F Sharp Full Length Piano Course

1. Introduction: Hi everyone. So I'm going to introduce you to our course. I'm calling the F-sharp costs. And in this course, I'll be teaching you how to play popular praise and worship music that is sung in churches around the world. And that'll be focusing on the key of F sharp. Because I know many of my students have asked me to make most of my lessons in this key. So I'll be trimming, knew how to play common songs in the key of F-sharp. I'll show you the F sharp major scale. I'll show you the passing codes. Different kinds of codes from the simple major codes to minor chords to diminished chords, augmented chords. And how you can apply these songs, this kind of codes in your songs as you are playing along. So I encourage you to watch the entire course from the beginning and at the very end. I have bleed a number of song examples over six on examples in this course to help you see how I'm applying these concepts. So at the end of this course, you should be comfortable playing common praise and worship music in the key of F sharp. And I'll also cover some journals of praise music like seven, some rumba songs and contemporary called gospel codes, that kind of thing. So I encourage you to watch the entire course so that you can be able to add up all these skills and begin incorporating them in your plane. Let's let alone. 2. Chapter 1 The Major Scale, Scale Degrees And Chord Inversions(s): Okay, Hi everyone. So in this chapter, I'm going to be talking about the scale degrees and generally the scale-up F-sharp. And that is the F sharp major scale. So that's the first that you're supposed to do to begin when you are approaching any new key. And the concepts that we learn in this F sharp costs, as we call it, is going to be applied, um, to all other, all other keys. So if you want to learn any other new key, just apply the same concepts, the same stages, okay? So I encourage you to try and translate this to other keys so that you keep on growing. So the first is to start off with the major scale. And as you know, on a major scale we have a whole steps and half steps. So from the first note to the second note, we have a whole step from F sharp to G sharp. From the second to the third, we have a whole step, G-sharp, A-sharp. From this after the fourth, we have a half-step sharp to be. From the fourth to the fifth, there is a whole step shop. From the fifth to the sixth, we have a whole step, C-sharp, D-sharp. From the sixth to the seventh, we have a whole stem, D-sharp to F, and from the seventh to the eighth, we have a half-step. So that is how a major scale is constructed, okay, to whole-steps. So a whole step means you're skipping one naught. And the half-step means you go straight to the next node. So we have two whole steps on a major scale. Half-step, then three other whole steps, then a final half-step. So F-sharp mega scale is F-sharp, G-sharp, A-sharp, B, C-sharp, D sharp, E, F, F sharp. And they're fingering. The correct fingering for this scale would be this finger, 12345123452341231, backwards, 131432. Okay. Now I encourage my students to always start by learning fingering because when you start with the fingering exercises, you develop speed in your hand. Okay? So for example, I can just play this scale without fingering from the top to the bottom. Then backwards. So not the fingering. Go 12312341231212. Maybe you can see that. Same thing. And then also work on your fingering for the left hand. So this fingering exercises I just to help you to develop speed and flexibility in your hand so that both hands are developing at the same strength. Okay. So on the left hand, the fingering is 43213144321321, backwards 41231. So that's the thing I think for the left hand. Right hand. So practice those fingerings so that you are comfortable on the scale. Because the key, the most important thing in London and being comfortable in the keys, being comfortable on the skin. So being comfortable on that F sharp major scale as the first thing to do. Okay? Now, on I'm on a major scale, we have eight nodes. And each of those nodes represents a position on the scale. So in music, we usually talk more about the numbers, what we call the Nashville number system, more than just the codes, right? So what is the natural number system when you, when you look at a band, you're not talking in terms of numbers. You'll just see maybe the piano is telling the. Guitarist, let's go to code number one or number four or five, or six, or three or two. You to understand what those numbers mean. Because when the key changes will quickly know what you're supposed to do. So let's look at the Nashville number system in the key of F sharp. Now, on a major scale, every position occupies a specific code. So for example, in this F sharp major scale, we have eight gods or seven cards. If you don't count the age because the eighth is the same as the fast. Okay? So we have code number one, which is F sharp, G sharp, a sharp four is B5, is C-sharp, D-sharp, seven is f, eight is F sharp. So on the first chord, the first position, you played as a major chord. That means that will be an F sharp major chord. F-sharp major, F sharp, F-sharp, and C-sharp, that's an F sharp major code. In position two will play a minor chord that is G-sharp, minor, G-sharp, B, and D sharp. In position three, we play a minor chord, which is F sharp minor, F-sharp, C-sharp, and F in position for you play a major chord, which is B major. Position five will play a major chord, which is C sharp minor. Positions. Six-year play a minor chord, D-sharp minor, F sharp, G sharp, and an F sharp. Then position seven, new play, a diminished chord, which is F diminished, Okay? Now those are just triads. And what, what, what our triads, triads I just cause that have three nodes, okay? F sharp major, G-sharp minor, F-sharp minor, the major, C-sharp, D-sharp minor, F diminished, F sharp major triads because the only playing cards that have three nodes. But what about the scale degrees are the codes along the scale that have more than three months. They extended gods, in terms of the extended chords that must position will be a major seventh chord. Okay? So we have F sharp major seven. Okay? That is F sharp, F-sharp, C-sharp, and F, that's called number one. Then number two is G-sharp minor seventh, which is G-sharp, B, D sharp, F sharp. Then chord number three is F sharp, minor seven, that is F-sharp, C-sharp, and G-sharp. Chord number four is major seventh, which is B major seventh, which is B, D-sharp, F-sharp, and C-sharp. Code number five is a C sharp, diminished, seven, not diminished, but dominant seventh chord, C-sharp, dominant seventh, which is C-sharp, G-sharp, and B. Now, along this course, you know, you can also get my check the code chat, okay, I'll attach the code chat and the level one eBook where you can get diagrams of all these kinds of codes, major sevenths, what we call extended chords. And those of you who have gone through my level one costs the foundational course. You've already learned how these codes are constructed. So these are C-sharp dominant seventh chord, C sharp, E, F, G, and B. Of course you add a flat seven, c-sharp. The seven is C, and B is the flat seven. To get the C-sharp dominant seventh chord, C sharp, E, F, G sharp, and D chord number six is D-sharp minor seven, D sharp, F sharp, F-sharp, and C-sharp. Code number seven is diminished seventh. So you have F, G sharp, B, and D. Okay? So those are the codes, you know, when you're given a song that people are, maybe you're at a level where you're just playing three codes are for or five. But what you have to understand these whenever you are given a song, you have seven codes that you can use to play that song along the scale. So code number one is F sharp major seventh. Number two is G-sharp minor seventh. Number three is F sharp minor seven. Number four is B major seven. Number five is C-sharp dominant seventh. Number six is D-sharp minor seven. Number seven is F diminished seventh. And of course you go back to number eight, which is the same as number one, that is our F sharp major seven. Okay? So you need to do to understand those what we call scale degrees. This seven chords along the scale, so that you stop playing this 145, okay? Or maybe you just know and minor chords. So you have to realize that we have how many major codes on a scale, on the scale, how many? Three. F sharp, major seven, that's called number one. And number four is B major seventh. And code number five is C-sharp major, or you can play it a C-sharp dominant seventh. And then we have three minor chords. Chord number two, G-sharp minor seven. Record Number three, F-sharp minor seventh chord, number six, D-sharp minor seven. Okay? So just remember that you can always play code number one as a major seventh chord and code number four as a major seventh chord. So in this case we have F sharp major seventh and the major seven, right? And then you can always play all the minor chords as minor seventh. So young, G-sharp minor seventh, sharp minor seven, and D-sharp minor seven, right? So at those sevenths, okay, to your major and minor chords, right? Now, I'm after now you're comfortable with those scale degrees. I can say that you are done with 80% of the work. Really that's, that's true because understanding numbers is the foundation of understanding music. Really understanding the scale degrees, those seven chords, that is the foundation because all the other things will be built upon that. Okay, so just take time and mustard those seven chord sets from port number one. So that for example, when you start looking at chord progression, chord progressions, if somebody tells you play a 251 chord progression, you to understand what those numbers mean. What is a 251 chord progression? For example, in the key of F-sharp, we shall go deeper into chord progressions, but just to highlight right now to five, why not? It's code number two. Number two is G-sharp minor seven, right? G-sharp, B, D sharp enough. What is code number five? C-sharp, dominant seventh. Okay. Why do you Scott number one? F sharp major 7251 chord progression in the key of F-sharp, G-sharp minor seven, c-sharp dominant seventh, F major seven. So this common a lot in jazz music, Okay? So you'll have that to 51. To 51. Okay? Right. So in the next chapter we are going to talk about inversions. Inversions in the key of F sharp, and invasions also of the extended chords and how we can take advantage of chord inversions in playing songs in this particular case. So let's move on to the next chapter. Alright, now welcome to the second chapter of this F sharp costs. We are calling it the F sharp costs. And in this section I want to talk about inversions in the key of F sharp and how we can take advantage of inversions. Now, maybe you're already playing some inversions, blinks, I'm inversions. But maybe in terms of application, every song usually works best when you play it using a particular inversion, okay? Some points in a song that require you to play a specific inversion so that the song is well supported, so to speak, the song needs to be well supported with a particular inversion. Okay, now, let me just start by breaking down. I know some of you are beyond this, but I'll just highlight it because of those who may not be here. Okay? So this is called number one, F sharp major. There are two inversions to discard. Okay? So that is an F sharp, a sharp in C-Sharp, you can play this as F sharp, C sharp, F sharp, or c-sharp, F-sharp, and C-sharp. Those are inversions of that code. That's the root position. First inversion, second inversion. Now, let's play the F sharp major seven. Now when you add the seventh, now the Curia adding the F to F-sharp major seventh. You also need to master the inversions of discord. So the first inversion, second inversion would be here, C sharp, E, F, F sharp, and a sharp. The next inversion would be here, F, F sharp, F-sharp, and C-sharp. So they extended chords, those, the major seventh and the minor seventh have one extra inversion because there's another additional note on top. Okay? So those are the inversions of f sharp plus the F sharp major seven. Let's look at the next codon, G-sharp minor. That's good. Number two. So we have G-sharp, B and D sharp. The first inversion would be B, D sharp, and G sharp. The second inversion would be D sharp, G sharp, and B as the root position, first inversion, second inversion. So just encourage you do this exercise up the keyboard, seeing those inversions. G-sharp minor inversions moving up and down. Be very comfortable with this. Okay. Now what about the extended code, which is the G-sharp minor seven, G-sharp, B, D, and F sharp. Okay? So that would be the root position. First inversion for this would be that second side. Of course you go back to them. Be very comfortable with that. Okay, That's good. Number to D-sharp minor seventh. Number three is sharp minor seventh or B-flat minor seven. So remember H AB is the same thing as B flat because this is a, this is B, B flat, or you can also call it a shop. Just to mention that for those who may not know the enharmonic nims admins, these black notes. Okay. So so that when you hear somebody saying flat and sharp, you know that what they're talking about. So B-flat noise, the same thing as F-sharp. C-sharp, same thing, D-flat. D-sharp, same thing as E-flat, F sharp, G, A-flat, G-sharp, same thing as F A-flat, okay? I hear many people who play the key of F-sharp calling f. F. F is this, okay? Is F, G, F sharp or G flat? Get back to this. F sharp minor seven, F-sharp, C-sharp, and G-sharp. The first inversion for this would be sharp, G-sharp, A-sharp. The next inversion, sorry, next inversion. Sharps, F-sharp, C-sharp. So be very comfortable with those inversions, okay? Next one is major seven, okay? So we have this B major seventh here. You can also have F sharp, a sharp, B, and D sharp. We can also have this beak. And you add the F sharp to get a B major seven, okay? Alright. And of course, be at the F-sharp, get the B major seventh, the major 77777, Okay, Then C-sharp, dominant seventh, we have that C-sharp, G-sharp and B. Or you can have C-sharp and G-sharp. Or you can have this inversion, G-sharp, B, C-sharp, and F, right? So the key thing to understanding invasions, especially for extended gods, it can be a little bit confusing, but this is what I usually do. I usually ask myself, what is the seventh note? So I go to whatever inversions of the triad and then I just add the seventh note, for example, for C-sharp dominant seventh. For extended chords, it can be quite tricky beginning to calculate inversions in your mind, okay, because now you're wondering, okay, what therefore not a simple thing to do is this example, and I'm playing a C-sharp dominant seventh. If I just want to get the inversions quickly, if I'm comfortable with the inversions of the triad, okay? So I know this is C sharp, major, C-sharp, C-sharp, and G-sharp. If I want to get the C-sharp dominant seventh chord, I know they're not that I'm adding on that is a b. So I can go to whatever inversion of C-sharp major and just add a bit to eat to get a C-sharp dominant seventh chord. So abduct so that I'm not calculating, making all those calculations. So I just go, for example, to this inversion of C-sharp major. And then I add a, B, have a C-sharp dominant seventh chord to this C-sharp major? Yes. Other be Java, C-sharp dominant seventh chord. Okay. Anywhere I go, the beat, the beat, the B, the B, C-sharp dominant seventh chord. So that I'm not calculating and I'm wondering, and trying to find out. Ask yourself what is the note you're adding to your triad to get the extended code. So if I'm looking, for example, for inversions of D-sharp minor, D-sharp minor seventh, D-sharp minor seven. That is the route. You add this C-sharp, D-sharp minor to get the D-sharp minor seventh. Okay? So if I'm at this national D-sharp minor, I just add the C-sharp, D-sharp minor seven. Or if I'm here, I guess the C-sharp, D-sharp minor seven. Seven, C-sharp at the bottom, sharp minor seven. The top C-sharp at the top, some minor seventh. So just always ask yourself what not, uh, you add them to the triad to get the extended codes so that you avoid the too much of calculation, Okay? Not the seventh note that you are adding to the code to get the extended chord. Then on whatever inversions of the triad you are in, you just add the seventh naught and you have the inversion of the extended code. Okay? So go through those inversions of this extended costs. Then lambda relationships. For example, I actually just want to understand this. For example, when ample on this inversion of F sharp major, okay? I have my F-major seventh year. I have my D-sharp minor seventh here. D-sharp minor, invited to add the C-sharp, D-sharp minor seven, F sharp major seven, B major seventh. So know those movements from one extended code to another and how close they are. And one trick with this extended chords, especially the major seventh, minor seventh, avoid jumping far away. Okay? We look at song, the song examples in the next chapters or so. Avoid. For example, when you're moving from F sharp major seventh and you want to go to as C-Sharp dominant seven. Avoid this kind of movement. It's so because when you're here, you can simply do this. C-sharp dominant seven, F-sharp minor seventh, C-sharp dominant seven. So be very comfortable moving from one extended code to another extended chords in the inversions. Okay? So I'm not moving from F sharp major seventh. Okay? So from that major seventh, C-sharp dominant seventh. Why? Because this is C-sharp magic, the inversion of C-sharp major. I know you're comfortable with this G-sharp, C-sharp, and F, I'm just adding the B because I know B is the not the flat seven. You add the flat seven to get the dominant seventh chord. Saw F-sharp, C-sharp dominant seven, F-sharp, C-sharp dominant seventh. Example, F sharp major seven. C-sharp. F-sharp major seven. C-sharp. F-sharp major seventh, D-sharp minor seven sharp major seventh. D-sharp minor seventh, D-sharp minor, C-sharp to get a D-sharp minor seven. So I'm very comfortable with the inversions of all these extended chords. So at whatever position I am, not the closest inversion of that code is around there. So I don't have to jump all the way to the roots. So that if I'm at F sharp major 79, D-sharp minor seven, I don't have to jump here. I just moved from that. And I know I have D-sharp minor seven, F sharp major seventh. D-sharp minor seven, because I know D-sharp minor. And then I'm adding the C-sharp to get a D-sharp minor seven. F major seven, F-sharp, C-sharp. If I'm playing that movement, F-sharp major seventh, D-sharp minor seven, G major seven. C-sharp dominant, 7165. All my inversions are here. So my one is that F sharp major seventh mice that inversion of D-sharp minor seventh. And then my starting version of B major seventh. And then my five is that inversion of C-sharp dominant seventh. Okay, So all my colleagues are in one place. I'm not moving up and down. Okay? So be comfortable with those inversions, okay? And when we begin looking at the song examples, we'll begin looking at what is the best inversion to use for this particular song at this point of the song. And most of the time, you play the inversion that's opposed the melody of the song, okay, For example, if I just blessing like guilting, so that grid full lot. Why am I playing? Because he's not, because he's key. Or any other inversion, because after is an inversion that suppose the melody. And there'll be looking at that into greater detail when we begin looking at the song examples. Okay, so go through those inversions of those, all those extended gods from codon number one to number eight, so that you are very comfortable seeing the inversions. Inversions, extended chords. See those inversions very comfortably. Alright, so that will come to your advantage and we now begin going deeper into the songs. Okay, thank you. So let's move on to the next chapter where I'm going to be talking about passing chords, okay? 3. Chapter 2 Passing Chords In F Sharp(s): Okay, So in this section I'm going to be talking about the passing chords in the key of F sharp. Pass encodes. And understanding passing code is very, very critical. When you're playing a song in any key. Got to understand how to transition from one chord to another. So those are what we call the passing codes. Okay? So passing codes, that two ways that I usually tell my students to look at pass encodes. A passing chord is a transition from one color to another. It's like the bridge that is connecting two codes. Okay. It's not a mandatory part in the, in the, in the arrangement in the music. It's an additional movement that connects you from one code to another. That's why it's called a passing chord. Without playing it, the foundation of the song will not really be affected. So parsing code is a code which is connecting you from one color to another. And the reason why we use passing chords is to fill up the space between two curves so that we're not hanging on one code for a very long time before we move on to another coordinate. Okay? So that's what a passing could eat is a code that would help us move to the next. So in this case, I'm just moving from F sharp, B major. So I'm using that to F-sharp minor seventh as a passing chord be imagined. So that's an example of parsing code. But now most of the time the passing codes, we use our codes which are off the scale. Okay. What I mean is we're used codes which are most of the time non-diatonic. Okay? Now let's understand that tonic chord and a non-diatonic God. And a diatonic chord is a chord that is strictly moving along the scale. Okay? So if you check the section on scale degrees, you understand what the scale degrees of F sharp, F sharp major, G-sharp minor, F-sharp minor, be imagists, C-sharp major, D-sharp minor, F diminished, back to F sharp major. So those are diatonic chords of k because there are codes which are moving along the scale. But when we are playing passing codes, sometimes we use some codes which of the skin? Okay? So here's some codes which are off the scale. Because for example, if I'm using this D-sharp major code on my right hand and a G on the left. You realize that I'm using accord, which is not really on the scale of F sharp. D sharp major is not an F sharp, but I'm using that as I go to my G-sharp minor. So passing because normally, or most of the time you realize that they are codes which are non-diatonic, meaning that they oppose not flowing within or inside the scale that you are playing in. Okay? So when you think about passing chords, it's important to think of it in two directions, okay? You can either approach your destination from the front or from the buck. So for example, if my destination is Maja, my next chord in the song is being imagined. I can approach this. We measure from the F-sharp minor. They're sharp minor or from the F-sharp? All from the seat. Let's just look at one not without looking at the quality of the code. The quality of the code we play may be different. Okay? So what I'm going to be, I can approach with through C or through F sharp. So I can use a passing chord, F-sharp, a type of a shop, or I can use a type of a C code, can be a C dominant seventh, can be a C major icon, B2C, any type of the quality of the code of C, taking me to be. So I hope you get that point. Example when I want to go to D-sharp minor and I want a passing code taking me to D-sharp minor. I can approach D-sharp minor either from E or from the D site. So you can approach it from the low side or from the APA site. Okay? Now I think to note about passing chord is that there'll be a lot of slash codes used. What do we mean by slash codes? For example, when I'm going to D-sharp minor seven as my destination code, I'm looking for parsing code to this D-sharp minor seven. I will, for example, play this F-sharp dominant seventh with a D on the left. So I'll not play F-sharp. Sometimes I'll plate, but most of the time we will use slash code. So for example, if I want to go to D-sharp and amusing. I shop dominant seventh. I'll use it to that D, because I'm approaching it from the bottom side of my D-sharp minor seventh. There'll be a lot of slash god, Zeus. Now, let's get right into these. Now. I want us to walk through from the first chord, F-sharp major, walking back to F sharp, okay? And just look at the passing costs that we can apply throughout this, get from one chord to another. Okay? So I've been playing something like this. Realized that every point I'm using a specific passing chord. Now, let's look at this. One of the most important tricks I can give you when you're thinking about passing chords, is this the simplest way to find passing chords? You look at the destination and ask yourself, what is the fife of the destination? Okay? What is the five of that destination? For example, moving from F sharp major chord number one. And we're going to number two, which is our G-sharp minor seven, okay? We ask ourselves, what is the five of G-sharp? Now? At this point, you need to know the scale of G-sharp, okay? Even if you cannot play a song in the key of G sharp, you at least need to know the scale of G-sharp. G-sharp major scale. That's the G-sharp major scale. G sharp, a sharp, C sharp, D sharp. G, G sharp. I hope you have downloaded my free e-book, the music at sea level, the foundational level one e-book, it's free. In that e-book, I have put the diagrams and all the major scales are illustrated there. Okay? So you need to at least understand all the major scales, all the 12th major scales, at least on your growth journey towards understanding all keys. So we ask ourself, we are moving from F sharp major. Now let's go to G sharp minor seven, chord number one, F sharp major seven, chord number two, G-sharp minor seven. Now, we want to pass through this node, G on the left and on the right. We will ask ourselves, what is the Fib of G-sharp? G-sharp major scale? The five of G-sharp, D-sharp. Okay? No matter what tool do you play The D-sharp as a dominant seventh chord. That will be your parsing code. The five of your destination plate as a dominant seventh chord. The left, you just play the note below your destination so you have a slash code, okay? So you have your D-sharp and dominant seventh year, D sharp, G sharp, and C sharp. So if you look at my free e-books, you'll find diagrams to all these dominant seventh chords, major seven, minor seven ninths, augmented. All these types of codes are in my ebooks. Okay? So, uh, D-sharp dominant seventh chord with a G on the left as our parsing code to our G-sharp minor seven. Okay? So 12. Now, to avoid this kind of movement, we can use this code. Okay? So we can push this up here, then push the D sharp here. So why? D dominant seven over G? G sharp minor seven? Okay, now we move to the next stage. We want to move from G-sharp minor. Now, I'm just giving you a passing codes. But in the situation of a song, when you move to their specific chord in the song using the passing because we are looking at, okay, so in the later chapters, we'll be looking at the practical song examples. Alright, so we're just looking at the structure of the passing console that you apply these cars now specifically to the song that you're working with, okay? Which will be different. Okay? So we are looking at a passing chord moving from G-sharp minor seven to F sharp minor seven, okay? So G-sharp minor seventh to F-sharp minor seventh. And so on the left, I'm looking at that because I'm moving from G-sharp to a. Shafts are passing through a. Again. I'll ask myself, what is the fight of my destination? My destination code is F-sharp, minor. Okay, Just got number three. What is the five of shock? So I'll have to go to the F sharp major scale and look for the fifth Not door ME fossil. On the scale of F-sharp, the five, so is f. So I'll play an F dominant seventh chord. Again. F-sharp dominant, F dominant seventh chord with an a on the left. As my pattern code to F-sharp minor 75 of f sharp is F, F dominant seventh chord. As my passing codes to with an a on the left, parsing code to F sharp minor seven. Right? Now I don't have to make the second plan invasion, right? And we're going to offer for B major. Then the next codon now from B major, seventh chord number 42 chord number five, C-sharp major. I am going to pass through the C on the left, B, C to C sharp. So I'm moving from B to C-sharp. So you are passing through. So once again, ask myself, what is the fight of my destination, C-sharp, I'll go to C-sharp major scale. The five of C-sharp, G-sharp. So I'll play G-sharp. Dominant seventh would see on the left. It would be my passing code to my C-sharp major. Next stage, we are moving from C-sharp, G-sharp. So we are passing through d. What is the Phi of d on the D-major scale? It's an a. Okay, not, sorry. What is the playful wide destination that is D-sharp. The five of D-sharp, F-sharp. So we play dominant seventh with ID. On the left is our bus and go to our D-sharp minor seven. News any inversions? Ok, this edge up Noonan seven containing that, that they D-sharp minor seventh. Okay? The next point is D-sharp, which is our number six. Number seven, which is good. So between D-sharp and we have E on my left hand rule out. The five of f is I see. So play C dominant seventh without an E on the left. To our code number seven, which is F minor seventh in this case are, okay, sorry, F diminished. F diminished chord, but F diminished chord, traditionally, F diminished. But most of the time you'll find that it's a minor seven flat five. F minor seven flat five. Okay? So we'll have something like this. F minor seven flat five, F, G-sharp, B, D sharp. If we invert this, then back to code number eight. Okay? So let's look at some backward movement. Okay? So for example, if the song, the progression of the song is moving from two to one, not want to do the same, but two to one will see it pass through that. G are from three to pass through the five shop, which is F, dominant seven. Okay? Same way we're moving from two to 312345. Dominant seventh, minor seventh chords. Okay? Now I just look at some variations, some variations we can use. Instead of using the dominant seventh chords, we can also use diminished seventh chords, for example. Moving from F sharp minor seven, and I want to move back G-sharp minor seventh. That's a diminished seventh as my parsing code to my G-sharp minor seven. So what is Ed diminished seventh? Which is our passing from F sharp to G sharp backwards. It diminished seventh, C, D-sharp, F-sharp. All these codes are in my free books. Okay? So diminished seventh, C, D-sharp, and F-sharp, G-sharp minor seventh. Again from minus seven. Moving back to F sharp major seventh, we can use that G diminished seventh as a passing chord. F sharp minor seven, G sharp, C sharp, and E. F-sharp major seven. Something here. For example, if I'm moving from C-sharp major and I'm going to D-sharp minor, five to six. I can use this as a D diminished seventh chord, G-sharp, B, D-sharp minor. So it's whatever the songwriter, but I can use the inversion of this code. Example, this beat, I can bring it here. Okay, so very nicer. So you asked, You just check what is the passing naught d. You play that the other diminished seventh chord, as you're passing notch the next chord. You, for example, moving from B, C-Sharp, what is the passing Nazi? So I'll play a C diminished seven as my passing Chord. C-sharp, Brune, BNC. So I'll use passing chords twice from C sharp, diminished, D-sharp minor. Those 2222 ways you can use, you can play, you're passing chords as using the approach of the dominant seventh or the diminished seventh. Actually, those two are some of the best passing chords that I like using, although not alone. But I really like using those diminished seventh chords and dominant seventh chords as my passing chords. Okay? So I know I'll be looking at song examples in details. But let me just, for example, just to highlight just as a common song, just to help us to reflect on this quickly. How excellent? Excellent Is your name? Oh, so this is a progression, basic progression. Egn. Number one, F sharp major. Chord number two, G-sharp minor chord number five, C-sharp major chord number one, F sharp major. How is your name? Oh, let's put in some passing codes. How salad is your name? What passing? That D-sharp. Okay. Just use that D-sharp major although can use a D-sharp dominant seventh. Yes, at the C-sharp, sun land. G on the left with that D-sharp dominant seventh on the right, because D-sharp dominant seventh is the five of G sharp, which is our target. Okay? Okay. I can win in this inversion of web shop when I'm playing in this c-sharp, F-sharp in a chapeau salad. So F sharp, major, D-sharp and dominant seventh or by G. G sharp minor seventh. Shop media. So just an example of how we're playing those paths encoding restrictions. But we are going deeper into some examples and we'll see this passing chords really coming in. Okay, so let's move on out in the next chapter. 4. Chapter 3 How To Set Your Keyboard Voices And Styles(s): All right, everybody, Welcome. Welcome to the Yamaha PSR S 710. Okay. Now I work with this keyboard in charge, this one I use. I don't have a very big machine for now. I'm always desiring to move higher and higher. But I believe most of you are working with something close to this day, Yamaha, them a kind of keyboards. And many people have been asking me what voices do I use, what kind of settings work best on this kind of keyboards and all that, all the issues about beats and that tone. Just to talk now, maybe a little bit more about voices and just how to customize your voices for this kind of CU Boulder. I know you may not see my, my setting screen clearly. But for example, for worship sessions, what I like doing is on the combination of the voices, right one and rights to this kid was given the option to combine the two voices. So for example, for now, for our worship setting, the key of F sharp, of course, I'm currently using a suitcase. Suitcase and a more than EP. Okay. A suitcase for my voice one. And I'm more than happy for my voice too. I like combining the suitcase because the suitcase without our voices, because the suitcase, this, the suitcase alone. It has a very rich soft EP kind of sound, electric piano sound. So I'll do a suitcase, which is mod. It has a male voice. And then I'll combine into that more than EP because that more than something like a galaxy or a modern EP or a polar API. That bright edge, the bright edge. So when I combine that with that kind of a sounder, okay, so try combining a suitcase. What's something like a galaxy or a modern API? Or even a suitcase and a grand piano. Let's hear that house and how that sentence or if it's the piano alone. I find it a little bit thin. Or and I add the suitcase at the bottom. Add some flesh, the EP to the piano. That can be a very good sound for ship. And even some praise songs, you know, depending on the material that you're working with, the kind of song that you're working with. But I like combining the grand piano and assault case EP or a suitcase and more than EP or a galaxy or a dx, Medan, some type of modern kind of epi. Okay, so for those of you who love strings for shipper, you can do something like a grand piano. And strings, for example, for sheep and then on your balance on right one. And to just ensure that the string is a little bit quiet so that the piano can really come through. Okay? Yeah, piano and strings for example. So work with your balance. And something else. Very important to mention about the sound of your keyboard is the way you mix on your mixer. On your mixer or on the external mixer will also matter. A lot, will determine a lot the kind of sounds that you'll get. So if you are mixing on the equalizer is not good, you may not get the best. Samza. So that's it about my selection of voices, for example, for worship piano and strings, a suitcase. I can even do a suitcase and strings. So it can CP and strings. And this can be very nice when you are doing two keyboards, okay? One person can be doing the mane Lego grand piano part. And then if you are doing the second keys, you can do an EP and strings to just give a pod, a pod kind of a sounder. Okay? Now also you can just do four shapes. I also like using a piano and a pad on these EMR. I'm putting the piano on the right one and then on the pads, I have a section here of the queen patho. I like using something like Area 51 or D expired. So Area 51 and a piano sound like this. So you hear the pad. How is your name? Okay, We'll look into that song, but that's a piano and a pod. A pod visually is good for atmospheric, yes, creating an atmospheric kind of effector. And then something else about modulation wheels, the pitch bend and then modulation. Now, just talking about the modulation. There's a way you can use this modulation to ship your sounds. For example, when I'm working with strings and pads, if I want a warm pad or let me put now, if you want to do pure strings, I like combining, for example, voice one on strings says yes to that. Voice one on strings and voice to on the pad. If I want a pure string or paddy sound, okay, maybe I'm doing keyboard to somebody who is playing piano. Some combining some strings and iPad law, the strings are a little bit. So I have a combination of a pod, streams and Area 51, which is a PAD. Okay? So it helps to support the strings, give the string some backup. Combine strings and pads if you are doing. Second keys, for example, now the modulation antigen listening to add them or deletion does to the sound. And you can alternate this during your playing. He allowed effect. It changes the tone. Okay. So sometimes I would just like when maybe somebody's brain or, you know, in just a moment here, I need to play not really a song, but something just to create an atmosphere of worshipper. I'll play around with this modulation. Okay? And on some good keyboards are really sounds nice. I really like the way it usually sounds on my, my studio keyboard. The modulation wheel. It affects the tone of the sound. Okay, I don't know if I can try another sound. Don't know how it affects an EP. For example, let me see. When you turn up the modulation on this epi, electric piano sound more soft. He does. It also does the same thing on a grand piano. When the modulation sound is more sharp. When you turn it up, it softens up the sounds and so you've got a softer down, the time becomes sharper. Learn how to move and manipulate your sounds using the modulation wheel, okay? That's a lot, right? So that's a little bit about the sounds and all that. So I also believe that most of you are using then there's a stain on the keyboard. But then I know this is common to most of you. But if it is not common to you, why I like using is what we call the foot switch. Locate the sustain pedal. It just helps to sustain. When I step on, it. Sustains. Very good. If you have never used this, you get this foot pedal and you start learning how to use it, because it allows you to sustain where you want to sustain and to break where you want to break. As opposed to the sustained button on the keyboard which sustains the voice continuously. Okay? But this gives you the flexibility to sustain where you want to sustain and to release where you want to release. You see, for example, when I'm playing some, let me put some API is here. Back to my, to my API was my EP man. Said this, put back my suitcase here in my more than UP here. These are the sounds I like what you need, la, la down my Octave. Just do a few settings here. Not for example, there are some songs that aren't anti to sustain at some point and released at some point. You see there are some points where I want it to sustain. On that point where I don't want to sustain their food switch allows me to Utah allows me those dynamics. Sustaining what I want to sustain and not sustaining what I don't want to sustain. And that's very important because that's the songs which you need, those kinds of dynamics so important that you have a budget for our foods each pedal, it goes to around between 30, $40. Okay. So be something nice considering having a foot pedal and learn how to use it, because it's also tricky getting used to eat if you have not been using. Okay, So how about now maybe some voicings for praises. I also like sticking to the suitcase and the modern EP for my combination. For African music, the galaxy sounds, ah, walkway, but I don't like how sharp the galaxy or the dx more than Samza. So I'll always combine it with a suitcase and keep the galaxy a little bit low so that I'm not, I don't usually like these sounds or a leg keeping it a little bit low. So that is just at the back. Okay. So I'm combining a galaxy EP with a suitcase. In this case. Some galaxy sounds work well. But honestly for truth, if I'm working in a band setting where I'm not doing that one man kind of a thing. And for example, I have a guitarist. I will avoid this sharp, sharp, sharp, sharp kind of sounds. Okay, some songs I'll just even use a grand piano for our appraisal. Especially English songs. Oh, I combine that grand piano and EB. For example, a grand piano and that suitcase. Okay, man, I just can't live without the suitcase. Then. It's sharp. Now I've shifted the octave of my keyboard backwards a little bit because as you, most of the problem that most of you may be having, this note is dead. Get this B-flat on my left. So I'm limited when I play. So I have to shift my keyboard so I learned how to adapt on your machine. I am working on that on another octave because of these. Now when some of your keys are dying off, why do you need to do is to replace the plate, this applet in here where these keys heater. You take it to a professional so that the plate is replaced, the whole of it, okay, so that your keys are back, alright? And then avoid too much. Most people are banging a lot. The more you die. I mean, using this machine now for almost six or seven years. And with good care, these machines, these machines can only last for a long time. Something maybe a final thing to mention about voices and just some settings you can do on your voices when you select a voice, for example, I go to the voice menu and I select, for example, this suitcase. There's an option here, down here that says Voice set. When you select Voice set, it will take you to a page where there are many different tabs, these common controller, sound effect or EQ, harmony. And it will give you options for shaping your sound. For example, on this suit, get, let me get selected the voice to alone suitcase. Now when I select that voice and go to Voice set on the suitcase on their common, but there's an option to shift the octave. There's an option to change the touchdown. Here that you can really change the shape of your sound. From Pali to mono. You can also make many kinds of settings. The brightness, brightness, attack or decay release, vibrato. These are options for you to modify your agenda. Chorus deaf. For example, if I'm doing a reggae song, I think that really makes that EP sound. Maybe put a regular beat, year, regular beat. Where do we have a regular beat? Okay, So I think I put a delay, some of that, some funny, funny, funny delay effect happening there. So, but the point is when you select a voice, for example, here you have the suitcase and you go to Voice set. You have options to change the tone of your voice. So walk around these settings and listen to what each settings is or how each setting is affecting your voice. Okay? So, okay. And most important of all, when you go to the final mixing on your keyboard or the mixing console. There are options here you can also use to change effects, filters, brightness, everything. Try also walking around these settings to tune your voices are effects. You can add more reverb to a voice says, yes, chimneys, lumping. Have a piano here. About piano going on here. And when I go to the, to the mixing console and other effects, I can add or remove more reverb, for example. Motivation. No reverb. It's more dry so you can affect your sounds on the effects on the mixing console. Under the Effects tab, or on the equalization, you can change the equalization of your sounds. For example, on the right one, I can equalize the highest or the laws of the particular voice and I'm using. I can also equalize the style and the style to have more punch. For example, find the style to have more punch. When I'm on the mixing console on the equalizer, I can add the laws. Okay. So you just listened to this. More punch. Punch. Okay. More punch, more highest, less. Manipulate your styles, your sounds, you see on the mixing console. The more advanced keyboards like the 1950s and that they even have compressors. They are limiters and advanced EQs on the mixing console. So try adjusting your sounds on the mixing console so that you can refine the sound of that you're getting from your machine just to improve a little bit on the punch of your beats and all that, you can do it here. So I believe that's a good overview of this machine and then maybe just some tips that can help you to make better use of this machine. So in the next chapter now we're going to get into some practical songs and this one man band kind of things on this machine so that you can see how we can move on to a higher level. 5. Chapter 4 Song Example I Have A Father(s): Okay, I'm going to play this song. I have a father who never fails. The key of F sharp. My name is my name. Let me start playing the left hand this time. So I'm trying just to give it a Nigerian enough for kind of feeling, almost African kind of a feeling. I don't want it to be like Gallo 79. So you have to land to spread your arms so that you have octaves. The octave kind of thing, because we are trying as much as possible just to imitate a real best player. I have never. And then trying just to play off bits of bits in alternating with the beta. Let me load this template a little bit so that you can look at what I'm doing on the left. See that? See that there are deaf. May never fails. Okay? Now on the right hand, this is how I would play if I didn't have if they have a best plan, that means I don't have to play the left this, I'm not playing one man band. If I have a busy stuff. One. To five and then my two. The dominant seventh chords really sound nicer like here playing G-sharp, G-sharp, D-sharp, F-sharp nearby. And then some passing codes, like for example, when I'm going to the D-sharp minor, six, pass through this F-sharp. Dominant seventh with D on the left. Edge, sharp D, E, F, G-sharp. D-sharp minor seven. For the images have been imagined, who never a fail. One F sharp major, and then two, dominant seven. I have a father who never, ever fail. And then, jeez, I use my fine. Remember once again that flat seven over five to that one dominant seven. Common progression. Jesus is my father. For B major seven, Never, ever fails. One over five, F sharp opposition. Row four edges than C-sharp major fight never ever fails. Then I, F sharp major. And then C-sharp minor as a passing chord might be imagined. When I shop on the left. Guessing it up a little bit. She's asking is my nav I thought I might play, I'm just playing F sharp major, G-sharp minor. Okay? This inversion of G-sharp, D-sharp, G-sharp B. Undo that. Made me smile. Yes, Rocco. Five, C-sharp major. Four over six major over D sharp. C sharp major, one shaft. Imagine by four by 65 over 71. Okay? I hope that helps. I'll break it down piece by piece starts with the left hand, then go to the right-hand, develop more readings. Don't lock yourself to this. This is just the idea. So develop more redeemed on your left and right and be creative. Be creative with your sounds. I'm using an electric piano and a middle ground. If you are wondering what sound I'm using, I'm using an electric piano for the first voice and meet the grand piano for the second voice. I'm combining those two voices, balance out the level of the volumes between the two voices and get a good balance between each of them. So like in this case, I have my electric piano a little bit higher than the midi grant, so you just balance out the volumes also give you a different feeling. On the left, I'm using an electric best. There are many types of bases. These are sub bass. Electric bass is mellow bears and all that. So that's what I'm using in terms of the voices and my bits are the custom-made bits, okay, from the PSR. Hope that helps. 6. Chapter 5 Song Example How Excellent Is Your Name Oh Lord(s): Alright, so in this section, I'm going to be talking about our worship movement. I'll be using the song, how excellent is your name or load? And I've tried as much as I can to select songs that are familiar with a global audience, okay? So don't expect me to play a song that you're seeing in your village and no one else around the world can understand it because this course is meant to move around the world. So I'll be using songs which are familiar with most people on the continent. And so how excellent is your name or load? And in this section, I'll be covering left hand movements and also right-hand movements. So just touching on the left hand, I'm doing piano and a pad. Throughout. Piano voice one and a pad. I'm using grand piano and Area 51 as my iPad. Okay. So how about piano and a path going on? You can modulate the tests that you want. Maybe there. So we already went through the basics of the cars are passing chords. So in this section, moving forward, we'll just be going into the practical bits. Okay, So how is your name? Hello. So firstly, let's follow phosphate data. What we're doing there, as we move on. I didn't put a bid. We'll bring that in. So I'm starting with code number one, F major seven. F major seven. I'm always playing my F Most of the time than playing the F sharp. F sharp major, seven. F sharp. Okay. I'm adding the F to get an F sharp major seventh. Okay. How is your name on F-sharp major seventh? And then I go to a passing chord, D-sharp dominant seventh of a G on the left. So that is D sharp, D sharp, G, and F-sharp, C-sharp at the bottom to get D-sharp dominant seventh with a G on the left. As my parsing code to G sharp minor seven, D sharp, F sharp, G sharp, and B, of course, an inversion of G-sharp minor seven. So highway, so land is your name. C-sharp major. Chapped lips. So again, on the left, I can either place C-sharp or C-Sharp and F. Now, how about point? I'm using a turnaround. There are some codes to take me back to the beginning, okay. All D-sharp minor seven, G sharp minor seventh, C-sharp major. And I can use C-sharp dominant seventh at the B. So how you select your name? Or D-sharp minor seventh, G-sharp minor seven, c-sharp made. And how? So? If I'm doing with that bears on the left, what do they do? Well now playing the left, always try to imitate our real bass guitar. Okay, let's put on a beat. So the right sharp minor, F-sharp, G-sharp minor, G-sharp minor, C-sharp major, F-sharp men. Another option of doing it. I'm doing it using this innovation of F-sharp. How? Sergeant, to look at my left hand movements. So what I'm doing here, but I'm going to the G-sharp minor. I'm just passing through the air. So how and so my right hand is doing F sharp major, D-sharp minor, G-sharp minor, C-sharp made that F sharp major. I'll just lower the bears, doctor, for the base, I'll go to the bass, electric bass voice set and allowed the octave a little bit. The base here because I did notice debt. Okay, So that's good. More bits here. What are we doing in the chorus? How such a B major is your name? And then on the right move to C-sharp major on the left, stay on the beam. How land is your name? So you have a slash, good. C-sharp over the how. And then you go to court number three, F sharp minor seven, F-sharp, C-sharp, and G-sharp. Easier name. Then D-sharp minor seventh. I'm playing it in this inversion. A-sharp, C-sharp, D-sharp, and F sharp. D sharp on the left. And then G-sharp minor seven 0s, and then C-sharp, dominant seventh, G-sharp, B, C-sharp, and F. You can also just play C-sharp major, or you can add the beam to get a C-sharp dominant seventh. Chord number one, which is F sharp major seventh. So how sunlit the first part? How am silent? Easier name is through the bit. How is it? How is the next spot? For you play some chords, they're D-sharp, D, C-sharp. So D-sharp, D, C-sharp. And you landed on E major. E major is flat seven chord outside the scale. Okay? Imagine over C-sharp. Now, these are very common movements in many songs, which when you get familiar with, and you'll get used to using this slash gods like this flat seven over five. You'll hear them in many songs and they'll become very familiar to you. Okay, so the next part, how excellent. So, oh, and then when you move from that E over c sharp, you've got to F-sharp dominant seven. Another play, F-sharp dominant seventh like this. C-sharp, E, F sharp, and a sharp. This inversion, F-sharp, C-sharp, E and F sharp. Or you can use it here. F sharp, F sharp, C sharp, and E. Then push this down. If you want. This bit is not here. Okay, but for now I'll just leave it there. Then the next spot called number four is then God number seven. Here I'm playing an F minus seventh on the right, C, D-sharp, F, and G sharp. F on the left, called number seven. How excellent they've gotten. Number three, F sharp minor seven, easier name, D-sharp minor seventh. How excellent. G minor seven. G-sharp minor seventh. Easier name. C-sharp, dominant seventh. Back to F sharp major seven. Okay, so let's play the whole class. How is your name? Now that's the basic flow, but now you see on the left, you can walk in between these nodes and so on to play through the unto to see how my left hand is walking along. Alright. How solace? Same name. Sharp. Sharp, minor seven. E over c sharp, F sharp minor seven. Now, if aren't more staccato, I like putting now my suitcase EP is why I love my suitcase. I'll just duck the grand piano down a little bit. I'll push up the suitcase. My EP, man. And I'll put maybe the more than EP on my voice one, just the voices I love. Okay. So it sounds more jazzy. So as I play along, I want you to observe the tricks I'm using on the left because I'm using on the right. Okay. So just get used to the floor. Okay. I'll just be jamming through. How? Yeah. So something to mention that sometimes, instead of using this C-sharp dominant seventh, a, B diminished seven, c-sharp on the left, B, D, F, and G sharp, for example, on the last line. So that's B diminished seven, B, D, F, G sharp as a substitution for that C-sharp dominant seventh. Because the only difference is that D and C sharp, diminished seventh of a C-sharp been to that F sharp major seven. There's something I played their turn around. So D-sharp minor seven, then F-sharp dominant seventh of Andy, and then F-sharp, C-sharp, G-sharp, dominant seventh, C, D-sharp, F-sharp, G-sharp inversion, C, and then the lens, so the spleen. If minus seven, sharp minor seven. Use your name. D-sharp minor. C-sharp over f. D-sharp major, G minor minor, C-sharp, D-sharp, E. And I know that helps a lot. Now, the Muslims, they do the matrix inland. So let's move on to another as an example. 7. Chapter 6 I Say Yes Lord: Yes, we are still flowing in worship. And the key of F sharp, I'm going to be playing the song. I say yes, yes Lord. I believe these are common worship song and most of you will be able to relate to it. And in all my courses I tried to choose songs which most people can relate to. Songs which are sung in congregations all over the world so that everybody can relate to a majority of the songs in the course. Yes. I see. Yes. Yes. Yes. Yes, law. So it's very important to land to give you a piano soft touch or the appropriate touch for the song. The song is which one to two bank on it and really be hard on it. But there are songs which want you to not be middle, be more graceful and not just glide on the knots on doing I'm playing my code number one for example. I'm always putting my tools so that I'm having the adenines on the left. I have F-sharp and C-sharp. And underlying sampling these three nodes, F sharp, G sharp and a sharp. And I'm adding the F sharp on top. Let's learn how to voice your cause and learn how to understand sounds and know what not to make your code sound better depending on the kind of sound that you're looking for. So I say F sharp major, chord number five on the left. G-sharp, C-sharp, and G-sharp are on the right. Instead of planes C-sharp major. I'm playing, I'm just substituting, would that be diminished seven? Okay. Just some code that I love using. If you have been through my tutorials, I liked this B diminished seventh as a substitution for the five. So that's me, D, E, F, and G sharp. The left, I have C-sharp and G-sharp, F-sharp and C-sharp. And then the manager, and be on the left. Then that's one over three, F sharp. And then then put number four, major seven. I'm writing that C-sharp on top. A B major seventh because I'm playing my b with the left and then the rest of the nodes with my right hand. So that allows me to add one note on top even to be made. So let's flip that point. Yes. Major seven. Yes. Then back to F sharp over Asia, one over three. And then remember that, okay, very common progression in worship, flat seven over five, image of a C-sharp, sharp, then to the one as dominant seventh, okay, F-sharp dominant seven. If you look at the song Hallelujah, we've also covered this Samson progression, that flat seven over five to one as a dominant seventh chord. F-sharp dominant seventh. Very common, okay. I see as the major seven. Then B minor, E minor, F sharp, E on the left. And then I say F sharp minor seven, chord number three. And then got number six, D-sharp minor. But on the right, I substitute that with a C sharp diminished seventh. Instead of playing the normal six, D-sharp minor, I substituted with C-Sharp dominant, C sharp diminished seventh, that is C-sharp, E, G, and F sharp, D sharp. On the left. I see a parsing code here to my G-sharp minor seven, diminished seven. C, D sharp, F sharp wound on the left as I pass in, G sharp minor seven. And then B diminished seventh of a C-sharp again. Then to an F sharp met on, let me play the flow of the full code so that you can see how they're connected. Now, I say yes. Yes. Yes. So on their tongue around the code at the end, I'm just using 2512, G-sharp minor 75. Remember substitution be diminished seven, c-sharp on the right. And then court number one, F sharp major seventh definition, F sharp major seventh. Okay? One important thing that I like mentioning is that when it comes to fields and runs, the best way to get your own fields and runs is to land, to interact with your instruments through the level that you intimately know your scale and your notes and the sound of your codes. So you'll know what to fill up. At what time. You're not the most appropriate fields, the most appropriate runs to use when you interrupt and become very intimate with your instrument. So those are some things that somebody may teach you and show you here and there, but you don't just copy and cram. You have to learn to interact with your instrument. Interact with that scale, the sounds of the scale, and you'll be able to know what is appropriate for whatever situation, right? Thank you. 8. Chapter 7 Song Example Hallelujah: Okay, So I'm going to play the song hallelujah, the key of F sharp. I'm using piano and strings, combining two voices, leading to voice, his piano and strings. Okay. Hi. So straight on it. Hallelujah, God, number one, F sharp major. Then code number two, G-sharp minor seven, chord sharp minor seven. So you have to checkout with the chord chat, okay? For these gods, if you're still having a problem with this codes, right? So according number one, F sharp major, and then code number two, G-sharp minor seventh, and then a coordinate by three minus seven. And then gone up. Then, what am I playing there? I'm playing a flat seven on the right. That's the major inverted, B, E, G-sharp, with a five on the left. That's C-sharp. That's seven over five. And then I'll go back to the one. But in this case, I'll play one as a dominant seventh chord sampling F-sharp dominant seven. So I'm playing F sharp, C sharp, F sharp on the left. And then on the right I have F sharp, E, G-sharp, A-sharp. But basically it's just f sub dominant seventh. As the codon lend some just voicing it differently. I can plate-like that. F sharp, C sharp, G on top, or an F sharp. So F-sharp dominant seven. Then we may just seven chord number four. And then then I played this passing chord, D-sharp dominant seven, okay, D-sharp dominant seventh, that's D sharp, G and F sharp. D sharp major on the C sharp at the bottom to get the D-Sharp dominant seventh with G on the left. Then C-sharp. And then court number two, G-sharp, D-sharp, F-sharp, G-sharp. And then I planted a passing chord. G-sharp, major, G-sharp. Dominant seventh would see on the left, G-sharp, D-sharp, f-sharp, C on the left, and then to the five shop manager. Then most of these five over four slash chord, C sharp image on the right would be on the left. And then three, F-sharp minor seven, and then six, D-sharp minor seven, then to G-sharp minor seven. And then four over five, the med Java C-sharp. And then the image on the right with F sharp on the left. Then you finish chapter mentioned. So now let me play the songs. Let you see how those codes are now coming in. So take it step-by-step. We have highlighted those two passing chords, that D-sharp seven, G on the left as a passing car to do. You've got to play that in any other song. And then this G-sharp dominant seven would see on the left as a passing chord. So go through that and take it step-by-step. And if you want to get it well also practice it with a beat. Put up a bit, just Ballard and put our tempo. You can manage like that's like 59. And go through it step-by-step. Alright. 9. Chapter 8 Praise Sebene 1(s): Alright, we're going to get into some Praise. Praise East African grays, Congolese praise. Oh, Today. Okay. Let me start breaking down. What else playing from the beginning. Now, the common progression in most sub-band or lingers. What kind of music is 1454. Okay. It can change, maybe 1654, but let me, let me solo them. What I'm talking about those progression, 145454 is one major is for, c-sharp is five images for so that's the foundation, the reading. And you're now suppose just to get creative around that reading. So for example, I was playing it. So I'm just putting this G-sharp minor, F-sharp major, manager, the manager. So inversion of sharp, sharp, F-sharp, C-sharp, G-sharp, D-sharp minor minor, D-sharp minor sharp minor, minor, major, major major. So those kind of things. So let's start with the first one. Let me slow down the tempo for our landing. G-sharp minor, F-sharp, G-sharp minor, major, major, major, C-sharp major payment. I guess had been rhythms are dealing fast to the left hand and you go into the right hand. Okay? That's another one. We can also do the same progression, 1454. So I'm searching with D-sharp minor, inverted sharp minor, invited F-sharp, C-sharp, and G-sharp. D-sharp minor, C-sharp major, back to D-sharp minor, and then F sharp major. Then F sharp major, B major. Okay? F sharp major, B major. Shopping be back to D-sharp minor. The second part, bishop or minor? Major? Major. Major. Okay. Let me finish up this left a little bit. Now, what we're doing here is I'm using a classical guitar, okay? I like the guitar for seven because seven is guitar right. Now. These are not here. I like using its last 32. Okay? So I'm playing this a and this dish. So inversions, so that the shaft. And then to these F-sharp, C-sharp, G-sharp, B, you can use whatever inversions you. And so for the sake of those who are still learning, that's what we are really moving step-by-step and slowly as the importance of discourse. So they try and just to cover everyone. That's another pattern. Once we have got n, D-sharp, F-sharp, and C-sharp, D-sharp minor, C-sharp. Me. So the beauty. So some of the things that we can pick up, some patterns. Let's look at some left-hand patterns, right? Left hand patterns. Let me just put the octave, the split point up to this C-sharp for my left. Regression is for my shaft. Now, that is the structure, that's the basic structure, the progression we're using. Now we're going to look at ways that we can walk. Simple. Adding this 666 sharps, F-sharp, C-sharp. Good. That's the progression. And listen, you are using for the left. D-sharp minor, F sharp major, major minor, C-sharp. Be imagined. Find button I can use on the left. And about an agonist on the left. Welcome. Alright. C-sharp, D-sharp, F-sharp. Then you octave. Octave, a very good octet. So OK, OK. Shop, been slowly or something like that. Okay? Okay, something like that. So try different patterns, get creative with the inversions on your left hand, on your right. And with those octaves on the left and on the right, then the progressions are usually very similar for most of the time is yes, 141454, kind of progression. So work that out. Let's try something else. 10. Chapter 9 Praise Sebene 2: Okay, welcome another precession, another session. Then we can go on until tomorrow. One of the first songs actually that I learned. But I know the first praise songs that inland, these are sung in East Africa. How economical comma, one. In English, he says, there is no good like you. A lot of all blessing the Lord of all peace. There is no good like you. Okay. Okay. Now, many times when I'm blinks have been I use very few nods. I don't even use full codes. I use very few notes. Sometimes. I don't even use the full, full, full codes. So then the F sharp, good shot. F-sharp, f-sharp, this inverse to this interaction. Then G-sharp, D-sharp, and G-sharp, C-sharp, G-sharp, C-sharp, and F to F sharp. So in this urban style, speed is very important. And then platy on this octave, the cases where we burn. So F-sharp, C-sharp major, D-sharp minor, C-sharp major, B major. You have to be comfortable with as inversions, and you can even add G-sharp, G-sharp, B and D sharp. C sharp, G sharp minor, C-sharp. You can add those not so. Dr. Time been noted gamma where? C-sharp, D-sharp, F-sharp. Now. Yes. Descend on the scan, F sharp, F sharp, and C sharp to me or no, is a, then G-sharp going to come up with one. Hi everyone. So you can do many patterns. Oh no. So I might not. Sharp, sharp minor. Okay, so that's some tricks here and there. The most challenging part in seven is getting that left and right hand. Independence. So start with one hand, then go to the other hand. The reading, you start filling and getting that reading. It gets somebody who has a keyboard like us, because this keyboard, this beta estimate, and my keyboard is not your keyboard, your tibia is not like the other keyboard. So get somebody, if you don't know how to make the bits, get somebody who has a keyboard like yours and then you borrow the beats. You can transfer them using a flash disk and then transfer them to your machine, or even kinds of pizza. These seven bits you have this robot bids. I think we're going to do a Rumba, rumba video. One of the videos, we do a rumba. We see how the Roomba video, some style goes. 11. Chapter 10 Rhumba: Okay, Now we move on to recall. Why do we call this the Roomba, the room but the Roomba, remember rhombus, rhombus time. We find this time mostly in the Central African region plus the East African region. And it's a very popular style, sung a lot in the link speaking people. And it's Latino beat, but African Latino. Okay. So Roomba, the original, originated from the left-hand side. So I'm just using a simple Rumba. Rumba Ireland. If you're using this keyboard, you go to the Latin section and you'll find Roomba Ireland, if you're using the PSR S series, go to the lighting section and find just a Roomba beta, two acts. Apple.com. Ronnie done. The left, I like it. So there's a pattern. Pum, pum, pum, pum about thump, and then bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam. But you see you have to feel that redeem. Let me just do it. The left. Yes, working on this scale, F-sharp, G-sharp, A-sharp, B, bom, bom, bom, bom, bom, bom, bom. Done that. Then you can even add warn us better than, than, than, than, than, than. Just focus on the left. Just get to feel the rhythm of the song. Okay. So that kind of rhythm with this kind of songs, it's really just a matter of knowing that God, It's much to do with reading, not just codes, It's much to do with the reading, getting their edema. So the progression is F-sharp major. I'm using this inversion of F-sharp, A-sharp, C-sharp, and F sharp, F sharp, B and D sharp. Inversion of B major, F-sharp, C-sharp. Than me. I entered together how the left and the right feel the rhythm of the left and the right of the image. And maybe simply to point a little bit so that I'm not interfering with this. Bring it down. Right. So let me put the alphabet slot 15101. I'm just moving to this October. G-sharp, F-sharp. G-sharp, F-sharp, G-sharp, F-sharp, and C-sharp B. Now, because I'm using my guitar sound, it really gives me the ability to play the guitar. The guitar. See that? Pick up the tempo a little bit. Let's do some jamming. Okay? So you have just to get the feeling of the Roomba, beat one walkout 100s of time until you get the feeling, the correct stature, the rhythm of the beach. Once you get that beat, then it's very simple to flow with it. 12. Chapter 11 Song Example I Know Who I Am(s): All right, We're going to move on to Nigeria, West Africa little bit. So I'll be playing the song chosen generation. I know who I am. By C Nutch, great song. The beads for the song is a rug that on beat. Okay, so ragged on beat. And lucky for me, on this Yamaha PSR, under the latrines section, I found a rocket on beat. So I didn't have to create one again from scratch. So it's a Latin bit. That's it. Now, my variations have a slight problem. My bad variation buttons, I'm not picking up as well as I was wondering too. So giving me quite some trouble. But I can set it on one of the variations that I feel Sounds good and then I can just live with it. But if yours is working well, yeah, of course, you know, you can do those roles. I don't want that. Like what was happening on part B. Then? Of course, I like putting my Shekhar something on the multi-part. Like in this case, I have this Shekhar going on this, on the multi-path, you'll find a shaker tambourine. So I'll just put the base and add in some little checker. Nice checkout. I need some something on my bears. An electric bass. The optimal little bit. And then I'll push the left, the split. Toning up my body, my settings. I'm using a modernity and as such cases. John, I know. I know. Alright. Of course we start with the skeleton of the song. Started the skeleton, the foundation. Okay? So again, the foundation that will give us the building blocks of the song. Then now we can start building up the code from that point. Okay. Let's start with the intro. I encourage my students always to break down a song as much as possible from the intro to the outro. Try to walk through those, those, those packs. You get the song in totality. Okay? So the intro. So we start with chord number four, that is B major, okay? I'm playing a major seventh. B major is F sharp, B, and D sharp. And then you add the B-flat to get a B major seven. So I'm moving with that melody. And then the D-sharp minor, then C-sharp major, then C-sharp major, this inversion. I know. C-sharp, F-sharp, C-sharp, G-sharp minor. So up to that point. And then the next part, because through F-sharp minor, B, C-sharp, D-sharp minor. C-sharp. D-sharp minor. C-sharp. High enough. That thing again, sharp, F sharp, C sharp, G sharp, B. We saw the whole intro. Okay, We are chosen nation. Let's now move on to the main part of the song. So ration to show his lens. The image on the left, half, B and F sharp on the right I have might be at a nine. We write chars and Janet rash, from B major to F sharp. Claws than two C-sharp major, I'm playing this inversion of C-sharp major, G-sharp, C-sharp, and G-sharp on top. Just for Kyla. Golf for the left half, C-sharp, G-sharp, C-sharp, and then G-sharp minor seventh. And then you walk up G-sharp, F-sharp minor seventh. But to be a major seventh. So we add, chosen. To show you that on the left have G-sharp, D-sharp, F-sharp, and F, B and F sharp. Require, for, God has given me this guess. I'm playing F sharp major seventh. I know C-sharp major, who I am. We are a, chosen to show that I require. God has given me. I know. I know. Why do you say Is F-sharp? C-sharp? G-sharp. We say F-sharp. C-sharp major. I know why. Sharp minor seven. F major seven. It's important that you give those five. Okay? The rhythm of the song. Play with Iridium, okay? Area codes. Move with the piles of freedom. So that it doesn't anything. As I told you on the right hand, sometimes be free to be free to move around with those codes so that you're not locked to death. Lot of this on all the time. Okay. Let's do some beds. I know. To get creative. It's unlimited to your creativity. Gets the groove of the song. The rhythm of the song, Beat flow with the beat of the song. Feel the beat of the song. Then listen to the song, the original song. I know who I am by spinach. And then when you listen to the best pledge, try to mimic the bass player. Okay? I didn't get that base movement flowing smoothly. When someone is listening to this, to listen to playing from outside, they should actually believe that there is a real best guitarists going on. Before they see you write, your base has to be as real as possible. Okay? So feel the pulse, feel the beat of the song so that your left hand really gets flowing. Okay. 13. Chapter 12 Song Example Niguse Tena Krystal(s): Very nice song by crystal Nichols attorneys or worship song. I believe this one is originally done in E. I'm not wrong, but you're doing it to an F-sharp. My lyrics here. Now the voices I'm using for this festival, I'm using a classical guitar voice one, and then strings for boys too. I like this combination sometimes for some songs in worship, the classical guitar string. A nice, nice voice up. Try it, try it out. Let's go to tying strings. It goes at ten. You go sit and by crystal, needles, my bezel. I'm being lazy. Good. To me. It was me. Man. I mean, I love this song. Yeah, some of the songs which take me to Heaven quickly. Deep worship. This is just what we call the third level of worship. Intimate. Wash it. So alright. So thank God for this opportunity just to learn the songs and to grow nucleus. That is, God is my F-sharp. At nine, of course. F sharp, C sharp, F sharp, G sharp. A sharp. Saw from F-sharp major. And then we go to that c-sharp, F-sharp, and C-sharp major on the right shop with an F on the left. So for number one to a five over three chamomile shop. Well, those of you who are beginning to understand numbers, and then this place I play D-sharp minor. Okay? So D-sharp minor chord, but I'm voicing it differently on my right hand. I'm not playing D-sharp minor. I'm playing a C sharp, diminished seven, C-sharp, E, G, and F sharp. Okay? You can use the normal sharp minor seven, C-sharp, D-sharp, F-sharp, and C-sharp. But I'm using a different voicing. Okay, sounds good. Okay. Then I just moved the inversion of that C sharp, diminished seventh chord, the C Sharp here. And I'm using that as a passing chord without geom, the left, or the parsing code, my G-sharp minor chord. And see that we are using this inversion of G-sharp minor, G-sharp minor seventh, G-sharp, B, D sharp, and F sharp. Then version. Then we are moving from that C sharp diminished seventh invented. It also becomes an E diminished seventh. Depends on what you want to look at it. As our parsing code with a G on the left. Pass encoding. G-sharp minor seventh, F-sharp, G-sharp mine, shaft. Then baba, C-sharp major, invited of costs, F, G sharp and C sharp. Then to be major, D-sharp, F-sharp, and C-sharp, B, F sharp, G sharp. Let's do something with a bit about why Santana. And all that time you have C-sharp on the left. You can add those gods. Minor C-sharp. Again. This I'm left are the best forecasts on the left hand. Now. Now let's talk about some. So on the left hand, it's all about getting the movement, the movement. Abduction, all the other tutorials. Get the movement listened to the best plain song and try to get the movement. Now, let me talk about something about a guest. Come to my mind. Very nice code here that I want you to see. I love this God. Scada. This one I call it depends on what you want to call it, but for me, I call it an F-sharp, dominant seventh, sharp nine. Okay, let's think about that for a minute. Dominant seventh, sharp nine. Let's start from the basic chord, F-sharp. Dominant seven, is that you either G-sharp on top, right. And sharp, D, E, F, and G sharp. If I invert the same code, I'll have this still F-sharp dominant seven was the F-sharp major. B-flat major. What do whatever you want to call it, sharper flat, B flat major, or F-sharp major. You either G-sharp, you get the F-sharp dominant seven. Now, the ninth in the scale of F-sharp, the ninth is the same as the second, that is c. Now we sharpen the sea and make it C sharp, right? So you have sharp, dominant seventh with that sharp nine, c-sharp. The code. Now, because one to play it with that, without the root, that is the ash up because you already have the will hold the shape at the bottom. So we get something called a rootless voicing. That means playing a chord without the root. Okay, so we remove the shop, so we just have D, E, F, G sharp, and C sharp, right? And on the left I have now my ashram, okay, that gave me, but not the F sharp. So that is a substitution of discard. This is chapeau variation. So the opcodes are really getting jazzy. Okay? You can apply this in any song, okay. Then our God. Now, instead of using C-sharp diminished seven, we can just use our D-sharp dominant seventh as our funding according to our G-sharp minor. We cover that on the passing chords. So on your own, you want to go to the G-sharp minor. You can pass through that D-sharp dominant seventh chord. So we have D-sharp major with a C-sharp and the bottom becomes a D-sharp dominant seven G on the left. Because that's passing. But remember that substitution author instead of C-sharp dominant seven. C sharp B, but B diminished seven. Okay, So I see, i'm, I'm trying to do is to give you options, different options, of course that you can use here and there. So that you can play different themes throughout the song so that when you're playing the song, you're not playing the same progression throughout, okay? When you have all of these options, right? So now I want you to see another chord that you're playing here right? Now playing a C, Okay? Now that time we played a dominant seventh sharp nine, right? Now we are playing C dominant seventh sharp nine. Okay? You see that? Nice sound? Man, when you get this, like you see for that code, I didn't even rehearse it, but I just felt that God would really work. Nice. Okay, So why is it C dominant seven sharp nine? Let's look at C major, C, E, G. And you have to note that these are codes which are off the scale because C is not in the scale of this dissonance. We call it dissonance because we are moving outside the scale. This dissonance brings, it really adds in a good text chat to our playing because we are playing some quadrature, something off. But Bringing a nice blend, you know, nice, nice, jazzy nor blend, you know. So this is C major, C E, G, right? Cej. If you want to get the C dominant seventh, you add the B-flat. B-flat. So he invited this code. What if we want the sharp nine? What is the name of C, D, C, D sharp nine would be that D-sharp. C dominant seventh chord with a sharp knife. Of course, we are living out their C, B, C dominant seven. C dominant seven Chapter nine. But without the roots, we have C-sharp on the left. Okay. So you just say no. I'd come back to that. Yeah, we're through that. And then we land on this F-sharp major seven, nestling it like this. F sharp on the left and then on the right I've got F sharp and C sharp, I'm not linked the F-sharp major seventh. The seventh would be F-sharp major with it. I'm just using the second, the seventh, and the fifth. The F sharp on the left. Just how voicing of F-sharp major seventh. Okay. Nina. Nina. Then. Now this stanza, F-sharp, C-sharp, G-sharp, D-sharp minor seventh. Chord number two. G-sharp minor seventh, right? G-sharp, D-sharp, F-sharp. Yes, I see sharp, but I'm lazy chapter seven, and I'm switching to that B diminished seventh, meeting G-sharp, D-sharp minor seven. Just move to this C-Sharp. I maintained a G-sharp minor, and then they moved to that G-sharp minor. Invited. So again, my sharp minor seven, G sharp minor, diminished seventh. I'm just maintaining that G-sharp minor seventh on the right. They get sad. When I moved to this C sharp on the left, I maintain that G-sharp minor seven. So I'm using that as a substitution for C sharp diminished seventh, or B diminished seventh. C sharp major. F sharp major seven. Need C-sharp, G-sharp, D-sharp minor seven. G sharp minor seven. Need to shovel my sharp. G sharp minor. All the time. We got to shuffle the deck. Okay, Let me jump through those songs with the beds on the left. So you also consider the movement of the best on the left. But one big mama bear. Mike Belmont Report. The Blues. Something I said as I mentioned. So it's D-sharp major. We are working up to the C-sharp minor. So we are working up through D sharp major, F-sharp, G-sharp, G. And then we move to the F on the left and on the right we have F minor, which is C, G-sharp, inverted, and then D-Sharp on the right. You see on the left side of the lawn. So these lights coming in. And again, *******. How I love that less than men. I believe you learned a lot. And just go through it, read through it, go through the different options as substitutions. I'm showing you step-by-step, okay? And the lessons you pick up from this song, apply them to other songs because yeah, 77 things, okay, the passing cause those streaks. They apply to the same thing. They cut across all sounds. Okay. 14. Chapter 13 Song Example My God Is Good Oh(s): Alright, I'm going to be playing the song of praise song by Ouchi. My God is good. My God. Oh my God is. Okay. So these uninteresting best line that goes on may not be exactly what I'm playing, but I just tried to be creative around it and try to make something that is close to that, to the baseline has to be a little bit creative. That's the Jews. That's what I feel is the juice of the song. The best line. Okay. So My God, my God, My God, my God. Everything not dabble down that road. Snapple down. Oh my God. My God. My God. My God. Everything, not everything. Not double, double, double down. Okay, so very simple. The progression that I'm using is F sharp major, F-sharp major, D-sharp minor, C-sharp major. The major. My gun is good. We can use it in any inversion. Yeah, F-sharp, G-sharp minor, C-sharp major. Okay, My God, My God, my God. Now, the left is now the interesting part. So it's F-sharp, G-sharp, A-sharp, and then D-sharp. Sharp, F sharp. F sharp, C sharp. Saw. Okay. Something like that. So combination of the left and the right, that is where most of the work actually usually is in these prisons are my guy. My God, my God, My God. My God. He's so okay. So try going through that. Work on the left, walk on the right, then try combining both the templates too fast. You can try to lower down the tempo a little bit, then that will work fine. Okay, thank you. 15. Chapter 14 Uyamazi Lojesu: Okay, I'll be playing the song we are Mozilla just sued by solid Malanga routines to my friends in South Africa. I love your songs. You guys are good singers. So I made a custom bit. John. Jay, Jay, Jay, Jay. So, oh yeah, Mozilla. And so I start with this G-sharp minor chord number two, okay? So I'm playing D sharp, G sharp, and B. So from that, I go to this C-sharp over f, G-sharp minor, C-sharp over F sharp, D sharp minor. I'm using this inversion of D-sharp minor, F sharp, D sharp, and F-sharp. And C-sharp major, G-sharp, C-sharp, E, F, and G sharp, C sharp, and then C-sharp over F and then F sharp. And then I can also go to this G-sharp minor at some point, G sharp minor seven, C minor seven. So that's the flow of the first part. On the left, on the beds. Just play the same notes. So G-sharp, then f, then F-sharp, C-sharp, G-sharp, C-sharp. Then you can just walk C-sharp, D-sharp, F, F sharp. Then the next bottling costs CIA Marcos. So the progression is CDMA. So B major, then G-sharp minor seven, and then F sharp, C sharp. And then C-sharp, minutes seven, B, C-sharp, and G-sharp, and then F sharp. And then before you go to the b, we can pass through this C-sharp minor chord, inverted. So you're playing E G-sharp, C-sharp, because original C-sharp, my nice C-sharp, E, G-sharp. So you're playing E, G-sharp, C-sharp with an F sharp on the left as our parsing code to our b, C-sharp Minor over the image. And then G-sharp, D-sharp, and then jump over C sharp. C sharp, F sharp major. Okay, So left. The most important thing in these songs is to get the reading once you get the redeem the best line with philosoph. F-sharp, G-sharp, A-sharp, C-sharp, G-sharp, C-sharp. Cma goes by Tim Guanyin, Muslim progression. I know my answer. The moment. C sharp, D sharp, C sharp. Land to play with Octave does not inside. By now. Sometimes instead of playing B major, I just played that G-sharp minor. Okay, so instead of me, me, C-sharp, G-sharp. Bye. Yeah. Bye. That's G-sharp minor on the right is C-sharp on the left. And then you see that G-sharp minor again, the bliss of C-sharp. That's just that. C, C, C sharp minor invited sharp and C sharp, J. Gone. Now, you know, I like using substitutions. So instead of using C-sharp major, G-sharp minor, D sharp, D sharp, I can use the diminished seven. D F sharp, a C sharp, F sharp. Ceo Mark, my left hand. My left hand. Sometimes I'm using this C-sharp minor, F-sharp, C-sharp minor, C-sharp, and G-sharp, A-sharp, B, G-sharp minor, F-sharp, C-sharp. C-sharp major. Okay, So the chance, but Jesus Christ, yes, that B, D, F sharp of a c-sharp, F-sharp, and C-sharp, C-sharp major. Then shop and shop. Jesus Christ, that you can use different inversions. The most important thing for these kinds of rhythms get the rhythm of the song, feel the rhythm, feel the beat, then everything else will be easy. Okay? So good thing with video, you can pause, you can rewind, you can forward. So try walking on the left hand. Try walking on the right hand. Get the rhythms. We are going through these different styles in African music. So the most important things for African music is the rhythm. The beach ones who get the beat, the codes and the patterns will just flow. Okay, thank you. 16. Chapter 15 Song Example Wahambanathi(s): Alright, well humble, nutty. C-f bond digest. To my students in South Africa. I loved this song. Okay? Yeah. Yeah. Alright. We'll start with the basic, basic, basic, basic progression of the song. Basic progression is called number one, F sharp major. I'm playing F-sharp and C-sharp on the left. And on the right, I have F-sharp, G-sharp, F-sharp, and C-sharp. And then God, number two, that is G-sharp, minor seventh, G-sharp, D-sharp on the left and the right, I have G-sharp, B, C-sharp, and F sharp. So got number one, F sharp major. Banaji got number two. O, F sharp of an edge up on the left, the meeting on F sharp. And then B major. I now want you to notice that always on my major chords I'm adding the seconds. So I have a job, but now these are B major nine, okay? When you add that C-sharp, something to F-sharp. Something to C-sharp. D-sharp. Okay. So I'm not GP major, F-sharp, C-sharp. And then that be diminished seventh, B, D, F, and G sharp. A C sharp. Bone, back to an F sharp major. And in this case, sampling F-sharp major seven, F, right? So instead of playing that be diminished seventh of us C-sharp, you can just also play as big of a C-sharp. C-sharp. Okay? So in this case I'm playing a G-sharp, D-sharp, and G-sharp inversion of the G-sharp minor with a bit. So at the end, I'm just playing B on the right, C-Sharp on the left. Okay. Simple progression. Let me put on the left. Left-hand alone. Amanda bone. Left alone. Again. So walking, just to walk, using this scale, you have to develop a sound of the bass in your mind. When you listen to the song, try just to listen to the movement of the base and try to imitate as accurately as possible now, so that's the progression of the whole song. So that's our land, just how to use these numbers. Number three, F-sharp minor, G-sharp minor. So these are time I was doing this. See you playing the whole song using only two codes. G-sharp minor, F-sharp major, 21. Two codes. Okay? So land to play around with this course and just play around with the sounds. Sometime you can play maybe two codes on the right. And then the left is giving you the foundation of the flow of the song so that you don't lose the flow of this one, okay? It all depends on your creativity. And then these are progressional spring that then I turn around. I played this in the tutorial on my YouTube channel, majesty sounds of music. I'm on the tutorial that I played in that song, in the key of C. So in this case, it'll be a major. F-sharp, C-sharp, G-sharp minor seventh, D-sharp minor, C-sharp major. Monarchy. So that's the thing. Okay, so let's try that. Try lack. 17. Chapter 16 Song Example Wakusifiwa Wakuabudiwa(s): Alright, we get into some East African Frazer. Walker see fewer, seven. Gotcha. In the key of F-sharp. Originally, the song is in the key of G. That's the original key of the song. But we, of course, the F sharp. So because if you are who you are by John List, sorry for my friends, maybe who are in South Africa, Nigeria from Nigeria, from around the world. Okay, The song is what? Because if you are covered by John Lisa, just go to YouTube and such workers, if you're a DBA, journalists who are newer to Guam, younger. In English it means the one who is worthy to be praised. The one who is worthy to be worshipped is you alone, the Lord of Lords. So for the benefit of those of you who don't understand Swahili. So that's the intro of the song. Okay? Of course it goes around and around, but that's the most important part when you listen to the song to get that run. Okay, let me first play through this own without the brass, and then I'll go back to the intro. Just put on. I'm using to electric pianos are more than AP and a suitcase EP. Okay, Well that sounds just increase the modern API. Okay. Okay. So if you were to write with, believe it or not, I'm also still a student of seven, okay. Student teacher. Now, the basic progression of the song skeleton, the major, F-sharp, C-sharp, c-sharp, F-sharp, B major, F-sharp, and C-sharp. C-sharp. Now, let's try catch a beta. You have to give it the feeling of Jakarta. So F sharp, G sharp, a sharp, C sharp, G sharp minor, F-sharp major. C-sharp major. Menu. Let me slow down the tempo. G-sharp minor, F-sharp. G-sharp minor. Shout out to be very comfortable with the inversions when you're playing these kinds of seven songs. D-sharp minor, inversion, D sharp, G sharp, B, C-sharp. D-sharp minor. Saw. Not what I'm playing on the left and then slash gods. Then C sharp major and this inversion. Now, one important thing to realize when you want to develop good tunes is the left hand is what we'll be doing, the basic flow of the song. And then the right hand will be free to play different melodies. That's what we are trying to develop these melodies on the right hand. Let's look at the best alone. The bends a little bit higher, because I have that dead key here on the base just to move a little bit higher. So I'll push up the base up to this C-sharp here. Just for illustration. I need those two octets. I need it here. I just want it to move up to that. Walk with optimism. I'm using an electric bass. I can also use a sub bears here. Now, lay with the octaves sharp, D sharp. Okay. Nice sharp, D sharp, F sharp, G sharp, a sharp, G sharp, F sharp. And then playing with MLR this octave again a little bit. So very low the tempo. I want you to just know sometimes easy to explain these things, not by, not Andrew, just to observe the movement at as low tempo and get the feeling. Once you get the feeling, the most important thing is just to get the feeling and also get the feeling. That's it. Okay. Let's get the feeling or the feel of that beta is give it a good tempo. Good. So the challenge is digital now combining it with the left hand so you can do something, something centered on the left-hand side. You're not moving so far. And then you build up on the left hand. And then so that both hands can now stay together. Okay, Now, let's, let's look at that intro. Let's look for a dress. I'm going to choose up, pop, pop, brush. Well, they interrupt a co-op, would you? Then? It's just walking down the scale and then up sharp, C sharp, B, F-sharp, G-sharp, A-sharp, C-sharp, D-sharp, F-sharp. So good, good accurate. Of course they'll stem a little bit. Just like that. Then the songs have called seafood us a way to move me. Okay? So I believe that, that helps get to somewhere, putting up, put up the pieces together, and whatever concepts you learn here, you can also apply in other songs. So I believe that was helpful. And let's look at more examples. 18. Chapter 17 Song Example Yahweh Nathaniel Bassey(s): Are you playing the song by Nathaniel bossy. And the song is original in QED. Moving on to our key, F-Sharp. That song usually modulates from D sharp. Stick to F sharp because that's the key that we want to focus on. Okay? So that's usually the limiting thing about playing in one key is that when the transports, the key changes, for example, in this case, it will have to move from F sharp to G. And if you don't out-of-plane j, then you have to use your transpose button. I will stick to F-sharp for now. Yeah. Yeah. Yeah, When you say so. So the intro of the song. So let's break down that intro. So we start with our code number for the major. And usually when I'm playing this B major, I will add the C-sharp, be a nine, gives me a B at nine chord, right? With a D-Sharp on the left, so it'll be over four over six. Can play that melody. C-sharp over F sharp over F. And then F sharp, F sharp, G sharp on the left. G-sharp, G-sharp, D-sharp, just being the inversion. D shopping, G-sharp, F-sharp, G-sharp. And then F sharp major, C-sharp to be. So. Then it goes back to the final time. Some movement. Sharp, F sharp major one. And then you've got that G-sharp minor, E on the left. And then C-sharp over F to F sharp. Saw. Yeah, wow, it, then there's some stats. Okay, So I really like to encourage you to be, you know, take your precision to another level, meaning you don't like this codes. I have not got the lead sheet of the song. For example, I don't know the exact cause the person who's playing the song, they may be different from what I'm playing, but I've trained my ear. I just listened to the song and then I tried to figure out what are the codes being played in the song. Okay. So when you're listening to a song and you're trying to figure out, for example, these interests of songs. Listen to watch the best, the best guitar is playing, okay? So when you listen to the bass guitar is the best guitarists will give you ideas of what you're supposed to play on the left, okay? Movements on the left. And then listen to the keyboard. These two will give you the movements on the right, right? So I usually focus on those two things. And I'm listening to a song and trying to figure out the codes, the bass guitarist and the main piano, so that I tried to get the movement on the right and on the left so that I know the good combination, the harmonic combinations, the slash chords are the movements that we'll work on the left. Okay, so let's play that intro a little bit with some basic movements on the left. And so may not be the exact thing, but it's very close to the truth. Okay? So try to listen to a song and try it just to get to the truth as matter as much as you can. Okay, So let's get to the song. Now something else to mention that on this worship songs, I like take advantage of the multipath czar, the multi-part settings. So in this case, I've selected a multi-part called a shaker tambourine. So it's that that thing going on now. That's a check and a tambourine. It's a multi-part. You can use whatever works for you. That's aka John. Okay? You can try out the different multipath zone, especially the ones that are looping, some congas. And these ones are heating ones. But I like, I just like this shaker to my, adding it to my worship beat, whatever Ballard for example, if I'm just using a normal palate here, I like adding that shaker. And then when I'm starting off my beat, beat has that shakeout going on. I like sometimes, you know, the Beta's two channels when you go to the channel on and off, when I'm setting up the song, I'll just switch off the kick. I guess how the light Beta. Then when the song builds up, I can turn on their channel on and off. Okay. Yeah. Yeah. Yeah. Yeah. A little bit yellow. So we start with C-Sharp on the right. Half on the left. Yeah. Yeah. Yeah. In this empty then you finish with an F sharp? Yeah. Yeah. Yeah. Yeah. So just play 123, F-sharp. G-sharp, minor, F-sharp over air shaft will not. Or you can play the left, walking downwards. Then. C-sharp major, my de Champlain and 90. To note that all my minor chords, I usually play as minus seven, minus seven, minus seven, minus seven, and whatever inversions. Okay? So we talked about inversions in the other chapter, okay, so inversions, I will not forgive me. Imagine C-sharp major, G-sharp minor. C to G sharp minor seven. You have C-sharp dominant seventh. Back to F sharp major seven. Or you can only imagine C-sharp manga shop. There every situation you have. So once again, Yeah. Yeah. Now, I will not see this. I'm using a different voicing for my D-sharp minor. Okay? So I'm using this voicing, sharp, C-sharp, and G-sharp. D-sharp minor voicing. Without that D-sharp, good voicing. Voicing. Instead of playing the code in the traditional law, you can voice it differently. For example. I can play that D-sharp minor like this with elephant voicing like this. C-sharp, E, F, F sharp, and a sharp article voicings. Or I can use this voicing for G-sharp minor. On the left. The right time. For F-sharp minor seventh, I can have this sharp. G sharp minor seven minus seven minus seven. D-sharp, F, F sharp, F sharp, and C sharp. C sharp, D sharp, F sharp, D sharp, sharp on the left. G-sharp minor seven. F sharp minor seven. African voicings. Just different way to voice your codes to make them sound a little bit more jazzy. You know, people like this kind of jazzy. Just, just, just, just, just just jazzy. Okay, Now, God of yesterday, got to Dan. You're still the same. For example, this is my F major seven. F sharp, G sharp. A sharp image up yesterday, F-sharp and C-sharp. God, today, then you go to that C-sharp dominant seventh. F sharp major seven. Imagine c-sharp, F-sharp, C-sharp dominant seventh over F. F sharp major seventh. My very sharp. Sharp, one over three. Number four. C-sharp, D-sharp minor seventh. Anyways, in that I feel sounds nice. In every situation. Imagine C-sharp has changed. Use, need. So there isn't a person called shap away shop present. In the times of need. That sharp and dominant seventh, sharp, D E, F, G sharp. D on the left knee. D-sharp minor. Long name. I'm so honored to talk a little bit more on my left hand. My God. So try so much to kind of imitate, imitate the left, the bezel as much as possible with those runs. Okay, try so much to imitate the walking style of the left hand. Now, there's the patch in this on the last part. When the song now has come down. Come down. Yeah. Yeah. Yeah. Yeah, yeah. Yeah. Yeah. Yeah. Not beat. When lot for my day. Yeah. Yeah. So we'll not for G-sharp, dominant seventh on the right. Inverted, of course. C, D-sharp, F-sharp. Let's see, on the left, will not fall. You might not be D F sharp, B on the left. Not forget, my day. Then F sharp. F sharp. In every situation, D-sharp minor, G-sharp minor. You have james, C-sharp major, and then you've got to demands on E and F sharp. Then imagine, imagine I've got an F sharp, major seven. My day. Every situation. You change D. Yeah. These are called the chat a little bit off the scale of F sharp major image. Okay? Yeah. Yeah. Okay. So we've learned so much through that. As we go through muslin examples, I believe you are picking up tricks here and there and whatever you learn in one song, just remember you can always pick the same concepts and apply them in other songs. On the muscles you're exposed to, the more chords you're exposed to as we move along. The more you become creative, and the more you are able to adapt to different situations in different kinds of songs, okay? 19. Chapter 18 Song Example You Are Alpha And Omega(s): Alright everybody. So today I'm going to be playing another worship set. The song your Alpha and Omega. The key of F sharp. I believe the original song is done in the key of C. I'm going to be F sharp because that's what we are doing in this course. As I mentioned, my Octave is a little bit shifted by negative one because I have a dead key here. The F-sharp is dead, and that's a very critical key in F sharp because it's the third note. So I'm shifting my keyboard a little bit. So I'm missing the electrons. What I'm missing the last octave, okay, but it's fine. So your Alpha and Omega, the Zimbabwe quiet. Okay. So I believe I said it to choose songs which are familiar with most of us. Alright. So that goes specifically maybe into some South African also touch on some East African, some Nigerian. So I only pick the most popular songs, Alright, so that we can all benefit, okay? And if there's any song that you are not familiar with, just go to YouTube, check the title of the songs. I'll put the title soil so that you are new to YouTube. You can get to listen to the songs well, alright. This is also an LP to expand your vocabulary of the songs maybe that have been used to doing and get used to new songs, right? So that you can watch if you're charged with new songs, that would be good. Yeah. Okay. I'm using a grand piano and a suitcase EP, voice one and voice two. Okay. Ship. They took the URL. You're worthy to the brain. Just try and put on some left base. Okay, so let's get into this law, my bass octave and they could beat so that I have deeper base there. Okay, that's good. That's good. Just save that. Okay. I believe on your keyboard is a patchwork registration memory. When for example, a setting like this, a good setting for worship that I loved. I save it on the memory, on the registration memory, just press the memory and then you assign it to a specific number memory and the specific numbers. So when you switch on your machine, you don't have to go in again, setting up voices one by one, just press the number and all the settings that you had will immediately come in there. Right? So your Alpha and Omega. Okay. First got number one. Number one, F sharp major. And then we move to a C sharp dominant seventh on the right would G-sharp on the left. So you have that C-sharp dominant seventh chord, C-sharp major at the B. So you have G-sharp, B, C-sharp, and G-sharp on the left. And then go to the next codon number three, F sharp, F sharp, F sharp on the left. One. Then I'm throwing in that G minor in there. Invited G-sharp minor, sorry. G-sharp minor, G-sharp, B, and D sharp. So I invited, I met this B, D-sharp, and G-sharp, saw that point. And then that Fat Jewish, G, G minor, F-sharp major. Then go to the B. So then you go up to F sharp, G, G sharp minor, F-sharp, C-sharp, G-sharp. B, D sharp, C-sharp over f. Back to F sharp, B to F sharp. Why the two rays with a beat? And on the left I'm just playing F-sharp, C-sharp, and F-sharp with the best funds to purchase my movements on the left hand. I'm trying just to make it sound as real as possible. And then the turnaround is c-sharp, F-sharp, and C-sharp. And then a D sharp minor in this inversion, F-sharp, C-sharp, and G-sharp. So then I play a C minor inverted. So C-sharp Minor invited, C-sharp and G-sharp, that is C sharp minor. And I'm taking this C-sharp here. So F sharp, D sharp minor, C-sharp Minor. That's G-sharp minor. Invited. Shoulder for us. So chorus. Now, what you're playing there. Article as 736 chord progression. We've had about this jazz chord progression. Progression that's called a 736, right? What is a 736 progression is simply 123456712345678. So seven is f, three is six is D-sharp. On this seven, I just played this F minor seventh chord. F minor seventh. Invited. You have right? G-sharp, C, and D sharp. So I'm inviting this code. I'm playing C, D-sharp, F, and G sharp. That's my seven. F minus f into the left half, F. And then on the three carbon number three, I play F-sharp, dominant, seventh sharp, D, E, F, G sharp. And then on the six, D-sharp minor seven, invited, Of course, F-sharp, C-sharp, D-sharp, and F sharp. F minus seven. F-sharp dominant seventh. D, D-sharp minor 7736. Chord progression, very important progression, very common progressions in many worship songs. Okay? So this is how it connects you. So yeah, not after the seven races. We are now give you. And then that glory. Go to that C, C-sharp over F, then to F sharp. So we gave you all of the shape. You saw. G-sharp minor seven chord number two, and then number three, F sharp wound up on the left. Then four would just be shaped. Back to that G-sharp minor seven, F-sharp and C-sharp. C-sharp, D-sharp. Then C-sharp over F to F sharp. So we ship the bee prey. So let's play it with the left hand now. That's chorus with the bears on the left. Now focusing, let's now focus more on the movements on the left. Just focus on how it's working to give it that real feeling of the base. So we gave you the brain from the top. What am I playing there? You out. To be the turnaround. It's a passing chord. Remember we said, when you're approaching the code from the backside, we can use that diminished seventh, C, D-sharp, F-sharp with m the left as our busing CO2. Record number two, which is a G-sharp minor seven. You the alpha. Okay. So you. Hey, you all saw the left-hand. Make it smooth. Smooth transitions. Then walk with the cocktails that phrase, okay? So you have to work on that smooth movement. These other parts in that song. The last one, all right, sheep, you need to be. So Schuppanzigh enough. C-sharp major, G-sharp, midday on the right of a c-sharp. F-sharp, C-sharp major. All that praise, F-sharp, C-sharp. G-sharp minor seven, F sharp major. D sharp, C sharp, G sharp, a, C sharp minor, C-sharp. Let's try that. On the shape of the beam.