Complete Piano Course In The Key Of G Major

1. Key G Course Introduction: Hi everyone, Welcome and Emmanuel, I'm going to be teaching this course. It's called a key intermediate costs. So basically these are costs for those of you are at the beginner to intermediate level. And I know it's appropriate tone. You are able to have a teacher training you the piano one-on-one because you can ask questions and have a better learning experience. But sometimes I just necessarily, when you're not able to access a teacher to walk without video calls like this. But I've tried as much as I could to break down the concepts in a very simple way so that you'll actually feel and imagine that I'm seated right next to you, showing you these concepts on the PM. So in this course, I'll start right from the beginning. I'll show you how to construct codes from the basic triads to more advanced codes. I'll show you how to voice those chords. Well, when you're playing songs, I'll teach you the number system so that you'll be able to play in a band set-up where you have other instrumentalist, how do you interpret numbers into codes? And then, apart from the theoretical concepts, I'll also include practical some examples so that you'll be able to see how these concepts are applied in a real situation. So I encourage you to go through all the content of the course, and at the end of the course will have a project. There's an assignment I'll give you, will be able to go through the assignment, give me your feedback, and then I'll be able to give you an assessment of your plane. So I hope you enjoyed this course. Let's get right into this. 2. Major Scale Fingering Exercises & Theory: All right, welcome to this course, G-Major. This being our first chapter. Just like to encourage you to land their love yourself from one key to another, one key to another. That's why we are making causes based on keys. So you realize that the concepts from one to another just the same. If you must have one kid becomes easy for you to master another key. And as always, the first section, what I like to begin with is looking at this scale, simply the major scale, okay? Because it's from the major scale that we build all these other things. Alright? So the G major scale, G, a, B, C, D, E, F sharp, G. Okay? Now what I'd like us to focus on would be the scale fingering. And I like giving this lesson about scale fingering because it helps you develop flexibility number one and speed on your fingers on your own. You're working on these key. And it's a good exercise just to warm you up when you want to start playing. Now, that's what I want us to do. Bayes, the fingering for the right hand. There's a fingering for the left hand, and then they're combined. Fingering for both hands. Now, students will do classical piano, spent a lot of time on doing this fingering patterns. Now if you're playing by ear like me, you may not be very keen on this specific fingering that you're using, but these are recommended fingering that will help you play the scale fast and smoothly. So it's good to borrow. I live from our classical friends because those exercises really help you to develop speed and flexibility. For the right hand. The fingering I'm using is this for the major scale? The time is always finger one, then finger 2345 on both hands, okay. 1234512345 is one. Then you move progressively like that. So the right-hand finger in this watch you do the thumb and finger to finger three on D. And then we'll do a switch back to finger one on C, then finger on D. And E. Finger for an F sharp, finger five on G. So one, switch back to one, then 2345. Then you will move backwards the same way you went upwards. Okay. Five, 4321, and then 321. Up and down. You just take note of where that switch is happening between the B and the C. Now for the left hand, the fingering will be opposite, will start from finger five on the G. Then we move to the full three, finger to finger one, then switch to finger three. Anything got to. Then think. Okay. Then switch to think that three on the E. One. Then just move backwards the same way you went up. Okay. Now, after you are comfortable with both the right-hand and the left-hand, ascending and descending. Now you can do a combination of both hands, okay? This may take you some time, but it's good for you just to do this practice until you get this okay, because this will help you in coordination on your plane. Sometimes when you're doing different movements on the left hand and different movements on the right hand. Okay. So you'd play something like this with both hands using the fingering that you've given. So you start with a slow speed and then just increase the speed. Unfocused more about accuracy than speed, okay? They will up your accuracy as you increase your speed, but priority on accuracy. So you just start with a slope. Then you increase your speed as you continue, right? That's a good exercise to do, just to help you must add the major scale and also to develop flexibility in your fingers. As you know, a major scale has eight nodes. And from the first node to the second note, you have a tone which you call a whole step from G2 because you're skipping G-sharp. And then from a to B, that is two to three, you have a ton because you're skipping the F sharp here. So then there's interval overtone. And then between the three and the four B and C, we have a semitone because there is no in-between here. Semitone is also called a half-step. And then between the four and the five, you have the interval overtone from C to D because you're skipping C-sharp. And then from five to six, D to E, the interval of a tone because you're skipping the D-Sharp. And then from six to seven years, the interval overtone again because you're skipping F. And then from seven to eight years, the interval of a semitone, because you're moving straight from F sharp to G. So you just need to understand that on a major scale we have two semitones to semitone intervals and the rest of the intervals are tons from one to two. G2 is a term that don't simply means you're skipping and not in-between. Okay? G to F, to1, to be tons, B2C, three to four semitones. Okay? Three to four, remember the semitone. And then again, seven to eight is another semitone. Semitone. Four to 55 to 66 to seven at seven to eight as semitone again, you're not that between the 34 and between the seven and the eight, we're not skipping any node. That's why we are calling those semitones, but the rest of the intervals between the nodes afternoons because you're skipping one not in-between. Okay. Thank you. 3. Nashville Number System In Key G: Alright, now we move to our next section. After you're done with this scale, fingering patterns and all that. Now, I know some of you know this, but just to bring all of us at par, I'm going to talk about the Nashville number system. And it's important to understand numbers because you're playing in a band setting. They will be playing with guitarists and other musicians who may be at assigned a number system and you don't. And you need to understand how to communicate in number, because it's a simple way in which musicians communicate. Instead of us talking about codes all the time, we'll just talk about numbers, right? So that we can quickly show each other numbers. And we will quickly know the progression of a song and we'll know what codes we're supposed to play. You understand? So maybe you know the number system, but maybe through this you'll also understand the different options, of course, that you can use at different positions on the scale, right? So the Nashville number system is just called the number system basically is a way of assigning specific type of codes to specific positions on us can write as scale has eight positions if you consider the first and the last node, okay? But if you don't consider the repetition of the last node, basically have seven nodes. For example, on a G major scale, we have a, B, C, D, E, F-sharp. Those are the seven notes on the eighth is the octave, which is the repetition of the one. Now, on each of these positions, on each of these seven positions, you'll be required to play a specific code. Okay? So you play a specific code on each position of the scale. In the first position, you play a major chord. On the second position, you play a minor chord. On the third position in play a minor chord on the fourth position, you play a major chord. On the fifth position, you'll play a major chord. On the sixth position, you play a minor chord. On the seventh position. You play at diminished chord on the eighth position to play a major chord. So these watching mean chord number one, chord number four, and number five, our major chords. So in this case of Qi Jie in code, in position one, you play a G major chord. And D in position for you play a C major chord, which is C, E, and G. In first John five will pay a major code which is D, F sharp, and a one is G major. C major, five is D-major. So those are the three major codes on the scale. Okay? And then the minor chords are also three position, two, position, three position. So position to play an, a minor chord, that is a, C and E. Position three, we play a minor chord, which will be a minor chord, B, D, and F sharp. And position six, play a minor chord, which is E, G, and B. So the three minor chords and minor, B minor, E minor. Right? Now as you continue, you need to at least beginning to use that use that you start getting the difference between the different sounds of codes. These are a major chord sounds. These are way a minor chord sounds. So when you begin familiarizing ourselves with the different sounds, the differences in the sounds of the major and minor chords becomes easy for you to begin identifying chords in a song. So here, song and you'll be able to identify whether it's a major chord or a minor cord. Those are the main causes are using songs, but you'll just find that the others are variations to that, okay? Or additions to that, or adjustments to major codes are minor chords. Okay? Now, we have said we have three major chords. One, G major, C major, D major, three minor chords, two, minor, three, D minor, E minor. And then on the seventh position, you have what you call a diminished chord, right? I remember at position seven, F sharp. So that means you'll play an F sharp diminished chord, which is F sharp and C. Alright? What you just need to understand is that dementia code is found by using the root. The third, and the fifth of the scale of the key that you are playing. A minor cord is formed by flattening the third of the major. So for example, if you have a G major chord as G B and D, G minor, just flatten the B, bring it down to B flat. So that becomes G minor. If you want the diminished chord, you now flatten again the fifth, which is d. Down to D-flat or C-Sharp. So that becomes a G diminished chord. G, B, D, G major, G, B flat, D, G minor. G, B flat, D flat, G diminished. Okay? You just need to train your ear to pick up the flat three, flat five. In the case of the diminished seventh, diminished chord, G major, G minor, G diminished. So let's run through all those code throughout the scale of G, from number one to number eight. So coord number one, G-Major chord number two, minor chord number three, b minor chord number for C major chord number five, D major chord number six, E minor chord number seven, F-sharp diminished, back to eight, which is the seventh one. That's G major. Okay, now, let's take it to another level. Where are we now begin talking about extended codes and what I extended codes. These are codes which they stack up upon the triads. Triads are codes which are three notes, of course, what you've been playing here. But now extended chords begin adding in four nodes, five nodes. Okay? So now we can still play that the number system using those seven chords, but now using extended chords. For example, in position one, instead of just playing the G major GBD, we can now play a G major seven chord together, G major seven chord. You add the seven which is F sharp. So you know how D and F sharp. So that will be accord number one, G major seven. Okay? And then number two, instead of playing a minor SET, you cannot play a chord which is called an M minus seventh chord. Now, you add the G. The G, because for you to get a minor seventh chord, you add the flat seventh naught, right? So in the scale of a, a is the eight, G-sharp is the seven. G is the flat seven. So EEG gives you a minus seven. That's just a little bit on the theory about major seventh. Minor seventh chords, right? Complainant bonus, G major seven, G, B, D, F sharp. Cord number to a minor seven, ACTG code number three, B minor seven, D sharp, F sharp, give us B minor. Then we add to get B minor seven. Chord number for C major, initially CEG, but now we add a b to get C major seventh. Then code number five. Normally you'd find cases where you will play a chord we call a dominant seventh chord. And the theory behind it is that you first have the major code, okay? I shop at a and then you add the flat seven. In this case, D is eight, C-sharp is seven. C is flat seven. So when you add the C to the major code, you get the dominant seventh, D, F sharp, a, and C, position five, giving you the dominant seventh chord. So just note the difference that on the one we played G major seven. On the fall, we played C major seventh. On the five. We don't play D major seventh, but the dominant seventh, right? Then on the six, we had the E minor, initially, EGB, and now we can add the D to get E minor seven, okay? And just a rule of thumb is that you can always play your minor chords as minor seventh all the time and the sound perfect, right? So always add those sevenths, okay, they make them sound really nice. And then put the shoe on seven. Remember we had F sharp diminished initially, which is F sharp, a and C. And now we can play diminished seventh chord. So we add a D sharp. Now the theory behind the diminished seventh chord is you add the flat seven. Okay? They're not the flat seven, but the six, the six to the diminished chord in the scale of F sharp, okay? Is D-sharp. So the sixth note in the scale of F-sharp. Remember when you're looking for codes, you have to go to the scale of the key. Okay? Even though we had in G, we're looking for any code for mentions. In F-sharp, we have to refer on the F sharp major scale. So the F sharp diminished chord is F sharp, a, and c. By the F sharp diminished seventh chord, you add a D-sharp. Okay? Now another option in position seven that we play a lot. Instead of playing the F sharp diminished seventh, you can also play code number seven as minor seven flat five. Okay, so what do we mean by that? You play F sharp minor seven flat five. So what is F sharp minor seven? F-sharp. C-sharp is F sharp minor. When you add the E, F-sharp minor seventh, the way is the fight or flight is C-sharp. Bring it down to C. So you play F sharp, a, C, and E. That's an option you can use. Okay? So remember you can play diminished seven, minor seven flat five. Okay? Then of course you go back to eight or one, which is the G major seven. So let's play those codes now. The number system from one to eight, but now using the extended codes, okay? One, G major seven to minus 73, minus seven. For C major 75, D dominant 76 minus 77. F sharp diminished seventh, or F, F sharp minor seven flat five. Or sometimes you just play F sharp minor seventh in some situations. And then back to eight or one, G major seven. Okay? So it's important that you just get yourself comfortable with this one. To me, for seats, 78. Okay. That's basically what is referred to as the number system. And it's important that you master this, because when you must add this in this key, you just transferred the same knowledge to another key. Concept remains the same, right? So in the next section, I want to talk about chord progressions. Now we are moving hierarchy. So after you must have the number system now you're ready to look at chord progressions because now we'll begin forming songs because as long as just a movement of codes, just progression of code, someone one progression to another. So we look at chord progressions, common chord progressions, how to interpret chord progressions. And it'll be borrowing a lot from this chapter. So ensure that you must add this code's very well. 4. Understanding Popular Chord Progressions: Okay, So in this section I'm going to talk about chord progressions. And I said you're going to be applying numbers that we covered in the previous chapter. So what I'm plotting here is just a simple tune that will introduce us to the most popular chord progressions that you will find in many songs. That is the 251. Okay, fall, 736. Okay. But broken down. You'll hear mostly we're talking about the 251736. Okay? Now you'll find these kind of progressions in very many places, okay? And when you understand this progression, you be able to interpret many other chord progressions because this is like the foundation of many of the chord progressions that we have in many songs. Okay? Okay, so what is a 251 chord progression? Remember from the number system, what is called number two, m minus event. Okay? Now this code can be played using various inversions. We can play it in the original position as EEG, or we can play it as what? C, E G, F, E G, C. Okay? So you can pick a minor seventh. Or if you leave out the g, just have the air minor. Okay, so that's called number two, minus, or a minus seven. So just playing inversions, okay? So that's called number two. And then notice the five, D major, D dominant seven. So two in the basic chords. And minor five is D-major than one is G-Major. I'm just playing G major and this inversion, EGB, instead of G, B, and D, I'm just bringing the D here to my nine, this invasion. Esc five, D major one. So 251, okay? Now we can also play that same 251 using the extended chords. We have minor seventh, this inversion, E, G, a, C, and then D dominant seventh. Remember the five, we'll play that as the dominant seventh or two is minus seven and minus 75, dominant seven, D dominant seven. And then one major seven. So in this case, I play G major, and then I'll add the F sharp to get G major seven. So I'll have D, F sharp, G, and B. So it's still a G major seven, but in a different inversion. So in this case it's d, F sharp, G, and B. Okay? So we have two minor seven. Find the dominant seventh. One, G major seven. So I'd just like you to start with that excesses. And on the left I'm just playing each not the best, not in w, d, t, 251 and down due to trade, these invasions until you get it comfortably. Okay, to minor seventh, the dominant seventh, G major 7251. Okay. You can play two different readings, okay, can put like assumed to eat. So I started, I am playing a simple melody. E. I'm just pulling with the notes of the scale, okay? I'm starting from the E, E, F sharp, G, then the a minor seven. So I'm just bringing this. And then I land on the D dominant seventh. Then after they land on the D dominant seventh, I played this melody. D e, g. I can play D F sharp, D E, F sharp, G major seven. So this is just a tool to help you practice these 251. Okay? Then the next chord we can play in this tune that you're playing is a four. Now, remember alpha is C major. Or we can add the beet, get a C major seven. The lift you up. Let's see. Okay. Then after that, we now move to another progression that we call the 736. So remember we have our 251, then we have the four in the middle. Then we have a 736. What is that 736 progression in the key of G, what is called number seven. Remember who said it and played it as F sharp diminished or F sharp diminished seventh. We can just also play it as F sharp minor seventh, F sharp, C sharp, and E. All we can play it as F sharp minor seven flat five. Bring down the C-sharp to say, those three options can walk. F sharp diminished seven, F sharp minor seven, or F sharp minor seven flat five. So we are not, we are going to play a different inversion. In this case. We'll play this inversion, C sharp, E, F sharp. And it is an inversion of what? F sharp minor seven. Choosing to play it as minus seven. The seven, F-sharp, C-sharp and E. I'm now playing it as C-sharp, E, F sharp. And I'm choosing that for my seven, okay? You can use all the other options, okay. With F sharp on the left. So that's R7. And then what is our three? B minus seventh, okay? B, D, F sharp, B on the left. Although sometimes some people may play that three as a dominant seventh. Okay? This case you just bring the D to D-sharp. You'll have a B dominant seventh chord. You can play it as B minor seventh or be dominant seventh. Those two options work for the 736 progression. And then the six now is E minor seven. Remember E, G, B, and D, but we'll play it in this inversion. B, d, e, g. So R seven, F sharp minor seven to our three. The dominant seventh, the minor seven to our E minor seventh chord, 736. So let me play the 251. Remember we have three parts, the 2514, then the 736. So too, with our melody for C major seven. And then the melody again, E, F sharp, G to F sharp minor seventh, E, F sharp, G, F sharp minor seven. Then on the three. I got to play the D minor dominant seventh, okay, so in this case, I can choose to use the dominant seventh because it sounds better for my tune, okay? Then I can end it. On that six E minor seventh. I played that D sharp, E, F sharp, and land on the E minor seven, okay? So remember we have the 251. Then the fault, which is C major seven. And then seven. 36 saw the full genome to seven. Okay, again, 514736 minus seven. Okay. So this gene is just helping you to practice and understand how this progression smoke final time. Okay? Now, another progression that you can hear many people talking about is what we call at 362514. Okay. It's long, but basically it's a 36253 minus seven. C minor seventh, minor seventh, five, D major. But in most cases now on the five, instead of just playing the D major, D dominant seven, usually the code that is played is what we call a flat seven. What is our flat seven in the key of G? G is H, F sharp is seven. If it's flat seven. Now, you will play an F major seventh chord, which is F, E. But you played in this inversion, c, e, f, it, with the d on the left. These what we call a flat seven with a fight. Okay? Then on the one, play, a G dominant ninth chord, which is G, B, D, F, and a. So basically at 3625, chord progression will be the minus 7th for the three. It might not for the six, minus seven for the two. Okay, these are the basic progressions. Three, B minor 76 minus seven, I'm playing a minor seventh in a different inversion. Instead of E, G, B, and D. And plane B, D, three, B minor seven to E minor seven. So that's three to six. And then two to n minus seventh. See g, five is d. But in this case, we are saying will alter this so that we have F major seventh in this inversion, CEF. And then when you go to the one, playing, the G will play from this F major seven. So if playing the normal G major has one, will play a G dominant ninth chord. Which simply is G, played with the left hand, G, B, D. That's G major. When you add the f, you get a G dominant seventh. When you add them, you get a G dominant ninth chord. So this is the kind of code that will be playing on the one. So remember we are playing at 36251, okay? So on the one is the quadrat that will play. We have two G's on the left and the right hand is playing B, D, F, and F. Okay. So we'll have three, six to five, but with a flat seven on the right, which is F major seven. And then on the one, G dominant ninth. So 362, flat seven with the fight on the left. Then to one, which is G dominant 936251. Usually this will move to for the next chord, which is C major seventh. On the right, I'm playing C, G and C. I can even stretch to C, G and E on the fault which is C major seven. So 3625136514. So I would progression to practice. Okay? So when you hear about progressions, you'll hear numbers from simple progressions to more complex progression than this. So if you just go to abandoned, hear people saying, No, we'll play a. 251. Just note too is minor. Five is D major, one is G-Major. 3623 is B minor, E minor to his Elmina. Okay. 14151, G-Major. For C major, one, G-Major, fight dementia. But remember, we have been looking at more practical alkyl bit quote unquote complex progressions. Because most of the time these progressions, we need you to play those extended chords. Okay? So start with the 251, simple 251, and then adding the extended chords to M minus 75, the dominant seventh one, G major seven. And then the 7367. Simply put, seven is F sharp diminished three, B minor six, E minor 73, six. But how do you advance? It? Can play that F sharp diminished or F sharp minor seven. And then remember we did an inversion. In that case. We played it here. C-sharp, E, F sharp, and a seven, and then the three, b minus seven, or be dominant seven in some cases, okay? Then on the Sikhs who played E minor seven, but in this inversion, so practice that's 736736. Okay? Then the three is six, 251436255. On the right we're playing A-flat seventh, which is F major seventh chord in this inversion. One, G dominant, nine, GBD. So that's good with progressions. And we'll go, we'll get more practical on progressions as we move on to practical song examples, you'll see how to interpret progressions even in a better way. Okay. 5. Chord Voicing And Combinations: Alright, in this section I'll be talking about voicing, voicing styles. How basically is about how to make your chords sound different, okay? Or giving your codes at different touch, some codes, but you can just give them a slightly different touch. So for example, I'm just playing G-Major chord, in this case, random, so that it can just be free flowing. I'm playing a G major chord, but I'm not on the basic Zhe, okay? That's a G-Major. But here's what I'm playing. Now. What I'm playing here is a G-Major, but I'm building it up on a g, suspended too cold. If you look at the notes section where I'm talking about suspended chords, we have two types of suspended chords we have asked us to assess for. Okay? So a suspended chord is basically a code that does not have the fat. Remember on a major chord, you have the root, which is the one, the third, and the fifth. So we are making that be a second. Bring the belonged to a or you can make it affords. Take it to, from B2C. So we have G, C, and D. That's how Jesus, for Jesus to having that Jesus to. And then we are doubling up the D. At the bottom becomes our voicing for our G-major. The left I have g, d, and g. Remember you can also stretch from that G to a B. Okay? Alright. Most, some people will call this drop-two voicing mainly because we are, we are, we are moving there. The third here, we have G, D, a, and B. The left with a, D, G, and D. And so sometimes that as my one and of course are common way to voice call this use inversions. Inversions really helped a lot. As simple as they may seem. That's a G-major. G-major as a G-major, different individuals of the same chord. G, B, D, b, d g, d, g. Now you can invert even the extended chords, the seventh. That's a G major seven. G major seven. G major seven. G major seven. Okay? Also not the sigmoid passions are very good ways to voice your codes. Of course, you can add age yet, okay? Okay. Now, let me look at another way I can voice my g. If you look at this inversion of geometric or geometric seventh, okay? I can play it without the root. That means you live out the g. And most of the time that's what I'll do. I'll leave out the g because I'm already covering the G on the left, in fact, twice. So that's our rootless way to play the chord. That means you're playing without the root of the chord, which is G, Okay? So playing without the GI complaint, my G major seven thing that I can add it be at the bottom. Also. Another way I can play my Geomagic is like this. It's a G major seven. But I'm adding the tool is asked to remember which is the n. On the left, I have G, D, G on the right I have, which gives me the major seven, F sharp. And then another total, sum adding a 72, the major chord, okay? And in this case, remember I don't have the fat, not be, although facing one the third, I can crush these two nodes, a and B. Okay? So that I have this on my right hand crashed. And that can be a way of playing my one. Sounds more. Right. Another way I liked playing my D is playing, playing it with a five on the right hand. Just tricks that can help you interpret. Okay? So for example, I'm playing a five on my right-hand. It's a D major, but I'm just doubling the d and then a one on the left. It's kind of a G major seven. Again, that too. So I can play a five anywhere. What's up? I can just play a D major here. Remember my five is D-major. The number system. I can play any inversion of dementia, for example, that the measure that one, that one. But with the one on the left, which is my g. So I'm not playing a five, I'm bleeding or one. But in my mind, I know I'm just using that to help me voice my code and play my one like that. I find to the one on the left. So it gives me that good Seven and SAS to sound. And even played like that, doubled at a dive shop. Stretch that to the beat. That's all I can play my mom. Okay, tipsy and there another code for example, and I'm playing a six or a minor chord. Let's look at the minor chords. Or when I'm playing D minor, that's the regular E minor. Gb, Fant in minor seven, D on top. Good way to start. Inversions, of course. That's a minor seventh and inversion of E minor seven. Now, you might know seventh away I like to voice this is to play the minor ninth, okay? So remember that D is giving you the minus seventh, the minor ninth. You add F sharp to the E minor by, because the nine is the same as the two that you get the minus 11th chord, the minor ninth called by adding the second, not on the scale of E. Okay, we're in the key of E. The second note on the scale of E is F sharp. F sharp. The two is the same as the night. So if you want the minor ninth, you will add that F sharp minor seven. Okay? So you have GB and the giving you minus seven. And then you now add the F sharp to get the minor ninth. Now because this code is quite a stretch, what we will do, we'll break it up. E G, B D, F sharp minor 11. What we will do, I will play these notes on my right hand, G, B, D, and F sharp. And then the E, I'll use my left hand to play. I still have that E minor 11, G, B, D, and F sharp. Minor ninth, sorry. But now the E is being played with my left hand. Okay. I can play my seeds. Can move it here. So in other words, what I'm playing on my right is a G major seven chord, but I basically, I'm okay. So just think of it as G major seven with E at the bottom. That's how you get an E minor ninth. Okay? So if you think of it like that, I can play a G major seventh on my right hand on any innovation. But to the base of the E on the left. And I know I'm playing a six. Okay? So I can play, for example, this inversion of G major seven, but I basically two then e. I know I'm playing my six, which is an E minor ninth, okay. I can play it here at the bottom. Or I can play even just a one, the normal gene. So long as i basically than e on the left, remember that becomes E minor seven, okay. So anyone on the right with a six on the left? That way I can voice my seat. I can even use, remember that rootless voicing of G major seven. G major, G major seven. I leave out the g, Then E on the bottom. So any, anything, any voicing of the one that we talked about? But with Justin, the base of the left to eat gives you a voicemail off. That sounds nice. Has the regular one on double notes about that. Okay. Another way I can voice it is using the three. Remember code number three is B minor seven, F sharp, and I can play that three, but basically two than e on the left. Okay, Sounds good. I can even play it like this. It's an E minor. Remember, the normal E minus 17 disinvestment, b, d, g. But I'm pushing the air. This case you are getting an E minor 11 code because now the air is they 11 in the key of E. 11 is the same as four. Remember, e is one or eight. F sharp is two, or nine. G-sharp on the scale of E. E is one or H. F sharp is two, or nine. G sharp is three, or ten is 11 or four. So minus seven. Then the, adding that the fourth scale of E. What is the two in the scale of g? Telling that voicing used for E minor seven, D. If you're moving, for example, and as long as moving from one to six, okay, Let's look at how we applying this voicings. One, G major 76 minor, E minor seven, okay? So a different way. For example, in the one, seek and maintain that voicing. One, G major seven to the ninth on top, G, B, D, F sharp. Then to the E minor seven, can maintain the same voicing. Or we can move to another voicing. Here. That G major seven voicing without the root. Okay? Then you doubled the d one. You just took that away. Voicing not sound. So long as they are maintaining the root to the node that we want, we have a lot of freedom. That's the point. You have a lot of freedom on your right hand. There's just good to experiment different voicings and find out what works. Maintain the root. Then find what, what talks on the right. Now, for example, if I'm playing the two chord, which is m minus seven, is G. What are the voicings? And here I can use, if I look at this code, this, how you interpret, I'm seeing a C major here, okay? So if I play anything, C major, C major seven, so long as I maintain the arrow on the left. Absolute being an air minor but different voices. So I can play that a, E and F on the left and playing a C major on the right. Okay? That's n minus seven. I can even add a b to get an a minor ninth, okay? So in real sense, I'm playing a C major seventh on the right, CBGB with air. Because it is C major seven. I can play that C major seven on any inversion, for example, I can play it here. Using this inversion G, B, C. Maintaining the L on the left. That's an inversion. Minus seven. That's called number two. But now becomes a minor ninth because now we're adding the clay like that. But it's still called number two at the end of the day in our mind, what your plan is called number two, which is the foundation is the a minor seventh chord number two. Another way I can also play it, can even play it like that. Now, in this case, I'm using the three, okay? It's a slightly different voices. Can still work in some situations. I'm just playing with three on the right and two on the left. Or I can play, it isn't displace. This. To the left, but with a five on the right, which is a D major. Then I can alternate this plate like this. D. Okay. Okay. Wow. As asphalt. Asphalt because this is a D and E, that is S asphalt with an N and S asphalt can also act because the difference is only the difference between between that and the minor seventh is there. Minus seven. Then make successful as asphalt. And also hold that gene to that, to that it gives us a suit sound. Shabbat voicings is all about making child. And using your ears. Listen to what sounds good, right? On the Fight, for example, do you match up a call that I would like to use here? Sometimes would be this diminished seventh chord. C diminished, C, D-sharp, F-sharp. Get the C diminished seventh. Yes, Adam, I like this voicing playing D major. And use that C diminished seventh. So for example, if I'm playing 2512 minus 75, that C diminished seven, then to one. Landon that G major seven. Okay? Let's apply, for example, this voicing on to number this voicing, the C major seven. Then for the five, using that C diminished seventh. And then on the one, G-Major ninth, ninth on top. So two voicing. One. So you can practice that. The seeds can use this voicing. Okay? It's kind of a B minor seven, F sharp, a, B, and D for the E minor. So on the left half, EB, and eat on the right half and F sharp, a, B, and D are good voicing for the E minor chord. So we have 2516 factors, this progression, 16516 to one. In this case, for my one, I'm using a different voicing. G, G on my left. D, E, F sharp, right? So those are some options for voicings that I believe can help you explore more. Use your EMR to listen and you'll discover many more voicings that can walk in your case. Okay. 6. Passing Chords In Key G: Okay, So in this section you're going to do something very exciting. What I love, and these are called passing chords. K, Of course we're in the key of G. Now, these are just movements which help you to move from one chord to another. Passing movements, meaning that they may not be part of the, of the song. But there are movements which help you to fill in gaps and to transition from one code to another. Okay, So let me start just by saying that on a scale, as we said before, we have eight positions, 1234, 5678, for example, in G-Major scale. Now we can have passing called as we move from one chord to another. Okay? There are different kinds of types of codes we can use, but some of the best that I like using most of the time, our dominant seventh chords and diminished seventh chords. Okay? Those two types of cones aren't really what I would like to highlight in this section. How we use those two types of codes as passing chords. And that's all. You need to realize that in every key the concept you apply in one, in one q and you're finding passing cause, you just translate the same thing. In the other key, concepts remain the same. So for example, here in position one, I'm playing my G-major chord. Okay? Now onto move from 12, right? So I want to move from G major to minor. Remember code number one is G-Major, chord number is n minus. So now what I usually do is I think of it. Okay, my destination. I can arrive at a using two positions from the front or from the back. Okay? So I'm going to add mine up. I can approach this Amina from the shop or from a G-sharp. Okay? There are two ways. Now. That is the case where I want to use a diminished seventh chord. So when I'm moving from G-Major, and the next code is u2, which is a minor. I can use this F sharp diminished seventh chord, which is F-sharp, C-sharp, E, and G. Or I can use a G-sharp diminished seventh chord, which is G-sharp, B, D, and F. These are two options. I can use F-sharp diminished seventh chord, or G-sharp diminished seventh chord as a passing chord, E minor or minus seven, if you add a G minor at the jeep, get a minus seven in whatever inversion that you are in. Minor, G minor seventh. So what we mean is this moving from j. And then I pass through this G-sharp diminished to mine. And minus seven. Or I can start with my J, then F sharp to m. Now what you realize is that you can always invert these codes. Now when you're in a vat, diminished seventh chords, the name of the code may change. For example, I'm trying to avoid this kind of woman, for example, from G all the way here, okay, To The G-sharp diminished seventh chord. What I can do, I can bring this f here, okay? So that I have this code. Now. It is a G-sharp diminished seven. But when I invited, when I bring the FOEN, the name of this god can change. It's now like F diminished seventh, okay? If G-sharp, B and D, right? So you can think of it as G-sharp diminished seventh or F diminished seven. So I will maintain the root on the left and the G-sharp. So I'm playing a slash code here, F diminished seventh edition. Good morning. So then to my two now, minus seven. Now there's this song, I love our ships on how excellent is your name? Oh Lord, I know. I'll do I'll do an example. But I would like to mention this here because of just the section of the song. I want to mention how their progression is. One. And then this passing codon, which is the flat two, because the two is a G-sharp is A-flat to how you play the five. In this case, I'm playing D dominant seventh chord, D, F sharp, and ASD major. When you add this two, you get D dominant seventh chord. So it's one, flat two, which is our parsing code. And then 251, back to G-Major. The username. An example of how you can apply that passing data parsing code we said you can apply. Remember we have been using that G-sharp diminished seventh, but we just invited the F down here. We can use the F sharp diminished seven. The same thing. You can bring the g here. So in essence, you are using a G diminished seventh chord, which is the same as F sharp diminished seventh. So you can also use this diminished seventh chord. Doesn't go to the M line. Okay? So we have to use a shop. How? I'm trying to keep this simple because this course is meant for the intermediate, beginner to intermediate level. Okay? So that's an example of how we approach our position of our code using diminished seventh chord as a passing chord. Remember, just to mention again, if I'm moving from one to two, my destination is two. I can approach these two using G-sharp, A-sharp back or front. And you can use this as a diminished seventh chords. Okay? A final example in this diminished seventh application, for example, if I'm moving from four to five, what is four to five? Of course. Five is D. I'm moving from C major to imagine, I'm looking for passing chords in this position. My destination is what, five. So I can approach this five from two angles, from the C-Sharp or from the dishes. Just make this as C sharp diminished seventh chord, which is C-sharp, and G-sharp. D-sharp, diminished seventh chord, which is D sharp, F sharp, a, and C. So we can approach this code using that. So now remember we can invert these codes instead of playback C-sharp dealt and bring that shop here. So in other words, we have an F sharp diminished seventh chord. Okay? So sounds better. Because they're nuts are coming a little bit closer instead of having that, have it down here that we're playing. So remember we can play the D-sharp diminished seventh chord. Okay? So then bring the C here. Okay? So Slack as C diminished seventh chord. Then it blew the D-Sharp. Remember you can invert it again, instead of using these can bring the air going back. So you have like kind of knowing a diminished seventh chord. D-sharp, F-sharp. Okay? Now, an exercise that you can do with this diminished seventh chords. Now for example, we can use dominant seventh chords. Now, let's fast leave the diminished seventh that place. Let me talk about the dominant seventh chords as passing chords are. What you need to do is look at your destination and ask yourself, what is the five of your destination caught? What is the five in the scale of that key? For example, yes, you are blaming key J. And we want to move to a minor from Jamaica. And might now ask ourselves, what is the Phi of x in the scale of a? Now in this case, you need to know all the major scale. So what is the wife of a major scale? B, C-sharp, D, E, F-sharp, G-sharp. I encourage students that even if you can't play in every key, at least not all of the major skills that will help you a lot in constructing codes and pass encodes the five of e. So it's e. So you play the E as the dominant seventh chords. Okay? What is E dominant seven? E, G-sharp, B, and D. That will be a dominant seventh chord. And you can pay to that G-sharp on the left. So that G-sharp, because we are going to minor seventh. Eg, you're playing an inversion of a minor seventh, okay? Eeg, EEG. So one, one, G-Major, dominant seven to minus wonderful cord. Now you can use any international border. I can put it up, I can play it here. One, G-Major, playing this inversion, D, G-sharp, B. Now, see what I'm doing on the left. I'm using G-sharp, B, E, G-sharp. Essentially you're using notes that are in the code when you are at GOT. Okay? So I'll say this Focus. Another example. For example, I'm going to fight from four to five. From C to D. I'm looking for are parsing code here. So I'll ask myself, what is the five of the scale of key D? D, E, F sharp, G, and B, C-sharp, D. D's. So I can play head dominant seventh chord, a, C-sharp, E, and G as my passing chord with the C-sharp now to my five, which is D. So like from four to five. Now I'm just to move from four all the way to six using passing chord, the dominant seventh chords. Okay? So from four to five, remember, the five of D is that dominant seventh chord. The five of P is what? B. So B, dominant seventh chord, D-sharp, F-sharp. And so these ones will have for passing chord, a dominant seventh chord. Five. Be dominant seventh chord. As our blessing god to our six, which is b minus a. I'm using this inversion of E minor seven. E, E minor seventh is EGB. So I'm playing G. Okay? So simple example of how you can use dominant seventh chord as you're passing chords. Now, days are movements which we can hear a lot in most gospel songs, which is used as a passing movement. Now this is like a movement, meaning several codes that are used as passing chords. Just one chord. In this case, while you are just using a dominant seventh or diminished seventh chord, you can use a movement, okay, So for example, you'll hear this when I'm moving, for example, a six. I know my six is a minor seventh. So you'll hear a movement like this. Then. Maybe let's assume this was the movement of the sun. I think you've had that moment in many songs. So that's an example that's a several codes being used as passing chords, okay, before you get to the sixth. Okay? So basically what is happening here is you think of your destination as E. Now you'll use not only one chord, but our movement of codes in the scale of E. Okay? So for example, bees, the five of E will suffer from the five. And then we'll go to the sixth of e. Then you'll play the seven, and then you play the two. Then you land on the E as your one. Okay? These are not on the scale of E 12345, so we are starting from the five of six of seven of E, two of e to the e. So what are the codes? Define f of E is B major. I'm playing it in this inversion. B major, B, D-sharp, F-sharp. I'm playing F sharp, B, D-sharp, B major, C-sharp Minor, which is the sixth of E. Okay, I'm willing C-sharp Minor. In this inversion, C E, G-sharp, G-sharp here, G-sharp, C-sharp, E, B. B major, C-sharp minor. Then for the seven, I lose a slash code, okay, which is a five over seven in the scale of E, which is B major on the right, with the D-Sharp on the left. And then for the two of e, that is F sharp minor chord, F-sharp, C-sharp Meet so that I have C sharp, F sharp, and then I land on the E minor. But it moves fast. Now, for example, if we wanted that some passing movements to that movement is usually nice for moving to minor codes. So for example, if I'm moving from what's another minor chord in the scale apart from D minor, we have like mine. We want to get that kind of a movement for moving from moving to a minor chord number two. Okay, so we'll ask ourselves, what is the five of air? The scale of EHR, the five of AC. So remember the movement is 56721. Remember, you're supposed to now think in terms of the scale of it. Okay? So what is the phi of x? E major, the six F sharp minor. So imagine I'm using this inversion, B, E, G-sharp, Six, F-sharp minor. I'm using this invasion, c-sharp, F-sharp, a, five over seven, which is our seven chord at is E, G sharp, and B, imagine over G-sharp. And then to be minor chord. Okay? The scale of a record number two is always a minor chord. One to his base, B minus B D F sharp. So I'm inviting this F sharp, B, D. So we have the major F-sharp minor image of a G sharp on the left. B minor and minor, some concepts. Okay, So that's a movement that you can use passing code. So I think that helps you get an idea of how you can be more creative with your passing cars. Experiment and use your ears to listen and practice this passing chords. Starting a simple way. Suddenly they're dominant seventh chords. You can even run through the skin, for example, using the dominant seven chords from one to two, dominant seventh minor. Then, now we're going to treat that is R3 from a to B, okay? What is their fifo be? F sharp. So you'll play F-sharp dominant seventh chord, which will be watching, that is F sharp major, F-sharp, C-sharp, E, or the bottom to get F-sharp dominant seventh chord to the three. Normally, the three-year-old play the D minor, or you can just play the button code from two to three. Is that F-sharp dominant seventh chord because that is the phi of B. Okay, so dominant seventh, taking us too deep. Dominant seventh. You mind? Then also when you're going to seven, you can use the five of seven, which is F sharp, is F sharp. F sharp is C-sharp. C-sharp, dominant seventh chord with R7, which you are playing as a minor seventh chord, F sharp minor seven. We covered this in the first step or the second one. Passing chord to passing chord. Then passing chord 567. Okay, so that helps practice that. Then try applying this called the songs. Of course we'll do some examples, but begin thinking of some situations where you can begin applying this passing chords. Okay, that wraps up that chapter and show that you are getting all these information from the first chapter, building it up slowly by slowly so that you can understand as we build up to the next section. 7. Worship Song Example 1: Okay, so in this chapter I'll, I'll, I'll play some example. I'll use this song. Yes, You are the Lord most high. Maybe most of us are familiar with. So I'm applying some of the principles that we have covered in that chapter. So for example, some of the ways that I taught you about sample, how you play may want to discuss, I'm playing G, D, a, and B on my right. My right. I have this Jesus to d, g, and d. You use touch with your one, G-Major. Then for the two, play the a on the left, which is your normal two. And then on the right, I'm playing this kind of an F major chord. But I'm adding the G. It's like an F at night on the two. Okay? Then the next chord. I played this Gia tonight at G major with an air with maybe, no. Then my next card is a four, which is our C major seventh. Can just look at sampling it. My left hand is playing C, G and eat. My right hand is playing G, B, and E. So it's like a C major seventh chord. The C value, C, the C major seventh. So if in theory the movement that progression is 1234. But now we are not using the normal 1234. You're just using some combinations on our right and left. Saw. On my one, I'm using the G-Major. On my turn. I'm using that flat seven. G is H, F sharp is seven. F is flat seven. With that two on the left than on my three. I'm using a one over three. That means a G on the right. Will that be on the 123? Then this C major seventh on there for sure. So, so I play this E dominant seventh chord here. This inversion, E, G-sharp, and B with a D here. Then on the left, you'll play G-sharp. G-sharp does not adjust the left-hand most I just imitating these two notes in the chord, the E and the G sharp in the A7 chord. The next chord, a minor seven, left with G and C on the right. Then you play, I GO Monday. Image, I wouldn't be on the left. You might not. This inversion B. And then that's a 65, which is D major. I'm playing it in this inversion, a, D and F sharp. The left, you can play D and F sharp. And then you play this kind of an abdomen, a dominant seventh chord. Because on the right, I have played this, a dominant seventh chord, G, C sharp, and E. Or I can play it just without the a flat sharp and E. Or I can play it like this. G, B, C-sharp and eat. Then the left can play the C-sharp, C-sharp and that movement. Okay? Then back to G. D manager. Then simply it's four seats. See my Java on the left, then phi from R7, dementia, F sharp, and the left, back to G-Major. Hi. Do something else here. I can just throw this code again. But S7 becomes like an F9, a dominant ninth because of that beam. Adding that be to record. Remember just the voicing of the codomain, right, is rootless. That means I don't have that much of the elderly. So that business on the left. Here's what actually is defining this code. The route that you just learned on that five over seven, D major with F sharp on the left. You see my D major is a little bit enhanced because that's a D major, D F sharp. I'm adding an E, which is a second, She's an add nine. Then I'm doubling the air again at the top. So from that, I think that applies some of the cars that we have gone through the previous chapters. You take time to practice this a little bit. Give it a tempo between 5760 above there on your, on your bid. And then try to practice it with their, with their tempo so that you also train yourself to play it within time. 8. Worship Song Example 2: Okay, So in this section I'm going to do another song example. And I want to use a common song that I try using common songs that most of us can relate to because this course is supposed to reach out to almost all people in all the wild. Okay? So in the key of G, Of course we now use this song. It is well with my soul. Okay. So that's the Biscop clean, That's all. Okay. The main thing that I emphasize in this song, supporting the melody of the song. So just trying as much as you can to support the melody of the song with the inversions of the codes that you're using. Okay? So how do we start with the song? So I start with this Jesus to code. And on the left half, g and d, c from the left. To see all this time you maintain the G on the left, C major G. Then this image on the left hand play F sharp and you can just play action. £1 paper. That dementia. And we play this E dominant seventh chord. So it's some rootless voicing of the dominant seventh chord wide because I'm playing in dominant seventh, but I'm leaving out the E. Now let's look at this chord. G sharp and B gives you a dominant seventh. Okay? Gives you measure. When you add the d, you get the dominant seventh. And then on the left, I just played these two nodes, G-sharp and b. So it's basically an E dominant seventh chord. The parsing code. Then we go to our two, which is a minor seventh. We're playing it in this inversion. So a minor seventh is cheap, but we are playing on the left. I can just play and see. So remember again, supporting the melody. Kind of D minor invited EGB, GB, and then to D major, F-sharp and D on the left. And then a C major. Then back to the G-Major. The left arm, I'm using this stretch. And to be so. The moment after that point, then when saw rose, like a B. Dominant seventh sharp nine. So you have the left to be in doubles. Then on the right you have D sharp, F sharp, which completes the dominant seventh chord, D-sharp. And then we add this sharp nine. Now why is this D called nash up nine? Because on the scale of the two is C-sharp, D-sharp 123. So this is sharp 92 is the same as nine. So D becomes sharp nine or sharp in the key of D. So this becomes a nun, seventh chord. Will that show up at night? Okay, so that's the theory behind the code. I know you're playing the B with the left hand. Side three, God. When? So? Dominant, seven, sharp nine. Then on the right you'll play a G major in this inversion, and then the left will pay and DBT, few minor seventh chord. But I just leave out the e because I don't like that tension. I want it to be more up. And so, yes, play a, G, D major, D, and F sharp on the left. So this invasion of E minor, D on the left to the next chord is an, a dominant seventh on the left half, S C sharp, and E. On the right, I have C sharp and E. The melody. I know the d-major, D. So then you may see on the left. And then you measure with me. Then I play this be dominant seventh chord. D-sharp, F-sharp on the left. In New London, this C major seventh chord, the left half, C, G, a, G, C major seventh chord on the right. And minor. And then C. This parsing code, the five, that is a dominant seven. Remember how he's dominant seventh chords to the five? C-sharp, E, G, with C sharp on the left. And to the D major chord. The C major seven. That's G, B, E, G with C. Then D dominant seven. D, E, F sharp, G sas for those stanza. Then the chorus. So D major, a minor, G major. Then do a 7367. We played that inversion of F sharp minor seven, C sharp, D sharp, F sharp on the left. G-major on the three. Play this kind of, let me give you the easiest name for this is as C minor inverted Y, c here, c, g, but just invited to shop with the B on the left. Then not to G-Major. And then just bring down the B on the right, on the left. And then you play this kind of My name, but it caught on the right. Who is my C major seven. And then dominant seventh chord. That image at the bottom, C-Sharp on the left, B on the left. We did dominant seventh, the G-Major. Okay, so that's basically how you can play that song and these kinds of groups, you can apply them in other songs. So take time and go through this and try to really support that melody. 9. Praise Song Example 1: All right, welcome to this section of our course. We're going to do some praise moments. And I like, I like using my series keyboards because I know majority of churches in Africa using this keyword, I know our courses. No one to tell our courses to mainly the African setting. So I picked this piano most of the time, went on to do praise moment. Because I know most of you are doing this one man band kind of movements. And most of you don't have maybe live drums. And you're using these Yamaha keyboard using the one-month settings so that you are playing on your left hand and you're playing some piano parts on your right hand. So that's why I like bringing this keyboard. So I'm to do praise movement here. I use this song. I like using illustrating, I have a father who never fails. I'll do and then I'll explain how it can enhance your left hand. And especially in the setting where you are doing this as a one man band, which I know will be helpful to most of you. Okay? So the key of G, I have split my piano, jittering, okay? I have a sub bass going on as best as a voice I'm using, and then I have the right one and write two. I'm combining two voices. I'm combining a midi grant and a suitcase piano. So this is the midi grant alone. And then this, this would get alone. I'm using a combination of these two. I like the brightness of the mini grand piano and they like the heaviness of the suitcase piano. I'm combining those two, Okay, so that they blend in. So and so those are the voices I like to use when I'm doing my praises. Subtest on my land to know good to go. Okay. So I'll play through and then I'll explain what I was doing. My, so I have a genome is my brother. Okay? So when I'm doing this one but one man band, the concept behind this is that you want to try as much as possible to fill up every battle abandon. You want to be the best player. You want to sound does the rhythm section, that means the piano and all that. And then you also want to provide the groove, know that beat. You want to cover all those paths. And when somebody listens to you playing, they should feel like you're playing full band playing. Some people even use guitar sounds for the right hand. Okay. That's the concept. You should try as much as below, for example, to make your left-hand sound very realistic. Okay? You don't want, the moment of this song is very simple. We break down the cost, does seem to follow the code. So you start with G major. Then G-Major. I have a file. Then do you measure one? Or you can move to the six minor. Jesus. So that's the basic movement of the song. So of course I just did play moonlight voicings. As I discussed earlier. You mentioned I do something like that. So land use a inversion, G-major. It might not imagine. Those kind of moments in my life doesn't question. It might not imagine. Okay, let me break down that right-hand fast. I'm missing a tempo of 120, but I'm just slow it down a little bit so that it allows me to you asked to see what I'm doing. Let me just bring it down to 100. I've just made my fault for my C major, C major sixth chord because you're playing a C major, but now we're using this, which is a solid, you've got to think of it as a C6 or as an environment instead of a C minor. So they left. Now, when you're doing these left and right, you always have to come up with a compromise of which hand dominates. And also the time I wish I like my left hand to dominate so that my right hand is just padding. Okay, that's touching some console that I give them my left hand opportunity to do a lot of movements. As you develop. You develop moment. But usually I actually like giving my left-hand more emphasis because I want to give that walking bass. Okay, So let me play that left hand. So a trick on the left hand is, do a lot of movements and use octaves. C, D, D. Get. Use octaves. And then use your scale. Here's your scale. Then also use can walk on that scale a lot. And of course, you may use some passing notes outside the scale. Sometimes secret from six to five, for example, buzzing through this flat six. But that's about it that way. Okay? So you might combine these now with my right hand. Got this temples. That section. I'm just doing a little bit special thing here. You manage on the right, the left, F-sharp menu on the right, with the D-Sharp on the right. Image on the right, day on the left. And some not diatonic chords of the skin. Younger, feeling desperately wanting your mind. Okay. It just give the groove and the feeling ready. Okay. So take time to some exercise on your right hand, then do some excess in her left hand. I see on my right hand sometimes I just choose, for example, one position. These becomes my G. G, C, C G, G, D, F sharp, E. Main idea is inversion. So you can just image or movement on the right hand, one spot. Then do mobile elements on the left-hand side. Remember that? You might not. Do you manage image on the left? You might imagine applying them. That helps practice that. I know that you will really give you some good work to do. Must add the rhythm box with a beat, then get the touch. Yes. 10. Praise Song Example 2: Welcome again. To this section. We're going to do another praise. God of miracles. This Nigerian press so commonly in Nigeria. Good, god, Oh my god of me records. You're my par. Okay. My thoughts. Then these are intro part of the song that I love me. I'm not gonna, I'm not gonna beg for bread. Okay. It's Nigerian English. But it says, I'm not, I'm not going to suffer. I will not beg for bread. That's the kind of English that they use. Me. I'm not going to suffer. I'm not going to bake for dread, God of miracles. So kind of goes like that. So that intro part, you and John, Jay and then, well the gym, the left. And then you move to this inversion of g. That is the root, meaning the on the left, G, G in the left and back to that. And then in lean on the left and the right, I have this inversion of a minor to major on the left. Okay. Then It's me. Then the next one, brand. Okay. My name. Then you have to see my name is inversion. So back to that job. Then. You might see managing content and G-Major. And my name, again, my name is C6. Got to give it that. Redeem. Okay. Let me spend a moment. Hi, I'm playing with my notes. So long as you know you are G-major scale, you just want to let that sound. Remember for the final time. Okay? So you can take time, go through that. You're able to start at a lower temperature. For example, I was doing it at 120. I think you can slow this down to about a 100. My name is Matt did see my nine D-sharp kind of a movement. So I believe that will help you a lot. 11. Conclusion: I hope you enjoyed this course this far. And these are projects that we have attached. At the end of the course, you should be able to play the class assignment. I've written an arrangement of the heme dissociate to trust in Jesus. You will see the lead sheet. And I want you to play the codes that are on top of each of the words. You'll see the words written down and a code written at the top. So at that particular point of the song, you're supposed to be playing that particular code. So after you do that assignment, I'd like you to post a link of you playing if possible, so that I'll be able to go through it and give you my feedback. So basically, the song should sound like this, are so sweet. To trust in G. Just came up on his prom, me. Know how I trust him? And Jesus. Precious cheese. All four grams. So it's quite a simple arrangement that you can even develop, advanced it more and more as you get familiar with the codes. But it's a good song. Well, events that you can start with. And I believe after you play this practice song each other, I've opened up your mind to many other techniques. And basically it covers most of the areas that we talked about in the course. So go through that assignment, then post a link of you playing will be able to look at it together and be able to advise you on some changes may be that you need to make to be able to improve on your plane. Thank you for watching.