Minor Scales Complete Piano Course

1. Minor Scales Skillshare Course Intro: Hello everyone, I'm Emmanuel. I'm going to be taking you discourse on minor scales. And I know most people played songs on major keys, but there are a few songs which happened to be arranged in a minor key. And I'm going to focus on helping you understand the different kinds of minor scales, like the natural minor scales, the harmonic minor scales, the melodic minor scales. I'll also take you through the codes that we play along the minor keys and how to apply different progressions when you're playing a song in a minor scale, for example, I can just play a six to five In the key of D, 623, B minor, E minor, F sharp dominant seven. So when I play that six to three progression, I'm interpreting it in the key of D because B is the relative minor of D. But there's also a way that we can interpret these progressions in terms of the minor key itself. So understanding the B minor scale for example, and asserting that now b becomes my one code. Okay? When I'm playing that progression and F-sharp dominant seven becomes my five, Good, Right? So we understand now how to interpret progressions based on minor keys. So when I'm playing a progression like Visa, I'm playing a 1451 in the key of B minor. Okay, so it's important for you to be able to interpret songs and cold and progressions in terms of the minus kel and understand the relationship between minus scales and major scales and how those relationships apply when you're playing songs. In this course, I'll be giving you practical song examples that you can use to see how are we applying the concepts of minor keys in different planes situations. So we're not just going to show you a theoretical concepts, but will also give you practical some examples on how to play songs on different minor keys. I'll also touch a little bit on modulating between my Nike's and major keys so that you can see how you can shift your arrangements between my Nike's and major keys. So I know this course is going to be very helpful for you who are a beginner to intermediate piano players to be able to broaden your understanding on a little bit of music theory and practical. So let's get started with this course. You are welcome. 2. Lesson 1 Natural Minor Scale(s): Hi, welcome to this first chapter of this course on minor scales and harmonies that are related to the minor scales. And through the series of this course, you'll be able to understand the kinds of codes that are applied along minor scales. You see just the way we usually talk about the diatonic chords in the major scale. But now this is a little bit more advanced, and now we're looking at harmonies on minor scales. And I believe that you've had songs which are written on minor keys, okay, the sound is very distinct. Eye movement on mine. So that's the unique sound of a minor scale. And one, just to break it down a little bit to really understand the harmonies that work on this minor keys. So the first thing to do is to revisit a little bit on what the harmonies are on a major scale. And then now shift. And now look at how we now think in terms of a minus kel, moving out from the major scale to the minus kel. So let's look at our C major scale. C, D, E, b, c. So that's our C major scale. And we say that the Nashville number system that gives us the numbers, the number system for the codes or the scale degrees is code number one is a major chord, so that's C major chord. Number two is a minor chord, that's D minor chord. Number three is a minor chord, that is E minor. Chord number four is Major. F major chord number five is major, G major. Chord number six is minor, so this is a minor. And then code number seven is a diminished chord. Or sometimes it's played as minus seventh flat five. So what we have here is B minor seven flat five. So it is that B minor is B, D, F sharp. And then we flatten the fifth, and F-sharp is the five of big B minor flat five. Congestion is the B diminished. So if you think in terms of the extended harmonies, code number one is a major seventh chord, that is C major seven. Chord. Number two is a minor seventh chord. D minor seven chord. Number three is a minor seventh chord. E minor seven chord number four is a major seven. F major seven chord number five is a dominant seventh chord. G7, or G dominant seven chord number six is a minor seventh chord, a minor seven chord number, number seven is of course the minor seven, flat five. So those are the harmonies of a major scale, for example, C major scale. And the same principle will apply in all the keys. Now, we are now focusing now on the minor scale. Okay? First of all, there are three categories of minor scales. The first type is what we call the natural minor scale. The second type is the harmonic minor scale, and the third type is the melodic minor scale. All the three skills are a little bit different and they all have different harmonics. So the Natural Minor Scale, the Harmonic Minor Scale, and the melodic minor scale. So first of all, let's look at the natural minor scale, a concept called the relative minor. And the relative major. For example, in the key of In the key of C. The relative minor of C is the minor in the sixth position, 123456. So that a minus seven is what we call the relative minor. Is the relative minor, the minor seven, because it is the minor sixth position of this cat. Okay? So M minus seven is the relative minor of C major. C major is the relative major and minor seventh. So they walk interchangeably. This is the relative age, the relative minor of C. And C is the relative major. Now the natural minor scale is built up from their relative mine. What does it mean? If I want to play the a natural minor scale, I will play my notes from air to air using the notes of the C major scale. So it's just playing the C major scale using the sixth mode of a scale. And if you've looked a little bit into modes called the Aeolian mode, the sixth month of the major scale. So if I play all the notes of the C-Major Scale, but starting from a, which is the sixth note and ending with x, I'll have the natural minor. The natural minor scale borrows the codes of their relative major, okay? So the a natural minor scale will be C, D, E, F, g. So that's the a natural minor scale. The fingering amusing is for 12312345, 321321. So this is just a good place to begin with. Playing that a natural minor scale. Familiarizing yourself with the minor sound. Okay, let's take another example of the natural minor scale. For example, if I wanted to play a C natural minor scale, what I will do is I'll ask myself, what is the relative major of C? Okay? When I look at C being the natural minor, C is the sixth note of which major scale. Okay? So I quickly realized that C is the natural minor, E-flat or D-sharp. Because if I play the D sharp major scale, D-sharp, F, G, G sharp, F sharp, C sharp. C is the relative minor because it is in the sixth position. So that's c minor seven is the relative minor of D sharp major or E-flat major. So if I wanted to play the C natural minor scale, I will just play the same notes of the a major scale, but I will start from C and end with C. So I'll play C, D, D sharp, G, G sharp, a sharp, C. Okay? So that is a C natural minor skin. Another example, for example, in the key of F sharp, F sharp, F sharp major scale, F-sharp, G-sharp, A-sharp, B sharp, E, F, F sharp. So what is the relative minor of F sharp? D sharp. So if I want the D sharp E natural minor scale, I'll just play the F sharp major scale, but starting from D and ending with D. So that will be D-sharp, F-sharp, G-sharp, A-sharp, C-sharp, G-sharp, D-sharp. Natural minor scale. So that's one way of getting the natural minor scale is by looking for the relative major scale. For example, if we are looking for the D-sharp minor, natural minor scale, we realized that F sharp is the relative major. You play all the notes F-sharp, but starting from disheveled ending width. The second way to look at it is to look at it theoretically. So what does it mean that Let's go back, for example, to our C natural minor scale. D, D sharp, E, F, G, G sharp, a sharp, C. Okay? Now, the theory behind this scale is thinking in terms of the C major scale. We have 123 because they're not there. In the media. We have a three he has eaten. But now we have a flux 345 flat six, flat 711234567. One. So we have a flat three, flat six, and flat seven. So the formula of a natural minor scale is the one in terms of numbers, 1234567, back to one. Now, let's apply that. Thinking in another key. For example, I'm looking for natural minor scale. So remember I have flat three, flat six, and flat seven. Okay, So based on the a major scale. A major scale, first of all is a, B, C-sharp, D, E sharp, G sharp. And now I need to do a flat three, which will be C, C-sharp. C-sharp. So we will have C. Again, I'll need to do a flat six so that F sharp will come down to F and a flat seven, G-sharp will come down to G, 123456712345671. So if you don't have to think in terms of relative measure, relative minor, You can now use that formula to get natural minor scale in any key. A final example, for example, if I'm looking for, go back to that D-sharp, for example. So I first look at the D-sharp major scale, because from the major I'll get all the numbers and then I'll know that I'll flatten the third, flatten the sixth, and flatten the seventh. So D-sharp major scale is D-sharp, F, G, G sharp, a sharp, B, C, D, D-sharp. We have one, we have two. Okay? Then we have three. G down to G-flat, F-sharp. So 123456, flattening that seat, bring it down to B flat six. Flat seven. Flatten the seven which is deep, D-flat or C-Sharp, then one is D-sharp, so we have 123456 flat 71. The fingering that works best for this is not to know 12341313123. That no strict rules on fingering, but there's a fingerprint that works best for everyone. Okay. So I believe now that clarifies on the construction of the natural minor scale. So to think in terms of the playing the same note of the relative major, but starting with the six and ending with a six, or is in the flat three, flat six, and flat seven from the major scale. Now that we are clear with the notes of the scale. Now I want us to look at the diatonic chords along a natural minor scale. And we'll be using the key of C just to illustrate. But you can also look at examples in other keys. So we said from the major scale harmonies we have one major seven, minor 73 minus 74, major 75, dominant 76 minus seven. And the seven minor, seven flat five, or they diminished. Okay? So in the minus kel will have the natural minor scale, we will have something different. This is what we will have, for example, for the C natural minor scale, 1234567. So you see that the harmonies of the natural minor is a little bit different because the scale has changed. Okay? So now let's look at the diatonic chords are the numbers in our natural minor scale. So let's start from number one. Number one will be a minus seventh chords. So in this case we have C minor seven, C sharp, G, and F sharp. So the first code is the C minor seventh chord. So the first position on a natural minor scale is occupied by a minor seventh chord, C minor seven. The second position. On the natural minor scale, is occupied by a minus seventh flat five, minus seven flat five. So in this case, the second note of the C natural minor scale is a D. So we have id minus seven, D, F, a, and C, but with a flat five, what is the Phi of d from the D major scale? 12345. So the five of d, Okay? So we have a D minor seventh, but with a flat five flat. The second code is occupied by a minor seven flat five. This is also usually called a half-diminished chord. Half diminished, or minor seven flat five. Okay? I like calling it minor seven flat five because I can quickly see the numbers, okay? Because I know all the scales. Now the third chord is a major seventh chord. So in this case we have D-sharp major seventh, which is D sharp, G sharp, and D. The fourth chord is a minor seventh chord. And in this case we have F minor seventh, which is G-sharp, D-sharp. The fifth card is a dominant seventh chord, and in this case we have G dominant seventh, which is GBD. The seventh chord 0s. Okay, Sorry, The first one is minor seventh, the second is minor seven flat five chord is major seven, the fourth chord is minus seven. The fifth chord is a minor seventh, chord. Is a minor seventh in the sixth chord is a major seventh chord. In this case, we have G-sharp, major seventh, G-sharp, D-sharp, and g is x squared, then the seventh chord is a dominant seventh chord. In this case, we have F-sharp dominant seventh, or b-flat dominant seventh, which is F sharp, D, E, F, and G sharp. So those are the, of course, on the A4 and we'll go back to your C. The C minor seven chord number eight, which is the same as code number one. So we have number one, minor seventh. Number two, minor seven flat five. Number three, major seventh. Number four, minus seven. Number five, minus seven. Number six, major seven. Number seven, dominant seventh. Number eight, minor seven. Number eight is the same as number one. Alright? So that is their number system of a natural minor scale. Let's look at our different keys so that we can understand this concept in a better way. Let's go, for example, to P E. Okay? But I'm thinking of the C-sharp minor scale, which is the relative minor of E. So basically on the C-sharp E natural minor scale, I'll build this up using the E major scale. So the knots of E major scale and E, F-sharp, G-sharp, B, C-sharp, D-sharp. Okay. So the first note of the C-sharp minor scale, C-sharp, D-sharp, E, F-sharp, G-sharp. The fifth 1, sixth, 1 is a, seventh, one is B, C-sharp is eight, or back to one. Okay. So now what are the codes? The first code. Let me just move this a little bit. That's the fast God. My C sharp minor seven. Now remember the first position is occupied by a minus seven. So in this case I have C-sharp minor seven. The next Chord, C-sharp, D-sharp, will be a minor seven flat five. So D-sharp minor seven is D sharp, F sharp, F-sharp, and C-sharp flat five. The five of D-sharp is a shot from the D-sharp major scale by flat five. But we'll come down to a. So I'll have D-sharp minor seven flat five sharp stone to a. Then the third chord is major seven, so he may just have it. The fourth chord is a minor seven, F sharp, minor seven, F-sharp, C-sharp, and E. So then the fifth chord is a minor seven. Have G-sharp minor seventh, G-sharp, B, D sharp, F sharp. The sixth chord is a major seventh. The seventh as C-sharp and G-sharp. The seventh chord is a dominant seventh chord. The dominant seventh, which is B D-sharp, F-sharp, a, buck to the eighth, or the one. C-sharp minus seven. So what are the diatonic chords of a C-sharp E, natural minor scale? Number one, C-sharp minor seventh, D-sharp minor seven flat five, or D-sharp half-diminished. Number three, we have E major seventh. Number four, we have F sharp minor seven. By five. We have G-sharp minor seven. Number six, we have a major seventh. Number seven, we have the B dominant seven. And number eight we have, is back to the C-sharp minor seventh, which is actually our one. Okay? So those are the diatonic chords. And that tonic simply means between the tonics. And it means these are codes which are obeying or which are moving along a specific scale. Because, you know, we have codes which move outside the skin. Those are non diatonic chords. For example, if you are in a song in the key of C, and you have got here a flat seven in this case, which is b, b flat major seven, B flat major. And to the four, which is f, then to g which is five, then back to one. B flat is non-diatonic because it is not B-flat, not a nod. Along the C major scale it is or not which is off the scale. So it's a non diatonic chord. But diatonic chords are those codes which are moving along a specific scale or obeying the harmony of a specific scale, right? So practice now. The harmonies of natural, of the natural minor scales in different keys. Now that's the assignment that you have. Pick any key, and then try to build those diatonic chords along that key. A final example maybe on this section is, or maybe I'll take a key like a, maybe I want to play the numbers are the codes along the air, natural minor scale. So first of all, I have my natural minor scale, B, C, D, E, F, g. So my first chord is a minor seventh chord. So I have minus seven, which is E and G. My next chord is a minor seventh flat five minus seven, is that B, D, F sharp, minor seven flat five, flatten that F sharp, which is the fico, bring it down to F. And my third chord is a major seven. C major seventh chord is a minor seven. D minor seven. My fifth chord is a minor seventh. Minor seventh chord is a major seven. F major seventh, minor seventh chord is a dominant seven. G dominant seventh chord. My eighth chord is back to n minus m. Okay? So practice it until it becomes very normal the way the harmonies of our natural, you know, natural minor scale. One is major for his major five is measure two is minus, three is minus six is minor. Let that be the same way. You also think about these harmonies of the natural minor scales, okay? So also, I would like you to refer to the notes that I've given. They contain all the nodes of the natural minor scale. If you look at the PDF document, you will get the notes of all the natural minor scale so you don't have to make any mistake. You can always practice and refer to the notes that accompany this course. So let's move to the next section of our course, which is the harmonies are the diatonic chords along a harmonic minor scale. 3. Lesson 2 Harmonic Minor Scale(s): All right, So in this section, I'm going to be looking at the harmonic minor scale, right? Harmonic minor scale. And in the previous chapter we covered the natural minor scale. And just to recap and to see how these two scales are related. The natural minor scale, we say it has the flat three, flat six, and flat seven from the major scale. So we looked at C major is F, G, the C natural minor, B, C, D, D-sharp, which is our flat, three. F, which is four, G, which is five, G sharp, which is flat six. And then we have F sharp, which is that seven, up to c. So that is the C natural minor scale. Now, the harmonic minor scale has only one different from the natural minor scale. That is on the seven, okay? And we adjust the seven instead of having a flat seven, flat three, flat six, and flat seven. Now we will have a natural seven instead of the flat seven. So for example, if I want a C harmonic minor scale, I play C sharp, G, G sharp. And now, instead of playing the flat seven, which is B-flat, I'll play the natural seven which is B, and then to the c. Okay? So we have 12345, 78 or one. So that is the sound of the natural, of the harmonic minor. So let me play the two scales, the C natural minor, C harmonic minor. And what I want you to do is I want your ear to find your ear, your ear to be familiar with that sound or the Harmonic Minor. See that natural minor harmonic. So the C natural minor, C harmonic minor, natural minor, harmonic minor. Okay? Now you find this kind of scales, especially the harmonic minor scale being used a lot in Middle East kind of music, Asian kind of music. A lot of Middle East kind of music uses, applies the harmonic minor scale. Okay? So what is this theory behind the harmonic minor scale? We have one, we have two, we have three. We have 45123456, natural seven, then the eight. So the only difference between the harmonic minor and the natural minor scale is that on the natural minor we have the flat seven to eight. This case we have the B flat to C minor, we have the natural seven moving into the eight. Okay? Now, we will see the reason why musicians came up with this harmonic minor scale from the natural minor scale and from the name harmonic, it means that this provides better sounding harmonies than the natural minor scale. It is more distinct. It gives a more distinctive minor harmonic sound than the natural minor scale. Because the natural minor scale is just built from the major scale in terms of the relative major and minor. Harmonic minor is now slightly different. And we will look at the reason why musicians came up with this. Good. Now, let's now check out the diatonic chords of the harmonic. Minor skin. The same way we have the number system in the major scales, 11 to eight. We also have the diatonic chords of the natural minor. We also have now the diatonic chords of the harmonic minor scale. If you are told to play this song, for example, in C harmonic minor, what codes will you be using to play the song? That's where our focus is as musicians. Okay, now, on the harmonic minor scale, code number one, I'm using the C harmonic minor scale to illustrate D-sharp, F, G, G-sharp, B, and C. That C harmonic minor scale to illustrate the scale degrees or the diatonic of the harmonic minor scale. Alright? So number one on the harmonic minor scale is a minor. Major. May 7 sound a little bit confusing but not so confusing. So let's first look at the minor seven. C minor seven, as the same thing that we used in the natural minor scale. C, D sharp, G, and B flat minor, major seventh, it just means that for the seven, instead of playing the minus seven or the flat seven, we play the major seven. That's why it seem minor, but with amnesia. Okay, let's see, minor Med, just seven. Okay? So the first code on a harmonic minor scale is a minor, major seventh chord. In this case we have C minor seven, G, and B. Okay? So that's called number one. Chord number two is a minor seven flat five, or the half-diminished seventh chord that we had also in the natural minor scale, the a minor seven flat five. So in this case we have a D minor seven flat five. F, D minor seven. C minor seven flat five. We flatten the a flat if not in C. So that's called number two, minor seven flat five. Now, the third chord is what we call a major seventh sharp five. Major seven sharp five. In this case we have D-sharp. Okay, So fastest play, D-sharp, major seventh is D sharp, G sharp. And D. Now what is the major seven Chap five. So we are making an adjustment on the sharp five. Yet It's D-sharp major seven. But now sharp five means you raise this, the fight from the B-flat to the beak. Shape in the fifth means you take it up by a half step from F sharp or B flat up to be. So now we have D-sharp major seventh chapter five as sharp, G, B, and D. That's how a code number three. Now, the fourth chord is minus seven. In this case we have the minus 7th, which is F sharp, C, and D. Now in the fifth column, we have a dominant seventh chord, and in this case we have G dominant seventh, which is G, B, D, and F. Now this sixth chord, we have a major seventh. This case we have G-sharp major seventh, C, D sharp, and G. And then our seventh chord, we have the diminished seventh chord. And in this customer we have natural, natural seventh, which is b. So we have our B diminished seventh chord. The F with G-sharp on top. Okay? So that's the, the diminished seventh chord. So let's review that from number one to number eight. What are the codes? Code number one is a minor major seventh chord, so we have C minor seven. C minor major seventh. According number two is a minor seven flat five. So in this case we have D minor seven flat five. Chord number three is a major seventh sharp five. So in this case we have D-sharp major seventh sharp five. Chord number four is a minus seven, that is F minor seven. Chord number five is a dominant seventh chord. So we have G dominant seven chord. Number six is a major seventh chord, so we have G-sharp major seventh chord number seven is a diminished seventh chords. Diminished seventh. Then, of course you go back to code number one, which is our C minor, major seventh. Okay? So those are the diatonic chords along the harmonic minus k. Let's take an example in a different key so that we can understand this better. This picking a key at random, for example, let me go to a, the, a harmonic minor scale. First we have to construct the harmonic minor scale. So what do we do? Think fast in terms of the natural minor scale? The natural minor scale is built from the relative major, which is C, a, b, c, d, e. So that's their natural minor scale. The harmonic minor, we simply do an adjustment on the seven. So instead of paying or seven as our flat seven, which is G, will play the natural seventh, which is usually a half-step from the eight, that is G-sharp to a. Because from the a major scale, C-sharp, D, E, F-sharp, G-sharp. D-sharp is our natural seven. Okay, so that's what we use in the harmonic minor scale, is the only change we do to the natural minor scale to get the harmonic minor scale, the natural seventh. So what is the a harmonic minor scale? And the C, D, E, F, G sharp. And now we have the scale. Now, what about the diatonic chords? Remember the rule. Number one is a minor, major, minor, major seventh. So first of all, just play the a minor seven, C and G. Now we need a major seven. So G-sharp chord number one, a minor, major seventh, E, G-sharp chord number two is a minor seven flat five. So we need a B minus seven plus two will be minor seventh is a minor seven flat five to five of B is F sharp. Bring down the F sharp, F. So we have B minor, seven flat five, or B half diminished. Okay? That's good. Number two. Number three. Number three is a major seventh, sharp five. So we need C-Sharp, C major seventh, but with a sharp five, what is the Fib of C? Raised the G to G sharp. So we have major seventh sharp five. Okay? Then what is called Number four, minus 7th Street, D minus F, D, F, a, C, code number five, dominant seven. Dominant seven, E, G-sharp, B, and D. Chord number six, major seven. F major seven. Chord number seven is a diminished seventh chord that is now G-sharp, diminished, G-sharp, B, D, and F. So what are all the codes from number one? Minor, major seventh, chord number to be minus seven flat five. Chord number three, C major seven chapter five. Number four. D minor seven. Chord number five, dominant seven. What number six, F major seven, chord number seven, G-sharp diminished seven. Back to code number one, which is a minus seven flat, okay, sorry, a minor major seventh. Minor major seven. So those are the diatonic chords along the harmonic minor scale. Right? Now. Something special that I want us to realize about the harmonic minor scale. I'll go back to that, seek to explain the C harmonic minor scales. C sharp, G sharp, a, B, C. Something special about the harmonic minor scale that is different from the natural minor scale is the five, okay? Because the five in the harmonic minor scale is that dominant. Caught. You have G dominant seventh chord. Now you'll find that when musicians are writing songs, they will usually prefer using the five as our dominant seventh chord, even when they aren't doing the song in the natural minor scale. So remembering the Natural Minor, this will be the fifth. The fifth degree in a natural minor scale is a minor seven, so this would be G minor seven. But musicians prefer using the G dominant seventh even when they are arranging the song in the natural minor scale, because the dominant seventh chord has a stronger resolution. Back to the wide. Okay? So if you listen to this resolution, G dominant seventh chord, five to the one which is our C minor seven. Stronger resolution than the G minor seven. Sound better. Sounds better to resolve from the G dominant seventh to the C minus seven. That's from the five to one than using the g as a minor seven. So in most arrangements, you'll find that it's the dominant seventh chord that is being used. For the harmonic and the natural minus kel. Very important for you to note that because when musicians are arranging songs in these minor scales, most of the time use these interchangeably. So you may not find that the musician is just using the cause of the natural minor scale alone. You find that they are borrowing these harmonies. Some codes are being borrowed from the harmonic minor scale. You find that the song is in our natural minor, but there's a dominant seventh chord used for the five, for example. So that is being borrowed from the harmonic minor scale. Now, because that dominant seventh chord has a very strong resolution back to the one. That is what gave birth to the harmonic minor scale, right? Because when that G minor, let's just look at the G minor seven, G, F sharp, D, and F. If you want the G dominant seventh chords from the G minor seven, you just shopping but from a shop to be. No, by G dominant set, G minor seven. G dominant seven. So that five being met, that dominant seventh chord meant these flat 7123456. That flat seven that was on the natural minor scale was sharpened to give it a natural seven so that we can have the five as a dominant seventh chord. So that is what gives back to the harmonic minor scale, the origin, because that's dominant seventh chord, the five had a better resolution back to the one is C minor seven. So in this case, I'm just, I'm just playing my C minor seven in the inversion, okay? Linked G, F sharp, C, and D sharp instead of syncytia. So instead of playing some, I'm using this inversion, C minor seven. So I'm resolving G dominant seven, C minor seventh chord number one. The natural minor scale. Something else to note is that most of the time you will find most of the harmonies used at from the natural minor scale example. Code number one in most arrangements will be the C minus seven. Hadley. Will you find that minor major seventh billion years, for example, in the harmonic minor major seventh, Not very many times, but you will most likely find that C minus seven being. So that's resolution. C minor seven, G seven. On the left I'm playing. Yes, I share something about voicing, just the G and the F. Dominant seventh, and on the right, the dominant seventh, so G and F. And then I have seven to the right. So that is flat seven, C minor seven, G7, C minor, G7, C minus. A good exercise to do. So. That is a movement from five to one on the harmonic minor or on the natural minor. Okay? So just take note that there will be some adjustments, okay? So you mean, yeah, so I'm using the harmonic minor, but the one is being played as a minor seventh. So those are the musical adjustments which are usually made just to make the song sound better harmonically. Now, something else special about them, harmonic minor scale, is that when we look at the fifth mode of the 10k minus g, for example, the scale of C minor. What is the 512345? That G, dominant seventh. You play this kel using the fifth mode, some nodes of this C harmonic minor, but starting from the fifth mode, that means I play G, G sharp, B, C, D, D sharp E, F, G. Seven notes of the sea. I'm 10k minor, but I'm just starting from g, which is my five, and ending with my fight. So this is what we call the hitch P5 scan. The harmonic Perfect fifth. Okay? Because G is the fifth in the scale of C. And the scale is now being played from G to G, from the five to the five, we call it an HP five scale or harmonic Perfect fifth. Harmonic minor, perfect fifth scale. And it is a scale that is used a lot in music when it's derived from the harmonic minor scale. So you need to find me. I'm just using that skill to solo over that G7, my left hand. Okay, so that was all about the harmonic minor scale. And the harmony is related to the harmonic minus k. Okay? So the next section we're going to look at the final type of minor scales. And that is the melodic minor scale. So let's check that out. 4. Lesson 3 Melodic Minor Scale(s): Hello. In this section I'm going to talk about the melodic minor third type of the minor scale. Now the melodic minor is not used a lot. It's not very commonly used. But I will still mention it so that you will have the theoretical background and understand the sound of the melodic minor. So that if you come across that sound in a song, you'll be able to identify it. Okay? So the melodic minor is unique in that the ascending version and the descending fashion at different. So we have an ascending melodic minor and the descending melodic minor. So when you are moving up, we are playing the middle melodic minor differently from the downward movement. The ascending melodic minor is simply a major scale with a flat three. For example, let's look at C major scale, C, D, E, F, G, a, B, C. The C major scale. Now this c melodic minor is formed from the major scale by flattening the fat. So the thought is E, So we have E-Flat. So the c melodic spending minus kel will be C, D, E-flat, F, G, a, B, and C. So now the descending part will not play it the same way as the ascending. It will be different. The descending melodic minor will be played as the natural minor scale, the same as the natural minor scale. The C natural minor scale, remember, was C, B-flat, E-flat, G, F, E flat, D, C. Okay? So the ascending melodic minor has the flat three, and the descending melodic minor is the same as the natural minor. So the ascending melodic minor will be C, D, E-flat, C. And in descending, you descend on the natural minor scale. See ascending, melodic minor descending. So those are the two types of melodic minor scales, the ascending and the descending. Descending has a flat three. And the descending is the natural minor scale. Okay? So the most distinctive sound of the melodic minor scale is the ascending. Because they descending is just the natural minor scale. Now, let's look at the diatonic chords are the codes which are, which can be built along the melodic minor scale. Okay, so the first code will have a minor major seventh. So we will have C minor major seventh, C, D-sharp, and B minor major seventh chord number one, for code number two will have a minor seventh chord. And so in this case we have D minor seven, D, F, a, and C. Well then thank god will have the major seventh sharp five. Major seven champ five. Remember our five? F sharp, so you take it up to B, D sharp, G, a. And D. Chord. Number four will be, number four will be a dominant seventh, 1234, dominant seventh. Okay? Dominant seventh. Chord number five will also be a dominant seventh chord. G dominant seven chord number six will be a minus seven flat five. Okay? So we have a minus seven with a flat five. So we're flattening the e to E-flat, E-flat, G minor seven flat five. And then you go back, of course, to 56. Number six is minor seven flat five. Number seven is also a minor seven flat five, that is B minor seven flat five. Lumbar five in B is F-sharp. Bring it down to F, B, D, F. And so once again, just to review, code number one, on a melodic minor scale is a minor major seventh. So here we have C major seven chord number two is a minor seventh chord, so we have a minor seven chord. Number three is a major seventh sharp five. So we have that D-sharp major seventh chord number four is a seventh chord. Chord. Number five is a dominant seventh chord. G dominant seventh chord number six is a minor seven flat five, minor seven flat five chord number seven is also a minor seven flat five minus seven. Hi. And of course we go back to code number eight, which is called number one, the minor, Major seven. So those are the, the scale degrees along a melodic minor, along the melodic minor scale. Now, this scale, as I've said, is not used so much. The scale you'll find used a lot is the natural minor scale and the harmonic minor scale. And as we said, you will find that it's usually a hybrid of these two skills. So you will not find maybe exclusively the natural minor, All the harmonic minor being used and natural, let me just break down the costs that you will find. Mostly use a long song that is written in a minor key in position one, you'd find them the minus seven. Okay? Mostly it's built on the natural minor scale. Apart from the fifth node, which is borrowed from the harmonic minor scale, which is the dominant seven. Okay? But the rest of the codes originally built on the natural minor scale when a song is written in a minor key for coordinate bar, and you'll have a minor seventh chord like here we have C minor seven chord number two, minor seven, flat five. Here we have the D minor seven flat 54 chord number three. You will have the major seven. Okay? And here we have D-sharp major seventh chord number four. You'll have the minus seventh year. We have F minor seven, chord number five. Now here we will have the dominant seventh instead of the minus 7th, because you're not borrowing this from their melodic minor scale. Number six, you have the major seventh chord number seven. You will have the dominant seventh chord on chord number eight. Well back to the minus seven, okay, so those are the traditional codes which are used along a minor, a song written in a minor key. Of course, you'll have some songs which have slight variations, but those are the main sort of arrangements that you'll find in songs which are written in minor keys. So moving forward to song examples, now we start looking at examples of applications of songs which are being played on minor keys. Okay, So let's see. Next chapter. 5. Lesson 4 Song Example I Enter The Holy Of Holies(s): Okay, So I'm going to be playing the song. I entered the eye through the block. I knew. Hi, shape. One. Shape. Cool. So the sun is in E minor. That's the key of the song. So I'll start straight away with the chorus or the stanza, sorry, the progression is one minus seven. And then we've got two chord number five. Let's do number seven, sorry, which is dementia. Then court number four minus seven. And back to code number seven. Dementia. Then back to cut number one, E minor. Now let's look at this. Minus kill the E minor scale. E, F sharp, G, a, B, C, D, E minor to E. Natural minor scale. It can also have the harmonic minor scale, which will of course have the flat seven. Nonetheless them but the major seven or the natural seven to the one that would be E, F sharp, G, a, B, C to D sharp. Bend to eat. The natural minor goes from C to D to E, but here we have C, E flat to E. Okay? So we have that 1234567. That's the harmonic minor. Okay, so what are they? The scale degrees, what are the numbers? According number one, of course we have the E minor seven. Number two, we have F sharp minor seven flat five, F sharp, a, C, and E. Got number three, we do major seventh chord number for e, or sorry, a minor seventh chord number five, we have B dominant seventh. Of course you're burning that from the harmonic minor scale. Then called number six, we have C major seven. Chord number seven, we have that. Be okay, sorry, the E-flat on the natural minor scale and the D, D diminished seventh chord, or the minor seven. If you look at the numbers of the harmonic minor scale, will have the E-flat. We look at the numbers, the natural minor scale, we have a deep, the codes replay will depend on the scale that we choose. If we choose to play the minus kel will have the dominant seventh, the seventh chord. It is for the natural minor. But if we choose the harmonic minor, we will have the diminished seven. Okay? That will be the E-flat diminished seventh, leading to the e minus seven. But for this case, because we are using the natural minor, will get a dominant Seven, which are B, D, F sharp, and C. Okay? So I was standing with God number one, which is E minor seven. And I'm using an inversion of E minor seven. I'm using B, D, E, and G. Then I go to coat number seven, which is our D major, or our D7, D dominant seven. But remember, as we said, we usually add this code. Instead of playing with D7, we just played as a major. Okay? So that is number one in minor seven. Then two chord number seven, which is our D major. And I'm just playing an E major with an at night. Okay? I'm adding the E, C, D, E, F sharp, and D at night. But I'm playing an inversion, which is F sharp, and I'm adding another layer on top. So one to seven. And then we've got two chord number four. What is God number four minus seven. Okay. Am I in a seventh? She's our code number four. And then through that blood, go back to our seventh chord, which is our D major. Off. Then you go back to our code number one, which is E minor seven, dementia, and then a minor seven. And minus seven. I enter two on for number seven, which is our D major. Then at night, you might know seven. By this E-minor seventh, I can also EGB. This in virtue. When I use this inversion JB on, I can use that to invasion JB. Okay? I can't even voice, it's like this. F sharp Piazza. I'm using a different sound altogether. What I can use as asphalt, so on those are possible voicings. That E minor seventh, the minor seven. I can also voice it in different ways. For example, I can play the m minus nine. That means I'm adding this be on top. B is the nine of the tube of air. So if I play this, I have actually an F minor nine. So these knots, and she will give me the minus seventh. And then I'm adding a nine on top. These are voicing like unuseful. The minus seventh and the ninth on top. So practice those voicings. Minor seven, D major, and minor. D minor seven. And then the chorus. Lord, I want ****. Okay, So start with God number three, what is called number three on the scale of E minus E, F sharp, G. So I can play this case. I can use different voices, can use the G major seven, G, B, D, and F sharp. I can use Jesus to nine average image and the bottom G, B, D. Then on top he had nine. Or I can even use this voicing. Left half g and b, such as stretch g, d and b, and the right half D, G, B, and IB. I can add that major seven. Check that G down to F sharp. So that means I have a G major seven. Those are options we can use to voice that color. And just use a simple G and D on the left and the right yoga G major with your own topic. Lord, I will shade. Then you go back to code number seven, which is our D major. D at nine. I'm just playing D, E, F sharp and the left, I just have an end-to-end minor seventh. Then back to number one, which is our MIN. How Wall. And then the 1761 is E minor seven. And then to go number seven, then at night. And then code number six, C major seven. C major seven. I'm using gasoline version of C major seven, G, B, C, and E. The original C major seventh is Sydney. I'm just playing GPC, the left half, C, G, and E. Okay. My name is then back to coat number seven, the Maja. And back to E minor seven. You can always add these elevenths on top, for example, yeah, I'm playing an E minor. 11:00. Am I doing an 11th? Watch the 11. They are on top. So I noticed at this color nuts, they really make a big difference. For example, here, I have a ninth, 11th to make these minor chords sound a little bit better, okay? So the whole song, I guess, I mean, I'm playing on my butt. To the left. I have an E on the right, I have G, B, and E. And do some walking there. Minus 771 to n to the three magic number on number four minus seven. For example, in this case, I'm playing an E minor, but with asks us to form our voicing of E minor seven. Voicing on the E minor, D, E, and F sharp, and even add on top. Okay? Now remember you can also add in some passing chords. Okay? Well example here, I'm using the dominant seventh on the right, C-sharp, E, and G, with C sharp on the left as my passing port to my knee. Seven over C-sharp. D mentioned no, no. Okay, sorry. And then when I'm moving to that, I can use that dominant seven. Dominant seventh on the right. That's imagined as the D to get an idiom and seven. And then with that G-sharp on the left, the salmon on the right, with G-sharp on the left. As my passing to my minor seven. Solve that lesson really helps you to master some voicings, some little bit of techniques. So start thinking in terms of the mind. Think of your mind as you're one, okay, and then land those numbers and how those harmonies are walking through this song. 6. Lesson 5 Relative Minor To Major Movement Song Example(s): In this lesson, I'm going to be covering a concept about modulation between the relative minor and that led to major. Now, there's a very strong relationship between the relative minor and the relative major. And it's applied in most songs, especially when modulating between the two kids. So the relative minor is the minor in position six on a major scale. So for example, I'm going to be using the D-major scale to illustrate. The D major scale is D, E, F sharp, G, a, B, C-sharp, D. Okay? So they're not in the sixth position is the B. And as you know from the rule of scale degrees, the B is a minor seventh chord. A B minor seventh, Good. Okay, so just going through briefly through the scale degrees in key d from number one to number eight. Number one, of course is the D major seventh. Chord. Number two is the E minor seven. Chord. Number three is the F sharp minor seven. Chord. Number four is the G major seven chord. Number five is the dominant seventh. Chord. Number six is the B minor seven. Chord. Number seven is the C-sharp minor seven flat five, the C-sharp half-diminished chord. And then we have to go back to D major seven, chord number 6123456. That will be minor seventh is what we call the relative minor. And these are very special relationship between the relative minor, B minor seven and the one that dementia. So dementia is the relative major of D minor. B minor is the relative minor of D major. Of course, the relationship is the same. So now I'm going to use this song, God is good all the time to illustrate that relationship between the relative minor and major because in that song, there is a modulation that happens on the bridge derived form. And through the kinds of things, I can clearly see. God is good the time. Okay, So this song is modulating between key D and F. But the movement really is between the relative minor and the relative major, because now d is the relative minor of key F. D is the relative minor of P, F. If you go to the F major scale, F, F, G, C, F, D is in position six, and that is the minus seven in the key of F minor, of key F minor in position six, of course, is minus seven. Okay? So this song is modulating from key to key. Okay? So it's still a movement between the relative minor, D being the relative minor of f, and f being the relative major of D. Okay, so now let me go back to the beginning point of the song. The song starts in Qi De. God is good. All the time. Song, oh my God. All the time. Through the shy guy. And he's God is good. Gunshot. You do not feed hearing guy. He is Guys. Shy guy. Romney, not new. Great. Thank God is god is not sharing. Oh, God is good. All the time. All the time. You just know. God is God. God is the time. Of course, the song does or transposition modulates from D and then E, The last part. Okay, now, let's break down what we were doing there. So God is God number one, D major. Okay. I just wanted you to look at the voicing of my D, E, F sharp and a missing this inversion of dementia, MDF and the E and the a. So I'm playing at night. The night of course is the same as the two. So D, then D and an arrow on top and on the left I have an even other hair on top, sorry, in doubles. Then a in-between all the time. Then I go to code number six, which is my b minor seven, B, D, F sharp, and a. But now on the left I have B and F sharp. I'm using a different voicing. I'm using this voicing, so these actually just be minus seven, then nine. Okay? What else has to? Because C-sharp is the two of big on the sale of a, B. C-sharp is the name of the two. I'm using this voicing. C-sharp, D-sharp, E, F sharp, and a. So this is my voicing for the B minor. B minor seven. Yes, but with God is all that. I can just play the normal B minor seven shape. And God, he's the time. He put us. G major seven, G, B, D, F sharp, point number four. I'm giving you numbers so that you can translate the sum two other keys, okay? In this next card is card number five, major. Putting it on the ninth. So I'm always adding the lines to my major codes to get at night. So it's actually a major at night. And I'll also maybe double the dose. Whatever you want. Like in this case, I'm playing this quite a stretch. And just that major with an a on top. And even add the F sharp. So now I have something like an S6. S6 is simply means a manager with a six on top. Because F sharp is the sixth note in the scale of a. Okay? So if you want to understand codes well, understand all the scales, and understand all the keys, okay? Because it will open up your mind. So in whatever key you are in, you know the options that you have. So for example, here I'm playing an, a major sixth because I'm a manager with this sixth naught, F sharp on top of it. So it does add one voicings for these gods or God is off praise in this hobby of mine. Then go back to the top. God is good. Time. Snap shots. Same thing. God, it's called number two, E minor seven, the left half E, B E, and the right half G B, D, E minor seven. That can give me an opportunity. By playing this, it gives me an opportunity to add some notes on top. So my E minor seventh is already covered here with E, G, B, and D. Now I have the option of adding another layer on top, because I already have is on the bottom, it's better to add the F sharp. So now I have an E minor ninth, because now F sharp is the nine of e are the two of e. So by adding that to F sharp minor 790, can just call that an E minor ninth blade. That nice voicing. Okay? Another way I also like Laying that E minor ninth would be actually have that E minor. We therefore they need because the seventh that another forth. So it might not nine. Now 11. I can even add that second on the 911. Okay. Because now F sharp is the A's the 11th on the tool and the fault is not voicing for the E minor, but a nice sound. I can even now play the E. Nice voicing. I'm giving you options. I can even just play that. Again. The air or I can crush the two. No, That's sun's more fat. That it nice voicing for the E minor chord and be crushed. Then I have seven. If you like, those kind of fat gods or God is good. You imagine all the time, B minor seven. G major seven. I don't mind. Imagine God is God number one. All the time. God number six, the dark as night. Good. Number four is lined with shiny, or number five, then God is good. God number two, in minor seventh. God is good. Number five, imagine all the time. Got number one, d. Okay. Now of course, on the left hand, I was just doing some movements imitating the best. Okay. God is that God is good all the time. Why is that? God is good all the time. Yes, playing God is good. I'm just playing a G on the right than the left, than God is good. Yes, that country feeling all the time. I play B minor seventh and inversion this time, F sharp, a, B and D. And the left I have b. And then when I switch the F sharp on the left, I switched to the image on the right. God is good. All the time. I'm Trace mine. Okay. So G major seven, G-major over d on the left in mind. Major with a on the left than today. And then E minor. We shine. Guy, this guy, this guy is minus seven, minus seven. And then left and right. And that Giovanni. So there is no fixed rule actually, when I played those things, I'm interchanging them all the time or can not playing something speaks. But that's an idea of how you can coordinate the left-hand, right? God is good. All the time. Oh my God. Oh. Okay. Then the stance of the song, we were seen as God number five, that's a major minor seventh chord number for G-Major, you chose to that number six minus seven, then five major fill us. We code number three, F sharp minor seven. Holy Spirit. The minor seven. Chord number six, that we can G major seven chord number four and testify. Major chord number five. Number two. Minor seven. Chord number five, a major chord number two, E minor seven, number for G major and then to code number, fine. Imagine we were seeing before. You chose. Now we fill us in this place. I can play that image. I'm just playing image C sharp and E, and then add an e at the bottom. So it's a five over three. And then Java, F sharp field, as I'm playing that, instead of F sharp minor seven, I can just play image on the right last one with the minus seven. Now we can stare number four and testing. That is number two minus seven is there by lasting number five major. And he's got number two, major, E minor seven. There. We've never fall G-Major image. Now, let me go to the bridge you and now the relative minus coming in, though I may not stay. So we start with that, the minus seventh and the inversion, F sharp, a, B and D, with B on the left. So B minor seven. Then I go to that five over seven image on the right, B, C sharp, and E with F sharp on the left. Though I may not understand all that. You have foam. Then in this case, we play a minor five, okay? Small adjustment. Instead of playing the image, we now make it a minor, minor five over five on the left. Other plans you have for me. Then to the E minor chord number two. So the miner to mine, am I not E minor or that you are forming? Now, the keys changes. Now we're moving on to f. Now we have now modulating to F minor. We'd go to code number four in the key of F 1234. Number four is B flat major. Some playing an inversion of that B-flat major, which is F, b flat and d b flat on the left. So I'm moving from code number four in the key of F, which is B flat major. Chord number one, which is F measure four to one. Okay, so remember we said now that we are moving to their relative major of D, which is using your hands. And then now we go back to C0 D through their eyes off. I can now move to the two of D minor, then to the three, F sharp minor seven, and then to the G major seven, and then to define and measure. Okay? So again, though I may not understand all the plans you have for me. Now we're moving to F mine mine is a new head. Going back to D, through their eyes to a faith. Three, I can clearly see God is break out of my. God is good all the time. We'll shine. God is good all the time. I like this through the eyes of God is the key. The song now modulates now to E. God is of course got number one is E major. All the time. God number six, this time is C-sharp minor seventh. I'm playing an inversion of C-sharp minor seventh, C-sharp minor seventh chord number six in the key of E, that is C-sharp, E, G-sharp, and B. So I'm just putting this inversion, G-sharp, B, C sharp, and E all the time. A song of praise than to code number for this time, it's a major seventh, C-sharp, and G-sharp minor than two button number five. Major, I'm adding the C-sharp, get up, be at nine. God number one, he made us imagine, or even S7 all the time. God number six, C-sharp minor seven. This time I'm using a different voicing, C-sharp, E, F sharp, G sharp, and B, C-sharp Minor 11th. Okay? Now I'm adding the 11th, which is F sharp. Nine. God number for a major seventh. Shine God number five, the major, B major god, called number to F sharp minor seventh, one to God. Good number five, the major, E major with an at night. I'm hiding that F sharp to get E major, G-sharp, B E, F sharp. So I hope that helps. So the most important thing for you to understand is that movement of the relative minor. How we are moving from D to F, because D is the relative minor of F. F is the relative minor of D on that bridge. That bridge. Back to voicings. Voicings. What is or isn't. Sometimes I just maintain the same codes on my right hand and I'm just changing the left for example. But I'm starting with the dementia. I'm playing this inversion, F sharp, a, D, and F sharp. When I go to this code number six, B minus seven, I guess maintain my right hand of God. Yes, I've voicing of p minus seven. When I go to code number four, is to maintain it. I got good number five. Then maybe I'll change it, okay, so I can just play that. God is good. So we will cover much more in the next songs on this concept of the relative minor to the relative major. And I believe that will help you see in the next class. 7. Lesson 6 Song Example Shalom Jerusalem(s): Okay, okay, alright. And then minus some minor keys, you know, why? Use mainly in the old songs to show an expectation like it sounds incomplete. It sounds like this, something we are waiting for, something we are yearning for. And so that's how you find that most Jewish music was written in minor keys in the Old Testament because it expressed the desire for the revelation of the Messiah. So I want us to look at this song, shalom, and in B minor. So I'm going to be playing the song in B minor. B minor scale is B, C-sharp, D, E, F sharp, G, a. That is the natural minor scale. Now if you want the harmonic minor scale, you just use the natural seven instead of seven to the eighth. So the harmonic minor would be E, F sharp, G, B flat, B. Yeah, that's all. Ready. Jewish. Shalom, shalom. Shutter. Speed. May I speak with a constant speed? Pray for peace. Cheers. Suddenly. Cb, all Volga. Salvation was spot on the law. Wants his cheeks with branches raised up. Peace be with you. Okay? Oh, what a sweet song. So when you're thinking in terms of numbers, and you are in a minus B minus u squared number one. So let's just look at the scale degrees, the chords along this minus gamma. So number one is our b minus seven, B, D, F sharp. And a R code number two will be our C-sharp minor, seven flat five. So that should be minus seven. That's fine. We have c minor seven is C-sharp, E, G-sharp. And b, you can do that flat five, bring down that G-sharp to a G, K. And then I thought God, is our D major seven, the F-sharp and C-sharp. Fourth chord is E minor seven. B and D are fifth card is now the fifth code. Remember, we can either use the F sharp minor seven for the natural minor, or we can make it a dominant seventh so that we have F-sharp dominant seven. Our sixth chord, E is our major seventh chord, G major seven dash G, B, D, and F sharp. Our sixth God is our dominant seventh chord. That is a dominant seven, C sharp, and G. But most, most of the time it gets fine. That's playing it as a major chord without the dominant seventh. Because of the song. We make some little adjustments. And then we'll go back to our code number eight. Number one, minor seven chord. So those are, those are the numbers that we are going to be used using on that song. So the progression of the chorus, the chorus, shalom, shalom, Jerusalem, peace be to you. If you don't know the song, I just go to YouTube and check. Shalom Jerusalem, Paul Wilbur. It's a very popular song. Listen to the song and then try to follow along with the codes. So shall we start with code number, code number six. Remember what number On a scale of B minor is g. And we're playing it as a G major seventh chord number six, shadow. Then we go to course number three, what is God number three on the scale of B minor, major seventh. So I'm just playing an inversion of two major seven. So d Omega is an F sharp, so I think that C-sharp to get a diminished seven. So we are moving from six to three. So from that, G major seven, D major seven. And then it's God is awkward number seven. And this time, instead of playing it as a dominant seventh, we're just playing it as a measure for some of the nine here to get an image on the left half pan. Number seven, peace be to you. And I go back to God number one, which is our b minus f. Okay? And the next slide, when Messiah, we go to our port number six, which is our G major seven. To take us back to God number one, which is our B major seven, minor seven, sorry. Back to our code number six. G major seven. Chord number five, which is our F sharp minor seventh, or even lay, they have chapped dominant 78 that will walk back to court number one to the minus 7th. I'm just playing an inversion of B minus seven, which is F sharp, a, B, and D. Okay? So the chorus, shalom, shalom, with u in U. Then these are violin's patch, a melody that you can play. Yes, I'm melody along this scale. C-sharp, be G, F sharp, 3216. Mei, Mei, he's beef. And then moved to this dance and pray for peace. Cd or Volga. So what is the progression? We start with God number one, the minus seven. The next part is God number four, minus seven. Three and E, and also add the d on top of it. So we moved from card number one, minor seventh chord number four minus seven. And then we've got two chord number five, F sharp minor seven. Then back to code number one, B minor seven. Okay, so tray for peace. Alright. And then, then next patch that salvation was poured out for you. Go to code number four. You might not seven. I'm also add the d, where salvation was spot on backdrop. But number one, the minor seventh. So you've got to put number four and G major seven. And then to code number six, G major 72 chord number phi f minus seven. And then put number one and minus seven. Salk saw with salvation, was spun out. All. The next stanza is the same. Once your street, when jaw long branches. Shalom. I'm just playing F-sharp and C-sharp, B. Then C sharp, and then we shall be mine. And y minus k. Now, we will be looking more into this, but something that are very important that I like to point out before I wrap this up is voicing of these minor chords. Okay? So when I'm playing, for example, that B minus seven, I can place the traditional way. You can voice it is using inversions, okay? When I'm playing that in batch on F sharp and D, and also use another environment, D, F sharp, a, and B. Okay? So land use inversions. They really walk a lot, especially on this extended, extended chords. It really gives you a different sound. Okay? Something else you can do to voice this is adding the 11th. Let you know you have a minor in 11th code when you remember the four. And the four is the same as the y. Nine is the same as 210 is the same as three. 11 is let me start from the back. Eight is the same as one, okay. When you think of the octet on the high side, nine is the same as 210 is the same as 311 is the mass for 12 to the same as five, that means the same as six. So we have a B minor seven. If Japan. Now if we want to be my 11th, and now we have a B, my name, my name. To spice up your codes, for example, if I'm playing E minor and E minor 11, I asked myself what is the form of e? So I put that 11 and also put the d on top of it. Not that I'm playing with the left-hand last, and then the rest of the nodes on the right. And it allows me to add more knots on top and even crushed this together so that I have G and F together. Let's make it sound fun. So those kind of voicings, okay, let me, for example, I can voice. We might not use that. So I have B, D-flat, F-sharp, and they still have B minus seven. Or I can use the sus4 API. So those are different ways we can voice. So we look more into that in the next example. So, see you in the next chapter. 8. Lesson 7 Song Example Lord Let Your Fire Fall(s): Okay, another song example of the minus. I'll be using Paul will bust some non-linear firewall. Once again in B minor. I hope by now you know familiarizing yourself with the sound of the minor kids. Songs that are written in the minor keys. So here in B minor, C sharp, D sharp, G, a, B natural minor, or for their monic minus B, C-sharp, D, E, F sharp, G sharp, B. So remember the difference is that flat seven and the seven, the natural seven, melodic minor, you have that natural 728. And for the natural minor you have flat seven and the eight. B natural minor, harmonic minor. Okay, So, so the song starts on Saturday, this stanza, common, sure, y'all would install on. Oh, oh, oh, oh, oh, comments. I am very sad. Okay. I love this song really. I just loved this song. Talking about a prep, calling down the fire of God. Doesn't musicians, we need the presence of God more than the skill, more than the music, more than anything. We need that 19, another power of the Holy Spirit. So in the key of B minor, have talked about this scale decrease along b minus. I don't have to repeat that again. The numbers straight to the song. Come and show your days off. So that part start with a B minor seventh chord number one. Then you go to court, number five on F sharp seven, F-sharp dominant seventh chord. And then we'll go back to the minus seven Pascal, break down it basically using the vesicles and then we'll look at the various voicings and stuff we can do to just add more color. So basic fast. Code number one, B minor seven, the left half shaft. And then to F-sharp dominant seventh, which is called number five. Number five, F sharp seven, chainsaw com, and y'all. The next line. Let your foot line. Number three are dementia. Okay. On the right, I'm just playing this inversion of D and J and E and F sharp. A dumb ending my seconds to get at the, at night. And I'm also adding my feet on top. And I go to coat number seven. And instead of playing and dominant seventh, I'm just playing image f with a ninth, okay? That's a, B, C sharp, and E on the left half and e. So no, no. Let you fire the progression. Nice. Number three, chord number seven, which is our major nanny of Phi, then to God number four, which is our E-minor seventh annual fire. Then back to code number one, which is the minus 7th. I'm using an inversion of B minus seven, which is F sharp, B and D. So 37 fall. Again, a high dose. So I hope we've got it up to that point. Right? Then the next spot. Now go to the bridge before the chorus, pre-chorus or whatever. I think the pre-chorus, chorus. Week five, chord number four, which is our G major seven. So I'm playing G, B, D, F sharp, that is G major seven. I'm adding a b on top. You find number six. Bucks number we offer you. Got number one. Okay. So Ron Yalta and cotton number four. Number four, is it minor seven, G, B, and D. So E at the bottom and the top. That's gotten number four. You might not have been. Raj. Consume the soccer fans then to code number five, which is our F-sharp dominant seventh. We can also use an F sharp minor seven from the natural minor scale. Depends on the sound you want. So weak. And then the chorus called number six. G major seven. Number seven major at nine. Up to code number one, the minus seven. So then there is a progression of play there. Something lag. Okay, It's just 51765. Whatever variations would want to play, the answer is F sharp minor seventh, the minor seven, G. And even use a slash chord here. Dnn, then B minor 735. Then today one, then to this seven, then six, then back to the one over five. Saw DO by a sharp, B minor seven major. Gmail. Back to d o by If you get the idea. Okay. So I think we've gone through basically the whole song. Now. I want us to get just a little bit deeper into voicings, okay? For example, this is my b minus seven, is actually a B minor 11th because there's not E on top. It comes up be my 11th, God, I'm using this voicing. I'd be my 11th for my b minor chord, four chord number one, calm and your app. D, E, F sharp, a, and B on the left column and days, days or comments. So that once the five, F sharp minor seven and back to the minus 11th, Okay. Something else I can do on the F-sharp minor, F-sharp dominant seventh, remember said on this position. And then in the East F-sharp minor seventh, or the dominant seven. Common days or something else we can do. I can play instead of F sharp diminished seventh here, I can play an inversion here. Still F-sharp dominant seventh, but an inversion of the seventh chord, F-sharp, C-sharp, E, and F sharp. This allows me to add that on top. Okay? Okay. This afternoon, an F-sharp dominant seventh chord with sharp nine, okay, on top. I really loved that. Now, why is this sound? Why this song is very interesting is because this is actually giving us some tension there, the shop and the bottom, because these two are not adequately close. This tension, this tension between the two. Because they are not whichever clause is giving us a very nice sound. I really nice tension. That is straightening up that code a little bit and without it, with each. Okay. So I like that tension, that Saul calm and so you have to see how those interactions are moving. 11 up to that F-sharp, dominant, seven to the sharp nine, right? Common. You'll see used a very exotic sounding like it. Now, remember as I see those lessons, you can also have voice Thisbe minor. Can use that to solve. Like that. C-sharp, F-sharp, B minor seven, common. Yours. You own the demands. They may just say, meaning I'm just playing E and F sharp on top. The D is on the bottom. On the E minor, I'm playing an E minor seventh. Ninth on top. Remember F sharp is the nine of these minor, E minor seven on the left and on the right, G, B, D sharp. E minor seventh chord number four. Number four on the B minus kel. Soft. Enough. Now, this concepts you applying here can apply on any other song. This voicings, for example, we can use this voicings on other songs which are even in major keys. Anyway, you see this code, this minus seven, this major sevenths. You can voice them using these 11s, minus 11, minus nine, adding the fourth or the second to the miner to give it, you know, that flavor, no. Flavors, flavors, flavors, flavors. Okay, so I believe that helps. How about the song? So maybe let me play through the song so that you can really feel the gist of it. And applying all these nice things so that you can familiarize yourself with the sound and try to follow with the media keys also. And you can pause it, rewind where you need to see something. Okay, so calm. And so I'll be putting in Trixie in there so that you can identify them at your own time. You come in half. Yeah. No. Fire. 9. Lesson 8 Song Example Lord I Offer My Life To You(s): Okay, So I'm going to once again take another example explaining the concept of the relative minor and the relative measure. And this time I'm using the song, Lord, I offer my life to you. By Don mine. I'll be using that song to illustrate that concept. How in that song, in the bridge section, the song usually modulus from F to G sharp, the bridge, the bridge of the song, he says, What can we give that you have not given? What do we have that is not all radios. So if you don't know that song, please just go to YouTube and search for low day of my life to you by Don mine and play along this song. So of course, taught by highlighting that F is the relative minor of G sharp. If you look at the G-sharp major scale, G-sharp, F-sharp, C-sharp, D-sharp, F, G, G sharp. F is in the sixth position on the scale of G-sharp. So it is the relative minor of G-sharp. G-sharp is the relative measure of f. So the song he surely modulates from F to G sharp in the bridge of the song. Okay, so I'll play through the song and then I break it down, okay? The intro of the song. I know the stanza. Then I lay them down before my gray. Oh my, my wishes and dreams. Gum. No. Why? Not? Why? Oh, wait. To read. More. My mind. Okay, So wow, wow, wow. Powerful song. Okay. You have to agree with me, it is such a nice song, okay? And so just going to enjoy ourselves going through this song, breaking it down. Breaking it down through. So often my line. The key of just breaking down the chords in the key of F, of course, the scale. And G sharp, C, D, E, F. Okay? Goal number one is F major seven. Chord number two is G minor seven, G sharp D and F. Chord number three is minus seven. Svg code number for b-flat major seven, or F sharp major seven, F sharp, D, E, F. And G. Chord number five is C dominant seven, CG sharp. Number six is D minor seven. Chord number seven, of course, is that B minor seven flat five. E minor. E minor seven flat five, or E half diminished, E, G, B flat, and D. Okay? Then you've got number one, which is F major seven. You still have problems with these codes. Once again, check out my level one costs, which covers these foundations. So number one, number one, F major. On the left, I'm playing C and a. And on the right I have F major, and I'm adding the G, F major and nine. So I have C, F, G, and no, I guess play F major, G minor chord number two. Of course, an inversion of G minor, because the original G minor, G, F sharp, and the sampling D, G, and F sharp. From that G minor, I go to F Major, F major, G minor, F major. So you have to be comfortable with coding versions, okay. To you. Then I got to code number six, which use D minor seven. I'm playing an inversion of con number six. The original D minor seventh is d, F and C, D minor seven sampling the inversion. C, D, F, been through it. Go to code number two, G minor seven, and everything. That record number three. So from that point, G minor seven, G minor, G sharp, and D, F on the bottom to get G minor seven. Everything now being through. Then to code number three, which is a minor seventh. Everything. Then what is the progression there? Everything I have been through. The left moves to B flat. Right is also on B-flat major. Invasion. Shocked in d, B flat major, or F-sharp major major to C major. So that's four to five. So let me first explain the codes and then I'll explain the numbers. If you want to play it in another key. So on the left is on B-flat, E-flat major, C major, C, then F major, C, F. Then G minor, inversion, sharp, D, and G. Then when you go to the F-major, Now, the left-most to see, then you go back to that G minor in terms of numbers. So in terms of numbers, we have homophone that left me up quite a lot more than we have one, a lot more than we have about four. I then we have one over five. Then two of a fight. Saw. Okay, so let me play the last part of the soft finishing that you might not think that's C major. C on the left. Both options can walk. Next spot. Then, now this gets a little bit different. Okay? The rest of the passage as disseminate the first one, but now this just a different path. Some quantum number for the flatten large city manager or to fight. B-flat, C, D, F major, G minor. All this time, the left hand is on B-flat. Okay? One over five and measure over c. And then we move to a passing chord here. Dominant seventh on the right is C-sharp, E and G, the left-hand side, C-sharp, passing called our D minor seven chord number six. So then the last part of my life, no, blame. So B-flat on the right, Jia on the left. Then we move to C, B-flat, C Major, F major, G minor, F major over c. Now, my mind on the right, see on the left. And F-measure. Some done around. The left is on right. I have fast. The passcode is C major inversion, C, and then B flat major, innovation, B-flat, then F major. So let me play again now through this. Now, okay, The Stanza unseen saw F-Major chord number one. And then we move to code number four on the right, maintaining the one on the left. Number four, of course, on the right is B flat major. In-depth, maintaining the one on the left. Then the next part shares on that. Okay? So you play five over seven mega ohms. Then you'll go back on the left to the right, you have B flat, so it's a four by one to come. Then you'll land on the F-measure. Then. Mahasi know my friend. My hands. I saw. Yeah. So yeah, just begins walking down. So goes back five over seven, then to the sixth, over e to the minus seven. Hello, to my heart, D minor seven, and then F over C, one over five. All of my praise, God number four, That's a B-flat major, and I'm just adding the sea to get up and be flatter than a. B-flat, C, D, and F. Scott. F over here, one here, one over three. My, and I have what's called number two, minor seven. Then two chord number one over three over three, minus seven. And minus seven or the left, my mind and my dead to you. And to code number for B flat major. Number five, C major, unseen. Shares and dreams. To come to my mop, friends walk down. Ok. Now my hand, I leave to you. Now. Let's go to the bridge where now the relative minor movement happens from now. Now wait, what do you lead from F to G sharp? Okay? I just moved to the last part where the modulation happens. So now when you finish that movement, light, instead of going back to M, you now land on the next chord in the key of G sharp, which is a four over two, which is four by two in the key of G sharp. For C major seven, C sharp major seventh, C sharp, G sharp, and C. And two is C-sharp major seven. So then I will start. Now we're in the key of G sharp, okay? Now, do you see the importance of learning how to play in all keys, okay, these things you cannot do if you're still depending on your transpose button. So we move from that C major seventh, sharp, four over two, then two port number five, D-sharp major. One Dan, we then have not given. So you got to that. Five over one. On the right, D-sharp major, G on the left. Not antiport Number six, F minor, I'm just using an inversion of F minor. One. Back to the theme, C major seven, F sharp on the left, C-sharp major seven shape on the left. By knowing how. Then to fight D-sharp major, that is not more than two last one, D major, D sharp major over G-sharp to the six, F minor. Normally. All these lines, 17, five over one, sharp, G sharp, Willy. All these wheelie. This is actually a six, but on the right, we are actually playing an F-measure, okay? But I'm playing it as an F sub S to C, G, C, F on the left. We live. Okay? So only must all these lives. We're getting ready to go back to F. One, we gave back to f. So what is the movement of the last line that takes us back to f? Number two, the C-Sharp on the right, more play the fool. God, number two, minor seven, F-sharp, C-sharp, and G-sharp. So I can play to the gasoline is C-sharp. Number to F-sharp minor seventh. That's why we've got to one over three to shop on the right. I see on the left, and one to you. So you move from that to a C major, C E, G, with a C on top because of the melody. So one game to you. And then you move to a C dominant seventh. That's C, moves to that B-flat to get a C dominant seven, C, E, G, B flat, or shampoo. So these are C dominant seventh chord. And they add up. So we're back to f. So let me play that bridge again. Once again, we have known all Moose Law. So I hope that lives on health practice, that practice that through data a little bit complex. But if you get that, it will really open up your mind to interpreting chord progressions. When you come across them in songs, you, you will be able to say, Oh, I've heard that somewhere. Oh, I know what that movement is. You'll be able to interpret music a little bit more. So I encourage you learn how to play in all keys and know the numbers of these codes in all keys. And you'll be able to move a step higher.