Transcripts
1. Welcome: Hello guys, my name is
Gabriel Felix and Lady of this course is teach you
everything about courts. So we are going to
find triads, major, minor, full, diminish, half-diminished chord,
alternate base Courts. Courts atrophy that you need to know to compose your
own arrangements, yet ofcourse several
separate jackets to apply in Armani in arrangement. So we're going to talk
about dominant chord, subdominant chords, tritones, secondary
dominant function. So the roots, this sub dominance in dominant functions.
No function. Our money, walk and bays and several arrangement
techniques to compose Pop, Rock Bank have metal, bossa nova in jazz. Arrangements, are going
to find several type of practical examples in a good oblique and analyze
everything with you. In this course,
you're going to find core box tablature and PDFs should guide you
during the lessons. So let's go to
lesson number one. Bye bye.
2. How to read tabs: The first thing that you need to know is how to read chord box. This show you where to put your fingers on the
fingerboard and play chords. The six vertical lines
represent this six strings. The string on the furthest left is the thickest string, e. Two lines at the top of the
box represent the nuts, the flask bond, or a metal piece that the strings go
through on a headstock. Then the rest of the
horizontal lines represents the frets. The dots represent the place where you put your
left hand fingers and they are numbered to
show which finger to use number war is the
index finger, true? Is the middle finger, is the ring finger, and far is your pinky finger. If you have played the piano, make sure you don't
get confused. Piano finger numbering
is completely different. It dark place generally don't
use the left-hand times. Guitar that are guitar. Tablature is a way of writing music specifically
for a guitar. It's perfect, are those that do not read music and in many cases offers more information than the writing natatio with anyway, tab has six horizontal lines that represent the six
strings on the guitar. The top line is
the tiniest string and the lowest line represent
the thickest string. The numbers that are placed on the lines telling you what Fred, you play a note you
will only ever played. This tree rings with numbers on the festering has no
number, don't play it. Does zero mean status
through displayed open with no finger pressing down
the string on the frets.
3. Music intervals: Musicking tariff rules are
very important for music. Even more important
is understanding and being able to apply because I need to explain
this table to you. Note that we have
several numbers. These numbers are the formulas. Let's take an example. Major second, it's from
number one to number two. Use your turn from number
one to number three. Devo of four for number one. Number four. And so
one varies right? Now, the minor
intervals with this, you will fly in the
flats, minor second, 1-2. But following the formula, let's set a flat, though. We have from one
should a second flat. Let's check another example. Monitored. Ron, one to number three flat, diminished fifth,
front, number one, Chu flat five, and so on. Always following this logic.
4. Music intervals tricks on the fretboard: You already learned how to play music intervals and
your guitar, right? So the idea here is to give a few shortcuts to
memorize dispositions. So the first shortcut is you
can find a fifth interval. Your core, you're ready to
learn. Power courthouse. All right, so probably
fairly common chord in rock and you can play
like one in five. So this interval right here, disposition is my,
my fifth interval. So it's going to play nice. And 1.5 complete using the
average singletons, e.g. B, D, F sharp, 1.5, 1.5, and so on. You can do the same thing. You are strings also. So 135. And you can keep doing this and every single street, okay? The second shortcut
is to eat interval. So on. The same note, however, is a little bit higher, right? The sound sounds really high. So the same position. You also can play with
finger number three. Okay? However, you need to remember to downplay this string in
the middle. Alright? So it's trigonal, fine. And if you play everything
in string number six, like six m, del place for me number
five, and it goes to four. Okay. So the interval, my shortcut for you and make sure dirt is a
very important interval. E.g. one, an industry
number to six fret five. Major third is a string and number five brand
for major third. Vector. And same thing, waning. Year isn't being. He is indeed. I don t need to think, oh man, I need to learn all the
notes on the fretboard. You just need to remember
this kind of shortcut, okay? If you remember
these, you can play every single interval like this. So one entry, major
third, minor third, one in almost the same thing you want to make
here is that has, that has that before this can change your finger. It's going to be easy, right? So it's finger number 31. Can it is in adverts single key. Again. You can also go to
our other streaks. So string number 51, flattery. Okay, So remember this is
tougher, is very important. One major dirt on my dirt. Again, one major third interval. Born in mine, a mine, right? That's why when you
play a C major chord, you have this major interval
right here. Alright? So that was for you already learned and it's
easier to understand. She used as example. A minor second interval. Minor second tariff
is really easy. It's a half-step. I had your notes, so E-flat, more D-sharp, e.g. and so on. Can use this every single key as well and add the single
string to array. It's going to be much more easy. However major seconds, it's
going to be one step ahead. So F-sharp. Let's change our string. So you don't play this fact right here and play the next
one is a whole step ahead. Mls shortcut for you guys
is the fourth interval. So it's the same frack, however, in different strings. So Fred number five, string number six, fret
number five, number five. So one can do this same thing
you are the strings too. So being n, 1.4, same thing here, G
and C. All right, so what intervals
are very important? We've done, you can
play chords very quickly and improve
your improvisation. So you need to
practice this, okay? So choose a few intervals and tried to find
on your fret board, I have all the notes on the fretboard in the complimentary
material of discourse. So check the first-class
and download this image.
5. Triads how important are they: The most common
chords are triad, which are built by adding
the third and fifth node. Seeing this gave a bovis
tiring nodes are roots, e.g. in C major triad built on
C contents, the road note. The third note above C, often called just the third. The fifth node above C, often colleges the fifth. Try to remember this concept. I think this is the most
important information discourse. Why? With this knowledge, you
will learn how should we provide a few chord
progressions, guitar solos and an sever? Techniques about
arrangements are looking for ways to make
musical life easier. Triads is dancer.
6. Major and minor chords: First of all, I'm
going to teach you how to understand all
of this corn parts. In theory, an x-bar is going
to be practicing, okay? So first of all, we have
E major scale, F-sharp, G-sharp, sorry, E, F sharp, G sharp, a, B, C-sharp, D-sharp. However, if I want to
do an E major chord, I'm going to take notes
number 13.5, just 13.5, 1.5. And now you have the three
nodes of E major chord. Next example. Let's think
about all the scale. Let me see a major. So imager a, B, C-sharp, D, E, F-sharp, G-sharp. The same thing. Take notes number 13.5
and you gonna have your Major chord
symbol like that. Let's do some Smiley face. Simple like that. Okay, my, how to do, how to do a
minor, a minor chord. It's the same thing. Latin C, a minor, E minor scale. I'm going to have a
minor chord, 13.5. However, now you're going
to have a C and E, okay? Just measure. Gonna be a major, C-sharp, E and minor C. Alright? Do you feel like that?
7. Major and minor scales: Learning major in
the minors caves. You need to follow a few steps. Step number one, right, number one to 7134567. Second part is the formula so that that whole stack in one more Homestead Act. Now you have formula
of mayors KO. So I start with one. Let's see if I want to
do a C major scale. I'm going to start with
C in node number one, but gave her, I wanna
do an F major scale, okay, so you start number one. All Gabriel wanna do
like a D major scale. So start with these simple
like that. Let's start with d. Z is a good note. This is the number one. Now we need to discover their
other nodes, right? You are indeed right now. We need to check one whole step. So don't play D sharp goes to E. Next one is a whole
step as well. So downplay F and play F sharp. Alright, next one
is a half-step. Here we are in a chart, so next step is much
more easy. G, Okay? Now we have one more whole step. So g goes to a Walmart. The last one is C-sharp. This is D major scale. Okay? When you think
about measures, KU, the first thing you
need to do is food, the seven numbers and fall. Always write down,
write down this. You need to follow deformer. Okay, It's really simple. Just do these two steps. If I want my nerves KO, I need to change
my formula, right? So it's going to be like this. Alright, whole step, half step, whole step, whole step or again, half-step and holds that. Okay, so let's try
to do D minor scale. Another one, Let's see. Let's go with E minor scale. First. One is z, alright? And I have a whole
steps, so F-sharp. Now we have a, a whole step and a half-step
right now, right? So F-sharp goes to
G. One law holds that Ji Chu a whole
step again, HUB. Be. Now it's a half-step, so we are in B has step, you just played the next node C. And the last one is, oh, respect to d. Now you have a minor
scale, E minor scale.
8. The diatonic chord scale system: It is very important to distinguish between the
interval part turning and scale into a series of chords Butte niche
off those intervals. E.g. this C major chord, its forms from the root shot C major scale is made
up of the notes C, E, and G. The first, third and a fifth denotes
the key of C major. If you were to use every chord in the key of C
major, you will find. But Gabriel, why are
the D chords minor? Because the major
scale, the core, and the second, third, and the sixth position
of the key are minor. It's a kind of real rocky. And y is the B, a
diminished chord, because the key of C major, it sits in the seventh place. And in the major keys of Sappho's play sports or
diminish his job as a rule, you need to memorize this too complicated
things or later, not only are the sequence of the tones different
than minor keys, each chords are major and minor is also different
than a pattern. And using the major
keys in minor keys, you are going to have
a new sequence, e.g. the C minor chord, each forms the root of C minor
scale is made up of nodes, C, E-flat, G, the first, third, and a fifth nodes
of the key of C minor. Why does this chord sound so different from C major chord? The only difference is one
string into C minor chord, the E becomes E-flat, and that is czar. We'd stakes to turn a cheerful C major chord into the impeller and
college C minor chord.
9. Suspended chords: Says means suspended,
watch, we are suspending. Here is the third of the chord. So assist you wore a sus4 chord is essentially
accord with something else. Turn off the third,
which leads to it being less stable or not defined
as major or minor, does something else can be
the second or the fourth. Check a few chord shapes.
10. How to compose chord progressions with sus chords: Now it's time to
learn how to play chord progression
with Sue scored, the first thing you
need to do is to choose a key, a major key. However, you can choose
any kind of key, e.g. G. Major or minor key
as well, right? E.g. D minor and things
like that, alright? But my choice is a major. The second part is
understanding that you can mix major
chord, minor chord. So scored seventh chords, averaging north
composition, yeah, everything a chord progression. I going to choose a
very simple Armani. You're gonna be F-sharp minor, D, and E. Okay? It's very easy. Armani. If we analyze these Armani, every single chord
in the key of a. So a is the first one. F sharp minor is the
core number six. D major chord number four. The last one, E major
chord number five. Okay? So one. However, we need to add
a sus chord right here, right in our progression. So I think it's going to
work very well if we add, says for corn in the
first quarter, okay? In this case, a forum discord. You're going to change
discord to erase this for. Just add your pinky finger. The string number two. Number three. Okay, Very easy, very simple. A major comeback dreaming, and you keep playing
your progression. I'm sure you can do
the same thing with D. So your number for your
pinky in the string, the number one,
threat number three. So once again, very nice, right? So let's keep adding
stats in our progression. Okay? So let's choose 89. Okay, So string number two and play like
how openness drink. So the next score is gonna be F sharp. So careful because this is getting very
difficult to play. I start with a simple
chord progression. Now we have several types of
movement in our core change. So for nine and mine are. Okay. So it's a very nice
technique exercise. Next one is, you can do
the same thing D, right? So for your pinky in the system, open string. Okay, so loved this type of court system works very
well in chord progressions. So Dan, of our chord
progression, I add evening. Wherever I change this chord to a assist for core, E major. And you have to add your
pinky in the string, a number, tree, fret number two. Okay, so everything wants, and again, check this out. Sounds very nice. I think 35% is your creativity and the rest is everything you're
learning, theory and army.
11. 7th Chords theory: The most common station of the bass kick,
three nodes trial. A seven chord is built by
adding an extra node to a trie. Each is an interval of
seventh above the root node. If you build a triad on c, you will use Node C, E energy. If you add a ladder, wrote a seventh above C, then you have c, E, G, B. You have just created
basic seventh chord. This one is C major
seventh chord. There are five types
of seventh chord. The first one is a
major seventh chord. The second one Major
chord with minor seven. So major chord, C, E, G minor seven. You need to use mine
or scale, so B-flat. The next one is a minor
chord with a minor seventh. So it's 135 and a minor
seven of my minor scale. So C, E flat, G, B flat. The next one is a
half-diminished chord. It's a minor seventh chord, so C E-flat than
g, n, of course, a B-flat, but I
have a flat five, so five, G, So put a
flat and G, So G flat. And the last one, you can write like
this is better. He's a diminish, a
fully diminished chord. So it's the same thing
as the, the record. So E, C, E-flat, G-flat, B flat, but you need to
put another flat in B, so Shu flats, okay? It's not so common to
find discard emails are just a few examples of
jazz and bossa nova.
13. How to play 7th chord progressions: Now it's time to learn how to play chord progression
with seventh chords. First, introduce to choose
a key to your music, Okay, so I'm just going to choose
a major. The second time. The second thing you need to do is create a very simple
Armani. We've tried it. So major and minor chords, okay? So I'm going to choose a
major chord, one for, one. For number five. The shortcut for you guys is
the end of our progression. Try to put a fifth corn
right chord number five. And that is a dominant chord. And you can use them major
chord or a major seven. It's going to work really
well in major keys. Alright, so it's a
very nice short. And one, always work very well. That's why I choose
these in most of my chord progressions
and armies. The next step is to add
a major seventh chord, a minor seventh chord
and things like that. Okay? So sometimes go to work in a few chords and
sometimes you need to use your creativity and everything new learning algorithms theory. So let's first one. The second one. I can't. Major seven going
on works very well. Check this out. Sounds nice, right? It's
like a little spice. Okay, The next one is
again dominant chord, E major with a minor seven. Well, let's check. In this part of our lesson, I think 50 per cent
is junk creativity, and 50 per cent is the
things that you're learning. Are we in theory, right? So let's set up a sus chord and this
chord works really well. So he says nine sloping string. Second surgery or learning
to play open again. And the meter sounds. So, come back to the same frame. Finishing our
guitar progression, I got to play everything wants
and again, check this out. So your homework here is choose a key for AKS
discord progression. We've just little
tips that I gave you.
14. 9th chords: Nice car. First thing
you should do it, write down a major scale, tries. He was example a meter scale. As you know, to
play a major chord, you need to play 13.5. So leisure 41359 squared is 1357. And number nine, denial of cork. He's frequently
using styles, leg, funk, jazz and blues.
15. 11th chords: Hello, I'm of course, same
thing as ninth chords. First thing you should do, write down a major scale, tries. Example. A major scale. As you know, to play a
major core, you need 13.5. Now that of course is 1,357.11.
16. 13th chords: 13 is the same thing
as 9.11 scored. As you know, to play and
meet her car, you need 105. 13 squared is 1357. And number 13.
17. Altered chords: Records of this type are
called alternate bass chords. By adding a known
coordinate in this space, you would create
a different chord with a different
harmonic structure. Slash chords are using a lot in jazz and other
contemporary music. And also seen sophisticated
popular meals Kitchen Debate that
you pronounce. This chord is D slash F sharp, or D, F sharp and the base, the latter to the left of this Lash is the
name of the chord. So this is a D chord. The lateral you see to the right of the slash is the bass note, or lowest sound
note of the chord. Normally in a D chord, the lowest sound notice D, But in d slash F sharp corner, the lowest sound
note is F sharp. The two most altering
based courts are first inversion and
second inversion, e.g. in C major chord in first
inversion is written C slash E. You take notes number of tree off
your tried and act as a base load to your card. Another example, a
C major chord in second inversion
is written C slash G. You'll take note number five of your triad and add
as a base load your card.
18. Dominant chords: Dominant chord is a chord
that you're going to use when you want to
prepare to some other core, I have my target is
a major seven chord. And now I'm going to
use a dominant chord, preparing to finish
in this card. Okay, So what do you need to do? Just count 55 nodes, e.g. E, F, G, a, and B. Is it? So B7 chord, it's
a dominant chord. In measure seven. Always gonna be a major
chord with minor seven. Let's do another example. Now my dominant chord
is let me see blue. My targets. These are
scale is a major way, so it's a major, major, major seven chord. Okay? So let's
count it into five, a, B, C, D, E. All right, So you haven't
dominant chord to eight, you can have just a major
chord or a minor chord. It's not a problem, okay? But you need to keep Major
chord, a minor seven.
19. Tritone substitute: Now it's time to talk
about tri-tone substitute. This is a technique that you can play your songs and
replaced dominant chords. So let's take a look. Dominant chords are very
common in music, right? So in this example we have
C seven chord, right? So C7 chord is number five, or a dominant chord of F. So you have, usually you
have C corps and S corps. So five to one, we have the dominant effect, the detention effect, just
because of the tritone. And if you watch the lesson
about music intervals, you are going to remember that Triton is when you
take the root note and play a perfect fourth
and add a sharp node before. So this is a tractor, right? In this case, right here
we have a tritone inside. Our C7 striatum
is right here, k. If you take eNode. So you note the perfect fifth, or you can think
in perfect fourth. Perfect fourths is
going to be a node in. If you add a sharp, you're
going to have a sharp. So this is one and sharp four. So you have a tritone
inside your core, right? The idea here is take, use math to think
about what type of core you have the
same Triton, okay? What type of dominant chord
you have this same Triton. So if you count
three whole steps, you are going to have to
find this chord, right? So let's take an example. See nodes. So C wants that is going
to be d. One more step, going to be E, one more
is going to be F sharp. So F-sharp dominant chord has the same try
Tom inside a cord. So if we compare C7 with this, try it on a sharp in E and F
short seven E and a sharp, you have the same trend. As you can see, it's
the same thing. So you can replace your armory, these C7 input, F sharp seven. Alright, so let's
play an example. As you can see, we have
a chord progression right here is in F major chord. So you play one, we play major six, so B flat or a sharp
major seventh chord. And we have the 251, right? So you have choose is
going to be G minor seven in five you can put, or our C7 or our F sharp seven. So you can replace the dominant
core to this new record. This try to substitute, alright, so let's, let's
listen to the sound. I'm going to play with a dominant chord in
the key zones that I played at sharps 07:00 A.M.
going to use C seven, right. So let's go. So now let's replace
our C7 to F sharp. So try it on substitutes. Let's go. Very nice, isn't it? As you can see, you have a different
color, Reggie or songs. So when I play it is 16. Try toe in. This current mask part. Sounds very nice. You can use this approach
in any kind of styles, but it's very common when
bus and orange, yes. Okay. So does this one no subject
at that you can add on your arrangements and Armani and use when you want to
replace the number five. If you, if you play
number five in one, this, this progression,
every single time, it's going to lose the
magic of your song. So you can replace
one core to another.
20. What is a diminished and half diminished: The difference between
a diminished chord that is the same as a full and the mean score in a half-diminished chord
lies in the seventh. Note. Both our base it
on a diminished triad. One flat, three,
flat five intervals. The half-diminished chord
has a minor seventh. Eat some minor seven
chord with a flat five. The diminished chord
hasn't diminished seventh. The minor seventh is again
decrease it by a semitone, and hence is equivalent to 60. All of the theoretical
approaches different. Now it's time to learn
a few guitar shapes.
21. How to use fully diminished chords: Now it's time to learn how to apply full diminished
chord, a chord progression. The first thing you need
to know that if we just have four types of full
diminished chords, they can look in this example. Let's take C-sharp, full diminish as example right
here, the core number one. As you can see, we have C sharp, G sharp, and E, right? If we play this same shape, the same vector shape, one whole step in half, we're going to have
the same core, but with a different base. If we compare, we're going
to have the same note. So inodes, eNode a sharp node, a sharp node, G note, G note, C-sharp
note, C-sharp known. As can see, we have the
same notes from this, we have the same chord but
with a different name. In this case right here, we're going to have
full diminished chord. So here is C-sharp, diminish evil
diminished, and we keep repeating one whole
step in half. We're going to have the same
car with the same nodes, but with a different name. Right here we have G-sharp
full diminished chord is one, hold step in half from e-mails. So let's check. Note C-sharp, note C-sharp node, a sharp node, a sharp
nodes, nodes, nodes. So as you can see,
it's the same core, the same step-by-step. So as you can see, we
just have four chords with full diminish this full diminished
Shapiro's, alright? So you can repeat and substitute
one chord to another. So e.g. if you
have a progression and this chord
progression you have E, E, full diminished chord. You can substitute two Zhe, full diminished chord or a sharp or B flat
diminished chord, or a C sharp or D
flat film inch cord. We're going to see this type of thing and other lesson as well, but memorize this one
whole step in half. We have the same core, the same guitar shaped as well. So it's important to Brex. This lesson. I want to show you how to apply
these in music, and I want to teach you to
approach the first one. You substitute the
dominant chord, okay? In this case, reading
the key of F. So it's a very common
chord progression. You play C chord
in F score, right? So five to one. If you check this k, We're
going to see that C7 is five in F major surveys, one, this type of chord
progressions very calming music, so we have tension. And the right stuff blade
is sample progression. You can change in the diminished chord
that is going to substitute the dominant chord. In this case, if you see there the guitar
shaped, check this out. If you see the guitar shape, you just need to
change the base in. You're going to have C-sharp
folded diminished chord. In this case, you can apply this C-sharp fool a
diminished chord as a dominant function of
F major seven, right? So let's listen to the
sound with just the C7, C7. And now C-Sharp,
full diminished. Let's go see, works really well. So instead of play, the regular C, C7
is dominant chord. You can go in, change just the base. Okay, take your acoustic guitar, take your guitar and
play this shoe cord. Okay, the difference
is one, is one. That's why we can
start off play C7. We can play C-sharp
full of diminish. Okay? So this function is
the dominant function. Memorize this. But we have another
approach as well. And usually using the
hand of a song, right? So check this out. Let's see. If we have, we still is
in F major seventh chord, so major key here and we
have a 25 progression. That sphere cone, isn't it? So G7, C7. And the last one is gonna be. But instead of finishing
Neff, F-Major chord, we can play F fully
diminished chord. It's going to sound
a little bit weird. In our last chord
is going to be. So instead of finch, your song right here, you add warmer cord to create a new atmosphere and
then new they navigate to your song and finish
in a major sound. Of course, this
is very common in bossa nova and jazz, right? I think this trip roots
very calming both styles. So let's play 275
diminished chord. And the last Gordon Baird,
beautiful, isn't it? That's clear. More time. Nice, isn't it? So you can add this type
of thing on your army S, where the step function. So as you can see,
we have two options, replacing the dominant chord with a full diminished chord, this case, half-step ahead. So C Sharp, okay,
For will diminish. And is another example, we can rip blaze the core
number one, the root chord. F major seven, CEU at
full diminished chord. And finally, we play
the chord is true. Options are fairly common when we are going to play
full diminished chords.
22. The most important chord progression (2 5 1): So now it's time to give
you a few examples of 2p5. One first example,
flying to the moon at grades 5.1 is 251 of your key. This example we can
find a 251 of C major, C major chord, Chu, D minor, and G major chord. So 251. In this example, he play
with seventh chord. So D minor seven, G chord, G7, and C
major seventh floor. Another example is
exactly like you, you probably are I listened, this song is a very
famous standard. In this example, you can
find here 251. This music. The key is C major. So chew, D minor seven, G, seven, N1, c. Okay? So it's like this. Bad, bad, bad, bad, bad, bad. But Gabriel don't want to. Jazz standards anymore. Gives me another example of 2p5 one or k you can find in ordinary men
by Ozzy Osbourne, it's a very nice
song you can find in the beginning of the song. So no more lonely
night, it's all. Are you? This music is in
E major, is going to play. The harmony in the end
of the song is to five. It's F-sharp minor and B major, and come back to E major. So that's bite. You get your majors
last D-sharp. See mine are sharp.
C sharp minor. B major. A major
major again, n phi. So F-sharp minor. And you count by 25. Every single style
works really well. It's kind of a shortcut. If you don't know how to play. It's a very nice shortcut. If you are a songwriter, knee and don't
know what to play, what chord to play.
23. Easy chord progression: Now it's time to learn a
new chord progression. And I want to teach you in
three different levels. A chord progression 111. So just major minor chords. You're going to find this type
of chord progression pop, rock music, songs to play. Okay, you can play with major or minor
chords, power chords. It's gonna be the beginner
core progression. The next step we're
going to take the same chord progression in any level number, Chu, Okay? Seventh chords, going to add some dominant chords to five alternate bays
and things like that. More sophisticated
chord progression. But it's gonna be the
same chord progression with more courts in more jackets included in
the chord progression, right? You can find this type of styling bossa nova and some
kind of subscale bumps. Level number three, it's
going to be suffocated. Jazz advanced that
jazz we've ever seen, we have learned the right, the same chord progression
with more chords, more subject gets more spicy
on your song, right guys? Let's go. This type of
lessons very important. Just because you are
going to see that with a simple chord progression, you can have several types. Several different
arrangements are key. So there is going to be different depending on the style you are going to play, right? But the chord progression
is gonna be the same. Okay, so let's go. The
first one is the easy one. So i'm, I'm the key of D array. So I played deep
root function, g, subdominant function,
come back to D, So root function over again
and they play that shoe five. But stead of play, chew, that is going
to be E minor. I use the subdominant function. So in this case, I play number six of the core
replacing number two. So as you can see right
here, subdominant, subdominant function is
going to be 24 or six. So a set of plea Chu 51. I replaced this tube
in place, 651, right? You can do this kind of thing. So I play B minor and they go back to the because you have the
repeat sign. Let's play. So the first one, G, a, a comeback. Very nice, isn't it? You could play a 251 like
five in one problem, right? You can put number four, so g, That is number
four in five, that is z. So it's up to you. You had several
types of options. All right, the next step, I'm going to chain the key. So I'm going to D minor. You can play this kind of
fingers level number one, okay? This is level number
one and stick with major and minor chords to five. You can see right here, at least the function
I've to five, I, I place this core as well. So in the second part you
had six chord in the key. Alright, so this is
the simple version. Okay? You are not going to
find these in punk music. Sometimes you have a metal, but you can find BOP in rock. Alright, so let's
play the second part. The second part is
going to be D minor. E minor. The minor once I finished with this
approach right here. Okay, so number one, let's take the root
function, number five. In this case, number
five is minor, right? So getting D minor, and now I come back
to number one, right? So root function over again and they play
a kind of Chu five. So instead of plain
number chew, my plea, he minor, in this case,
subdominant function. Number four of the scales. Minor in right here. Instead of play just E major
chord as dominant chord. Okay? I, I put
eight says For, in, a chord is the same core, but aces for these with a different ******
can see sounds. Very nice. I remember, should
play a dominant chord. You need to play as major chord or Misericordia
for minor seven, alright? But Gabriel, we
are in D minor and now number five is a minor
chord, doesn't matter. Dominant function needs to be major or leisure with
some hydrocephalus. Mls course is gonna
be the mixture, right? So let's heresy. Back g, The major minor key. The minor. Now, in the
major key, the last chord.
24. Intermediate chord progression: Now it's time to
lever number two. So it's the same
chord progression with a different
approach, right? So we need to play the unit. You put the repeat
sign right here. This is the first ending and
this is the secondary links. So the first time
I play Monopoly into this bar and come back, the second time is keep on before it goes through
Barnum five, right? Remember about
that? In this case, I just keep the same
chord is in that status. So this song right here
could be this arrangement. Could it be a bossa
nova or as soaps, Katy Park, morphine-like that. In this case, we don't
have trials anymore. Have major and minor set
of scores that use one. We have set of courts. And right here, I just keep the gene D latch a case so I create a
kind of a walking bass. So the base is in D. A, and B are going
to be easier to change to be when you
have a Bayesian game. The previous chord
sounds very nice. Check this out. Nice. Nice, isn't it? Very beautiful. So let's
play the first part. Just this bars right here. I believe one time.
The second time I am going to skip
to the second alien. So they come back. Initially, be minor in
C Sharp, full diminish. In this case right here. Let's see. I just keep the same
chord progression I have number five is
Dominance, right? So you just count five from D. So D, E, F sharp, G, a. So we have a as dominant
chord here and here. Instead of plate number two, I use the subdominant function. So if I play number six, okay, exactly the same example
as level number one. But we've set up arrow, come back to the top. Piano, repeat the same
thing right here. But instead of play our
dominant chord, okay? So we're gonna
change the core and play diminished dominant chord. In this case. I going to replace our A7 to C sharp diminished. I don't know if you remember
about December jacket. You can check the
previous lessons, but you can change,
you have the same. Let me explain. An easy way to change this. Wonky. Can see right here, one, oh, sorry, one note. You're going to have C7. C7 is it has a dominant
function off the minor. If you check the
scheme of D minor, you're going to
see that you have, see, Saturn has less cord. But if you transform
this chord in C-Sharp, full diminish, you're going to have almost the same chord. At least three nodes
gonna be the same, which is the base
gonna be altered. So it's very common to do
this type of approach. You can use this type
of chord as dominance. And of course you can. I could play this chord one
whole step in half as well. So remember, full
diminished chord repeats. Every one whole step in half. We feel play right here. We're going to have
the same chord. Oops, the same chord. Remember you could play this chord right
here, right here. Is gonna be the same chord box, the same notes, but one
whole step in half. Full, diminished chord. Repeat everyone whole
step in hash, right guys? So does the second ending. We have the chain of our key. So D minor, we goes
to number five, dominant function, come back to number
one, root function. Right here we have the 2p5, but I play B minor, so six, just respect
the function. Let's see. Subdominant function. Could it be 64 or chew? Right? So he couldn't play. Number choose wanna
be E minor Blu-Ray. Sorry, not E minor,
E half diminish. That could play a G minor. So number four, so we don't
have function is up to you. Choose B minor. Right here I have number five, but I play with the third case, so searching and flattered. Worse, really good. Check this out. B flat 13 in one ray. As can see, sounds
very bossa nova, very chairs Iis, very nice Persian chord progression
to put on your socks. This alteration node right here. Our 13th works really good, especially if you put flattered right after in right here, you can see the melody. So military here, F sharp, stick with F sharp, F to F sharp. I could put e as well. So this query here, it's going to become D
major nine, like this. Sound, great, let,
let, let him play. B minor thirds. Black dots. With a line works
really good as well. But it's up to you. Okay? As can see, we have a second
reveals much more scarce. Ok.
25. Advanced chord progression: Let's go to level number three. This is a skated jazz song. We haven't Laura
thing right here. So let me see. We have, we start with the
same chord progression, the first Alien a second
AND everything's the same. But now I add more
severe jackets. So right here I have
number one root function. I have number four, that is subdominant function. But before this number four, I add a secondary dominant. So number five of G chord. Alright, that's why I get D7. Next step, I have bar number tree that rote
fashion warfarin again, but I had another dominant
guard, burning status. Play the dominant off the, I play the tritone sub k, the tritone sub off my D seven. This case, I just take
my A7 chord in plea, three, whole steps ahead. So I'm going to have
this D-Sharp right here. You could play A7. If you play several, You're going to have
the same tritone, okay, so let's see in
C-Sharp as tritone. Okay? If you play right here, let
me put right here for you. You're going to have the
same Triton as you can see, it's the same thing, right? But in this case, we're going to use tritone sub. So you're going to play these D-sharp seven before your D7. So this quarter here
is a dominant chord. We have right here, B minor. So instead of playing over
Phi of p minus should be wet. F sharp seven, we play
for diminished chord. So in this case,
you just need to think about the F sharp. F sharp right here. Let me see, right here. F-sharp, dominant. You can substitute
to replace two Zhe, full diminish, but then played G full diminish
has dominant chord. So I just keep playing
one whole step in half. So one else bet on hold step
and that's gonna be g0. We have right here
E, one more C-sharp. That's why I play. C-sharp. Full diminishes the same chord, but with a different name. We have the same nodes
with different name. So I play some kind
of five to a one. In right here. I play G major seven in
C-Sharp, half-diminished. In this case, I'm
gonna come back to D major seventh chord. And I play subdominant
function 0, number 47 of the key of D.
We'll come back to the top K. So let's play the whole the whole corporate
ration has go 34. Beautiful, isn't
it? A second time? I'm going to skip
this bar over four, and it goes from
four, number five. So I have the same chord,
subdominant chord, okay, number six, I could've had a number two or
number four as well. Here we have our new
key, so d minor. In this case, I'm going
to use the dominant, the fluid diminish
dominant function. So instead of plagiarism A7, Let me see, right
here. That's me. Add another query here. Are going to use
the full dominant, full diminished chord
function right here. And that's why, as you can see, I play the a sharp or B flat. Diminished chord has dominant. You can see right here in another octave and I playing one whole
step and half a head. So you're going to play
C-sharp, full diminish, okay? So I have just chew
dominant chords right here. The same thing as if I play
this A7 and A7, Dr. Ray, I just play into different different shapes
just to sound more so scared. So let's play
everything. Let's see. I'm going to play
the first part, come back to the top and
play the second part on 2D. Let's go. Very nice you then he
loves chord progression. Now we are in D minor. We have a number
five right here. So five. Try to answer. In our D minor. Watson again. This case. I play a different base
or cases the same chord, but with the base proud
to our bead minor chord, I played this
Bayesian ages to make everything easier to
change the color to be. So piecing D Bs in a
Bayesian be, alright. This case right here,
we have some kind of 2p5 one or a
subdominant function, dominant function in
a world function. It's going to be easier
to think like this. In this case right here, I use a no function, Armani. So I take this court
for all other key king, in this case, In
the key of D major. And I add a number
six in a chord. Works really good. So I take a different chord, just take it in
different coordinate. Important thing is to
fit in the irony, right? And right here, I play E. Total diminished seven is dominant function
to our D-major. Same thing right here that
I have explained before. So if we take A7 with transforming and
follow the Manish k, we play one whole step, whole step and half. We have E, alright, E, diminished chord in
the last quarter, comeback to do first
key of the song. So D major. So as you can see, we have 25. Try it on some full
diminished dominant function. When else? Walking base, that base
approach in the second version, now function our money. We have functions,
we use inversions, tritone sub secondary,
dominant as well. Okay? So we have a lot of options when we create a
sophisticated jazz. Okay, guys, so let's
play our roughing. What she oh, sorry. Let me see. Okay, It's gonna be easier. See atrophy. Let's
go for Spark Awards. Said, the dark triad and a minor. Very nice, isn't it? I love this chord progression,
salvia, so scared. So as Casey, I play tree chord progressions,
different levels. So as you can see, you can take a simple and nice
chord progression and have a different approach, different types of
arrangements in transform everything and
various soft skills, some. Okay, so just take
a four bar chords. I use a chord progression
that you enjoy. Harrison your song. In practice, this type of exercise, practice the suburbs x we have learned in our previous lessons in create your own arrangements like this, using
this step-by-step. All right, See you
later. Bye bye.
26. How to write strong chord progressions for your guitar songs (arrangement1): So the first step
to songwriting or arrangement is chooses
K or choose a tone, a key to your music, okay, let's use the key of E major. Very clunky. All right? First thing is, if the key is E, Let's begin with chord E. So my first chord is
going to be E major, my first shortcut for you guys. The second chord, usually if you play core number four or five, going to work very well. Okay, So for 8.5 would be B. Alright? So for our first
example, let's play. According to our composition, we have E major and a major. Third chord. We can choose
one of the core of our SKU. But another shortcut here, E is avoid the last chord,
the half-diminished chord. Why discord is very stable? It's not calming hawk, Bobby, and have motto and
gospel as well. Alright, so avoid
the last court. Affirmed is less
choose, let me see. F-sharp minor. The second
chord would be nice. The last one is the
Fifth Circuit Court. So B, B major. I got to play this chord part. And effort is, I'm going to explain some little
tricks that I did. Okay. Looks like music, right? It's pretty, pretty,
pretty good. Sounds really good. But then off my, my, my progression, I did a
technique called 2p5 one. What is true 51, when
you use a chuh core, a second core of your scale. So if we are in E major, I choose F sharp minor five. Number five is B, Alright, and come back to number
one, right, so 251. But Gabriel, this arrangement, discord is too simple. Let's make, let's put
some spice on that. Okay, No problem. So the first thing
we are going to do is add a dominant chord. Dominant chord
works really well. Okay, so let's think
that dominant, we already learned
about dominant chords. I was previous class. Alright, so the idea here
is to take everything we learned in theory and
putting our music, Okay? So dominant chords or car to
prepare to another chord, we are going to prepare a chord, the second chord,
so dominant chord, you need to count to five. So a, B, C, D, E, E chord is the same
as the first one. However, dominant chord is a
major chord, a minor seven. So I'll looks much better, right? So let's play the
whole, the whole song. Alright, so first chord, the dominant, E Major, flat 78, and the next,
the next fallen cork, works really well. Okay, so we can put another dominant cordoned off
our progression, right? So we have, we can put a, a B flat seven minor seven
dominant chord right here. Why? Discord prepares
difference one. Okay, so let's check this out. Ready, good, right? So think with me when
you are composing music or tried to
create a range of man. I don't know if you
are summarizing or not that there are two things. The first thing you need
to use is your creativity. I think 50 per
cent is accredited and the other 50% is that the article Bart
and the technical part we learn in
this course, right? So both parts are
very important. Gabriel, I really enjoyed
this chord progression, but I want something,
something new. Something that a part. Okay? How can we add some things and
some score gray hair. We can taking several options, music intervals, dominant
chord we already have, right? So Minsk intervals, guitar, legs, pentatonics, major scales. Let's add another chord. As Susie scored, write
a suspended chord. So says For works fairly well. So check this out really well, right? So when I'm playing,
sounds really nice. Okay, So pay attention. We had the first
progression, really simple. We add a few techniques and turns formed is
progression, yeah, very musical and advanced
and progression. Through your composition
to your badge you are songwriting bards
and things like that. Alright, so try to use this example and
create another one.
27. How to turn a chord progression into an arrangement: Do you know a song
called flying to the moon is a standard one. Rise, very famous song. From this, I choose this music. Shoe, our class about
arrangement and some correctly. Okay? So if I play this
song, I have the, the, the chords, right? E minor. If you look on the internet, you can find in a mine
or D minor, a minor. But in this example
we are going play, we are going to
play in E. Alright? So if I play like in simple
way, it's gonna be like this. And so on. Sorry about my C bar. It's, my voice is not good. So the idea here is to create arrangement
through this course. So the first thing
we need to think is 50 per cent is your
creativity, right? So what if scenes came
from your brands? So that's why it's
very important. Eunice and other music
styles like rock, funk, R&B, blues, hip hop had
met though tragedies, average fan, opening
your mind to music. Alright, so the second
part is about de Armani, the fury, the technical parts that skews you develop
it during this course. Okay, Now we are going, you are going to put
these EOR music. So the first thing we can
do is play the first four. Okay, let's do this. I'm going to play a whole
arrangement that I prepare and I will explain
step-by-step, right? So 234. So really nice, right? The first part, E
minor seven chord, it's the same as the
first one, right? So the second card, I transform in a minor
chord like a triad. A minor triad, we had
the first shortcut. My first advice for you guys. Sometimes in music, you can play the melody and
works really well. So fly to the melody. You can see, again, can you see works really well? So I was in a minor chord. The second chord, I didn't play. D dominant chord. Okay? I play the melody
and to G major chord. Alright, so works really well. The second thing that
is very important is I enjoy a lot to
use walking bass. So I was in G, G major seven, and I need to go
to C major seven. I didn't play the dominant
chord in G. I didn't play. And I did like a walking bass. So I played it a, B, and C. You might see major
seventh chord. So it's going to
sound like this. All right, So works really well. So we use two techniques, right? The first one is
playing a melody, Alright, play the
melody of the song. And the second
one, walking bass. Okay, The next part is n. Sorry. I need, I should
play E minor seven. And E7, your dominant chord. But I did another huge walking
bass and see my next card. That is, What's a minor seven. So I didn't like
this market-based. Welcome, Ms. again. Now, it's really well. Okay, at this part, I add dominant chord D7. I play. These have flat nine. Like this. She creates this cool
sound in the melody. With my G major chord. This farce, I did a little lick. I use the other pentatonic scale with an blues nodes, right? So is g pentatonic scale, I add a blues note is D C-sharp. Instead of play B minor seven. And you dominate. So it's going to
sound like this. And start on NADH or walking how he's
walking bass. Alright. So my, after my garlic, I a minor seven, alright? So the dominant chord, so I did a walking bass, sees my E minor seven
unto my dominant chord, but it, but it didn't stop. In my D7 chord. I keep my walking bass
until onto G chord again. And I finished this
to last courts. Some minor 25 of
the first chord. So as you can see, it's really complex,
is really difficult. You see a very nice arrangement. There are so many details. That's why you need
to start in breadth. Alright? If you have any doubt, just send me a message. Alright.
28. Walking bass for beginners: So now it's time to learn
a very nice walking bass. And is corporate rashes
not so Dave com, okay. I'm going to apply a lot the
half-step technique, okay? So I have first
quarter is G6, right? So you Clark, we've
had made her six. Check the tablature and
to play this correctly, be careful with
your middle finger. So this frat number of
tree, Fred number two, your index finger on
a string number for your pink fingers
threatened with four fret on a
string, number tree. And your ring finger, Fred number three on a string. Number two, be careful if
the score is the first one. For score. And I always play Bayesian corn or ISO base color. So base we shut down
core with your fingers. After this time, this part
and I play a half-step. So F-sharp fret number
choose so one more time. And my next chord is E. From this, I have G, F sharp, G, G sharp, chewy. Okay. You can play this kind
of bridge between notes. So my target, it's
a GI, F sharp, G, G sharp as a bridge
to my, to my target. This is walking bass, right? So remember about the shortcut. Same thing right here. So you have a minor
seventh chord, a minor seventh chord, and playing G-sharp, any array. So my next score is the major
nine with a flat seven. So I play C sharp, D, K walking bass is
very easy to understand. If you understand this
concept of half-step. If your target is, you need to play a half step
before or had your target. Okay? So it could
play like this. Sorry. All right, so I have
step ahead instead of before, but it's up to you. It's a variation of
your walking bass. If you play like this. It's gonna be more smooth. Righteous, because
my previous node was and now G-sharp jury
just because of that. Okay. But remember you
have four temples. Usually you put root
node right here, cord in the end of
your first chord. Chromatic note, number two, Kermack denoting time
for number three. Core, the end of your
temper number tree, and a chromatic note to your next chord in
Tampa number four. All right, so back
to notes to my temp. Another for Germanic squared. Okay. And this time right here,
stomach right here, I just play 79, okay, so maize, corn slap bass. So okay, So base core
slap bass chords. And now I have F sharp
to my target that is. Okay, So come back. As you can see, I repeat
the same pattern in G. So they scored slap bass, cork ads that so F
sharp and come back. The pattern, right? So we're going to play
the entire progression, Walmart time, check this out. 34. Right? But remember, you are asking
Professor little bit. So after you learn this
step-by-step change, instead of play, as you sharp by a half step
ahead of your target. It's going to sound
very nice as well. But he's important
to memorize the W2 are and understand
all these shortcuts.
29. Jazz walking bass: Now it's time to
teach a very nice and his core progression
in jazz music, just to Brex, I'll
let a be the right. So check this out.
Very nice, isn't it? It's very easy. You want to play the
major seventh rise right here, right? It's the major seven here. My number chew or rag. So this corn is Brad
number five on a string. Number five, sharpe,
index finger, ring finger, Fred, number
seven on a string. Before we show our
middle finger, frat number six on a string number tree
and your pinky finger, number seven is
triggered or chew. So I'm going to explain the written part
after splenic cords. Okay, so that's the first chord. The second one is E-flat
diminished chord. So it's the same
theme played before. Just want single detail. We are going to change this
two fingers right here. So edX finger's going
to stringy number tree, okay, for at number five. And your middle finger, Fred, number six on a
string, number five. Okay, simple. The core number tree is a
major core refer me receptors. So G major seventh, alright? And I'm going to play
finger number one, breath number tree on a string, number six, and a
finger number tree. And for your ring finger, in it being finger on a string, a number for entry
into Fred number four. So your middle finger, breath number tree on
a string number two. Okay, got solid. And the last two
chords is a dirty 70, A7, dirty N7 Lander. Okay, so he's finger number one, threat number five on
a string number six, single number, chew
your middle finger. Breadth number five
on it's trigonal before your ring finger, fret number six on a
string, number tree. And your pinky
finger breath number seven is tree number two. This is a 730 to play seven flat 13 is just change
your pinky finger. Okay, So instead of
fret number seven, number six, simple like that. So let's remember the courts. D major seventh, flat,
diminished chord. G major seven. A seven dirty. A7, flat dirt. Simple like that. The written part
is very important. Before we begin
the written part, I need to give you a
very nice shortcut. Usually ingest you
have your bass notes, so you play with your thumb, finger and your core board that you play with this
three or four fingers. Okay? Today's example gonna
use just three fingers. Base, core. The core, base, core for core. Okay? So one more time. When I say core, core
in the last bar, chords and chord or K. So I blame all denotes, to get an artist drinks,
should gather, Miranda. So let's play very slowly. Chord, four chord, chord. And our time, little bit fast. Score, base car B's
Scored card and core. One more time. Okay? When you learn how to play
this type of thing, VR slowly, you can gain more speed, so okay. As you can see, this groove is very nice and
very chairs as well. Alright, So Brexit
is carefully because jazz is not an easy
style for beginners. Very difficult style
for beginners. Jazz was another
classical music. It's typeof styles
are very difficult. If you just bought a lottery arccos guitar
a few weeks ago, alright, so you
need to practice.
30. Chord function: Now it's time to learn
about core functions. In this subject is
very important. Sometimes when you're going to create a chord progression, we started pulling
random courts. In nine, I put santa the case type of things
not going to work. So we need to understand
the function of our courts. Why discord is here or rise chord is the barn over trees and the bar number
four step of thing. Okay, so we have
three main functions. The root subdominant, dominant. The root is number
13.6 major key. So let's take C major
scale as example. This key is right here. Root is C. Number three is E minor. In number six is a minor. So we have three options. In subdominant
function, we have 24.6. So in this case we have two. Can be D minor, for the key of C, can be f. Six can be E minor. So we have the third function
that is the dominant. So we have 57. This case, five is a major chord, a minor seven, k s. Can see here this
example right here, or, sorry, right here. Or number seven. In this case, we think in C, we're going to have B
half-diminished chord, right? So now you learn three functions and the idea is compose your
core progression. Think about those
functions, right? So let's take a look at example. Number one. We have C, that is
broke function, bar number two, we have the
subdominant function, so f. So I could play these
cnf on my guitar. Check this out. It's going to work perfectly. C chord. And it's your musical an x-bar. I could stick with
this pattern so rude and send them
in and function to. I could play E as root
function in a set dominant as, sorry, N D minor as a
subdominant functions. So it could please see. And the cape, as can
see, works perfectly. And so we are in bar number one. Number two, yz bar number three. In bar number four
is D minor, right? So in this bar number four, we can play these. D has subdominant
function, okay, so number two of our scale and a dominant chord to come back
to the top of the songs. So you could play sheets
heaven, as dominant chord. So we can play at five
in the morning, right? So let's play C, F, E minor. Minors. In the last quarter's
number one, get gassy works perfectly. So I can compose
several types of songs, chord progression, genes,
thinking about roots in subdominant
dominant function. Okay? Let's split. Let's play the, the
example number two. Alright, so right here, I play the root has C
subdominant chord as f k, the same feed that we're
playing a few bars before. But the next bars, we have a root function
that is in E minor, okay? And we still have our D minor. But in this case, I going to put two
chords per bar. So you're going to stick
with my D minor G7. And I'm going to use
a secondary dominant, and it's going to be
87 to my D minor. So D7 is five of D minor. As you can see, you
just need to think about root and subdominant. In. After you compose your
core progression, you start to add new Subaru jackets that
is dominant chord, subdominant chords
and things like that. All right, so let's play C. Sorry, Let's play
it once and again. C, E minor, seven, G. And it could
finish the song in C. Okay, so as can see,
sounds very nice. But in this case right here, we do not go to C chord. We go to the number six studies. Root function, right? So a minor. We play a minor as well one more time as subdominant function. In this case, I'm going to
add number seven is dominant. To come back to the
top right here, I had E7, that is five
or nominate core of a. Alright, so let's go see 7.1. Very nice, isn't it? So as you can see, you just need to follow the
route subdominant dominant. So compose your core progression
with this step-by-step. Don't think she met
no ad set of chords. Don't land a second dominant. Try to substitute
the managed guard. Okay, just stick
with this subject gets to keep the thing. Keep the things simple,
easy to understand. In after you compose your
core, your core progression, you start to wet this new server jackets right here between 1 bar in other. Okay? So see you later. Bye bye.
31. How to write an arrangement of a cover song: That's that's what
you're adding. Shadows. But I know that
when I back up a second. And as funny as it meets, some people get their cakes, so we know that. But I don't let it get me down. Because this final I've been I've been flat on my face. I think myself and get
back the last slide, but I can't deny. I thought my heart does. Anybody think it wasn't
one single track jumper? I love big brand. I've been I've been up and down. And I know when it's time
I had all my things. I just be myself. But I can deny. Men, it's out of the thought
of getting my buddy check. He'd come in July. I'm going to enroll
myself up in a big bow. Let's talk about that's life. Very nice song and I
loved this arrangement. I put a cable because
of the singer. Okay. She, she told him that
he was very high to play in G major. That's why I put a cable. However, true this class, I want to teach you it down. I want to talk about this, this arrangement,
it delta caper, just to make everything
easier for you, okay? If we put a keyframe, you're going to have
several types of flats and sharps and gonna
be really mess. Do you want to stand the
concept of my arrangement? Alright, so this is the first bar, right? So I just keep the same melody, the same courts, okay? Exactly the same chord. In a one-off, my
favorite techniques, guitar licks between courts. He has his very
simple to understand. I just put a few guitar leaks between one court in another. So as you can see, between E minor and
I add a guitar lick, and between a and
the first core, I add another good ole. Okay, so simple like that, but don't play like this. Ever single bar k. Think this is a kind of trick
or you can play your songs, okay, if you play this trick, every single bar is not
going to be so, oh my God. Another technique that I
play is base between courts. So she card in my
second card is B7. So I play a kind of
short walking bass, varchar walk you base. So as you can see, hopefully Zhe Ge as a
Bayesian Yi Chu my array. So that's why I
like to call base between chords because I
play one card that is g. I base my card
number to the right. So base between courts, at least for me, walking bass. He's menu place several type of base between one
card and another. That's why I prefer to call
this Bates between cards. And I repeat the same
thing right here. B7, choose E minor, so I add GBs and come back in play
the same fee, right? At least the same idea, the leaks, I change
a little bit. Alright, in this song, I play pentatonic
minor scale a lot. Alright, E minor
pentatonic scale, and I add a blues note as well, is example B flat. The second floor,
you have G major, so G7, C7, A7, D7. To come back to the beginning. So instead of played
just the chords, I add a kind of blues Axin. So I added this leg right here. So this is one of the most important guitar licks in blues, is when you play, is when you play a flat, three, flat five major tree
in a perfect fifth. Alright, so this sounds
very bluesy Gray. I'm the key of G, So it's B flat to be in D flat to D, right? You can use this
type of technique, every kind of arrangement
you want to add, the blues accent, okay? Just discovered the core
that you want to play this axon in play flat tree
entry and flat five to five. Alright, so sounds very nice. And I repeat the
same thing in C. The same thing. And I just copied
the original song D7 and come back
to the beginning. All right, so this
arrangement is very simple, but sounds really nice. And another thing that is
important play is when a blade, Si, je ne, C7, then G7, A7. I put my pinky
finger right here. Right? This is another chord box that I like to play
in blues at Lizzie. This is a minor seventh. The same note I play right here. So it's all one, but
it's one octave. Alright, so playing sounds very nice. All right, you're gonna come
back, should ascendancy. Now the last part, I change
my capable very fast because the sun changed the key K and I play exactly
the same thing. However, when Dan, I
player turn around, right? So it's a turnaround is a
very nice technique in blues. And usually you play
half-step like this. So this is a thing that I
like to edit my arrangements. I love to add accents
from other styles in my, my song, Kate, e.g. if I'm playing Bach, I add a kind of technique, dairy playing blues
and jazz or math, or have Manto, this
kind of thing. I think that is very
important to mix this tires.
32. Final Notes: This is the last
lesson of our course. I hope you enjoy all my lessons. Thank you so much.
See you. Bye-bye.