Transcripts
1. INTRO: Thank you guys very
much for enrolling in my jazz piano course for re, harmonization techniques,
soloing, courts, modes, harmonies, chord
progressions, and so on. I'm really grateful
that you have chosen my course over all other
courses here on this website. Let me demonstrate to you which topics I have
covered in this course. We're going to talk
about stuff which you can use in a generic purpose, which means you'll be able
to play most of these things in many songs progressions or whatever you need him for it. The list of the topics
we're going to cover in this course is this
chord voicings. Tried to, the substitutions resulted at F major, not exotic scales for soloing. We will get familiar with modes and how they serve a purpose. C, D, E-flat, F,
G, A-flat, D-flat. Also, the best thing about
this course is that you'll get exercises which
come with answers. But I strongly recommend
not to read that as Rashid before you
do them on your own. This is for your own
good at once again, thank you guys for choosing Mike course over all
other courses here. See you in the first lesson.
2. Lesson 1 Rootless Chord Voicings: This lesson is all about jazz chord voicings
which are a bit more complex than the
ones I'm teaching in my jazz piano course
parked once uterus. So buckle up and
get ready to learn some amazing new things with a higher level of complexity. So the rootless chord voicings, for example, a C minor seventh
in a position so-called. Going to play C minor seventh
chord in the following way, left hand is going to play
the root tone, which is seed. And the right hand
is going to play the major seventh chord on
the minor third interval. The C minor seventh chord, C D flat, E flat major seven. When it comes to the
course stacking, this is actually a
C minor nine chord in terms of counting
intervals in both hands. Okay, so one minor third, minor seventh and not. You can do the same thing for, let's say f. This is, the minor third is a flat. This is A-flat major seventh. Also F minor nine. Terms, of course texting. The position B would be to
do the following thing. This is the position a. Position b would be. It drives b flat, and d will be played one
octave lower, like this. This is the actual voicing. This is a second inversion of the court reflect major seventh. Now, the next position
would be positioned eight. But for the major
seventh chords, you're going to play the notes
seat with your left hand. And then under major
third, which is E. Gonna play a minor seventh
chord with your right hand. And you're, you're
getting a C major chord. In terms of course tagging. The same thing applies
for the position b, which is E minor seven in
the second inversion, case. Like this. Let's do an example.
I don't know. In F Again, this
is the position a, and this is the position
beat for minor. And this is the
position 84 major. And this is position B. Once again for the major. Now, to conclude these things, how do we actually find these
chords as fast as possible? If we want to play
a major chord, all we need to do here is to count off a major
third from the road. For example, let's say E-flat. And then that major third, which is a G, We're gonna
build the minor seventh chord. The last one. How do we find a minor chord? Let's say our tonic hits,
for example, C-sharp, k counter minor,
third firm drew, which is again E. That tone, you're gonna build a major
seventh chord like this. Another thing which
is worth mentioning is that an example of
the key in C minor. If you're playing the
seventh quartz watch, you can actually do on
the fifth scale degree, which is note G, K is, you can use this specific, specific, sorry, voice
into breakout of the key. But how? For example, like this. This is the five. And the next score, let's say a flood major
seventh and again five. But in this version, this is what, this is G dominant seventh
with a sharp five. Finally resolving back
to the C minor nine. What did we do here? This is the fifth
scale degree achieve. We built a B flat
major seventh chord on the microbe third
of this court, which is, how do we actually break out of the scale in the
scale of C natural minor? We do not have the Note eight. We have a flat, C, D, E flat, F, G, A-flat, B-flat, C. Once again, we don't
have the eight. This is how we actually
break out of the keys. As we play. The root G with our left hand, follow light to B-flat
major 17, right hand, as I already said, which equals to a conclusion. Note a is not in the scale. So here's an example
how you can voice the dominant chord to
resolve detention. For example, in the scale, Let's say, let's get, let's say F major. For example. This is the
F-Major. This is one. In F major seven as our one. D minor seven, the
second inversion, okay? The next chord is, for example, a G minor seven flat
five into root position. And the next chord is C7
in the second inversion. Instead of playing the
dominant chord like this, we can actually use
the following voicing. For example, what our left hand, we're going to play
135 and flat seven. And in the right-hand
start off with the three. You're gonna stack
two-fourths above this one. So the first fourth
is eight and the second force ISD. Note. And, and you're gonna add a little semitone in
the middle of this, which is a note B-flat, okay? Actually, this is the 36 and flat 79 in the right-hand played
in the position a. And if we want to swap
it for the position B, you're going to
transfer the plant 79 in one octave
lower like this. So we have B flat and G, B flat, D, E, and K. And you're gonna
find out, finally resolved to the
rootless voicing of F major with a minor seventh
chord in the right hand. So it sounds pretty cool. Once again. Let's do the whole
progression once again, for example, like this. Instead of playing the C7, you are gonna play like this. Finally, resulted F minor, F major at 93040. And also a nice way to approach the left-hand it would be to
play the following voicing. Of course, depending on the key. For example, C minor left-hand
is going to play 159, and right hand is going to
plate the three, five, the 79. Let's do the same
thing for F minor. So 159 minor third, gate, five, once again. Seventh. Nine. It really sounds thicker than the usual forces which
I've already shown, right? Thank you guys for watching and I'll see you in the next lesson.
3. Lesson 2 Triton substitutions demystified: Matters of the world Trident, essentially every musician
has heard for this so far, at least in terms of intervals, the tritone is actually a
fifth lowered by one semitone. Or if you want to
be more precise, you can count off plus six semitones from
your reference point. For example, node C, 0123456. The same thing applies if
you're counting backwards as Triton is actually half-way through the
scale in each direction. 0123456. What can you do with
this knowledge? Let's say you want to resolve the tension in the
key of F major by building a dominant
seventh chord on the fifth scale degree, which is node C. We can also played if two phi one jazz progression as
a better example. For example, we have
G minor seven is out to a C7 as our five and
F Major seven as our one. Every time we have the five
in our 251 progression, this exact dominant court can
be replaced by its tritone. Let's see how we have a C7.
As I've done in the court. And a root note in
this chord is C. We find detritus of this tone by finding the fifth
in this chord, which is g, and lowering by one semitone,
which is G flat. On this particular note, we're gonna build a
dominant seventh chord instead of playing the C7. Our new progression would look
like this. G minor seven. G flat seven. Indiana, F-major seventh. This does sound
more sophisticated than the actual two
phi one, right? Our new progression
could be written like the one you see on
your screen right now, in terms of Roman numerals
in the key of F major. Also, you can voice your differently as we learned
in the previous lesson when we talked about rootless chord voicings
and to play it like this, G flat in our labs, possibly in octaves
for thicker sound. And you continue off with
the major third, B flat, the sixth, E-flat,
dominant seventh, E, and denied in
your right hand. Okay. Once again, let's do the 251 resulted in F Major nine. I honestly advise you to
practice this 251 progression in all 12 keys by including the tritone substitutions and also the voicing
in the right hand. You saw a few moments ago. There is nothing better for a musician rather than practicing this in
a chromatic manner. I'll see you guys
in the next lesson.
4. Lesson 3 Exotic scales for soloing: In this lesson, we're
gonna talk about a scale, so runs for dominant
seventh chords, which you can solo over. The skills we will do today
are as following, leading, dominant scale,
whole-tone scale, diminished scale,
and ultra scale. Basically every beginner jazz
musicians just start with the irregular 251 progression and do some soloing
in C major scale. But to sell more
sophisticated and advanced, there are some theories
that different scales should be played at
are all core changes. But what would be the
most efficient way to change things up? Let's see how we can
improvise skills from each five chord in
the 251 progression. Okay, let's start off with
the Lydian dominant scale. And the purpose is to change
the key within the two. If I weren't. See Lydian
dominant skill is like this. C, D, E, F sharp. G, a, B, and C are
fourth is sharp, and R7 is flat. And this is basically a dominant
scale with a sharp four, also known as Mixolydian mode. Let's wrap it up with a solo to demonstrate what you can
actually do with this, for example, like this. So R two is D minor seven, G7, and R1, C major seven. Now let's see how do
we solo or this skill. What did I do here? First of all, you need
to know how to play the G Lydian dominant
skill to lead him. Dominant scale goes like this. G, a, B, C-sharp, D, E, F, and G. The goal is to hit
these altered intervals from the root notes of the dominant chords
you were playing over. So if there is a C sharp, the dominant seventh chord, which is a G seven. In this case, you're going to aim for it and solo over it, otherwise, your goal will not be accomplished.
What did I do here? I did play this C-sharp, both here and here. Now, the next skill
is whole-tone scale, and it's fairly easy to play
one as it has six notes, and the seventh note is the repeated first
note in the scale. The distances
between the notes in this scale are always
plus two semi dose. But the sound of this scale is so what heavenly or dreamy, if you agree with
me here, we have C, D, E, F-sharp,
G-sharp, B flat, NC. Okay? Now, how do we
actually solo over this in our 251 progression, we will need to alter our dominant seventh chord and
play the sharp five in it. So our new progression
is the minor seventh, G7 with a sharp five. For example, in this voicing, which results back to
the C major seven. For example. You're gonna want to aim for sharp four and sharp five notes in this scale as they are. What makes this scale so
unique sounding, for example, G7 is no Gs several
with a sharp five. And let's see how do we play. How do we play the whole tone? Scale? G, a, B, C-sharp, D-sharp, F, and
G. Now let's see. Very easy. It's not that hard. Just you need to
learn all the skills, all the whole tone
scales in all 12 keys. The next skill is diminished scale with
the following notes. We have C, E-flat, G-flat, F-sharp, a, G, a, B flat, and C. As we see, it has eight
notes, denied is repeated. And out to see the core of it, the scale is basically, let's see, half step, whole step, half step, whole step, half step, whole step, half step, whole step, until
the very end of it. It fits nicely over dominant
seventh chords as well. So in our example of two phi
one on the G dominant chord, you will aim for a flat, B flat, C sharp
notes, or D flat. Now let's see how do we
actually played his scale. G. Diminished skill
would look like this. So rude. Half step, whole
step, half step, whole step, half step, whole step, half
step, whole step. Now let's do the job, okay? The last skill is altered scale
with the following notes. C, D-flat, D-sharp, F-sharp, G, a flat, B flat, C. Once again, there are
four altered notes here, and these are the flat nine, which is the flat, okay? We have a sharp nine, D-sharp, okay, We have sharp 11th
and we have a flat 13. Lot of rain or here for sure, but you'll get used
to it from time to time just by pure practice. But a lot easier
approach would be to do flat two melodic minor scale. So starting from the D flat, if we are in the root of C, we're going to play it through
a melodic minor scale, which we already know. Now, let me show you how
to sol over this skill. Once again. That's it for this lesson guys, keep in mind that
practicing these two, if I weren't progressions
in all 12 keys, is the best way to go. And of course, don't limit yourself to practice
only two phi one. I'll see you guys
in the next lesson.
5. Lesson 4 In depth about modes: Most are actually quite
self-explaining as it's easy to learn the concept behind them by using nothing but logic. If you take C major scale
as an example and you play C major scale from
different positions. For example, starting
from denote dy, you'd get one of the modes
and the same thing is gonna apply for all other keys
of the C major scale. For example, if you
started with F, still be playing
a C major scale. But going from F to F, the way it sounds is something
completely unrelated. For now, let's skip straight ahead to explain these
modes and their functions. The first mode, the Lydian
mode, with denotes C, D, E, F-sharp, G, a, B, and C. One of the brightest
church modes. And you can also use it to play the famous theme that I'm sure
you're going to recognize. Example like this. The characteristic course
for this are one major to. The second mode is Ionian
mode with denotes C, D, E, F, G, a, B, and C. This is a fancy way of saying
our regular major scale. So this is probably
something you don't have issues with
adequately example. And we're good, Kate, for example, at this. The characteristic courts
in this scale are 145. The third mode is called Mixolydian mode,
with the notes C, D, E, F, G, a, B flat, and C. And it had so much cheesy sound. And here's something
you'll probably recognize. For example,
something in this co, blues can play the right, the left hand, the left hand pattern in the disco,
for example, like this. Just by playing the octaves. The most important courts in this particular
skill are the first, fourth, and flat seven. The fourth mode is Dorian mode. C, D, E flat, F, G, B flat, and C. This is actually a minor
scale with a major sixth. Something to play over. This would be, for example. The most important courts
in this particular skill are minor and major four cases, C minor and F major.
Example of seat. The fifth mode is Aeolian mode, with the following notes, C, E flat, F, G, a flat, B flat, and C. Also a fancy way for
natural minor scales. For example, what
you can do with this is to play
something like this. The most important chords
here would be the minor one. The minor for the minor five. The sixth mode, first
version is Phrygian mode, with the following notes. C, D flat, E flat, F, G, A-flat, B-flat, C. If you ask me, this sounds somewhat eastern, more like Oriental sold
example would be into play. Trills in the right hand. For example, I don't know. I'm just gonna
play a few chords, something out of my head. The courts are minor and
major flat to D flat major. The second version of the sixth mode is
altered Phrygian mode. And the notes are as following. C, D, a flat, E, F, G, A-flat, B-flat,
and once against C. And it also sounds
like Oriental music. But if you take a deeper look, you'll see that this is actually
F harmonic minor scale. So the F harmonic minor, they share the same notes. The second version, which is
altered Phrygian mode in C. Sorry. Also can play something with trills in New York right hand,
for example, I don't know. The first court is forced
to see the second chord, C sharp or D flat, G flat. I don't know. Let's
see a B flat minor. Again. This is like Oriental music. And the last mode is
the seventh mode. It's a lock-free and mode
with the following notes. C, D flat, E flat, F, G-flat, A-flat, B-flat. And see, once again, when we come to this part, There's certainly nothing
Popular, popular, written in this mode, as far as my knowledge
comes in question. Okay, so you can practice these Locrian scales
in all 12 keys, for example. I don't know. Just transpose everything
in the same intervals because we have the root,
we have a half-step, half, have whole step, whole step, half step, whole step, whole
step, and whole-steps. Once again. Guys, that
would be it for this one. And I'll see you guys
in the next lesson.
6. Lesson 5 bII reharmonization method: This method is typically something that can be used
for a wide range of songs, but mostly in the
ending phrases. And as for example, let's take the 251 progression
and see the courts are, let's say, if you're gonna
play the jazz to if I want, this is D minor seven. Then you'll replace G7
for a five, C major 741. But in the convergence, it's easier to play like
this in root position. Then you'll have, this is what? This is a G7 in the
sacral inversion and the C major
seventh position. What I'd like to do here, instead of the usual result
to C major seven would be to play one semitone higher. So we have a D flat and played a major
seventh on it, like this. For example, the
left-hand is going to play the D flat and E flat, and the right-hand is
going to play the F and C. What do we have here? This is the root, D flat, the five is a flat. And now we have the major third, F without right-hand rule, we have the major seventh, a seat without right-hand. This is a pretty common voicing. Just wait, I have shown. It sounds nice and
open as we have the root and the
fifth in our left, and a major third, major seventh in our right hand. You can actually voice
it any way you want. It's really up to you only. After playing this flat two, you're going to finally
resolve back to one, giving your audience
thoughts that something new is coming and they figure
out it was all a joke. Okay, now you can apply this exact chord
progression alternative to any jazz song you want. 251 progression. As we already know it, there is no lack of two
phi once in jazz for sure. Okay, let me play you an
example of what you can do with this and how to
play some solo over it. For example, the first score, as we said, the
minor seventh root, the second key, dominant seventh in the second version
and the third quarter. C major seventh. But before the C major seventh, we're going to play D
flat major seventh, okay? But in this open voicing, what you can do with the
right-hand is you can solo over any type of scales
which are suitable, for example, for jazz. Basically to conclude, this is something you can
actually play it, anything you want as
the purpose is generic or universal if it's easier
for you to comprehend. That's it for this lesson, guys, and I'll see you in
the next one. See you.
7. Lesson 6 BlowYourMind ending phrases: In this lesson, I'll show
you how you can utilize the so-called life
progressions in your playing by stacking some nice minor seventh and major seventh chords in a beautiful sounding pattern, the actual voicing
we will use here, it will be like this, an
example of C minor seventh. The left hand is going
to play C and G, which are the root
and the fifth. And a right hand's going
to play E flat and B flat, which are fired third
and the flat seventh. Minor seventh, okay? You can play any minor
seventh chord in 15 M3, M7, Boise, for example, if miners settled, let's see, 15 minor third, minor
seventh, minor seventh. For example, B minor
seventh, 1537. G. I do strongly advise that
before you continue, you will need to
practice playing these voicings in all 12 keys, so we get comfy with
these hand postures. Now let's move on
to the progression. Number one, we're going to play the following courts in
so-called glide progressions. But the thing here
is to resolve to C-sharp minor chord by doing chords starting from
the major seventh note, which is a C. And then
there'll be playing courts in a downward motion
chromatically by using the actual gliding like this. The left-hand C and G, the right-hand 800, and
E-flat is a C minor seventh. Okay? We're gonna
start from the node C. As we already said. The next step is
gonna be to glide one semitone lower
with your left hand. Both dose, okay, so
she's going to go to B and G is going
to go to G flat. This is B major seventh chord. The next score you're
gonna build here is B flat minor seventh. So this is B flat and the root, the fifth, minor third,
and minor seventh. Okay? Once again, you're gonna
glide with your left hand one semitone lower for
both of these, don't skew. So we're first going to become, gonna become, this
is a major seventh. And finally you're
gonna resolve to the C sharp minor seven, okay? Once again. Or you can add the minor
ninth if you want. For example, also can play
C sharp minor 11th just by. Play. A C sharp minor
with your left hand. We're going to play semi
dose lower than the C sharp, which is a root, and
two semitones is B. And you're gonna afford a basic Quinta chord
of B major like this. So this is the fastest way of getting these minor 11th courts, which actually pretty dope. It seems like pop music but
with a jazzy sound to it. Now, the second option
would be to make this sounds a little bit
more grown up. Okay? This actually sounds more
like gospel R&B sound. And the courts
would be like this. We started off with
the same courts like we did previously. So C minor settled to
the beat, major seventh. Then we went to play
B-flat minor seventh. And instead we're,
instead of playing the a major seventh
row like this, we're gonna do two
dominant seventh chord and make it a bit more advanced by doing the
79 three-sixths in it. For example, instead
of a dominant seventh, we're gonna play it at once. This the seventh denied the
three and the six in it. Finally, you're
going to resolve to the C-sharp minor seventh. C-sharp Minor. Or as we already said, C-Sharp minor 11th.
As your life. Let's play this all
from the beginning. Once again, I hope you enjoyed this lesson. And my initial
intention was to create something you can actually
use for many things. I really do aim to provide these kinds of lessons
to you instead of just showing you
something which you might learn and then you might
forget this quickly. Okay, I'll see you guys
in the next lesson.
8. Lesson 7 How to solo over diatonic scales: First of all, let's talk about the course a little
bit before we get onto scales and how to
solo over chord changes. Now, the easy part is
the left hand actually, as we will be doing only
diatonic chords for now. And in case you don't know what the word diatonic
actually means, it's most likely
in the meaning of something being derived
from something else. Example of C major scale, we already know denotes, right? And we need to start
building courts at use only denotes of
this particular skill. Watch we need to do here first is to talk about Roman numerals. Roman numerals
actually represent the court number positions
in a specific skill. So in our example
of C major scale, we have the following courts. The first chord, C major. The second chord is
D minor, E minor. F major. G major. Six is minor, and the seventh
chord is B diminished. Each and every court
here actually uses the key that are within
the C major scale only. There are no exceptions. An exception would be if
we played, for example, E major chord in the key
of C major like this. We don't have a
major in this scale. We don't have the
G-sharp and C major. It would be considered
as a non-diatonic court. The same thing is going to
apply for minor chords, and we have the following
courts in this one. The first C minor. The second part is the
diminished third quarter, E-flat major, fourth,
F minor, G minor. The sixth is a flat major, and the seventh beef at leisure. Now let's talk about specific
type of skills which can be used to solo over
these core changes. A pentatonic scale is
actually a five-note scale, which you can use for soloing. And the example would be C major pentatonic
with denotes, see. Once again, sea in the end. Okay, so 12345. And the sixth is the
repetition of the first, as well as the C minor. C minor, sorry, C minor
pentatonic would be C, E flat, F, G, B flat, and once against
you, okay, So 12345. And the sixth is the
repetition of the first one, you'll see major seventh
in your left hand. You actually use 1357 voicing. Okay, So what? We have been seven Watson and all other intervals
above the seventh, above the beat are basically colors you can use to
give life to your solo. A ninth would be a, D, 11th would be F, and the 13th would be note. You can also alter these 911 thirteenths the
way you want as well. For example, I don't know. Let's play a sharp 11th. 13th with a sharp 11, C major 13, okay? One of the smooth approaches
in jazz music would be to solo over the second scale
degree in major pentatonic, which in our case is denote D in the key of C major. Okay? Now we have D major
pentatonic scale with the following notes, D, F sharp, a, and B. Okay, Indian. Gonna go with D, D Once again, but the proper fingering
would be like this. Do 12345 also, by playing that F-sharp note in the C major seventh chord, it gives us this linear field. I'm not ready yet. Effective method is to solo
over a Minor Blues scale, which goes like this. C, E flat, F, G, B flat, and C. And let's use a simple five
minor 74 minor seventh, one minor center
progression in C minor, for example, like this, for G minor seven,
the second chord, F minor seventh, and the
third quarter, C minor seven. Let's see what we can do here. Okay. That's it guys. I hope you got some new insights on how to do these things with more proficiency and always remember to practice
in all 12 keys. No matter what. I'll see you
guys in the next lesson.
9. Lesson 8 3 1 4 7 progression: Let's take a simple example
in the key of C minor heel. Let's take a look at
our basic courts, which we will use to
harmonize later on. We have the following courts
in the scale of C minor. So the first, second, third, fourth, fifth, sixth,
seventh, eighth. Again. The next thing is to clearly
mark our 3147 chords, which are the following. The flat major minor, F minor, and B fund
major. Once again, also play them in
different inversions. So it's easier to
manage them once we add some rhythm into our
left hand, for example, some funky baselines,
we can actually emphasize the thickness of the courts or even add
some colors to it. As I mentioned in my
previous course part one, where we talked
about core stacking. So I highly recommend you to
go and watch that lesson. If it doesn't ring
a bell to you. The first approach, you're
gonna play the E flat with your left hand and G minor seventh with
your right hand. Okay? The next chord, we're
going to play C with your left hand and E-flat major seventh,
okay? You're right. The next chord, F with your
left and a flat major seven. The last chord, B flat with
your left hand and D minor, resembling the first version. Let's repeat this. Now let's add some
funky baseline to this. Like this. The second approach is to add one semitone lower root
notes for functional course, which will serve as rhythmical felts before reaching to the destination ports, like this example,
the first quarter. And the next is C minor
nine or C minor seventh. And in-between these
two coursework and I add a B diminished chord. Replayed a C minor nine. Once again. Got it. Okay. The next
chord is F minor. F minor seventh. F minor nine. You're gonna add, eat diminished seven or E minor seven flat
five, whatever we liked. The first option, E
diminished seven. Is this going to the minor nine or minor seven
flat five by this. And then F minor nine. Then the next chord is B flat major seventh or major ninth. The court that
you're going to add in-between these
two is gonna be a diminished or a minor
seventh, flat five. And then you're gonna play
this B flat major nine. And the next chord in the
progression is going to be the first chord if you're
changing the rounds, okay? If you're gonna play
more than run round, you're going to
play E flat major. Once again,
in-between the B flat major ninth and E
flat major nine, you're going to add D
diminished seventh, or D minor seven
flat five as well. Okay, So this is half step
below the destination port. In the first position
we had fun major. The next court is C minor, and half-step lower is B. We're gonna build a
diminished chord, C minor. The next chord is F minor, and we're going to
build one step lower, which is E diminished seventh. A minor seven, flat five, and then we're gonna
play it at night. The next chord is B flat major seventh or ninth one
step lower, please note, we're going to build a
diminished seventh chord, a minor seventh, week five, and then B flat major 79. Okay? And the last one is
diminished seventh, or D minor seven flat five. Once again, the E-flat major. Let's do this with
the rhythm now. The third approach is to
absolutely changed some courts for the other courts within the same court
families like this. For example, the first chord. The second chord. Now we
would play F minor nine, but as F is our fort
in this progression, in the same family, we have to the fourth
and the sixth chord. We're going to swap
this court for a two, and we're going to
build a diminished seven or minor seven flat five. This, you're gonna
go out of the scale. If you play the D diminished
seventh or like this, to play the D minor
seventh, flat five. You're not going out of
the seat minor scale. These stones are also
within the C minor scale. If you put the b as the
diminished seventh chord, the beat is not in
the scale of C minor. B is in the scale of
C harmonic minor. The last chord,
instead of playing the B flat major,
you're gonna play, since this is the
seven in C major, the 75 chords are within
the same groups off courts. Let's see. We're gonna play G minor
nine chord like this. Also, you're growing out
of scale with distill. As we don't have a tone, a and C minor scale. This is fully out
of the scale again. Let's play this with a rhythm. You can result in
a C minor nine. If you don't want to get back to this first chord progression. This is a minor
progression. Okay? So that's it for
this lesson guys. I hope you enjoyed and learned something new will
also, as usual, keeping in mind that you need to practice this chord progression in all 12 keys to get
the most out of it. I'll see you guys
in the next lesson.
10. Lesson 9 1 3 6 4 7 progression: As we did in previous lessons, we're not going to waste
any extra time here. And I'll get straight
to the point right now. Let's say we have
a progression in C major with the
following chords. C Major minor, D minor, G7, go into the C
major months again. Now, to make it
sound more jazzy, we're going to extend
our Quinta chords with some seventh chords
to blow some life in it. So to C becomes C major seventh. Minor becomes a minor seven, or a minor sixth slash night, like this and this voicing, the root minor third, five, the sixth. Denied. The next chord is
gonna be a D minor, but you can make a minor
seventh out of it, possibly in the second
inversion, for example, like this, D minor seven. G7 is gonna become G7
with a sharp five. But you're gonna play it in
this particular voicing, seven In three and
sharp five, like this. And once again, you're going to resolve back to the C major, C major seven or C Major
nine if you wanted to. One of the tweaks we
can do here is to add a dominant seventh chord before transitioning from
C to a minor chord. The formula is to play 1 fourth below the destination
note of the next chord, which in our case is a minor. So 1 fourth the low is denote E. We're gonna build a
dominant seventh chord. This one, but you can add a
sharp five and sharp nine as well to make it altered
so it sounds really deep. For example, you can play like this because you
have the root node. Major third, sharp
five, dominant seventh. You have the sharp nine. Now let's see how do
we actually play. It is also a cold court transition from six to two in
the key of C major. Six is minor. In D minor. It would be to play
the third scale degree as a minor seventh chords. So the third scale degree is a minor seventh chord
that you're just going to glide these minor seventh course chromatically
backwards until you get to your D minor chord. For example, E minor 7.5 step lower is minor 7.5
step lower again, is the D minor seven. Your destination port. Now let me show you how to
play all of this together. So from the beginning, That's it. I highly recommend
you to practice this in all 12 keys as usual. There's nothing bad
about doing that. As it literally improves. Everything you do and
everything that you practice. Thank you guys for watching.
Goran Amadeus, Unique piano teaching methods :)
