Foundational Piano Course( Complete Beginners Piano Course)

1. Introduction: Yes, I believe that's a common tune to many of you. Jesus. Lastly, these I know simple tools that you can start playing when you're just learning the piano. I know I didn't play like a beginning player. But I want to introduce you to this course. I'm calling the foundational piano course, where I'll walk with you all day from the beginning, I'll teach you the names of the loads. I'll teach you how codes are formed. What is the theory behind different types of codes? Major chords, minor chords, diminished chords. What is our chord progression? How do you apply chord progressions when you're playing songs? So this is a course for complete beginners. If you've never played the piano before, then this course is recommended for you, or maybe your play the piano before. But you've never got a good foundational understanding of the theory and the basic concepts of playing the piano. Then I'd also recommend that you go through this course. So these are very long course, and I'll go into much more detail. Checking you slowly by slowly step-by-step. The speed is also very slow to help you follow and understand all the elements that I'll be teaching in this course. And at the end of this course, I believe you'll be able to play those simple tunes as you desire to advance to more and more complicated or more advanced style of playing. So let's get right into the beginners course, and I hope you enjoy this lesson to the end. Welcome. 2. Lesson 1 Names Of Notes And The Major Scale(s): Hi guys. In this chapter, as I mentioned, I'll be talking about the basics, the beginning point. And that is understanding the major scan. Now, like learning a new language, for example, when you're learning a new language, you have to learn letters from a to Z, for example, in English, the same thing in music. We have to learn the alphabet of music. And the alphabet of music runs from letter a to letter G. And they're the beginning point is understanding the major scale. The major scale is what is commonly known as the Ramy fast, so latae door. So that is the major scale. For example, if I play a C major scale and backwards. So that is what we call a major scale. And for you to understand music, whether it's on a piano, on a Gita, any instrument that uses nodes, of course, apart from drums, in those percussive instruments, you have to learn the major scale. Dorian me if I saw a lot IDO. So I'm going to spend a little time trying to get deeper into it and understanding where does the major scale come from. A piano has the white notes and black notes. You see many notes on the piano. But in essence, there are only 12 notes on a piano. There are seven white notes and five black notes. For you to understand this well, look at this structure of the piano. You see two black notes. Three black notes, two black notes, two black notes, two black notes, three black notes throughout the piano. If you want to get the total number of nodes, you just count from one naught. For example, from this black not to the same, not the following, not the same, not the similar not following it. So if I count from this group of two black notes to the next group of two black notes. So I'll count from this black node, this black note. You can hear that they sound the same, although with different pitches. So these black node is the same as this black, not the same as this black, not the same as this black node. So if I count from this, from this black node, 123456789101112, back to one. You find out that 12 nuts. If I count, for example, from these white, not the white, not before the two black notes, to the next white note before the two black notes. 123456789101112. So there are 12 notes on a piano. Now, the white nodes are 712345678. The black notes are 512345. Now let's look at the names of the white nodes. So the white nodes just before the first two black nodes is what we call a C. So we have a C, and then according to the alphabets, c, d, E, F, G, a, B, C back to C. So without repeating the C on top, how many white nodes do we have? 1234567. Okay, now let's look at the black nodes. The black notes I wrote to call the sharps or flats. Now, each of the black nodes will have two names. So it will have a sharp or flat two names for each of the black nodes. So let's take an example of this black notch. This black node lies in-between to whiteness. It lines, lies in-between the C and the D. So this black node is what we call as C-Sharp or a D-flat. So we call it a D-flat because it is below the d. And we call it a C-sharp because it is above the sea. So this node has two names, C sharp or D flat. Same thing to this node, will have two names. That is a D-sharp, E-flat. So this note is D sharp or E flat. Then this not will be F sharp or G flat because it's lying in between f and g. So it will be F sharp or G flat. And this not will be a G-sharp or A-flat. G-sharp because it's lying right ahead of G and F flat because it's lying below a G sharp or flat. Then the last one note will be as sharp or B flat because it's lying in between a and B. So it's an F sharp or B flat. Then we go back to the C-sharp. So basically there are five lug nuts. C sharp or D flat, D sharp or E flat, F sharp or G flat. G sharp or flat sharp or B flat. And you go back to the C-sharp. So the group of three, group of two, group of three, group of two. So the names of all the 12th notes put together C, C sharp, or D flat, D, D-sharp, E-flat, E, F, F sharp, or G flat, G, G sharp, or flat, F sharp, or B flat, B to C. So 12 notes, 123456789101112. Now that we know the name, the names of the notes, Let's now look at another concept of intervals. And I'll be talking about two kinds of intervals today. Because there are many kinds of intervals. But there are two kinds of intervals that you need to know to understand the major scales. So the first one is what we call a half-step. And then the next one is article a whole step. Half step is the shortest distance on a piano from one node to another. For example, a half step from C will be C-sharp. That is a half step for a half-step backwards will be from C to B. So that's shortest distance from one, not straight to the next node is what we call it a half step. So whether you're moving forward or backwards, so long as you are moving straight from one node to another node, you are moving up or down in half-steps. Now, a half-step is also called a semitone. Data name of a half-step semitones. Now, the next interval is what we call a whole step. A whole step is made up of two half-steps. So what do we mean? When I'm at C? If I want a whole step from C, I will skip C-sharp and go to D. So the movement from C to D is a whole step. And we see that this is made up of two half-steps. They're fast. Half-step being from C to C sharp, then from C-sharp to D. So 2.5 steps, making one. Let's look at another case. When I'm at E, a half step will be a movement from E to F because I'm not skipping any nut in-between. But if I want a whole step movement from E to F and go to F sharp is a whole step. F. So just remember, a whole step. You skip one node in between. Say if I weren't a whole step from F sharp, I'll skip a G, sorry, and go to G-sharp. So this is a whole step from F sharp to G sharp. If I want a whole step from B flat or a sharp, I'll skip. Go to C. But if I want a half-step, I go straight to be. Okay. So let me just play a movement of whole-steps from C back to C. C to D, to E, to F sharp, to G sharp, F sharp to C. What about if I play intervals of half-steps? C, C sharp, D, D sharp, E, F, F sharp, G, G sharp, a sharp, B, C. So now I believe that helps you to understand the difference between a half step, whole step. Now once you understand that now we can now look at the formation of a major scale. A major scale in music is a series of eight notes. Do, RE, MI, FA, SO LA, TI DO. The last node is the same as the first note. Though. No. The only difference is that the lower door. And then these higher though. Now, there is a formula that we apply when we want to construct that major scale. And this is a very important concept for you to understand. A major scale with eight nodes has sudden half-steps and whole-steps intervals from one node to the next node. Now, I'm going to use a C major scale to illustrate this. A C major scale starts from C to C. Now, the first note is a C. The movement from the first node, the second note is a whole step from C. I'll skip C-sharp and go to D. The movement from the second notch to the third note is a whole step. So when I'm at D, D sharp and go to E, the movement from the third note, the footnote is a half-step. So I'll move from E straight to F. The movement from the fourth to the fifth is a whole step, so I'll move from F to G. The movement from the 5th to the sixth naught is a whole step. So I'll move from G to a. The movement from the sixth to the seventh is a whole step. So I'm moved from a to B. The moment from the seventh to the eighth is a half-step move from B to C. So what we see in this is a major scale has 2.5 steps between the third and the fourth, and between the seventh and the eighth. The rest of the intervals from one to 22 to 34 to 55 to six, and six to seven, or whole-steps. So once again, let's look at the C major scale. Ramy flask. From the first note to the second is a whole step because we're skipping the C-sharp. Second to the third is a whole step, D to E, because we are skipping their D-Sharp. That to the fourth is a half step straight from the fourth to the fifth is a whole step, F to G. A fifth to sixth is a whole step. G to six to seven is a whole stem. It to be seven to eight is a half-step B2C. So that is how we form a major scale. So you only need to understand the 2.5 steps between the talent default and then between the seventh and the eighth. Now, there are 12 major scales on a piano. Why? Because remember, as we said, there are 12 notes. So the major scale can start from any of the 12th knots. So I'm going to take time and go through, take you through each of the 12th major scales. Okay, so we started with C major scale. So I'm going to talk about the fingering a little bit later. But now, let's move on to the next scale. After C major scale, we have C-sharp major scale. So C-sharp major scale will move from C-sharp, C-sharp. So let's do it again. From number one to number two. Do Re, is a whole step from C-sharp. I'll skip the D and go to D sharp. So we have 12, no rain. Then from two to three is a whole step. Again. I'll move from D-sharp E to F. So we have 123. Let me step. We move now from F, which is our tad naught, to the fourth note will move by a half-step. Remember three to four is a half step from F to F sharp. Then from the fourth to the fifth is a whole step from F sharp. G, G sharp. From five to six is a whole step. Skip a, go to a shop. From six to seven is a whole step. Skip B, go to C. From seven to eight is a half-step. See, back to C-sharp. C-sharp major scale will be. Sharp, D sharp, E, F, F sharp, G sharp, F-sharp, C-sharp. And the next scale is, well, we have moved from C to C sharp now we're at D, So D to D. So remember the same thing. A whole step to E, another whole step, E to F sharp, and a whole, now, a half-step. Now, remember 324123, half-step, sharp to G. A whole step, whole step. Whole step. B to C-sharp, half-step. Remember again, seven to eight, C-sharp to D. So the whole scale is D, E, F sharp, G, a, B, C-sharp, and k. Now what is the next major scale after D, We've got to D-sharp, E-flat. E-flat major scale, or D sharp major scale will run from D-sharp, D sharp. So one whole step to two, another whole step to three, f and g. Half-step to fall. G-sharp, whole step to a shop. Another whole step to six. See, another whole step. Half step to D sharp. Sharp. G, G sharp, a sharp, C, D, back to D sharp. Next key is E. King he is our number one. Number eight is also e. So one to two is a whole step. E to F sharp. Two to three is a whole step. F sharp, G sharp. Three to four is a half step. G-sharp to a. Four to five is a whole step. To B. Five to six is a whole step. B to C-sharp. Six to seven is a whole step. Seven to eight is a half-step, D-sharp, back to E. So remember I will highlight the fingerings after I'm done with this. Then the next one is F. So we have F-major scale from F to F. So number one is number one to two is a whole step. So skip F-sharp, go to G. Two to three is a whole steps skipped. G-sharp go to a. Three to four is a half step to F sharp. Four to five is a whole step to E, to C, sorry. Five to six is a whole step. C to D. Six to seven is a whole step to D to E. Seven to eight is a half step to F. So F, G, a sharp, C, D, E, back to F. Net scale. F-sharp, major scale is F-sharp. Number eight is also F sharp. So one to two is a whole step. F sharp. G sharp. Two to three is a whole step. G-sharp. Three to four is a half step, so we move straight to be four to five is a whole step. B to C-sharp. Five to six is a whole step, C-sharp, D-sharp. Six to seven is a whole step, D sharp, F seven to eight is a half step to F sharp. So we have the F sharp major scale. F sharp, G sharp, a sharp, B, C-sharp to F sharp. Next key, G. G major scale from G to G. Number minus J. Doe. One to two is a whole step. G to a. Two to three is a whole step. A to B. Three to four is a half step. B to C. Four to five is a whole step. C to D. Five to six is a whole step to D to E. Six to seven is a whole step. E to F sharp. Seven to eight is a half step, F-sharp, G, a, B, C, D, E, F sharp, and g, next key is a G-sharp. So G sharp to G sharp, G-sharp major scale. One to two is a whole step. G-sharp. Remember whole step, you skip one not, then you go to the next. So G-sharp, A-sharp, two to three is a whole step. Shaft to see. Skipping that be. Then three to four is a half-step. See straight to C-sharp. Three to four. Remember for the half-step, you don't skip anything. Four to five whole-steps. C-sharp, D-sharp, five to six, a whole step, G sharp to F. Six to seven, a whole step, F to G, seven to 8.5 step, G to G sharp. So we have G sharp, a sharp, C sharp, D sharp, E, F, G to G sharp. Next key is a. So we have the image of scale running from a to a. One to two is a whole step to B. Two to three is a whole step B to C-sharp, skipping that same. Then three to four is a half, or straight from C-sharp to D. Four to five is a whole step. D to E. Five to six is a whole step. Six to seven is a whole step. F sharp, a sharp, G-sharp. F-sharp, G-sharp than seven to eight is a half step, G-sharp to E to F. So F major scale, a, B, C sharp, D, E, F sharp, G sharp. A. Next scale is sharp major scale. And sharp, or B flat to B flat. So I need a whole step. Skip B, go to C. One to 22 to three is another whole step, C to D. Keeping that C-sharp in three to four is a half step. D to D-sharp. Four to five is a whole step to F. Okay? Then five to six is a whole step. F to G. Six to seven is a whole step. G to a, seven to eight is a half step back straight to F sharp. So the F-sharp major scale will be a sharp, C, D, D sharp, E, F, G, a, back to Asia. Okay? Then we have the last term. Finally, D-major scale from B to B. Remember 122 is a whole step, B to C-sharp. Skip that C. A whole step, B to C-sharp, one to step, two to three is another whole step, C sharp, D sharp. Skipping the D. Three to four is a half step, G-sharp to eat straight. Then four to five is a whole step, E to F sharp. Skipping the F, five to six is a whole step. F sharp to G sharp. Than six to seven is a whole step, G-sharp. A-sharp, seven to eight, a half-step, sharp to B. So B major scale will be B, C-sharp, D-sharp, E, F-sharp, G-sharp, A-sharp, back to b. Then of course, when we go back to C major scale. So you have to note that the C major scale is the only scale that only has these white notes. No black notes, no sharps or flats. Now, I'd like to mention maybe something about scale fingering. Remember you have to check out the free guide book, music at sea level, where I've highlighted the nodes of each of the scales. Remember, the nodes of each of the scales. And at the end of their first chapter, I've highlighted the scale fingering. And I've given you the fingering of each scale for both the right-hand and the left-hand. Basically, your thumb is finger number one, then your little finger, this finger number five, the pinky finger, 12345 from the thumb. Then the same thing happens to your right hand. The term is one, the small finger is five. So we have 12345. 12345. So if you look at the scale fingering for C major scale on the right hand, you play fingers, one, finger to finger three. Switch back to finger 12345. Okay. Now if you look at the notes, I've given you, fingering for two octaves. So you can choose to play through one octave or through two octaves. So what do we mean by two octaves? An octave on a piano is the distance from one node to the next node. The similar naught from C2C is one octave. The next octave is from C to the next C. The next octave is from C to the next C, or from F sharp to F sharp is one octave through and scale. The next octave is from the next F-sharp. The next octave is from these F sharp, F sharp, right? So this fingering that you'll see in the nostril cover through two octets. So for example, if you look at the fingering for C major scale, you'll find this one. So I'll be mentioning the names of the fingers. And I'm playing. I'll be playing through the C major scale. Remember, C major scale is the simplest because it has no black notes. So it'd be playing through one thing, go 123. Then I switched to think a one finger and got three fingers. And back to finger 13 and back two fingers, 12345. So I have played the C major scale through two octaves. So let me do that again. Okay? So the same thing applies on the left hand fingering. If you look at the notes I've given you the fingering of the left hand. So for example, for the C major scale, fingering for the left hand, you start with finger five. If you look at the notes, you've been told to start with finger five. So it will be fine. 3111. Okay. So you have to work on those switches when you're switching from your wine. For the same thing on the right, when you're switching off to work for that switch, 123, back to finger one. So if you're only playing through one octet, for example, on the right hand, you will finish with the fifth finger. What do I mean? You're starting with 123 and back 21345, finished with the finger five. But if you want to play through another octave, instead of finishing with five, you'll switch back to one. So what do I mean? See 1313412, 312345. So if I want to run through the next octave, I finish with one, so that I start over. But if I want to finish through one octave, I'll finish with finger, fine. Okay? So you can go through those nodes and run through the fingering for each of the scales. But something I'd like to point out to help you understand the fingering faster. Is that all on all the white notes? Apart from the F major scale, the fingering is the same. What do I mean? You play finger one, three. And then you switch back to finger 12345. Okay? So if I'm playing D major scale, for example, I'll use the same pattern. So first of all, you have to be familiar with the notes of the scale. Then you know, you can now go through the fingering of the skin. And I've listed that on the e-book. You will find the nodes and then the fingering. So D major scale. So at this point I assume now you know the scale D, E, F sharp, G, a, B sharp, and D. So the fingering, I use the same fingering, 123, then I switch back to 12345, so then backwards. Okay, then for the left hand, the pattern is also the same, 12345, fast to finish up the first five fingers, then you have how many knots left? 123. The third finger. Second, flushed. So that applies to most of the white keys apart from. So let me show you the difference in the scale of your play. 1234. And then that's when you now switch back to 1312341234. That's a little bit different, but for the rest of the white notes on the scales, you can play using the same fingering pattern. Now, let me just run through maybe a few more. Maybe E major scale, G major scale, major. Why he's left B major ones. Now, you have to take note that on the black notes, this, the fingering is different for every key, for every scalp. So for example, for F sharp major scale, if you check on the notes, you'll have. You start with the second finger and the finger switch to the second. So there's no black scale. The black notes that you'll start with your pump, that's another tip. You never start with your time when you're playing any black scab. So for example, for the F sharp, you start with the finger tool. For example, on there, the B-flat major scale, for example, you start with finger fall. So you start with a switch to one and 313 and fall backwards. So you always practice your skills in backwards. So you can run through those scale fingerings one by one. Now the purpose of this scale fingering exercise is just to walk on your flexibility. Remember this is not a classical piano course, so we are free to use the fingering that is comfortable. But that is the standard of the recommended fingering is what I have listed down in the e-book. So the purpose of this exercise, the fingering exercises, number one, apart from helping you to understand and master the skills of head, all literals scales is also to build your flexibility. So you should start at a slow speed and then quick and the speed until your fingers are able to be flexible enough. So I'll show you an example on Kesey. So you start at a small piece at a slow pace. Then you increase your, as you continue. Then you run through the next scale, c-sharp. Then D. There may be f. G. Do the same thing for the left hand so that your left hand also develop some strength. Major scale, for example, on the left hand, remember five, one, then fingers to being on the B, I'll start with a one. So 1313. So much and didn't mess fingering for the B matrix on the left hand. You do that. Sorry. So you see developed both hands, ran through those exercises as you must have the skills. So the picture of the scale should be like the notes of the scale should be like a picture in your mind. So an ICC major scale, I see all these white nuts. When I see F sharp major scale, for example, I choose not to picture. When I say G major scale, G major has one sharp. When I see a major scale, I see that ship. When I see B major scale, I see that ship. When I see D-major scan, I see that ship. And I see C-sharp major scale, C, D sharp. So the scale is like a picture on my mind. Okay? So muster the major scales. Check time step-by-step because this is a very critical foundation for the next class, where we'll be talking about formation of codes because codes come from the major scale. So if you understand the major scales, deadtime, land all the 12 major scales. Be comfortable so that you can now go to the next chapter and now dig deeper into learning the codes. 3. Lesson 2 Building Triads(s): Hi guys, Welcome again. Now these are our second lesson. And just to recap in the first lesson, of which I encourage you to check back on if you haven't done so. I talked about formation of the major scale. We got into the details about the half-steps and whole-steps and how the major scale is formed. And we emphasized how important or how critical it is for us to understand the formation of the structure of a major scale. And we went through all the 12th major scales. Just to recap, to bring us up-to-date. Because in this lesson, I'm going to talk about formation of some codes. And now you have to realize that when you're playing a song, when you're playing a song, we are playing blocks of knots. So these blocks of nodes, I want to call the codes. And for you to understand how these codes are formed, you have to be familiar with your skills and specifically the major scales. And so just to recap a little bit, we say that a major scale at illustrates using a C major scale. A major scale has 12 notes, okay? So, oh sorry. H nodes though Ramy fast. So latae door. So that's a C major scale. Remember we said that a major scale has 2.5 steps between the third and the fourth, and between the seventh and the eighth, the rest of the intervals are whole steps. So now when we were looking at formation of codes, codes basically come from the major scale that is the mother of all the codes. And so I'm going to talk about the two main categories of codes. The first main category of codes are what we call the triads. And the second category are what you call extended chords. Just to remind you that you can go back to our notes, talking in more detail, in greater detail about the differences between the extended chords and attracts. Basically, I tried, is a three note chord. That means a chord that has three notes. What do I mean? When I play three notes? I'm playing a triad. And extended code is a code that has more than three nodes. So for example, if I play four notes or five notes, I'm playing an extended God. That means the extra nodes are an extension of the triad. Okay? So now let's, let's first focus on the chat in this, in this lesson, we'll focus on the triads and then we'll get farther into the extended chords in other lessons. So the first type of today I want us to look at today is the major chord. So, taking you back to the C major scale, 12345678, C, D, E, F, G, and the C. To form the C major chord. What we do is we play this C, E, G. Now what is the theory behind the major chord? We play the root. Hi class notes of the scale. In this case it's C. Then we play the third. And in this case it's an E, and we play the fifth, in this case is a G. So they're not of the scale are 12345678. And so the major chord will have 135. So that's a C major chord. Let's look at the next major chord. So we'll go through all the 12 major chord. The next chord after C, of course, C sharp. So let's look at this C-sharp major scale. Fast. C-sharp, D-sharp, F, F-sharp, and C-sharp. Now, the first note is a C sharp. The third note is F. The fifth note is sharp, so the C-sharp major chord will be C-sharp and G-sharp. One. Next is the D major chord. So first of all, get the D major scale, which will give you the numbers from one to eight. And then we'll get 135 to give us our D major chord. So D sharp. C sharp and D. So that is number one. Number three, f-sharp, number five. Right? So that's how a D major chord. Next major chord is sharp major chords, also called the E-flat major code, because D-sharp is also an E-flat. So let's first look for the D sharp major scale, which will give us one to eight. So what is our number one, D-sharp, and about three, G, our number five. So a D-sharp major chord will have those three notes. Sharp, G, sharp. Then once our next chord is an E major chord. So to get the image are called fast. To get the E major scale. E, F-sharp, G-sharp, C-sharp, D-sharp. E, one is e, three is G-sharp, five is B. That's our E major chord. And what's our next major code? So fast, the F major scale, G sharp. The number one is F by three, and number five on that scale is C. So we have our F chord. If Dan see next. Major chord, F-sharp, also known as G-flat. Okay? So our F sharp major scale, F-sharp, G-sharp, A-sharp, B, C-sharp, D-sharp, F, and F sharp. Remember the fingering? First lesson? I want number three is an odd number, five is c-sharp, F-sharp major chord. Next we have the G major chord. So we have G major scale, C, D, E, F sharp, G. And the G major chord will be one is G, B, and D. Okay, next, shop. That's all scale, G-sharp major scale. And then G-sharp major code will be 135, G-sharp, C, and D sharp. Next we have our image, our code from the images can be number one, C-sharp, E major chord. Next, F-sharp major chord, also at B flat major chord from the F sharp major scale. So one is F-sharp, three is five, e, f. So that's the A-sharp B-flat major chord. Then lastly, on the B from the D-major scale, C-sharp, D-sharp, F-sharp, G-sharp, A-sharp. And b, a minus b. Three is D sharp, F sharp, G major chord is B. Okay? So basically to recap, the major chord is formed by first getting the major scale and then play the fast will the root, then the third and the fifth note of that scale to give you the major chord. Now, the next kind of triad color that I want us to look at is, is the minor chord. Now, the minor chord is a slight adjustment from dementia code. Why? Because to get a minor chord from dementia code, you just adjust the thought. Remember we have the fast or the root, then we have the thought. So we adjusted by flattening it. Flattening it means lowering it by a half-step. Okay. Sharpening. I naught is racing by a half-step. Flattening or not is no ordering it by half-step. So if I flattened E, I'll get E-flat. If I shop in E and F. So that is a C major chord, C, E, and G. To get a C minor, we just flatten the fan, which is the E. E-flat. C minor will be C, E-flat, G. Okay? So that's the theory behind it. I might not call it, has the flat three. Flight endothermy to get our minds. Same thing here. C-sharp major chord is C-sharp and G-sharp. To get our C-sharp Minor called Latin, the f. So you bring it down to E. That's C-sharp minor, C-sharp, E, G-sharp. Next chord, that's a D major chord, to get a D minor, E flat and F sharp, which is the side, bring it down to an F. So we have the D minor. Next. We have the D sharp major, D sharp, G sharp. To get the D-sharp minor with Latin, the Jeep bringing a G-flat or an F sharp. So we have our My not as sharp, sharp and a sharp. Next we have E major. E minor, we flatten the tide, which is G-sharp, bring it down to G. So G and B minor. Then next we have F-major to get the F-minor, flatten the end down to a G sharp, or the flat, F minor. F major, and minor. Next we have F sharp major. So that is F sharp, a sharp, and C sharp. To get the F sharp minor, you flatten the thought. It goes down to a nice sharp. And C sharp, G major. To get the G minor Latin, which is B, bring it down to B flat, or a sharp, G, B flat, D, G minor. Next we have our G-sharp minor. So that is the G-sharp major, sharp, C and D sharp. G sharp minor. We flatten the sea, bring it down to a B. So you have G-sharp, B, D sharp, G sharp minor. Next we have imager and C sharp and D. Am I gonna flatten the C-sharp, bring it down to C and E and mine. The next 3.5 shop manager to get F-sharp minor flatten the D, bring it down to D-flat or c-sharp. F-sharp minor will be that A-sharp, C-sharp, E, and F. Then the last one we have, our B major. I'll be managed out to get enough flatten the D-Sharp two, d, B minus B, D and F sharp. So basically to recap, to get them might not call it fast, get dementia code. Then flatten this out. Okay, our next chord is diminished chord. A diminished chord. Now, a diminished chord right now is now it's going to be not an adjustment on the minor chord. Okay? So I want you to think of these codes in terms of hierarchy, a lambda. So fast we have the major chord, then the minor chord, and then now we have the diminished chord. So now let's get into the theory behind it. So we say the major code using the C major chord as an example. The major chord has been fast. There might not call it, has the fast flattened and the fifth. Now a diminished chord. We'll have the first, the flatten that. And then this time we also flatten the fifth. Okay? So we have the root or the fast, then the last three, and then the flat five. So remember major chord 135, minor chord, 135, diminished chord, 13, and flat file. Okay, So that's a C diminished chords. So the next diminished chord is C sharp. C sharp diminished chord, okay, fast, we have dementia. So what do we do to get the diminished chord? Flatten the third and the fifth. So F to E, G-sharp, the G. So we have this C diminished chord, okay? Last three flat five, diminished, C sharp diminished K. Then next we have D diminished. Okay, That's the d-major. D diminished. G-sharp. D-sharp major. D-sharp diminished to be a manager. To get our new diminished, Latin, the Latin, the field E, G sharp. Diminished. As the F major, FSC flattened, flattened the fifth as the half-diminished, Diminished from the major, okay, That's the F sharp major. Flatten the fifth. That's your F diminished chord, F sharp, F sharp diminished, F sharp, a, and C. Then g, k, That's the G-Major. Give the G diminished Latin the time. The G diminished. G-sharp diminished. So that's how a G-sharp major, C and D sharp. G-sharp, B and D. A G-sharp, diminished. Then to the a, that's the image or flatten the thighs. Nothing. The fifth diminished is C, D-sharp. Nancy have the manager to get the sharp diminished. The deed to the C-sharp, then flatten that down to an E. As they age sharp diminished. And finally we have the manager, then not in this ad. D sharp to D, Latin, beefy, f down to F, B diminished. Okay? So administered code has the flat three. And the flat five, right? Then the next triad we look at is an augmented chord. And augmented caught such a big word, but it's so simple. Let's break it down. So going back again to our C major, okay, now, the major chord is a good pivot chord that they have access to all these other kind of codes when you're still learning. Okay? So the major chord is wandering and fight. So an augmented God simply has a shopping. Okay? So the major, C major chord is 135. To get a C augmented chord, you shut. That means erase the GI, The G-sharp by a hostage. Okay? So we have C as our C augmented chord. Next we have C-sharp major to get this C-sharp, augmented, G-sharp to an a. So we have C sharp, a, C sharp augmented. Next we have our D major. And then our D augmented chord will be D, F sharp and a sharp. Right? Next we have our manager get the D-Sharp augmented, just shoving sharp G and B. The next three-halves, e. To get our E augmented, shopping. Fifth shop and see next 3.5, F-major to get F augmented. Shoving that C to C sharp and C sharp, F sharp, F sharp major. To get the F sharp augmented, shopping that faith, that C-sharp raise it to a, D. F sharp augmented as shop. And shop in D major. Race they D to D-sharp. To get at G augmented. B, D sharp, G sharp major. To get there. Augmented, shopping that the D-Sharp, if you shop in it, to go up to an E. So now you see necessarily have a major shopping the E to F. We have a augmented as f. Then we have our HR manager to get the F sharp augmented, raise that fit by a half step to F sharp, F to F sharp. A sharp, D sharp. D antigen is shampooed. Next door. Lastly, we have the B augmented code. So there'll be mandates that B, D-sharp and F-sharp together be augmented chord you raised by a half step down to G. So that's our b augmented chord. Good. Now, I'm going to now talk to recap that a little bit. The augmented chord we said we shop in the fifth from the major shove in the field to get the augmented chord. Now finally, we're going to look at another category of triads. And we are calling these suspended chords. Now there are two subdivisions or suspended chords. We have suspended two chords and suspended for goods. In short, we say 4s2 and SAS for, so you'll find them written as EC2 S2, or S2, S4. So let's look at the theory behind it. Going back to C major. Splendid code is a code that does not have the thought. Okay? Remember, it is the side that defines that God, well, it's a major chord or a minor code. Why do we mean by this? In this case on a C major chord, the third is when it's the major third. That's called is C major. When we flatten it and make it a minor side, then the color becomes C minor. But now a suspended chord aims at removing the third from the code so that we have a code that is suspended. That means that called is not clearly defined as a major or a minor. It has its own unique sound. So that's the meaning or suspending. It is like the code is hanging somewhere. Now you get the English behind it. So as, as two chord, we remove the thought and make this add a second. So i, c sub two will be 125, that you see, d and g. Now, this has four. We make, there are four, okay? So we mentally E and F. So remember the scale, 12345678. What is one? See, what is false? What is fine. So that is our CSS for instead of having C, E, and G is three, we make it a four. So it's now C, F and G. So that is our c sus4, C, F and G. And then assist us to, we now have C, D, and G, 125145. So same thing on a C-sharp. C-sharp major. To get our CSS. C-sharp says to call that three, bring it down to one to C-sharp says to going back to this C-sharp major, to get now a C-sharp sass for mentally three or four. So bring it up. Shop for you to get these codes fast. You have to be very familiar with all your major scales. Because you need to know these numbers. 12345678? No, all the skills you'll know number one is done. Is that C-sharp says to the next, we have our D major, or this has to be the F sharp down to there, which is e. So we have these as two and r, this has four, will be D, G and a. Nest is our D sharp. D sharp major is that. And so to get a dish apps as to our two is F. So we have 12 and we maintain our five as Asia helps us to the shops as far as our fall. Sharp, G-sharp, D-sharp, E major, ethos to E F-sharp and be ethos for E and B. Then f major. 135, access to the three back two to F, to F sus4, the three up to four. Then F sharp major, F sharp, F sharp, and C sharp, F sharps us to bring down the F-sharp. G-sharp. F-sharp says for a shop now up to the fourth, which is a B. So you have F sharp, C sharp as our shops as form. Then our G-major GBD, our two is an air, so we have G and D giving us the Jesus to and then the juice asphalt. I will one of 45, which is G, C and D, G sus4, go to G sharp. So we have a G-sharp major, G-sharp, D-sharp, B, G-sharp. As to what is the second note of the G-sharp major scale? It's that air shaft. So we remove this c, which is our tight, and bring it down to the two. So we have G-sharp, D-sharp 125. And to get this as four, we now use the fork. So 145, G-sharp, C-sharp, D-sharp. Then our next score, that's our image. And to get our answers to bring down the C-sharp to our b. The second 1235 is S2, S4, you take it out. And the fourth 15, e is S4. And then next we have our F-sharp major. Dnf together is us to bring down the D to C sharp, C and F together as shafts as for check off the D to D sharp, sharp, D sharp. And finally, our b, as I'll be major, 12345. So 125 b's us to be successful. Okay? So remember to recap this suspended chords, this as T1, this as four, do not have the Tad. This has two, has the second note of the scale, and this S4 has the fourth note. And you maintain the root or the fast and the food. So you have the root, the second and the fifth, force us to. And then you have the root, the fourth and the fifth for, assess for. So basically those are the triads which you need to know. In the next lesson. Now, I'll be going now deeper now into application and chord progressions and scale degrees. Now we wanted to see where these gods fit in an actual chord progression. So I encourage you to go through this lesson. Together with a fast lesson, understand the major scales that's the foundation. Understand these trials is called. And then now you'll be ready for the next class where I'll be talking about scale degrees and chord progressions. And that's where it becomes more exciting. 4. Lesson 3 Nashville Number System(s): So welcome to this lesson. This is the blue, the third lesson. In the first lesson, we learnt about the major scales. In the second lesson, we learned about the different types of codes. So just to recap, we talked about the major chords, minor chords, diminished chords, extended chords, and the triads. So I believe up to this point, you are well updated. You're familiar with the major scales and those basic chord types that we looked at in the lesson on code. So if you haven't updated yourself up to that point, I would recommend that you go back and update yourself on the major codes and on the triads that we looked at. In this class. I'm going to get into the foundation of playing songs. And that is understanding scale degrees. What does scale degrees? Let's go back to our major scale. So in this case, I'll use the C major scale to illustrate my point. So that is a C major scale. C, D, E, F, G, a, B, C. Now on any major scale, you will find eight nodes, okay? So each of those eight nodes represents a position on the major scale. So we can say that there are eight positions on a major scale. So for example, in the C major scale, the first position is occupied by us. See, the next position by ID, the third posit position van ie, the fourth position, band f, the fifth position by algae. Sixth position, ban air, seventh by a bee, and the eighth by RC. Now, on each of the positions on a major scale, we will play a particular code. So what do I mean? There are eight codes on a major scale. Or I can say there are seven codes because the first chord or the first node will be the same as the eighth note for the last node. So basically, there are seven codes on a major scale. So each of these nodes represents a code. Now those seven codes are to call the scale degrees of a certain key. So for example, you're going to look at it in the key of C. In the key of C. And this applies on any other key. The first note will be played as a major chord. That will be a C major chord. The second note will be played as a minor chord. That is a D minor chord. The third note will be played as a minor chord, and that will be an E minor chord. The fourth note will be played as a major chord, and that is F-major. The fifth note will be played as a major chord, and that is G-Major. The sixth note will be played as a minor chord, and that is a minor. The seventh note will be played as a diminished chord, and that is a B diminished. The eighth note will be played as a major chord. That is back to C major. So you'll note that the f naught, that is C major and the first node are the same. So when we are playing a song, these are the seven positions that we will use when we are playing the codes to a particular song. So it's very important for you to understand this concept of scale degrees. It's sometimes complicated for some people, but it should not be the case. So all you have to understand is that on a key, on any given key, on any major scale, we have seven positions. Door ME facile at IDO. And on each of those positions, there is a particular code that you play. So what is the role of scale degrees? This is the rule that applies on every scale and we'll look at different keys to illustrate this point. The rule that we apply, this in the first position, in the fourth position, and in the fifth position, we play a major chord. In the second position, third position, and in the sixth position, we play a minor chord. And in the seventh position we play a diminished chord. So let me go through all of them once again. From the beginning to the end. In the first position, we will always play a major chord. So for C major scale, because C is the first node, will play a C major chord. In the fourth position, we play a major chord in the scale of see, the footnote is an F, So we play F-major in the fifth position. We also play a major chord. You play a G major chord. So those are the three major codes on a major scale. They are usually called diatonic chords. That means the codes which follow, which are interlinked to the scale that you're playing. On a major scale. There are three major chords. The one, the four, and the 51 in this case is C Major, F major, and five is G-Major. Okay, those are the three major codes. Then there are also three minor chords that the two, the three and the six. Okay? So the two in this case is D. So we play D minor, that three is e, so we play the minor, and the six is S. Are we playing mine? So three minor positions. Three major positions. So let's go through all of them from one up to six. So one is C major, D minor, E minor. F major. Five is G major, six is minor. Okay? Then number seven will be played as a diminished chord. That is a, B diminished chord, B, D, and F. So it's the only diminished chord on the major scale. Then of course we go back to number eight, which is our major. So I'll play all the diatonic chords are all the numbers, all the positions from number one to number eight. So one is C major, D minor, E minor. F major. Five is G major. Six is minor. Seven is diminished back to eight, or one, which is C major. So maybe sometimes you've heard people talking about the number system. Usually it's called the Nashville number system. So basically that is a way that band members communicate when they're playing a song. For example, somebody will come up with a new song and they'll say, We want to play a 1625, for example, that may be a progression of any song. So what that basically means is that the person on the piano, she will know what codes there are supposed to play. So if you are on the piano and you are told that the progression of this song is 1625. What codes will you be playing? For example, if the song is in key C, for example, where we're at. So 1625. Remember one is C major, six is n minus two is D-minor. Five is G mentioned. So basically that's the progression of that song will be 1625. Okay? So it doesn't matter what so neat is. So long as that is the progression that I've been given. Those are the codes that I'll play following the rule of scale degrees. Now, the password on the bass guitar will also play the same notes following the same numbers on his instrument. So at the end of the day, by simply being given the numbers, each one of us will know the correct notes or the correct codes to play. Now, I want to show you the same principle, the same concept of scale degrees on a different key. For example, we can just pick another key like F-sharp, for example, or G-flat. F-sharp major scale is F-sharp, G-sharp, A-sharp, B, C-sharp, D-sharp, F, and F sharp. So the first thing that you're supposed to know at the notes of your skin, that's very important. After you know the notes of the scale. Now we can look for the scale degrees. What is the rule? Number one, chord number four, and code number five are always major, okay? So according number one will be F sharp major. Chord number four will be Manager. And code number five will be C-sharp major. Okay? That is your one. You'll fall. And your five, then code number 2362 is G-sharp, three is A-sharp, six is D-sharp. 236 will be minor chords, okay? So number two will be a G-sharp minor. Number three will be an A-sharp minor. Number six will be D-sharp minor. Then number seven, remember is diminished. So that wouldn't be an F diminished chord. So always remember 145 major, 236 are minor. So all the seven chords in the key of F-sharp will be one is F-sharp major. Two is G-sharp, minor is minor, four is B major. Five is C-sharp, major. Six is D-sharp minor seven is F diminished back to eight, which is F sharp major. So for example, the 1625 chord progression in the key of F sharp will be, what is our one chord? F-sharp major. What is our sixth chord? D-sharp minor. What is our two code? G-sharp minor. What is our five Chord? C-sharp major. Okay. So it will be one, 251625. I will take another example in a different key. So for example, in this case we look at, Let's pick on E. So I knew keys E, So we are playing the same progression, but we are changing the key to E, 1625. So for example, you are told to play that song in key. So first of all, as usual, we look for the E major scale, F-sharp, G-sharp, B, D-sharp E. Okay, that is the image of scale. So after we find the key, now let's look for the codes. Those are the notes of the scale. So now we look for the codes, the scale degrees. Remember not number one. Number 45 will be represented by major codes. One will be E major. Chord number four is a major. In five, is B mentioned. 145 are always major, E major. One image is four, and b major is five. And then what about the minor codes? 236, what is two? F sharp. That will be F sharp minor. What is three? G-sharp? So that will be G-sharp minor. What is six? C-sharp. So that will be C-sharp Minor. And what about number seven? B, D-sharp diminished chord. So all the eight codes on image of scale will be. One is imager to F sharp minor. Three is G-sharp minor. Four. Major. Five is B major. Six is C-sharp, minor. Seven is a D-sharp diminished and back to eight, which is imagined. So those are the scale degrees, or the eight codes along the scale of E major. So what was the progression? 16254, I just got number one. Imagine what was called number six. C-sharp Minor. What was called number to F sharp minor. Scoring number five, be imagined. So a 1625 in the key of E will be E major, C-sharp minor, F-sharp minor, the B major. So do you see how you can easily play a song or a certain progression in all the keys. So the most important thing for you to know is what is the scale of that key? Okay? What are the notes of the scale? So for example, if it's in key, that is the scale. After you know the major scale, then you know, on any major scale, the one, the four and the five will be major codes. So one is imager. For a major and five be imagined. The 236 will be minus. So two is F sharp minor, three is G-sharp minor, six is C-sharp minor. So if it is a 1625, Five, E major, C-sharp minor, F-sharp minor, the major that will apply in any key. So I've taken you through three examples in three different keys. Through C, through F sharp and through E. So I'd like you to take time and go through the same progression, 1625 and try find the same progression in all the other keys. That is the key to playing a song in every key. So many people usually tell me, Okay, You've taught me that song in this key. But I don't know how to play that key. Please show me how to play that song in this key, because this is the key that I know. But it is so simple to transfer a song from one key to another key, so long as you know the numbers. Okay, I'm going to give you a quick quiz. For example. What is our 265 progression in the key of C? For example, 265. You go to the key of C. And you know that in Kesey, the second note is a D on the C major scale. So that means the d will be a D minor chord because the second position on the scale is always a minor chord. Okay? So my D is D minor. So two to six, what is the sixth note? And remember, a is always minor. Play a minor. What is our five? G? And remember five on the major scale is always a major. Play, a G major. So it will be one, C major and minor. The five Geomagic. What about in the key of E? One? E major six is C-sharp minor. Five is be imagined. What about in the key of F sharp? One is F sharp major, two is G-sharp minor, six is D-sharp minor. Five is C-sharp major. So I even don't know if are still falling the same progression. Okay? But the point is for you to understand scale degrees and be able to play a song in any key. Mastered the major scales in all the keys, and then understand what type of code occupies each position. 1.5 or major codes. 236 are minor chords. So I'm going to play a simple song just to wrap this up, what our friend we have in Jesus, what a friend we have in Jesus. So I'm going to play that song using a very simple progression. I'll be using major tracks only and not be playing any minor triads or diminished chords. I'll just use basic major triads. So I'll be playing the song in the key of C. So the progression I'll be using is one, which is C major, then to the four, which is F major. Then back to one which is C major, then to the five, which is geometric. So remember 145 are always major. So why would a friend we have in G or last scenes and griefs to bear privilege to everything too. God, in their progression I'm using is one to fall back to one, then to five. So it's 1415, C Major, F major, C major, G major. A friend we have in, she said, Oh, I love scenes and griefs to be privileged. Everything to God in. Now, for example, if I wanted to play the same song in the key of D, for example, let's use a different key, D. So I go to D, What is my progression? Remember the numbers one to four, then back to one, and then 25, okay? One to 41 to five in the key of D. So first of all, I looked for the D major scale, F-sharp, G, a, B, C-sharp to D. Okay? So what are the scale degrees? What are the eight gods? Remember, number one is major, D major, and B2 is minor. E minor. Number three is minor, F-sharp minor. Number four is major. G major. Number five is major. It manager. Number six is minor. B minor. Seven is diminished. C sharp diminished. Back to number eight, which is major, D major. Okay? So what is my 1415 progression in the key of D? One is D major. G major, one is D major, five is imager. So let's play the song. Why would a friend we have in our sins and greaves to privilege to re, to God in. So do you see how we have played the Samsung in Kesey and now in key d. So we move with the numbers. Most important thing for you to understand, odd numbers, the scale degrees. 1415 in the key of C, 1415, in the key of D, 1415. What about the key of E? Samsung 1415? Remember, we had already looked at E. So on unbind this image up. Our four is imager. Back to our one which is E-major, are five is B major. So I had a friend, we having lessons and grief, privilege to freeze everything to God in brands that you see on the left, I just play the code, not the first node of the code that I'm playing on the right. So if I'm playing an E major on the right and the left, I also play with an e. In this case, I'm using E on doubles. I can use it on one finger or I can use. So if I'm playing an E on the right, on the, on the, on the left also play an E naught. When I moved to the air on the left the house and move to the air when I moved to the be, the right, move to the beat. So final example of the Samsung, what a friend we have in Jesus. By this time, let's use F sharp. So what is God number one, F sharp image. And what is code number for? B imagined what is called number five. C-sharp major. So we have 145. Let's now move on with the song. What is the progression of the song? 1415. So why would a friend we all love scenes and griefs to what a privilege to praise to God in so one to 41 to 51415. So I like to encourage you to practice this simple progression, 1415, what a friend we have in Jesus, just that stanza. So in another lesson, I'll break down the song deeper, adding more codes, I'll add on minor chords. I'll add more of the suspended chords and all those kinds of codes. But this is a simple progression for you to start learning how to play a simple song. In every key. Start with the C, go to the C-sharp, go to the D, go to the D-sharp, go to the E and learn how to play that song through all the keys. So I believe that, that lesson has been helpful for you to understand scale degrees. Just to recap that on every major scale, we have the eight nodes. For example, when a C major scale, on each position of the scale, there is a certain code that we play. In the first position, you play a major chord. In the fourth position you play a major chord. And in the fifth position we play a major chord. In the second position, we play a minor in the third position, who also play a minor chord in the sixth position. They also play a minor chord in the seventh position. Replay a diminished chord. So number one would be C major, D minor. E minor. F major. Five will be G major. Six is minor. Seven is a B diminished back to eight, which is C major. So if a song has a progression of 1415, what God's will replay? One C Major, F major, back to one C major, G major. So I can apply the same principle on any of the remaining scales. We have 11 left. All those 12 keys. Go to the key, find the major scale, find the scale degrees are the eight codes applying that principle of one is major. For his major, five is major, two is minus three is minus six is minus seven is diminished. Then try play that song. What our friend we have in Jesus, using the 1415 progression in all the keys. And at the end of that, I can assure you that you'll be able to play any song in any of the keys when you understand the concept of scale degrees. So thank you for checking in on this class. And I encourage you to go through the previous lessons if you have not done so because you will not be able to understand this principle if you don't have that background. So thank you and let's meet in the next class is going to get more exciting. 5. Lesson 4 Chord Inversions And Slash Chords(s): Hi everybody, welcome once again to another lesson in our series. And in these lessons I'm trying to go through the basics there, things that you really need, the most critical things that you need to advance as a beginning piano player. Or maybe you've been playing for some time. And today I want to cover a very crucial point, or two crucial points. The first is about chord inversions, and the second is about slash gods. Okay? So I encourage you to go through the adolescence if you haven't done so, so that at this stage you are up to date. You should be comfortable with your major scales. You should be comfortable with your triads. The major cause may not cause a diminished codes, suspended chords. You should also be comfortable with your scale degrees. So if you haven't gone through the adolescence, please go through that so that you can be able to tackle this. So in this lesson, I'm going to talk about chord inversions. Now. According version is simply an alternative way of playing a specific code. So an alternative arrangement of the same chord, a different way of playing the same chord. So for example, let's look at a C major chord. A C major chord has the notes C, E and G. C E and G. For a C major chord. Now, if I want to play this C major chord using an inversion, that means I will change the arrangement of the three notes, the C, the E, and the G. I simply change the arrangement, but I maintain the seminar. So what I'll do is this, that two inversions are two different ways I can play this chord. Now, the first inversion, I will move this c naught to the end, and I'll maintain the E and the G. So remember the C is the root. Then we have E is the third and the fifth. So for the first inversion, I'll fast play the third, the fifth. And then I will take that route, that c to the end. So instead of having C and G, I will now have E, G, and C. So that would be my first inversion of the C major chord. Now what about the second inversion? For the second inversion? Allowed, took the e, which is the third, to the end. So instead of having EG and see, I now have G, C, and E. Okay? So let me go through that again. The root position of our code begins with the roots of the code. For example, for a C major chord, the root of the chord is the c. So the root position is C, E, and G. For a C major chord, that is 135. Now, the first inversion will be 351. I bring the one to the end. So 351 AGC, the second inversion will be 513. So the three, the E, I bring it to the end. So I now have a, G, C, and E. So we have C, E, G, E. And see. Okay, let me explain using a different code this time I'll explain using a minor chord, for example. Using a D-sharp minor chord, Let's move up to the shops a little bit. So the D-sharp minor chord, D-sharp, F-sharp, and C-sharp, D-sharp minor. The first inversion of this code will be simply check the D-sharp to the front. So you'll have F sharp, F sharp, and D sharp. And then the second inversion will be now as sharp, D-sharp, F-sharp. Okay? Another example. Using a diminished chord. For example, I will use a G diminished chord. G diminished. So a G diminished chord is G sharp and C sharp. So the fast inversion of this code will be F-sharp, C-sharp, and G, okay? The second inversion will be sharp, G, and F sharp. So you should be very comfortable seeing those inversions. Very fast that that night that, so this is an exercise that you can just do. You pick a card and then you just run through the three positions. The root position, first inversion, second inversion, first inversion position. So for example, on the C major, I'll do this. See Megan, the root, first inversion, second inversion, first inversion, back to the root. And then an exercise I usually teach my students is run through the inversions in all the 12 kids. So there's an exercise I give my students that helps them to master the major codes, the minor chords, the diminished chords, the suspended chords in all the three positions, in all the three inversions. So what you do is this, okay? For example, you start with Casey. I'll start with a C major chord. C major in the root. C major first inversion, c major second inversion, C major first inversion, back to the room. And then I moved to a C minor chord. Okay? That's C major, C minor, not flat, three flat. So you have C, E flat, or D sharp, and G, C minor in the root, first inversion, second inversion, first inversion, back to their roots. And then I move to, for example, a C diminished. C diminished in the root, first inversion, second inversion, first inversion, back to the root. Then I can go to our CSS to code c, d, and g. That is our C suspended two chord in root position, k in the first inversion, second inversion. So I do that exercise. Then I can move to another key, for example. Now the next key is C-sharp onto run through all the 12 days, okay? I got to C-sharp, C-sharp major, for example. That is the root position. The original position for C-sharp major in first inversion. First inversion will be F and C-Sharp. Second inversion, G-sharp, C-sharp, and f back to the fast fashion, then to the roots. So I do that exercise again on now a C-sharp minor chord, for example, that is C-sharp major. Remember the miner, you flatten the touch, so you now have C-sharp and G-sharp. The roots. What is the first inversion? E, G sharp, and C sharp? What is the second inversion? G-sharp, C-sharp, and F. Fast. Sorry, we are doing the minor, okay, sorry. I said first inversion. First inversion, second inversion, first inversion, back to the root. Then do that all the way. For example, now move to the D major, D major chord, D F sharp and air. First inversion, F sharp, and D. Second inversion at D and F sharp. So it is simply rolling up the knots, okay? You're all up and then now your first finger will have to be your thumb, so you'll just, the second inversion now will be a D and F sharp. F sharp. You can even move backwards. And D, F sharp backwards. Backwards to the root. Again. Shop. And you go through those, all the codes, different types of codes in all the 12 keys, and understand those inversions so that you can easily see the movement of those interactions. For example, these are inversions of key e, okay? The E major, first inversion, second inversion, first inversion, second inversion, but to the root. So go through those interactions so that you can easily see them moving up and down because that will be very critical when you're playing a song. Now. I also want to talk about a concept of slash gods. Okay? Maybe you look at a lead sheet. No allergy to adults, or you've been given the lyrics to a song, and you see those codes written at the top, that's what we call a lead sheet. Now if you've been given a lead sheet and you are required to follow the code. Sometimes you'll find slash gods that for example, you find a code has been written as C, then a slash. Then an E. Now slash code is usually written as the right hand of the left hand. So the first note you see, for example, and you see c over E. That means that on the right hand, I'm playing a C major chord. On the left hand, I'm playing an E naught. So for example, a c over E slash code will be C on the right, C major, and D on the left. This is a scene of a. For example, if you have a over F sharp, that means you're playing an a on the right hand, and then F sharp on the left. An F sharp not on the left. So that would mean I play the image or code on the right and an F sharp on the left. That is the F sharp, so it's written in the opposite. So if you see a over F-sharp, don't play the a on the left and the F sharp on the right? No, it's the opposite. A over F sharp is F sharp on the left. Now slash codes are very important because they add some Seat harmonics or to a song to our course on your plane. And the left hand basically imitates what the best plan, they're not. The best plan is going to be playing. The person on the piano is trying to imitate the best plan on playing a bass guitar, for example, on the left hand. So I'm going to use the song, What a friend we have in Jesus. And this time I'm going to be playing some slash codes and I'm going to be using some inversions, but I will keep it very simple using basic triads, some media codes, and a few minor codes. So I'll be playing it in the key of C. But you can do this in any key. So let's go to our arrangement. So fast without using any slash gods or any triads. Just to recap why a friend we have in scenes and Chris to what a privilege to free thing to go. What piece we often for fate. Oh, what? Spain, we all, because we do not have everything to go in. Now remember when you download my free eBook, you'll find the arrangement to this song. So you don't have to worry because the arrangement is there. I've written down the codes of the song in that book. So now in this song we are using how many codes? 12344 cards. I'm using a C major chord, an F major chord, a G major chord, and then F minor chord. I'm using one minor chord. Now. We're going to go through this song, but now using inversion. So for example, instead of playing the C major in the root position, I'm going to be using a second inversion. For example, G, C and E are the first inversion, which is E, G and C are for the MIN. Instead of using the a minor in root position, I can use the second inversion, for example, that would be check the E backwards. So now I'm playing E, a and C, or I can use the first inversion in that case, which will be C. Okay? My name, the root, SEE, the first inversion would be seeking. And so I can use that first inversion, or I can use second inversion. Same thing applies on the F-Major. Instead of playing the F major in the root position, that is fancy, I can play the first inversion, which would be C and F. Or the second inversion which is C. And so you see that, bring that C backwards and you get the second inversion, C, F and F-major. F-major. F-major. Same thing to the G-Major. Oh, okay. That is the root position. First inversion would be b, d, and g. Going back to the root position, GBD, second inversion would be, bring that D backwards. Now you have G and B. So that's G major. G major, and that's also G major. So for example. Now I can start my song at this position. The second inversion of C major. I had a friend. We mean, then when I moved to the F-Major chord for Jesus, I now use the first inversion of F-major, okay? Now I'm using S c and f. C major in second inversion, C, then to F major in first inversion. And so that movement is, and on the left hand, I'm playing C, okay? So why would a friend we have in, she says, I see that C second inversion, the F-major in the first inversion. Then back to C, or last scenes and griefs. Back. Then. Then at that point I'm just playing a G major in the root. Then a minor again in the root. Privilege to F-major in the first inversion. Then back to see everything. The G in to God in the last line. Instead of going back to the c in the second inversion, I'm finishing up with a C in the first inversion, which is a GNC. Okay? Now, I just want to play that part again, but using some flashcards, okay? So this what I would do starts with a C, what we have in G. So why did I do at that point C major, C on the left, second inversion of the image on the right hand. And then I moved to an E on the left while maintaining the C on the right. So at this point, I'm playing a slash chord, c over E. Okay? So what? We have been cheese, the F, then back to C or C minor and griefs to now see at that point, I move to the G major with a G on the left. But then before the song proceeds, I moved to a B on the left. So that would be G. Then to a over b. Let me play that question again. What our friend, c over E of the slash code, we have in G, us to the F-Major, the first inversion, then back to C or C minor and gravestone. G, then G over B to C major, or privilege this c over E, E on the left, and the right to AA degree. Every theme to God in C, what we do at that point is every C on the right, that's the second inversion of c. Remember that GCE, that G on the left. So that's a slash code, c over G on the left. Every thing. Then I now move to the G. So G on the right and g on the left. Read. To that point, I finished off with C major now in the first inversion, which is nice. Now, this first inversion is usually a very good inversion when at the end of the song, at the end of the song. Because most songs and with the one chord, and remember we're playing the song in Kesey and seeing is our code number one. So we are finishing with God number one. And specifically using the fast invasion of God number one, which is the first inversion. C major reason for this is we want to finish with our top naught being the sea, which is the root of the chord that you're playing. So we are finishing off with that first inversion, C major chord. It has a good solution, or a good finishing to the last line of most of the songs that we play. So basically that's how we go about using the inversions and using the slash gods. Okay, so it's very important for you to understand that concept. Maybe I'll just go through the Samsung different key to illustrate the point further. Okay, let me pick a key like F-sharp, for example. I had a friend. We have in G. So why did I do there? I started with F sharp. Okay. And then I moved to an F sharp. F sharp. So that's a slash chord. So a friend we have in G is less than two. There be better still I could start instead of starting with that root position equals sat with an inversion of F sharp. Okay? So could play maybe the second inversion of F-sharp. Instead of playing F sharp, F-sharp and C-sharp, bring back the C-sharp. So I'm not playing c-sharp, F-sharp. Okay? Or I could use the fast inversion, which is sharps. F-sharp SIM card. Okay? All those are different inversions of F sharp, F sharp, and then F sharp, F sharp. A friend we have in Jesus then to the B major. Then the F sharp or last scenes, briefs to bed. Now from the F sharp, one, we move to the five, which is C-sharp major. And this time I'm using an inversion of C-sharp. I'm using our second inversion of C-sharp major. So instead of playing C-sharp and G-sharp, I'm playing G-sharp, C-sharp, and F, F-sharp major scenes and the C-sharp major second inversion. Then, a privilege. And move to the sixth, which is D-sharp minor, okay? I, instead of playing the D-sharp minor in root position, I'm moving back the end so that I'm not playing the D-sharp minor in second inversion. So that is D sharp on the left. Previously laid to read. So I'm introducing a new code here, The G-sharp minor. So from the mean to be scored number four, then to the G-sharp minor, which is God number two. If you don't understand these numbers, please go back to the lesson on scale degrees, okay? Then every flashcard, their shop on the right in the first inversion of a C-Sharp on the left. Then I moved to the five chord, which is the C-sharp major, the root position to God in. Remember the innovation which you said you've finished the last phrase of the song with the first inversion, okay? So they have sharp on the left, the first inversion of F sharp major. Good, in ending the rest of the song, the last slide. This exercise, you really need to spend good time doing mastering chord inversions. Pick any song that you usually play, for example, then try playing the Samsung using different inversions for each chord. Pick this on what our friend we have in Jesus and where you had F major, for example, try to use different inversions of that F-measure when you're playing that song at different points of the song. So you see the benefit of using inversions is that chord inversions give you a different sound, okay? For example, this is F-sharp major. In the root, first inversion of F-sharp major, second inversion of F-sharp major. You see those three chords have different sounds, and that's what we're looking for when you're using inversions. So that when I'm playing a song, I'm not using the same stem position of the code to play throughout the song. You see I can use the AI can play the same chord in three different ways. So every time I play that chord in the song at different points, points in the song. These are different sound that is coming up. So incorporate the inversions in your playing and you'll see your, your, your, your, your, your plane will be diverse. You're not be playing the same thing over and over again. And then use this slash Gaza. When you're listening to a song. Try to listen to the best player. Watch knots at the best play is the best flap laying. There notes that the best, best players playing and they're not that you're supposed to be using on your left hand. So mostly, most times that song you'll hear something like when I was playing, those are the kind of Nazi. He had the best guitarist playing, the best guitar. So those are the kind of notes you're supposed to be playing on the left. You imitate the best player on the left. And those, that sought to give you the slash guts because on the right hand, I may just be blamed the F sharp major. Because I know my next chord in the song. What our friend we have in Jesus is B from one to four, from F, F-sharp major to a B major, then I can walk up to the B, for example. So you see I was at F sharp, still at F sharp on the right button, I walked up to the F-sharp, which is number three, because I knew I was going to listen to the best player and try to incorporate those slash cuts. So thank you for hanging out in this class. I hope to see in future lessons you're going to cover much more. Look at different types of codes you know, adding to the library. It's all about adding into the library. So thank you for watching out and God bless you. 6. Lesson 5 Major 7Th Minor 7Th And Dominant 7Th Chord(s): Hi everybody, welcome once again to another lesson. We have been doing a series of lessons. So I hope so far your updated yourself from the major scales all the way to the triads, all the way to the scale degrees, all the way to the inversions and slash codes. And so today I want us to expand a little bit specifically on the codes. So we talked about the Giants and we say that the triads are three note cards. For example, if I play a C major chord, I'm playing three nodes. So that is odd. Recall triad. But now, cause that have more than three nodes. For example, as C major seventh chord has four notes, C, G, and B, or a C minor seventh as follows. So we have these codes that have more than three nodes and how far nodes you can have five nodes. So in this lesson, I'd like us to go a little bit deeper and look into these codes will start on a very simple way. Remember these courses are meant for the beginners. And so I'll try to keep it very simple. And I'll explain bit by bit so that it can be all on the same page. So today, I'm going to talk about three types of extended chords. The first type are the major seventh chords. In a second type or the minor seventh chords. Then the third type are the dominant seventh chords. Now, these are the most important foundational extended chords that you need to know which you can apply in very many songs. So let's begin looking at the first type of external cause. Those are the major seventh chords. So even as the name suggest, a major seventh chord is the seventh note of the scale of that code to their major chord. So for example, if I want to play a C major seventh chord, the first thing to do is to play the C major chord itself and then look for the seventh note from the C major scale. What is the seventh note on a C major scale? That is our B. So B is the seventh note of a C major scale. C major seventh chord. I will simply add the seventh note. All of the C major scale. C major chord, C, E, G for my C major chord. And then I add on top to get a C major seventh chord. Okay? Now, let me explain the same thing on a different code. For example, F sharp or G flat. If I want an F sharp major seventh chord, what do I do? First, I look for the F sharp major chord. F-sharp major. That is F sharp, F-sharp, and C-sharp. And then I'll ask myself, what is the seventh note of the F sharp major scale? So I played the major scale, a, G-sharp, C-sharp, D-sharp, F, and F sharp. The seventh note of the F sharp major scale is the F. So the F sharp major seventh will be the F sharp major. Then we aren't they? So it's that simple. Just add the seventh note of the scale of the chord that you're playing to get the image on. The formula in terms of numbers is 135, the major chord, okay? And then you add to this seven for the major seventh, so it's 1357. Okay? Now, the next type of code we can look at is the minor seventh chord. Okay? And I believe at this point you are updated on the chat so you cannot go through this lesson if you haven't covered the chats. Okay? So just to save on time, we will not go back again to what we already covered in that lesson. So for example, if we want to play a C minor seventh chord, Why do we do? Now, the only difference between the major seventh and the minor seventh is this. On the major seventh chord? We add the seventh naught. For example, in the case of C Major seven, we added the beat. But now on the minor seventh chord, instead of adding the seventh, we add the flat seven, okay? And in the case of C major scale, the flat seven is F-sharp. Why? Because B7 flat seven means they're not below the seven sharps, seven or eight. That is the seven, the Bs, the seven flat seven is B flat or a sharp. So you understand the scale. This is one. This is too sharp or flat to the same thing applies. This is seven. This is sharp seven or eight. Back to this seven. This is flat seven, or they're not between 67 is the flat seven or the shaft six, so that they're not flat. Seven is the notch that we add to the minor. So we have our C minus C, D-sharp, and Zhe. Okay? Remember that the minor chord is found from the flat three flat. When you flatten the time, you get a minor chord, C major. If you flatten the E to an E-flat, you get a C minor. Now together, a C minor seven, we add the flat seven, which is now a B-flat, or our F sharp. So that gives us minus seven. Another example in the key of, for example, d, I want a D minor seventh chord. So the first thing to do is to find the D minor chord. D minor chord is D. And to get the D minor seven, I add the flat seven naught on the D major scale. So D-major scale, sharp, G, a, B, C-sharp, D. Our last, these are 87 is C-sharp. What is our flat seven? C. Okay. After the C, the D minor chord, to get a D minor seven. D minor at the C on top. D minor seven. Okay? Last example in the minus seventh chords, for example, look for a B minor seventh. So the first thing to do is to play the B minus B minus B, D, and F sharp. B minus seven. We ask ourselves, what is the flat seventh naught? Okay? So if you look at the last V here are the eight is one, and this is h on the G major scale. The C-sharp, D-sharp, E, F sharp, G sharp, a sharp, and B, B's eight. B flat, or sharp seven is flat seven. So always remember that the flat seven is always a whole step below the eight, okay? So we have the 87 and the flat seven. So we will add to our B minor, D minor seven. So I believe that is clear. Now, the last type of extended code I'd like us to look at today is the dominant seventh chord. Now, a dominant seventh chord is very critical and has very many useful applications. The theory is very simple. Okay? Remember that on the major seventh chord, still using the C, C major. If you want a dominant seventh chord, that is a C dominant seventh chord. Usually it's written as C7. C7. Don't, don't confuse the dominant seventh chord with a major seventh chord, okay? The major seventh chord is C capital M seven. And a dominant seventh chord is C sub k. So if I have my C major chord, C, E, G, and I want my C dominant seventh chord, then not that I would add is our flat seven. The flat seven. Remember, is that a sharp or B flat? So that is a C dominant seventh chord. So it's very simple to get a C major seventh chord. We add the seventh note of the C major scale. To get a C dominant seventh chord, we add the flat seven to the major chord. That's the only difference between a major chord, a major seventh chord, and a dominant seventh chord. For the major seventh, we add the seventh note of the scale. For the dominant seventh chord, we add the flat seven to dementia caught. See C7 or a C dominant seventh. Okay, Let me explain on a GI, G dominant seventh chord, okay? So first of all get a G major chord and then add the flat seven to the G major chord. Okay? So that's the G Major, G, B, and D. What is the flat seven? So you simply do this, okay? The agent is the G on top. The seven is always a half-step below the eight. So that is our F sharp or G flat. And what is the flat seven down again to the f? Because the flat seven is always a whole step below the eight. So our G dominant seventh chord will be most of the G-Major. Then you add the flat seven. So just to recap on those three chords, I'll use the C to explain C major seventh chords. The major chord, C major, C, E, G, then add the seventh naught. Okay, So the formula is 1357, C minor chord, one, Latin, get a C minor, and then either the flat seven to get the C minor seven. So the formula is 135. And flat seven for the C dominant seventh chord. Major and then odd the flat seven. Okay? So the formula is 135 flat seven. Now let's go into a little bit of application and I'll just use a simple, simple illustration to explain how you can begin applying the major seventh chord, the minor seventh chord, and the dominant seventh chord. Now, a general rule that you can use that will work in most situations is this. Remember when you are looking at scale degrees, we save that on a scale we have eight positions or seven positions if you don't repeat the eighth position. And on each position we have a code, okay, So in position one we have a major chord. For example, I'm explaining the key of C. So C major chord for position one, position two, we have a minor chord, D minor, position three, we have a minor chord, E minor position four, we have a major chord, F major, position five, we have a major chord, G-major, bullish on six, we have a minor chord, minor position seven. We have a diminished chord, be diminished, then back to position a or position one, which is our major, that is C major. So we have our major codes in position 145, and then we have our minor chords impulsion 36. So now you can apply the major seventh chord in almost all situations in position one and position for. So for example, in the key of C, That means I can always use a C major seven. F major seven. Then for position five, which is our other major chord. In the scale degree, we can use the dominant seventh chord, okay? So the major seventh chord for position one, major seventh for position four, and the dominant seventh for position five. Then for the minor chords, the 236, okay, So the D minor, we can use a D minor seven, D minor seven, and minus seven on almost all occasions, okay? So anytime I see a minor chord, whether it's a 23 or a six, I can use the minor seventh chord, where I have a one, I can use a major seventh wherever four, I can use a major seven. We have a five. I can use a dominant seven. So let me play through the scale degrees, applying these extended chords in the key of C, for example. And then maybe I'll also explain it in another key. So all the codes, position one, C major seven. Position two, D minor seven chord number three. E minor seven. Chord number for F major seven, chord number five. Okay, sorry, G dominant seventh chord number six minus seven. And then code number seven. You can use that be diminished seventh chord, which is B, D, and F for the normal beaker. And then you add that flat seven on top to get a B diminished seventh chord. Although not so much used, but that is the same principle that can be applied in that case of the diminished. Now, let me look at a real song example that will really help you to understand how you can apply this. I'm going to use the song, What a friend we have in Jesus. Because I believe that's a song that cuts across whole wild because this is a course that is global. So if you download my ebook, you'll find the notation, the codes, the lead sheet for this song. So please ensure that you have the e-book music at sea level so that you can follow along. So the first chord in the song, you see today we will be playing the C major seven. So we'll add our b on top. Why I had a friend we have in the so we are moving from R1 to R4. And in what cases I'm using the C major 741 and F major seven for fall. So what a friend we have in GPS and then back to C or C. And griefs, too bad. So add point, what am I playing? C major seven. Minor seven. Then to our G-major, then to our G dominant seventh with a B on the left. Okay, So let me play after that point. I had a friend. We have in G, C major seven, F major seven. And then back to C major seventh on seats. Minor seven, C, D, and G. And gravestone to RG manager, then to our G, dominant seventh over b on the left. Then we continue. Why? I pre, relate to everything, to God in prayer. Okay? So what a privilege. I did a C major chord. And then at this point, okay, I can use the C dominant seventh chord as a chord that we call a passing chord. Okay? I will do a lesson in detail about passing chords. But I can just mention it at this point because we have talked about dominant seventh chords. So when I'm playing the next spot, when I'm moving from C to F, I'm moving from my one to my fault. So this you, in many songs situations, for example, you're moving from 12 or four. You can use the one as a dominant seventh chord, as a passing chord or a code that helps you to connect from one to four, okay? So this one, I mean C major seventh chord. And then to a C7 with an e on the left, and then to a fault, which is the F major seven. Now, if you look at my F major seven, I'm using an inversion of F major seventh. The original F-major seventh East. See the E on top. That is F major seventh chord. Because e is the seven, the scale of F, F is eight, e is seven. So that is F major seven, F, C and E. Now I'm using an inversion of discard. Okay? So what am I playing? C, E, F, and a is an inversion of the same concept. So just remember that you can also do inversions of these major seventh chords, right? So what are any play the major seventh. Why? A friend? That's C7 on the right over e on the left. We have been Gs and then to the F major seven, C major seven, C minor seven. And greaves to bear, G major, then I, seven over B. And then buck, C major seventh. What? A pre, a C dominant seventh over e on the left. To read. So that F major seven in that inversion, then my next chord is D minor seven. Okay? It's also an inversion of D minor seven because the original D minor seven is Dean. And see, okay, but this time I'm playing C, D, and F. So he's just an inversion of D minor seven. So 12, ah, the D minor seven. And then every C major on the right, it's an inversion of c major, GCD of a G on the left. So that's a slash chord, C over G. G to go. Then to the G7 in prayer. Then I finished off with the normal C major chord in first inversion. And see that point again, everything to God in prayer. Seo by g. G, g seven, C met and fostering. Gotcha. Gotcha. Okay. So let me play through this all again from the beginning, applying this code. So I'll move very slowly so that you can try to catch up. So we have xi. See why? Three to the two. And the next spot. What beats? Say, what am I playing? Okay, let's break it down. All. That's G major. G major to G seven over B on the left. So that's seven over B on the left. What? We often fall phage to our C major seventh in that inversion. Okay? That's our normal C major. We add the B to get our C major seven, okay? Ration of C major GCD after the B to get a C major seven, O one, O. Remember, we said we can use that C dominant seventh chord as a passing chord or accord helping us to connect from C to F. So we are moving from C, C major seven. We are now E to F, But we pass through the C dominant seven over on the left before we go to the F major seven. Okay? So I want you to see this C dominant seventh chord is just an inversion. That's my C major chord. And then I'm adding the flat seven. Remember which is F b flat or a sharp as my fast not. So instead of playing during your last C7, I'm bringing the F sharp here. So it's just C7 over e on the left. So one week off and then F-major seventh in that inversion. All what I do see image on the right of an e on the left. Pane leave G-Major and then G7 over b. Glossy major seventh chord. C7 over e on the left. We not, ah, okay, F-major seventh to our D minor seven, the unused before that in batch. And then every C major over g, every G7 to God in. Okay, to finish off with that C major chord in first inversion. Alright, now, maybe let me talk about another song. Yes, to help us understand this better. The cross or the cross where I first saw the light. So the crew. So remember, let me play the normal progression before I start adding in so much as the C major chord. Where the light then to our G-major, which is our number five. D minor, which is our point number two, all my heart to all five, which is G-major, all the way up to my one, which is C Major, F major four, which has got number four. I'm using F-major in this inversion, C and F. F on the left. By my D minor. Then fashion. I received two chord number one, which is C major, and minor chord number six, and D minor chord number two. I am not the G-Major, which is number five. All the way back to C major, which is one. So now I'm going to add in some major seventh, minor seventh. So I'd like you to follow through the C major seven, the crops, where I find G major. And the buttons. D minor seven, all my hot. G dominant seven, rod away. C major seven. C dominant seventh on the right over e on the left. It was then F major seven minor seven. I receive a C Major seven, my psi minus seven. And now D minor seven, I am happy. G dominant seventh all the day. C major seven. Again for the crumbs, C major seven. So the light G-Major, the bond. D minor seven. G dominant seventh row, no way back to C major seven. Then there's urban over e on the left. And was then F major seven. By faith. D minor seven, I receive C major seven minus sign. Minus seven. Minus seven. I am hockey. G dominant seven. Finish with our C major. So just remember whatever key you're playing in, you can apply these principles. Okay? So for example, um, we have talked about something very important here, that you can always use a major seventh chord. Anytime you have a number one, God, and our number four. You can also use a minor seventh chord throughout all the minor chords, okay? The two, the three, and the six, whatever key that you are in, okay? And then you can use the dominant seventh chord on the five. Okay? So that's very critical. I'd only have also snipped in something about passing codes where we are saying, we can use the one chord as a dominant seventh chord to pass in between 14 are moving from one to four. For example, from C to F, I can use the seis seven, the dominant seventh with artery on the left when I'm moving to a four. So C major seven, then C7 over e. One dominant seven over 300. My guess is my y. Three. Whatever key you can apply that. So I hope that gives you in brief understanding of how to apply these minor seventh, major seventh and dominant seventh chords. We're going to look into greater detail in upcoming lessons on how to apply these kinds of calls. But I hope that gives you an introduction. Try applying this on different songs, same principles on different keys. Okay? Remember we learned about scale degrees and how you can transfer from one key to another. So, thank you for checking out on this class. See you in the next lesson and remember to check out the e-book. It's free download. Go through this course that diagrams in that, in that e-book. Check out the diagrams and Landis codes and start applying them in real-life situations in songs. That's how you must have discourse also land in versions of this extended chords. So that if I'm talking about a D minor chord, a D minor seven, I can also see the inversions of the same color. Okay? Now the innovation run through, just roll up, roll up there. See those inversions of this extended codes. So if I'm looking over C major seventh, I can play that, or that, or I can play that. Or I can leave. You realize that these extended codes actually have three inversions because there's one extra naught. So run through the invasions, be comfortable seeing these extended chords in that different inversions. Okay, thank you. 7. Lesson 6 Passing Chords(s): Hi guys, welcome once again to another class. I believe that's so far you enjoying the lessons. And remember these are beginner lessons, maybe a little bit to the intermediate level, but basically for the beginners. I hope so far you've gone through the other lessons. In this section. I'm going to be talking about passing chords. Okay? So the key of C, and you're going back to our song, Amazing Grace. Oh, no, sorry, what our friend we have in Jesus rather. And I'm going to show you various instances, various places where you can apply passing chords. Now are passing code is simply a code that helps me to move from one chord to another. So it's, it's like a bridge. It acts like a bridge connecting me from this chord to the next chord. So for example, if I want to move from C major, water friend, we have in GCSE or so, movement from code number one, that is C major, all the way to code number four, which is F major. If you don't understand those numbers, please check out the lesson on scale degrees and that will help you to understand the number system. So when I'm moving from one to four, I can use a number of transitions. Okay? So think of a passing chord like a transition, something that helps me connect from my one, which is my C major to my fault, which is my F major. So I can start thinking about the distance from C to F. And what are the codes available. Or I can use to move from C to F. So I can start simply by using the two, the three, then taking me to the form. So for example, using the 22 is a D minor and three is an E minor. From the scale degrees less than recover that. So when I'm moving from C major to F Major, I can pass through D and E. So long as I keep the time. I'll do it simply like this. What our friend we being. So you've seen, instead of just moving from C straight to F, I'm using the D minor, the E minor as passing chords. So basically that's the concept about a passing chord. So a friend we have in G. So that's a very simple way of doing it. Another way of doing the same principle of passing through the two and the three to the four is using inversions, for example. So instead of playing the D minor like this, I can use this inversion of D minor. Instead of playing the E minor in root position, I can also use this inversion of E minor. So I can start from C major. We can use the inversions as passing chords. So the passing chords just help to reduce the waiting time when you're moving from one color to another. So within that waiting time, you can play something. Okay, now, let's take it a little bit further. Now. Um, there are many ways to transition and there are many different types of costs that we can use, but we'll just try to simplify it. Now let's just tackle the movement from one to four and look at the options that we can use. So we have talked about the option of passing through the two, then three, then four. Now another option can be using slash code. For example, when I'm moving from one to four C2, I can use a five over three as a passing chord. Form the F. I'll do this. So that five over three is a passing chord. In a way, it's a slash chord. I'm using that innovation of G, B, D, G of an e on the left. So a friend we have in cheese. So this c, g over e to the x. Now let's go back to that position again, that Giovanni, and look at what other options do we have on the right hand, instead of using the G, we can also use other codes. So we're thinking of the three position three. You're moving from one to four, but you're passing through three. Now in this three position, instead of using the G-Major, we can also use an E major, for example, depending on the song, but it will give us a different sound. So let's listen to this, how to sound and use the image as a passing chord. A friend we have in cheese, I hear that sound. Okay? It really sounds measure. But we can use different variations of this e and get different sounds out of it. For example, in this case, I've just used, as, I've just used the major code to pass through to the form. Now, I can also use C augmented code. Now that's an augmented chord. And augmented chord is simply a major chord that has a sharp five. So for example, a C major chord, C, E, G. C augmented code will be shaping the gene, make it a G-sharp. So that is a C commented code. And G-sharp, so the formula behind it is 135. So if you check my notes, music at sea level, the eBook, you'll find diagrams of all the augmented chords down there. Okay? So C and then C augmented on the right of r, e on the left. And then to the F-Major. Remember my f, my Jason Dean inversion. So we have, so that's the augmented works very well because we are moving from C to F. So there's this one from G to G sharp, then to x. So I hope you can also listen that melody in your ear. Okay? So c, and then the C augmented over e on the left, then to the F. So that's one use of an augmented code. You can use the one augmented chord over the three on the left. So this case we have C augmented over e as our parsing code to our fault. Okay, now let's look at another code we can use when you're moving from one to four. From C to F. We can also use an E dominant seventh chord. What's on a dominant seventh chord? G-sharp, B, and D. So for example, if I start the song from this inversion of c, GMC, that's the first invasion of C-Major. The left I'm playing C. So if I want to move from C to F, I'll pass through the E7, the E dominant seventh, then to the friend. Okay, so E seven. Okay, Let's see, we still have that G-sharp from our C augmented chord. So this M principal, C is seven. So it's just the dominant seventh chord is like extending that harmony that we had from the C augmented by adding a B, and a D on top. So that's simply it. It's the same concept. That's now. Now, I didn't ask the B and D on top. So why are we? So try applying that to different songs when you're moving from one to four, you can use that E7 over the E on the left. So you have that E7. Okay, Let's look around option that I like using a lot. I like also using a C dominant seventh chord as our parsing code from one to four. So when I have that on the left, on the right, I have a C dominant seventh chord. Okay? So I use that C dominant seventh chord, C, E, G, and F sharp on top. And I can also use inversions of discord. Always remember chord inversions. So instead of using this C7, the root position, I can use this inversion where I have my C major and then the flat seven, the F-sharp down here, okay? So refer back to the notes on the dominant seventh chords and you'd plan how we construct this type of codes. So. C dominant seventh chord, with the seventh as the beginning not. And then on the right, on the left, sorry, I'm playing the E. And a friend. We see that. That's C7, e on the left. So remember you can use the one as a dominant seventh chord over the three on the left as a passing car today. So why? Okay. Now, there are also other types of codes we can use in the same position. For example, we have a code called add diminished seventh chord. Okay? I diminished seventh chord is simply one, flat three, flat 56. So for example, this is a C diminished seventh chord. One is C flat, three will be E-flat, flat, five will be G-flat, and six. Okay? So now Record we are going to use in the same position that we have been playing is not as C diminished seven. And I'm going to use a B flat diminished seventh. So the concept here is this. You use the flat seven of the scale. So in the case of C major scale, are flat seven is B flat, because seven is B flat, seven is B flat or a sharp. So you use that flat seven chord as a diminished seventh chord, all by their three on the right. Okay? See that chord is diminished seventh chord over e on the left. So what do we do? A B flat diminished seventh chord. Once again, let's, let's construct it from the B-flat major. B-flat major. B-flat, D, F. B flat diminished will be B flat flat three flat five. So we flatten the third and the fifth to get a diminished chord. Remember that? And then we add our six. In the case of B-flat major scale are C is a, G, so 12345678. So R6 is a G. So we have a one flat, three flat 56, B flat, D flat, G over here on the left. Okay, So now for example, what if I'm playing in a different key? How do I translate this passing chords? Because most of you will tell me, oh, I don't play in Kesey, I play in G-flat, a plane. Let's take an example, for example, in G flat or a sharp, F sharp. So that's our F sharp. So for example, if I'm moving from F sharp to be 124, okay? So that's the movement from one to four. So when you are passing through one to four, when you're passing through their three on the right, what did we say? How many options that we looked at so far? The first option is to play one as a dominant seventh chord with a three on the left. What is the one? F sharp major. So what is the F-sharp dominant seventh chord? You add the flat seven on top, which is an E, with an F sharp on the left. So afraid. Jesus. Remember now we said we don't really use it. But I will use the e. So I'll have that inversion, D, F-sharp major at the bottom to get the F-sharp dominant seventh with a three on the left. Okay, so a friend. Then to imagine, okay. Another option is to use the three as a dominant seventh chord. So in this case, the tree is a B-flat. So you can use b-flat dominant seventh chord. You play B-flat major and then you add the flat seven. In this case, the flux seven in the key of B-flat is G-sharp. Remember, H is B flat or a sharp? Seven is a flat, seven is G-sharp, D-sharp, E-flat major. Remember with the B-flat to the left and thick. So you see that? Okay, now let's look at a different case of passing chords. For example, if I'm moving to five, what parsing code can I use? When, for example, someone is moving from four to five? For example, let's go to us on what we have in Jesus and look at a real example. So I had a friend, C7 on the right, over here on the left as my passing chord, F major in back to my C or C. You see at that point I'm using a parsing code to my gene. So the movement really basically is from C major to G major. But I'm asking myself what parsing code can I use? So instead of playing it regular way like all scenes and I want a passing chord. So what do I do? Now? This is the concept, very simple. You look at the code that you want to land in, for example, onto land at G, because I'm moving from C to G, or last scenes and groups to C to G, one to find. So I will go to my target, which is g, and I'll ask myself, what is the five of G? Okay? So I will think now in terms of the G major scale and ask myself, what is the Fib of g? And if you look at the G major scale, G, a, B, C, D, E, F sharp, G. The five of G is a D. Okay? So the five of G is a dy. So when I want to go to the G, I will use the D major chord to take me to the G. So I asked myself, what is the target g? What is the five of G? D major? So I'll use an inversion of dementia. So instead of blaming the dimension in the root, I'll now play F-sharp d. So this will be my passing cloud. And on the left at another place, I D, or I can play the F sharp because I'm thinking of moving to G. So F sharp to G. Okay, so that shouldn't be there. Slash code. We'll use image on the right in the first inversion, okay, not in the root. It sounds better in the past inversion. So that is F sharp, D. And on the left, I use the F sharp because I'm going to the G. Okay? So, oh, oh, oh, great. To see that. I'm using the fly off my target code, which is a jig. Again. So my C major to my o by F sharp on the left. Now, let's look at another position. For example, the Samsung. The next chord is a minor. Okay? So we're now on to go to M. I ask myself, what is the five n minus of a? What is the fifo a? Because a is my target. Okay, so I'll go to the F-major scale and look for the fight song. So 12345. So my five is e. So I can use an image as my parsing code to my minor chord. Okay? So instead of using the image and the root position again, I'll use the first inversion. Okay, so I'll take the e to the n. If you don't understand the inversions, please go back to the lessons on chord inversions and that will be helpful to you. I'm using the first inversion of E major as my parsing code to my mind. And on the left, remember I can use the E or better still. I can use the G-sharp to the a the same way we use the F sharp to G. I'm not using the G-sharp to the minor. Okay. So the image on the right, that G-sharp on the left. Okay. So let me play that. But alas, to bear. You see that? Again on parsing code today, g, scenes and graves to bear parsing code to m. So now can we play that section again from the beginning, isn't those passing chords? So the first movement, movement, remember it's from C to F. And we had different options. But in this movement, Let's use the C seven, dominant seventh chord to F, and then combined with the rest of the passing chords to g. Remember that D to G and E major to a minor. Okay, so let's listen to how this sounds. So our friend, we all see. So did you see those passing chords, the passing chord from one to four, That's C7. Then that image over F sharp, G, G sharp minor. So here let's ask ourselves, what is the five of my target? Okay? Then you use that five as a major in first inversion to move, to attack it. Okay, let's, let's try play the same thing in F sharp, for example. Now that cue that we're playing in a friend. So we're starting with a one, F sharp major, and then our F sharp major, F-sharp, dominant seventh, with sharp at the bottom, R1 as a dominant seventh shape on the bottom the three, so we have four, which is our B major. Guess isn't an inversion of the major, F-sharp, G-sharp, B, c. Lambdas chord inversions, those are B majors. And then the next spot back to our RC and grapes. So let me break that down. So the fast parsing code, we have it sharp dominant seventh shape on the left. Now, our target this time of five is C-sharp major, okay? Okay, 12 phi F sharp major, C-sharp major. So we ask ourselves, what is the Fib of C-sharp? G-sharp? Why? From this C-sharp major scale? 12345, G-sharp. G-sharp major, but as a first inversion, remember, so I take the tissue here. So that can be my parsing code to my, The G-sharp major, my parsing code to my C-sharp major. And then my next chord is D-sharp minor six. So I asked myself, what is the five of D-sharp? I shop? So I will use the F sharp major in first inversion, which will be D F sharp. A sharp image in the root, F sharp major in first inversion. So I'll use that F-sharp major as my parsing code to my D-sharp minor saw. And on the left, remember, I will use this C to my C-Sharp, C, and then mine, mine, mine. Same thing we're doing. F sharp, G, G sharp to C to C sharp, D, D sharp, G-sharp on the right of a, C on the left. This C major, F-sharp major, on the right of a D on the left, to D-sharp minor. So it will be that, that, that I believe you've had that in many songs. So let's start from the top using those passing codes. Okay. Imagine G-sharp minor, every F-sharp, C-sharp, G-sharp to God. So remember you can combine now this principle of passing chords with the major seventh chords that we learned in the previous lesson, the minus seventh chords, dominant seventh chords. So you bring now all these things together. Okay? Now, for example, let me go back to the key of C and bring in some, some better sounding chords. So for example, on the one, I can start with a C major seven. C major, which you see at the beat to get a C major seventh. And then what is my next card? For example, if I'm using a C7 as my parsing code, I will just use the C major. And then I did flat seven, which is the shop to get a C dominant seventh. So these are C dominant seventh chord in an inversion. Remember you have to see those inversions. C major, C dominant seventh chord. C major, C dominant seventh, C major, C dominant seventh. So you always have to remember the F sharp, a, C major seven, C dominant seven. So we have G, F major seven to my C major seven, and minus 777, D minor seven. Everything to God in prayer. Of offline. Again from the beginning. C major seven. C dominant seven. E to C major seven. Seem close to minus two. Major seven, D minor seven. Every CEO a, G, F over G, C. Finally, I also played in F sharp. You can learn these in all the other keys, okay? So, so these F-sharp major with the F to get an F sharp major seven. Then I bring down seven to seven to get F-sharp dominant 777. Cheese us. Beaming. Back to my one, F major seven. I see my person Chord. C-sharp to D minor 77 minus seven. G-sharp minor 71 over five, F-sharp, C-sharp, G-sharp. So I'd like to encourage you to take some time and land is passing codes. Land is simple past. These are just the beginning. Basic passing costs, okay? Know that when I'm moving from one to four, what are my options? When I'm moving to a five? I can use the five their faith. When I'm moving to R6, I can ask myself what is their five of the six? So go back to those things. And now for you to understand these codes well, practice them in other songs. Okay, Ask yourself, I'm moving to a five in this song. Do they have an opportunity to use a passing car to this fight? This parsing code with this six, I'm moving from L1 to L4. Do I have an opportunity to apply these? This one has a dominant seventh chord, or to apply this flat seven as a diminished seventh chord. The flat 773 on the left. I can use the three as a dominant seventh chord. I can use the one as an augmented chords. You see all those options. Break down the video. Pause. The good thing with the video, you can pause, play, pause, play and apply in songs. 8. Lesson 7 Modulation Techniques(s): Hi guys, welcome again to another lesson. And today I'm going to be talking about modulation. Modulation simply means changing from one key to another. Now as a beginner, this is a technique which you need to start developing because you find that our song with sometimes more from one to another with certain dynamics. So what it means is that we don't just want to use the transpose button or you see just move to the next key abruptly. So we want to look at some techniques to move smoothly from one key to another. So I'm going to start with the first technique using the song. Also on what our friend we have in Jesus, I believe that's a song which all of us around the world can relate to. So what our friend we have in Jesus, it doesn't matter what language is seeing it in your country, but the flow is the same and we can learn these principles using that song. So I'm going to play what we have, what our friend we have in Jesus. Starting the key of C. Just to mention is that you need to learn how to play in all the keys. So start from the first lesson. Avoid the transpose button, okay? So learn how to play in all the keys. Understand the scale degrees in every key, because you will not be able to do modulation Well. If you cannot play in every key so fast, you need to know the chords in every key. So I'm going to start this song in the key of C, and then I will transpose it to the key of D. Okay, so I'll start from a C major scale, C, D, E, F, G, a, B, C. And D major scale is D, F sharp, G, a, B, C-sharp, and D. So I'm starting it in the key of C. So I'll just play through and so that you can see how I'm modulating. The first technique I'm going to use for modulating is moving to the five of the next key on my right hand, and the fall of the next key on my left hand. What do I mean by these numbers? So if you have looked at the lessons on scale degrees, you understand what the numbers are in the key of C, Okay? The key of C, C major is called Number one minus God number to be minus code number three. F major chord number for G-major is five. M ionize six. B diminished seven. C major is eight, or one. Now in the key of D, well, we want to move to D mondays, code number one. E minus God number two, F sharp minus God number three. G major has got number for MHS, God number five, be minus code number six. And C sharp diminished his coat number seven, back to number eight or one, which is D major. So now I want to move from C to D. And the technique I'm going to use is to play the five of the next chord on my left and the fall of the next code on my right. I think I said it the opposite the first time. So it is the five of the next chord on my left and the fall of the next chord on my right hand. So when I'm moving from c to d of D is, so I'll play it on my left hand. And the four of D is G-Major. So I'm playing a four over five of D. I'll play that for over five. Then. Okay, so let's go back to the key of C and then we see how we move to the key of D. Okay? So why would a friend we have in jail or not scenes and green? So I'm just using simple triad, simple codes relate to everything to go in. So after that point, did you see how I changed her? So going to the last part of the song in the key of C, everything to go in. And then four over, five, g over. So you see that? So I go to G over here, that is the form of a five. And then I can also play a five over five, then two to five, which is major. G of an air vent to image and then now to D, which is now my new key by one. Okay? So let me do that again. One way to, to see that. Now let's try move from D to E. So we ask ourselves, what is the five of E, F of E? If you look at E major scale, E, F sharp, G sharp, B, C-sharp, D-sharp E. So the five of e is 12345. So what did we say? We do, we play that five on our left hand. And what do we play on the right? Four. So what is code number 41234? Image. So remember four is always major, so that is a major player image of a b four over five. So that is the code that we use to move all of our five. And then the five, which is B major. And then the one image. Okay? So let's move from D to E. A friend we agree to everything to go. And you see that? Okay? So that's the first technique you can use to transpose. You asked yourself hockey, the next key data, moving to what is default and what is the five? The four is what I'll play on my right hand. And the fight is what I'll play on my left hand. So I assuming we're moving from E to F sharp. So what will be the modulation? Will use the four of f sharp on the right. What is the form of f sharp? 1234, the Maja. And notice the five C-sharp, C-sharp on the left and B on the right. If I'm moving from E to F sharp, you see that? 551? Again. Everything got a friend, okay. Now, something else you can do to that technique. I can call it another technique or an extension of this kind of technique of using a 454 on the right and the five on the left is you can walk up. So instead of just, for example, instead of just playing in F-sharp, instead of just playing a fight, I can walk up to the one. Okay, so I can use all that is fine. And then I use a form of our seats. And then I use a flying over seven. Then the one. So I choose five is fine for my seats. Five over seven to the one. So let me assume I was playing in the key of E. What our friend we have in Jesus, E to F sharp. Now remember, you can apply this technique no matter what key you're playing in. So I'm just using this to illustrate. Saw is the last line. Repeat to go in. You see that 54 over 6471. Okay? So you walk up like 5671, okay? So that is five C-major on both sides. And then I play out all of us 64 is being measured in this case, six is D-sharp, and then to the five over seven, which is C-sharp on the right, of f on the left, and then to no one. So it's simply walking up 5671. So let me explain that again. From E to F sharp. To go to that. Okay, let's, let me explain that principle again. In the key of C. Now C to D, Okay? And now we add in D. Okay? Do you see that? So what is the World Cup in the key of D? So you have to know the D-major scale. So you know, 567 is C-sharp, then deep. So I do use 5671. By now, we are now using some flashcards. So the five images I'm using, imaging this inversion and C-sharp. If you don't know inversions, please go back to the lesson on inversions. That's already covered image. And then what is this? 66 is up B minor. So remember we can use the B minor. So I'm just using an inversion of B minor. And if I add the air that becomes a B minor seven. Remember in the adolescent and say that we can also, we can always play the minus x minus seven, is that instead of just playing D minor, I can add the etiquette at B minus seven. So I'm using that with a six on my right and my left hand, or I can use alpha over g over b. Then for the seven, I'm using a five over seven manager of a C-sharp, this case to the one. So it is five seats. Mindful, about 7154651771. Okay. So so renamed to a friend. So that's another technique that you can use to modulate. Instead of just moving to their four over five, you can walk up. Okay? Now, another technique we can use is using the dominant seventh chords and dominant seventh chord. You simply play the dominant seventh chord of the five, of the next key. Okay? So if I'm moving, for example, from C to D, then I'll use the five of D as a dominant seventh chord. So that means the air dominant seven chord. Now remember I can play this chord using different inversions. For example, I can delete this G, this top. I can bring it in backwards. So I'm playing my head dominant seventh chord with a G, which is the flat seven at the bottom. I've covered that lesson on all these types of codes. So please refer to the lesson on the dominant seventh chords the extended gods are. So that is the S7, the hand dominant seventh chord. So you use that as a dominant seventh chord with the a on the left, of course. Then it takes you to the wide. Okay? So five, dominant seven. So let's take the example, what our friend, we add in just the last line to gain new key. Okay? So remember, you can do some melodies to help the Siena identify the new key, okay, especially for inexperienced in us and experiencing, I will easily know watch a play. So for example, when I play that dominant seventh chord, I can then move to a seven on the left than on the right. I can do this. This melody 712. Then one has to hadn't seen us in order to get the new key. So it's seventh God fast. Then d, or I can use the left just to have the singer to hear that new scale. Okay, so let's do it again. Okay? So let me explain the same thing. For example, if you're moving from E to F sharp. So what do you ask yourself? What is the F-sharp? C-sharp. So I can play the C sharp as a dominant seventh chord, C-sharp dominant seventh chord. So you added a, B, C-sharp major, get a C dominant seventh chord. Without C-Sharp on the left, then that will take a while. Because you know, when you are talking about dominant seventh chord, the dominant seventh chords always wants to resolve. Downwards to the fifth, are upwards to the fourth depending on how you look at it. Like C, C dominant seven wants to resolve to F sharp, okay? Because C-sharp is the five of f sharp, or it wants to resolve F sharp, which is the fourth. Often c-sharp, F-sharp, C-sharp, G-sharp, F-sharp. So that dominant seventh chord, fine. Wants to go back to the sharp. Ones, go to their shop manager. So we're using that tool, resolution, it's called the resolution, that dominant tree solution, dominant seven to dissolution from the dominant seventh chord, the one as a modulation technique. So we're moving from E to F, Okay? So I'm in the key of E, 12, a brand new key. You see that C dominant seventh chord and then you can put this seven. Then. Now, remember you can do the melody on the right. You see that? Okay? No. Let me talk about another technique that I use to modulate. And this I just got from listening to songs. And so what I usually do is this, for example, if I'm moving from E to F, I will play a movement from the one down to this, and then down 175. Okay? And then the new key. Now what is the concept here? Now? This C-sharp, when you're playing a song in the key of E, C-sharp is Jaccard number six, and you played as a C-sharp. Seven. One, the key of E. So this C sharp minor is the five of the next key, a whole step away, and that means it's, it's F sharp. So I'm moving from D to F-sharp. C-sharp is a minor. C-sharp minor chord number six in the key of E, but it's also a major in the key of F sharp. So I can use this five. Remember that concept of five of the next key. So I'm applying the same thing. That's common. Not common, but a similar note in the skills of both keys. The C-sharp is a six, and is also a five in F sharp. Okay? So I'm going to play something like this. So I'll play, you see that? I play image on my right plane, ie, the right ear, the left ear. And then I moved to B of a D-sharp, which is a five over seven. Okay, I'm just using an inversion of the major. Here's the five in E, So it's a one to a five over seven. Then to fight. The next key, B, which is a five in E over C-sharp of the next key, which is five in F sharp. So I'm actually playing for a fight now of the next key. Now take me to one. Okay, let me break it down again. So I'll play B, D-sharp and then B over C sharp. So you realize this to this to the left and the right are common between E and F sharp is a five in E, C-sharp is a six, and e now is a fault in F-sharp. C-sharp is a five in F sharp. So we are working with those common, you know, those common kinds of tanzer. Those common tones between E and F sharp. Asking ourselves what codes are commoner, what notes are common? So we tried to work with them. So I play, which is my one. And then we have a D-sharp, which is five over seven in the key of E. And then I move to a fight over C-sharp now in the key of F-sharp, okay? So it's okay. So now I'm in. 45 and F sharp. And then I guess knew that walking up. Now this C dominant seven by seven and then one. So it's milky once again. So why not to go? And you see that once again? To go. And so you just have to know that they're walking down. D, D sharp to C sharp. Now when you get to C-sharp, you're now in a different key, in the middle of E and F, because C-sharp is being shared between the two keys. So on the left half C-shaped, but on the right, I now move to the fall of F sharp, which is B. So B, D-sharp. Then in this inversion version of B, and then I move to this inversion, B over C sharp, which is now the next key. So for example, if I was in the key of C and on to do the same thing, c to d. Okay? So I'll ask myself, okay, when I'm in C. So remember the fast God is one, C. And then I will move to five over seven. And then I will move to fall over 54 over five. Sorry, five over six. Okay. So it's one and then five over seven. Then five over six. I guess remember the interactions I was using? One. And then the five over seven. And then five over six. Then to the one. Once again, c one, and then five over seven, g of r b. And then G over here. For a six by six in the key of C, which is four over five. The key of D. Then saw, sorry. So I'm guessing that the light bulb R7 to help the listener know the new keys now D, So everything to God. And once again, the new key. Okay? So the good thing with videos that you can pause and you can rewind and go back to what you've done. You've not understood. So there are many other modulation techniques that you can research and come across different ideas, listen to songs. And I knew he had key changing, you know, try to find out what was happening. Try to train your ear to listen and look for these codes. I believe that lesson helped you to know some basic modulation techniques and you can advance and grow from that point. So I'm really happy that you've joined me in this class and encouraging you. If you have not gone through the previous lessons, it would be very challenging for you to understand this. So I encourage you to go through their previous lessons and master those fast, then graduate slowly by slowly to the more advanced classes. So thank you for staying around and remember to download the eBook, the free e-book, music at sea level. It will give you diagrams and explanations about these concepts that we're covering in this beginner's class. So thank you and see you in the next class. 9. Lesson 8 The 2 5 1 Chord Progression(s): Welcome to this class and I'm going to be talking about a progression that will really help you in spicing up your songs and transitioning from one color to another. And their progression I'm going to talk about is what we call as 736. Or it can also call it a 251 progression. And we see this used a lot in worship music. And as usual, I'm going to keep it very simple for us to understand. So I'll first play through the song what our friend we have in Jesus. And then I'll break it down. We all agree to everything to God. So let's look at the ISA. So the first part of the song, I'm playing seats. And in this case called number six, as usual is our m minus 7th. I'm playing my m minus seven using an inversion. So the original m minus 70, C, E, and G. So I'm playing G and C on the left. I'm also playing a in doubles. So why am I an S7? And then our friend, I'm playing that b-flat major seven, or the F-sharp major seven in an inversion with IG on the left. Okay? So the F sharp, or B flat major seven is sharp, D, F, and a at the top. So that's the original F sharp major seven. So I'm just using this inversion, F sharp and D. It's an inversion of that caught some notes with a gene on the left. And then my next chord is a C major seven with a ninth on top. You see this C major seven? My left hand is holding the first seat. And then R, G, and B, that's the C major seventh, Cgb. Only that my left hand is holding the first scene. And then that sets me free to add a d on top. So I have a C major seven with a ninth. The ninth is the d, which is the same as the two. Remember we said on a scale from number one to 8123456789, which is the same as two. So these are C major seven with a nine or a two on top. So that's the fast progression of the song, the first part. So it's six. And then I skipped another code here. That's the D minor seven, D F. And see that d on the left. So minus seven, that D minor seven. And then to that as sharp, or the b-flat major seven with a G or the bottom, which is our flat seven. Remember the F sharp is F flat seven. We have a five at the bottom. Saw six to seven over five to the one. And then to the phone, which is F major seven. Let me do that again. We have that F major seven. Okay? So let's look at that, but just know that, that path and to explain these concepts. So if you look at the fast progression, I'm playing the air minor on the left, and then to a D on the left, then to G on the left, but with that B-flat on the right. So what I want you to note is this movement represents a sudden progression, okay? Represent a sudden progression, which we call a 251. Okay? So what do we mean? I'm moving from a to D and then to g. That's what I was playing on the left. Okay, D then g, right? So let's look at our target. Let's think of our target. When you do these progressions, the 2510736, think about where you are going to. For example, in this case, I'm thinking of my target as my g. You see that g over there, they're flat seven, the B-flat of a GI. So I'm thinking of this as my target discord, this slash chord. Instead of playing the G, I'm playing that flat seven, but it's still a G on the left. So I'm thinking of my G as my target. And I asked myself, if I look at this movement from a to D and then to g, I realized that I'm moving through the two of g, which is the five of G, which is D, and then to the G. Okay, yes, we are playing this song in Kesey. But thinking of my target as being the G. And I think in terms of the scale of g, The two of G is the five of G is at D, Okay, in the scale of g. G loves, so that's the five. So I'm moving from the two of g to the five of G. The G itself, which is now my one in this case. So this movement in the key of C is at 251 in terms of g. Do you understand it? But in the key of C, it is 625. Okay. In the key of C it is six minus six minus two. And then G is finite. So it is a six five progression in the key of C. But I can also think of it as a two to the five and then the one in terms of G. So do you understand it? So there's 62625. The key of C is the same thing I can think of as a 251 if I think in terms of g. So that is basically the foundation of this progression. Now, I want to move to another part where I apply the same 251 principle, but to a different chord. All sins. The next spot, or Larson's C major. And then to that passing chords, remember that passing chord, that's the dominant seventh chord, will then F sharp on the left. And then to my G, K, C major. D dominant seven over F sharp on the left. Graves to bear into my G major. And then at this point, I will do this. See that? So what am I doing? I know my next chord is a minor. Okay? All Saints and grace too. Okay. I know my next chord is a minor, and if you have not gone through this, the previous lessons, I encourage you to go through the previous lessons because we have done this song extensively. So we are just building upon it. So please go through the adolescence where you land the basic progression of this song. So it will be challenging for you to go through these if you have not done the other lessons. So my next code I know from five, I go to my six switches, a minor. But now between 56, I can have two options. I can either use this passing chord, the dominant seven. Dominant seven, E, G-sharp, B, and D, with a G-sharp on the left as my parsing code to my air minor seven, which is called number six. I'm just playing a minor seventh instead of the ordinary and minor. A minor, a minor seven different inversions. So please check the lesson on inversions. So I can use that passing on a dominant seventh with a G-sharp on the left as my parsing code to my minor seven. Or I can use these 251 progression to move to my MI in. And so I'll ask myself if a minor is my target. Okay. What is the 251? So I'll have to think now in terms of the a major scale. What is the two of n? That's the a major scale. Okay? So what is the two of a ray B? Why does the five of a re mi fast so E? So E is the five of a and B. Is the tool of a. So at 251 will be B, e. Okay? Same thing as we had in the case of Julia. D to G. But now we have B as the two of e as the five of air. And today eight cell. So in the B will play the B minor seventh chord. What is the B minor seven chord? B, D, F sharp. And then I'll use an inversion of this code. So what I'll be playing is this. You see this a B minor seven in this inversion, F sharp, a and B and D. Instead of B, D, F sharp, I'm playing F sharp, a, B, and D. So this is the code that I'll be using for my two, the b minor seven chord with a B on the left. And then for the E, that is the tool. Okay, now we move to the five, the E alleles, the dominant seventh chord. And then I will land on the air minor seventh chord. So normally on these 251 progressions, there is as passing chords. On the two, normally your major and minor seventh. The minor seventh chord. And then on the five-year plan, the dominant seventh chord. And then you land on your one. That can be maybe a major or a minor chord. So in this case it's a minor. That is the progression. I'll use here. B minor seven in that inversion. Will that be on the left? And then to the dominant seventh with an e on the left, and then to my air minor seventh chord. So let me play the song from the top. Slowly. Try follow slowly. So, so so what we have All and briefs to the layer two. Now, did you see that? I pushed it a little bit ahead and I'm going to move now to that next spot. So the one I want to do to seize that 2514, they're moving to the minor. Our last scenes and groups too. So you have to move fast. Or lysines and graves to DC that. Now let's move to the next spot. Green, since I'm groups to bear to 51. O are these 251 in this case, if you think in terms of key, see it's actually 736. So you see a 251736 at the same thing, the 251 is when I'm thinking in terms of a, 736 is and I'm thinking in terms of the scale of C because B7 is 36. So it says 736251 in terms of 736251 out almost one and the same thing. So now the next part, three, the ledge to three. Now let me break down that path. Why am I in R7 to D dominant seven, then to that B flat major seventh of I, remember that. And then to our C dominant seven, What am I doing here? I want you to see how these are a number of 251 to 51 chord progressions going on around them. Okay? So in this case, when I'm at a minus seven, and then I moved to my D dominant seven. And then I move to my B-flat over g. That is actually another 251. Why? Because my target is G again. So I'm going through two of g, which is a minor seven, then to the five of G, which is D dominant seven. And then to the G, but with a slash, C slash on the right, but it's basically a G, B flat major seven, F sharp major seventh on the right. So it's still a 251. So you see they are two that 2251 progressions happening here. The first 251 going to the a minor, the next 251 going to the G. So let me play those two, those two codes, or last scenes and graves to bear. I know when I land on the Elmina, that is now the two of g of g and then to the G which is not one. Okay? So 5251. And then to the C dominant seventh. Now something else you have to realize there's also another 251 happening. Why? Because when I move from D to G and then to the C dominant seven, okay? I'm actually doing another 251 so it can get a little bit confusing. But when you understand those progressions or why is my target? My target is the c. So I'm passing through that D to the G, Then to the sea. And in this case I'm playing the D dominant seven. Then to that slash of G on the left, that B-flat major seventh. And then to this scene is just actually add to 51 to the k. You see that two, D dominant seven. Then do you see that five, this lush with a five on the left and then to the scene. So he's actually movement from D to G to C, which is another 251. Okay, so we actually having a series 3251 progressions. The first time to a minor, the next one to g, and the other one to see. So neither one nano on that. So all I've seen reefs 273514. So on. Again, our sins and graves too bad. The two. Then he had the end to car. I'm playing that F major seven. And then I play an F minor. We have a flat seven on the left. That is a minor four, with a flat seven on the left. If minor, F-sharp, okay? So late. Two. Okay? Then every c over g. And the f of a g in tray finished with this C, or C major seven. C major nine. So now let me explain these, maybe in a different key so that you can understand how you can translate this to other kids. You have to understand the numbers. So for example, if I moved to F sharp. So the prohibition on sexual 66 in this case is a D-sharp minor seven. The two. Okay. We have G. So why does that seeks D-sharp minor seventh to G-sharp dominant seventh chord and then not slash. That's flat seven, in this case, flat seven in the key of F sharp, E. Sampling that E major seven with a five on the left. The same thing we had in Kesey, that flat seven, the B flat, or a sharp major seven with a G on the left. In this case, we have that E major seven with the five, which is now C-Sharp on the left. So flat seven over five. So what I want you to see here is that these are 251 here or as six to five. That is means we are moving from D-sharp minor seven, G sharp dominant seventh, and then to that flat seven over C-sharp. So that is actually moving from seeds. My name is six. And then to the five, G-sharp, dominant seventh, G-sharp, D-sharp, and F sharp. And then to the flat seven over five, which is E. Major seventh of a C-Sharp on the left. Image is BE and G-sharp. And then I add that the shaft to get an E major seven, c-sharp on the left, we have to see that the target is C-sharp. So you're moving through the tube of C-sharp, which is disheveled. The five of C-sharp, G-sharp, C-sharp major scale. So when you're in C-Sharp, the two of C-sharp, D-sharp, The five of C-sharp, G-sharp. So it's actually a 2512 C-sharp, or six to five, if you are thinking in terms of the scale of F sharp, okay? So 25 to the one. But in this case on the right means as flashcard, sort of playing the C sharp E. So friend, we have. And then to the F sharp major seventh, F sharps, F-sharp, C-sharp, and f. So we have that be my guest. Then on F-sharp major scenes that passing chords to our five since in grief, still moving from one F sharp major to fly, C-sharp major. But we are using that passing chord, that gene shop. Dominant seventh chord, G-sharp, G-sharp, D-sharp, F-sharp, with our C on the left, to our five, which is our C-sharp minor. So then we now want to move to my knuckle. That's our next God, what a privilege, D-sharp minor seventh. But now we can use two options. The first passing chord is the five of D-sharp. Remember from the previous lesson, the face of D-sharp. I shop. So we can use that F-sharp dominant seventh chord from the previous lesson we looked at using the dominant seventh chord has a passing chord. We said you use the five of your target. The fivefold D-sharp is Asia. So use that as a dominant seventh chord, but with a slash on the left, the d on the left, because we are moving to D-sharp minor, C. And three the ledge. But now we say that two options, we can use that code to our seats. Or we can use 251 over R1. R1 is the six, okay? In the key of F sharp. But we, what, we're thinking of it as our target as R1. Okay? So what is the 251 in the key of D would be the D-sharp major scale. So there is no other shortcuts you have to know all the major scales. Or two is F and R five, East Asia to five or seven in the key of F sharp. So remember we said that's too, will play it as a minor seven, the same way we play B minor seven. D to E dominant seventh, and then to the n minus k. In this case, we'll play the F minor seventh. Okay? And then to bear F-sharp dominant seventh, then D-sharp minor seventh. So that F minor seven, instead of playing it in the root position, I'll use an inversion of discord. I'll just invite all these nodes so that I play C sharp, F sharp, F. And then to our dominant seventh chord, and then to our D-sharp minor seven. So I have that seven. F minus seven, F-sharp dominant seventh, D-sharp minor seven. Then, now next is called, remember is our flat seven over five, over five. Then to our F sharp dominant seventh chord, and then to our major seven. So let me play that back. Oh, I see. To back. Leg two. And then remember that other point in the key of C, We play that F minor over F sharp minor over flat seven. So what is for minor in the key of F sharp, B minor or 70s? He saw. To my Nova ie that the minor form of let-7 and 31 over phi phi B major opposition to God in practice, those 25 ones in different keys, no land to translate these two different keys. And then in your normal songs, try to see where can I apply 51 to an ordinary code. For example, if I'm just doing a song in the key of C and I know I'm going to my next code. It's named mine for example, which is my six. I can use that to 51 for a minute. So I asked myself, what is the two of a b, what is the five of a? Of a is b of a is a0. So I can use that B minus seven and that dominant seven to my minor seven. Or if my target is I, g, I know I'm moving, for example, progression is moving from C to G. O. Okay, simple song, C major, G major. So in that point, I can use that to 510. You see that? All God is good. All day school. Oh, God is good. C to F. God is good. Seo by G to G mageia, me, see Maja, simple, but now you can add in these progressions like, oh God, I'm using that to 51 to my G minor, D dominant seventh chord, and then to my G-major. All go east. And oh God, ie school. So at that point I'm using that slash code. The B-flat Major seven over G to my C dominant seventh. And then, and now you see when you look at that, It's also a 2512 my f y, because G is the two of F and C is the five of f from F major scale. So I have F, F sharp, C, D, E, F as my F-major scale. So I'm moving from the G to the C, that is the two of F to the five of f. Then f itself, which is one. Oh God is good. And then G, C to F, 251. And also in that other part, I can add a little bit more of a 2510. God. I can use that to 51 to a minor like this. All God is good. See that? B minor seven, dominant seventh, minor seventh. Then, oh, b-flat major seven. So by the G on the left, all guy, C dominant seven. God is, god is C0 veggie to me to see. So again, oh God. You see that one? And then another one. Guy. See that on to Elmina and then now to f o God, East Gu. See that John again. So three to 51 to 51 to G, 2512, Elmina, another 2512. So I believe that lessons really helps you to introduce you to these 25 ones are the 736 progression. So you just have to know the numbers. I'm moving from this to this, to this. And that will really be helpful to you. Remember to download the free e-book music at sea level. It will give you diagrams and explanations to how I'm forming these codes here. 10. Lesson 9 Diminished 7Th Chords(s): Hi everybody, welcome once again to this lesson. And today I'm going to be talking about more to do with the diminished chords. And specifically the diminished seventh chord. A very special kind of code that we can make good use of, especially in passing codes and using it as an alternative called an alternative code to or are a form of replacing another code with a diminished chord. So we look at those situations when we can make good use of the diminished chord. Now, a diminished chord is okay from my lesson on the codes, just to recap, using a C, a C major chord. C major chord is C and G. So a diminished chord is a chord that has a flat, three, flat five, okay? So if C major is CEG, a diminished chord will have seen flat three will be E-flat, and flat five will be G flat or F sharp. Diminished chord will have the notes C, D-sharp, F-sharp. Now, if you want a C diminished seventh chord, you add this sixth note of the C major scale. So the formula for a diminished chord or a diminished seventh chord, but most of the time we use the diminished seventh chord is the one flat three, flat 56. So for example, if I want a G diminished chord from my G-major, G, B, and D, I'll now have G as my on my flat three as B-flat, my flat five as D-flat. And then if I want the G diminished seventh, I added this sixth not of a G major scale, and the sixth note of G is the E. So the G diminished seventh chord will be G flat three, which is B flat, flat five, which is D-flat, and to the E on top, which is the sixth naught, G diminished seven. So that is the theory behind a diminished seventh chord. We can make use of this diminished seventh chord as a passing chord all along the scale and onto play. I'm in the key of C. And I just want to play along from the fast, not all the way to the eighth note. You remember scale degrees where we said on a major scale, we have eight nodes and on each position there is a code, the scale degrees, so that one is a major chord, C major, D minor, E minor, F major, G major. Six is minor. Seven is a B diminished chord back to eight, which is C major. So if you've gone through the other lessons by now, I believe you are comfortable with the scale degrees. If not, I'd refer you to the lesson on the scale degrees so that you can be up to date with these. Now, when I'm playing, I'm just doing a progression, a normal progression. For example, I'm moving along from one, number one to number two. Then two to 33 to 44 to 55 to 66 to 77 to eight. Okay. Now, just take note that I'm moving with the inversion, c major, invasion of D minor, E minor, F major in passion of G-Major, inversion of Elmina, then that'd be diminished back to C major. So when I'm moving from one, which is C-Major, to code number two, which is E minor, D minor, sorry, I can use there. G diminished seventh chord. All via a C sharp on the left. As my passing chord to the D minor chord. And I'm playing I D minor seven, D minor seven in an inversion. So the original D minor seven, D, F, a, and C. So I'm using c, d, and f. So check the lesson, the lesson on code, invest the inversions so you can get updated on the inversions. So I'm moving from my C major to my D minor, but I'm using the G diminished seventh over a C-Sharp on the left. So let me break down faster on the left. What you do on the left, you simply move to the node that is in-between the two. So they're not in-between C and D, C-sharp. So that's what, that's basically the movement, C, C-sharp to D. Now, on the left, what you do, you ask yourself, what is your target? My target is a D minor, so I will move up a fourth. Okay. I'll move up a phone and ask myself, what is the fourth of D on a D major scale? 123456781234. The form of a D is at G. Okay, so that is the diminished seventh chord I'm going to use as my passing chord to D. So an ion to move from C major, D minor, no matter what the song is. So what I'll do, I'll play C major, and then I'll use the G diminished seventh chord because G is the form of D, As we said. Okay? The D major scale, G is default, not the fault of D. So we play as a diminished seventh chord. And on the left I'll play a C sharp that will take me now to the d, So it's bad. And then C major, G diminished seventh of a C-Sharp on the left. The D minor. Now we are in the second position. Now assuming I want to move from the second position from the D minor, third position, which is E minor, can also play a minor seventh. Minor seventh, the minor seventh chord, remember Agee and D. So I'm using this inversion of b, d, and g. I'm moving from D minor seven, E minor, which is number two to three. So the passing code I'm going to use days. What I asked myself, my target is E minor. What is the fault of E and an E major scale? What is the footnote? Phi sub B. Okay, so I will use that be diminished seventh chord. Oh sorry. That's the fifth and the fourth row, and the fourth is the a. So I'll use the air, the air diminished seventh chord as my passing codes to my E. So you always ask yourself, what is the fourth? 1234. So I lose the diminished seventh, which is C sharp and F sharp. And then on the left, what do I do? I use the knot which is in-between D and E, because I'm moving from D to E, D minor to E minor. So I'll use the D-sharp to my E. Diminished seventh on my right. With a D-Sharp on the left. Then my email. Okay, So let's, let's play from C to E using those passing chords does diminished seventh chords, okay? So we have one which is C major, G diminished over C-sharp to our D minor, diminished seventh over D-sharp to our E minor. Now when I get to that point, maybe I'll move straight to my phone. But I can still use another passing chord between the third and the fourth, between E and F, because now we are walking up the scale. So I asked myself, what is the fourth of f? Because f is my target, F major, which is called number four. I want to go to F major. So I asked myself, what is the photo of f in the scale of F, 1234? It's the A-sharp B-flat, so I'll use that as a diminished seventh chords. So that will be F sharp diminished seven, F-sharp, C-sharp, E, and G. What do I use on the left? I don't have any note between E and F, so I can still stick with Mike. On the left. Then my fourth, which is F or F major seven, I'm using an invasion of F major, which is C F and font F major seven. I just added the E, k, and I'm using that with the Python code is the sharp diminished seven, which is the fourth F diminished seventh, or the E on the left and to my f. Okay, so let me play from the beginning from C moving upwards. So C diminished of a C sharp, D minor, diminished over D-sharp, E minor. And then the sharp diminished seventh over e to my F measure. Okay? And then now if I want to move from F to G, ask myself, okay, what is the form of G? C? So I'll actually use a C diminished seven over F sharp on the left because I'm going to G, my machine code to my G-major. I'm using my gene, this inversion. My G-major, the root is GBD. So I'm using D, G, and B. So I'm using that diminished seventh over F sharp on the left. My geometric. Then assuming on to move to from G major to a minor, which is my code number six. Ask myself what is the force of air? So you see there's no shortcut here. You have to know all your major scales. See, okay. So 234 from the images scale, the footnote is at D. So I will use the D diminished seventh chord, which is D, F, G sharp, and B with wet on the left. The G-sharp as my passing chords to my mind. And my minor is a minor seventh in an inversion, K, G, and C. Because the root position is S, C, D, E, and G, that is a minor seventh. Check out the lessons on the minor seventh chords, okay? So the inversion of this would be G and C. So I'm using that D diminished seven with a G-sharp on the left. My position, assuming I now want to go to position seven, which is my B diminished. What do I do? Ask myself, what is the four of B 134? So I use the E diminished seventh of our art on the left. But if they're not between D and E, we are moving from a to B, a to B, that F sharp. So I'll use that diminished seven of our app. Then to my B diminished. Or if I'm using a half-life of R7, which is JOB, then back to my seat. So let me play all those passing from the fast number, fast chord in the scale, which is C-Major, back to C, using those passing costs that we have talked about. So C major one, and then G-sharp, diminished. C-sharp on the left, my D minor. And then they shot a diminished seven. D-sharp on the mine. You might not. Then. Music seventh with an e on the left to my F major. And then I use the C diminished seven over F sharp on the left to my G. And then the D diminished, G-sharp on the left to my M line. And then the E diminished. My seven inches or five over seven over B. That to my might see. So I see for the d. Then. Okay, let's look at a real life application of this. I'm going to use the song at the cross, or the cross where I first saw the light. I know that is the heme that you know, in every part of the while you sing it in your own vernacular language. There, cross the cross where I first saw the light and the bad and wrong. Okay. So let's get to it. So the crawler. The crawler. Okay. Where I felt my heart racing. Minds. Okay. And I am the day. Okay? So you've seen me using a series of passing chord, so let's break it down a little bit. No piece-by-piece. So their Chrome, I'm starting with a C major seventh chord. C major isn't just see and then version and not minding the seventh, which is B, to get a C major seven. C on the left, the crop, the crawl. Now what is my next chord? G-major? So I have two options. I can use. This passing chord, C, although it's sounding a little bit muddy. Okay? I can use an inversion of this, C diminished seven. So I can take it up. You see this to check them up to that. So that is a C diminished seventh chord, but I'm just using an infection. So the light that the G-Major, I'm adding the ad to get a gym tonight. What is the next chord? D minor. And what is the passing chord? What is the form of d? These are watch a, G. So I'll use the G diminished seventh of a C-sharp has made passive go to my D minor seven. So the crops, where I saw the light. And then our G dominant seventh chord on my heart, G on the left, all the way up to that point. And then it was there by faith onto go to F. Now, when Xcode is F, so I can use the fall of F 1234, that F sharp diminished seven over e on the left as my passing coach to mind, when I first saw the light and then wash. I know what am I playing here. I'm getting ready to go to G. So I'm using the passing code for G, the diminished seventh chord, which is the form of G, which is C. C diminished seven. Oh my gosh shop on the left. By faith. Shop on the left, I receive one over five, which is C major, G. I received. Now, I'm preparing now to move from G to F minor. So I have to use a passing chord here, which is the fourth d. So d diminished seventh chord. D-sharp on the left to my face. I received. Okay, then the next chord is D minor. So I'll use a diminished seventh of a C-sharp. And then to my G dominant seven, p, or the day up to one, which is our C major seven. Okay, so let me play from the beginning. Now remember you can apply this to any other key, so we will look into that. But let's, let's play this through the end. The sign of the cross. I and my hair. The way it was by faith. I received my son. And I am happy. All the. So let's assume that we are playing a different key. For example, I'll take you to F sharp. So I'm playing the same song. So what is the progression of the song? The song moves from one to five. So from ikea, from C major to tear it down. And you say, now, when you get enough shop, you have to know the scale, 12345678, F-sharp, G-sharp, A-sharp, B, C-sharp, D-sharp, F, and F sharp. So starting with God number one, which is F sharp, the left, I'm just paying F-sharp and C-sharp. The F sharp in doubles doesn't matter. Now, I'm going to C-sharp my next card. So I asked myself, what is the fault of C-sharp from the C-sharp major scale? Remember? Three for the C-sharp, C-sharp major scale, F sharp. Okay? So I'll use an F sharp diminished seventh chord as my passing chords to my C-sharp major, k. This inversion major, which is G-sharp, C-sharp, and death, right? On the line and on the left, what am I using? Remember that not that is always a half-step below to where you're going. Where I what is my next? God is our tool is to G-sharp minor scale of F-sharp, G-sharp minor seven chord number to discuss, I'm playing G-sharp minor seventh, which is G-sharp, D-sharp, F-sharp. Okay, so I'm going to G-sharp minor seven. As my next card. I asked myself, what is the default sharp from the G sharp major scale? 123456781234, C-sharp. So I'll use C sharp diminished seven, which is C-sharp, E, G, and F sharp. With what? Remember that passing naught, which is just a step below where we are going to okay. That God, then that is what now will take me to my tool, which is G-sharp minor seventh. I'm just using this environment, G-sharp, sharp, G sharp and D. And then I'm adding the F sharp to get additional minor seven shape on the left. So let me pull up to that point to the right. And then why does the form of G-sharp, C-sharp, C-sharp dominant seven, the right of a C-Sharp on the left. So once again, the crop on my finishing off with an F sharp major seven, That's F sharp major. F to get F sharp major seven. Next spot. The next code is four, which is being made from F major to me. Wasn't there. Before we got to ask ourselves, what is the fourth beat? 3434 from the major scale? If all Bs e. So I can use that diminished seventh chord over three on the left, which is F sharp. Diminished seven, as my passenger door to my mentor, I'm using BIM Manager and then the inversion on my right hand, the image of B, D sharp, F sharp, G sharp, a sharp B, That's my inversion. So that diminished seven to my B. Okay? Then my next chord is C-sharp major. So I'm going to use my F diminished seven. I can use it in the root position, or this inversion. C, D-sharp, and F sharp, a C on the level, one over five, which is F sharp of a C-sharp arrows. It was okay. I received F-sharp and C-sharp on the, on the, on the left. Now my next code is D-sharp minor. So I do that passing codec and use the fall of D-sharp, E, G-sharp, diminished seven. I can use it in the root position or I can invert G-sharp. Yeah. Okay. That's my passing. Remember with that D to D-sharp minor, G-sharp diminished seventh. Remember that? That D on the left because we are going to shop online. And G-sharp minor seven, I am hopped. C-sharp, dominant seven. C sharp on the left, all the way up to my one, which is F major seven. So let me play that song. So my arrows. Yeah, Yeah. Remember we are going to C sharp, so I received and now I am so courage you to go through that. Now practice that song in different keys. Just know what is my target. What is the fourth of that target? I used that fourth as my diminished seventh chord as my parsing code to that code. Okay, so remember to download the eBook. The e-book will give you diagrams of all these codes. If you're having a problem seeing the codes and also follow the midi notes to guide you in getting all this. So thank you and see you later. 11. Lesson 10 Song Example(s): Hi guys, Welcome to this class and I'll be, I'll be doing a song at Tutorial, detailed tutorial of the song. He has made me glad I'm pulling it in the key of C. Okay. She is paying me. Just made me glad. He's. So. In this case, I'm using a C6. C6 is a C major with an arrow on top, but I'm just using it in this inversion. C major with a seats the bottom and on the left. I'm using a C. So it's like an air minor seventh, but I'm thinking of it as a C six. C major with six, I will enter k. And then I moved to this. Am I enough? But in the first inversion, okay? Am I a nice SCN? So this is C. So I moved from that C6, that M line up with the CIA, the bottom all this time. I will enter her. I will end gates. And then I hear another. At that point. The last point I moved to just play these two nodes, GNC. So I will end in mind. Okay? Then the next part, I will enter a code phrase. What am I doing that I'm using are passing code that D, D dominant seventh chord, that's a D-major shop on under the sea at the bottom that makes it a seven. And then on the left, I'm using the F sharp. Remember the lesson on passing codes where we said we use them. There. If I'm going to G, for example, I will look for the five of G, which is d. And then I'm using that D as our dominant seventh chord with a slash code on the left. That's an F sharp. For me to my gym. I will enter. He's praying. And then the next part, I play this with prayer. So I'm just moving chromatically. F-major. That is F major, F-sharp major, the G-major, F-major, and then to G-major, F-major. Then version of F major, Russian of F sharp major, innovation of G-major, F-major. And then to Geomagic, this inversion, d, g. So now you do it fast. Okay, let me play up to that point from the beginning, he cleans things, eating my He's between brains. And then from that point, I will say on the left you can realize I can place C or C and the E would that C6. I will say that my to my C6 again on my house. Okay. So do you remember we talked about the 736 progression. So the seven modes or B minor seven, then two dominant seventh, then to the minus seven. So check the lesson on the 736 are the 251 progression on that. It's a 736. B minor seven, dominant seven and minus seven. I was saying. The next spot onto go to the D minor. So I first check what is the Phi of d. So I'll use that Ed, dominant seventh chord. So that is image, is sharp and E. So a dominant seventh, you'll put the G at the bottom. And then on the left I'm using that C-sharp because I'm going to the d. So that's my passing cut. The seven c-sharp on the left to the D minor seven. D minor seven isn't getting that inversion. C, D, and F, D on the left. Four. So where it just made me. So that is D minor with D on the left, and then to an image on the right with an e on the left. And then to the f, finished seventh of a G on the left. Then I finished with the C major seven. C major seven with at night. And so it's actually a C Major 799 on top and the bottom again. So let me play it again slowly. Bleed things being made. Let's sing. The day. No. We rejoice for me. Made me he has made me has made me glad. He has made me laugh. Now let me handle that, but they correspond to, so just as the same way. C6, the left I'm playing C and D. He has made me, see, seeks to that. Might not. He has made me then are passing chord or a dominant seven, D minor. I rejoice for C on the right over e on the left before he has diminished seventh of a G on the left. Or he has made me laugh. So what am I doing There? It is actually 3625 progression. What is three? Minus seven, which is six, and minor seventh, what is two? I'm playing it as D dominant seven and then five, G. But instead of playing the G on the right, I'm just playing the F diminished seven. So weary. We rejoice for he has made me has made me glad. He has made me glad. Again, that's 736. K, B minor seventh, the dominant seventh to the minus seven, and then the air dominant seventh as our parsing code to our demeanor. Joyce, before, he has made me glad. So the same thing again. D minor seventh. D on the left. See on the right, over here on the left. F diminished seventh and the right of agenda left. Then finish off with a C Major seven. Okay? So now onto plate again from the beginning slowly, so try follow along. So when I start to that melody, 123 CDE, learn how to play also with melodies and you're playing this kind of harmonies. And then the rhythm that you give them some awesome metazoa. Do you feel the rhythm of the song? And also learn to use your foot switch pedal. Okay, Can you hear my pedal at the bottom of my feet here? My foot's feature. Okay. So how do you sustain and how you release it on a staccato way sustain Kaizala to get that to read them. So it's not just about the code is about giving the right rhythm, okay, give, giving us the correct rhythm is also very crucial. Okay, so let's move. Bleed and bleed. We re just has made me we go to the chorus now. Has made me. Now. He asked me. He has made me. He has made me Rachel for SMED me clap. Just made me made me me, me, me, me, me, me, me, me, me, me. We rejoice for years. May. He has made me he has made me glad. The end. I'm just finishing off with a G-sharp. G-sharp major seventh, that an F on the left. Then I'll finish off with this. So glad he has made me, glad he has made me. So. Now, this lesson marks the end of the last lesson of the beginner's course. Just to recap for you that you cannot start with this course, okay, if you're still wondering what is going on, I recommend that you start from the beginning because most people will have problems because they don't have a foundation. So if you don't have a foundation understanding this kind of cause these extended chords in this extended Hamilton is no understanding these passing chords. Then I encourage you to begin looking at the earlier courses, the earlier lessons. So non-being, take it step-by-step so that you can understand this type of progressions, 736251. So this kind of progressions are very crucial. And remember to download our free e-book music at sea level. It will give you a good foundation of understanding the scales with diagrams and cold and explanations of how we are building these chords from the scales. And take it step-by-step. Take it step-by-step as the most important thing. Do one lesson after another. And when you get to this class, you'll be able to relate everything that we're doing here based on the previous lessons.