How to Write Chord Progressions that Sound Amazing | Gabriel Felix | Skillshare
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How to Write Chord Progressions that Sound Amazing

teacher avatar Gabriel Felix, Music Teacher

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Welcome

      1:10

    • 2.

      How to read tabs

      1:45

    • 3.

      Music intervals

      1:07

    • 4.

      Music intervals tricks on the fretboard

      6:02

    • 5.

      Triads how important are they

      0:49

    • 6.

      Major and minor chords

      4:58

    • 7.

      Major and minor scales

      4:04

    • 8.

      The diatonic chord scale system

      2:22

    • 9.

      Suspended chords

      2:09

    • 10.

      How to compose chord progressions with sus chords

      5:10

    • 11.

      7th Chords theory

      2:59

    • 12.

      7th Chords practice

      3:32

    • 13.

      How to play 7th chord progressions

      3:44

    • 14.

      9th chords

      2:09

    • 15.

      11th chords

      1:02

    • 16.

      13th chords

      0:57

    • 17.

      Altered chords

      2:35

    • 18.

      Dominant chords

      1:51

    • 19.

      Tritone substitute

      4:39

    • 20.

      What is a diminished and half diminished

      1:29

    • 21.

      How to use fully diminished chords

      6:27

    • 22.

      The most important chord progression (2 5 1)

      3:02

    • 23.

      Easy chord progression

      6:05

    • 24.

      Intermediate chord progression

      6:20

    • 25.

      Advanced chord progression

      9:01

    • 26.

      How to write strong chord progressions for your guitar songs (arrangement1)

      7:09

    • 27.

      How to turn a chord progression into an arrangement

      7:48

    • 28.

      Walking bass for beginners

      5:16

    • 29.

      Jazz walking bass

      5:08

    • 30.

      Chord function

      6:37

    • 31.

      How to write an arrangement of a cover song

      9:29

    • 32.

      Final Notes

      0:08

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About This Class

In this course, I will teach you how to create musical arrangements in various styles, from pop and rock to jazz. You will learn how to identify the underlying chord patterns that form the foundation of a song, and how to use these patterns to create your own unique musical arrangements.

The course will start with a discussion of basic chord theory, including the different types of chords and how they are constructed.

As you progress through the course, you will learn about advanced chord theory, including substitutions and modulations. You will also learn about the different chord progression formulas that are commonly used in various musical styles and how to use these formulas to create your own progressions.

The course will also include hands-on exercises and practical applications of the concepts you learn. You will work with popular chord progressions and apply the techniques you learn to create your own musical arrangements. You will also have the opportunity to analyze and critique your own work, as well as the work of others in the class.

By the end of the course, you will have a strong understanding of chord progressions, and you will be able to create professional-quality musical arrangements in a variety of styles. Whether you are a beginner or an experienced musician, this course will give you the knowledge and skills you need to take your musical abilities to the next level.

Meet Your Teacher

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Gabriel Felix

Music Teacher

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Level: All Levels

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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.