Transcripts
1. Intro: Hi and welcome to my course
for a piano harmony. And thank you very
much for enrolling. It is my honor and
pleasure that you have chosen my course over
all other courses here. And I'll do my best
for you to say this was my best big
for the beginning, I will try to make things as
simple as possible without mentioning any
unnecessary things which are unrelated and boring. But since this is a
preview video only, I encourage you to
listen what you learn in the following topics. And resolving to the
C minor at night.
2. Piano Voicings: The chord voicings are
typically the way you spread the CTL tones
in a pattern you want. For example, let's take C major seventh chord and
see its root position. What do we have here? We have don't, it's a C. We have major third. We have fifth. It's a g. In the end. We have major
seventh Is a note B. This is called a root position. And the most important
tones in this course are the major third and
major seventh beat, which means we can leave
out the root node C, as well as the
fifth, which is a G. But in this case the root can be left out only
if there is a note see being played with the other
hand, with the left hand. Or if there's a bass player
playing that root node. So basically, chords can't survive without the fifth
bank played at all. And in this case, we mark these courts as no five along with the coordinates. So this chord would be
called C major no five. The very same thing applies
with other types of courts. For example, C minor seven. This is a route. This is E-flat, is a
minor third, right? This is a G. It's a fifth, and
we have a B flat. This is our minor seventh right? Now to finally put a
meaning for this topic, which is the actual voicing. I will explain it in the
example of C major chord, which has three main intervals. And these are the major
third and the fifth. So 135. The voicing, it's simply the way you will arrange these intervals and whether you're
going to double them in different octaves or
not, that's up to you. I mentioned this in the very
beginning of the lesson, but it doesn't hurt to
repeat the knowledge. We can play a C major chord
in the following ways. For example, C, E, and G. This is a root
position, G and C. This is the first inversion. The final one, G, C, and E. This is the second inversion. Right? Now this is the part with the irregular inversions, but we can do more than this. Of course we can by using
the voicings technique. If we choose to
double each interval, we will get into
following C, E, G, and C In the next octave
is still a C major chord, just with the root
node being doubled. So we see here and we
have a c here, c, g. And in the next octave, if it can reach this, that you have really big hands. This is still a C major chord
just with the major third, which is in denote eat. It's being doubled
in the next octave. And the last one, C, E, G, and G In the next octave. This is still a C major chord, just with a fifth
note being doubled. And there is absolutely
no way that you can play this chord with
only your right hand. There's absolutely no way. Now the omitted part
is where we don't play specific intervals on
their route positions, and instead, we're going to play them in
different octaves. So C is omitted here. And we have E and G by debt
see is in the next octave, which still gives us
a C Major once again. But this is the first inversion. And C. The C is being emitted
and being played at the second position
in the next octave. Now we have note
E being emitted. We have C and G. E is blade in the next octave. So C, D and E, which gives us C
major chord wants to get but with the bigger spans. Or if you want, you can use both hands at once to play this chord, for
example, like this. If you can't play
it with one hand. The third part is
g being emitted, and we have C and E. And the note G is
in the next octave, which still gives us a C
major chord once again. And in this case you need to use both hands unless you are, let's say, eight feet,
two inches in height, and you're a really,
really big person. Okay, after these two parts, we come to the conclusion
that we can combine doubled notes along with the omitting rude
positions of the courts. This means you can play
chords in the following way. For example, let's say. See, with the left hand and C, E, G, C in the right hand. This still makes a pure
C major chord because we only doubled the intervals
in the next octave, we didn't change them at all. So the next one with the left hand and C, E, G in the right hand is
still a C major chord. Now we didn't double Alt
intervals with both hands. Instead we just doubled, doubled, just some of them. But that still doesn't
change the fact that this is still a C major chord. So the final one is C, G, and C with the left hand and G and C with the right hand. This is still C major chord. And in fact, this
is something that is widely used in terms of
beginner practices for, let's say, piano players, when they are doing the
copying part right? Now comes the hard part. Let's see how we can
figure out to play some complex courts with
some nights voicings, for example, let's
take seem minor is our scale and our
point of reference. First of all, our C minor
is our first court. Right? Now we'll
begin to play with the harmony little bit by
jumping to the sixth chord, for example, which would be, which would be a flat major. By all means of basic the piano theory and course
within natural minor scales. For example, C minor is first. Now we have D diminished, E flat major, F minor, G minor, A-flat major, B-flat major, and back to the root, which is a C minor chord. Let's say we want to
add some extensions above the quintic cord
by adding the major, major ninth, that chord. We will simply do
that by including the major seventh, which is an OTG. The regular ninth,
which is a note B flat. But let's take a
closer look on how did we spread this voicing throughout
the whole Cambridge. So for example, we have a
E-flat. A-flat is rude. E-flat is our fifth. It's being played with the
left hand, these notes. Next, what do we have
here? We'd have a g. This is our major seventh in the court of
A-flat major seventh. Now we have a B-flat, which is our ninth. This is a ninth. We have our C, which is our major third, and we have E flat. This is our doubled fifth. We have E flat here and
we have P flag here. So this is the w Note. This means, we use all means
of the voicing technique by omitting the irregular positions and placing them in
the other positions. Instead, the job is done here and we can move
on to the next chord, which has the fifth
position in the scale, and that is G minor seventh. So 12345, this is
the fifth chord. So once again, this is
A-flat major ninth. Now we're going to play
G minor seventh chord. What do we have here? We have
a Jeep, this is our root. We'd have ID, this is our fifth. We have F, This is
our minor seventh. These three don'ts are
played with our left hand. Right hand, we have our g, which is our root, and B flat is our minor third. D, This is our fifth,
and we have F. It's our minor seventh. Or for example, if
you wanted to play this in the lower octave. Because of the
color of the tombs. Whatever we like, or any
position that you would like. But with this fingers
setup, right? We have g times, dy du times. We have f two times. But in this case we have
denote B flat only once. We have omitted denote B-flat
here in this position. And it's placed right here. And in the end, we can
arrive to the last court in the progression By finally
resolving back to the C minor. But let's add a minor
ninth for the color. For example, we have, let's say C is our root
with the left hand, we have a G with our fifth. I'm sorry. We have a
G which is our fifth, played with our left hand, and would have B flat, which is our minor seventh, also played with the left-hand. Next, we haven't E-flat, It's our minor third. Now we have a G, which is our fifth, and it's being doubled, would have a B flat, which is our minor
seventh, also doubled. And for the first time
we have a note D, which represents
our minor ninth. In the Unless play all of
these three chords once again, to master our knowledge. This is a flat major ninth. And then we're gonna
play G minor seventh. And in the end, resolving to the C minor ninth. Once again. For example, you
can play this in a matter of, let's say 404. Now. Resolving to the
seat minor at night. Or for example, you can lower the octave and see how
well it will sound. Here. In too deep. For example, you can
play this chord. Let's say in the upper octave. It sounds nicer. Here. It's really muddy and thick sound which
you want to avoid. Especially if you have
a bass player which we'll encounter with
your notes being played, and YouTube might have a little
bit deeper conversation. So far, so good, he has seen the way we
managed things here. See you in the next lesson. Bye.
3. Major and minor 9th voicing: In this lesson, we're gonna talk about major ninth voicings. And the most important
thing is how to use that voicing as a matter of contexts
when placed in phrases, let's say we have a regular
C major ninth chord in root position, c, G, B, and D. And then we're gonna
do the following. We're gonna do B, C, D, G, B, and D. Once again. The left hand, E, B, and C, and the right hand is D, G, B, D. Once again. Now the question is, how did we arrive here? So for example, if we
take the root position c, E, G, B, and D, what
do we have here? We have the major third, major seventh, we have the
rootsy, we have denied. We have fifth for the first time and we have
a major seventh once again, because we have, we have the
major seventh already here. This is doubled
and we have du dy, which represents
the major ninth. Once again, it doubled. So the formula is 3719579. Once again. So this type of voicing
attract some ambiguity to it. As the physical form itself, at least in the left hand, doesn't look like
it's a major chord. But in the sound it's
somewhat scenes harder to distinguish whether
it's major or minor chord. If you're listening
to these things for the first time as a
keyboard or piano player. The nice way to remember this is that this is a
second inversion of the chord G major in the right-hand, with
a doubled fifth. In the G major, the fifth, it's denote D and it's doubled. At all. You have to do is to remember the left-hand nodes, which are B and C. Let me demonstrate it
how easy is to make the following progression
in the key of C major. Example in the key of C major, we have sixth chord. The sixth chord is 123456. It's a minor, for
example, like this. Now let's go, for
example, to the four. The four is F major. The five is g. Let's spice it up
with a dominant G7. Back to the one. The final result morning. So it wants to get a minor, F major, G7, and C-Major. All right, now to spice things
up a little, for example, let's play, let's play the sixth court as a
minor seventh chord. So instead of playing a minor, we're gonna play a minor seven. For example. Instead of playing the F-Major, we're going to play the
minor six nine chord. So this will be F minor
six with the ninth added. For example, instead of the G7, we're gonna play G7 sharp five. This way. Sorry. We have the root. What happened the
fifth, the seventh, we have the third here and we have the fifth
which is augmented, but we can omit the fifth
here if we wanted to make x. And for this, this fifth, which is increased by half tone. For example, like this. Let me explain this once again. The first two courts
are played in the root position,
G minor seven. Then we have F minor at
69 into root position. And the third chord, the third inversion of the
regular G7 sharp five chord, where the root note is omitted as we have
it in our left hand. So g. Then we have G, F, B, D-sharp. This way, it sounds more open and get some bonus
strength this way. Finally, we will be arriving on the C Major nine chord
like we are supposed to. So detention on debt G
chord is result in the end. Let's play everything
from scratch. So a minor seven. Now, let's play F minor 69. Jeez, several with a sharp five. Finally, for
example, if you want to make it sound more
thick. Once again, the final court, which is for me if you ask if
he asked for my opinion, here, it sounds really
thick and muddy. So I would really transferred this court to the upper optimal. Or if you want,
you can play that whole progression
one octave higher. In the end. It sounds really more fluidly. A really good practice
would be if you could do all 12 chromatic keys and practice both
major and minor keys. So for example, let's
say we start off with, with the C major ninth. And then we're gonna switch
to the C minor nine, where we need to lower
the third and the seventh by one semitone in order to get the minor
sounding quarters. The following court would
be C Major nine would be. To make it minor nine,
what do we need to do? The major third needs to be
lowered by one half-step. So he flat and the seventh
needs to be lowered. B flat. The root is here, the 900s here, the 50s here, and the seventh, once again, lowered
by a half, half-step. We have C minor nine. The next chord, we
had C Major nine. So now the following court
is C-sharp major night. Half step to F. B goes to C. C goes to C sharp, D goes to D sharp, G goes to G-sharp, B goes to C, and D
goes to D-sharp. This is C-sharp major ninth. Let's make it
C-sharp minor ninth. So far, so good. You've seen the way
we manage things here and I will make
exercises for you based on what you
learned in this lesson and you'll do these
exercises on your own. Feel free to contact me here for the help if you're stuck
with your homework, SEO in the next lesson.
4. 13 sharp 11 voicing: We are about to demonstrate
the really awesome sounding voicing for 13 sharp 11th
chords on the piano. We use these types
of scores in most of the jazz songs as well as Pop Funk ballots
to, for example, or even any other genre which do emphasize these odd sounding
harmonic progressions. As I already said in the
intro of this course, I will try my best to keep
things as simple and short as possible by jumping straight to the point and effects too. So what we need to do now
is to explain how to form the 13th ports on the piano without
altering any intervals. So as the theory part
is structured us to do, we formed a 13th chord
by having the seventh, ninth, 11th, 11th below it. For example, segued her team
would be root, major, third, fifth, dominant seventh,
ninth, 11th, 13th. It's a chord played
with bowed hands, as it requires six notes
to be played at once. But with voicings, we can
avoid that at least partially. And we can omit the
first which is the root, the C, and the fifth, which is a g. In this
court, for example, as they don't have as much importance as
the third seventh hub, followed by extension
above the seventh itself. Let's play this chord in
the following voicing. For example, we have B flat, D, F, and a. All right? We have omitted the
first and the fifth. What do we have here
is the major third, dominant seventh,
ninth, 11th, 13th. All right. Now as less entitled
is we need to alter the 11th so it
becomes sharp, sorry. The 11th is the note F. If
we want the sharp 11th, we need to raise it
by one semitone, so F will go to the F-sharp. We're familiar with
this voice, you know, as this is three, M7, nine sharp 11, part of
the sharp 1113, right? This is the structure
of this cord where root and the
fifth are omitted. As we already said, how do we actually use this court
in a progression? Let's find out by improvising
the chord harmony in the key of C major
as our root chord. Our first court in sequence, for example, we have the
following progression. We have a C Major
nine, for example. Then we're going to play the B flat 13 with
the sharp 11th. As a second court. The third
chord is a minor seventh. Now let's make a
transgression from a minor seventh to a D minor
nine, for example. But let's add a middle cord. So we need to add a court
in-between these two courts. For example. Let's use
this 13 with a sharp 11th. Once again, when
sample, let's play. Let's play a D deep
13 with a sharp 11th. So what do we have here? The first route is omitted. We have the major
third, we have, We have the dominant seventh, and we have denied
sharp 11th and 13th. Now let's get back to
the D minor seven, or D minor nine. I don't know. For example, with this voicing. In the end, we need to resolve this progression back
to the C Major nine. From the same position
we started with. We need to add a chord
in-between these two courts, for example, to make
it a little spicier. If we are under the minor
ninth coordinate right now. For example, this
would be a progression to 51 to jazz standard, right? So if this is a to the five would be G7 resolving back to C major seven
chord, C major nine. For example, if we
are here right now, let's use a different approach. Let's use a tritone
substitution for the dominant seventh
chord, which is a five. A G7 would become D flat
13 with a sharp 11th. So the tritone away from
denote Jeep is a D flat. On this exact dough, we're gonna build a 13th
with a sharp 11th instead. Okay, So D minor seven, D minor nine, with a
tritone substitution. Okay, Let's calculate. This is a D flat. We need to add the third. The third is f. We
need to add a seventh. The seventh is B. And now we need to
add deny, deny. It would be that
D-sharp, A-sharp. And we need to add 11th,
which is sharpened. This is g, and we
need to add the 13th. 13th is a B-flat. Sounds really creepy, right? And resolving to
the C Major nine. Let's play this
progression once again, but without me saying
anything, for example, just so we can see how do I improvise in the exact moment. For example, C major seven going into the amide. And then a seven going into the, the minor, D minor go into
the dominant seventh. Going to see the dominant
seventh would be a G seventh, resolving back to the seat. Or for example, C
major seventh on. This would be easy
courts to play. Instead of E7. I have played the note which is one tritone away
from the root node. And the node away from
the D is a B-flat. That specific note we played. We played a 13th, 13th with sharp 11th. So a B flat. We have major
third, we have 7th. We haven't nine. We have sharp 11th and 13th. This is the quarter we use
to replace that E7 chord, the second chord in
the progression. We play this instead of this. As we continue, we're getting
back to the road with, with a minor seventh,
minor seventh chord. Instead of A7 dominant Board, which is the next
court we played, D3 with a sharp 11th. That would be the
following notes. Or for example, if you want, you can play, you can
play it like this. You can add double integrals, which is going to lead
us to the D minor nine, which is a bit different
color than regular D minor. This is the regular D minor, and this is the D minor nine. And also instead of the regular
G7 dominant chord, again. To repeat the knowledge, we use a tritone substitution. As I already said, this is a G and a
Trojan is D flat. We use this, this
tritone substitution to land on D flat to
routine with a sharp 11. What did we say to play here? F sharp, G and B flat. And finally, resolving
back to the tonic of seat with dementia knife
to make his shiny. Or for example,
displayed higher octave. Or if I am 100 positive, you can actually
see that ending in a regular 251 jazz
progression standard, where we have a D
minor going to G7. For example, D minor G7
going to a C major seven. But in this case we have some additional intervals
above the steps, of course, and tritone substitution makes
it just a little bit more spicy than what our ears expected here in
most situations. I'm really glad that you came so far with this topic and it's, it's the best
practice if you could do these progressions
in all 12 keeps, but 40, Here's a little hack
about the specific voicing. In order to play the
13 sharp 11th voicing, all you need to do is to play
the third and the seventh, which were left
hand and then count plus two semitones
from the root node. The root note is C and D, right? Bill. And you need to build a
major triad on that note. So D F-sharp and
a simple as that. For example, a C Sharp, 13 sharp 11 would be notes F, B. Then the root is C-sharp, so we count plus two
semitones land on D-sharp. And we make ourselves
a nice little D-sharp major chord
without right hand. It's a lot easier by
learning these tiny hacks. Trust me, thank you for watching and I'll see
you in the next lesson. Bye.
5. Dominant 7th b9 voicing: How do we actually
use this voicing? First of all, let's construct a irregular dominant
seventh chord. Add a ninth to it and
then see what happens. We have C, E, and G, and B flat is our
dominant seventh chord. Denote D is our seventh,
ninth, I'm sorry. Note these are not, once we flattened, denying
it becomes D flat. As for C major scale, I'm divorcing we will use
here is actually pretty simple as we have utilized in the previous
lessons already. So the root node C. If nodes Jeep tend to
go one octave higher, and everything you
need to do with your left hand is
actually played a major third and a dominant
seven, which is a B-flat. And the rest of the intervals, which are the root, the fifth and the flat 9th, are played with the right-hand. So major third,
dominant seventh, root, flat nine, and the fifth. As you might already noticed, the left hand voicing
is actually a tritone voicing where we played major third and a
dominant seventh. And if we, if we calculate the distances between these
two, we get a tragedy. For example, we are now note C. I'm sorry. This is
our starting point, our reference 0.123456
semitones higher, they get to note B-flat. And this is a tritone
into distance. So this is done in most
dominant seventh chords, but what you will do with the higher elevation
of the intervals. So this is completely up to you. And what I mean by that is what you will do with the ninth. The 11th and 13th is up to
you and how we will stack that within octaves to make
it sound as it's supposed to. The third, the seventh. The rest of the
notes, for example, C, G and this flat ninth. How you're going to
stack these intervals in the higher
elevation of Octaves. This is completely up to you. And I'll already said, for example, we can
play this D-flat. He'll make it a stack like this. It's a very unique approach
to memorizing these types of courts is to play a dominant seventh chord
with the left hand. Like this was happening. I'm getting to the
root and the fifth, as we already said. And then you have two approaches which you can use whatever is easier for you. The first approach
would be like this. Built a diminished seventh chord starting from one semitone
higher than the root node. The root node is C, and one
semitone higher in C-Sharp, D flat, whatever we like. So we're going to build a C sharp diminished
seventh chord. How do we build diminished
seventh chords? For exempt, this is
the road, C-sharp, 123123123, C-sharp, E, G, and B-flat. The first approach, the
second approach would be to build a diminished
seventh chord starting from three semitones higher than the seventh
and the seventh. In this case he's being flat. So 0123, again, we're going
to land on the C-sharp. Any way that you see these
things easier for you, you can use that approach. But in my opinion, it's a lot easier to
utilize the second method, as we already
playing the seventh. This is the B flat,
this is the seventh. We are already playing it. It's relatively easy to count
three semitones from this. Don't write here. Or
if you'd like to count one minor third from
this dominant seventh, B flat, whenever it like. Of course, I will
show you how you can utilize this chord
voicing in a progression. And also I urge you to
transpose it through all 12 keys to make the
maximum practice out of this, let's imagine a simple
progression in, let's say, F-major as our tonal chord
using the 251 progression, which is a standard jazz, right? Let's start off with G minor. G minor would be the second
chord in the key of F major. So majors first, second. So if we are doing
that 251 progression, gonna play G minor, the five would be what? C major, and one
would be F-major. And of course, to spice
things up a bit as usual, we're gonna add some
complexity to this. Let's play for example, G minor nine are two. Let's follow it by by divorce in which is the
title of our today's topic. For example, the
five is going to be replaced with C7 flat nine. As we already said. Let's resolve back
to the tonic chord. But let's spice
these things. Again. For example, you can add
some flavor with a major. Or for example, I don't know. Sharp 11th. Be, for example,
whenever you like. If this sounds nice to you, I really advise you to
practice 251 in all 12 keys, and I will for sure keep
talking about that. As it turns out, it's
the best practice ever. And you can add some melodies to it and you're good to go, for example, just the way I
did a few moments earlier. Of course, you can be more
creative than I am right now, but you'll see the point. This is the main core
of Today's lesson. Just utilize these types of
quartz along with his voice. He sees seven with a flat nine. Of course, you can play the
chord like this, for example, I don't want to hurt anyone. The result back to the F-major, F-major nine for
example, in this way. So practice, practice, practice, and thanks for watching and I'll see you guys in the next lesson. See you.
6. Minor 7th b5 chord infiltration: First of all, let's
start by pointing out the course in a
natural minor scale. And these are the following. For example, C minor, C minor, D diminished, and E flat major, F minor, G minor, A-flat major, B-flat major, and back to C minor. So these are all
the basic triads, which means we don't have to
make are playing so easy. And we are able to evolve separate courts or even deny it. The 11th and 13th quartz in it. But I won't be that strict
to myself into you and I'll limit myself to simple
septic chords for now. As you already know, the minor seventh chords are
built from, for example, in the key of C, C is a root, E-flat is a minor third. G is a perfect fifth, and B flat is the flat seventh. We can continue to
play with these courts throughout the scale of C minor. So our course would be, for example, like this. C minor seven, D minor
seven, the flat five. The next chord is E
flat major seven. The next chord is
F minor seventh. The next chord in the
scale is G minor seventh. The sixth coordinate is
A-flat major seventh. The seventh chord is a
B flat dominant seven. The last chord is once
again C minor seventh. All right, I strongly
suggest you to do a daily practice of all 12 chromatic keys
for these courts, as you'll use them in
a lot of your playing. Also, the easiest way to memorize these
courts would be to remember a simple
finger movement by lowering the fifth by 1.5 step for all irregular minor
seventh chords, at least. That is how I
tricked my brain to remember these
gourds easier than memorizing the hand patterns
for all courts individually. Try it and see it for yourself. Okay? For example, let us take a simple book progression.
I don't know. I'll let say C major. Then we have F-major. Then we have F minor, which gets back to the C major. F-minor would represent
the forward chord in the scale of C minor as we
just borrowed it for a second. And in case you don't know
what I'm talking about, I strongly advise you
to check out my course, which is called
online piano lessons from complete beginner
to advanced musician. And it's the last lesson
in that course where I strictly talked about
modal interchange chords and how to use them properly. And who knows, maybe we'll find some material which you
might have missed, right. So why not give me the truck? Okay, let's get back to
business and we have our progression, C major. We have our F-major
going to the F minor, which goes back to the time, which is a seat major. What we can do here is to change the existing forth court would a second chord and build the minor seventh
flat five undead degree. Okay, so now when we
know what the courts in, when we know the septa
chords in the C minor scale. First is C minor seven. The second would be D
minor seventh, flat five. So the regular D minor seventh
would be this, F and C. But the fifth is eight, and once we flatten it, we get a flat. This is D minor seventh
with a flat five. So what we can do here, what I just started talking
about is we can do, we can swap the
existing fourth chord, which in the scale of
C minor is a minor. We can swap it with
the second court, and the second court
would be D diminished. And if we add the septa cord, gonna end up with a D
minor seventh, flat five. And instead of
playing that F minor, we're gonna play this chord
as note D is the root. Our second chord in the scale of both C major and C minor scales. Also, they're within the same court family
as a matter of fact. So the second, the fourth, and the sixth belong to
the same chord families, also something you can
learn more deeply in the course I mentioned
a few moments earlier. So for example, let's play this progression by
adding some rhythm to it. We can also play the root note D with our left hand. For example. During remaining tones
of the D minor seventh, flat five chord
will be played with our right hand by
using either. So. Let's see how, for example, our first court is C
major, like we said. Let's add some rhythm. Let's go to the F-major. Let's go one round
to the G major. Again. Let's get
back to the C major. Let's go to the fourth. Then. Instead of playing F-minor
would have been a play that, finally resolving back to the C major or adding
some color Example, C major, C major ninth. In this case, for
example, let's say, for example, we can add some melody on top of
these courts as well. For example, F, G dominant seventh, for example, the first round. And for the second round we're going to do the
swapping procedure. For example, as
you may have seen, what I did here on this chord, height arpeggiated, scored within one to three
octaves up and down. Or for example, you can
resolve back to the seat at two, which also soundbites. Also what I forgot to mention. For example, I don't
know if this is so important as the topic
of today's lesson, you'll notice that if you
invert D minor seventh, would a flat five chord. If you're inverted, once, you will get what D
goes here. What's this? This is F minor sixth chord, which means these two
courts are related. And if you invert
this chord once more, you will get what? Let's swap this f with
this F. What's this? If root is a flat. This will be what? This will be. A flat major sixth
with a flat five. This is a flat, it's a rude. This is the third. The fifth would be E-flat, but what, once we flatten it, we get d. That's flat five, and this is the sixth. But depending on the context of the phrase you are playing, this really depends on
the route based node, either by oral left hand or by irregular bass player
if there are any, as I just said a few
moments earlier, the root note, if
you play it with your lifetime, this
is a flat right? Instance. If I'm
playing, for example, f with my left hand,
this will be what? This will be, F
minor sixth chord. And if I play a D,
this will be what? This will be D minor
seventh with a flat five. So everything depends on the context of the
phrase you're playing. If you were playing the root
notes with your left hand. And what are these notes, right? So that would be it
for this lesson. And I strongly advise you to practice the
progression you see on your screen right
now in all 12 keys. Until the next lesson, stay sharp, C up.
7. bVII9 chord tensions: There are generic ways of approaching two
tangents when building harmonies and to release them mostly into diatonic chords. In this lesson, we're
gonna talk about the dominant ninth
chords and how to use them as another
possible solution when Hollywood court tensions, the way this is done is to use few courts as our
primary progression. Once again, in the
key of C major, for example, like this. In most cases, many piano and a keyboard played
are used to the fact that the G here will become
the dominant seventh chord, which will release
that tangent back to the C major chord,
which is our tonic. Okay? Now what I find much more interesting than the regular
fifth scale degree dominant seventh chords is to build the alternate tangent
on the seventh degree, which is flattened
by one semitone. So in our case, the seventh scale
degree in the key of C major is of course be. Once we lower it by one
semitone, we get B-flat. So instead of playing the
fifth degree, which is note G, We're going to play it
at flat seventh degree, and we're gonna build a
dominant ninth court on it. Our new chord progression
would look like this. For example, one round
off CFG back to his seat. And then we would repeat
it with an altered version of swapping the dominant
fifth with a flat seventh, dominant ninth
chord. For example. First-round. Second round. For example. This, the voicing in the
left hand you can use is actually either this or this, but I prefer more. Major third for the B flat. Dominant nine major
third, dominant seventh. This is the best
solution. Trust me. You can play you can play the ninth with your thumb in the left-hand and
right-hand you're having, you're gonna have the
following integrals. It's a major third,
it's doubled. We have, we have
that fifth, right? We have the dominant
seventh, it's doubled. And we have the 9th, which is again doubled. Also can play the
arpeggio of this board. After that, you're
going to release detention back to the C major. Let's play this
once again with the following voicing in
the left hand. Okay? Second round. You can end up on the C
Major nine, for example, which is also a cool way to
voice this last quarter. Or for example, saving
yourself. I don't care. Actually. For the final thought. I strongly advise you as usual, to do this exercise
in all 12 keys. So your key is C major and a progression is the one you see on your screen right now. For example, c is one. The four is F major. And a flat seventh dominant
nine chord would be this. Resolving to the major
ninth or whatever you want. By practicing these
things in all 12 scales, you'll have a huge impact on
your progression in play. I'll see you guys
in the next lesson.
8. Stacked chord voicings: Stacking is usually placing things on top of other things. So generally in music, when we mentioned the
term core stacking, what do we mean by that is if we're playing something
with our left hand, we can use our right hand, just add something
else on top of it to make the left-hand sound better. And even more abstract in terms of actuality of the
voicing we're making. Let's say for example, we were playing
E-flat major chord. We want the stack,
something with it. For example, the best
possible solution for your exercise would be to
test out the sounds you'll get if you start either
minor or major chords or even set the courts or
altered course as well. But for this occasional, let's just stick to stacking major and minor course on the intervals of
the existing court. In the left hand, for example, E-flat major and our left hand. E flat major, right-hand. Absolutely nothing
is gonna change. This is still even major. The next score would be F minor in the scale
of E-flat major. So the first-degree,
nothing changes. The second degree. We have F minor
chord in our hand. When we translate this, we have rural two major third. The seventh is omitted. We have denied the 11th, 13th. So basically this is the
major 13 without the seventh. If you want to complete
the next chord, the next chord is
gonna be G minor. G minor. And this, why do
we translate this? We're gonna get, Let's do two inversion opposition of this G minor chord resembled
the second inversion. Basically what this is,
E-flat major seventh. Here's the seventh, the third, and the fifth months again. The next chord is gonna be a flat major chord that we're going to
play it in version. When we translate this, this is E flat 13th chord, but without the seventh
and denying the seventh is C-sharp and the ninth is F. But don't have
these stones here. If you wanted to play it. Go ahead. Okay. The next chord is gonna
be B flat major chord. Let's play it inversion. What this is is an E-flat
major ninth chord, 13579, and the five is doubled. The next chord, the next chord
is gonna be C minor chord. In the scale. When we translate this, we're gonna get E-flat
major sixth chord. Here's the sixth. Here
is the first doubled, and the third is
also doubled in. The last chord is gonna beat D diminished chord
with our right hand. And when we translate this, we're gonna get E flat
major 11th chord 13579, and the 11th corps. Good example for this
inclination would be to build up a fourth, the fifth. The first harmonic progression
left-hand is gonna play, for example, A-flat
major seventh chord. Right hand is going to play
the C minor seven chord. And if we do the counting of
the integrals in both hands, we will get a flat major
seventh, 135 liter seventh. Major 35 major seventh. Once again, this
is denying B flat. Now the next chord, for example, we can do to be dominant seventh chord without
left would've left hand. Right hand is going to play D minor seventh flat five chord, which is going to translate to the B flat dominant
ninth chord, 13573579. So dominant nine gate. This is our five and
we need to resolve this tangent back to one. Okay? Then R1 is gonna
be E-flat major. This inversion of E-flat major. The right hand is going to play B flat major in first inversion. First inversion would be this. When we, when we count the
intervals we're getting, for example, this is the
five, this is devote, this is the, this is
the major seventh. This is the major ninth.
And this is the five. Again, The resolve point is
a really abstract and deep. It's wider, Of course, as well. So in the end, I find chords stacking one of the most important techniques in piano playing as they
give so much more, rather than playing
just random courts with both hands using
different inversions, which in the end doesn't add up as much color as these
chords stacking. And as usual, practice
this four or five to one progression in all 12 keys and see what you can
stick out of it. I'll see you guys
in the next lesson. Bye.
9. 13th chords for bluesy endings: Where are they going to focus on two ending phrases right now by using some cool voicings
for the dominant 13th courts. And first of all,
repetition is the mother of knowledge as some wise
people tend to save. And now we're going to construct the dominant 13th chord in
root position first of all, so for example, let's, let's take G for an example. Okay, so we have G. This is our road, would
have be our major third, will have D, which is our
perfect, perfect fifth. We have F. This is our dominant
seventh chord. Interval, I'm sorry,
is our ninth, and C is our 11th, and E is our 13th. Now to demonstrate this court in a different voicing,
check this out. This is the actual voicing
we're going to use right now as the main
topic of this lesson. Okay? But to spice
things up a bit, Let's just use this as
an ending to a typical, let's say blues song in
F-major, for example, we have a progression happening in F-major with the
following courts. As major seventh. Minor seventh chord is G diminished seventh or minor
seventh minute fund five. Or even better, for example, G minor six slash. And the final accordance, C7, which can be altered
the dominant ninth, just by playing the
E minor seventh, flat five into right hand. Also, if you can
arpeggiate this court, it really, really
sounds super awesome. But how do we infiltrate
these third pth? Extreme voices, for example, let's see how do we do this. For example, the first court
said it's F-major seventh. For example, let's
use the try to substitution A7
to D minor seven, for example, like this. Okay? So this is E-flat
dominant seventh, sorry, going to the
D minor seventh. And both of these courts
are in the third inversion. So the next chord can
be whatever you like. C7, and once again to
the F major seven. Let this be, for example,
the first round. The second round we
complete like this. What did I just play here? The court after this
court is actually this. This is A-flat major 13th
in this weird, odd voicing. Okay? We are actually talking about right now. What do we have here? A flat, G flat, C, D flat, and once
again, B-flat. Okay? I'm sorry, once again, the first time it's
appearing right here. This is one. This is dominant seventh. This is the three. This is 13. This is dominant seventh. Once again, this is denying. What I did here. In the next move is to transpose everything just
by one semitone lower. So it's going to be G, F, E, F, and a. So this is basically a G, 13th. This specific voicing, okay. Also you can have
prejudice court if you want or practice this. And after that, what I
played was this court, this is practically a
dominant seventh chord with a sharp nine. Sees the router needs
to major third. G is the five. The
dominant seventh. Ninth wouldn't be deep that if we sharpen
it by one semitone, we get the sharp. And we have the doubled five. Like, okay, you can simply omit this interval because
you already played here. If you want. You can play
this court with one hand. If you've got big enough hands. But it's really, really
hard thing for me. I'm sorry. But I'll
have to play this game. And after that, what
we have done here is inserting the B-flat. Add two chord, B flat
major and two, okay? So to add two would be
this interval, see, okay. The same thing applies to the C major ad to a
quarter in this voicing. Okay? We have five, We have three. Again, we have a five. Root. Two. Again, we have
the three and the five to five actually
appears three times here. Gg and G. Indiana, for example, you can play some melody around this. Finally, in F major ninth
court, for example. Even better if you can
arpeggiate this also. In the end, as always practiced, these chord voicings
in all 12 keys. And if you have spare time, you can also practice this
progression in different keys. See what suits you. And in the end
you'll gain really a lot of knowledge in
practicing this exact topic. I'll see you guys in
the next lesson. Bye.
10. Funky chord transitions: In this lesson, I'll
show you how to use some cool techniques
while transitioning between the courts and
backing it up with a simple harmonic progression
in the key of a minor. This is so extremely
simple and yet fun to use because the way it
sounds really unique. When you were playing this, you have this feeling that
something big is coming up. Actually you trick
your audience into expecting more and then bam, you give them
absolutely nothing. For sure. This might cause
some shivers or even lousy. But never mind, Let's
keep straight ahead to explaining how do we
actually do this? So the progression
is the following. In the key of a minor, we have the following degrees. To one, is a minor, is D minor, seven is G major. The three is C major. The five D minor. And finally, resolving
back to the minor as R1. We can also add some
funky rhythm patterns so it gets the
attention it deserves, as well as adding some colors
to the existing courts. For example, a minor would've become a minor
seventh, for example. D minor, also D
minor seventh ulcer can play these second inversions
of these courts problem. It's actually a really
nice sounding pattern. So a minor seven going
to the D minor seventh. Then instead of playing
the regular G major, we can alter it by adding the
g's, the dominant seventh. To add the sharpened fifth. I didn't this voicing. It actually the root
position would be like this. So we're gonna, we're
gonna do the following. We're going to omit this tonic. And we're gonna play the dominant seventh
one octave lower. Dominant seventh, age
or third, sharp five. This voicing. And the following
court is C major. We can, we can do to C
major seven for example, also in the secondary version. Instead of playing minor chord, we can play E minor six slash
Najd. The top, the root. We have the minor
third, 569. Okay. Also, if you have large enough to play
this without any issues, then you're really
a huge person. Instead of playing a minor, we can also play
the same pattern as the previous scored at this, a minor sixth slash nine. Now, the first option is to play that one for progression in a downwards motion of blade and a minor seventh
courts chromatically. How, for example, a minor
seven, D minor seven. We can do, for example, by playing it, by playing
this in a rhythm. For example, something funky. Got it. For example. The second option is to play that three to five progression. In this harmonic progression, in an upward motion. While paying attention
to the rhythm, we will need to start off from the C-sharp minor seventh chord and go all the way up
chromatically to the five. This progression. For example, if we're under three, which is a C or C major seventh, the five is minor or
minor sixth slash nine. Or for example, if you play the basic E minor seventh
for this occasion. If we're going to play this in an upward motion
like we did before, in a downward motion
when we played five. This is E minor seven. This is E-flat minor seventh, landing on the Ford, which is a D minor seven. Now we're going to go into play the same pattern
but going upwards. So it started from the C
sharp minor seventh chord, which would be like this
in the secretary version. Chromatically to the
D minor seventh. E-flat minor seventh.
Minor seventh. Okay? So basically what
we're gonna do here is not it once again. Also we can repeat
this for example, if we're going to play it
the both options at once. As a final thought, I encourage you to
practice this progression in all 12 keys and see how well you fit with their
finger positions in these minor seventh chord
in second inversion. So guys, that's it. I'll see you in the next lesson. Bye.
Goran Amadeus, Unique piano teaching methods :)
