Transcripts
1. Introduction : Hi everyone, I'm Emmanuel, your piano teacher, and I hope you're enjoying
our courses so far. And today I'm going to
introduce a new cost to you. It's called a C major chord. Now, anytime we would
learn an instrument is a particular key that is a little bit easier to learn than another one on the piano. Beginning you are
learning journey on the key of C is most advisable because the scale
of C does not include a lot, a lot of their sharps or flats. So I'll be trading, knew how to play the
piano using the key of C. I'll teach you the
names of the notes. I'll show you the
major scale codes which are used in these key. And I'll also show
you some examples on how you can apply
different movements, passing chords on
your playing songs. So I encourage you to take these costs right from
the first chapter because we've laid the foundation
learning about scales. And then to the very end, when will it be
able now to play? Practical song? Examples encourage you
to watch along the way. Let's get right to it.
2. Chapter 1 C Major Scale(s): Okay, Welcome therefore
to our first chapter. In this C major chord. In the key of C, I know
many of you are playing the key of C Now the
good thing, of course, is that we have good time
to go into detail, okay? So, you know my teaching style, I take it very
simple, step-by-step. This course is good for you, the beginner to
intermediate level. So I'm going to teach
in a style that is good for that
category of people. Although if you have been
playing for some time, maybe there is also 12 or three you'd be able to pick
up from this course. But I'm going to really
break things down so that you can be comfortable if you're just starting
out on this gear, you have not got so much
in the key of C major. So in this chapter I'm going
to talk about fast, fast, but you need to understand
is the major scale, c major scale the
simplest of all, C, D, E, F, G, a, B. C major scale has eight
nodes, as you know. And you need to
know the intervals between each of the
nodes, alright? Intervals. On a major scale, we have tones and semitones, or whole steps and half
steps from the fast, not on any major scale. From the first
node, second node, you have the interval of
a tone that is like from C to D. So I'm skipping
C-sharp, that's a tone. Semitone would be straight
from C to C sharp, C, D. That's a tone, and then other tone, D to E, and then a semi-tone. There's no in-between E to F and then another tone from F to
G. And then at that time, due to air, air to be a semitone B2C because you see you're
not skipping anything. So simply put, atan
is the interval when you have to skip
or not in-between. But you move straight
from one node to another. That's a semitone, okay? So on any major scale we have two semitones between the
third and the fourth, and also between the
seventh and the eighth. The rest of the
intervals are tones C, D, E, F, G, a, B, C. Now the fingering for the right hand
that I like using on, on this scale is
C, is finger one. This finger 12345.
This time is one. The small finger is five. Okay. So 1235123123, then you
switch back to one, then 234512312345,
backwards, 54321321. As for the right hand, then for the left hand, you will start with 54321 and then switch back
to finger 32154321321. So this is usually the beginning point when
you're learning any key. First Lambda skill and
practice the fingering, start with the left
and then the right. It's good for you to
do this exercise. It looks simple, but
it really works. Fingering exercises works a lot on your flexibility when
you see somebody playing sausage comes just
from this exercise. So don't despise this stage
and say you are undergoing. Skip it and then you move
on to the next chapter. No. Fast. Get this
right right hand. Left hand. I'd actually encourage
you to try do both hands, both hands. Slowly. We know both hands need to understand
where switches. Now these can be
very challenging. I encourage that
time go through. These should be that smooth. Start with one
hand, right, left. I've attached the music
at sea level e-book to this course so that you can
get to also look at today. If you go to the first chapter, you'll see the scale
fingering for every key. So if you look for
the C major scale, you will see the right-hand
and left-hand finger. Okay? So try right-hand faster. Left. Both hands are really comfortable. That exercise will
really help you to unlock your fingers. Okay. I saw that you, Your hands are really
flexible so that when we start doing those
lands, were playing, playing those runs, your fingers
will really be flexible. So take some time. Ran through that major scale on your right hand and
on your left warm-up, warm-up every time, for example, just before you start
playing anything, before you start
practicing on that, ran through that scale exercise before you start doing anything. Okay? Now, in the next chapter, after you are comfortable with that scale and the
fingering left and right. And refer to the
guide book also. If you're comfortable
now with that, we not be ready to
move to the next chapter where I'm going to talk about the number system, all the chord scale, the Nashville number system. I'm going to go
through all the codes from number one to number eight. And that's where it begins
getting it exciting. So we'll take this step-by-step. Don't skip any chapter that you run through those
fingers and exercises. Okay. Go rewind back, get the finger incorrectly,
right and left. 1234554321321, up and down. Both hands. Start at a slow speed,
then quick and it up. So will then be ready to
move on to the next chapter.
3. Chapter 2 The Nashville Number System(s): All right, welcome now to our second chapter
with a C major course. By the end of this course,
you should be really at a wonderful place in
these key of C major. It's a very common
key. And I noticed cost is really going
to take you far. In this chapter, I'm
going to talk about the natural number system
or the chord scale in the key of C. Now when you looked at the C major scale
or on any major scale, on, on any key. We have H naught. That means we have
eight positions, right? E, F, G, C. That's our C major scale. Why not? Simple? So now in each position, what you need to understand
about the number system. Now, this is the key to learning how to play
the piano on any key. This is the most
important concept you need to understand. Don't move until you
understand this. On any key. On any major scale, we have eight positions, isn't it? Eight positions? Now, each of those positions is represented by a
specific type of chord. Okay? Now, in the foundational course, I've talked about
different types of code. I'm going to still mention
them here in this key. So thus, there is
a specific type of quadrat presented on every
position on the scale, on each of the eight positions. So you need to understand
what type of code is being played, in what position. So for example, in the
first position we have our C code that we play in position one is
usually a major chord, and that's a C major chord, C. Now you can also play this
as a C major seventh chord. You just add the b, you get a C major seventh chord.
That's called number one. The second chord is usually
played as minor, okay? Because the second note is a D chord number two is D minor. You can also play this
as D minor seventh by adding the c on top of D, F, and C. Alright? Now that God is usually
also played as minor. And in this case you have an E. So you have E minor. But you can also add the d on
top to get e minus seventh. Default code is usually played
as major, major seventh, and that is f. So
you play F-major, FSC, and you can add the E
on top to get F major seven. Chord is initially major, and that is G-Major. Many times you can
also add the f to get the G dominant
seventh chords. So you have GBD for G-Major, or the arrow on top to
get G dominant seven. The next chord, number
six, the sixth position. We have air, which is
played as a minor. That's SEE. You can add a G on top
to get a minus seven. Now, the final chord,
the seventh position, is usually played as we
have different options. Now you can either play this
sometimes as minus seven. Sometimes. So minus seventh
would be BT and n. But traditionally
are originally, this is usually played as a
diminished seventh chord. That is B, D, F, and that's the traditional
diminished seventh chord. Now, this position can also be played as a minor
seven flat five. So that would be B
minor seven flat five. B minor seven. B minor seven. Please be major. B, D-sharp, F-sharp. B minor is be
flatten the D-sharp. D minor. B minor if you want
to get b minus a. Now what is the five? The five of B is action. So you flatten that it is a B minor seventh flat
and the fight, right? So those are options that you
can use in that position. Now. One, 23, I'm playing with extended chords with a minor seventh
and the major seven. C major seven to minus 73, minus seven for F-major seventh
five, G dominant seven. And minus 77, B
diminished seven. Okay? And back 21, C major seven chord scale. So be very comfortable
with that. Ran through from one to seven. You can first do with
the major codes alone, with the triads alone, I mean, the three
nodes, C major. You might not minor, F major, G major, and minor, B diminished, C major. And then try with the extended
chords with the seventh. C major seven, D minor seven, E minor seven, F major seven. G dominant seventh,
minor seventh, diminished seven, back
to C major seven. Okay, try go through that
and master those numbers. Now, in the next chapter, I'm going to be talking
about chord progressions. How now we apply this number
system in a song, okay, as long as there's a chord
progression so fast, you must have this number system run through all those numbers. Okay? You can even practice
this with Dimetrodon. Put a tempo of 60
on your keyboard. Okay, with a metronome, the Constant tempo, then you
can try cooking the tempo. As you practice that exercise
though in the next chapter, I'm going to move to
the chord progressions. Now we need to get
more exciting because now event now to start
applying this case, I know you're enjoying
this so far step-by-step. So let's move on to
the next section.
4. Chapter 3 Mastering Chord Progressions(s): Okay, Welcome to this chapter and we are going to talk
about chord progressions. In the key of C major. Chord progression is just
a movement of goods. And a song is actually a movement of code is
just a chord progression. After you've learned
the code scan, what you looked at in
the previous chapter. Now we're going to play some
common chord progressions. In the key of C major. Number one. I'll play the 251
chord progression. 251 progression to
what is called Number two minus what is five? G-major. What is
the one? C major. So 251. I can play in versions
of this code. So you know what
an inversion is, just standing there
called upside down, for example, this
dimension d f x. I can play this as D or F. Okay? So I can play my two
using that inversion, then my phi G, and then my one imagined. This time I'm playing this
inversion of C-Major, GCE. We have CEG, The root
position of C major, then the GC, GC, then back to C-E-G.
versions of C major. So I have to D-minor, G-major, one, C-Major, 51. Okay, now I can play that 251 chord progression
using extended codes. For example, the minor seven. The two I can play,
D minor seven. Then on the five. Now look at my D minor seven. In version. The original D
minor seven is DMA. See what I'm playing? C, D, F, D minor seven. Then five is G dominant
seven. Jimmy df. Then one is C major seven. This time I'm playing this
inversion of C major seven, GB, C and E. So it's 251. D minor seven. G dominant
seven, C major seven. Common progression
in many songs, I encourage you to practice
that if you have not been used to playing
a extended call, this can be a little
bit challenging. So take time. Okay? You can play it in
different inversions. Now for example, I can
hold this position. D minor seven, G
dominant seventh. C major seven minor seven,
G dominant seventh. C major 72551. Okay? Or you can move to
another position. For example, I can move this
in national D minor seven, G dominant seventh year. If BD, then to C major seventh, you can play this
D minor seventh. We're playing this G dominant
seventh, C major seven. So that's an exercise
you can do on the 251, we're on different
inversion positions so that you can master that. Another exercise that I
would like you to also do is progression like a
736 progression. 736, what is called
number seven minus seven. I'm using a B minor seventh
for the seventh position. That is B, D, F sharp, and the seven, and then
three is E minor seven. Then the minus 7th, okay? Isn't it 76, I'm playing root
position without inversion, so that's why you start B minor seven minus seven, minus seven. Said that temple, like
60 on your keyboard, that you do not consent
temple, 7312312122736, chord progression, right? The key of C. Now we can play that progression again at
different in Russian positions. That's very important. For example, when I'm playing
on the inversion positions, I want to ensure that I keep my codes as close as possible because I'm
playing extended chords. I don't want to jump. So I can place my seven. I'm using this inversion of B
minor seven, F sharp, a, B, D. The left here of course
is on D. Then on the three, I'm using the minor seventh, the original root position, GBD. And then I'm using this
inversion of a minor seven, G and C 736. Okay? Now, let's look at another inversion
position, for example, seven. And then three. And then six. Or seven. Minus seven is impartial. And be seven. And then our three, the
minus 7th, this inversion. Okay? Then R6 is m minus seven. We are playing this
inversion triad in this position
also, sorry, 7367. This position 73736. Or you can play in the
original position seven. Try a different
inversion positions for the same progression. So we've done a 251 progression, we have also done a
736 chord progression. Now you can play those
two progressions now to gather together. For example, I can start
with this position, one. And then here, seven. I like this. Don't mind song that applies
this progression all to you. Like that so much applies
that progression. So practice those
two progression. Snap, 251736. Okay, on the different
inversion positions. Now why you need to understand
chord progressions? Because as long as
there's a moment of code, so you understand how to see these called probation and
understand what numbers mean. What's up when somebody
tells you to play 3625 chord progression in the key of C, What
will you play? 3625625. You ask yourself what is
called number 3123 E. And that is usually E minor
73 is six minus seven. What is two? D minor seventh? What is five? G dominant, 7362533. Now you can play that
progression using the inversion so that I'm
not jumping up and down. So what I would do
something like pisa, three, minor 76 minus seven to the
minus 75, G dominant seventh. So it's three minus seven, minor seven, dominant seven. So it does take
time and practice. This put our tempo, metronome. Sounds jazzy. They left our most
alternating it, I'm not lending them
at the same time. So try different inversion position was not buttons that you
might, you might not have it. Then for my son, they played
the original n minus j. And then for D minor seven, D, F, G dominant seventh, GBD. If I'm looking at the
interactions with Chuck Close, so six to 36. Okay? That's I like car. You need to be comfortable with
those chord progressions. They didn't know you
need to understand this because when you
go into abandoned, for example, somebody
singing a new song, the band leader, me, or the person on
the piano may just speak about at number and expects all the members in the band to understand
what those numbers mean, what causes opposed to play
in whatever key it is in? So when somebody
gives you numbers, you need to be
able to be able to play that song in any key. That's why the numbers
are very important. Because the person
on the guitar, we'll play the same
codes, the same numbers. The bundling that gives you the progression and tells
you the progression of that song is 1415, for example. That means you'll play one
C major 74 major seventh. One, C major seven. Phi G major. Maybe genome than seven
G-Major itself, g at nine. I'll also talk about
the variations. How to voice your
chords in the key of C. Different
voicings that we can use to make our code sound
better in the next chapter. Okay, so that's all about
chord progressions as understanding what
those numbers mean. So practice those progressions. And then the next
chapter I'm going to talk about voicing. How I can voice my
calls differently in the key of C and the
options that we have. Okay? Thank you.
5. Chapter 4 Chord Voicing Techniques(s): Alright, so in this
section we're going to look about voicings. I'm voicing is just a way to
make your code sound better. That different
tricks you can use just to make your
code sound a little bit better than
the ordinary cord. Now, the phosphate I liked
voicing my major codes. For example, if I'm
playing C major, I can add the seventh, C major seven in any inversion. So lambda different
inversions of these chords. The seventh. For my major codes, I can also use the add nine
or the SAS to what do I mean? And at nine chord is
just the major chord. And then you add the nine. The nine is also the second. Why? Because a major scale, or you move from one to eight if you continue counting
9101112131415. So that major chord, and you want the major
ninth of the nine, relatively limited
time, but at night, okay, you add that name. Okay. So many times I'll play my major chords
with the add nine. So nine. Or you can play as us to see As, as to code is just code
that does not have the fat. So if I play C, D, and J, that's assessed to us
as four would be C, F, and G, Cs as four seasons. So that's another
way I can voice this C code for C major seven. Now sometimes also the major
seventh, the C major seven, instead of playing
it with the root GPE on any inversion. Why? Because they already
have C at the bottom. In fact, two of them. So I don't need that. So
if I have given up the D. Now, my C major seventh
looks like this. G sites like to see at night. And now I make it
a major seventh. Hey, I can voice my C. C major seventh. The left. I can add the E, C, G, and E, and the right. So I have D, G, B, and D on top. C major seventh. But now with the ninth on top, Ninth season, sometimes, for
example, and I'm playing F. Let's look at some,
what we can do to F. On the left, can play FCF or not, and play F-major seventh. F major seven. Or I can play F at nine. So that's the G to
get F at night. These are the major cuts on what's on the G to
the Gmail. G at night. G, D on the left. Once you have the right to go back to our F, F and F major seven. And just played as Gmail. To check on their free eBook, you'll see the diagrams and
all they're called charts and all the images for this course. On the F-Major can play different inversions
of the F major seven, and each one will give
me a different sounds. So for example, and I'm
playing this inversion of F major seventh, the left. Now, this F major seven, again, I can leave out the
f so that I have got the F. Okay. I can live out the F
because I already have. Yes. I'm here. I know how I can
even add that gene. So for example, if
I'm just playing a simple progression
like from C major to F, Maybe I can play C major
seventh than ever. Cge. Voicing for C major seven
is absolutely less Boise. Moving up the minute seven. Let's try that. I'm playing G-Major,
something like this. Gtg. And the right is this like a juices to just normal that
G at the bottom? I can do something when I'm
playing an F. For example. The EPS has to GC was on the left to the right, go to the g and f
times g, d and b. The left is so
simple, just playing the same notes of
a G major chord. And, and this B, I'm taking it up here. It's not muddy. It's more open. Sunday night out. That just has two. Let's do that. Progression
from F to G is, and thus voicings, okay? The left is certainly that. Any options, for example, now let's look at another
code for dummies. I'm playing an, a
minor, a minor seven. Now remember that you can always play a minor chords
as minus seven. Minor seven. D minor
seven, minus seven, then landed different
inversions without a minor seventh
is a minor seven. Different ways this
n minus seven, for example, I can do is
I can add mine at night. And I'm playing without the a because I already have
the ad, the bottom. Why am I not ninth? Because B is the nine
of the scale of bees, the to the ninth. So we are having this voicing, G, a, B, C, and E minor chord like Emily. And also planes like this.
Using this environment. Not only to play with. Well, those are different
ways I can lay. And minus seven. Okay? I can even just the
voice and play. G major on the right. What's our voicing that
can run? Fast voice, like a C major seventh
chord on the right. Just player name, but
who does that right? That G-Major. Different ways to play the minor seventh original n minus m. Salaries. I like to voice that. Now, let's look at the voicing
or something like that. D minor. You might ask. And see, God number two. Now, fast, just get to know the impartial way I can voice. This is the minor, D minor nine. Y to the left hand is playing the
nighttime to spend the rest of the nodes of
the d.school. Minor seven. D minor seven. You know, that might knock and double
the D and the bottom. That way I can voice it
using the minor ninth. So simply put, on the left half, D on the right,
have something that looks like an F
major seventh chord. So I couldn't play an
F major seventh chords anywhere on the right
with that D on the left, that is a D minor nine. You get the concept. On the right. I can play this F
major seven chord voicing for the D minor nine. Many assignments. Those are nice voicings
for the D minor. I can even play this game
because I'm adding now that P, which is the Sikhs on the scale of these G-Major on the right. So let me play a progression like 16251625 is in different voicings. So one major seven, minor seven. D minor 75, G dominant seventh. One, C major 76 minus
two, d minus five. So look at my voice into
one, C major seven. I can maintain the seeking
major seventh type of Boise. Go back, rewind. Say that two can play the minor using a so-called
mega seventh and the right to do so for one C
major seventh when I go to this and just maintain
that voicing. So in this case I'm
having an MI nano nine. So one. And then for the D minor, E minor, F major seven shape, one, D minor 79. And then on the five, I can play a G dominant seventh. I can maintain this voicing. Now these boys in
dislike column G dominant seventh
because I'm the top, but I'm playing a maintaining the shape of an F major seven. Most of the time we
call this a slash. Got something on the
right, the left. Most of the time
that's how we do it, especially when you're
moving from G back to C. Can play that. Substitution for that. Imagine. Most of the time I made this G dominant seventh. Then back to the C major. So I can voice my C major seven. C major seven. The left is C major seven. Gb. The deep or underneath. That night. Nice sounding saw. One. My one solely again, differentiate. Then I'm placing my m
minus 7th differently. Again. My name is cheap for my minor. Major. Dominant seventh. So uneven voice my mind. And now this time
like this, G-sharp, minor seven and minor
D-minor. G-major. Maintain that shift. D
minor. Different HDRI. I can again voice the G-Major. I use that ship on the
E minor seven, 12. This time I'm what I'm using. I'm using my d on the
left, the right hand. I see at night, I can voice my d minus one by one. Now that you can use. Often. For example, I can just use this chord throughout
or asks us to solve. Letting that be one. This C, C major seventh, but without the roots,
I'm using this voicing, G for my C. Am I not blink decision,
then you might not. I'm playing this voicing. Can also use this the voicing of the major seventh
time LSAT when you're playing D minor seven and
just playing with some link, this f of n minus m at another route for my D
minor voicing, okay? For the gene gets
maintained that voice. To some of the tricks you can apply it
just to give you a cost different voicings and you're playing some
sort of a different codon, the right, sort of a
different codon, the left. But when you're
playing the root, that is what is defining
the code. So I may play. It goes on to talk about
an MI in a button, the writer can use different
voicings and minor. So I use my ears to listen to the voicings I'm
using on my right. Okay? So I think
that that helps you now preparing you for
the songs we're going to cover because you'll see as
applying the streets there. Yeah. So we'll move on
to the next chapter. I'll be talking about some passing chords that we
can use in the key of C. Thank you.
6. Chapter 5 Passing Chords You Can Apply In C Major(s): Oh, yes, So welcome
to this chapter. We're going to talk about some of the passing codes I
like using the key of C. And I'm parsing code is simply a code that you use on your moving from
one color to another. It's called passing. That means it's not
the main progression, but it's, it's a code or a number of costs
that I can use. If I want to move from one chord to another on the main
progression of the song. So for example, the progression, maybe I want to place
from three to six, and I'm looking for
a passing chord that will help me to
move from three to six. So code number three. Minor seventh. Time to move from E minor
seven to minus seven, which is called number six. Of course, I'm looking for
some bussing costs between. So I can decide to
play something like, for example, onto
move from six to 26 is minor seven,
D minor seven. And here's the spicing codes. I can just use one
passing chord. So those are passing codes. So for example, I'm
going from five to six, g, f minus g major to a minor. So I can use this passing God is like an E
dominant seventh. Sampling J, D, G-sharp
and being five to six. Let's highlight those
kind of things. And I'll give you the concepts that how I interpret it, okay? Because different musicians will interpret passing
cars differently, but I'll teach you
my system and how I, how I interpret passing chords, which I believe is
a very simple way. As you see, I'm not a
very complicated Blair. I like keeping it simple
and musical is what I do. One of the main types of passing chords is the
dominant seventh chord. Dominant seventh chord. I think about my
target, for example, I want to move from two
from Elmina to do mine. Okay? So I'll ask myself, what is the five of my
destination, for example? So my destination is D minor, the five of d. Now, you have to think in
terms of the scale of D, the D major scale. So the five of D is a. So the parsing code I will need, anytime on to move to a D minor, would be the dominant
seventh chord. What is a dominant
seventh chord? C sharp, E, and G, right? So I can pay that with the a on the
left are with the C-sharp. C-sharp. So for example, if I'm
playing from one to two, C major seven, minor seven, dominant seventh, ten to the minus 7th. So like this song, how the progression one, C major seven, then the
passing chord, dominant seven. I'm playing an inversion, G, the dominant
seventh, g on top. Now if you look at the
chats and the eBook, you'll see all the
diagrams for this course. So these are a dominant
seventh chord, C, E, G. So I'm
bringing that back. Then that passing the
C-Sharp on the left. And to my D minor seven, we looked at all
of these voicings in the previous chapter. So if you're still not
comfortable with them, please go back to the
voicings before these codes. And then the G dominant seventh
chord, which is my five. I'm also playing an inversion. Then back to the C major
seven to the ninth on talk about that in the voicing. So how waves? Now, that's one way, the dominant seventh. Let's look at another example. To clarify that, for example, I'm looking for parsing
code to take me to my six. What is my sixth? Minor seventh. Okay. So I'll ask myself,
on the scale of a, what is the, what is the
fifth of x on a major scale? E is the five of a perfect
fifth away from a. So I'll play an E dominant
seventh chord, which is E, G-sharp, B, and D.
So that would be my parsing code to
my minor seventh. I remember on the left
I can plate moving or with a G-sharp to the, a, the inversion of a monopoly. So maybe it's one to 61. So maybe the provisional
was one to 6251. Progression you're
playing is one to 5176, seven to minus 75,
G dominant seventh. So I blend the two passing cause the passing
chord to a minor and the passing Ctrl D minor
six and BD being R2. Okay, So one, okay. So that's all one,
C major seven. Then you're going to see them new pass through the Edomites. And then dominant seventh
to our D minor seven. G, dominant seventh,
back to C major seven. Okay? I think you can now see how I'm applying those to
passing chords. The fast parsing code. I'm moving to my, am I not? Then my next passing
chord moving to my D minor seven
Saturday that again Song, Dad, dad, dad. So we can add another
passing chord, for example, when you are moving
from the D minor to our G dominant seventh, and we want another
parsing code. We can ask ourselves what is the phi flow of our
destination, which is the G? So I'll go to the G
major scale, 12345. I'll play the D dominant seven, which is D, F sharp, and C as my parsing
code to my G7. So it'll be one, E seven to my mind. Seven plus in CO2, D minor, D dominant
seven passing CO2. She said. So why is this person cuts? Then I'm playing five major
Alba and five over seven, and back to C major seven. So the answer to practice this, this progression so
that you can must have those passing Gaza,
dominant seventh, the dominant seventh chords. Okay, now, what I can
use as a passing chord, I added diminished
seventh chords. Diminished seventh chord. Example. When I want to
move from C major, D minor, I can use to
diminished seventh chords. I can use this C sharp
diminished seventh. Or I can use D-sharp
diminished seventh, both as my passing
chords to D minor. So I'm just looking
at my destination, which is D. And then
look at the two nodes. The one below it and the one
above, C-sharp and G-sharp. I'd say one. Now, let me play an
inversion of this. Kind of bring this here. This B-flat can come here. So you see Lao-Tse sharp
diminished seventh, but the name can change
if you do the inversion. So it's now like sharp
diminished seven. Okay? So it's like one. See that diminished. So if you want to
understand it well, I prefer thinking of it. They're not in-between. And then I can do
the inversions. So you have done any
inversion of C sharp, diminished seventh,
C sharp, G sharp, a sharp, C sharp, G sharp, leading
from C-sharp to D. Or we can use this D-sharp diminished
seven and you can invert it. D-sharp diminished
seven, D-sharp, C. Now we have seen the
chapter shop in a saw one. Okay. Oh, that would sound a
little bit on the left. Just look at the
notes of the chord. You don't know my C Sharp won because they are attacking it. Now from the front side, they look at passing cars, is that you can look at the code behind the destination
you are going to, or you can use the code above the destination
you are going to. So I'm going to D minor, so I can pass through C-sharp, D-sharp. That's the concept. That's our concept I can use. So that's the way I can use
the diminished seventh chord. And that can apply
in any situation. For example, if I
want to go to MIT, not for example, I'm thinking of using the
diminished seventh chords. Can use Eva, The
G-sharp, A-sharp. So I can use the G-sharp
diminished seventh chord. So I can invert this conduct. So if I bring this f here, Still G-sharp diminished
seven, but in batted, so it can also be F diminished seven if you
look at it right now. Okay? So, so maybe one to 61 to six months to get another diminished seventh
chord, the one in front of it. Sharp diminished seventh and
invited, bring the G here. One of the options of high can use that diminished seventh chord as my passing. Those are all options, so you have to try, try it out on different
positions, on, on you can positions but
using the same concept. Now that I can arrive
at the code using the node above it or
using the note below it, I can play that chord as a
diminished seventh chord. I can arrive at my destination. I wanted to look at
chord progressions and songs you have been playing. That seeing how you can apply these passing chords, of course, we are going to do
some examples and see how we can apply
this passing chords. Now, sometimes we can use
more than one passing chord. For example, I was
playing before. I'm moving, for example, from six to two minor, D minor. And I used this progression. Maybe you'd hear that in very many songs are
moving from E minor here. My inner So the progression
that is being played, the simple moving from a
to E. So you need to think in terms of the chords in the care of your
destination, COD. Okay, what do I
mean is this app to know the chords in
the key of D. Okay, fun to play that progression. The gods, I'll be playing
at the number system or the codes in the scale
of D. So in this case, you need to know how to play in almost all the keys for you to be able to use this progression. But for the sake of C, I'll
show you the specific codes. So in the key of D, a is five, b is six, okay? The scale of D. So my destination is to
go to the D minor, something of the D-major scale. So I'm moving from
five to 67 to one. So my codon number
five in the key of D, For those of you who have
played key d, a little. Accord number five is a major. Then code number six
is B minor seven. Chord number seven, I'll pay this slash code of a C-sharp, that is five over seven. Then the D minor, a major minor seventh image
over C-sharp, D minor seven. So for example, if I'm moving from now, I ask myself, in the scale of a, what other chords
in the key of F? So in this case you have to know the number system in the P of a. And if you follow
the procedure that I gave about the number system, you can easily know how to find the number
system of any key. So in the key of the image, all listening that one
is media to his minor, teres minor for his
major five is major, six is minor, seven
is diminished. The major scale in the scale of air moving from you
today from three to six. So five is E major, six is F sharp minor seven, and then seven, I'll play the slash chord five over seven, then to a minor seventh. So it will be okay. This openness on grid
easier Massey towards me. Okay. Great easier mercy towards me. You're loving
kindness towards me. These uplift they apply that, that that movement of
those passing concert. So that is the movement
that we did in my image, B minor seven, and my Java
C-sharp, D minor seven. An example of a situation
of a song that is applying those movements where you
have several passing codes. You can be as creative
as you want to be. So as we get into
the song examples, you'll begin seeing the
practical application of this passing cars. But from that, I
believe that you've been playing some songs
and you can see in y, you can begin sneaking in
some of these passing chords.
7. Chapter 6 Song Example Oh The Blood Of Jesus(s): Okay, So I'm going to
do a song example. And it's like a warship
example to really cover a lot and help you and whatever concepts we
learn in this song, you can apply them in
any other song, right? Okay. All the block of g. G. Oh, she wants to share what I know for the CCI. Thank you for the plan. Thank you for that. Oh, gee. Why snow all share? Why? Snow? Snow? Wonderful. Everything I've played,
stuff we've already covered. Okay. So nothing. So take any color. I'll just break it down.
I'll break it down. The basic arrangement for
the song, fast basic. And then we add on OK. Oh, OK. So here's C-Major. Rim on the left he
said You can play C, G and E, or C, G and C If your finger
cannot reach on the E or the F-Major, maintaining the C on the left. Back to see invasion
of D minor, D. Then this inversion of
C-Major can even do that. C major, D minor, C major. Now, these are different
progression I was using. So I can use C major
to this F diminished, G-sharp, B, and D to C major. And then here I can
play F minor inverted, F minus F, G sharp and C.
So I'm playing G-sharp, c and f, k, o. And play this. So if diminished seventh, C Major, F minor, or I can play all G minor inverted U minus G sharp and D. So I'm playing, D and G
are moving from G minor, inverted F-minor,
invited back to C major. Let's move to the next fat. Then the next chord is
the dominant seventh, D7, okay, the left I have
D and the right I have D, F sharp, a, C, just a passing chord to my five, which is G dominant seventh. Okay? So at that point, I just did this fun. Okay? And just do G and F sharp. So GE, G7, then off. This is an M&A invited. So my name matted. Then. Sorry. You might not. Chord number three
minus 70 Martin, I'm using this inversion, B, D, E, G, B on the left, and then six on the left. And play on the right. I'm not using MI, but I'm using a substitution. These are called substitution, which is G diminished seventh. So instead of playing a
minor to G diminished seven, a minor seventh, and the ninth on top,
we did this voicing. And then for the G, This
G dominant seventh, okay? But of course with
this sharp G-sharp here, the sharp nine. So you're saying we
can also look at this F diminished seventh
with G and D on the left. So the next part. So moving from C major, D minor to this code, which is an E diminished
seven of some sort. But if you want to think of
it, think of it as a gym. I named button, okay? Dng, the left is on E. And then F major. G. G dominant seventh with G-sharp on the left. A minor seventh. You remember the passing
chords we talked about? All G, then D minor seven, and then one over
five C-major Vijay. Why it? Why? My job agenda left. Then the D minor invited, maintain the G on the left,
finishing this summit. Now what else can you do that? It will show why. I'm trying not to
F-minor butted up. In the midst of IgE. Q. For something else I can do differently. They're all Q4. Oh, oh. So instead of going back to C Major seven over
G to B-flat G. Then here we play something
called a tritone. I'm playing sharp and E
and F sharp on the left. Okay? Then, so then F major, G, dominant seventh
of a G-sharp. So thank you for that tri-tone. We now use this passing chord, dominant seventh,
Cordova, C-sharp. And electrons are
passing CO2 minus seven. Instead of going to D minor. D minor, I play this
inversion of G minor, F minor on the left and diminished, but you see med, hope that somebody there. So let me try it
just to German law. Oh, oh, oh, oh, gee. Aid. Now at the end,
how you finish it? He wore y. So y, c over G. B minor, 07:00. Am I
enough? Centroid D7. So each row. So you see I play
something different there. Walsh. Why? That's a B seven. I didn't see on top. So diminished seventh with E on the left. That option. Remember the code Z line here. You can also apply
to any other songs. Okay? Don't have to restrict
yourself to this. These are concepts you begin applying to
many other songs. Yes.
8. Chapter 7 Song Example What A Mighty God We Serve(s): Okay, so in this section, I'm bringing in a
different machine. This is a Yamaha PSR S 710. And I know most chapters
in Africa is this. That's why I bring this along. And why I like this is
the split function. And that just allows
me I can split my beds on the left hand
and my piano on the right. Okay. And this is for
illustration of most of you are doing the one
month bump kind of thing. Okay, you are doing the best split on your left
and the piano on your right. And you have something
like a bit going on. So I'm going to do sort
of a place movement. Okay? I'm going to use the song what I
might go to ISAF, okay? Because I know that's
so much is common to most of us all
around the world. Now before we solve for y, before opening for him, before. So this is amusing. The specific bit I'm using for this song is called Calypso. It's a Latino beat. Okay? If you have
these keyboards, I believe these are common among this series, is called Calypso. I'm using ten by 100. Hey there tricky thing about this style of playing
is that you have to develop your left and
right hand coordination. Okay? So I'm going to break down what I was playing
fast on my left. I've split my piano
up to this scene. So I'm just playing with C and G and D. I could take my
split even up to here. Actually took my split here. So if you go to function on your piano function style
setting or split point, I know some of you know
this, but some of you don't know how to
shift this split. So you will see the
split point and you can move it up to where
you want it to be. So I'll just move this
plate up to my dy. So you just have to
develop their redeemer of the best with the beat, okay. What am I doing
on my right hand, the progression of the song. I'm just starting
with a C major seven. Then I move to this
inversion of a minor. C major seventh. C menu
will not be at the bottom. Then move to this
inversion of c major, GPC, g over b. And then minus seven. This passing chords,
D7, D F sharp, a, C sharp on the left. G, dominant seven. Okay? What if I
just mean that you imagine the bow before Him? C major seven. Play this E dominant
seventh, G-sharp. And the original dominant
seventh chord has the D, But I'm just adding the c here. The end SBAR before
Him, adore him. That dominant seventh is my parsing code to
my minor seventh. But I'm using this voicing. If you go back to the
chapter did about voicing, I'm voicing my minor seven. G, a, B, C, and E. So say you play a C
major seven shape. So the Havens bow before him. And of him passing
on a dominant seven, c-sharp on the left to
my two minor seven, the spar before him. So they're minor
seven, D on the left. And then moved to see many
underlying with E on the left. Then the leftmost displaying. So that's like a
D minor invited. One over five diminished seven. G on the left. I
just made G-Major. G dominant seven. Baptist the door, with the beat. Now the trick now becomes combining now that
with the left hand. I'm playing left and right. Most of the time. You find that I'll have
to balance my strength. So I'll balance my activity between my left and right so that both hands at
the same activity. So sometimes I'll just use sustained chords on the
right so that I have more activity on the
left because I'm trying to cover the place of
the bass guitarist. Because now this kind of, this style of playing. R is for those times when
I don't have a desk tasks. Okay? So in this case, I'm just
playing C major seven. Diminished seven. C Major seven. Or I can play what I played. We've done those
parts in God's image. B minus C sharp. Minor seven major minor. Am I playing there? Because
it's the final part. Repeating that last line. What am I regard with a six? On the left? To the right, I'm
substituting that with G diminished seven, G, F-sharp, C-sharp, E, L, D on the left, G minor invited on the right, that is F sharp, D, and J. If I'm playing F-minor, ethylene and G-sharp, C, F. And then F times. You get used to my
style of playing. I like using the F diminished
seventh a lot instead of the one I like the sound of it. So anytime you see me playing
these and just play the G7. Okay? So that's movement that
you can practice on. So that will help you get that best moment on
the left and the right. So try as much as possible just to imitate the movement
of our best player. On your left hand, on your
right, as it develops.
9. Chapter 8 Song Example Jesus You Alone Are Worthy(s): Okay, I want to do worship movement using
the split function. I mentioned the left base and then you have the
right on your piano. I'm using rock
beat, rock ballad. My tempo 61. I am
using electric piano. I'm combining two
electric pianos. There are patterns called
the electric piano and then Evelyn is
called the suitcase. To electric pianos,
we can use streams, those of you like, like
pads and all that. Okay. That's all I'm going to use is called Jesus
you alone are wildly. It's that simple song. Jesus you alone. The u alone. Our, the EU, the lion
of the tribe of Judah. Jesus, you alone. Are you alone? Hour the EU or the lion of the tribe of Judah and phosphate into play to
the beat and the bears. So you just get the flow of this sort. It's a good new wash. If somebody to land, Jesus, Jesus, Lord, the Lord. Jesus. You know, all the truth of Jesus. You know, the old joke. And then I will put in
the beat and the left. Okay. You know, She's a senior. I'm going to break this down. Sorry. Now what do you
have to understand is, when you're playing this
left hand movements, you have to try as much as
possible to ensure that you imitate real best
plan as much as possible. Imitate real bass guitarist
as much as possible. The moves, how they, they, they flow on this string because that's
what we're trying to imitate. Okay? So I think I'm just
going to first do the left hand movements so
that you can get the field. You know, it's all about
getting the feeling and understanding the knots
when you get the field, who can do the rest
are on your own. So something that you
need to be taught by rote or something that you're
just supposed to film. Music is something as
opposed to feel fast. Okay? So I'm going to show you. Jude, passing notes. And then octets, octet. Then you walk. He's asking you,
you can try walk. Before I go to the F and then you walk the Interim Dean, MC depths, but before I
move to the lower level, their dean, I'm using
and G in the middle. The best guitarist and
between food above him. Know that Jude, D-flat, C, G, C. You know, why they should actually view the trust? So on the right, I'm using this. I've disabled the left. Okay. Jesus, you know, I started
with F major seven, the right. Jesus, our F major seven. And then I moved to
there, g on the right, maintaining the F on the left. Jesus, you are going now. And then I move now
to the left to eat, maintaining the G on the right. And on our knee, then you move to this x
n minus m minus seven. Or I can use the G diminished
seven with a substitution. Jesus, you alone our options. You are, you might not seven. Remember that voicing?
F-major seventh kind of voicing on the right
hand with D on the land. But it's got number
to the minus seventh. The concepts rather than to
the G. Remember the right, I'm using half-diminished seven as my preference or reminders. Use G to B-flat major over n to the one. C dominant seventh. Okay? See on the left, G, B-flat, and D on the right. Again. The next part, you all the trend. Jude. You finish
the C major seven. Jesus, you know,
you want to know. In this case, instead
of using on the left, I'm using the G minor. B-flat to the new alone. Now, Jesus alone. Our, the next part now I'm
using a B minor seven, the seven, and then to the
three dominant seventh, you. And on the right I'm
using G diminished seven, D minor seven, G. Judah. Now, what's left and right? I didn't see John, my left ear. Alonzo. Great. So something about
your left hand in all shapes. Try combining left and right
and met the best sound. Really nice. When somebody
listens to the music, the music sounds complete. Lake. These are full band. Okay.
10. Chapter 9 Song Example Hallelujah Lets Praise The Lord(s): Okay, So I'm going to do
another price movement. Isn't this song? Hallelujah,
hallelujah, Praise the Lord. Lew. Lead sprays. No more tiny tiny know more sprays. Yeah. Okay. Something like that. So
I just wanted to pass to look at what I'm doing
on my left hand. No more. So you just need to put in a lot of the passing
notes on the left-hand. Most of the time, even using these nodes
in-between the flats, the flat six, flat five, the flux to basically
on the left. You will use a whole
and not grammatically. Get that good. Best soundness. Sprays. Great. The provisional on
the right hand. Highly, highly, highly. You can play C major with
an e on the left-hand lane. They have major,
or you can play. Got the G minor inverted. I'm adding the E on top. So I'm having B-flat, D, E, and G. E. On the left. You see on the right, I'm playing a mania,
but I'm adding the D minor seven. C, G on the left. Hello. Here's that passing. Like a D major. When I'm adding the Eon
talk to the left is playing F sharp and D. The
right is playing F sharp. And E to the five,
which is G-major. F-major. See over on the left. Okay. Hi little bit. Here I see. I can even
use this dominant seven. Instead of using
that. My name budget. So G-sharp, D, J, like that. So I'll put my
left eye combined. No more tiny gene. C major. You imagine no more
dominant seven minus seven. C major. And minor. C over G. Dominant seventh, D F sharp, and C, F-sharp. C over G, D7 over F
sharp to G minor. Okay. Mom has a little movement that you can practice on fast. Do the right hand, then to the left hand at the
beginning I did it. Do you mind? She might not. You might not gain
with D on the left. F major Gmail. Although there are tricks
you can use, okay. So put that together, combined with left and
right and be more creative. You know, open to
creativity is not just limit yourself
to add your data. Explore more. What this goes
does is to open up your mind and give you the idea so that you can see
it in a broader way.
Emmanuel Omusula, Let's Learn Music Together
