Essential Guide To Diatonic Harmony

1. Introduction to Diatonic Harmony: A In this course, I will answer several frequently asked questions from students regarding chords, soloing, and improvisation. The questions are, what chords can I use to create an engaging and interesting progression? What do all these Roman numerals signify? And finally, the biggie. Which scale should I use over this chord progression? All of these questions can be answered by understanding the fundamentals of diatonic harmony. So what is diatonic harmony? Diatonic harmony refers to the harmonization of a piece of music using chords derived from the diatonic scale of a particular key. This system is based on the seven notes of the major and natural minor scales and plays a pivotal role in shaping music's emotional and tone characteristics. Understanding diatonic harmony provides musicians with a fundamental framework for how music works. It explains the relationship between chords and melodies within a key. Essentially, it's a core element of music theory that looks deeper understanding and musical potential. Or, as I like to say, it's the glue that holds everything together. This explanation, however, does require a bit of theoretical knowledge. Most importantly, you will need to know what a scale is and what a key is. So let's get to work. 2. What is Diatonic Harmony: Diatonic scales are seven note scales consisting of five whole steps and two half steps. They are also called basic or natural scales. First of all, let's examine the C scale. Now, the easiest way for most music students to visualize it is on a keyboard, using C and playing only the white keys. This series of half and whole note steps uses only the white keys on a piano. These seven notes are constructed using the following interval sequence. Have a root a whole step, a whole step, half step, le step, whole step, whole step, and finally, a half step. This can be represented as WW H, WWW H, Hull hole, half hole, ho, ho, half. I used to refer it to as a root two W H, three W H. Now, for a guitarists, a whole step is two frets. A half step is just one fret. Mmm. So if I was to play the C major scale on the guitar, just playing one string, it would look like this. Here's our root note. First up is a whole tone, so we're going to move up two frets. And that would give us that D nut. Now we've got another two frets we've got another whole step. Takes us up to this case, the seventh frat, which is an eat. Now we have a half step. We just move up one fret, takes the F. Now we have a whole step. Move that up. To frets, takes us to the tenth fret. That gives us the G. Another whole step. So another two frets takes us up to A. Strangely enough, the A is on the 12th fret, and we're on the A string, so 12 fret is correct. We have now another whole step. So another two frets, takes us to the B. And finally, a half step up to the 15 friend, which is a C. So let's just go through that again, we have root, hold step two frets, D, whole step two frets, E, half step one fret F, whole step two friends, G, whole step two frets, A, whole step two frets. B, half step one friend. C. I music theory, a key is defined by the root node of a seven node major scale. We can form any major scale by starting on any other node and adhering to the same pattern of the hull and the half steps. So if we change the key to D, the scale is not simply DFGABCD because a major scale is defined by the intervals between each node. So if we was to start on the D this time, so we're moving up to, which is the fifth fret of the A ring is D, we have to play the same process. So we have to play at the same intervals. We couldn't just literally go, me the intervals would be incorrect. So we start off on the D. We have a whole tone, two frets. We have another whole tone, two frets. Now that actually takes us up. If we've got a board, display of the fret board, you'll see that that note on the knife of the a string is actually an F sharp note. So we've got D, hole ton to frets, E, hole ton to frets F sharp. Now we have the half ton interval, move up one fret, takes us to the G. Now we've got three sets of whole tons. So we've got two frets, taking us to the A, two frets, takes us to the B, another two frets. This time, it takes us up beyond where we was previously it was on the C. I takes us to a C sharp. And then the half ton So if we play that D, there is your D major scale. Let's go and look at another example. Let's do the G scale. So we're going to start off here. We go to pick the G on the low E string, which is on the third fret. So again, we're not going to play GABCDE. We are going to start with the G here. Hole tone two frets A, a whole tone to frets takes us up to the seven. Now we have a half ton takes us up another fret, which takes us to the C. Now we've got two frets again, D, two frets again, E, two frets again another whole tone. This takes us to the F sharp. And then half ton. So the difference for us between the C and G is that F show. And as you play that, you can still hear the sound of what we were home as the major scale. I just played do the G. Now, listen, it's the C. Let's compare. There goes the G. And then we did the D. We start to hear that sound of the major scale. We've played them in different keys. But if you play them through, you start hearing and recognizing the create intervals. As we're playing through an interval is the distance between the two notes that we are playing. But we are getting that sound. Mmm. What we've done so far, we have identified what a major scale is, and we also know how we change the keys or the difference with the keys. We're still playing a major scale, but the key is the root note that we are using for that major scale. So if we want to play in any key we want, pick the note, and then we have to apply the major scale. Two whole, one half, three whole, one half. What I'd like you to do is to take any note on the fret board, identify what that note is, and then play through. Just do it a one string for now, you're just going to play through the various intervals, half and whole tone steps, playing through that seven note scale. 3. Harmonizing a scale: Every song is based on a key. A collection of typically seven notes that form its foundation. Now, a diatonic chord is one constructed using only notes present within that key. This is why diatonic chords and harmonious and cohesive, they shirt the same underlying set of notes. Now let's illustrate this with an example. Here are the nodes of the C major scale. We have a C, a D, E, F, G, A, B, and the C. Our next step is to determine the codes we can derive from these notes. We will build a ord upon each note. Now, as you know, a triad, a frente cord is typically composed of a root, a third, and a fifth. So we're using one, three, and five. Therefore, for the C, we will add the E and the G. Let's see how we do that. So we start off on the C M the D naught is two. The E is three. Some got C. Skip over the D to the E. And then the fifth. Well, the F would have been four, and the G is the five. Now, we can also add the octave because the octave is the C. So so we can play them. That's not a chord. We've got to place them together in a sequence. Now, if we think of our typical standard, go to C major chord. Now, let's just quickly examine them notes. We have a C note. Move down to that D string two friends. In, we have an E. The open G string. And then the octave, the C, which is that first fret on the B, we also play the open E string. So the notes that we are playing are that one, the three, the thi, the one, and the three. There we have a C major chord. Now, you might ask, why is this a major chord? Now, the reason lies in the interval between the root node and the third node, which is the C and the E. This interval is a major fd. So from here, the whole step to the whole step, that is a major third interval. Now, for a more comprehensive explanation of intervals, I would recommend my course intervals and codes, which delves into this topic in greater detail. So if you're a little bit unsure what we've just been talking about in the last 2 minutes, I strongly suggest that you go and check out that course. Now we are going to move on to the next step of a next node in the scale of C. We've already done the CS. We're going to move up, and we're going to look at the notes that are being created when we start on the D node, which now becomes the root node of the chord. Now, remember, we can only use the nodes available in the key of C. And if you go to have a piano, only use the white nodes. So we start off we're on the D, which here I'm doing on the Pi fret. The E would now become the second note. So that root. The F is the third. There's your F. The G is now the fourth and the fifth is the A. And of course, we can go and play the octave up here on the 70th frame, which is the D. So we have D F, and then across to the A. Now, this is a minor chord. It is a D minor chord. Now the reason this is a minor chord is because the interval between the first and the third node is now a minor fd interval. We had two whole steps that give us the major fd. In this case, we have got a whole step full up by a half step because we're going D, E, whole step, half step. That is a minor fd interval. Hence why we call this cord that has been derived from that second node in the scale a minor chord. So far, we have got a C major, and now we have a D minor. Let's look at another interesting point. The interval in the Secord between the third and the fifth is actually a minor fird, let me just go through that. We have gone from here across to the D to the E. We have two whole steps. However, from the E to the G, we end up with two frets, one fret, so we've got a minor fd. So we've got major firn interval to that third, and then a minor furt interval to that fifth. When we now do the D, we have a D to the F minor fd. But from the F to the A, we have got a major fur now that's quite important to us, and this will appear as an issue for us a little bit later when we go through the entire harmonization of these chords. But do remember that we have got major FD followed by minor FOD. When we do the D on the minor it's the opposite way around. Let's continue this process and move to the E as the root notes. We're up here, currently, we are on the seventh fret. So the F right next to it, that is the second. The next note Veltus, which is the third note up from that E is the G. If we then move on to the fourth, which is the A, the next available note is the B, which is the fifth. So we are playing E, G, and then B. Now, because we have a minor third, because that is a half step, followed by a whole step, that's a minor third, followed by. You notice that the B. Major third. This chord is an E minor chord. Let's move on. We got to go to the F. From the F, then second note from that root note down the d would be a G, so we are going to the A. We're up on the A, we have the B, next note to it cause the B is the fourth, the next note on is the C. Let's look at them intervals we have got from the F. Wole step. Step. So that is a major third. If we then look at from the A to the C, we've got a whole step to the B, but a half step to the C. So that is a mita third. So if you've got a major third followed by a minor third or and more importantly, the first step is a major fd, we have now got an F chord. Let's move on. Let's look at the next note, which in this case, I know I'm going to run out of fretboard here, there there shortly, but we have got the G. A would have been the second, the B would be the third. We're on the B there, so the C is the fourth. The next note we've got is the D. And if we look at these notes, we have a G. We have a B and a D. The interval between the G and the B Hoff. Hold step, hold step. So that's a major third, so we are looking at a major code. Let's just check because we should be expecting a minor third here, which is what we have. We've got a C to D. And we have got a usual it's our G code. You want to play it up here. A G Cord. Because they could turn them nuts. G, the B, the D, the G, the B. G. There's our G cord. Let's move on again. Let's look at the A. Up here on the A, the B would be the second note so the C is the third. Then moving on from that, we've got the the C, the D would be the fourth, and the E would be the fifth. And if we look at the intervals, we have got a whole tone full of half ton taking us from A to the C. And then from the C, we've got a whole tone, and then a whole tone taking us to the E. So that is a minor chord. And if we look at our normal A minor chord, we look at the nuts. So we got an A. Got an E. We've got another A, and we've got a C, and we've got an E. So all them nuts are present in our standard A minor chord. Now, finally, the B. We start off here on the B. Next note, which would be the second would be the C, and the third note is the D. Let's go on to the next. So we're going from the D to the E is the whole tone, and then we've got the F. So we are going B, and we have got A minor third because we've got a whole tone and a half of three threats. We go up here to the D. Look at the next one. We got D. Whole ton. Now, it's half ton. Something wrong there, isn't there? Because normally, we've been doing whatever's in front, which is a major fd, will always be followed by a minor fd. If it was the minor cord, we'd have a minor fd, followed by a major fern. But in this one, we have got minor fd. Followed by another minor fd. Now, the way we see this in music is we're saying that the fifth which should have been in this a major fd has been moved back or flattened and half torn. And in music, we say we are diminishing that note. The name for that cord would be a B diminished chord. And the symbol is this little circle with a line through it, or we can write it is D diminished. So we have, in this case, a B diminished code. It's got that distinctive sound of a diminished chord. So what we have ended up so far as we've gone through this, we have got a C cord. We have a D minochd an E minochd, an F, a G, A, switch here, a B diminished. And if we want to bring it top it off, we have back to C coord. All of them cords have been created using the C major scale. So every one of them cords are diatonically connected to the C major scale. 4. Harmonizing a scale part 2: So we now know the codes created by the C scale are C, D minor, E minus F, G, A minor, and B diminished. A great thing about intervals is that they always remain constant. This means the distance between each interval is always the same. And that means that whatever codes are created in one major scale will be the same in any other major scale. And to demonstrate this, let's briefly examine the codes created in the G scale. The G scale is GA, B, C, D, E, F sharp, and G, which follows that pole and half stone het that we have, which is G, hold ton, two frets, hold tone, two frets, half ton, one fret, holen, whole tongue, whole tongue finishing up with the octave on that 15th fret. Let's start on the Gode which is on the first fret and the Lois string, and let's apply the same process, start off on the G, skip over the A we have got a B. Distance there is a major third from the B, skip over the C to the D. So we have now a minor third there. So that is given as a G chord. Let's go to the A. Start off on the A. Give the B to the C. Minor third, from the C, D, skip over D to the E, major third. A minor chord. So far, so good. Let's go to the B, skip over the C. So the third note is the D, minor third. Let's just confirm. D, skip over the E F sharp. Remember in the G scale, it's an F sharp, so that is a major third. So we have the B minor. Let's go to the C, C, skip over the D E. E, skip over the F sharp, G. Good old C chord. Okay. Running that fretboard here, but D, skip over the E and then to the F sharp, major third, F sharp, skip over the G to the A. D major chord. So that F sharp. Let's move on to the E. E, skip over the F sharp. Goes to the G minor third. From the G, skip over the A to the B. We have an E minor. Right. Let's look at that final one. We have the F sharp. Skip over the G goes to the A. That's correct. So minor third. Let's just check again what we're looking for here, we have got the A, skip over the B C, another minor third. So we do have our F sharp diminished core. And if we run that through on the higher uptake, but I haven't got it, we would end up with the same thing. We'd have a G two, a B, and then to a D. So we back tune. A G major code. So we have the same, we have got a major code on the root, the second and the third or minor codes. Then we have got two major codes for the four and five. The sixth node in the scale produces a minor code, and the seventh node produces a diminished code. Now what I'd like you to do is I want you to do the same process for the D scale. Now, we're going to be doing it. Probably the easiest way for you to do it is to do it through the D string, the open D string. Now, the notes in the D scale, if you apply the whole whole half, we have a D. Holton takes us to the E. Holton takes us to the F sharp, and then the half tone takes us to the G. Holton A, hold ton B, Holton, C sharp. And then the half tone takes us takes us to the D. So I want you to run through that process of doing the one, the three, and the 54. Each one of them notes and see what it creates, write them down. And it will give you the sequence of chords that are used and are diatonic to the D major scale. 5. What are these Roman Numerals?: Now let's answer question number two regarding the Roman numerals. Now, a scale like C major scale, which as we know is CD, EFG ABC can also be described using numbers. We can just toll one, two, three, four, five, six, seven, eight, eight, being the active. Oh, if we apply diatonic harmony we've covered, the chords created from that scale will be the C, the D minor, E minus F, G A minor, B diminished, and C. However, if we just use numbers in a written format, we wouldn't know which numbers referred to a major or a minor chord. Therefore, we use Roman numerals. A major code uses a capital or uppercase Roman numeral, and a minor code uses a lowercase Roman numeral. So now, what we have for the one, two, three, four, five looks like this. Using this format, we can clearly see the difference between major and minor codes. The symbol, the zero with a line through it, that represents the diminished code. We can now see cord progressions like this one, four, five, with uppercase Roman numerals, one, four, five, and that progression just uses major chords, and we've already seen an example of that on the previous video, we could use a C being that one chord, the F being the four chord and the G, the five chord. Another typical progression that you will see is the 251, that italic two at the beginning, then the uppercase Roman numeral five and also the one. So we get a 251. So if we was playing in the key of C, we would have a D minor code, a G code, and a C de. Now, that is very, very popular with jazz guitarists. We also have a 6415 cut progreussion. This is being used in thousands of pop tunes over the past ten years. But what we have there is the E minor, which is the six cod, which is also the relative minor to the G. We have the C chord, which is the four. We have the one cord being the G. And then we go to the five chord, which is the D chord. And of course, you just play that through. It's gonna sound like zombie. Not only does it sound like the song, but it also sounds like numerous songs that have charted for the years. It's just the way you play them. You can take an E minor. Shall that remind you of something else that you've heard? Uh, So many songs that you have heard over the radio use that format. The numerals act like algebra in a mathematical formula. You take the formula like the 14, five, and then apply it to the key. In the C, we would have CFG. In the key of D, we would have D, G and A. What I want you to do is try working out the chords in a key of D using a formula which is a two, four, 51 progression. 6. Using the numerals: So with the use of the Roman numerals, we can quickly dial in what chords we have to play. We know straight away if we're playing a minor chord because we see italics, you know, if we play a major chord, if we see a uppercase Roman numeral, we know through diatonic harmony that the one chord is major, the two and three are minors, the four and five are majors, the sixes are minor, and the seventh is diminished. So as long as we know the key, we can tell exactly what chords we have to play. However, I do want to put one little caveat in here. We have talked purely about diatonic harmony. But there are song progressions that change things away from the normal diatonic formulas that we've looked at. But with the use of the Roman numerals, we shouldn't have a problem. Now, what I'm saying is that they can change the free chord. They can change the two chord to majors. The only difference is that if they're saying that they're going to be changing one of them cords to a major or even a minor, they will change how it is shown, whether it's as a capital upper case or if it's seen as metallic as an metallic cord. So we don't have to worry. We just look at the progressions. If we see that the four chord has now become minor chord because it's written in small lower Ks, we just play that as a minor chord. There are typically, there are numerous examples out there where we see that one of them that we see. It's in the song Trep by Radiohead. Now, that song is written in the key of G. But when it moves up to the B, it's not going to be playing a B minor, which you should do diatonically. They actually play it as a major chord. It becomes a B major. So all they're going to do is show that three chord. Instead of B as italics, they'll show it as capital letters. They also have a part where you're playing the C chord, but then it changes to a minor chord. So all they will do when they're showing that is the four chord will be as the major, and then they will just show it again as being a fork cord as italic. I can't get rid of that I've got that metallic in my head now. It's shown it as a talic. So it's not a problem for us. By using these Roman numerals, we can just play what's in front of us. We don't have to know all the theory of why that's going on at this point. All we have to do is follow what is written in front of us. Now, of course, because we're using the Roman numerals, it does mean that we can shift a changing keys. We just need to know the formula. That's why you will see a lot of information passed on song sheets that use these Roman numerals. If we have to say them as numbers one, two, three, four, et cetera, we have to say one major, two minor, three minor. We hardly have to say it. You know, if it's written down in front of us, we have the information straightaway that we can process and we can play. So hopefully that will have answered the question about what's all with Roman numerals. Now, you know. 7. Which Scale should I use to solo?: Now let's address the most common question regarding which scale to play a call progression. And many of you already know a basic answer for this. If the song is in the key of C, then you use the C major scale. If it's in D, you use the D major scale. However, there are other options that can be helpful, especially for beginners. As a beginner, the most popular scale that you will learn when you start playing the guitar is the minor pentatonic scale. And for many of you, that will be the A minor pentatonic, because that contains notes, A, C, D, E and G. They're easy to play. And we are going to be playing. And if you know it all the way through. That contains all of them notes. All of these notes are also present in the C major scale. Therefore, you can use the A minor pentatonic over a C major chord progression. If you think back to all the examples that we looked at using the C major diatonic coords, you can simply play the A minor pentatonic over those progressions. This works the major pentatonic scale also contains the same nuts, but it starts on the C because we played A, C, D, G A, continue through. Now, the C major pentatonic, it's got the same notes, but it starts from the C. So we get C C. Oh, A by the pentatonic. C. Major pentatonic. This relationship exists because a minor scale, minor pentatonic scale, starting on the six degree of a major scale contains a minor scale called the relative minor. In the case of the A minor, the complete scale is ABCDEFG A. Got the same notes. However, we are starting to us on the guitar free frets lower, always starting three notes lower. So CDE, FG, A, B, C is the same as A, B, C, D, E, FGA. So if you are new to playing skills, you're comfortable playing a minor pentatonic skill. You could use it to play over a major chord progression. As long as you start the scale, free frets lower than the root note of the key. So we can take that information knowing that, well, if I want to play in the key of C, all I got to do is think about A minor box and put my little finger there. See the full bonk. You can still use that A when you're soloing, but Angus going to use And then we've got a C major pentatonic scale. Let's take this little stage fur. We've been told that the song is in the key of D. So all we've got to do is think that box and just move it up, so our little finger is over the D, and then we play that usual shape. Which is a B minor pentatonic. But when we're looking at playing over a major, we just take that little finger play like that. We do the same if we're playing in the key of A, put our little finger on the fifth, which is the A, and we play our usual box starting from there. So we're going to go from that five to the two to the four on the A two, four, two, four, 25, two, five. Can use the F sharp because this is F sharp minor pentatonic. You know. Lower is the F sharp. We can also use that taking in the open strings. Let's take that same idea and let's go down to the G. Our little finger on the G. Now, our first finger is actually where the open strings are. So we can utilize all of these open strings. So we have got the G. And we open string to the two. Open string two. Open string two, open three, open three. And that will allow us to play over a G major cogression and use that very frequently for guitarist. If we think of co progressions that are in the key of G, we have got numerous ones that we can play over. We can take a very simple G to a C, to a D. But what a light too. Yeah. I think you're probably saying it sounds there in country. Kind of style of playing when it came out, because a lot of country music uses major chord progressions like that. But this use of the opera string really is fun when you're playing over cord progressions. Like that shouldn't you have heard that all before. So, a minor pentatonic box opens up another world for you when you're looking at one scale if you've been told what the key is and you want to play over that, you can just put your little finger where the keynde is and just play minor pentatonic. And you can have hours of fun with just that one scale playing over these different chord progressions. 8. How to figure out the key: Now suppose we don't know the key of a song, and we're only given a few chords on a song sheet. How do we determine the key on which scale to play? Well, in certain cases, the opening chord on the song sheet is the root chord. If it's a major chord, then you can typically play the scale based on that root chord. If it's a minor, then you will play the relative minor scale, relative minor pentatonic, as we covered earlier in the course. However, this isn't always the case. So we need an alternative method. So what we do we write down the coords you have in alphabetical order, starting with the lowest core when I mean the lowest. I mean ABCDEFG. Now we look for two major chords that are a whole tone apart. Now, what we mean by whole tone is two frets. So an example, if when we've written down them cords, we see that we have a C and a D major, they are a whole tone apart. We got a C and we have a D. No So they are a whole ton apart. So we've got two major cords they're whole torn apart. So go example that you might find you might find an F and a G chord. Both major chords holt and apart. They're two friends apart. Remember, when you've seen them in the songs, they might not be. It might be that, and it might be like that. That's why the first instance until you get pretty kind of used to this is to write the cords that you have available down because they might not be in the order alphabetically. But at this point, what we've done, we've identified or tried to identify two major cords a hole to apart. No. If you recall what we covered in the diatonic cord section right at the beginning, we learned previously that the only time we have two major codes, a whole tone apart is when they are in the four and the five cord position. And if we're looking at Roman numerals, we're looking at the four and the five. Now, when you look at that formula and you've written that down, look at your diatonic lines, and you will remember that if you have a C and a D code, which are in the four and the five, then Now, if you remember in the formula, when you have a C coord and a decord then the root ord root note of that will G because we have the C and the D acting in the four. The third would be down here on the B and the two would be on the A. They would be an A minor and a B minor. But we have about the four and the five, which are the two major chords. So the key has to be Another way you can do this, which can help you. If you find the four and the five chords, if you place them on the A string, once you've identified what the four chord is on the A string, the root cord is directly beneath it like that. So if we have an F and a G, there's the F and there's the G one, the four chord. The key is C. Now using that fret board is a great way of envisaging and working out the problems that we have. We just find them the two, the four and the five code on the A string and then just work that down, which also would give us the layout for what we call a 145 code progression. Cause we've got the C and the D playing as the bore on the five, and we now know that the G is down there. So that gives us that information that if we've got a G in the missing code that we haven't seen or to show how it worked, we know we've got a 145 in the key of G. Can go wild on that one all day long. This also means that diatonically, the remaining cords would likely be an A minus B minor, an E minor. Potentially an F sharp B minus. You might see them written down as sevens, dominants. Don't worry about that. What we're looking for, is it a major or a minor? So there is a chance that another remaining cord in that progression there. He's going to be an A minor, B minor, E minor, potentially the E minor. He's the one that you're going to see more than anything else. But once we've established what the key is, then we can go back and say, Okay, I know now because I've got that C and the D, and I now know that the root note is G, well, I my G major pentatonic over the top of that, which was that, with the hope and strings that we can play. There are other options that we have available to us as well. We can also look at the minor codes. Now, we might have two minor chords in that. And if we have something that is looking like a D minor to an E minor, then they are likely to be in the key of C. The reason I say this is because if we think of the key of C, the two chord, which is a minor chord is the D and the three chord is an E minor. And that is sitting four ton apart. So we have got a D minor you'll probably find at one point, it's gonna hit into the C cord because that is the root cord. You've got that D minus E minus. Oh, that one there, when we're playing that D minus E minor, that doesn't fit into that way that we are playing across on there. There's a different way of looking at that, so we're not going to say it's in D minor, but we do have to get that D and E minor, but then we're just going to take it a whole ton down from the lowest of the two. So if we got a D E minor, sitting what would be the two and three, we just go a whole tone down. And that is our route. So again, over them two chords, we can play a C major pentatonic over the top, it'll work quite well for when we are playing that. So we've got two more, we got an option. The best one if we can, is look for the two majors. If not, look for the two minors. And that Ud. I want to say it's going to be 100% because there could be progressions that are throwing these things out when they've changed the order so they're not playing diatonically. But in most cases, that is going to give you the answer to what you are looking for there are things that you have to work for because you say, Well, I've got my diatonic chart in front of me, so that is going to give me all the answers that I need. However, if you have got the cords that are playing from a major to a minor that are a whole ton apart, you haven't got enough information. And let me just explain what I'm saying there. If we're in the key of C, we've got C, D, E, F, G, A, B, C. Now, we know when we look at that, we've got a C major, D minus E minus F two majors there. And then we've got an E. If you have got a major chord, going to a minor chord, a whole ton apart, it can actually appear in two places. And this is what we've got to watch on this. We don't just blindly into it and say, Oh, yeah, I got that fits into the chart. Because we can see that major going to the minor, a whole ton apart. We can be clever and think, Oh, I've got it. It's good, the five to the relative minor. But it could just as easily be the one to the two. Now, I am going to include a chart that shows you all of the keys and all of the diatonic cards created from those keys. And of course, there will be number one, two, three, four, five, six, seven. Now, keep the chart handy because when you're trying to work out all of these different keys that we have to play and what key are they in? I I don't have enough information, you can refer to that chart. And that will give you the answers that you are looking for. I will also at the same time, give you some other chords that maybe you want to throw into your own progression based on what you've been playing. 9. Lets confirm what we learned: So what I got to do now is just go through a few simple chord progressions. I'm just going to give you the information of the code progressions. And I want you to work out using the chart if you want, or using the fretboard, what key we are in, and then what scale can I use knowing that information? This just get you tuned in to this process of looking at what key that we can play and also playing the key over the top of these kind of standard cord gressions so good luck.