Transcripts
1. Introduction: With the right techniques, you can learn all of your
favorite songs quickly without ever having to read
traditional sheet music. I'm Alicia Fox, a pianist,
producer and composer. And I've been playing
piano for 18 years. During which time I've
been able to tour internationally and record
with artists such as BJ, the Chicago kid music sole
child in tape McCrae. I love playing piano and
inspiring others to find new ways to play
their favorite songs and compose original music. If you're excited
to learn how to play your favorite songs, improvise, and
compose on the piano. This class will give you many fundamentals necessary for creating an effective
arrangement. We will be looking at how to
use arpeggios, inversions, and seventh chords to
create arrangements from chord progressions
that can help take a simple chord progression and
take it to the next level. For this class, all
you're going to need as a piano or a keyboard and
ideally a sustained pedal. By the end of this course, you'll understand how
to use inversions, arpeggios in seventh
chords to create effective arrangements of your favorite songs
or while composing. Let's jump in.
2. Getting Started: In the last class,
we learned how to identify the note
names of the piano. We learned that
the C major scale, we learned how to
construct major and minor chords and how to find the notes from any scale using the circle of fifths. And then we came up with
our first progression. If any of this is new
information to you, you might want to
check out class one before moving
into this class. In this class we're
going to take a really exciting approach at different ways to take a simple chord progression
and bring it to life. This is a very fluid
approach to piano, in which I'll show you
a lot of techniques that could be applied to
any chord progression or any song In help enhance it and turn it into an
arrangement on the piano. A lot of this stuff can be helpful if you're
backing up a singer, whether you're singing yourself or someone else is singing. I'm going to show you a lot
of concepts that could be applied to any song or
any chord progression. In order to become a
versatile and fluid pianist, it's important to apply these
concepts in as many ways as possible so that then when you see a new
chord progression, you have limitless options
or ways to play it. If you're backing up a
singer singing yourself, it's important to pick
an accompaniment pattern that's going to accent
or amplify the melody. In this class, we're gonna
be looking at how to create effective accompaniment
patterns by using inversions, arpeggios, seventh
chords, and baselines. If any of those terms
seem new to you, don't worry, we're gonna
go over everything. Let's jump in.
3. Arpeggios: In this lesson, we're gonna
be looking at arpeggios. Arpeggios are taken from cords, but instead of playing
all the notes at once, you play the notes
one after another. So if we were to start
with a C major chord, which is comprised
of the notes C, E and G. In arpeggio for this chord would be playing
the notes one after another. So for that example, I played the C major arpeggio
across three octaves, but you can also play it across one octave, in which
case it would be. Arpeggios are a
great way to take a simple chord progression and bring it to life
through an arrangement. For the next example, I'm going to use a two
chord progression, C minor, the F minor. But instead of
playing the chord, I'm going to switch
between arpeggios. For this exercise.
I'm going to go up from the bottom
for the arpeggios. So for any chord, there is a corresponding
arpeggio and you can practice it either in one octave
or across the octave. If you're practicing in
arpeggio for multiple octaves, it's important to
slide your thumb under so you can
restart the arpeggio. I'm going to now demonstrate a C minor arpeggio
across multiple octaves. So we'll start with C, E-flat
G than cross-gender to see. Then I'll go back down. In other words, in
arpeggio is taking a chord in turning it
into a melodic statement. Now I would like you to take
the C major arpeggio and try practicing at first and one
octave using the 135 pattern. Then after that, moving it
across multiple octaves. Remembering the cross
under your thumb. And it's important to know
that the technique for this might take many
years to get fluid, but it's important to
start conceptualizing it early on so that
you can keep growing. Before we move on to our
next lesson, the CTL scale, it's important to
keep practicing arpeggios for every
chord so that you come up with new ways of adapting chords and playing them in
a different arrangement.
4. Inversions: In this lesson, we're gonna
be looking at inversions. Inversions refers to the
same notes of a chord, but in a different order. However many notes there are in accord will determine how
many inversions there are. Let's jump in. To start out, I'd like to
take the C major chord. The notes of this
court are C, E, and G. So this, playing it in C, E and G would be referred
to as root position. To get to our next
inversion will take the C and go up an octave. So now we'll have the
notes E, G, and C. So this is the first inversion. It's the same notes, but in a different order. For the next inversion, we'll move that up an octave. And now we'll have G, C, and E for the next
inversion of this, also known as second inversion. When we move this G
up an octave again, we come back to
our root position, c major chord, just
an octave higher. So these three shapes
are all the same chord, but just with the notes
in a different order. It's really important
to practice in versions so that
you can get used to familiarizing yourself
with all the versions of one chord across the piano. When we're coming up with
arrangements on the piano, will oftentimes
used in versions. So we can have a smoother
arrangement in our hand, can mimic acquire who
wouldn't want to jump around, but instead can go
to the closest node. Inversions are also a great way to create interesting
arrangements by taking a simple chord and bringing it to
life across the piano. In this example, I'll take
a C major seventh chord, which will be explained
in the next lesson and move it across the piano. So in this example, I was taking the
same four notes, but shuffling them across the piano by practicing
all their inversions. And then I was able to
create a melody by using that same four notes in
their different orders. For your own exercise, I'd like you to
try practicing all of the inversions of
the C major chord. So once again, we'll
start with C-E-G. Then we'll move up to
AGC, the first inversion, then GCE, the final inversion
before coming back to CEG, The root position
in octave higher. If you'd like to take
this a step further, I challenge you to take
any chord and find the inversions
that come out with it and become more
familiar with them. Let's do one more example. For this. I'll take a D
minor chord, which is DFA. And then when we want to
find the next inversion, we'll move that d up to the D an octave higher, giving us FAD. The next inversion. We'll move this F up
an octave higher, which would give us ADF. And then when we move up again, read the same chord
in octave higher. In the next lesson,
we'll be discovering seven chords and the three
types of seventh chords, all of which have
their own inversions, keep practicing
in join me there.
5. 7th Chords: In this lesson, we're going
to look at seventh chords and the three main types of
seventh chords that appear, major sevenths, minor sevenths, and dominant seventh chords. Previously in class one, we learned about two
types of chords, major and minor chords, both of which are triads, meaning they have three
notes in there chords for seventh chords, we're going to add
on a fourth node to the basic triads of the major
and minor that we learned. Let's begin with the C
major seventh chord. For this chord,
we're going to start with the C major triad, which was C, E, and G, that we learned in class one. And we're going to add on the seventh note from
the C major scale, which if we start back to C, would be 1234567.
This node is B. So for the C major
seventh chord, we would have C, E, G, and B. Another way to find a
major seventh chord from any root note is
to start with the root. Count up four half-steps, then count up three half steps, and then count up
another four half-steps. So for C major seven, we've got C, E, G, and B. Now I'd like you to try familiarizing yourself
with that chord, and then we'll move
on to minor sevenths. The next chord we're
going to look at is a minor seventh chord. So for this example, we're going to start
with a C minor seventh. We're going to take the
minor triad we had before, C minor, which was
C, E flat and G. And then we're going to
add on another note, three half steps above that, which would be B-flat. So for C minor seventh, we've got the notes C, E flat, G, and B flat. If you want to find any
minor seventh chord, you can start with the root. Go up three half steps, then go up four half-steps. Didn't go up another
three half-steps. So here we have a C
minor seventh chord. Now I'd like you to try
that chord on your own, and then we'll move to
the next type of chord, the dominant seventh chord. A dominant seventh
chord is a mixture of both major triad with a
minor seventh on top, which sounds a bit confusing. But I'll explain more. For a C dominant seventh chord, we would start with
a C major triad. And then we would
add on another note, three semitones
higher or B-flat. So for C dominant seventh, you would have C,
E, G, and B-flat. Now let's look at
another example to revisit these chords. Let's start by finding a
G major seventh chord. So we're going to start with G. We'll count up four, then three, then four. So for G major seventh, we would have G, B, D, and F sharp. Now let's look at an
minor seventh chord. Let's start by finding
d minor seven. So we'll start with the root. Then we'll count up three, then four, then three. Giving us the notes
D, F, a, and C. Now let's look at a dominant seventh in which we
will start with a, we'll count up for,
we'll count up three, and then we'll count
up three again. So for a dominant seventh, we would have a
C-sharp, E, and G. Since these three types
of seventh chords make up most of the
chords in modern music, it's really important
to practice them. So you'll get
familiar with seeing them in instantly
knowing where they are. Allowing you to
sight read through mini chord charts of all
of your favorite songs, as well as composed
amazing original music. In the next lesson, we'll
introduce the CTL scale, which will help you see the
options for seventh chords in any given key and
provide you with resources for songwriting
and composing.
6. Chordal Scales: Welcome back. Now that we've learned
about the three types of seventh chords, I'd like to introduce
the CTL scale. A CTL scale is all of the chordal options that would
come out of a given key. You can think of these as
options for composing or songwriting and all the chords that will be linked
by the same key. For this exercise, I'd
like to turn to C major. And we're going to look
at the seventh chords that come out of that CTL scale. Let's start by refreshing with the C major scale that we
learned from class one. I'm starting in C because it's the easiest key to conceive
of as it's all white keys. So to start, we'll start with the first seventh
chord in this key, which would be C major seventh. When we play this, you
can see that we've always alternating between
OneNote off in OneNote on. As we move up to the next chord, we would have D minor seven. Then we move up again
to E minor seven. Then we move up to
F major seventh, followed by G dominant seventh, followed by a minor seventh. So these are all the options of seventh chords in
the key of C major. If you want to come up with
a good chord progression that stays in the
key of C major. You can try between different chords that
we've just labeled. I'll come up with one now, and I'll pick D minor seven, E minor seven, and
a minor seventh. I'll try playing around
with those by using arpeggios and inversions
of those courts. Those are inversions.
Now we'll do arpeggios. So the whole time I'm
remaining in C major, but also the relative minor, which is a minor. Let's take a second and let
me explain how I know that every major key has a
relative minor key, which you can find by taking
the root of the major key and going down
three half steps. So if I started on
C and I went down three half steps,
I would land on a. That means that the notes
of the a minor scale are the same notes as the C major
scale, but they start on a. For the minor scale, we would
start on a in play up a, B, C, D, E, F, G, a. So these notes are the same
notes as the C major scale, but just starting in
a different order. That means that C major and a minor share the same
notes in their scales. And if there's a
song in C major, you could use either
the C major scale or the a minor scale to solo
or improvise over it, or come up with notes
for a melody to wrap up, CTL scales are very
important for knowing your options of chords
in any given key. For this exercise,
I'd like you to get familiar with the cords
coming out of the sea, or a minor CTL scale. Once again, that
was C major seven. D minor seven, E minor
seven, F major seven. G dominant seventh. In a minor seventh. If you'd like, you could come up with your own chord progression using those chords and upload
it to the project gallery. I look forward to checking
out what you come up with.
7. Additional Chords: Now that we've learned
the two types of triads, major and minor, and the three types
of seventh chords, major seventh, minor seventh,
and dominant seventh. I'd like to introduce three more types of chords you might encounter when looking at chord progressions
or chord charts. The first type of chord
is a diminished chord. So for this, I'll start with
C. This chord starts with the root and then has two sets of three half-steps.
So we'll start with C. Count up three-half
steps to E-flat and then count up another
three-half steps to F-sharp. If we were to play a C
diminished seventh chord, we would count up another
three-half steps to a. So let's find another example of a diminished
chord starting on D. So we'll start with
D, will go to F. Then we'll count up
three half steps, and then count up another
three-half steps. You can tell that this chord
sounds very unresolved or wants to resolve back home. So diminished seventh
chord will often be the second-to-last cord
you see in a song, the next type of
chord I'd like to introduce is a suspended chord, also called a sus chord. There's two types of sus chords. Assess two and a sus4 chord. For a CSS2 cord, we would have the notes C, D, and G, or the root plus two, and then plus five half-steps. For a sus4 chord, we would have the notes C, F, and G, or C, the root plus
five and then plus two. These chords are
called suspended chords because they have a sound that's suspended in
the air in unresolved. Back to the major chord,
a nice resolution. The last type of
chord I'll explain is called a minor seven
flat five chord. And this is pretty
self-explanatory. What we do is we start with the typical minor seventh chord. So let's take a D minor seventh, which is D, F, a, C. Now what we'll do is
we'll flat the fifth, so we'll move the fifth
note down a half-step, giving us D, F, a flat, and C. So this is a minor
seven flat five chord. Let's find one more
minor seven flat five, G minor seven flat
five would be G plus three plus four, and
then plus three. And then to get the flat five, we move down this note. We have G, B flat, D flat, and F, giving us a G minor
seven flat five chord. Now take some time to get familiar with these
three chords. We had the diminished chord, the two types of SaaS chords, and then the minor
seven flat five chord. Now that we've got these
three new types of chords, we're going to look at some
accompaniment patterns to help bring these courts to
life in the next lesson.
8. Basslines: We've talked about inversions, arpeggios, and different
types of seventh chords. But now it's time
to focus on what our left-hand does while
our right hand is playing, one of those techniques
are left hand, will often do a baseline, aim to mimic the sound of an electric or an acoustic bass. And I like to refer to
the analogy I made before where we looked at a chord
progression as a roadmap. Every time a new chord hits your left hand is going to
want to play the root note. But in-between there,
you have a little bit of flexibility as notes to
pick for your baseline. In order to do this,
I'd like to look at an example of three courts. Will take a minor seventh, E minor seven, D minor seven. To start out, I'm just going to have my left hand
play the bass note, a, e, and then d. In-between that, since this
progression is in C Major, I can pick between notes of
the C-Major Scale to fill in the baseline or make it more of a rhythmic or melodic
pulse. Here's an example. So my baseline is which could go around while the right hand is
playing chords. So that's one example
using the notes of a C major scale to fill in. As you notice, I'm still
hitting the root note of the baseline every time
that chord changes. Now I'll come up with
another example. That's another example. And if you think of the chord
progression is a roadmap, let's say the a
chord is New York, the E chord is Boston, and the D chord is Montreal. There's a lot of
different routes I could get from New
York to Boston. And the baseline I pick
in-between is going to determine how it feels when I finally get
to that next note. So I could go from
the a to the e, I could go down or could go up. So each of those is going to
have a different example. And one really good way to learn more baselines is by
transcribing basest. Good examples would be Jacques OPA story
is Pino Palatino. Any good bass player
will often have really good baselines that
then you can transcribe, which means learn by ear. And then take some of
those rhythmic elements and turn them into
your own baselines. Once again, when we were
looking at baselines, I'm always playing the root
note as the chord hits. And then in-between I'm
filling in with notes from the corresponding
scale of the chord. So let's do a different example. Now I'm going to
move from F minor to C minor minor seventh chords. So for this pattern, I'll, I'll get it this tempo. So I'm starting with
a simple baseline. Then I'll try something
a little more complex. Another good option
for baselines is using in our part
of the arpeggio. So for that, I'll do
something else today. Now, if you're not quite comfortable using
both hands together, one thing I would recommend
is to record using a voice memo, your
right-hand pattern. And then you can practice
adding a baseline. And then you can try
slowly piecing it together so that you
get the coordination. At first, it might be
hard to play both hands together and do a baseline while you're playing
your right hand. But if you record
the right-hand part and then practice a baseline, it can be really helpful. Also, if you're a
producer or a songwriter, you're using a program such as GarageBand, Ableton, or logic. You can use all
these concepts we're talking about to come up
with a chord progression and then pick a bass
sound and add in a bass part that can help
fit the song nicely. Now that we've
looked at baselines, we're gonna look at some more left-hand accompaniment
patterns we can do and good ways to
enhance an arrangement. Join me for the next lesson.
9. Left-Hand Patterns: In this lesson, we're gonna look at left-hand
accompaniment patterns and how to take a simple chord progression in spice it up. A lot of these patterns
are similar to finger style guitar
picking patterns in which you take
a chord and then play a pattern around the notes. For this example, I'd like
to take a progression, the same progression we used in the last example of a minor, E minor, D minor. Now we're going to come
up with a pattern that we can apply to
all three chords. I'll start with
the a minor chord and I'm going to come
up with a pattern. So you can see I'm
alternating between the lowest note and the fifth and then going
down to the third. So I'm going 15351535. So we'll try that first
on the a minor chord. Then moved to the E, D. Then we stay on D. Back to a. D is the same pattern for each chord. And this brings me
to a larger point, which is anytime you come
up with a pattern you like, it could be from another song, it's important to apply
it to as many places as possible so that then when you see a
chord progression, instead of having
one way to play it, you have multiple patterns that you can interpret
the chords with. So this is one pattern, 15, 351-535-1535, which would
allow a melody to go over top. That's one example of a pattern that would work
over these three chords. Now I'm going to take the
same chord progression and come up with
another pattern. For this one, I'm going to play 135 and then the octave higher. So I'll go. Now let's try a melody on top. That's an example
of two patterns that would work over
the same progression. Now let's pick one
more progression and try playing
the first pattern. Again. I'll come up
with four chords. We'll do C major, E minor, a minor, and F major, which
I previously used. So this pattern was 15351535. So over this progression
it would be. So I've taken the same pattern, but I've applied it
to any progression. Anytime you come up with
a pattern you like, it's important to apply it to as many chord progressions
and songs as possible. So that then when you
see a new progression, you're not locked into
one way of playing it, but you have the
creative freedom to come up with the
arrangement you want. We can continue learning patterns by taking
the patterns from our favorite songs
and applying them to other songs in
chord progressions. So we end up with more
versatile and fluid pianist. And as soon as we see a
new chord progression, we have endless ways of
interpreting it and erasing it.
10. Accompaniment Patterns: In this lesson, we're
gonna be looking at two-hand accompaniment
patterns are things you can play
if someone else is singing the melody or
playing the melody. Before that, I should
define what the melody is. A melody is a single note phrase that is the main part
of a song that the cords and accompaniment
patterns aimed to amplify or support. So if someone is seeing the melody or another
instrument is playing a melody will often revert to a two-hand accompaniment
pattern on piano. For this example,
I like to look at the same chord progression we looked at in the last example, which was a minor seven. D minor seven, minor seven. For this example, I'm going
to play in arpeggio with my right hand and play the
bass line with my left hand. So for this
accompaniment pattern, I'm playing the arpeggios
of the chord with my right hand in playing a
baseline with my left-hand, which is often a good two-handed accompaniment
pattern to start with. Now let's look at applying that same pattern to
another progression. For this progression,
I'm going to take C minor and then
move to F minor. So I'll be playing
the arpeggios is my right hand in the
baseline with my left. So when coming up with two-handed
accompaniment patterns, It's important to remember the
melody and makes sure that everything you're doing is supporting or
accenting the melody. The melody again is often
what the singer will be singing or another
instrument will be playing. Anytime you come up with a two-handed accompaniment
pattern you like, you can try applying
it to multiple songs so that you get the most
mileage out of that pattern. So it's almost like having the chord progressions and then the accompaniment patterns. And each could be
applied to either one. You'll become a more
versatile player if you apply things in as many
places as possible. Before we move on to the
next lesson in which I apply all of these
to one progression. Come up with your own
progression and try playing it with the arpeggios
with the right hand and the baselines with the
left hand and upload it to the project gallery
so others can get inspired from it and come up
with their own progressions.
11. Apply What You’ve Learned: In this class so far, we learned that a lot
of different concepts, they can all be applied
to a chord progression. To wrap this up,
I'd like to take one chord progression
and show how all of these concepts can be applied to turn it into
a full arrangement or have more possibilities for composing or
arranging a piece. For this example, I'd like to pick a chord progression and demonstrate all of the
concepts applied over it. The chord progression I'm
going to pick is in C major and will be D minor seven. F major seven, a
minor in the G major. So once again, that's
D minor seven, F major seven minor. And the G-Major. The first thing we
worked on was arpeggios. So first I'll demonstrate
how you could come up with arpeggios for each of those chords to
demonstrate a pattern. Next, we worked
through inversions. So first let's go through all the inversions
of the chords. We started with D minor seventh, which is df AAC. So we'll move the D, F, a C, D, a, C, D, F, and then see DFA. And then you can follow
that for all four of the chords, F major seven. These are the inversions
of that chord, followed by a minor
seventh and the G. So then what you can do is you can pick
and versions of those chords to create
a melody like such. So that example, I was using inversions to create
a CTO melody. That's a nice
arrangement booster. The next thing we worked
on was baselines. So now I'll come
up with a baseline that would also go over
that chord progression. Once again, with a baseline, I'm always hitting
the root notes. And then I'm moving to
notes in the scale, which in this case would
be C major to help fill in those destinations
on the roadmap. The example I made before was if we were going to
Boston and New York, there's numerous places we could stop along the way
that would make our experience of landing in New York feel a
little bit different. If we went to New Haven, it might feel one way. If we stopped in Fairfield, Connecticut, it might
feel another way. So it's important to keep those options in mind because we know we're going to
a certain destination, but the notes we play in-between affect how it feels
when we get there. After baselines, we discussed left-hand
accompaniment patterns. We went over the
15351535 patterns, which for this would
sound like this. But the melody on top. Next, we worked on two-hand
accompaniment patterns. And the example we used, we had the baselines with the right-hand
playing arpeggios. So I'll demonstrate
that for this example. So all of this ties together as we take a
simple chord progression. And now we've discussed
multiple ways to bring it to life or turned it into a
more complex arrangement. Now I'm going to start
again by playing the first simple
chord progression and then demonstrating
inversions, arpeggios, left-hand
baselines, and then multiple
accompaniment patterns to help turn it into a
more complete arrangement. So we're starting
with a simple root, which is the four
chord progression. And then we're expanding
it to turn it into a more full arrangement on
the piano. So here we go. We'll start with
the simple chords and I'll demonstrate
and call out the other exercises
that I am introducing. Go to arpeggios next. Now we'll do inversions. Now I'll do a
left-hand baseline. Now we'll do a two-handed
come into my pattern. Then I'll end with an arpeggio. So I used all of those
techniques to take a simple progression in expanded
into a more full piece, in a more full arrangement. So you can take any chord
progression in practice applying these different
techniques and bring it to life. So then eventually you
get to a point where you can see a chord
progression and have limitless options of ways of interpreting it or playing
it that fit the song. Now, I'd like you to come
up with your own two dash three chord progression out of the options from the C
major chord with scale. And you can upload it
to the project gallery so others can get inspired. In here your work.
12. Final Thoughts: And just like that,
we've made it to the end of the fundamentals
part to class. Although we covered
a lot of topics in this class, don't
feel overwhelmed. I'm gonna go over a brief recap of all the topics we covered. Starting out, we
looked at arpeggios, which are taken from a cord. But instead of playing the
chord all at the same time, you play each note
one after another. If we add a C major seven, the arpeggio would
look like this. Following arpeggios,
we looked at inversions in which you
also start with a chord. In shuffled the notes in order
moving the bottom note up an octave in creating different versions
of the same chord. If we took a C major chord, inversions would
follow like this. We'd start with C-E-G.
Then we'd go AGC, GCE. And then we'd get
back to where we started in octave higher. After inversions, we looked at seventh chords and the three
types of course there are. To recap this briefly, we had the major seventh
chord in which you have a major triad and then the seventh note of the major scale. In other words,
starting with the root, adding enforced semitones than three semitones than
four semitones. We also had minor
seventh chords, where we started with
a minor triad and then add it in the seventh
note of the minor scale. So that would be root plus
three plus four plus three. The third type of
seventh chord we looked at was a
dominant seventh chord. In which case you
had the major triad, but the seventh note
of the minor scale, this chord would be
constructed root plus four plus three plus three. We also looked at the CTL scale, in which you find
all the options for chords in any given
key in C major, the CTL scale would
be C major seven, D minor seven, E minor
seven, F major seventh. G dominant seventh
is a minor seventh. Anytime there's a new key, you can find the courts
from that scale by applying the filter
of sharps or flats. And we'll talk about
that more later. After the CTL scale, we looked at a couple of
additional types of chords. We had a diminished chord, which was root plus three
plus three plus three. And then we also had
to suspended chords, a substitute chord
and a sus4 chord. The final type of
chord we looked at was a minor seven flat five chord, in which you start with
the typical minor seven, and then flat the fifth
note of the scale. To construct this chord, we would start with the root, then go up three, then three, then four. After looking at all
those types of chords, we then looked at
baselines which helped us support the chord
progression and the melody. Baselines can be thought of as sort of a roadmap connecting the chord progressions and linked through the major scale. An example for the baseline, we had a minor seventh to E
minor seven, D minor seven. And I filled in some
notes around that. After baselines, we moved onto left-hand
accompaniment patterns, which helped to support the melody which has played
with the right hand. In this example, we looked at the accompaniment
pattern 153535, which we could outline
different chord progressions, but using that same pattern. This pattern looked like this. Moving on from there, we looked at two
hand accompaniment patterns in which our right hand was playing in arpeggio and our left hand was
playing at baseline. This pattern looks
something like this. So although there's
a lot of concepts, it's important to practice applying them to any
chord progression. So you can become a more
fluid player and have multiple options
when approaching a new composition or
writing your own music. A lot of these concepts
might seem open-ended, but they can really be
applied anywhere to spice up your favorite music
that's already been written or for your
original compositions, it's important to practice these concepts
methodically one-by-one, so that you can
really internalize and get all the value
that they provide. And remember, with
these concepts, There's no right or wrong
way to play something, but these are simply options to inspire creativity
in your own play. With these concepts,
it's my hope that you'll be able to
confidently transition between songs and play more fluidly when approaching
new material. Don't forget to upload your
original progressions to the project gallery so that we can all hear and share feedback. In the next class, we're
going to be diving into music notation
in sight reading. I hope you'll join me there.