Complete Piano Course In The Key Of C Sharp

1. C Sharp Skillshare Intro : Hi everyone, any man from our studios here today, I'm trying to play some movements in the key of C Sharp. And I want to teach you these kind of movements that you can use for your gospel music and playing in charge or during a relaxing time. But I'm specializing in the key of C Sharp. And the reason why I make my courses in a specific key is to help you see all those concepts in one key, then you can apply the same concepts in a different key. So in this course I'll take you right from the skin. And then from that point I'll show you the code. And then I'll show you some progressions like the 2517363625 chord progressions. These common progressions that we use in many of our songs. So at the end of this course, you'll be able to get all the concepts that you need to be able to play almost all the songs in your local church or in your setting. Because I'll cover the most important elements that you need to learn without going into so much theories, so much detail. Maybe we'll consume a lot of your time. Within less than two hours of this course, you'll be able to learn all these concepts. So I encourage you to get on with me. Let's begin learning these concepts and I hope you enjoy this class. Welcome. 2. Lesson 1 C Sharp Major Scale And Scale Degrees(Ss): Okay, So welcome. In this chapter I'm going to be talking about the C-sharp major scale and the scale degrees. The scale degrees are the codes along the scale. If you want to learn how to play a song in any key, that's the foundation is supposed to start with London major scale and the scale degrees, That's the numbers. Then you can build on landing the passing chords in that key as you move along. So the C-sharp major scale, C-sharp, D-sharp, F-sharp, G-sharp, A-sharp, C-sharp. Now, the correct fingering for this is 23123412, backwards the same way. So that's the scale, C-sharp major scale. Practice that on your right hand. Also practice starting on the left finger. Incorrect fingering for the left hand is 321432133342. So this scale exercises are important to just to develop your flexibility and being familiar with the scale of any key. Now, let's now look at the scale degrees in the key of C sharp, that is their numbers. Now, the natural number system operates like this. Every position on the key, every position on the scale is occupied by a specific code, a specific type of record. Now, the first position is usually occupied by a major chord. So in this case, we'll play C-sharp major. Or you can also play C-sharp major seven. That's called number one. Chord number two will be D-sharp minor or complete as D-sharp minor seventh chord. The number three is F, F minor, or F minus seven. That's F-minor. That D-Sharp on top, you get F minus seven, that's called number three. Then code number for F sharp major seventh, or just F sharp major. But five is G-sharp major, or we can play it also as G-sharp dominant seventh, sometimes depending on the song, we will look at that. Then code number six is F-sharp minor, but you can add that G-sharp on top to get F-sharp minor seventh. Chord number seven is our diminished, or C diminished seven. But most of the time we'll play this position seven as a slash chord. That means we'll play the C on the left, but on the right hand will play a file. So it's like just G-sharp. G-sharp on the right would see on the left. So we need to be familiar with the numbers. That's the number system code number one. Code number for encode number five is always major. Chord number two, number three and number six are minor. Number seven, we played as a slash code, mostly a five over seven. So 12345671. So just do that exercise, ran through the scale degrees. Know all the numbers right? Now, this is where we'll be building chord progressions upon k so that when somebody tells you to play certain numbers in terms of chord progression, you'll understand what they are meaning you're moving from which number to which number. And understanding the number system will actually help you to learn how to play in all keys. Then move to the scale degrees. Number one, C major seventh number to the minus seventh, number three, F minus 7th. Amber for F sharp major seventh, number five, G-sharp dominant seventh. The most success, sharp minor seventh, number seven, C diminished seven, back to number eight, C-sharp major seven. So go through that then now you'll be ready now to move to the next section, which we'll be talking about. Chord progressions in the key of C Sharp. 3. Lesson 2 Chord Progressions And The Number System(Ss): Okay, so now after you're comfortable with the scale and the scale degrees, now we'll look at chord progressions in this key. Now when you're playing chords like that, what we actually just playing a progression. So you just have to understand what are their progression that I'm hurt I'm playing. Chord progression is just a movement of codes on different positions of the scale. Whether some codes may be actually off the scale article passing chords in our cars, which are being borrowed from other keys, which are not really in the scale of the key, but all in all, what you have to understand is that a chord progression is just a movement of codes along the scale degrees. Now let's start with a blade, some stuff that which I'm going to explain. But let me just start by explaining some common chord progression that you need to know. Now. For example, the 251 to 51 chord progression. Yes, I have to ask yourself what is called number two. Chord number two, you have looked at in the previous chapter is a D-sharp minor seven. Now, I can invert this code different ways and played like that or like this. Okay, So this is the inversion I'm going to use for D-sharp minor seventh, which is called number two. Then code number five is G-sharp, dominant seventh. Chord number one, C-sharp major seven loci that invasion of C-sharp major seventh, C-sharp major with the c 251. Okay? Now, I can modify that progression with different voicings. Like I can use invasion and use this invasion to D-sharp minor seven, then G-sharp dominant seventh. And then C-sharp major seven sounds different because of the inversion to 51. Okay? Now, I know that progression can be a very common progression is article as 736736 is basically a 251. But let's look at it's to understand why 736 in the key of F, of C Sharp will be what is called number seven, C diminished seven. Okay? Then what is code number three? F minus 7th. Then number six, F sharp minor seven. I'm just using this inversion, the original colonies that, but I'm using this inversion, F sharp minor seven. So 736. Okay? Now, instead of playing it as C diminished seventh, I can decide to use C minor seven. A slight adjustment. I can play this inversion of c minor seven. F, G sharp, C and D sharp for C minor seventh chord. But I'm inviting me to, yeah, okay, that's bringing everything backwards. Seven. And then for the three, I'll use F dominant seven instead of F minor seven. C minor seventh, F dominant seven, F-sharp minor 7736. Yes, practice this seven and then give it a swing beat. 736. C minor seven, F dominant seven, F sharp minor seven. Now these are 736 because C7, F is three, and F sharp is six, but it's also a 251 because. If you look at your destination as one, as sharp as one, and you go to the F sharp major scale. The F-sharp major scale, c is number two. F is 345, f is five, and F sharp is one. So it's actually a 251, if you think in terms of F-sharp, which is your destination code. But because we are in the key of c-sharp, F-sharp is number six. So it's actually seven, C, E, F, F sharp. So there's 736 is also just the same thing as two phi one. I hope you get it. Alright. Now, another variation, I can play this 736 instead of playing this as C minor seventh. So you can play it as C diminished seven, and you can even invite disease here. Seven. C, D-sharp, F-sharp. Let's see, diminished in writing it. Yeah, seven, and then F dominant seven and then two. Now, I can also play and play this chord, F minor seventh, with a seven on the left. Then when I go to the F, I played F dominant seventh and then F sharp minor seven. You can play this on different inversions. For example, I can play it here. C diminished seven, F dominant seven. And in this inversion, okay, F-major, F dominant seven. And then to the F sharp minor seven. So 736. Seven can play C minor 77, C minor seventh, half-diminished seventh, sharp minor seven. Now, another way I like playing that 736 is this. Then I'll play this. And then I play this. So what got them? I blame still 736 but different variations. So I'm playing F dominant seven, but with a G-sharp on top. So he's actually an F dominant seven. These F-major invited, you add the dish app, you get dominant seven. But now I'm using a sharp nine, okay? F is one, g is two on the scale of F major. Two is G. The two is the same as the nine. Okay? So G-sharp is shipped to, so it's F dominant seven. But with a sharp to G sharp. So I guess leave out the F because I already have f at the bottom. I'm just playing F, S, C, D sharp, G-sharp. So I start with this. This is my seven. In this case, I'm just pulling this F-minor invited F S, C-sharp, C-sharp, F for my seven. Then for my three, I play that F, dominant seventh, sharp nine. Then for my six, of course, F sharp minor seven, this inversion, so that the data into 736. Now another progression that we can do is something like 3625. What is 3625123? F minor seventh, three. F sharp minor seven to D-sharp minor seven, and then five, G-sharp dominant seventh. So just 36253. Good to me. That's a song. I praise your holy name. Oh, will this 3625 progression load? I wash my hands would bless your name. Received the sacrifice, saw my hand. You. So that's a little bit about understanding chord progression in numbers. So when you go to abandon, hear people talking about numbers, just know what is the position of that code. If you hear something like 3625? Yes. No act is three. What is six? What is 5736? What is seven? White is three, what is seen? And I've shown you different ways you can play those progressions. Chord progression like 1234, It's just one, C-sharp major seventh to D-sharp major, minor 73. I can play that C-sharp over f, or I can just play F minus 7th. Then for F sharp, major 712341234 chord progression, I really encourage you to understand these invasions, especially where we have the extended the major seventh. The minor seventh, get to those invasions of this extended chords, right? So you should see this as C-sharp major seventh, the same thing as this, same thing as this F minor seventh. Invited. See those invasions of those extended chords. Okay, now we'll be ready to move to the next chapter where we will be talking about some passing chords alone. The key of C Sharp. 4. Lesson 3 Passing Chords(Ss): Hello everyone. So in this section we are going to look at passing chords. Passing chords, passing chords. So I will start by walking you through the whole scale and showing you some passing chords you can use from one position to another throughout the scalp. So recited chord number one. But number one is my C-sharp major seventh. Then I want to move from number one to number two, okay? So I will pass through. Now. Let me give you a simple theory that can help you understand this very well. Think of the diminished seventh chord, right? And look at your destination. For example, you're moving from one to two, C-sharp, D-sharp. Between C-sharp, D-sharp. We have this d here. So I'll think of this D diminished seventh chord, D, E, F, G sharp, and B. And I'll use this as my passing caught between C-sharp and G-sharp. C-sharp, D diminished seventh, then to my, to D-sharp minor seven. Because I don't want it to sound so far like this. I'll bring this downwards. Okay? So I hold it like this, this inversion of the SAM code. So you can call these a B diminished seventh or D diminished seventh because it's also been diminished seventh, or D diminished seven depending on the inversion you're looking at. So C-sharp major seventh, diminished seventh, that D-sharp minor seven. Now, we want to move from two to three, D-sharp to F. What, what's the bus in code here? We have this e. So e diminished seventh. We invited. I never use it like that. Okay? So we move from there into two. And then 23, we are playing a one over three C-sharp home and f k. Instead of playing that E diminished like that, I can bring that C-sharp here so that I have this inversion. The same code. So that's kind of a C diminished seven. Okay? When you innovate it, C sharp diminished seven. E on the left. For the Pangea split, it diminished seven, right? Passing go to my three, which is one over three. Just not my major chords always play them with the ninth. So these are C-sharp nine there from the left. So let's move up to that 0.123. Then now we move to our fall. Now we are moving now from four to five. Okay? Four to five. I will move using this G diminished seventh between 45, okay? So that I have something like this. So I don't want this sound, so I can get this b, so that's down here. Then to that G-sharp major. But it can prevent a G-sharp dominant seven. So now we're moving from five to six. G-sharp, A-sharp. We have that. They can play that a diminished seventh, that sharp minor. We can invert it so that we played like that. F sharp, a, C, D-sharp to R6. And then now we're moving from six to R7. And we have that be. Okay. We finished seventh. And then to our five over 74 chord number seven, G-sharp over c. There's all blame that way. I can play it this way and disinfection. Then back to one. So now let me move from one all the way to the end, back to one. Okay? Now, another way I look at passing codes is from the front side. Now we've been looking at it from the back, meaning I've been moving from one to two. That is C-sharp, D-sharp, and passing through d. But now I can just look at the front of the code where I'm going to add the front. What is the NOT IN front than e. Okay? So I'll move from C-sharp and then to an E diminished seventh. D-sharp minor seven. This time I'm not using D, the codon top. Now the code in front of my destination, not behind, but now in front. Instead of D diminished seventh, I'm playing E diminished seven. Diminished seventh as my passing chord, D-sharp minor seventh. Right? Now, instead of playing that, no, I can also invited. So same thing, I'm moving from two to three. Now, two to three. So instead of going through E diminished seven, I can now look at what's my, of my destination. Two to three. My destination is three. Okay. So what is the not? The other time, what are we doing when you're moving from D-sharp minor? Then this one over three, we're passing through this E. Okay? Now we'll go through F sharp, diminished seventh. So I can, I can use it here. Instead of using that inversion, can take it back. So one. Okay, So one. Okay? Then half-diminished seventh. And you said, I can see that E, although that's a little bit out. Then to my form. And then the other time when you are going between 45, we pass through what? That G diminished seven, which we invited to that code. Now this time we look ahead. That is a diminished seventh in our tackling the G-sharp from the front. Saline, but this CO2, F sharp. Okay. Now on the left, I'll pay that air. Can network. Then our diminished. Okay. So that is the main concept. You can attack code from the front or from the back, right? If I'm moving from C-sharp to D-sharp, I can either attack it using the D diminished seventh, or I can attack it using the diminished seven. Diminished seventh chords work really well in this case. Okay? Now, let me just play as simple progression and applying this chord. I'm going to play one to 22521. I'm going to buy this. So you see I'm just playing C-sharp major that I'm using now this E diminished seven as my Python code to my, to D-sharp minor seven. And then to the G dominant seventh. Back to my one. Just train this simple progression. G-sharp dominant seventh. So as a simple progression, but now we will see more of this passing chords coming in very well when we start playing songs, right? So go through that, goes through the passing cause they've been moving along the scale and be comfortable with that now so that in the next section we'll now start tackling some songs and seeing how these things are being abstract. 5. Lesson 4 Song Example How Excellent Is Your Name(Ss): Now in this chapter I'm going to be doing a warship movement. Warship movement number one. I'll be playing. You saw him how excellent is a name or load. But you know, the concepts you learn here can be applied in many songs. The hallmark signs. What is your name? Oh, how powerful? Oh, oh, oh, oh, oh, oh, oh, okay. Played so much, but so simple. These were the progression. This is a progression that I played. How excellent I sat with code number one, C-sharp major seventh, the left half, C-sharp, g, and C-sharp, how we sell land. And then I use a parsing code here during the chapter of passing because I may not have talked about these, but these an option you can use as a passing chord, a dominant seventh chord, right? So I'm using an F-sharp dominant seven. But I'm inviting it. Undo that d on the left as my passing chords to my code number to D-sharp minor seventh. So how, What is your name? And then here I'm using F-sharp, G-sharp on the left. G-sharp, D-sharp can even just use the normal G-sharp major. Of course I'm adding that up to get a G-sharp at night. All. So that's some passing chords I'm using. I'm using that E diminished seventh with E on the left as my buzzing go to my D-sharp minor. And then I play on the left, F-sharp, G-sharp, F-sharp, and then back to C sharp. So let me play that again. How? How, oh, now, here, instead of playing F sharp, G sharp, I can also play F diminished seven, F sharp diminished seven, F-sharp, C and D sharp. So how wet? Asian. Oh, how, what Solon. So it's just a substitution. Instead of G-sharp. Humbling that F sharp diminished seven as a substitution for G-sharp. Major. I liked the swing beta x. Now let's go to the chorus. So he have good code number for the left, I'm playing F sharp and a sharp. Right? I'm playing F sharp, major seventh chord number four, but I'm not playing the F sharp. I'm just playing C-sharp, F and F sharp because I already am the F sharp here. So I don't need to play it again here. So to reduce this tension, just play this knots are voicing of the SAM code. It's just c-sharp, F-sharp major seventh chord number four. I maintain the F sharp on the left. On the right, I play G-sharp major chord number five, inverted, C, D-sharp, and G-sharp. How? Then how I played that G-sharp maintaining But the left moves to f. O. Seo, F-minor invited as C-sharp and F sharp, F sharp minor, F-sharp, C-sharp, C-sharp, and F-sharp. And then to carbon number six, which is F sharp minor seventh. But complete sharp minor seven, okay? Or you can play it like this. G-sharp diminished seventh chord substitution. Okay? So this chapter is really helping to understand the code substitutions. So instead of playing F-sharp minor seventh, I'm playing G sharp diminished seventh. Here's our custom substitution. So how wet? Oh, excellent. Okay, then the next part, how land that passing chord, F-sharp dominant seventh, D on the left to D-sharp minor seven. That F-sharp, G-sharp. Remember you can always walk. So we've got two chord number one, C-sharp major seventh. I'm playing C sharp, G, Then C, D, F, G sharp. Oh Lord. Now these just are voicing of C-sharp major seventh. Right? So the C-sharp is on the left. Then we have this seventh which is C, and then the tide is F, and the fifth is G-sharp. So normally we would play this C-sharp major, C-sharp major seventh, but now we want the ninth here. So we have this C-Sharp on the left. Of course, I'm doubling up the G-sharp, C-sharp, G-sharp, D-sharp, F, and G sharp, just voicing, voicing of tax C-sharp major. So let's play up on that point how they're done. Play this. Oh, some passing cars. They again, I'm playing C sharp meridian, the right edge sharp on the left. Image on the right with the left. And then B major on the right with G-sharp on the left. And then, and then, and then back to C-sharp, dominant seventh, C-sharp major with a B. So let's play the whole chorus. Oh, the last part, how to learn something? Is this m can play something different. So moving from that F sharp major seventh to this 736, C minor seven. C minor seven. For the three, I'm using this F dominant seventh with a sharp knife. You remember That's good. Excellent. So it's on the left, two doubles, and then S, C, D-sharp, G-sharp. How excellent. So how solar? From that code? That F dominant seven to the sharp nine. We've got to that F-minor inverted again. And C-sharp and F sharp. Then played this G-sharp, diminished seventh sharp on the left room, but that's a good substitution for F-sharp minor seventh chord, F-sharp dominant seven. Lunch. So that F diminished seven, c-sharp. Imagine, Okay, Let's play the whole song now. I remember the good thing with videos that you can always rewind. Go back to the point. So how, what, how, how it works. Again, Asians is, and how suddenly, Oh. 6. Lesson 5 Song Example Praise Song Movement Kwaito Beat(Ss): Hello everyone. So I'm going to be playing appraise session here and I'm going to be using a South African be quite a bit. Just for this precession, this South African kind of beats. I'm going to be using a bit here. Okay, so I'm using a split based on the left. Some electric piano, the right-hand. Now, for this kind of style, suitcase and a suitcase, electric piano can really walk nice, so it can, okay. So I'm combining that with a midi grant that can reduce the volume of the midi grant a little bit and make this it gets light. No doubt. That middle ground is giving me that bed and you can beat the brightness from the sound. So yeah. Yeah. C-sharp major. Yeah. I live. There are very many things can play. I'm just playing in C-Sharp Java and then F sharp on the right, and then left moves to shop. Then here I believe this D minor invited F-sharp, C-sharp, and G-sharp. D-sharp. On this point, I play these D-sharp dominant seventh. The left arm, D-sharp, A-sharp in D-Sharp on the right I have G sharp and D sharp, and they can add that C-sharp, G-sharp, D-sharp, dominant seventh, G-sharp, G-sharp, F-sharp, shop on the left, then G-sharp. C-sharp. Okay. Yeah. Yeah. Yeah. Remember that's the voicings. I'm using this for my C-sharp, G-sharp, G-sharp, D-sharp. This voicing. So like a C-sharp major seconds. The left is C sharp, G sharp than the right is C, D-sharp. Sometimes I play F sharp minor. Then here. Instead of just putting this got scandal. F-sharp minor invited to C sharp, F sharp major. See that? C-sharp. C-sharp. D-sharp minor named button. Right on play. Minor. F sharp diminished. Okay. Now on the left, on the base. Okay, just it get that movement to talk. Let's play a little bit with the beats. We've maybe TEA. So what is that doing, this kind of South African beats. 7. Lesson 6 Chord Substitutions And Voicings(Ss): In this chapter, I'm going to be talking about some substitutions and some voicings of chords in the key of C Sharp. For example. There are many ways we can voice codes. We can voice them using the servants, using ninths, sharp lines. Those kinds of alterations are, now, of course, instead of playing my C-major like this, normally, I'll play that C major seven. C. And when you invited, the voicing changes, okay, simple inversion. Okay? Now, something I could do to this C is add the ninth, okay, so, and so just playing C major, I add that D-sharp to get a C Major nine, okay? A C-sharp, sorry, at nine. Okay. This can take any format and play C major seven and add a nine. So it's a C-sharp major seven to the ninth. That's how voicing I can use. Now, sometimes I just play this chord like this. G-sharp, C-sharp, G-sharp, G-sharp. Just playing a C-sharp says to that is C-sharp, G-sharp, G-sharp. Then I'm adding delta G at the bottom. Here, there's still a seizure, but now I'm making it as us to giving you more than sound. Nice sound. Just playing C-sharp major seven. Sometimes that C-sharp says to. Now, sometimes I can also play that C sharp major seventh like this. The left is playing C and G. The right is playing the seventh, which is C. And then the second are the nine, which is D-sharp, then F and G sharp. Different sound. I can invert that code that I have, D-sharp, F, G sharp, and see they move to another chord. Chord number six, I like doing some things here. According number six of course is F sharp minor seven. The left arm up and F on the right, I have F-sharp, C-sharp, and G-sharp. F-sharp minor seven. Okay? Now I can voice this code like this. Say this. I'm actually playing a minor ninth chord, F-sharp minor ninth. Shop on my left and even add an F. And then on the right I've G-sharp, C, C-sharp, and F. That's how voicing I can use for my sixth chord, which is F-sharp minor seventh of that. And is that different sound? Okay? Of course you can imagine that. That's like an F-sharp minor ninth. Now, I can also voice what other minor code do we have? We have codon number to be minus seven. Minus seven, D-sharp, F-sharp, and C-sharp. Instead of playing it like that, I can voice it like this. So I have a D-sharp minor ninth, D-sharp, F-sharp, C-sharp, and F on the right hand. I'm playing something like an F sharp major seven. Ship with idea the bottom. This is D-sharp minor seven. Then the next chord, which is a minor, is F, F minor seven. F minus seven. Now let's go to number three. I can voice it like this. It's like an F minor 1111 because we have that sharp, which is the 11th, or the first in the scale of f. Okay, so four is the same as 11. So we are having F sharp minor seven by two then 11, so it's an F minor seventh chord. So instead of just playing F minus 71, play F minus 11. And remember, you can use different invasions and even voice it like this. I just have D sharp, G-sharp, D-sharp SIM card. Okay, Another code and what we can do. That situation is like when I'm playing the five, then G-sharp major, sometimes you play it as G-sharp dominant seventh. Or just played like this, like a G-sharp, G-sharp, C-sharp, D-sharp, and another dish up until the moment you can invert these however you want. Now, let me talk about some substitutions. Another way to look at it is thinking in terms of substitutions. For example, many times when I'm, sometimes when I'm playing a G-sharp on the right, I will play F sharp, diminished seventh. That means I'm playing a five on the left. By the right is playing out for as a diminished seventh chord. See that there's a progression. That code, especially at the end of the press, can see that another substitution I like doing, I can substitute this. Instead of playing this F sharp minor seven, I can play this substitution, G-sharp diminished seventh. So instead of playing the sequence, I play the five as a diminished seventh chord. See that? The same thing, instead of playing the fight, I play the phone, has a diminished seventh, whole step away. Same thing. Instead of playing the seats, I go down now step 25 and plate as a diminished seventh chord. Right? Instead of playing sharp minor seven, a substitution and I can use any question, anyone see that? D-sharp minor seventh voicing, G sharp voicing with the F sharp diminished one, C-sharp major seven. G-sharp diminished seven, replacing the minus seven. Then that voicing of D-sharp minor C, I'm using those substitutions and voices, so no, one to six and then two to the minus seven with that name. Then if diminished seven substituting G-sharp middle man and he invited us in C-sharp major. None of these things you can apply in any song. I just know what you're substituting for y at how your voicing your codes to make them sound a little bit more colorful. Okay. 8. Lesson 7 Song Example Amazing Grace(SS): Amazing grace. How sweet the sound that saved a wretch like me that say red light was low, was good. But now I see taus, gray and gray. Smile. Really? How gracious. Bad. Api. Number one, C-sharp major may grades C-sharp major. How suing F sharp major of a C-Sharp on the left. That's that say, you alter that G-sharp over C, and then a sharp minor. Let's say. You play this D-sharp major with a ninth, that is G, F sharp, D sharp, E, and F. D-sharp media with the F on top, then G on the left, ray passing CO2, G-sharp major, G-sharp major on the right with F sharp on the left. Our hour. C-sharp major over F was low. The image on the right with G-sharp on the left, but not F sharp major seven. Now I'm fine. Now this is an F-sharp minor with a major seventh. Okay. F sharp minor, major seventh. F-sharp, C-sharp. My will that be on the left? C-sharp and G-sharp. F-sharp major of a G-sharp, F-sharp diminished seventh with G-sharp. On the left, I see gray, c-sharp, F-sharp, C-sharp, G-sharp over that same ship minus seven. That D-sharp, kind of dominant seventh. And do that all that. C-sharp, D-sharp. Like me. What am I playing? The F sharp, G major, G-sharp. And then F sharp, G-sharp was low, C-sharp over n. F sharp major seven. Now on F sharp minor major seventh of a, B, C-sharp, and G-sharp. F-sharp over g on the F sharp diminished seven. Back to see. Okay, so that's the original him. Go through it. That different options. For example, I once was. But now I'm playing there. We measure over G-sharp on the left was low. G dominant seventh on the right with GA on the left. But F-sharp major seventh. And final. F sharp minor major seventh. C-sharp, G-sharp. A-sharp Major seven sharp diminished seven. C-sharp major. Hope you got through that. Take it step-by-step until you're comfortable with those extended chords. And those, those, of course, which I call those codes, which are off the scale. Really Samnites. And I'm using on some MKS voice, okay, It's like DX more than or galaxy, that kind of etas kind of electric piano. Like the sound of that piano in this course. 9. Lesson 8Song Example Seben Style(SS): So I'm going to do a seven kind of a play session. I have a classical guitar on my right hand. And sometimes it's good when you select that classical guitar, I like adding some delay effect. If we go to our mixing console to the effects panel, you can add some delay effect. I'm just going right here to select a delay effect. I have a delay supposed to be on, right? One, not right too. Yeah. Here that delay going on. What I will do here, just put the right amount. So what I'm saying here is I'm using some knots which are off the scale. I'm using Anki. Slowdown this tempo a little bit. Then to F sharp, then just show then at the chat. So this is like a 1454 progression for seven, which is a very common progression. Okay, so now on the left I have my bass going on with us, bleach baths because mostly normal. Most of you don't have that, so yeah. So what I'm doing here is just shocking initially. And then F-sharp, C-sharp, G-sharp, D-sharp. So it's not an F sharp, G sharp, sharp, C sharp. So it's low down tempo again. Okay, so let's now do a combination of the right and the left. Let's just put a normal temperature a little bit so fast practices some right-hand movements, left hand movements, then try combine both of them. So I'm just putting us tempo of about 115, something of that sort. 10. Lesson 9 Song Example Rhumba Style(SS): In this section, I'm going to talk about Rumba. Rumba. I'm going to play one. By one. Means by sharp major. F-sharp minor, G-sharp major, F-sharp major. All right. So when I'm playing is on the right, is the rights the right to redeem that you supposed to approach or not? So it with a beat. I'm playing it. F-sharp minor. Invited C-sharp, c-sharp, F-sharp, G-sharp. Shop. On the right, I can do something like so. Sharp, C-sharp, G-sharp, D-sharp, F-sharp. Slow down the tempo a little bit. So right and left. C-sharp, G-sharp. Okay. If you have this Yamaha PSR bit under the Latin section called Roomba island. If you don't have a custom-made bit, that's a bit that you can use. Okay? Remember, you can always modify the sounds of this bit. For example, if select a beat to go to the mixing console, you can add more punch, you can add no effect. So if I go to the EQ, I just wanted to give this bit deeper punch and go to this style on the equalization and increase the Lassa can also increase the highest. To make it more prominent. Rant even go to the master IQ and includes some low and high. We can always modify the sound of your piece, right? 11. Lesson 10 Song Example Chakacha Style(SS): So this lecture, I'm going to do a check ketchup Beats because of the reading, which is Alice will be different. So you have to play with that Jack, I read them. So that progression is one. Okay? So C-sharp, G-sharp, D-sharp. Another button I can use, this F sharp minor inverted, and then back to C-sharp major. And then C sharp, D sharp might not show up with a beat. Now, these are different progression. I'm using c-sharp, F-sharp, G-sharp, F-sharp major 654. So you just try to match the read them chip, that's a kind of movements. So you can create these bits on your keyboard if you have these kind of Yamato PSR. So just go to the programming, select a pad. If you listen to that bit. The kick is moving. Here. The undeterred listen to the kick is constant, just program are concentric. Then listen to this now. A little bit open. So I'll look for a different key kit that has that kind of a snare. So yeah, so that will help you a little bit on the area of the jacket. I'm Pete. 12. Lesson 11 Song Example Great Is Thy Faithfulness(SS): I'm going to do another worship movement. The song grid is they fearfulness, the heme. And we're going to really get a lot from this. And in my understanding, just going deeper into the key of C Sharp. So let me play this role. They were the Grady by faith. Greetings to me. Jump off with. So. So what do we do here? C-sharp major, C-sharp major seventh, C-sharp dominant seventh. So just walked down. Then, F major, F-sharp major seventh. So then I just smoke from that F to D sharp. F sharp on the right, G-sharp on the left, G-sharp, F-sharp, and C-sharp. My right. The next spot, F sharp major, G-sharp major, F-sharp major, and then C-sharp. Doro, Chinese, Hindi. D-sharp, dominant seventh sharp, D sharp, G, with C sharp. I mean, we then changes No, G-sharp. F-sharp on the left changes now. And then C-Sharp on the right with an F on the left, the icon show. They fail. No. Saw. We measure on the right with the D-Sharp on the left. Then back to C-sharp dominant seventh. With that, be, they say F sharp major seven with that dish and then to that tissue. And then gritties die. So we use this passing chord, D-sharp major. But I'm doubling up. Doubling up that edge at the bottom. With a G on the left, is now say c-sharp. C-sharp, F-sharp major seven to G on the left. F sharp minus, minus inverted, C sharp, F sharp diminished seventh, doctor, C-sharp major. Then the chorus. Greatest Jewish shops on the left, we just walk C-sharp, D-sharp, F-sharp, G-sharp. Grade G-sharp major. On the right is the F-sharp major. The left already on C-sharp, then back to C sharp major. Then C-sharp major, C major, B major. Then that F sharp or B flat, dominant seventh or manager. And do that. I see that called echelon dominant 7th Monday on the left. G might not inverted B D sharp, G sharp, and then F sharp, D sharp. So let's plot that bad. Die, die. And then C-sharp, G-sharp, D-sharp, F-sharp, C-sharp, D-sharp, dominant seventh. I have something, okay, as this stanza, up over n, I have C-sharp major over from the left that we measure of a D-Sharp on the left, C-sharp dominance seven. And then D-sharp major, or what you read is C-sharp, C-sharp, something that's in this stanza. So let me run through the whole song. With the wow changes. Though, for ray will be range is gray. Morning, morning. Nehemiah. See is I see that I provide my God Great A's typeface to be.