember the cords. That's the recap over Gon download the PDF if you need to, but don't forget to come back because it's all about to get really interesting. So what about these cords, Simon? Okay. Let's show you how we use the information on a piece of paper to see which cords work nicely together. Those red dots, you can see, telling you the scale. Also, happen to be the starting notes for the seven chords in every key. Now, this opens up huge possibilities for knowing what chords are in any key. It's there in front of you, showing you. Don't rush off all excited and start playing around yet because there are a few vital bits of information you still need to build on what I've just told you. Absolutely, do need to watch the whole video to make sure you have the full picture or it's going to sound rubbish. As I said, those red dots are the first notes of all the cords in those keys. Being able to see the scale, and therefore, the starting, or root note, if you want to be fancy, of the seven chords at a glance is fantastic because they're essentially the same thing. But are all cords created equal? For reasons that will become apparent. We often number those red dots or piano keys using Roman numerals, like this. One, two, three, four, five, six, and seven. Now, you may ask Simon, why are you showing me those numbers as Roman numerals? You may ask yourself why when I look at my PDF sheet, are some of them capitals, and some of them lowercase, and you may ask yourself, why am I suddenly sounding like a talking head song? All very reasonable questions. You'll also see in the PDF. I've got both major and minor chords set out in this way as the patterns are slightly different. Also, the keen eyed amongst you will also have noticed that one of the chords on the sheet Also appears to be a bit different in both the major and the minor versions. These are called diminished chords. You can see that both the major scales and minor scale ones of these chord types has DIM or dim after it. This is short for diminished, and is a slightly different chord type as opposed to being either major or minor. Now, you can go and Google how to play a diminished chord or alternatively, I explain it in my memorizing hundreds of chords. Yes, I said you can memorize hundreds of chords. All the major, minus sharp, flat, diminished, augmented seventh, all of them. I've got a method they'll teach you all of that memorized in your head for instant recall in an hour or two rather than years, and there's a link in the description. If you think that might be useful, imagine knowing every chord you'll ever need instant link, then go and check out that link. But those diminished chords, to be honest, it's pretty rare that they get used. Those Roman numerals are really useful in learning songs. In fact, I'll tell you all about it in this video about or progressions. 4. See any Chord progression: Problem. There are 12 major keys and 12 minor keys. And each key has seven cores and within each of those keys, those seven cores are going to be different major and minor courts. Oh, it's all really confusing. And you, as a piano beginner, are supposed to be able to remember all of that. That's absolutely the sort of thing that makes me run screaming, but fear not begin a piano player, because I did a video recently where I explained how to see every chord in every scale, instantly using this piece of paper. Very good news. Oh, there's a link in the description, if you need to print one out. That last video also briefly introduce us to the Roman numeral system for numbering chords in a scale. But we didn't really get a chance to dig into what it's actually used for. It's actually used to communicate what chords are in loads of different progressions. But it does it in a way that means you can play those chords in any scale easily and simply. If you can remember all those chords. But our secret source is that we now can. What is a core progression? Core progressions are simply repeating patterns of chords that are known to work. There just seems to be some core progressions that the human ear just really can't get enough of. For example, have you ever seen the access of awesome video? Where they play a huge amount of songs using the same core progression. They astonish you with just how many really famous songs contain the same four chords in the same order over and over and over again. Us. That really famous cord progression is called a one, five, six, four. Roman numerals are used as a way to describe the order that repeating chords come in a song. And as mentioned, there are seven chords in each key. So we number them one to seven, using those Roman numerals. In the axis of awesome Cor progression, we see cords one, five, six, and four. It uses the first chord, then the fifth chord, then the sixth chord, and then the fourth chord of a scale in that order. Because it uses this Roman numeral system, that means it can be easily translated into any key, especially if you have a handy piece of paper like this, where we've got the scale, and we've got the Roman numeral number that attaches itself to a chord, and we can place it on a keyboard like this. And I can tell you what the first, second, third, fourth, fifth, six, and seventh chord are of D easily or G. Don't get all excited and run off to your keyboard yet. There is a tricky thing you need to know. We also need to know what flavor of chord to play. Those seven chords aren't all going to be major chords, or all going to be minor chords. They're going to be a mixture. Is the chord you want to play going to be a major one or a minor one? Now, thankfully, the clues to work this out are also there in the Roman numeral system. Y, Roman numeral system. Let's lay our scales cord find it down and line it up with any note. Actually, Actually, it'll probably be the easiest to see. If we're going to use our piece of paper to work out what our cords are for this axis progression. In C. We line this piece of paper up with C so that the first red dot is lined up. We check that the red dots line up against keys. Yes, they do nicely. That's good. The first cord, the one cord is here. It's going to be a C. Again, if you don't know how to use cords, check out the link below, and I've got a course that will teach you. Hundreds of cords allow you to memorize them in an hour, maybe two. You've got every ord you'll ever need memorized in your head, ready to use. It's a really really simple system similarly to this, as well. V, very easy to remember. Think how useful that would be, having every coord you needed in your head. Anyway, if you want to go and check it out, it's in the link. There we go. Our first chart is a C. Brilliant. The next chord is the fifth quarter of the scale, one, two, three, 45. There is in R more numerals. This is going to be a G chord. Let we go. Lovely. The next one is going to be an A. This is the sixth. Up here, lines up with the A, but it's written in lower, so it's going to be an A minor. So so far, we've got C, G, A minor. And then the last chord is going to be four, which is also a major. It's going to be an F. When I find myself in times of trouble, Mother Mary comes to me. No woman, no cray Again, you need to go and see the Axis also video because it just shows you all the hundreds of course that use that same progression of one of 1654. One of one. I should do outtake, shouldn't I? Anyway, Let's test moving it to a new scale and applying the same logic. So if we do it in the D scale. So the first chord is going to be a D. There we go. Brilliant. One, two, three, four, one, two, three, triangle shape. Amazing. And then we then go to the fifth chord, which happens to be this one, which is an A, also, but now it's a major. Lovely. So we're going Brilliant. And then we go to the sixth chord, which is going to be a B, but it's in small lettering, so it's going to be a B minor. B minor. And then we're going to come back for the four, which is going to be a chord, and it's going to be a major. So what do we have there? We had D. And then we had A, and then we have B minor. And then we had G. Amazing. We've shifted all of the chords, per tone, per note. What we've actually done is transposed technical musical jargon, that core progression. But because it was imparted to us or given to us in Rome and numerals, that's kind of the whole point of that system. You can say the first, fifth, third chord, and then you just need to know what the scale is. The problem, as I've explained before is that previously, you had to remember all of those chords, whereas with this, you just need to shift your piece of paper up and down. 5. Make Chords exciting: O. I'm going to bet that in a few minutes, any one of you are going to be able to add excitement to your chords taking them from this. To this. Many people think that it takes years and years of practice in order to get to a point where you sound good on the piano. But that is just not true, because the good news is that with patterns like the ones I'm sharing with you today, beginners can play impressive and beautifully saving piano, almost straight away. So stick around to get the full picture of all the patterns I'm going to show you. Let's start by sharing a really simple progression, so we have something to practice these patterns on. And if you stick around as a bonus, I'll show you a super easy way to change up this core progression so that it sounds amazing, and so you can do some really fantastic improvising. Okay? Right. So this core progression is very, very simple. Play miner. S. You'll have probably noticed how all of those cords are actually the same shape. I'm just picking up the same shape and moving it along. I call this shape a white picket fence shape for a fairly obvious reasons. I think when you think about a white picket fence, there's a white bit there, then we're missing a bit, and there's a white bit there then we're missing a bit, and then there's a white bit there. So all we're doing, moving that white picket fence shape around. Dead easy. Let's spice up that core progression with Pattern one, okay? So this one perfect for beginners because it's super easy to learn, and it's got a really nice, flowing sound to it. The pattern is this. So let's take our chord. A minor chord. What we're actually going to do is take this top finger away. So we're just left with the bottom note and the middle note of the chord. Okay? What we're going to do is we're going to be alternating them. We're not going to be playing them together. We're going to be playing one after the other. Like that. We're going to start on the A minor. We're going to mirror the bottom note down here. That's the baseline. So this is going to just go two, three, four, one, two, three, four, one, two, three, four, one, two, three, four. Up here, this hand, it's going to go one. Able man to every member to em man. So, it just moves around. Put it all together. Starts to sound really nice. You can also, with this hand, if you wanted, stretch out. So you've got cats like this. M Nice. You just need to be able to play it nice and smoothly, so there are no gaps between the cords. Keep it consistent. If it's too hard, slow it down. The next one, you hear all the time in ballads, has a nice energy to it whilst keeping that ballady type vibe thing going. So we're going to use our white picket fence cords again for this one, though. We're gonna use the bottom note first. And then the middle note. And then the top note and then back to the middle note. So that will be account of four. One. T doing the same thing with the left hand. Just copying. When you start to put it together. Obviously, I've got gaps there, 'cause I'm trying to demonstrate to you the switch between the orts. But if we actually play it more smoothly, Please boop the light button if you're enjoying this, so we can share it with other piano beginners more easily. You can again add an octave down here if you want to shake it up. You could even alternate. That as well. What would that sound like? Nice. The third pattern we're gonna play is called the triplet pattern. It's got a real rolling feel to it. And the energy just keeps going because of that pattern. And that pattern is this. Triple triple triple. Now, the counting on this is a bit different. The other previous patterns we've been playing, everything fits into counts of four. A triplet is where we squeeze three notes into the space where two would normally sit. Okay. So we count it a bit differently. Rather than going one and two, and three and four, we're going to go Triple, triple, triple, triple, lit. But also, we need to take into account that we're going to have to change before we get to the end of our last triplet. There's actually going to be this. Triple triple triple triple. Ji Ji. Now, I also said I'd share how we can change things up. If you ever wanted to experience what it's like to just improvise freely on the piano, here's your chance, okay? You can take that white picket fence shape anywhere on the keyboard, pretty much, and it's gonna sound great, especially if you're playing those patterns as well. So here's a challenge to you. What I want you to do is start playing a pattern, whichever one you want. I don't really mind. And we're going to move that shape around. Okay. So that we change up what we're playing. Doesn't matter which cord you go to. As long as you maintain this shape, and you can change whenever you want. It doesn't matter where you go. It doesn't matter which rhythm you play, as long as you keep it within those guard rails of that shape. Whether you play these two notes or three notes, whether you're playing triplets, triplets triplets, or playing fos or just playing the two keys and alternating them. Moving it ad. Sounds great. Okay. So go, give that a go and have loads of fun with it. 6. Secret language of Roman numerals: Often, when people talk about core progressions to beginners, they launch into long lectures on music theory to clarify things, and they start talking about random things like Roman numerals that are supposed to map to scales. Why do people use numerals for cords? Hm. Stick around to find out. I, however, am not going to either lecture or confuse you. Instead, I'm going to simplify things for you, using what I am very grandly calling a music theory translation tool. But what's actually just a piece of paper with some stuff printed on it. But it's really cool stuff. Today, we're going to look at a classic, and please don't run away when I say this. It's called a one, five, 64 progression. Yes, Roman numerals. We're going to use it to play, both Adele's, someone like you and the Beatles, let it be. To for the price of one. Now, I can guarantee that at the mention of a one, five, six, four progression, Some of you who are just starting out are glazing over, or right now, you're possibly doing that thing dogs do when they put their heads to one side. And thinking, what's with the numerals again? He's doing the very thing he said he wasn't going to do, but fret not, Piano beginners, for I have a plan. I'm going to take my music theory translator and place it on the keys like this. Okay. I'm lining up the first red dot with the note C. If you don't know where C is, it's the one to the left of the two black notes, always. Doesn't matter where. It's always to the left of the two black notes. Sometimes some people call this the dog house with a D in the middle and C to the left here. Okay. Right. That's where C is. Now, look closely at the piece of paper, and on it, you will see Roman numerals. Okay? Map two the notes. Ah. Now, each of these red dots also correlates directly to the starting note of a chord. The final piece of the jigsaw is that if the Roman numerals are written in capital, upper case, then they are major chords or they need to be major chords, and if they're written in lower case like this, then they need to be minor chords. Simple. So what we have here is a beautifully simple, low cost translate. Actually, it's free. Go to the link in the description and go and get it. So now you can simply see whatever it is you need to play whenever somebody gives you a set of Roman numerals as a core progression. One, five, six, four. Did I make that simpler? Let me know in the comments. It helps me spread the word to others who are also struggling to get their heads around this stuff. And it's nice to share, right? That's not the whole value in this video, though. I know. You need to stick around to the end because I'm going to give you a sweet little trick for when we're playing this progression, that'll really make it pop. So let's try this 1564 progression. And in this case, we're playing it as Adele's someone like you. We now know using our translator that the chords, when we start on C, are going to be C. G. A minor. And F. Okay. In terms of rhythm, we're going to keep it really simple to prove the point, and we're just going to play fours on the right hand, like this. And you can either just play the root notes. Cord you're playing. This. I mean, not actually on that. Sound a bit weird. You get the idea. Or, if you're feeling really adventurous. You can do this. Play okatives. Mary. Some of you might still be thinking, but what's actually with the Roman numerals, Simon? Because the Roman numerals are a shorthand way to pass on or progressions to people easily, in a way that means the player can still choose what key to play those s in keys. I know. I know. But Again, don't worry about the theory. Let me show you what I mean with our translator. We can easily change the key by simply shifting the piece of paper along. Now, check out, for example, does it suit our voice or does it suit my voice in that key? No, not really. I was really struggling a bit with the lower register. So maybe if we shift it up a bit, it might be different. Let's try it starting on deep. Okay. Let's see what happens when we do that. So now we've got different chords, okay? We've got a D. And then we're going to jump up to the fifth chord, the Roman numeral, which now it's going to be an A because it's a major A major. And then we're going to go to a minor starting on this chord. That's a B, so that's going to be a B minor. That's a b minus shape. And then it's going to come back down to the fourth chord. Is a major because it's a uppercase. That's a G. So we have now Let's see if that suits my voice a bit better. Settle down. You. Hank you. Happy Yeah, that's better. Brilliant. That's the benefit of being able to simply change the key. You can change it for your voice. We could do it in E. We could do it in G. We could do it in F. You know, whatever we wanted to do, it's there in front of us. We can see what do we need to play because we have the Roman numerals that tell us. And that progression, no matter where we play it, sounds great to our ears. And we know whether we're playing major and minor chords. Simple. If you're struggling though on how to actually play the chords, check out my video on your first 14 essential major and minor chords here, and I'll show you how to memorize them. Almost instantly. Boop the light button if you're into what you are hearing, okay? That really helps me out. Comments are even better. They let me know if it's making sense or if there's anything else you struggle with that I could cover in a future video. I'm not finished yet. I want to try another song using the same progression. Let's try, let it be by the Beatles. It's the same core progression. But when we change what we sing over the top, complete transformation of that same progression into an entirely new song. When I trouble there it comes to me. It works. Now, I said I'd give you another tip, as well. What we're going to do is gonna create a bit of tension between the chain between the fifth chord and the sixth chord. And we're gonna do that by hitting this note, which isn't in the scale, and then resolve it by landing on a chord that is in the scale, okay? So let's see what that sounds like. See, that's really nice. There's a really nice release of tension between the change of the note, the chord, with the passing note. And releasing tension, that's the art of all good music and comedy in writing. So try with your right hand as well. Brilliant, and then your left hand and any combination. Often, when people talk about core progressions to beginners, they launch into long lectures on music theory to clarify things, and they start talking about random things like Roman numerals that are supposed to map to scales. Why do people use numerals for cords? Stick around to find out. I, however, am not going to either lecture or confucian. Instead, I'm going to simplify things for you, using what I am very grandly calling a music theory translation tool, but what's actually just a piece of paper with some stuff printed on it. But it's really cool stuff. Today, we're going to look at a classic, and please don't run away when I say this. It's called a one, five, 64 progression. Yes, Roman numerals. We're going to use it to play both Adele's someone like you, and the Beatles, let it be. To for the price of one. Now, I can guarantee that at the mention of a one, five, six, four progression, Some of you who are just starting out are glazing over, or right now, you're possibly doing that thing dogs do when they put their heads to one side. And thinking, what's with the numerals again? He's doing the very thing he said he wasn't going to do, but fret not, Piano beginners, for I have a plan. I'm going to take my music theory translator and place it on the keys like this. Okay. I'm lining up the first red dot with the note C. If you don't know where C is, it's the one to the left of the two Black notes, always. It doesn't matter where. It's always to the left of the two black notes. Sometimes some people call this the dog house. With D in the middle and C to the left here. Okay. Right. That's where C is. Now, look closely at the piece of paper, and on it, you will see Roman numerals. Okay? Mapped to the notes. Ah. Now, each of these red dots also correlates directly to the starting note of a chord. The final piece of the jigsaw is that if the Roman numerals are written in capitals, upper case, then they are major chords or they need to be major chords, and if they're written in lower case like this, then they need to be minor chords. Simple. So what we have here is a beautifully simple, low cost translate. Actually, it's free. Go to the link in the description and go and get it. So now you can simply see whatever it is you need to play whenever somebody gives you a set of Roman numerals, as a core progression. One, five, six, four. Did I make that simpler? Let me know in the comments. It helps me spread the word to others who are also struggling to get their heads around this stuff. And it's nice to share, right? That's not the whole value in this video, though. I know? You need to stick around to the end because I'm going to give you a sweet little trick for when we're playing this progression, that'll really make it pop. So let's try this 1564 progression. And in this case, we're playing it as Adele's someone like you. We now know using our translator that the chords, when we start on C, are going to be C. B G, A minor and F. Okay. In terms of rhythm, we're going to keep it really simple to prove the point, and we're just going to play fours. On the right hand, like this. And you can either just play the root notes. Cord you're playing? This. I mean, not actually on that. Sound a bit weird. You get the idea. Or, if you're feeling really adventurous, you can do this. Play ocatives. A girl Mary. Some of you might still be thinking, but what's actually with the Roman numerals, Simon? Because the Roman numerals are a shorthand way to pass on or progressions to people easily, in a way that means the player can still choose what key to play those s in keys. I know. I know, I know. But Again, don't worry about the theory, Let me show you what I mean with our translator. We can easily change the key by simply shifting the piece of paper along. Now, check out, for example, does it suit our voice or does it suit my voice in that key? No, not really. I was really struggling a bit with the lower register. So maybe if we shift it up a bit, it might be different. Let's try it starting on deep. Okay. Let's see what happens when we do that. So now we've got different chords, okay? We've got a D. And then we're going to jump up to the fifth chord, the Roman numeral, which now is going to be an A because it's a major A major. And then we're going to go to a minor, starting on this chord. That's a B. So that's going to be a B minor. That's a b minus shape. And then it's going to come back down to the fourth chord. Is a major because it's a uppercase. That's a G. So we have now Let's see if that suits my voice a bit better. Settle down. You. You. Happy Yeah, that's better. Brilliant. That's the benefit of being able to simply change the key. You can change it for your voice. We could do it in E. We could do it in G. We could do it in F. You know, whatever we wanted to do, it's there in front of us. We can see what we need to play because we have the Roman numerals that tell us. And that progression, no matter where we play it, sounds great to our ears. And we know whether we're playing major and minor chords. Simple. If you're struggling though on how to actually play the chords, check out my video on your first 14 essential major and minor chords here, and I'll show you how to memorize them. Almost instantly. Boop the light button if you're into what you are hearing. Okay? That really helps me out. Comments are even better. They let me know if it's making sense or if there's anything else you struggle with that I could cover in a future video. I'm not finished yet. I want to try another song using the same progression. Let's try, let it be by the Beatles. It's the same core progression. But when we change what we sing over the top, complete transformation of that same progression into an entirely new song. I trouble. Well there comes to me. I works. Now, I said I'd give you another tip as well. What we're going to do, I we're going to create a bit of tension between the chain between the fifth chord and the sixth chord. And we're going to do that by hitting this note, which isn't in the scale, and then resolve it by landing on a chord that is in the scale, okay? So let's see what that sounds like. See, that's really nice. There's a really nice release of tension between the change of the note to the chord, with the passing note. And releasing tension, that's the art of all good music and comedy in writing. So try it with your right hand as well. Brilliant. And then your left hand. And any combination. 7. End video: I've said previously throughout the course, if you think you would benefit from also being able to memorize hundreds and hundreds of chords by being able to play instantly every major, minor, sharp, flat, seventh, diminished, ninth, whatever, all of those different millions of chord permutations. If you'd like to just be able to play them instantly, check out my other chords, and I will see you there as well.