Learn How To Play Hymns In All 12 Keys On The Piano

1. Introduction: Hi everyone, I'm Emmanuel and I'm going to be taking you through a course that will help you learn all the 12 keys on the piano. And I'll be covering each key using a song example. And I've picked 12 teams, which are common to most of us, which I believe many of us will be able to follow along. So in every key I'll be able to show you the type of codes that you need and you're playing in that key. How to voice those codes. How to apply some passing chords and you're playing in that particular key. For example, if we are playing a song like what our friend we have in Jesus and we decided to play it in the key of C. Will first have to know the code scale in the key of C, meaning what are the costs that you play along the scale of C? For example, in position one, we need to play a major chord, two, minor three minus four major, six major, five major, six minor. And then we play the seventh chord as a diminished chord back to the one which is a major. And then we'll learn about progressions when you want to play a song after you know the codes, you need to understand what progression I use when I'm playing this song. For example, I'm playing the heme, what our friend we have in Jesus, friend we have in G. I'm moving from one code through a dominant seventh chord, then to the four chord, which is F major. So the one is the C major. Then the dominant seventh chord is a passing chord, which takes me to my fault, which is the F major chord. So those are the kinds of things I'm going to be taking you through this course. We will cover each and every key so that at the end of the course, you'll be able to play any song that you want to play in any key on the piano. And that will give you an advantage over somebody who is yes, able to play in one or two keys. So let's get started with this course. Step-by-step, watch till the end. And I know you're going to have a great time learning together with me. 2. Because He Lives(s): In this lesson, I'll be teaching you how to play the song because he leaves and I'm in the key of E major. Because silly face tomorrow, I can be reused. He sent his son. He, can he see? I can still more room. My favorite show. Okay, So I'll break down. Brooklyn. The song in the key of E, F-sharp, G-sharp, B, C-sharp, D-sharp, E. That's the first thing you do when you're learning a new key, lambda scale as the E major scale, okay? Chord number one, major seven, chord number to F sharp minor seventh chord number three, G-sharp minor seventh chord number four, major seven chord number five, be dominant. Seven. C-sharp minor seven. Chord number seven, D-sharp, diminished seventh. Okay. And then back to number one, image a seven right there, scale degrees of the numbers, right? So God sent His Son. So I'm just playing imager. That's an inverted image up on my right hand, BE and G-sharp. And on the left I have E in doubles, gods and T-cell. And then I move to that seven from v to u. And then down to the flood seven, which is the date. Then back to the Monkey. God sent His Son Jesus. Then we go to number four, our image S7, that is an e on the left and on the right half. Major seventh, C-sharp and G-sharp. Because, geez. Then you go to code number to F sharp minor seven, F-sharp, and C-sharp on the left and on the right app, F-sharp, C-sharp, and E to E major, I'm moving to this invasion. Doubles on the left and on the right have G-sharp B and E. C-sharp minor seventh chord number six, right? I'm just using an inversion that is G-sharp, B, C sharp and E. And then G diminished seventh, G, B flat, D flat, and E, and then F sharp minor seventh again. So God sent his son. And then we'll move to that four over five image on the right with B on the left. And I'm running the F sharp. Fall by five image of a beat. He bled. And then the left, you walk in E flat D, and the right to play minor, even lead and dad. And an image on the right, G-sharp on the left. And then on the right, on the left, F-sharp minor inverted on the right. Remember F sharp, My name is F-sharp and C-sharp. C-sharp and F sharp. And then the manager, to be on the left. Grave. Softer about B. You play C sharp on the left, that's a six, but on the right we play a lead diminished seventh chord. We can play this a C-sharp minor, but we are using a substitution. Instead of just playing C-sharp minus seven, I'm playing a B, which is a five, but diminished seventh. That's B, D, F, and G sharp. F sharp minor seven might say, Yeah. Images seven would be then a diminished seventh with B. That is seen D-sharp, F-sharp. Okay? So the stanza, the whole of the stanza, gods and he, he, he, That's what we have played on this tanzer. Now in the chorus, B, B. And so you start with that movement, because C, E-flat. I can do our cup from 1234. So F sharp minor seven. You can replay that. G-sharp minor seven. Just play one over three, that is E major, G-sharp. On the left, I can add images seventh. And then back to to F sharp minor seven, be called spark to one. Imagine C, C-sharp minor seventh. That's F sharp minor seven. Then Elba be called. No image. To F sharp minor. I'm just using an inversion, C sharp, E, F sharp. And then code number three, I'm playing one over three. That is image on the right, No, G-sharp on the left because I knew he holds my image or seven. Then that chord, a minor on the right with B on the left. Remember the work done? And same thing as in the last line of this stanza. Image of a G-sharp, F-sharp minor on the right with an image of a, B, and B diminished seventh of a, c-sharp, F-sharp minor seven. Images seven tomorrow be a diminished seven over B. Then back to E Major. Okay, so the full song, I played slowly for nice. I think you're familiar with the chords. Remember you can always alternate and substitute your codes. So playthrough, so that we can put together what we've covered so far. So I hope that helps. As we do more songs, as recover more hymns, we cover more techniques that you can not only apply to humans, you can also apply to regular songs. So I hope that helps. 3. Blessed Assurance(s): I'm going to play him. I love blizzard assurance. Jesus is mine. And I'm in the key of B flat this time, I guess petrol, and then I'll break it down. Jesus. Patch shifts saw on all those be washed again is the seas my story, my son, my mask. All day. Okay, So we are in a new key that's B-flat. When I started learning, this was one of the most challenging keys that I counted. B flat, not a very common. So let's look at the scale of B flat. B flat, C, D, E flat, F, G, a, B-flat. Okay? So the scale degrees of the code scan, card number one, b-flat major seven, that is B flat, D, F. And then code number to C minor seventh. Chord number three. Do minor seventh chord number for D-sharp major seventh chord number five, F dominant seventh chord number six, G minor seven chord number seven, minor seven, flat five. Chord number eight, b-flat major seven. Okay, so be familiar with the code scan. The rule is the same chord number one, number four, and number five, major, the major sevenths. And number five, it plays a dominant seventh. Chord. Number 236 are initially minor number seven is a diminished chord or a minor seven flat five. All of that is in my music at sea level e-book, please check on the chapter talking about scale degrees. So let's go straight to the song. So you can just start with that melody. And then you land on number one. B-flat major can add that tonight. The left-half be flattened in their shoes. So you can maintain that one on the left and then the rightmost to code number for D-sharp major. Look at the environment. I'm using G B-flat and D sharp, G to B-flat. And then is mine. D-sharp again, in that inversion, you can play G minor, inverted, B flat, D, and G. So then we can move to this D, D minor seventh, minor seventh chord number three. Number three minus seven. C and D and F. We can also play D dominant seventh with that F sharp on top for code number three. So you'll play something like this. D, F sharp. Okay, then also played to see here, for the D dominant seven, D, F sharp, a, C, F, D dominant seventh, D, F sharp, a, C, and F-sharp. Test then chord number six, G minor, inverted, D, G, F sharp. And then maintain that G on the left and on the right play called number five, F-measure for the test. And then all Lori, plate, that C dominant seventh chord with E on the left. Casey, maybe a, C, G, a B-flat to get C dominant seventh with D on the left. Parsing code to code number five, F-measure, the left half and everything doubles. On the right app. F-measure invited SCF. Then sean, back to that B flat major, and then code number for D-sharp major chord, D-sharp major. Then the melody. Then one of our three, B-flat major on the right, the left. And then you land on this F diminished chord on the right with G on the left, this code number five. But you're playing it as diminished seven. Half-diminished seventh, G-sharp, B, D, six on the left. Substitution harps chord number six, which is mine, can just play the G minor, G minor seven. Diminished seven. And then what are the codes? G minor than five over seven, F major, air. And then I'm playing, I don't believe that cord here we can use is a G dominant seventh to make it easy. G dominant seventh of R B, G, B, D, F, G dominant seventh. And beyond the left, I can just also playing this B minor. F sharp, B and D are inverted, so that will be read number to see mine I invited C, D-sharp. Then you move into that inversion, D-sharp, GC. Washed. For the five. D sharp on the right's D-sharp major over F. Obtained is going back to code number one, B-flat major. I'm finishing with this inverse. F, B-flat, any plate up to that point off. Okay, so that's the first part. Let's move to the class. This is my story. Smashed. Oh, really? Just sat with that melody. We move to that disheveled dominant seventh, the dominant seventh chord. Four chord number three. Remember you can, if that these dominant seventh is too much for you, you can just use. D minor seven, chord number three, that's the concept. So called number three, D minor seventh, or if you can, D dominant seven. This is my son, Gordon. Number four, I'm playing D-Sharp major seven, inverted, B-flat, D, D sharp, and G. This is my number one B-flat major. And then raising mice, raising F on the right, F major with m the left. Then my G minor, B flat, D, G, B flat on the right, D, F B flat. Maintaining that G on the left. The left will move G, G flat, F, E My, my. So the C dominant seventh lands with the E. And then this is five over four major over D-sharp minor. B-flat major. B-flat major, inversions. B-flat major, if that meant. Then sharp major seventh. Again. The manager of a D on the left, one over three. Same thing. F, seven over G on the left is something I say that de la, the movement there is just the same as the one on this dancing. Okay, So let me play that chorus again, slowly. Crazy smiles. This something I played here. Phrasing. All that. I just play F-major. F-major, F-major. Now, that is something else we can do. This is my, this is my store, is minus three minus. So what am I doing? They're praising my say, yeah, that says mice. Mice. So I'm playing flat seven on the right, G-sharp major, G-sharp, C and D sharp, F on the left. So flat seven over five. And then back to the one. I play that as B flat, dominant seven. B-flat, D, F, with G-sharp at the bottom. Praising my, yeah, all God. Sees my OH, minus. So take it step-by-step. Especially if this is a new key. Fast start familiarizing yourself with the inversions and the scale degrees, the chord scale, the Nashville number system. Then practice several songs on this key. So that you will start now mastering the flow of the codes in this key. All right. 4. Great Is Thy Faithfulness(s): So I'm going to be playing the song Grit is faithfulness. And this time I'll be playing in the key of D major. D major cities. In the key of D, Of course, let's look at the scale of t. Now the good thing about this course is that you'll be able to also learn about many different keys, k, many different keys. F-sharp, G, a, B, C-sharp, D. So Accord, number one. D major seventh. So major seventh chord number one, or number two, E minor seventh chord number three, F sharp minor seven. Chord number for G major seventh chord number five, image or a dominant seventh chord number six, B minor seven. Chord number seven. C-sharp dominant seventh, C sharp diminished seven, sorry. And back to code number one, D major seven. Okay, so those are what we call the scale degrees or record numbers. Then I'll begin the song. And also to be familiar with chord inversions at this stage, okay? You must be familiar with called inversions. Okay? So gray is dy, just know that goal should be pretty great is that morning to me. So basically that's the song. So I'd be breaking it down very slowly step-by-step. So just follow along and enjoyed the class. So d-major, the inversion and the nerve on the left half. And so I'm missing this parsing code. This dominant seventh, that is B major is being sharp and F sharps I add the edge, get the B dominant seventh and the left eye, the D-sharp. As I go to my code number two, which is E minor seven, because I'm using the minus seventh in the inversion, that is b, d, and g, e on the left. So from this, and then on my maintain that E minor seven on the left to move to air. And then they left moves to D. Then that E minor back to the movement. So okay, then, then you move to codon number four, which is G major seven, the right hand we have G major and the F sharp to get G major seven so that we have D, F sharp, G, and B. On the left we have G and B. So that's good number for simply G major seven. My plate in any other inversion, there is no shadow. And you go back to code number one over three, that D major E to get my demons At nine dB. And on the left I go back to three, which is F sharp and G major seven to D major, F-sharp on the left. Okay, Off, Off, Off. You go to that dominant seventh chord. E7, E, G-sharp, B, D, and F, and also add the ear. So it's an E dominant seventh chord. So. Off of a stretch, you can just use this dominant seventh. Image is B, E, G-sharp. Then you add the d with the other reason than to imager. That's called number five on the right hand image at 09:00 AM, adding the B on the left half, and then so you maintain the image on the right code number five and the default, which is our changes. And then you play a one over three here, which is D image on the right, of course, inverted, F sharp, D sharp on the left. With the change. That's why we add DICOM. Image on the right with E on the left icon, shows then back to D major, but also played a major seven. So shadow with the Nikon. C major, that's a flat seven. D is eight. D-flat is seven, e is flat seven over e on the left. The doublets seven over two shows back to dementia. G major seventh number for cheap, F sharp. And then we play that he met Jack, or a dominant seventh, whatever it is, sampling and inversion, G-sharp, B, D, and E, G-sharp on the left. Then to D major over a, one over five. Thou me go to that. G diminished seven, G, F-sharp, C-sharp, and then back to one. So let me play that stance. I can all stay safe. House for chorus. So yes, whatever notes you use. But the point is five. Number five major. I'm using this G minor, inverted G sharp and D. So I'm playing with that D. And then on the left you will walk and D, E-flat, C to B. And you'll play that to mean dominant seventh chord from the right. So that's the dominant seventh, eighth. So before we land on that, Number two, we played this inverted, inverted chord. Mrnas, SEE sampling, see, it might not, it might not happen. Again. So I go to that. I can play owning 17 players, C-sharp minor seven. On my right hand, that is G-sharp, B, C-sharp. C-sharp minor seventh invited me back to D major. E major seven. I see image, image of a G, D major Over F-Sharp, one over three. See my Jehovah, E to D major. G major seven. Imager on the right of a G-sharp on the left. Then d over x, one over five. Same thing that G diminished seventh one. So the last line is just the same as the last line in the stanza, right? So let's play the full sun. My notes. Oh, with the chin. Just know. How far. Will. Same line as the stanza, the last line by line, something. Okay, Hope that helps. So when you move to the next song, I believe we will getting more and more tipsy and then more and more tactics. 5. Holy Holy Holy(s): Alright, so I'll be playing the song. Holy, holy Lord, God Almighty. I'm in the key of C sharp, or D flat. So the scale is C-sharp, D-sharp, F, F sharp, G sharp, a sharp, C, C-sharp. Okay, so I'll run through the chord scale now, the code skill I wrote, some people call numbers are the natural numbers is steam, or the scale degrees along C-sharp. Remember the goal of this course is also to help us to master all the keys. So number one is C-sharp major seven. Number two is D-sharp minor seventh. Chord. Number three is F minor seven. Chord number four is F sharp major seventh. Chord. Number five is the G-sharp dominant seven chord number seats is F-sharp minor seventh or B-flat minor seventh. Chord number seven is C minor flat five. Or we can also play C diminished seven sometimes. Then back to code number one, C-sharp major seven. Those are the traditional numbers, but we'll adjust those codes as we move along, depending on the soft costs. Now, I'm going to play through the song and then I'll break down the courts. Sheriff, to the 6. I Surrender All(s): Okay, So I'm playing this. The heme, I surrender all this time. I'm in the key of E-flat. All trained to free steam trains. Sorry. Oh, sorry. Oh, okay, that the Melians ways of playing this song, but we'll try cover as much as we can in this lesson. That will help you to see the different options, okay, so we're in the key of E flat or D sharp, as some of you may call it. So, first of all, just looking at this scale, D-sharp major scale, D-sharp, F G, A-flat, G-sharp, B flat, C, D, D sharp. So be comfortable with those scales. Okay. So the codes in this key, code number one is D-sharp major seventh, D sharp, G sharp. And D, chord number two is F minus seven, that is F, G sharp, C. And D sharp coordinate by three is G minor seven, G, B-flat, D, and F. Chord number four is G-sharp, major seventh, G-sharp, D-sharp, and G, Gordon number five, be flushed. Dominant seven, that is the B-flat, D, F, and G-sharp or condensed plate as major, B flat major. Chord number six is C-sharp minor seventh. See Nazi Chabad, C minor seven, C D sharp, G sharp. And then chord number seven is the D diminished chord. The diminished seventh chord. Sometimes it's played as D minor flat five. D minor seven flat five. D, F, G sharp, and C. Then back to code number on, of course, D-sharp major seventh. Okay, so those are there, still decrease the codes. I'm in that key, so we start off. So I believe at this stage you should be, you should be comfortable with chord inversions and especially chord inversions of extended chords, meaning this is D sharp major seventh, D-sharp major seventh, D-sharp major seven. D-sharp major seven. Okay, should be able to see those inversions for the extended chords. So g, I'll try to keep it simple and then we advanced as we move on, right? So such a code number one as our D-sharp major seven. I'm just playing this inversion, F sharp, D, D sharp, and G to G. God number two, that is f minus seven. I'm playing an inversion, C, D sharp, F, and G sharp. O to cheese. I then coat number seven. Number seven, I'm playing D minor seven this time. And an inversion of D minor seventh, which is S, C, D, and F. Surrender. Then I moved to code number three, but instead of playing it as minor, I'm playing it as dominant seventh, G, dominant seventh, that is G, B, D, and F. Surrender. My left hand will move from G to B. Then to code number six, that is c minus 7th. I'm using this inversion of c minor seven, G sharp C and D sharp. Two. Then two chord number four. That is G-sharp. Major seventh on the left half, G-sharp, D-sharp. On the right, I have G-sharp, D-sharp, and g I. And then I'll play a slash code here, one over three, which is D major on the right, with G and D on the left, ultimately. Free. Now I go to code number two, which is f minus seventh. On the left, I can play F and C, and on the right half, F minus F, G sharp, C and D sharp. All to hear. Three really key. And then I played for over five, G-sharp major on the right, five on the left, that's a sharp. Freely give them back to coordinate by one. That is our D sharp major. And play D sharp major seven. Okay, so let's, let's play that's actually the stanza. Two to three. Okay? Same thing again. And trusting his daily. Now, let's think of what we can do, right? Yes, to make it sound a little bit different. So what am I playing them? I said D-sharp major seven. Then I play this C sharp diminished seventh chord. So D sharp major seventh. Then to see diminished seventh, C sharp, diminished seven, that's C-sharp, E, G, and F sharp, G. And then here I play G-sharp minor chord, G-sharp minor, that's called number four. But instead of playing it as measure, I'm playing it as mine and I'm inviting it. So instead of having G-sharp B and D sharp, I have B, D-sharp, and G-sharp. I. Seven is D, and here we are playing. D minor 73 is G, dominant seven. Then six. C minor, 7736. Okay, so I want to surrender. And then on the left, that work really brings a big difference. Just F, F sharp to the GI. Hello. Random, random to leaking. Now at the end, instead of just going for leaky, we can do a progression that is to bring some different street to him. Free to him my free to hit me. Okay. So I'm just playing 4251. Okay. Now let me explain a way that will be clearer. Or two genes, 23. Okay. All to Jesus. Random to. Instead of going into that for the G-sharp major seventh, I'll go to the two. From that C minor seventh to Alberta, the tool that's F minus seven. I, freely then to the five, that's B flat major. We flattened freely and then freely. Right? So let's see what's happening. Exactly that D-sharp major seventh chord number one. Then we use this passing chord. C dominant seven. C major is E G. Then the dominant seventh, you just add the B-flat. So rand. Okay, C dominant seventh, B flat, C, E, and G. Then through code number two, F minus seven. So sorry. We're just applying the principle of using the dominant seventh chord resolution. What that means is that a dominant seventh chord wants to go up to the fourth, okay? So that means C. Dominant seventh wants to go up to F. It's going up from that C dominant seventh, minor seventh. Okay? So we're just using this inversion instead of having that to be flat here. We are having a T at the dominant seventh. Chord number five, b-flat major on the left half, B flat and F on the right. I have B-flat, D and F. If I wanted to get the B-flat at nine, I just add the seat. So I always play my media codes with the add nine. So I have B flat, C, D, and F. The nine is the second, okay? Sounds better than the regular mentioned. Then here we've maintained that B flat on the right number five, but the left-most to four, that is G-sharp. So the progression that is three to five. So what are the codes? Three for the three, we play the three on the left, G on the right, we play the five. So it's like a five over three. So that's a B flat major, F, b flat, and d. And then that's the three. And then for the six who played the normal C minor seventh, then you go to two, F minus 7th. Then to the five. Instead of playing B-flat major, the left half of the B flat, but on the right, I'll substitute that with a G-sharp diminished seventh, that is G-sharp, B, D, and F. So let me play that debt up to that portion. Then. The next part now to the o. Okay, for number one, D-sharp major seventh, then number two, F minor seven, and then three, D-Sharp on the right, D-Sharp on the right with G on the left. So number four, G-sharp major seventh, we're using this inversion, D sharp, G, G sharp, and see what Scott number for G-sharp major seven. Then the next chord is F, dominant seventh. On the left, we have a. So that's just f, S, C and D sharp. The left lobe surpassing code. To our next code, which is one of our five. That's D-sharp over B flat. And then D-sharp of a B-flat, one over five. And then four. As a G-sharp major invited C-sharp and G-sharp, D-sharp major. And then G-sharp diminished seventh, finish with one D-sharp major. I know it's quite challenging if this is not a key that you have been playing a lot, may take you some time, and it may take you to practice many songs in this key for you to grasp. A new key. So I'd really advise you to be patient when you're doing these. Don't just work on this song and then say, Oh, that key is difficult to know. It's all a matter of getting familiar with the key. And as you know, we are covering different keys for every song. Okay, So the chorus to the mind. Now let's look at some other things that we can do in that chorus. So we did something different that too. So at that point, I need D chord number one, D-sharp major seventh. Instead of going to the F minor seventh, I use this flat seven chord, the C-sharp major, C-sharp, D-sharp, F, and G sharp. And then D-sharp over g, then for G-sharp. So after that, for G-sharp major seven, I play a D major, It's called number seven. But if you played as a major this time, so I'm playing the invasion of dementia, which is, dementia is D F sharp and I believe at this point, you're beyond that. So I'm using an inversion of D major, F-sharp. And after that D major, the image on the right day on the left. You go back to that G-sharp major seventh with a G on the left. This lack of a three, D over B flat on the left, that's one over five. Same thing. D over B flat. G-sharp. D-sharp major, G-sharp diminished seven. Just the same ending as the other one. We're just putting something new. Yeah. Oh, you have to realize that the principles we are applying here can also work on any song. We are talking about some passing chords and techniques here that you don't just apply to these hymns, they apply to any kind of praise and worship song. So any techniques that we're learning here, we, we apply them to other songs. Okay? So just take care of those progressions. 7363625. Okay? And those substitutions, like it's an F chord number two, F minus seven. We are playing that flat seven, c-sharp. And then in here, that D-major, back to that G-sharp major. Just those little, little things here and there. And then try see if you can translate the concept that we are getting here to another key. Okay, thank you and hope that's helpful. 7. It Is Well(s): I'm going to play the song. It is well with my soul. I'm playing it in the key of B major. So I'll play the song and then I will break it down. Okay, So we're in the key of B straight to the D-major scale. Step number one, B, C-sharp, D-sharp, E, F sharp, G sharp, B flat B. Okay, then we're going to talk about the scale decrease. That means the CT scan. Ct scan. So number one is seven. Card number two, C-sharp minor seven, chord number three, D-sharp minor seventh chord number four, major seventh chord number five, F-sharp dominant seventh. Chord number six, G-sharp minor seven, chord number seven, B flat diminished seventh, or B flat minor seven flat five. So that's B-flat minor seven flat five chord number seven and number eight, beef be the major seventh. Okay, but now let's go straight to the song. And now let me say for this kind of a heme, you need to be very keen with your left and right hand combined niches, the slashes, because that's where the harmony of these songs being built upon. So on the left I'm playing B and F sharp shop. And then I play the image and see, I'm adding my C-sharp here to my manager. I have B, D-sharp, F-sharp for being made. And then I'm adding my C-sharp to get that B Major nine chord, okay? Then I maintain my left hand on B and F sharp. And on the right, I moved to code number four, which is, imagine I'm using this inversion of E major, G-sharp, B and E. So it's So, yeah, I land on the major F-sharp B entity shop. And then the left hand will move to deflect to the right hand will go to F major seven. F major on the right with the flattened the left. Okay, then, so the first got here is G-sharp dominant seventh. That's called number six, but you're playing it as dominant seventh. So we have G-sharp, D-sharp, giving you a G-sharp major and adding the F sharp on the bottom gives you that nice sound of the G-sharp dominant seventh. And as I mentioned in another lesson, that the dominant seventh chord features a lot in him. So just note that the left, we are moving to the Sea, which is off latch too, because this is a passing chord, two hour, which is our C-sharp minor seven. After that point. So we are playing C-sharp minor seventh chord number two, inverted, of course, G-sharp, B, C sharp, and E. And then we play that G-sharp minor, inverted B, D sharp, G sharp. So from that G-sharp minor, we moved to a five over seven. F sharp major. On the right. From the left we have B flat and F sharp, so it's a five over six. Then you may be major. So okay. And then the next part, when, when, when I'm playing, I do shop dominant seventh chord, whereas the D-Sharp dominant seventh, look at my left hand is playing G-sharp, D-sharp in doubles. And I'm playing the rest of the notes of that code with my right hand. So D-sharp dominant seventh is sharp, G F-sharp, and C-sharp, D-sharp dominant seventh. And I'm adding that F sharp on top. So we are having like a dominant seventh is called a dominant seven. Sharp 11, okay? Because F sharp, sharp 11 in the key of D sharp. Look at the scale of D sharp. D sharp is one, f is two, G is three. So F sharp is sharp, sharp nine, so denotes chapter 11 sharp nine. So it is sharp. F sharp, D sharp, dominant seventh sharp nine. Okay? So here we move to B major on the right, inverted D sharp, F sharp, and B, the left is on G-sharp. G-sharp in doubles. That D-sharp in the middle. The right hand is on F-sharp major, the left hand is on B-flat, five over seven. Them on G-sharp minor on the right. The right, the left is on B. Then I land on this C-Sharp, on the left. And on the right, I have c-sharp, c-sharp, F-sharp, and C-sharp major shops as for drop the F sharp to get C-sharp major for all. Then F sharp major chord number five. The next spot, whatever. So why be Manager? And then, and then I'll move to this G-sharp, D-sharp, sorry, D-sharp augmented chord. That is D sharp, G. And I'd be like, can also add that C-sharp at the bottom. So it's C sharp, D sharp, G, and B. Well, then that F sharp major on the right, maintaining the D-Sharp on the left than code number for image up. And play a major seventh, left half, the right half. E major, G-sharp, D-sharp. To get images ever. Number two, C-sharp Minor invited, E, G sharp, and C sharp. Say, I'm playing this C-sharp dominant seventh with F on the left, C-sharp, G-sharp, B, E, F on the left. And then to F sharp major, the left, I'm just playing F sharp and their shop, the right-hand is F sharp major. I'm pulling this E major seventh chord number four would be on the left. Then be met on the right, the sharp on the left, one over three. The image of a D-sharp chord number for E major. Then one of the five image on the right, on the left. F sharp major, my soul to one. So let me play after that point. I'll just follow along. Okay? This song has so many codes that so many girls, especially if you are playing these key for the first time, it may be quite a handful, I know. But take it step-by-step deck. The challenge, the challenge of this course was to land turkeys using the 12th hymns. So it's also been a challenge on my patch to land, you know, all the names and all the different keys. So take it step-by-step. The chorus. Just starting with that five F sharp that's supporting the melody. It's good in this hymn, I really comes out to alone. You support the melody. So why don't we playing their shop? And then the measure on the right hand would be on the left. Then we move to this C-sharp Minor invited E, G-sharp, C-sharp, c-sharp on the left. And then a one over three here, the mageia with D-Sharp on the left. So then we land on that F sharp major. So again, we saw, I'm playing a 736. So what is the 736? Yeah, I'm playing now. I could play B-flat minor seventh. Okay? I could play these chords. I'm trying to make this simple for you. G-sharp, B flat, C sharp on it, and just play D sharp at the bottom. That's what I prefer to do. That add D sharp, G sharp, B flat in C-Sharp. Congest that. Just play that regular B-flat minor seven. B-flat minor seven. B-flat, C-sharp, E, F, G sharp. So we're just using the inversion here. F, G sharp, B-flat, C-sharp, D-sharp at the bottom. And then on the three, I play, I play this E minor chord on the right with the D-Sharp on the left. So this E minor invited G, B, E. And then I go to that six. G-sharp minor seven. G sharp minor G-sharp, B, D sharp, F sharp at the bottom. To get the G-sharp minor seven. And then they're on the right. You have a flat seven that is a major. And then the left we have our five, which is F sharp. And then go to that image on the right, D-Sharp on the left with one over three. Well, the code number for E major seventh. Then, C-sharp dominant seventh, with F on the left. So we have C-sharp and G-sharp. We add the B2, get C-sharp dominant seventh. And then we have a one over five. We image on the right with the F sharp on the left. F-sharp major on the right, F on the left, F-sharp minor, back to one. The chorus quite, quite engaging. So let me run through the whole song. I may play some things differently, but the idea is the same. Okay. Wow. We hope you enjoyed that. Take it step-by-step. And I hope you enjoy it. 8. My Hope Is Built(s): So I'm going to play the song. My hope is built on nothing less than Jesus blood and righteousness. I dare not trust the sweetest frame, but wholly lean on Jesus name. So I'm in the key of F flat. On the ground. The soul, the sinking. Okay, so we have in the key of G flat. So let me start breaking down. The G-flat. G-flat, F A-flat, G-sharp. Just go G-sharp, A-sharp, C-sharp, D-sharp, F, G, G sharp. Okay? Now let's look at the scale degrees of them. That the chord scale or the Nashville number system In the key of G flat from number one to number eight. Code number one is G-sharp major seven. Chord number two is F sharp minor seven. Chord number three, C minor seven. Chord number for C sharp minor seven. Chord number five is D-sharp dominant seventh. Chord number six is f minus 7th. Then chord number seven is G minor seven, flat five, or G diminished seven. Alright. So we start with this song, the stance of the song, man on. So what codes are we playing there? Such that phi from D-sharp. Then your land on the one G-sharp major. Then you move to this inversion of G-sharp, D-sharp, A-sharp, C, and then this inversion of the same chord, the point on him, so usually is trying as much as possible to support the melody. Okay? Okay, And then, oh, nothing. We've got to cut number two. But instead of playing it as they use should be flat minor seven. I'm playing a B flat, dominant seven, inverted. That is F, G sharp, B flat, and C dominant seventh, B-flat major. Okay, let me break down the root position of B flat, dominant seven, B-flat, D, F, and G sharp. So if we invite, inviting discard, okay, right. And because of the melody, I don't want to hit the D because that model. So sort of playing it that way. I just bring it down to the sea. G-sharp, F-sharp, and C. So oh, no, nothing. Then code number five, D-sharp major, the left-hand playing D-Sharp, and then one over three, G-sharp major over c on the left, I'm adding another G-sharp right there. Put number for C sharp major. And go to this code number to B-flat minor, E-flat, my name but it C-sharp, B-flat, and then G-sharp on the right, G-sharp, D-sharp on the left. And then D-sharp major. Chord number five. I'm playing this inversion of D-sharp major, B-flat, D sharp, and then back to G sharp. So just to not G-sharp, D-sharp. Then when you go to the D-Sharp on the left, go to the seven, which is D. And I. The chorus on Christ. So just that with Codename One, G-sharp major on price this solely than to Codename a. C-sharp major seven. I'm playing this inversion, G-sharp, C-sharp, and G-sharp major. On the C, it becomes C sharp major seven, chord number four. And then all the teams. So wrong hands. All. Go back to that one over three to shop on the right, we see on the left on the record number six, which is F minor, can end up late like this. Damage on the left, G-sharp, C and F or G sharp. All other kings. This busing could be diminished seventh, B, D, F, G sharp as my parsing code to number two, B-flat minor seventh flat, C sharp, G sharp. And then two, odd number five, which is D-sharp on this. So all the games. Then you finish up on that D-sharp manager on the right and then sinking five over four, D sharp major sharp on the left. And I'm adding a G-sharp. G-sharp on the right, G-sharp major would see on the left, one over 36, F minor seven. Of course I'm using an inversion, C, D-sharp, F, and G sharp. Then we can go to that being diminished seventh, G-sharp. Thinking around what instead of going to that bigeminy seventh, we can just go straight to the B-flat minor seven, O. So here I'm just playing. Instead of being five, D-sharp major, I'm substituting that. C sharp diminished seven, C sharp, G sharp. Okay, so let's go. Actually, that's just the flow of the song. So just to highlight that it's important just to, for humans to support the melody alone. So the inventions you choose should at least support the melody age, epicenter of the time. Okay. Do here is I'm using at least supporting the melody most of the time. So keep practicing that and hope you enjoy it. 9. My Jesus I Love Thee(s): I'm going to be playing the song, My Jesus, I love the I know what mine. For the older follies of CNN resigned my gracious Redeemer, my Soviet tau. If I have I loved me. My Jesus is nine. And this time I'll be playing it in the key of C major. Key. For the all, the, all IRI. My mind bias. We're in the key of C. So step number one, a new key. So we will look at the major scale. Casey is one of the simplest case because the scale of C does not have the shops. They mix the codes in this key, little bit manageable and simpler for somebody who is still learning the piano. That's why when you're starting to learn the piano, normally you will start learning on key C, right? So straight on the white nodes, C major scale. Let's break that down. I see major, or you can play C major seven, or I can glide through B2C. The left stays on. See? I'm just adding that. The right moves to F-major. If you're not familiar with, maybe I could just do a run through the code from one to eight as we have been doing in all the other keys. Called number one is C major seventh chord number to the minus seventh chord number three, E minor seven chord number for F major seven chord number five, G dominant seventh chord number six and minus seven. Card number seven is a B diminished seven, or a B minor seven flat five. Then back to code number eight, C major seven. Okay, so we start with Gordon number one, C major seventh, mine. Then we move to this slash chord, the right hand image on the left hand, we stay on C. I'm playing inversions, inversions of F-major SCF. So at that point, I'm playing this B minor seventh chord, four chord number seven on the left half B. And on the right I have F sharp, B, E, a, B minor seventh chord inverted, D, F sharp, F sharp, B and D. But remember, I liked putting these on top so that I have something like F sharp, a, B, and E, but it's just a B minor seventh. Extra, 11th on top. It's an 11th because on the scale of B, B is one which is the same as H. C sharp is the same as nine. D-sharp is three the same as ten. E is for the same as 11. So this is the minor 11 right? Now, to be more technical about the name of the so that then, so that's how a seven. And then we go to our three, which is the dominant seventh. So on the left half, the right half, E, G-sharp, B, and D. So instead of playing, guess the E minor seven, so we are making it dominant seventh choice because hymns really sound well with this dominant seventh chords. That's just a tip I'm giving you. And then the next code is code number six, which is minus seven. I'm playing this inversion, E, G, and C. And then I will go to coat number for F-major. But this is how we played. We are voicing it differently. If unsee on the left and on the right half, F and D. I don't want just the F-Major. I wanted that. I can devote to that C because already, I guess late. Then. Number five, G-Major, playing just an inversion of geometric, the left half g, right time. She imagined rotted DGP. Then back to C marriage. Next lines and fall off. Then my, so my C Major, F on the left. Then to this inversion, C major would be on the left and on the right. Just to get us see at night. Okay. Then F major seven. C, C melody on the right key on the left. Two minor, N1. Then Ci over 57. Like walking down, it's called I walk down and then minus. So what is that? C Major over e minus. I played this G minor, invited G, B-flat, and D, that is g minus. When I bought these, I have B-flat, D and G to F major on the left half, the right half, F major. So that's D, my name voted. D, F, a, C major. C, with G on the left. Then she met the same thing. So C major. Then the manager would see on the left, I must have been 36 minus seven, dominant seven, and minus seven. And then my C major, C menu on the left, F-major on the right. See Maja over G on the left, seventh on the right, G on the left. Too shabby me. Now. Okay, that's run through the song. Now, let's look at some of the variations we can also start to put in. So we guess walking down C-major, then f, c on the left, and then see JOB at minus seven. And then CO by g, g, g. So at the end, I decided to play something like at 3625 progression. I know my F-major. Yes. Three. E minor seven. D minor seven. D minor seven. C. Then F diminished seventh over G, back to C major. So you'd have to know how you are talking that 3625. So I get minus seven, minus seven, minus seven. So at that point you don't play again the 3625, you only played the fasting because you're going to so you don't play the three-sixths there. Again. Really plate fast time. Now, that line is movement, of course, that you can use. So I'm moving with these codes are G minor on the right, invited B-flat, D, and G, E on the left. And then on the phone, instead of playing F-major sampling F minor, Novartis, again, G-sharp, C and F. And then C over G. And then it's called D diminished. D, G-sharp budget, the budget F sharp and D. Agenda left. To see if that helps. 10. Nothing But The Blood(s): I'm going to play the song, nothing but the blood of Jesus. And I'm in the key of F major. Oh, sweet. No, I don't. I know Zhe. Okay. Then the key of F, m and John. So let me run you through the images scale. Remember we have to, from that point, sharp, D, E, F sharp, G sharp a. Now let me run you through the code scale in the key of air, or the number system or the scale degrees. First chord is a major seventh. Chord is B minor seven. Chord is C-sharp minor seventh. Chord. Number four is D major seven. Chord number five is E dominant seventh. Chord number six, F sharp minor seven. Chord number seven is G-sharp, diminished seventh, or G-sharp minor seven, flat five. And then we go back to images seventh. Let's go to number eight, which basically sticking back to one. So that's the first we've got the scale degrees. Now run through deep time and run through that. Must all those scale degrees. That's the beginning point of learning a new key. Okay, So the song, why progression? They're called number one major. The first code sampling this inversion of M and E, C-sharp. Then I'm adding two notes. I'm adding the second, which is B, and another fifth on top. Just to fill it up a little bit more. That's called number-one imager while I can wash. And then you go to code number to be minus 7th. Okay, the left half B. And on the right, B minor seventh invited F sharp, a, B, and D. And then I go to one of our three image on the right, a, B, C-sharp, E would see sharp on the left with one over three image our session, my C. Then we've got two chord number six, that is F sharp minor seven inverted. Again, C-sharp, E, F sharp, and a. On the left, I can just copy a sharpening. I can double up F sharp and then not go to that B minor seventh chord. The left half, B, and F sharp, the right, I have B, D, F sharp. And I can voice it differently. For example, I can take that down to just play the B, nothing. And then the AI can play image on the right with C-Sharp on the left, that's the one over 30 g. So at this point, I play a five chord that is image on the right and on the left, I'm playing D diminished seventh. Instead of just the email, Josh, I'm playing that D diminished seventh, D, E, F, G sharp, and B, G. So the next line is the same thing. What can wash away? My scene? Nothing. Oh, okay. And then the chorus, Oh, precious stuff. Some flaw, God, number one or number two, B minor seven, and then one over three image of a C-sharp. Then to code number six minus seven. And then here I played this shaft minus 7th, then down to E major chord number five, imagined invited being G-sharp. So F sharp minor, seven, E major. And then we've got this like a B dominant seventh chord. So it's the left half, D-Sharp. The right, I have D-sharp and F sharp. I can also add that big if I want, or I can leave it out. Okay? So it's basically a B dominant seventh chord. So the most important nodes are there, seven and the three. Most important, not in a dominant seventh chord. So I'm just playing D-Sharp and they're shopping with the D-Sharp on the left. And then I go back image on the right and then payments. So oh, yeah. And then he met me. He Yeah. The left we'll move to four, which is d or the right to stay on the ink. So we have afterlife. And then 36253, C-sharp minor seventh, okay? That is C-sharp, E, G-sharp, B at the bottom to get C-sharp minor 76. Yes, sharp minor seventh, then to be minus seven. And then for the five, we are playing that D diminished seventh chord, E on the left. Okay, then no bound. I know. Major minor seventh image of a c-sharp, F-sharp minor seven. And then port number to be minus seven. By the image of a C sharp diminished seventh on the right, of E on the left. So back to image. So let me play the whole song. Why? Nothing? I've ever known, I think again, you might not seven major D diminished seventh hormone. Okay. So that's mescaline. Now, just a passing chord I'd like to mention in this key, very important, when I'm moving to the two chord, the minor seventh. I can pass through this C diminished seven. Now, this is a movement you can apply to any song, okay? Anytime that, when you are moving, for example, from I, you are moving to u2 and you're looking for a passing chord going to cut number two, you can pass through that flat three because C is flat three. And play that flux three as a diminished seventh chord, taking you to the two. So C diminished seven, C D-sharp, F-sharp, a, taking me down the minus seven. Okay? So I can play something like this. The block B minor seven by the Java, C-sharp or C diminished seven, and then to the seventh over E. So one thing, land to voice your codes differently. For example, the major costs don't just play this trait measure or the ninth, those small things make a big difference. So I'm, I'm playing a major C-sharp E, but I'm always adding my nines. My b's here. All my minor chords are minus seven. Okay? My fault. I like playing them as major seventh. D major seventh. Number for something called number one can also play it as major Seven. C-sharp, and G-sharp. Major sevens and minor seventh. Tool, we might not have C-sharp minor six. Okay? So hold that helps keep on practicing. 11. Pass Me Not Oh Gentle Savior(s): Okay, I'll be playing the song past me not or gentle savior. In the key of G flat. This time using G-flat, F-sharp. For those of you who are familiar with F sharp, the same thing as G flat, so that I know many, many pianos desire to be sophisticated. Complicated. But let me assure you that the beginning of learning, if you want to learn this instrument well, is to know the basics lambda skills. So anytime you want to learn a new key, just humble yourself. I could say in landscape, just Lambda scale than lambda scale degrees or their codes. So that's the F sharp major scale or the G-sharp major scale, F-sharp, G-sharp, A-sharp, B, C-sharp, D-sharp, G, Okay, so f, then back to F sharp, okay? Now the scale degrees will be number one, F sharp major seventh. Number two, G-sharp minor seven. Now by three, F sharp minor seven. Number for B major seventh. Number five, C-sharp major, or C-Sharp dominant seventh. By C, D-sharp minor seven. Number seven is the F minor seven flat five, or F diminished seventh chord. So I'll play through. So you should know those numbers, 12345678, so that you understand the chord progression in terms of numbers, okay? Style. Odd. To me. Here, my lawn. Me. Do not pass. Not pass me by. So much play there, but it's so simple, so fast. Code. Number one, start with F sharp major chord number one, okay, the left-hand, F-sharp, C-sharp, and F sharp. I know many people, most of you are playing in the key of F sharp. I believe this should be very easy for you to follow along. Number one, F sharp major on the left half, F-sharp, C-sharp, and F sharp on the right-hand, half, C sharp, F sharp, F sharp. So we move to that C-sharp minor, C-sharp, and G-sharp. On the left, I have a shop or not the F sharp. This like number five, C-sharp, but played as minor. And then on the left half, number three sharps, it's like a five over three. So after that, C-sharp minor, F-sharp, you could imagine card number four. And then you play flat seven, which is imagined, I'm playing imagining this inversion, G-sharp, B and E, y is E-flat seven, because F sharp is eight, f is seven, e is flat seven, E flat is six. So I'm just playing image in this image. So, oh, yeah. So not be Maja. And then E major with the B on the left steel. And then back to that code number for B flat major. But this time I'm playing this inversion, F sharp, B, and then this inversion of B, manager, D sharp, F sharp, and B. And then back to F sharp major. It should be comfortable in the inversions, F sharp, F sharp, F sharp. B, manager, the manager, the manager. D-sharp minor, D-sharp minor, D-sharp minor, C-sharp major, C-sharp. Major, C-sharp major. Okay. So happened that point. Then. My. So we'll start with that G-sharp dominant seventh chord, chord number two. But we're playing it as G-sharp dominant seventh instead of G-sharp minor seven, k, That's the traditional, but we're making it a dominant seventh chord. We're playing G-sharp dominant seventh. Then. Yeah, got number five Major and also played as C-Sharp dominant seventh. Yeah. So you play five C-sharp major, and then you play for over the image on the right, D-Sharp on the left. And then you go to a five over seven, C-sharp major over F, then F sharp Mega. So let's play up to that point. Me. Yeah. Okay. Now that part of here, my humble cry. We can also play it differently. He might. So I'll be playing bass, 3625 chord progression. So C-sharp major, my four by six, B over D sharp, C-sharp over f. And instead of going to F sharp, F sharp minor seventh sharp, C-sharp, and G-sharp. So three, F-sharp minor seventh, D-sharp minor seventh. I'm playing this inversion, F-sharp, C-sharp, D-sharp, and F-sharp. G-sharp minor seventh, G-sharp, B, D sharp, and F sharp. Five is C-sharp, dominant seventh, that is C-sharp and G-sharp, then you'd be at the bottom. So next spot. Same thing passed me not only into the savior, while another start calling them progression. So F-sharp major, C-sharp minor, F sharp, B major, E major. Bim manager. The manager. Then go to F sharp but with a sharp on the left. And then we'll go to that F-sharp dominant seventh chord number three. But now as a dominant seven, That's a sharp, D, E, F, and G sharp with D on the left. Then to code number six, That's D-sharp minor seven. Now what? Then? We're using this passing chord, G diminished seventh, the left half, g. On the right, I have G, F sharp, C sharp, and E. And then chord number two, G-sharp minor seventh chord to chord number two. So that G diminished seventh passing chord to G-sharp minor seven. And just to mention, but we say that these concepts we learn here, we can also apply them to adult normal worship songs. They didn't just apply to this song alone. So those passing Kanzi London, the progressions can also apply to other songs. Okay, so move on to do not. The B major seventh of a C-Sharp on the left, B D-sharp, F-sharp, and C-sharp. And then be diminished seventh of a C-Sharp on the left, B, D, F, and G sharp. And then finish with that beautiful F-sharp major seventh. So let's play up at that point. And then the chorus. Yeah. So number one, F sharp major. And then you go to that F-sharp, A-sharp on the left. Seven to seven. And then here, F-sharp major seven, my D-sharp minor seventh. Then G-sharp dominant seventh of a, C on the left, crus. So sharp major seven, D-sharp minor seventh, G-sharp dominant seventh over c on the left. Then C-sharp dominance of it. Something like in this dance or not. So we don't need to repeat that because it's still, can always refer back to the last line of this stanza. Nitrogen. While on others know what calling the same thing in this stanza, Say the Savior, Hema, humble cry. Why? Not? Me? Some movement. But now let's look at some variations. So what can we say? So then C-sharp minor, then be Maja, say, then be my number one. That is B as a minor chord number four, but as a minus B, D, F sharp. Then say, Okay, and then my sharp minor seventh chord number three. Then D-sharp minor seven. So here I can play that E, E major, or dominant seventh, that is B, D, E, G sharp, and then C-sharp over F. So the movement, okay, then not. So D-sharp minor. You can play D-sharp minor seven. And then can move to that image on the right with C-Sharp on the left. And remember on the left I'm also G-sharp. So imagine over all the major seventh sharp, minor seven. D-sharp minor seven. G diminished seventh, as our parsing code to our G-sharp minor seven, Do not be made just seven, c-sharp. Me, be diminished seventh of a c-sharp. F-sharp, major seven, okay. Something else you can do. So instead of going to F sharp and then F sharp, I can go to F-sharp dominant seventh chord. So on. I played this F-sharp dominant seventh, but in this inversion, G-sharp, F-sharp, and D, Okay? So then Gordon number for B major seven, F sharp, B flat, B, D-sharp. So then to that, my number one. Okay, So I've shown you complete that Fraser. So here do not walk down F-sharp major, the right and the left half gift shop and shop. And then I go to five over seven. The right goes to C-sharp, G-sharp, D-sharp minor seventh, then to G-sharp dominant seventh on the right of a C on the left. Okay. And then so he MIR bold line, what opening that 736. Okay. What is seven? F minus seventh, C, D-sharp, F, and G sharp. F minus 17. Budget with F on the left. On three, I'm just playing a sharp minor seven, A-sharp, C-sharp, and G-sharp. D-sharp minor in my hand bones. And you can put proceed with the normal progression. So I'm just giving you options that you can use. Okay, so go through those options and so that when you're playing, this time you play something different. When you played next time you play something different. Okay. So let me just do a run through this on my Not me. Say my humble. Don't do that many options, but I believe that helps you get something new. I hope, in the key of F sharp. Okay. Thank you. 12. Tis So Sweet To Trust In Jesus(s): Alright, so in this lesson I'm going to be playing the song. So sweet to trust in Jesus. Wow. Remember we are going through different keys. We're going to cover all the keys. Okay, I called this 12th themes in 12 kids. I mean, at the end of this course, you should really have a hold on all the keys and just have the basic calls that you need to know to survive and thrive in a plane. So because whatever we learn here, to apply and cut across all styles of music and our codes and progressions and all that. So pick up what you can, apply it on different styles and different music. So that's what I encourage you to do. Okay. Teeth. So Sui came josh to see Jesus G, G, G crash. Just great. To try him more. Alright. As usual, we are in the key of F. Fast. Let's get, let's get the scale, okay, the F major scale, G, a, B-flat, C, D, E, F. The first step in learning any new keys fast lambdas get just the major scale, right? Then go through the scale degrees, that means the numbers so that 12 keys found along that scale in that key. Code number one is always mentioned. That is F major seven. The mod number two is minor. G minor seven. Chord number three is minor. Minor seven. Chord number four is major, B-flat major seventh chord number five is major or dominant seventh sometimes so C dominant seventh, or just C major. Chord number six is D minor seventh. Chord number seven is E minor seven, flat five, or E diminished seven. Sometimes you need to get those scale degrees, right? And the code, the formation of the major seventh, the minor seventh extended chords please. And also get the inversions, right for these standard codes, right? It is F major seven. F major seven. F major seven, major seven, minor seven minus seven. You have to add this discourse is not for the absolute beginner who is still learning codes and all that. Let's get right into the song, right? So I start with coordinate by one, F-major. F-major seventh completers as F major seven. So Sui to ENG, F-Major chord number one. The left also have Fc and f. Write out F major, G Suite than two chord number four, B-flat major. And I'm playing B-flat major, but with an added nine. I'm writing the Seesaw app, B flat, C, D, E, and F. Tas suites that with coordinates, one can start with that F major seven here, or I can just add to that F-major at night and F, G sc, although there are options on the left hand. So swing then to our code number for B flat major, trust in G, back to F major. And then crashed. My singing the lyrics. We just refresh my lyrics. Yeah. Okay. Yeah. So so sweet. Hey Angie, back to F major and then Josh to take him. He's so what am I playing there? One F major. And then I just moved down to F major seventh. I just roll down to think of this as a code. Maybe the best way to look at it to be mine, inverted. So here I've CE, and so what we're just working down to that MNA inverted. So we have seen over e on the left. And then code number six, D minor seven minus the minus 7th at this see at the bottom, just Kim. And then he is. We got through that G dominant seventh chord. On the left, I have B and g. Then the rest of the nodes of G, dominant seventh, G, B, D, F, and we're adding another. So that's how a passing chord to chord number five, which is C major at night, C, D, E, G came. And then the next part, Josh to rest, F-major. On the right hand, I'm playing an inversion as CNF, and on the left I have b and f. So it's like a one over three over eight. Good one. You understand numbers, you can translate this to a different key, as I'm speaking also in numbers. Just to read one of our three major over B flat major chord number four. Okay? And then you go back to jazz. F-major chord number one, then D minor seven, then to G minor seven, chord number two, G, B-flat, D and F. So this G-minor inverted. So you have B-flat, D and G. And then you play that B-flat, B-flat, C, D, E, F. Let's see on the left, say that, that's C dominant seventh chord five, chord number five. So c major in batteries, GCE about B-flat to get C dominant seventh chord, c on the left. So when you try falling on the lead sheets, the arrangement on the literature may not be exactly what I play here, but deletes it will also give you an alternative way of playing a song. So don't be, don't just strictly follow the lead sheet because we are trying to look at different ways of playing. These depend more on the videos, more than what you find on the lead sheets. Because we may play very many codes here, which you will go to the lead sheet and you may not find exactly what we played in the song. So you just use delete sheets as a guide. But focus more on getting what we are doing here practically. Before we go to the course. Tas. Paul, he's just too. He's right. Something like that. Now let's move to the chorus. Cheeses. Line alone. F-major. I'm just adding that see on top because it's really supports the melody very well. Okay? So using innovations which support the melody, okay. F major, G minor seven. Okay? Number two. And then you play a photo of a five-year b-flat, major seven, B flat, D, F, and a, C on the left, four or five tries. And then go to that B flat, diminished seventh chord, B-flat, C-sharp, E, and G, soft, cheeses, y. And then F sharp over a naught, F sharp, but f over x, one over three. How I roll. Then to court number six, D minor seven, to mall. Who can play that? G minor seven to C dominant seventh, or G minor seven, pass through the G dominant seventh with B on the left. And then that's C dominant seventh, or just straight. Okay. Then cheese, cheese, fresh. F-major, F-major over one over three, or number four, B-flat major branches, then F over a. And then same thing as the last line of the, just to know that says that load. So is the F major, D minor 72, G minor seven, then G minor invited on the right. And then B flat over C. Then C dominant seventh, back to earth metal. Okay? I believe we have broken down much of the whole zone because the other stanza that just the same. Now, some other things you can put in here and they're all precious. Okay? G. Okay, interesting. So we start here from F-major, D on the left, that's one over six. And then we'll go to image on the right. Be and G-sharp, of course, an inversion of imager with C-Sharp on the left. And then we go to D-sharp major on the right, inverted, that is B flat, D sharp, and you would see on the left. So it's then we land on the F, dominant seven on the left half, F in doubles. On the right, I have a, C, E-flat, F. And even placed the gene instead of the F. Again, because we already have two steps at the bottom, we can add that. So that dominant ninth, okay, you have the dominant seventh and adding the GHB, the dominant night. So here's the dominant seventh chord, F. My left hand is playing the C, E-flat. The adding that second on top of the dominant seventh chord is a dominant seven. C, E-flat, The adding the night, the G. So okay, and then precious B-flat major seventh. Okay, I didn't talk trash. And then here we have that four on the right hand, B flat. But now this time minor with a D-Sharp on the left. So CI, fresh cheese, and then finish it the same way. A minor seventh, minor seventh chord, number three, and number six, D minor seven, then G minor seven. Oh, okay. Sunday that okay. You know, we can do so much, you can do so much. Can do so much, and do so much. So sweet to me. For example, we can set it like that. That's what that light and something different instead of guests at time. T. So sweet to trust in Jesus. 1. Fourth, then back to one. We can start with this. So sweet to Jesus. So that's the one F-major than we rolled down the E. Then D minor seven. So sweet. And then F-major in this inversion, SCF would see on the left. So sweet to us than B flat major. G minor seven chord number two inches and back 21. Okay, that's a different way of playing that first-line. Okay, So let me, let me just run through this song and the process. I may even put in some things I've not put before. I just want to be free and enjoy this song. And hoping that you'll also pick up something extra. Hi by observation. Okay, so, so sweet to try. G, F major seven. Josh to Apple. How I? So instead of gas play C major, B flat diminished seventh as a substitution for C major. Shifts to recover that. Okay, Hope that helps more and more to come in. Some examples. 13. Turn Your Eyes Upon Jesus(s): Alright, so I'll be playing the song Tanya, eyes upon Jesus. It's a heme, a wonderful him that I love. And this time I'll be playing it in the key of G. No. You see there is all your bones you look for in his will. Oh man, we're grows gray. So that's the sounds and the chorus. The chorus is more common. Distance is not very common. Yeah, that's it. So faster, you have to be familiar with the key. That's G. The scale. G, a B, C D E, F sharp, G, G, a B, C D E, F sharp G. Okay? That's our key. Then you have to know the scale degrees or the chord scale, or the Nashville number system. The cord numbers, code number one is G major seven, G B D F sharp, cord number two. And minus seven, S C E G. Chord number three, the minus 7th, B, D F sharp. A code number for C major seven, C E, G, B chord number five, managers or the dominant seventh. D, F sharp, a C chord number six, E minor seven. G, B, and D chord number seven, F sharp diminished at is F sharp, C and D sharp. Back to column G major seven. Chord numbers because you talk about numbers, okay? Numbers, numbers. So you have to understand numbers because when you understand numbers, then you'll be able to play the Samsung on a different key. So if you don't know the heme, turn your eyes upon Jesus, just YouTube that. Okay. So what I'm playing there is one G major. I'm using this inversion of G-Major, DGP on the left half gene doubles. Then you go down to that seven. But this time instead of playing it as a diminished chord, you're playing it as F sharp major. So that is c-sharp, F-sharp, and C-sharp in the left half, F sharp. So i, and then the left moves to be the right moves too fast. This in mind, I invited GB and then you drop the e down to D. Yes, trying to help the melody of the song. So okay, and then, and so we've got code number for C major seventh on the left half, CGC. On the right, I have E, G, and B bald. And then number two, which is minus seventh on the left half E. And then the right hand is holding the rest of the nodes of the minor seventh chord, C, E, G, and then not allow. Giovanni de G-major over d. On the left. I'm blending version of G, B, D, G, G major. Daemons. And F-sharp, not all this time. The left is on D. G major, C diminished seven, C, D sharp, F sharp, and a dark. And then G-Major. So let's play after that point from the beginning. Okay? Then, same thing again, next part, the same thing as we did in the first part. But the only difference comes here. So he hates. And dominant seventh chord, chord number two by two, plate as a dominant seventh as C-sharp E. Okay? When you play the G, you'd have dominant seven. Okay? So dominant seventh chord. Sometimes I can leave out the changes plate-like an image. I can put that G vertical, the dominant seventh chord. So that's a dominant seventh chord. I'm adding the b on top to get to the ninth, okay? It'd be on top. So I can just play that code like this Is C-sharp, D. Would that be on top? Can also add a GIF I want. I'm supporting the melody with this not via, and back to D major. Then the next part. So that's patch, G-Major, and a dominant seventh, C-sharp, E and G with on the left knee. D major chord number five. And then you play that. See, on the right, see imagined budget. Maintaining that d on the left. So that's the end of the stanza. So let me play through the full stanza. So remember on the video you can always pause, rewind, and go back to what you didn't get. Well, okay. Now let's go to the chorus. Let's break down that path. G-major, DHA beat. The left is on G. And then you go to our five over three, that is the image on the right, inverted F sharp, a and D. The left is on B. Okay? Then she says, so that's good. Number, E minor seventh inverted, that is B, D, E, and G. And then walk down to the E-flat or D-Sharp. On both hands, you maintain B, D-sharp. Then F, F major on the right of a, D on the left. So it's a minor seventh, then walk down to the D-Sharp, and then F major on the right of D on the left. Okay, and then back to one. The next spot. Let's play the next part. So look for C major chord number for number two, a minor seventh. So do you manage for number five and then d over F sharp. Then, Let's see. Now here you will play this flat seven chord, F major. But this time we want the six, so we move this c to the d. So I'll just play F, a and D, and the left is on a flat seven. F, f is seven because g is eight, f sharp is seven. F is flat, seven is six. On the left half, the right half, F and B. Then you go back to code number one. But this time you played as G dominant seventh, that is G major GBD with f at the bottom. Chord number for C major seventh, the left half, the right half, Cgb, strange. And then you look down on the left, G, F sharp, E, F. Then you land on C minor chord number four, but as minor, C, E flat, and G, essentially in the law. So you'd play C major with E on the left. Then g over r, d over d on the left and the light. And then you can play that F sharp, F sharp major, back to G major. C major. To G major. C diminished seventh, C, D-sharp, F-sharp. And you finish on G in the law. Just simplify it and just play the melody. B, c, b, c diminished seventh. So they all chorus. We'll go straight.