Piano for Performers, Singers & Song Writers

1. Overview & Introduction: Hi, this is kinks can I'm excited to bring you this amazing channel costs for performance. Singers and songwriters. Are you an absolute beginner? But you want to learn easiest systems on the piano so you can accompany yourself. Or maybe other thing is, maybe you are a singer or songwriter, but you want to learn how to play the piano with easy, easy steps so that you can enhance your crafts than you'll find this course really useful. Now in this course, you'll learn the fundamentals of the piano, short and simple videos. Then we'll move on to lead popular chord progressions for performance singers and songwriters, just like this one. You'll be inspired by amazing rhythms and styles like this to take your favorite songs to the next level. You learned basic harmony on the piano, left-hand and right-hand patterns to make boring chord progressions more dramatic like this. You'll also learn passing calls and transitions to make your chord progressions more exciting, just like this one. A singer or songwriter performer. And it's important that you know how to create your own chord progressions. And this course is the right course for that. I'll teach you how to create your own chord progressions from scratch, embellish your sound, and make it sound amazing. I believe that this course is the cause that breaks your free from traditional piano lessons. That takes countless hours, costs so much money. But this course will get you playing in no time with these simple short videos which you can always come back to and enhance your plane. And if you're excited to get into this course, and I'll see you in your first lesson. Welcome, welcome, welcome. Thank you so much for enrolling into this course. And I believe that it's going to meet your expectations. If you have any questions, please do well to send me send me comments within the lesson or in the Q&A section, and I'll be more than happy to reply to you just to give you a little bit of an overview of this course. The course starts with the first section, which I call concrete foundations, and this is a bonus section. So if you've taken some of my other courses where some of these basic getting to know the keyboard, the names of the keys and few chords here and they are taught, then that's fine. Maybe you already have all these videos covered. Just move on to the next session. The bonus sections in this course are not really part of this course, but videos. I thought I would bring into the course to give you a little bit of background. If you've not had that already. If you already advanced more than these very basic stuff, please move on to the next session. Also, I would want to say that this course, it is important to really practice. Along with the course. I've made sure that most of the things are taught in the key of C, Sometimes in the key of G. Because I believe that if you get the key of C down is very easy to take that to other keys should you need to do so? So make sure that you're following the course and I'm playing, following the concepts that I'm playing and play along with me. If it takes pausing the video to get through it. Do that because I want you to get the most out of this course. Alright, so you will see the comments section in the videos. The Q&A session. Anything that you feel is not clear to you, feel free to drop a comment and I'll look at them and reply to you appropriately. Alright, so if you're excited, just jump into the first lesson and let's get going. 2. CONQUERING THE FOUNDATIONS - Skip Familiar Topics: Hello and welcome to today's lesson. For this lesson, we'll be taking a look at the keyboard, introducing you to the keys on the keyboard, the names of the various keys, and what we can do with each of the notes on the keyboard. On the keyboard you have, as you can see, you have white keys and black keys, and they all do the same thing. The white keys are called natural keys, and the black keys are enharmonic keys. The whites key that comes before that to black keys is called C. This is C. Okay? So you can find several Cs on the keyboard. If you have a keyboard in front of you, try to locate all the other sees on the keyboard. So e.g. that's a C. And that's a C because it comes before the two black keys. That's another C, lambda one. Let's see, that's a C, C, and this is a C as well, but you don't see the black keys. Okay? So just by knowing this is C, and if we follow alphabetically, we can just, if you know how to say your alphabet from a to G at least, then you'll be able to find out the rest of the the notes on the keyboard. So if this is a C, Then the next one is D. Okay, So alphabetically is gonna be an E and F, a g. And the next thing to notice there's no H on the keyboard. So a to g is where it ends and the moment it gets where G, the next nodes comes back to an a. So that's an a, a, B, and a, C. The two that I like my students to memorize our C and F. So wherever I see the three black keys, I know that the whites key that comes before as an F. That's an F, F, F, F here. That's an F as well. Okay. And that's another F. F was B on the keyboard. So you just need to remember the two that you memorize, C and F. So B is obviously closer, closer to a C. So I look at my C and then I know alphabetically b comes before c, So that's a B. Okay? So these, these are the names of the white keys on the keyboard. You have a, B, C, D, E, F, G, a, B, and back to the ceiling. Okay. Reagan, as long as you know the name of your whites key, it's very easy to name the black key. So notice that these black keys come in-between two whites keys. So every black key has to whites keys surrounding them. Okay? So that's another blocky and it has two white keys. So you can see this white blocky as a child and then the two white keys as the mother and the father. Okay, so that's an easy way of CNS. So if you want to name this black key, you need to ask yourself which to white keys surround the blocking. And here you can see this black is bounded by a C and a T. Okay? Now, since this black key is higher on the keyboard, if you want to move to the right, you're going higher. So that's going higher on the keyboard. When you move to the left, you're going lower. Okay? And it says this blocky is higher than C. There's a movement and music all the sharp. So that's a sharp movement. So if the block is higher than the sea, then you call it a C-sharp. In other words, it's a sharpened sing. This note is called a seizure. But the nice thing about these black keys is that they all have two names. The white keys only have one name, but the enharmonic keys are black keys have two names. So it's either called a C-sharp or if you want to use the D, then it's called a D-flat because it music when you move backwards or down, it's a flat movement. So that's a C sharp or D flat. So you can see on your screen that C-sharp is what is being indicated. You can also call it a D flat, okay? And we can use this for all the other nodes. So just try and find the names of the other keys. This is going to be D-sharp because it's higher, it's in between D and E. So it's either going to be a D-sharp, E-flat. So you can see E-flat on your screen. But you can call it a D-sharp as well. In the same way, this would be an F sharp and a G, or a G-flat. This will be a G sharp or a flat. And that will be an a sharp or B flat. 3. The most important Scale (Major Scale): The major scale is something that we're all very familiar with, which most people saying as Dory me faster than me fast. So if you've heard this before, that's a major scale and that's the fundamental block of most of the music that you hear out there. The C major scale. So this is a scene. And the easiest major scale is when you play from C all the way up to the C and you have it. So that says, it's very important that you also know the surface, the sulfur notations. These are the Dory me facile at IDO. And in other places numbers are used. In that case will be 123,456,711.1. Okay? Two things that we need to land before we jump into the major scales. Movements. So there's something called a tone and a semitone. So a tone on the keyboard is when you move from one node to another node by jumping on OneNote, jumping over. So for a tone movement, e.g. if you are on C and you want to move a tone to the right or upwards. If you move to the left, thus downwards. So if you want to move a turn upwards, you need to jump over at least, you need to jump over one key. In this case, we hope over the C-sharp and then we go to D. So if I move from C to D, That's a tone movement. Okay? So let's try and find other movements. So if I move from a D to an E, I have hopped over the E flat or D sharp. So this is also another tone movements. Second one is a semitone. Semitone movements. You don't hop over any key, you move right to the next key. If you're on C, you need to do a semitone movement. You move to the next key, that's a C-sharp, and that's a semitone movement. Okay? So if I keep moving in semitones is gonna be like this. Okay? Notice that if we use the C major scale as an example, this is me. Now, you see that to the array as a tone movement. And if you move to the mean, doesn't love tone movements, but from the way to the far, there's no key in-between, so that's a semitone or tones. And from the T move into the dough, That's another semitone. So the easy approach that I would advise you to take is to keep in mind two things. That when you move from a me too far, That's a semitone. And when you moved from a T to a dough, that's another semitone. Apart from this, all other movements or tone movements. So if we want to apply this to the F major scale, e.g. so this is F. So I need to start playing from the F and go all the way to F. So that's my, okay. So if I need to move to the ray is a tone. Remember everything is a tone apart from the mean to the fire and t To do so. I do a tone to another tone. Me know, as soon as I get to me, I remember what I was supposed to memorize and me to find the same dose. So for me, I need to move right to the next key, no hopping far then. And so I do continue my toes law and a t and remember the T two dose and other semitone. Very simple, right? So another approach, which is a very common approach in most of the books that you read. What's they use a formula for the major scale known as tone, tone, semitone. Tone, tone, tone, semitone. Okay? So if you want to play a major scale or e.g. be, okay. You start on the first nodes, then you start counting tone, two tones, a semitone, three tones, and then a semi-tone. So he sat on B tone, tone, semitone, tone, tone, tone, semitone. Just go around the keyboard. Your homework today is to take the individual keys. You start from the first key. So there are 12 keys on the keyboard. You have 1234567 white keys, and then five black keys. So every homework we'll be doing, we'll be doing it in 12 keys. So that 12 keys and they repeat, okay, So try and play the major scales of all the 12 keys. 4. Major Scale Fingerings: Hi, In this lesson we'll be looking at major scale fingerings. So have you been in a situation where you know your major scales so well, but you find it quite difficult to play it smoothly. You, you don't know which fingers to place web. Then let's get right into it and look at my recommended major scale fingerings. Okay, So in order to get these fingerings, I've put together a few fingering rules, which as long as you follow them, you'll be fine. But of course, feel free to experiment yourself to find out what works best for you. These rules have worked for me for some time, so I recommend them every time. So the first rule for the major scales is that four major skills for the white keys. For the C major scale, D major scale, E major scale, all of them except F. The formula that I use is the three-five formula, okay, So you, we have five fingers. But then the nodes in the major scale, eight. So this formula makes use of you play the first three fingers, 123, and then you cross below to the next nodes and then complete with a remaining five. So three plus five then gives you eight. Okay, so let's try it in the key of C. You're going to play a firstNode like that. So the key of C major scale is all these white, right? So 123, then you go below it to the form, and then you complete with your remaining five fingers. Okay? And if you are to retain is going to be the same thing, right? So make sure you so when you are returning, you're going to go over with the third thing I dislike you went up. So I'm not gonna go too much into the descendant scale, but then the ascending scale. So 351234, hi, 71. Okay, so practice this as many times as possible and try and get a fluid and fast. Okay? As fast as you can. And this is quite helpful because sometimes you might need to run a particular skill in playing certain tunes. Like let's say, you're in the key of C Sharp and you need to run a skill from the C-sharp major scale as this way. That very soon. But you may be in a situation where you need to run a scale from maybe the 771 to this kind of core, right? So knowing your scale will help you go fast light. So all this is from the knowledge of how fast you can play a major scale descendent as well. So it's very important, I, starting out on the piano, I saw that's the major skills were so powerful because I listen to songs and realize someone's using just a simple Major scale to play amazing stuff. It might be boring, but I entreat you to really try and get into it. So let's use this three-five fingering to play all the other whites key. So c, we've done C major scale. Let's do the D major scale. Free and then go down for complete with the remaining five, right, on mortality. Okay, let's do the E major scale. Same rule applies. 35. Okay? I'm going to skip the F because that's an exception. So let's do the G major scale. Okay? Let's do the a major scale. Okay? Same rule. The last one, a B major scale. Three, for escape. Okay, Perfect. Now let's look at the exception which is F. F is 44. And this is because first let's try to use a three-five to play the F scale and see how it's going to look like. Okay, so you have 123. If you try to skip up here, practically possible to go like that and then continue. So that's why I say that's an exception. So I use for four to play that. So. First four fingers, 1234. Go and start again when found, and finish with the remaining, with the festival thing as again. So in the F major scale, I don't use my pinky at all. Okay? So one more time. Okay. Now, we are done with playing the major skill for all these white keys. So these are seven of them. Suddenly major scale fingering conquered, right? Let's move on to the major skill for the black keys. Okay? So the rule for major skill involved in the black key. First rule is that you never, you never use. Let me go back a little bit here. The first rule is you never start with the thumb. So one of us sat in a major scale on the black nodes never start with a firm because then you might be stuck at some point. So that's the rule. Always start with the index finger or the middle finger, whichever is comfortable for you. I'm mostly starts with my index. Some use the index finger as well, especially on E flat and B flat major scale. But if you start with, the index, should be fine. So you're going to start the scale with the index finger and the thumb. And let's keep that in mind and get to our second rule. Then we can use both rules to play all the major skills. Okay? Now it says when. So when you are moving from a black key, e.g. a, C-sharp major scale is 123-45-6781, right? So if you are moving from this blocky, you're moving to a white. The second rule says that you move to the white using your thumb. So you're going to use your thumb to descend onto the white. Then you can continue with your index finger. So the C-sharp major is going to go into look like this, considering these two rules. So it's going to be 12. And then I decided my thumb. Alright, then I continue with my index middle finger, ring finger. And then I'm descended again to a wife from a black rule says I need to come down with my phone, then. The one okay, so let's look at it again. 34567. Okay? Let's use the same rule to play E flat major scale, okay? So in order to do this, you need to really know the major scale before you start to use the fingerings. Okay, so I'm going to start on my index finger. The second note is here, so I need to come down with the thumb, the rule number two for the black keys. So 12345. Okay. Now, for the remaining three major scales, you know the rules already, so I'm going to play them slowly and just, and that's medium tempo afterwards. So F sharp major scale, medium tempo. Okay? A flat major scale, slow, medium tempo. So I suggest for each of the skills you study, you watch it. You pause the video, try it yourself a couple of times, then play the video again and move to the next scale. So the last major scale is a B flat major scale. Slow. Okay? And he has a retailer is going to be the same, the same thing as have to play. Saving as a way to use playing the ascended me to be the same plane descending. So you can study it yourself and figure out how to crossover and make it work. Okay, So now the last thing I'll add is that if you want to play the scale in multiple octaves, you need to, then. So e.g. that the rules for, for the C major scale. If you want to play it more than one octave, you can't end with your pinky because then you will be locked. You can't continue. If you do this. You are locked. Difficult to continue. So you need to just go under again and start with a farm and so you need to repeat it. So there's going to be like this. So it's got to be like that. Similar for a key like d. So 12345, just like that. So have some time with the major skills. Play around with it. Practice it. I try to do, try to do, practice the major scale. Figure out the one for your left hand as well. It's usually a mirror version on the left. If you look at these fingers as 12345, It's a mirror version. So if it's a five-year is going to be 53 on this side. So that's a quick tip for that. Try to do them together. Play one hand first, play the left-hand, play them together, and enjoy your practice session. I'll see you in the next lesson. 5. Major Intervals: Hi and welcome. In this lesson, we'll be looking at intervals and major intervals for this particular lesson. Now, major intervals are before we start with major intervals, Let's take a quick dive into what intervals, or in general. Now, see intervals as distances on, on the piano. So the distance between two nodes, some interval. And based on where your reference notice and where the, the second notice, the interval will have a name. So now, why do we need to learn about intervals? It's important to know about intervals because intervals form the foundation of courts and melodic lines that are played. It's very important that we know this so that we'll be able to identify chords that we come across much easily. Okay? Now, there are two general types of intervals that we need to look at. Melodic intervals and harmonic intervals. So e.g. if this interval is in question, interval between maybe the C and the a, as you can see, a state that as the C major sixth interval. And we'll get into that in a couple of seconds. Now, if I play this e.g. in a song, if I play the C and the a like this, okay, by playing it this way, one after the other, it's called a melodic interval. But then if I play it together, that's a harmonic interval. Okay? Moving on. So major intervals now, an easy way to see major intervals is to actually take it out of the major scale. So by, by now if you are taking this lesson, you should already know all your major scales. So e.g. the easiest major scale as what we can use to explain this much better. The C major scale, which is from the sea to the sea. So 1,234,567.1, okay? Now a major intervals i just the distances between the one and all the other nodes. Okay, so 1-2 will be a major second interval. If you go 1.3, That's a major third interval. 1.4 could have been called a major fault interval. The 4.5 have the name Perfect. So there are major fight for and major five, but they are called perfect interval. So that's a perfect fourth, perfect fifth, major sixth, major seven, and an octave. Okay? So that's the easy way to find intervals by just getting it from the major scale. In other books and other theory books, they would ask you to memorize it with semitones. So you may find in some materials that a major second interval. To get a major second interval, it's two semitones apart. So that means if you want to see major second interval, you move two semitones from C12, and that's a major second interval. And that's good because if you want maybe an F-sharp major second interval, you start on F sharp and add two nodes above. And you have an F-sharp major second interval. But then you might not be able to memorize semitones and be counting semitones all the time. So my best approach is if you know the major scale, if I know the F sharp major scale. Okay, if I know the F sharp major scale and I want a major second interval, I just need to play the 1.2 out of the major scale. If I wanted to major third interval, I played a 1.3. If I want a perfect fifth, 1.5 major sixth, 1.7 Major seven, and an octane. So this is how you can easily find out your intervals. Try and do this in every single key, move into the keys. Gets in each key tried to play all the major intervals and it's just built out of the major scale. Now. Exactly. So what's updates idea is that a good approach would be to see that key focus is the lowest note. So if I play an interval like this, you need to pick the lowest notes in the interval as the key focus. So you call it an, a major third interval. If I play this, and that's okay. The a and the D, C, the a to be the key in focus. So you pick the major scale of a, which is 12345671, then you see that easily That's a false. So that's a perfect fourth or a perfect fourth. I've stated. I have a table, a simple table here where you see both approaches. One is using the number of semi-tones to figure out what interval that is. The one I really recommend is if you know your major scales very well, you will easily pick out major intervals without any issues at all. Okay? Yes, So that's, that's all for this lesson. For your lesson assignment, go around the keys, try and pick out every single interval from each key, major, major intervals from each of the keys. Thanks for joining me and I'll see you in the next lesson. 6. What is a Chord?: So for starters, let's define what a chord is. A chord as to more than one nodes play together on a keyboard. So if I play single nodes, That's not accord. But the moment I add one node to it, it becomes chord. If I make a play, three nodes. Are nodes, five nodes, six nodes, seven nodes. All of them are courts, okay? So, but usually two nodes, somewhat in some circles it's called a partial cord. Though most of the chords that you hear about two loads usually will form something called an interval or a duet. But most harmonies that form of 33 nodes upward. So all the chords we'll be looking at will be three nodes, four nodes, five nodes, and so on. So in accord with three nodes is called a triad, okay? So e.g. if I play tennis together, that's a triad. Any random three notes, it's a triad. Random three nodes, I play it. A try. Okay, so with the knowledge of this, Let's go into the next lessons where we look at types of different chord types and how we build them out of the major scale. I'll see you in the next lesson. 7. Building Major Chords: Major chords. What are major chords now? Major chords are the form under the category of triads. Now a triad is a chord with three nodes, okay, So this is, I believe, the simplest form out of which we are going to build on every single other chord. So it's important that you know your major codes so well. Now, two things you need to know very well before you start you get into major course. You need to know the names of your keys and as well, you need to know your major scales, so you need to be able to play a major scale in every single key. So if you don't know this already, gets to the other lessons and practice them. Get to know your major scale and every single key. And let's get started. Now. Major chords, quite fundamental and they sound happy when you hear them the first time. Okay, so we'll look at how they are formed first and then we can proceed afterwards. The first method is the major chord is formed out of the form with a one, the three, and the five of the major scale. Okay, so what am I saying? Let's go, Let's use our most basic major scale, which is a C major scale. Okay? Now this is 12345671 on don't re mi Nieto. This is all the white keys from C to C. Okay? So this is 12345. Now the moment I pick my one, my 3.5, and play them together, that's a C major chord because I've picked the 135 out of the C major scale. Okay, so 135 out of the major scale, you get a C major chord. Okay? Same thing. If you go to the F major scale, 12345. Okay, So the moment I've picked my wine, five. So that's a major chord, F major chord, F major chord, F major chord. As simple as that. Now, this is the most common formula that is used. Okay, So these are two examples I've placed on your screen, the C major chord and then the F sharp major chord, which is 12345. So five, okay? And that's your F major chord. So now one important thing is that I want you to use your first, your thumb, your middle finger, and your fifth finger to play the major chord. So that's gonna be, your fingers are numbered 12345. I want you to use the one, the three, and the five, okay, to play the major chord. And then your left hand. I want you to use your pinky, which is the one. So this is number 12345. I want you to use your pinky one and your index finger. And I want you to play chests, the first and last nodes from the right. So your plane. And that's first and last nodes in your left. Like that. Okay, So your pinky and your index finger to play the one, the one end the file. But that's how I want you to play the major chords from now. So F major chord goes like this. Okay? Now let's look at a second method of building major chords. And this is something which other people use this and they are quite comfortable with. It's called a four-three rule. Okay? So now the fourth rule says that you play a first node, the root node, and then you count four semitones, 12124. And then after that you count three semitones, one-two-three. Ok, So the moment you do that, you can form a major chord. You just need where you're starting from. So let's say you're starting from the key of G, okay, to play a G major chord using the fall three rule, you have 1.3 or four semitones, 1234. And then 123. You have your G major chord. And this can be applied everywhere. D major chord. That's 1234123. Okay, very good. So it's up to you. Just choose which one you're comfortable with. The one I recommend is if you know your major scales very well, then you just pick the 135 out of the major scale. If you don't know them that well yet, you can start using the fourth new rule to figure it out. But in the proceed in the next sessions, I'm going to show you easy and quick ways of identifying all your 12 major chords without any stress at all. So stay tuned and you're going to find out very soon, okay? One thing I like to say that when you play the major chord has this peculiar sound. So if you're just starting out, first of all, the major chord sounds happy. So when you play a major chord, it sounds very happy. Unlike a minor chord, which we'll talk about later. Sounds a bedside. They hear that. But a major chord sounds happy. Okay? So that's the first thing. When you play the notes individually sounds like. Okay, so anyway you play it is going to sell. Use that to figure out if you're playing the correct thing or not. 8. Minor Chords Explained: Hi and welcome. Now in this section we'll be looking at our second quartile, which is minor chords. Now, minor chords are formed basically by changing just a single node out of the major chord. So if you haven't perfected or mastered your major chords, I suggest you keep going through the major course until you have them down. And then once you are done, we can get right into the minor chords. Now let's have a look at how to build minor chords. Now. Remember that the major chord had a formula of 135, which meant that you had to take the one, the three, and the five out of the major scale, okay, to form a major chord. Now, the minor chord has a formula of one flat, 3.5 flats. Three means that you'd have to flatten the third node. And by flooding the third nodes, this means that you reduce the third node by a semitone. If it was a sharp three, you'd have to increase it by a semitone. But if it's a fluffy, you reduce it by a semitone. So this ten nodes, I need to reduce it by a semitone by taking it to the left, okay? The chord that, the major chord, C major like that. But now this has to come here, and then it forms a C minor chord. Okay? Excellent. So if we do this though, this means that we don't have any other formula for the minor chords. All we need to do is as long as you know the major, the correspondent major chord, you can easily alter the third to get your minor chord, the F major chord, it's like that. Reduce the fed by semitone like that. Then G major chord. We use a third by a semitone in that order. Okay, so, yeah, I've dropped all the minor chords on your screen. Let's, let's go through them together. So as I said, C major chord reduce the third. That's your minor. F major. Reduce the third. Okay, next one is a sharp major, or a minor, or a B-flat. So that's this one. That's the major, but that's the minor. Okay? And then, uh, D-sharp, or an E-flat, E-flat major, E-flat minor. Then the next one is a G-sharp. That's a major, that's a minor. Now I'm going to play the minor chords directly, okay? That a C-sharp minor. The major, you just dropped that by semitone to get your minor. Next one is F sharp minor. Okay? And then it moves on to a B minor. And then it moves what? E minor. Okay. And then an a minor, and then a D minor to a G minor. And then it comes back to a C minor. Now I'm using a particular chord sequence, which is called the cycle of fourths, fifths. Now, I'm not going to explain this into detail, but this is the cycle, okay? Now, it's called a cycle of fifths because you move e.g. if you start from the top, you see the C over there. So you start, you play a chord on the C. And then if you move clockwise, it move in the right direction. From C are going to go to a G. And C to a G is a fifth, because G is a fifth of C, right? 12345. And then the next one is a D, because D is the fifth of g12 345. Okay? So if you keep moving in the right, you're moving in fifths. But I like to move in the counter clockwise or anticlockwise direction. And this is, this will be the cycle of fourths, okay? So the anticlockwise direction from C, you're moved to F. And F is the force of sigma two. And then from F you move to B flat 12. Okay? So the practice challenge here is that you're going to go through the cycle of fifths. Cycle affords, and count 1234. Each time we are going to play your minor chord, you can start with your major chord. So each new coordinate plane, you can just print out this cycle and use it as a guide. And I like to use this a lot because then I'm not playing chords from C to C sharp and the quota just close to each other, but this is quite spaced out, a bit random. Okay, So let's start. I'll start with a C. So it's written there, but I don't practice them minor chords. So I'm going to use my knuckles throughout. Okay, So 1234 and C to F four and F minor 234, an E-flat minor. For an E-flat minor. Three for the next one is a flat minor, 34, and then flat minor three for a G-flat minor, which is that F sharp minor, and then a minor to an E minor. And then I move on to the a minor. And then a D minor to a G minor. And then see my, okay. It might not, it might not sound musical, but this is a practice cycle, so I want you to pause the video. You don't need to count 1234, but practice your major and minor chords just one core type at the time. Practice them through the cycle of fourths in the anticlockwise direction. And if you're ready, you can just put on a metronome to give you a specified counts. Maybe 50 BPM, 55, 60, dependent on what you are comfortable with. And then try to practice your chords within the cycle. Once you're done, head on to the next session, next topic, where we will go through a number of practice session chord progression. I'll see you in the next one. 9. Practice with Major and Minor Chords: Hi. We'll be going through a few chord progressions where we'll mix up major and minor chords just to practice a little bit. Okay, so let's look at our first progression. First chord progression is an E minor to C and then an a minor and a D. Okay? So I've made the minor chords red so that you see that it's not your regular major. You need to drop the middle finger to get your minor chord. Okay? So our first chord is E minor chord. That's me. That was a major, that's a minor. And then a C. Okay. Then A-Minor. Okay. So if I take it with my left hand and using the count 1234. Okay. One more time. I just wanted to play like that to get the timing. But if if planar like this is difficult, just leave it and play just once, like 1,234.3. Okay? Excellent. So I want you to pause the video and try to play this chord progression a number of times. And afterwards Let's move to the next chord progression. Now our next chord progression is a D minor, B-flat, G minor. And see, okay, so you don't have to, it shouldn't be that you've practiced this chord progression before. The moment you see it on a chord chart or a lead sheet, you should be able to play it as long as you know the counts. So a D minor, okay, to a B flat major, and then a G minor to C major. Let's try it with both hands and columns. 1.2 and 3412344. Count one more time. Okay, have fun with the light. That same chord progression. We're going to get a lot more into that. And then G minor. Yes. Okay, Excellent. Pause the video and try to complete this chord progression. Let's move on to the next chord progression. Okay, so our next chord progression is a C minor, A-flat major, F minor, and B flat major, okay? So C minor, A-flat major. Then an F minor, B flat major can be good. Go together, one to go, 123 412-342-3421. More time play together and let's pray together. Then after that, you continue afterwards, okay, 343423. Go. So pause the video and then play along, play this chord progression countless times. Make sure you're good with it. And let's try our next and last chord progression for this practice session. So our last chord progression sounds similar to all these chord progressions are actually the same type of chord progression, but they are in different keys. So you realize that every time we play, the sounds somewhat the same, even though we are using different sets of chords. Okay? So in the number system, this would be a 64 to five chord progression. Okay, So if you know that it's a 64 to five chord progression in the different, in different keys. Okay? So B-flat minor minor is a six. So this is, it played in the key of C sharp, D flat, F sharp, B flat minor, E-flat. If you know this, that's perfect. If not, just follow, the courts, will be playing so fastq or D flat. B flat minor to F sharp. Major. E-flat is a minor. Okay? So, and then an a flat major, 1234. Let's go. So B-flat, 2, 3, 4 and 1, 2, 3 4 and 1, 2, 3, 4 and 2. And for one more time, 1, 2, 3, 4 and 1. 1, 2, 3, 4 and 1, 2, 3 and 4. Okay? So try and play the chord progressions that we've studied. Try and play them in every single key. All the four types that we learned. And play around with them, make sure that you, your fingers are very used to some of these courts. And once you're done, head on to the next session, and then I'll see you there. 10. Diminished Chords Explained: Hi, let's talk about diminished chords. Now. Diminished chords also, the type of triads. They are made up of three notes. Okay, So if you know your minor chord, pretty much you will be able to play your diminished chord. Okay, so the formula for the diminished chord is a one flat three, and flat five. So remember your major chord is 13.5. Then your minor chord is one flat, 3.5, right? But then it diminishes one, flat three, and flat five. So what this means is that if you know your minor code, you can just reduce the fifth by a semitone to get diminished chord. So one, Let's shake us that a diminished chord is just a stack of thirds. Okay, So let's try diminished chords and other key in the key of C. You have the one, and you have the flat three. And this is the five flats. Five, you have a C diminished. Let's go to F. You have the one. Flat three, flat five, you haven't diminished and F diminished chord. Let's go to B flat. You have the three flat, three flat five. The reason why I say it's a stack of thirds is looking at a C diminished chord. You can see that this note is a minor third of a C. So if you refer to the intervals lesson, you see that C has a major third of that and the flat of the major and minor third, E-flat as well. That's the major third, minor, third, minor third of that. And this is also a minor three. You can see that the front plane is two. It shows on the screen that is a C minor third. If I play this to say It's an E-flat minor third. So this is just a stack of two minor thirds together. Okay? So like that. So I'm going to put up a couple of diminished chords on your screen. Practice These diminished chords. And once you are done, we can do a little practice using the cycle of fourths with these diminished chords. Okay? Now in this practice, I don't want you to bother yourself to use two hands. But when you are playing diminished chords, you're going to believe that you shouldn't be playing the five here, because you can see that that is here. So you'd have to play, you'd have to play that. So if you're playing the F diminished like that, and then a B flat diminished as well in that case. Okay? But with this practice session, I want you to use just one hand play there. So staffer will start from S0, go all the way round. Haven't practiced this a long time, but we'll see how that goes. We'll go all the way around back to C. And afterwards you can pause and have your time. Okay, so 1234c diminished 2342, 34b flat diminished 1234, E-flat diminished 1234, A-Flat, 234d flat on C-sharp to three, for F sharp to 341-23-4123, 412-34-1234, energy 123, and finally back to our C. Okay, so there you go. You can just pause the video and try, try to play this as low as you can. You may not meet them every day in your everyday life depending on the style of music you play. If you're playing jazz you've emitted it's quite a lot. The diminished seventh, the half-diminished seventh chords. But if you're playing POP or P or contemporary worship, you might not make it so often. But yeah, you need to know it just in case you're meters on a core chat or lead sheet or a song sheet, you can be able to quickly play that diminished chord because you've already practiced this. Yeah, thank you so much for joining this lesson. And I'll see you in the next lesson where we tried to figure out a few uses of the diminished chord. 11. Augmented Chords Explained: Hi. Next type is the augmented chord. Now the augmented chord is simply a major chord with a raised fifth. Okay, So if you see a chord, C org, it's just a C major chord that has the five raised by a semitone. Okay? So the formula for the augmented chord is going to be 13.5. Okay? So for C, this is the C major chord, 13.5. And augmented chord is just going to be five increased by a semitone. That's a C augmented chord. C augmented chord. Let's try for the key of F. That's an F major, and that's an F augmented. Okay? So G, G Major. G augmented. Okay, good. Now, the augmented chord has a symbol AUG, as you've seen on my screen. But sometimes you can see it's written with a plus. So you see a C plus and this means C augmented. Okay? Let's try our hands on and try to play the augmented chords around the cycle of fourths. Okay? So moving in anticlockwise direction, we're going to start on the C style on the C augmented and move up to the move left to the F augmented in that order until we're done playing all our augmented chords. So let's start. I'm wave counts, use 1234, but we count in my head and we go along. If you can play, just play along with me one hand and afterwards, pause the video and try to play it as slow as you can until you have done the case. So 1, 2, 3, 4, 4, 3, 4, 3, 4, 2, 3, 4 and 2. For n. Okay? More to the d from here and moved to the E 0, E augmented wasn't looking on the screen. So from me to the E augmented, then to the a augmented, and then a D augmented. So the geomantic. And back to your C augmented. Okay? You don't have to be able to play this throughout without any errors. But the most important thing is that you know how to play an augmented chord. And if you find it on a song sheet or a quartet, you'll be able to pull it out and play it easily. And also if you want to play the left hand for the augmented core, e.g. C. Augmented. The same rule applies where you play on your left, the first and your last. So I'll just leave it like that or if it's going to be like this. So thank you and keep practicing. I'll see you in the next lesson. 12. Common Time Signatures for Singers and Writers: Time signature shows how music is counted, okay? So usually in a time signature, you find time signature at the beginning of a grand staff. Okay. You see some numbers written on the left corner of the stuff. But I don't want to get too much into the region, region of music, which is very important. But in this course, we are basically looking at how to play these things. How to play the piano without necessarily read and nodes. Okay, So if you look at the stuff, times the nature has indicated somewhat like a fraction but with no line. Okay. So you see a number on top and a number below. And the number on top will tell you how many beats you need to count. The number below tells you the type of counts, okay? So it could be a quarter note which is indicated by four. It could be a half not indicated by two. It could also be one eighth note indicates that by eight. Okay. Now, let me just simplify it right here. Okay? So the most common type signature is a four-four time signature. So that's four quarter notes per bar. So you're pretty much going to come 12341234. So that means if you see a chord chart and the song that goes into four-four time signature, you have to play a one, e.g. uh, 1524 progression in the key of C. And it's a four-four time and you're going to pretty much do what we've been doing all the time. 1234, and then you blend next chord and a 12341234. Okay, Very good. Now, let's try the next common time signature, okay, and this is the this will be the three-four times signature. That's three-fourths times signature. Simulate. So you have three beats, three quarter note, pad measure. Okay? So that means you count 1231231. It's like a swing, right? 12 312-312-3123. So the same chord progression by played into different 12, 312-312-3123, okay? And then one very common types and concise those are the 68 time signature. That's quota. Notice is more like the quota. The eighth notes are somewhat twice as fast as the quarter notes. Okay, So if you count six of them in a buyer that sounds like 123-45-6123, 456-12-3456. Okay. So it's gonna be 123-45-6345, 612, 345-612-3456. Like that. Okay. 13. Basic Rhythms: Hello and welcome to this lesson. This lesson we'll be taking a look at basic rhythms. Music. I mean, at the end of this lesson, you should be able to play simple chord progression like, uh, 1524. Instead of playing it, 123,423,423.4. You can use other rhythms and play them. And e.g. for a one, five-sixths for progression, which is in f68, times signature goes like this. And if you're familiar with this one, this is he's able by tightrope it. Okay? Okay. So to start with, let's understand the fundamental principle of time signature. If I indicate a song and I tell you what time signature you're going to use it to play this. It tells you pretty much where you're going to place your courts. And the courts most of the time comes on the one. Okay? Now, this takes us into rhythms, okay, so you know your time signature. Now the rhythm comes and tells you you can create different rhythms based on how you want to place your cords. Okay, Very simple. Now, e.g. let's take the progression 1524 as we've been playing. Okay? Now, once you've been playing, now is playing the chord on the downbeat, which is the 1234. And then you played every time on the one. Okay? How about you try to be just a little bit more creative? Let's say we want to play on the one on the three each time. So it's gonna be like a 1234. Okay, so let's demonstrate that. So that's a 1, 2, 3, 4, 1, 2, 3 4, and 1, 2, 3, 1, 2. Yes. You're understanding what's, whether it's leading to. So you can try to be creative. You don't necessarily have to play every time on the one beats. You can play it on the one and the three. Let's take it to the next level, SQL 13.4, and leave out just the two, right? 1, 234-123-1212. This is dependent on your tastes. Whatever you want to do, the music is in your hands. You are the creator, so you play what sounds good to you, okay? And if you hear songs played out there, you want to land them. Yet these rhythms, you are familiar with them already. Okay, So let's try another one. Let's try and play on every single copy, play on the one, the two, the three, and the four. Okay, very simple. So that's gonna be 1234, 1234, 1234, 1234. Very, very, very simple. This is a personal preference. I don't like to play e.g. things like that, but I like to play that and I keep my left hand down and I just moved, I guess use the right hand to play the other nodes, the other courts, I guess like 1234123. Very easy. Okay, so now let's let's try another example. In the six-eighths times signature. As I said, he's able that's a good example. And it's a once five-six for progression for the early parts of the song. But it's the sixth, a time signature, so that's 1234561. Okay, So I play the 123456 and then 2, 3, 4 5 6, 1, 2 3 4 5 6, 1, 2 3 4 5 6. Okay. So it goes up like one to five. So 4 5 6, 1 2 3 4 5 6, 1, 2, 3, 4 5 6. Okay? Now you can be, you can be creative and say, okay, I want to play on the one and the four. So I'm going to play one to 615-612-3456. Okay. Very good. So these are pretty much what rhythms or you can try and be creative and you can have complex rhythms. They are rhythms where you are trying to play just before the four you want to create. So usually, usually these cards you have 12345. So you have 12341234, so 12 341-234-1234, right? But you can also have counter this module 34 and 1.2 and 3.4, and 1.2 and 3.4. Okay? So you can be a little complicated and say you want to place a card on the baby to add instead of the two or three. So you got to play 1, 2, 3, 4, 1, 2, 3 and 4. 1, 2, 3, 4, 1, 2. That sounds really good, right? Yeah, more creative you want to play, okay. On the two end. For end. E.g. say you want to go 1 and 1 and 2, 3 and 4, 1, 2, 3 and 4, and 1, 2, 3 and 4. 3 and 4. This is how you relate to take your plate to the next level. 14. Slash Chords and Their Applications: Hello everyone and welcome to today's lesson. In this lesson, we'll be taking a quick look at slash chords. Now the moment you hear slush course, the first thing that might come to mind is, are these courts that have been slashed? No, it's much simpler than you think. So. Sometimes in music when you're trying to read chord chats or someone writes a sequence, of course for you to play around with. You might encounter chords that look like a letter, a slash OS slanted, slanted letter. So that's what a slash and then another meter. So basically the moment you see that the kind of information you can get from that first, the first letter that is shown as the chord that you're supposed to play. And the letter on the right after the slash S, the base, not all the left-hand nodes. So an easy way for you to remember is think of it as it's been inverted. Okay, So if you see e.g. SRC slash ie, think of it, that is ten the other way around. So the one on the left, you actually going to play it on your right. So it's going to be a C major chord. So the one on the left is a chord and the one that the right as a note is a bass notes. So it may be a single notes or you could double that up. Okay, so it's a C chord and the bass note, the E, you play on your left. Okay? So the moment you play that, you see a C slash e. So the C code will then eBay's not. Okay. If you wanted to sound a little heavier, you can easily make that an octave, right? Whenever you play a note here. Two nodes, same notes. Eighth apart, 121-234-5678. Okay? That's an E octane. So you can just lay a C chord and then the E on the right. Okay, So that's a C slash. Okay, very good. So let's try another slash for e.g. say you see an f slash, a slash chord. Very simple, right? You have an F chord without a acid-base, not an F chord with an a as a base. So that's an F chord without a has a base. That's a right. Very good. Now, what are the slash course not the purpose of slash chords is to pretty much make calls that would have more complex names. Simple. Okay? So they have some courts and right now we add beginner level for trying to land these costs might be very difficult. E.g. if, if say I play a simple slash chord like a C major chord, C slash t, right? That's a C major chord over the d. Okay? So this is a very simple chord. If you look at it as a C triad Major columnar right, over a database. But from your screen you can see they're very complicated. Well, somewhat intermediate level code naming. So this is a DNI sus4. But in order to make this simple for everyone to be able to read on the cartridge, it will be written as a C slash d. And that's why you can see on the bottom muscle or alternative name, slash chords are very, very good and they are able to simplify course as much as possible for anyone who is trying to get into playing the piano, to play them very easily. So that's a very important and something that you should be able to master. Handling. We'll take a few others flashcards. So can you try and play a G slash B? G slash B. So once again, that's a G chord with a bean based nodes. Okay? So a G major chord, that's a G major chord with a B based on right. You can either choose to play it with one finger. Double-tap, write g slash B. We'll try one last symbol slash chord. And I'll be, let's try a d slash, F sharp, okay, So once again, a D major chord. Then F sharp pain is not. Okay. So that's a D major chord with a F sub d slash F sharp. Okay? In other lessons, we'll be taking a look at core charts and will become necrosis, some of these, um, these slash chords, so we should be able to play them when we see them. Okay? And one thing you should notice, this chord you play on this side. You can play in other inversions which will be adolescence are taking note of. But if you already know about chord inversions, yes, you can play the chord F. You can play the chord written on the left side in any version that you want and they'll still be called a d slash athlete and play it e.g. first inversion. Second inversion. Okay, so now I'll take, Let's try, try, try this with mezzo. Try to play a C minor slash d. Weighted. Try. If you got that right, that'll be a C minor chord with a D left-hand. Now you see what I was talking about. This chord is called a D7, sus4, and it's a flat line. So this is the intermediate level. This is going to be a very sophisticated chord, right? But no, it's not that sophisticated, is just a C minor chord in already with a D bass notes. And that gives you a very beautiful color, a very nice. Let's try f slash G. So F chord, G, bass note. There's a very nice code that's resolves nicely to the, to the C chord, right? Very nice. Kimmy, try. Let's try. See, sash to slash e, a c sub two. Remember how he plays as two-port the 12.5 u plus c sub two here. They put the B on your left. On your screen. Use ESS C major art to slash E. And that's because the moment the ink comes in here, it's like a major R2 code that we learned before. But you can easily write it as c slash CSS2. Okay? Very good. I will try my last one. A C diminished slash d, C diminished slash d. C diminished. Remember as one, flat, 323 flat, flat five. There's a five. So that's the flat five. Very good. And that's a C diminished slash d. So I just have to play D on my laptop. That's a very interesting chord, right? Try and pick up some core charts. In my course, you are going to look at a couple of core charts. Try and pick some of them up, identify the slash chords in their play around with them, and be able to master how to play these slash course with 0s. Okay? Yes. Thank you for joining today's lesson. And see here the next one. 15. Finding your chord numbers in all keys: In this lesson, we'll be looking at a very simple way to find your numbers in any key that you're in. So this is an easy trick that has helped a number of my students. Now let's say we're in the key of C right? Now. Even though it's really good and it's important to know the major scale. So if you were to play a chord progression like if we were to play a chord progression like 1564, chord progression, you would play the one and then, you know, this is 12345, and then move to them by 64, right? It's very easy in the key of C. But when you're starting out, an easy way I like to teach this is the moment you play. Your one chord. Finger is already on the five. Some people place like this. So in that case your thumb will be on the five. But in this case, this finger is on the five. So that means if you need to move to a five chord, you're going to play this accord on this node, a major chord or that node. So as simple as that. Now back to the one. The moment you know your file, you can find your sex and your For all you need to know is your one and your file. The one gives you the five. The file gives you a 6.4. What am I saying? This is a five, a six, a tone, right? So you can two semitones, that's your six. And then a four is the tone to the left, 12. Okay, so to play this chord progression, I'm going to play that one. I know that's my five. I go down to the five. I know that that's my five. So it's play a minor chord or the six which you already know. And then, and then a forest tone behind. Okay. So when this idea, let's go into other keys. In the key of C sharp. I play my one. This is my five, this is my six. This is my phi. 12. That's my six. And that's 12, that's my four. So I can go straightaway, play this chord then. And then I need to remember that my six is a minor. And then my four. Okay, let's take another unknown key, B. Alright, so this is my one. But Sally does my five by six. This is five, so six. Last 54. You need to know your five and that's takes you to the six and your 41 more time. High. Of course, then you can play a chord quality that you want to play. Okay? One last random key, ie. But this is your e. That's my five. That's my that's my 456 turn up or turn down. So I go that I play my five and then six minor and then afford. Excellent. So let's try one more chord progression. So say you have 1524 chord progression. So how do we find that too? Now? So these are the common ones. The only remaining one here is at 3.7, which you can use other ones to find, right? So your two is going to be a tone to the right of one if you count 1234. So the one, this is the one in the key of C, The two sets, a tone to the right. So if I'm playing one and I moved to the five, I need to go to the two. I just know where my one is. So remember, you need to know, at least you're wondering your phi, right? One makes you find a phi easily. Now, this doesn't go to say that you shouldn't know your major scales so well. You need to know them so well. But when you're starting out, This is an easy trick that can help you go much faster, right? So 15 and then a two, which is also a minor, then a four. Okay, very simple. So one more time and two. And therefore, if I do this in another key, so try and pause the video and play this in the key of D flat. Lay 1524 in the key of B-flat. You're able to do that. Awesome. Now let's do it together. So 11, That's my five. I know my two tone from the one. There's a minor, then my four minor. Four. Okay. Excellent. Use this technique to play favorites chord progressions. Google your chord. Chord progressions, find them in court chats, and you might, you may find them in actual notations like C, a minor, D minor, and so on. Convert them to the number system and use this easy approach to play them in all the different keys. Thank you for joining me in this lesson, and I'll see you in the next one. 16. Using the sustain pedal: Hello guys and welcome to today's lesson. This is going to be a very short lesson, but very important. We're going to look into how to use the sustain pedal. So I'm sure most of you have been wondering, probably if you've not used a sustained pedal yet throughout this course, you probably have been wondering how come when you play your cards sounds a bit separated. E.g. if don't mind the quotes I'm going to play here. But I'm willing to try and play a piece without a sustained pedal and try it with using the sustain pedal and see how it goes. Okay, So e.g. okay. Now I was quite centered. Even use a sustained bit of I try as much as possible not to play. And if I tried to play the same piece with a sustained pedal, decided my son. Sustained, but that makes it more fluid, right? Okay, very good. Now, so the sustained, sustained pedal is basically used to make the chords sound more together. Okay, so if I play e.g. a, C major chord like this, and then I moved to an F chord. And then I motivate. You. See, the moment I left my hand from the keys, the sound stops. Okay? I'm playing a simple 1564. Okay? I'll favorite progression. Alright? But if I use the sustain pedal, a difference. Reagan. So one thing you should be careful of this one using the sustain pedal now you cannot place your leg of the petal and just play. Put your leg plus plus your leg on the paradigm plays throughout life. Yeah, Then everything comes together. That doesn't sound good. So you need to make sure that every point in time, the sustain pedal, the sustaining one chord. And the very easiest way I teach my students to do play step approach. So what we say is you play the chord and then you step. Okay, so let's practice very slowly. You realize on the screen you see a green sustain. You see something written on the top of the keyboard saying sustain. Whenever I hit a precedent, the pedal, you see it light up green. Okay, you can use that to follow. And for electric keyboard, you can buy any sustained pedal as small as long as when you play it sustains the notes, that's fine for the main acoustic piano, the big ones you're going to be using the panel on the right side. Okay? This is a beginner course. So we can try out 1564 Eigen. Now using the sustain pedal, there's not gonna be easy the first time, but you need to just take your time and get it right. Okay, so we're going to do a play step three for k. So you need to play the second chord and then you step on the pedal. That is going to do is the moment discord. This is fine. This is the first score, so no problem with that. The moment you play the second chord. Now it's a mixture of the face and the second chord. Now you need to take your leg off the pedals so you see it's all the nodes are lighted up on the screen. So I need to lift off my left on the pedal to take the old code out before I step on the score to sustain the core again. Okay, So on my screen you see don't want to buy sustain aquatic tense, oranges, red. We'll try it again. Play. Step. I take my hand and move to the next chord. I play. And then I step very quickly so that the sound changes very fast and I play. And then I step 343-423-4234. Step three, okay, four. So play step. You just take your time and visualize it and think about that. Play step, step, step four. Alright, so it's just gonna be practicing this progression. Step, step, step four. Step 34. Okay, So if what, when you play the second chord, you need to take off your leg from the pedal. Advice step in movie or left of epileptics of the old card. And by step in you, you pinch down the new chord. Okay, so try not to take off your leg from the pedal whenever you take your hand from that's new courses and x squared, right? E.g. if I like this, and I move and I take my life on the pedal, oops, I love the sound there, but I need to play. Hold it down, move my leg is long, the petal. Then I play and then I step. Okay. For a knife. See how fast that is. Four. Okay? Try not to take off your life on the planet right before the chord. The next chord hits like e.g. try not to do this until he had a break right there, this coordinates to come down. And then as soon as it hits the leg goes off, that step, pushes it down. Okay. I'll try one more time. So step three for me. It's the three foot splayed together with me for lays down. See, I got to take off my hand from the keys and it's still fine, right? 343-43-4234. Okay. Just try and work with this. Try and play most of the songs that you already know. Play them. And while playing them, be using the sustain pedal, all the songs that you know already and master or perfects. This might take a while, but take your time and let's get it right. Okay. Very good. Thank you for joining today's lesson, and I'll see you in the next one. 17. COMMON CHORD PROGRESSIONS FOR SONG WRITERS AND SINGERS: So now that you have some of the basic ideas, Let's try and figure out what some of the common chord progressions are. Basically chord progressions or how courts are arranged within songs. And you'll find that some chord progressions are used in hundreds of songs. So it's good to learn some of the very popular chord progressions which you meet. Lots of music out there. Alright, so let's get right into it. So we'll start with the first chord progression here, which is the 1564 chord progression. Okay? We'll try and demonstrate it within a key of C and G. So you have a good idea of this in the key of c123, 456781, okay? So you already know how to pick these notes easily. So if we play the very fast code, which is the C major chord, which is the one, right? Okay. This thing guys, on the five. So if we count 12345, but an easy way to see it, which you know already is by just looking at this thing which is undefined. So that's a 5.6 is the next one, right? Madison and a minor, not a major, but minor. And then the four on the left side of the file. Okay, So 123,456.4, because this progression sounds like this, to try and pause the video and practice the scope progression would be very simple in the root position. Okay, so three to the 5,234,634.4. This is already music. If you're saying, you can try to hum along, right? Alright, very easy. So try and play this chord progression with me. See in the key of C is very simple. So if you're starting now just as in the key of C, If you are comfortable to roll in a few other keys, Let's try it in the key of G as well. So the key of G them is the one will now be G, right? Okay? And then my, my finger is on the five, so it's a D major. I go and play D major. Alright? And then to the six is just a whole step ahead. So that's, I played a minor chord here, not E major, E minor. And the four is just behind the five, right? So it's 1564. I'm sure you've had this in countless songs, right? So let's give it a go. I'm all time. Alright, Very simple. So try this chord progression. Make sure you're comfortable with it, at least in the key of C, and try a few other keys as well. Then when you're done, Let's move on to the next chord progression. Want to try out. 18. 1 - 5 - 2 - 4 Progression: Hi, so now that you are cognizant with 1564 chord progression, Let's try another common chord progression known as the 1524 chord progression, right? Okay, so just like the 1564 in the key of C, this time we replace the x with a two chord, is a common chord progression. You might pick up one of these days, okay, So that's the one and the five. The two chord is just one step above the one. So this is 12. Okay? So that isn't a plane, a major, we'd make it a minor chord. By nature. Diatonic scale is a minor chord, okay, so 152.4. Alright, so let's try it together. Just play with me. Okay. Let's go off to the two. A ride. No quality versions, simple, straight triads. Okay? I want you to practice this with me, alright? And that's important that while you practice this, you say 12341 so that you make sure that your one chord is meeting up with the, the one is meeting up with each of these costs you see on your screen. Okay? So you can start to use a metronome, start with 40 bpm, then aqueous and 545 BPM. But yeah, good with that. Go to 50 BPM, 55, 60, 65, and so on until you're very comfortable. Okay? After practice it and like EOC, Let's try it in the key of G as well. So this is our one in the key of G, and as we did already, are 55. We know how far is here. But we can find out to quite easily, which is this one here. Because this is 12 is a whole step above one. So he counts two steps and the last two. And it's not a major, but it's an, a minor because 236 are minor chords, okay? So especially 2.6. Okay? So let's take the whole chord progression together. 3 and 4 and 2, 3 and 4 and 1, 2, 3 and 4 and 1, 2, 3 and 4. Okay? So this is how simple courts can just make beautiful music, right? Yeah. That's, that's how straightforward. So you can pick some eggs, example, songs. He F sub comes to mind. Because, because of the nature of this course, most of you have different genres you are interested in. But I'm sure you guys can pick that. This sounds like a song, you know, you can sing along it and play with it. If you're in gospel, you may have different sets of songs, pop, R&B, and so on. Alright, so that's good. Keep practicing this chord progression and once you're comfortable with it, let's try the next chord progression in the next lesson. 19. 1 - 2 - 6 - 4 Progression: So let's look at another common chord progression known as the 1264 chord progression. This 1264 chord progression is a little sentimental and in emotional in the way that it sounds. Okay, so let's give it a try and see. Now you know how to play a 1,564.2. These are the codes you'll be meeting a lot in music. Alright? So we just rearranging these two sound differently. And you see that the example of vendors halo by B and C, If you don't know that you can just take a quick listen to it and hear how that sounds. Okay. So it goes so one to the 264. Right? So just like that, 1264. Okay. So like that inhaler goes I'm going to not allow the vessel saying it. Alright. So that's the whole song. Of course, the plates with some kind of patterns which you might take a look at a bit later on. But this simple for courts make up the whole song and it sounds amazing, right? Let's, let's try it in the key of G as well. If you're just coming out with a key of C, by all means just played in the key of C, at least move on to other chord progressions. So you can complete this course and then come back to the chord progressions and play them with few other keys, right? Especially the key that you are used to, because as a single or songwriter, you have a key you are used to, so at least try and play to the key of C, and that's key before you move on to another case. Alright, so let's write to the key of G as well. So that's the one, that's a two. And then the six. Alright. So I want you to pause, pause the video, get these costs down, and once you're ready, unpause the video and less play together. Alright, are you ready? Let's go. We'll start with single chords. Now. Two columns. Three on 1.3, right? 12341231, more time, but the two calls, 1234, 1234, 1234, 1234 parts, 1234, 1234, 1234, 1234. Alright. So try and play this chord progression in the key of C and G, or C and another key which you are conversant or you are more interested in. And once you're done, Let's check out the next common chord progression. 20. 6 - 4 - 1 - 5 Progression: So let's take a look at another popular chord progression, the 6415 chord progression. Write this. This is a very popular chord progression using the song all of the, by John Legend. That song, it sounds something like this, right? All right, so this is clearly the key of a flat or G-sharp, whichever, however you want to call it. But let's take it in the key of C, okay? So 6415 in the key of c12, 3456 minor. And therefore just as bad. And all the way to the one which is C itself, down to the five. So in John Legend, intro was played with chord inversion. So you see that the courts were moving around, which we'll talk about a bit later. But if you play it in the worst position only which I recommend you do if you're just starting out and it's going to sell on 641564. Now let's let it just with just two counts, 12.6 and 4.5, right? So if we were to play this with the kind of rhythm with Gillette, it goes left. It goes down. Okay. Just something like that. I'm going to leave you to try and leave you to try and play this by herself in the key of G, Okay, so that's your assignments. I'm not going to do, do it in the key of G. I just did is the key of C. You're familiar with all these chords from def for the previous lessons. Try and play it by yourself in the key of G. And let's see how that goes. So you can write to me and let me know how that goes for you. Let's check out the next command, chord progression. 21. 6 - 4 - 2 - 5 Progression: So let's look at another common chord progression that's 64 to five chord progression. Once again, you are already familiar with every single core type within this progression. So let's put them together. Okay, So the key of C, That's my whiteboard. Alright, that's my one chord. And that's my four chord. Alright? Then the next chord is a tube. And then a fine. All right, so let's put them together. So six for two. And that's a five. So let's play them with in timing. While to 3.34 to the 2.5. Alright, Excellent. So let's take it together. So 1,234.2 to five. Alright, perfect. So this is a simple chord progression, which I would like to dwell so much on. All I can say is just try and play this in other keys. Try and practice this it is, I'll leave the key G for you once again as your own assignments. So pause the video, try and do all this in the key of C, in another key. And then let's try something else in the next lesson. 22. 6 - 1 - 5 - 4 Progression: Hi, so now let's check out another common chord progression. And this is the 6154. Alright, later on in this course, I'm going to show you how to come up with some of these chord progressions, some of the easy formulas you can go about them. Alright, so let's get right into it. Right? So this is a song by Adele. It goes 6154. I think it was played Nick EOC, either key of D, like. Alright, sounds like that. If I play this in the key of C is going to be like this, right? If you know that song, it will sound very familiar. Right? Now. How do we play? These chords are already known to you. So we start with a six chord. In the key of C is our sixth chord. We move up to the one, then two, the five, and the four. Alright, so if you hear this somewhere, you know what's kind of publishing is going on. So let's try one more time. So 41234234. Now, this is platelets and regular 44 time signature and giving each chord four counts. But in actual song, sometimes each chord can be given a different number of counts, e.g. in, in Hello by Adele, it goes by. So it goes so you see that the six and the one. Okay. So this 141234, something like that. So you see that if you count, you realize that the six and the 1 h then the four count, so it's like one. So 12341234. So it's playing to courts within the full four beats. So I place the six, the first code on the third, one. First count, the second chord on the third count, and then plays the third. The third chord again, count one and column 312-34-1234. And even on that three is not really fallen right on. I don't want to confuse you with eighth node counts and so on. But in this one I want to suggest feel how the song goes from one to the right. Just like that. Let's try it in the key of G. Okay? So key of G. So that's my six chord. And then my wildcard. And the five and the four. Okay, Let me go a bit lower so it sounds a bit more dramatic. Alright, so alright, Friday. Alright, yeah, how dramatic and how epic that sounds. Only simple major and minor chord. So there's what it is. I mean, if you're starting off as songwriters, songwriter, I knew you'd go into simple Yard has like pop music or easy worship genre. You know that major and minor calls can take you a long way. Trust me. Alright, so now I want you to try and play this chord progression in the key of C and G, or in place of g, you can play the key in which he's saying, as a singer or songwriter, the key liked to sing in or the key in which the person you play for licensing it, try and always practice C and that's key, at least before you take it, all the other keys. If you want to go high level professional and against the intermediate and advanced level, by all means. You can try to play this in all 12 keys, alright? And that's what I usually recommend. But starting off starts in the key of C and one other key, depending on your choice. Alright, thank you for joining me in this lesson. I'll see you in the next one. 23. FIND SONGS ONLINE AND PLAY WITH EASE: Hello everyone. In this lesson I want to show you how easy it is to actually search for your favorite songs online and get free coffee chats for them. Alright, so just open up a browser. And let's say you want to learn how to play Lean on Me. Famous Classic. You just type in here, lean on me and use a loud want you to use the chat, okay, because if you go for sheet music, then you get all this course. So you want to go for core charts and if you can add PDF suggesting kids as a PDF option. Alright, so you click that through. Then. See what's written here. In the pictures. We can see a couple of them and let's click this first link and see because it has PDF attached here, I'm going to hold my Command and just are, just right-click it. And I'll say open link in new tab. I just want to see how that looks like. So automatically I have a core chart here or song sheet. And in the next lesson I'll show you how to go about this. But basically with this, you need to know how the song goes. So here I can see that a song that starts with G, So obviously is in the key of G. If you can play the key of G, That's nice. So it starts with a G chord. Sometimes in our lives and the lives you play the C chord and so on. Alright, so let's check maybe there are other ones. Maybe you don't know how to play the key of G. Let's check some of these other ones. See this one here is the key of a conscious counting on a here. Let's see if you are lucky, we get one in the key of C. This one is from a different side. So when it's in the key of a as well, we can see clearly that this one is in the key of C, starts on C and so on. So you can download these ones from there. As you know, sometimes the core charts are not piano chord charts, so it might be a little troublesome, but yeah, you get, you basically get the idea of how to search for these called chats. If you'd like. You can also say lean on me called Chat key of C, e.g. so that's the core. Chess.com are more friendly. If the key of C is what you want, then you can, you can click, go in and check some of the websites out. See that here. Let's go to the chorus. Lean on me. When you're in a strong to the F, I'll be afraid to the c sub u, right? So this website is actually pretty good because it's showing you, if you are a guitarist, show you the courts. And the keyboard is you have your core tier. So with this, you can just print it out and you're already playing your favorite songs. So in the next lesson, I'm going to show you how to look at some of these examples and play them as you go. So as long as the Lambda cords, if you don't know the chord here. If e.g. you see a call like a G7, then you don't know how to play G7 on the keyboard. You can always type G7 chord and say piano. That is if I've not taught to you in this course or you've not Leontief for many of my other courses, then you can pretty much type G7 chord here, piano. And you can see some pictures of a G7 chord. So the G, B, D, and F, which is the seventh on top. This is how you can make it easy for yourself to play your favorite songs in pretty much no time. Alright? So if you're sets, such as some of these, I want you to search two or three of your favorite songs, get their song sheets down. And as we go through this course, start playing along with me. Alright. Thank you for joining me this lesson. I'll see you in the next one. 24. Reading Song Sheets: Hi. In this lesson we'll be looking at how to read song sheets. Now. Sheets are very important for us as singers and songwriters because you want to be able to go online and pull up your favorite songs and start playing them. Alright, so let's look at some of the things that go into reading from song sheets. Okay, So the way the songs, these sheets are structured, requires that you at least know how the song sounds like. You can't be completely alien to the song. So you need to be a little familiar with the song. The difference between that **** in the classical, Oh, **** music written on the grand staff is that those ones come with counts. But this one, you need to know at least how the courts flow. And then somehow the song flows, right? You see an example that I'll put up right now. So happy birthday, Happy birthday to you. We all know how to say this, because I know how to sing happy birthday to you, happy birthday to you, happy birthday, dear Kingsley, happy birthday to you. I know how the song is moving. So I can go online and type happy birthday song sheet and something like this pops up. Now if you look at the song sheet right there, you see that the C chord, F fully three chords and the song C, G and F. C, G and F. Alright, so we see that there are only three chords in there. So now let's, let's, let's check this out. If you look on there, you see that the C code is written on top of the B. The G chord is on top of the Zhou. So happy birth. So happy day to day to day. Happy. Day two. You see how it goes so that the song sheets are written such that you have the cord coming right on top, off the top of the word or the lyric, that part of the larynx. So this guides you to know where to place the cards. Sometimes there might not be very accurate and where's blended. But because you have a feel for how the song flows is very easy to figure out how to move with this. Alright, great. So let's take out another example. The first known well, still same PLC. So the first know well, the angels, they say, right, What's this 13 Porsche person feels? I'm saying, Hey, okay. So we see a couple of coarser than the sea. Coal comes on the first. No. No. Well, see that? The email that comes at the end of the Noel know where the shadows day, seeing worst rosters for the day. Okay, so let me try to try to play this with both hands. So the chimps was to pour. Stay. Alright, so you get the idea, you, by just knowing how the song flows and how to move within the squad. The song sheets will be very useful for you who wants to be able to play from the right. So it's, it's very simple to play from some sheets. And I'll encourage all of you to just pick up some sheets from online songs you already know. And hopefully you find some of them in simple keys, which are in the key of C. If you like, you can type your song title and write songs sheets key C. And you see some of these nice simple song sheets coming up which you can always try to get down. Alright, so try a couple of songs online and let me know how that goes. I'll see you in the next lesson. 25. Reading Chord Charts : So now that we know about song sheets, let's take a look at chord charts. Alright. Core charts are a bit similar to the song sheets, but they can come in two different forms. One type is something called a lead sheet. Okay, So how is it structured? One thing about the niches that were the lead sheet, you'd have the melody written in the staff, the treble clef. And you'd have caught written on top of that. This, this, the top part you see this is like half of what you usually see on the ground stuff. So the treble clef and the bass clef, what you see on the sheets, I usually just the treble clef and you see a melody written in there. So this is in the key of G. And you see a melody like, let's, let's, let's, let's ignore the melody there. But these lists lead sheet right here is giving you an idea of the exact location where you put the courts. So it's 34 times signature for this example, because there's 1231231. So the G chord comes on the one half, p123. Just ignore the D7 and play regular D chord. Happy. So happy to have, happy, so happy birthday to you. Happy, bad. To write. Plays a G, Happy birthday, happy to have paper to write. So this gives you a clear indication of where it's located. So if you read accounts like 123123, so even if you didn't, you're not familiar with the song, will be quite easy to just get this and count and move along. So this is an example of that. Now, poplar called chats, which we may get online sometimes will look something like this. Now, in this one, you'd need to pretty much know the song. So this once again, you need to know the song and this also gives an idea of the count. Gives an idea of the account is in a treble clef. So it gives you the key, it's played in the time signature. And you see these trucks there tells you 12341234. So you can see that the G chord comes on two counts. D chord comes on to towns. A cord comes on two counts, and then a B minor, right? So clearly this song is the key of this is muscle. So this gives guess. I just don't want to confuse you with the keys here, but let's just follow the course that are being written there. Okay? So if you play the G chord song, as we say in the key of D, alright? But the key signature written then, just ignore that. 11 flat is not the key signature for the DRI. That'll be two sharps. Okay? So if we try that, It's gonna go G to D, two, a to B minor. Okay, so let's try that. So it's like 1212122. If I play through the whole thing to to to to G, to B minor, to G, a, B minor, G to a. Two. By just, I know the song writes, It goes like the last time. Oh my so worship saying like for the whole name. Alright, so you see that the core chats, knowing how the song flows, it's easy to just go out there. Pick, pick. Go online, Google. Your favorite songs, get there called chats. Play with them. Make sure that you know, of course, the enter key or comfortable in starts with a key of C or edit key you're comfortable with. And play your favorite songs with their core chats. Trust me, this is how you want to grow by playing songs and learn how to play songs using all the tools, tips, and tricks that we discussed in this course. Alright, thank you for joining me in this lesson. I'll see you in the next one. 26. CHORD INVERSIONS (SINGER / WRITER FAVOURITE TOOL): Hi. In this lesson we'll be looking at something very, very important in playing the piano. And this is, these are called inversions. I'm pretty sure you've heard about them before. But in this lesson we're going to demystify what chord inversions or make it easy for you to start applying them in your sum. Let's get right to it. So chord inversions, we need to let us know what they are before we start to even apply them. It's just taken a chord and flipping it, right. Let's see how they are formed. Now. Let's say you have a C chord, write a simple C code. Now, if I take the bottom note and take it up here, if I take this bottom node and take it up here, what I've done is I've just inverted or flipped the chord so such that the bottom is no longer the roots. In this case, if you play this chord, played it this way is called a root position. So this thump on the C, The C is the root of the chord. That's why it's called the C chord. And if I take the route up, then the cord is no long as still a C chord. C, still a C chord. But it's looking different because it has been inverted. So it's a C chord but inverted no longer than root position. Alright? In the same way, if I take this one here again and flip it one more time, There's still a sequence because the main components of the code has not changed. You have the C, the E, and the G That hasn't changed at all, right, so remains exactly the same. No matter how I play it, the so-called secret. Let's do a little experiment. If I keep my left hand here on the roots, you see that even if I change the code written on your screen, still says it's a C chord. All right? So this is how called inversion is formed. So this first one plate here, which we've already always been playing is called a root position. And the moment I take the lowest note up, it's called the first inversion of the C chord. Alright, if I do it one more time, It's called second inversion of the sequence. Now if I do one more time, you realize that it comes back to the root position, right? Same here. So that means that C has the root position and then two inversions, first inversion and second inversion. Alright? So there you go. The C, the root position, CEG, first inversion, second inversion, right there. Okay? So while a quick tip, I want to point out is that if the number of inversions, of inversions of that can be formed out of a chord is equal to n minus one m bit tricky there. But what I'm trying to say is the number of nodes that are in the chord. So e.g. the C chord has three nodes. All triangles have three nodes. So if it has three nodes, that it has three minus one inversion. So that means it has two inversions. So that's why the C chord has root position and two inversions. And the moment you try to form a third inversion, it comes back to the root position. So now if we're, if we're experiments with a chord that has four nodes, you see that I call that has four nodes, will have three inversions. So let's try an example like a C dominant seven chord. If you don't know this going, that's fine. We are using this for academic purposes only. So the C dominant seven, C7 chord is formed line that you have this one to that, okay? If this has four nodes, so according to our theory, it should have three inversions. So this is the root position. First inversion will be formed if I take the lowest notes up here. So this is still, still, let's see, C7 chord. So let me start here as the root position. Then. You can do this with me. First inversion, second inversion, third inversion. So according to our theory, has four notes, so it has been nice to have three inversions. Let's see if we can find a fourth inversion. The moment we tried to make a 40 version out of it, it goes back to the root position. So this is what we are talking about. A chord with four notes has three inversions, accord with three nodes, has two inversions, and so on. Alright, so let's, let's, let's try and invert some more colors. Let's take a simple chord like the F, F major chord, F AC. Okay? So let's, let's invert it. So that's the root position. First inversion, second inversion, and then back to reposition. Alright, let's try on escorted deed MAY Jacquard, right? So that's root position. First inversion. Second inversion. Batteries position. Now when it comes to the inversions, I don't restrict you to using the thumb, the middle finger, the pinky. I don't restrict you to that. So in inversion, you can just use anything else that's feel comfortable. I usually would use like them. 12.5, right? In this case, 12.4 feels comfortable for my thing as right, and back to root position. Okay, let's try an invert an, a minor chord, right? So a major minor, a minor chord, that's root position. First inversion, second inversion. Back to root position. The C7 chord, which we already inverted. Early on. Pickup some courts. You already use, try to invert these courts and play around with them. Take the chord, you play the root position, first inversion, second inversion, and so on. And so that when we start to use inversions, misled you invert chords to sound mice. You can follow us as we go along. Thank you for joining me in this lesson. I'll see you in the next one. 27. Smooth Voice Leading: Hi. In today's lesson, we'll be looking at a very important application of chord inversions, and this is something we call smooth voice-leading. Alright, so let's get right into it. So with chord inversions, you have that opportunity to make you, your chord sound more coherent. Okay, and what do I mean by this? I'll give you an example in this one. So you have, let's say, a simple chord progression. You already know like the key of C as popular chord progression. A minor to an F major, right? To a C major to G. Okay? Now this is called the 6415 chord progression. That's 6415 chord progression. Now, you can make this chord progression sound more coherent like this if you play this way. Alright? Pay attention to my right-hand here. Alright? So I play just the right hand. Right? Now this is what we call smooth voice-leading because the melody you hear another voice, the voice of a chord is usually the topmost node. So in this chord, the topmost notes here S the voice. So you're hearing a melody like right. So you see clearly that at the top node is not very far from each other. All the, all the top nodes, one to four semitones is one semitone apart, one semitone apart, and two semitones apart. So you can clearly feel that this is a smooth voice-leading. Unlike if we were to play everything in root position like this, the voice leading here would be a little bit all over the place. Sometimes you want to use that, but this is what this is what, you know. Quality versions help you to do. So it's a show. One thing you want to make sure that if you're like me, you're writing your song and you figure out a chord progression that this is the chord progression that's 651 for a minor, F, C, and G. Then you can try to find chord inversions that sound good to you. So how do you do this? Just pick the very first chord. In this case, this is the corn and you know what the next chord is. So what you're going to do is ensure that the nodes of this code, That's bill, if they belong to the next chord as well, he killed them, right? Where they are. Only move notes which don't belong to the next chord. Okay, so I'm going to an F major chord. That's an F major chord, right? So I see that obviously, not the a and the CIA part of the F major point, but the E is not. So I move that up to the f, which is the only nodes left in the F major chord. So moving from a minor, F major becomes the simple movements, just with the pinky moving up a semitone. And then if I want to bring this down to a C major, I need to start again, check the notes so the stump, the aim of a is not part of the C major, so I move that down to the G. The C is already part of the C major chord, so I leave it right there. And then I move the top nodes of f, which is not part of the C major chord, down to an E, because that's CEG, other members of the C major chord. So that Let's let the first three chords together just do this along with me. Alright? So a minor, F major, C major. C major. So if that's the chord progression that we are trying here, because a minor, F major, and then C major and the G, G is already part of the G major chord. The C is not same. Move it down to the B, the G major chord, G, right? Sorry, GBD. And then I find this last note which is also not part of the geometric or bring it down to, okay. So see that movement from the sea to the G. This is a more fluid, smooth movements as compared to. See the difference there. So this is all the forecasts together slowly. And then 234. Now, what you do is you keep your left the left hand. I just keep the same. I just keep the same meant for now. Okay, so I keep just the, the roots and the fifth in my left hand. So let's play together. Right here. That sounds really okay. Let's try another chord progression. E minor, C, G, and D. Okay, so, so this is the same chord progression but in the key of G. But let's say you don't, we don't really care about the key now. We just have a set of chords which we need to convert into chord inversion for smooth voice-leading, so E minor. And if I were to legislate in a root position first, right, so E minor, C major, G major, and D major. Alright, now let's try and link this with smooth voice-leading. So I play the E minor, I need to go to the C major. So I see that these two nodes are already part of the C major chord. I need to move my pinky here up to the sea. Right? Then I need a G major. I bring my thumb down, my little finger down to get a G chord chord. So that's like, that's the second inversion of the G chord. And then if I want the D chord, D is already in place. I need to move this one so that nodes, if it's difficult for you to see, just build the root position on your left hand. And try to look at the right hand and change the notes to conform to what's on the left, then you're good to go, right? So if you play all these together by 234-234-2341, okay? So this is how, this is how you build an obviously take a little time if you are not very conversant, all yellow, very used to this. It might take a little time, but take your time and practice, at least practice the 6415 progression in a few keys. So you can see that it was a bit of pattern going on here, where I move from the six chord, moving to the four, I just move my pinky up a semitone. And then I move to the one chord. I move my thumb down and then the pinky back to where it was before. And then I move the top two nodes. So each time I'm not moving so much. All right, let's try this last chord progression for this. So see this is a, C, a, G, a minor, and F. So what I played is just a root position version of that. So here I'm going to start with playing the stats in the sea not on the root position. So you don't always have to start the first quadrant and root position. In this case, I'm going to start to see on this second inversion, so that's a root position. First inversion, second inversion. Second inversion. If I were to move to the g, g is already in place, I move. So I can have a look here. The g is here. So I know that I need a B, but there's a c here so I can change the Citadel. And then I need a D. But as I say above that, to a D, Now I have my G. G is a root position. So then I can practice the first two chords. One, then G. Alright? And then if I want to move to the a minor, obviously the a minus here, it doesn't show any notes in common with the a minor chords. I can move all the hand, wants them to get my a minus very close. And a minus what f, just like we did before. These two, oh, okay. I move this one up to an F. I come back to later focus slowly. 1, 2, 3, 4, 1 2, 3 4 and 1, 2, 3, 4, 1, 2, 3. Okay, so so we can go like probably sounds like a song in already. I know you guys sing along while you play it. Right? So this is how simple you can play around with color versions. Just give this a go. Try it. Take up a couple. Of course. It might be cost of a song you've already written. It might be called off a solid you've seen online. Online most likely the underbelly tell you to play it in inversions. But you're going to see C, G, and so on. Just like any song, any chord progression we've handled in this course already. Picked those chord progressions are back and use chord inversions to link them smoothly and see if it sounds much better for you in the context within which you're playing. Alright, thank you for joining me in this lesson. I'll see you in the next one. 28. Melodic Sounding Progressions: Hi. So another way of using coding version is it can help us create a melodic sounding chord progressions. So it can make chord progressions. If we want a chord progression to get a particular melody out that can be used. In other words, if you have a melody and you want to fuse it into a chord progression, chord inversions, the way to go. So let's see how we can do this and some of the steps we need to go through if we are composing music or we are trying to play for a singer in certain scenarios. Alright. I'll switch to the keys here and then demonstrate what I mean by this. Alright, so melodic sounding chord progressions. Now, the main goal here is that we want to choose coding inventions to produce a particular topic melody. Obviously, the first step is that you need to choose or decide what chord progression you're using. So the chord progression of the song, and we have some examples here. So after you have the court fed chord progression down, you need to create a melody leading from one notes of the chord to the other. Okay, and I'll demonstrate this in the next stage with some examples. Then you play the progression using, you play the progression using chord inversions from the various courts. With that's not on the top. What do I mean by this? Let's do, let's do a quick example. Let's say I want to play a C major chord to a G major chord. Okay? Just these two Cord Movement. Now, the next step I'll do like a full chord progression, four cores. But let's say I just want to move from a C to a G. Okay, so I know the melodies that the members of these two nodes, I don't want to create a melody like simple metals, like Oh, maybe all the credit, but like okay, for now let's stick out the external nodes. Let's create melodies just from the notes. Okay, So I want to create a simple model, like okay, so this is a simple melody I want to create, right? So if I play the C chord, I can see that both melodies have the G. So that means that the two cos I need to play, both need to have the G and the C major chord in root position already has this. So nothing to worry about, right? But the G chord needs to be inverted to have the C and the G on top as well. Meaning I can't play the root position of the G chord. I need to play an inversion of the G chord that has a G on top. So if I play this root position, I see clearly that the first inversion of the G chord has the G on top. So I can play in this sense like this. Right? So within these two chords, I can just leave the metal unlike, right? And that's a very simplistic approach to it. So this is a very simple melody. Now let's see, let's see if we can take a look at a more sophisticated melody or something which sounds a bit better. So let's take the same chord progression we're used to from before, a minor, F major, C, and G. Okay? Now this, the melody I've created, I've taken the E out of the a minor, okay. Then f out of the F-Major, out of the next C code. And the D. You might have seen this in a previous lesson. So in this case, that means I need to pick up courts the inversions of these costs that have this melody on top. So the a minor root position is fine because it has the E on top. Then. Now I need to pick an inversion of the F chord that has the F on top. So root position, first inversion. So this is the version I need because it has the F12. And then I need this inversion of a C chord to bring the E. And then this invention of the G chord to have the DMs on. Okay, So then my chord progression, because the melodic sounding chord progression, yeah, Herron the right. So E, F, E, D. That's one melody. Alright. So let's say I want to create. Another melody from this. So I'm keeping the E and the F are the first two chord. Now the G chord I want, I'm going to pick up the, the secret. I'm going to pick a, B, C, and then D. So it's going to sound like, alright, so this is going to sound on, on the chord progression. So if the first two parts exactly the same as what we played before. But now I need to pick a C chord that has the G on top. So obviously that's going to be the sea routes will session. And then the D chord also come back to this invention. So if I play it together again, it's not like you can hear the melody. Let's try one more melody. So feel free to create melodies out of these chord progressions. Alright? And so you have another melody here, which is, so it is a very, very straightforward melody. And for the C chord, a minor chord I'm picking from the F major chord, I'm picking the same C because C is also in F Major. From the C code, I'm picking the sea again. And then from the G chord, I'm coming down to them. So that means my first chord here. If I want to create this melody and use this chord progression, my first chord, the minor chord. Nice to have the C on top. So this isn't a minor. I need to invert it until I have the C on top. So that's root position. First inversion, second inversion. So this will be my first chord. And then F major I also still has to have the CO2. That simple F in root position has a ceiling. Alright? And then a C chord has to have the C on top as well. So I need a root position, first inversion to have that. So let's say the first three chords. So it's gonna be a by a minor, F major, and then C. And then now the G coordinates or the b on top. So I need to have the b on top here. So obviously this is a G chord. I can use right? Root position, first inversion, second inversion. So if I play all together, it's going to sound like I said, a very nice due to it. Let's go lower. Dramatic. Right? So this is how you, if you want to create a melody sounding chord progression, you can use coding versions to help. So you can either start because starts from having the chord progression and then creating melodies out of the courts in the chord progression to get a melodic son and God convention. You can also start from the opposite direction where you have the melody you want to achieve. And then you choose the chord progression with the perfect inversions so that they can sound, that's chord progression, the melody out in the perfect way that you want to here. Alright, so give it a try. Those stick to this chord progression. Choose some other chord progressions you're already familiar with from previous lessons. And try and use this. And while you do this, try and sing along, or try and have some melodies alongside and see how that goes. Thank you for joining me in this lesson. I'll see you the next one. 29. RHYTHMS YOU NEED TO MAKE THE SONG POP: Hi. So in this lesson and the next couple of lessons, we'll be talking about some of the very common and rhythmic ideas you can implement when you are creating your songs. Just so that in case you hear this played on the radio or something similar, you can easily figure it out and perform with it. Alright, so if you are excited to get into rhythmic variations on the piano, let's get right to it. So now, the first one we'll talk about here, something I call the high octane eight nodes rhythm. And I'll explain what I mean by high IoT eight nodes rhythm. Basically what you do as you play. You have a series of right-hand courts. They can be anything. I've given a simple example here, which is 116.4. Okay? So you have, I'm going to use the key of C. I'm going to use this one called look at it now, from now on I'm gonna be using some inversion so you can learn them as you go on. So I'm using this first inversion of the C chord. I play that twice, and then I come to this inversion of the six squared. So you see what I did here. I maintain the top and the bottom and top. And then I move just the middle finger up. And then I have my a minor chord. And then I bring my thumb up to the four. By doing this, I have this progression. Now I'm playing it a bit higher. I'm not coming, I'm not playing it here. I'm going a bit higher in the keyboard register. We will stick to this, this part of the keyboard. And that's why I call it a higher octave. And the eighth note rhythm is now the quarter notes rhythm is 123-41-2348. Loads rhythm. You go like 1.2 and 3.4 and 1.2 and 3.4. So you count 81.2 and 3.4. You take this course, let's say just the C code and plated it loses would be 1.2 and 3.4. Then that's just one. So this one says You play twice over 1 and 2, 3 and 4 and 1, 2, 3 and 4, and 3, and 4 and 2 and 3. And you get. So that's how you sort of introduce and creativity into your plate. You can do this with regular course like This is anything at all you want. But let's, let's try it with this simple chord progression. So what I can do in this case is on my left hand, I guess keep the base the base of these courts. So just the C-like. You keep it in an octave like this. Right? So that's how it goes. Let's, let's, let me bring in a little, just a snap, snap, aim to hear how that sounds together. Alright, so let's see how the slab goes together with this array. Right? Time the loan less parties together. 1234. Okay? Now let's bring our left tightly. You can get a bit crazy there right now. Just pardon me? Due to the recording, the slapped time I hear it in my ear might be slightly different from how you hear it. It might not be fallen much in sync, but feel free to go ahead. I'm gonna put this smart beats within the course so you can pick it up and practice with it. Okay, so it's just taking this eighth notes rhythm and then having fun with it so that you realize all those are. All right. I'm just playing around, right? So I'm just doing that. That's just a way to lead me to the sixth squared. I'm doing it to three, is a very nice melody. Alright? So eight does a high octave, eight nodes rhythm. You can use it in any chord progression you want. You can take this chord progression, 156 for something we did in the previous lesson. And then we go, Oh, like all of me by John Legend. So just similar thing I'm doing it. Alright. So this is how you can just take this rhythm and play around with it. Just feel free to take chord progressions, put them into this rhythm and have fun with them. Alright? And this is a way you can create a beat and then start creating some music for yourself. I'll see you in the next lesson. 30. 6/8 Percussive Piano Rhythm: Hi. So we'll look at another rhythmic variation or a rhythm type on the piano. Now this is the 68 Picasso piano rhythm is very similar to the higher octave eight modes. Rhythm, in this case, is going to be 68 times. So you need to use the six-eighths time signature. Now, there's a type signature goes like 123-45-6123. So it's eighth notes, but only sex within a bar. So it's 1 234-561-2345. So 1.2, 1.2. So if you are playing a chord progression like sex, like this, uh, 6415 is going to solve. Satellites are 1, 2, 3 4 5 6, 1 2 3 4 5 6 4 5 1 2 3 4 5, 1 2 3 4 5 6, 1 2 3 4 5 6, 1 2 4 5 6. Okay, So that's how it's going to sound like. Let's use the example we have on the screen. So it's a 4165. So again, I'm gonna be using called eversion so you can practice them. So I'm going to choose this plus the four chord. I'm going to choose the first inversion of the four chord and then platelets in the higher register for this kind of field. So one, the four chord, which is that F major in this case, and the key of C. And then to the one chord, which is the C major in the key of C, an eye toward a minor which is a 6.5. Okay? So 4165 girls. So if I played in 368 times is gonna be like 123-456-1234, 561, 245-612-3456. And then you're going to want to play it with eight nodes rhythm, so like 12345123. So now we can then easily add our left hand bass, regular business, just like we did previously to it. So it's going to sound something like this for you got to keep the business down. Alright? So this shouldn't end here. Just go ahead, pick chord progressions. You know, I keep repeating this because it's important to apply them to solve the progression is you already know. Alright, So if, if epigastric, you know, is 1264, okay, so one, see, I'm using this innovation for the two chord and then a six. And then I can try that with, alright, Give it a go. Try this 68 eighth notes rhythm. And let me know how it goes in the comments section or in the Q&A session. Alright, I'll see you in the next lesson. 31. 2-1 Notes Split: Hi, In this lesson we'll look at another algorithm which you can use and apply to your songs. I call this the two and split. Then I'll explain how we go about this. Alright, so let's get right to it. Now with a 21 splits, what you're basically going to do is to, of course you have your chord progression. You're going to pick the right-hand corners and play them in eight node patterns by 80 parts, one and 2.3 and 4.1 end, right? So if you have a chord progression like maybe the regular C major chord, eight nodes, 1.2 and 3.4. But you're not going to play them that straightforward. You're going to do a split. So you'd pick the court. Then if you're not used to this, you might have to practice a little bit, but you're going to pick the chord and play the first top two modes. First. And then you hit the button. The remaining alive. If I think that if I go to the F, If I go to the GI, alright, let's try some examples here. First example, we can try 1564, so I'm gonna be using inversions. Alright, so I want to choose in the key of C, I'm going to choose the one chord as this. Okay? And then I come down. So if you're not used to digest, pick it up, and then let's roll with it. So the five chord, I'm going to play a regular routes position of the five chord, which is the G. Then I push it up to a root position of the six chord. And then I play the form like this. Alright? So if I use the split is going to sound like this. So it's a bit of ice size, right? So if I add the left hand towards, probably going to sound much better. So let's let's give it a try. So sorry, one-quarter start from one. Ms. Loaned out. Alright, so let's try this with the next chord, progression, 1264. So I'm going to play one chord here and move it up to the two. And theta six and a root position. And then the four. Okay, so if I play with just the right side is going to be like, okay, So let's take it together. So alright, pause the video and try and play this. Once you're done, Let's try the next, the last example for this video. So 6415 chord progression, popular chord inversion movement we've been doing already. Who use it? For 1.5? Alright, so let's try with the right time. With the write-on we go. Alright, let's say get together with the left hand side. Alright? So you see clearly that it's sounds a lot better with chord inversions and with these rhythms, you can start creatures songs right away. You can start, even if you can pick songs that already exist and we're not playing like this. And it can, may use these to make sort of your version or your cover. So to say your rendition of this kind of this, this is the beauty of these patterns. You don't make it any day. You use them for songs you already know for some sheets you already have tried to use them to create habits or your renditions of songs that already exists, or use them to create your own new songs, alright? And I'm excited to hear what you have. Let me know on all of the social media platforms that I am on, let me know what you've been able to create hours of these rhythmic patterns. Alright, I'll see you in the next lesson. 32. Quarter Note Shuffle: Hi. In this lesson we'll talk about the very common popular rhythm which we've played, used over and over again. This I call the casino shuffle, is basically playing the right hand caught in quarter notes by quaternions. I mean, playing them in 12341234. And this is very straightforward. So this video is going to be very short because we've used this over and over again. Okay, let's try called papilla example 6415. Okay. I don't want to change the versions so that at least you have your use of this and then you can play along with me. So it's gonna go 1, 2 3 4, 1, 2 3, 4, 1, 2, 3, 1, 2, 3. Okay, so if I play the left-hand together, you know, there's this rhythm already, but I still need to cover. It's okay, So 123, right? Just like that. Play along with me. Alright. So I mean, why not? Let's, let's try and play this in another key, okay? That's right In the key of G. So you have six. Okay? If you're used to it, so six, and then I moved my little finger up for and then I come back with a farm and that's one. And the 51 more time. Pause the video, get used to them and they Common Lisp paid to give us 6415. So now if you play it together, so now let's add some drama. Let's take a noaa last time. Just crazy memories. But the best thing we can try that. That's how you use a simple melody to give yourself inspiration to create something. Just like what I did playing around my keys, right? I'm excited to get more and more into these things. I'll see you in the next lesson. 33. Quarter Note Shuffle with 1 note displaced: Hi. In this lesson we'll look at another rhythmic variation. And this is very similar to the first one, the casino shuffle, where you play the chords in console mode. But this time, something interesting that we're gonna do here is to displace one nodes. Let me show you what I mean by this. So let's say you have, you have a simple chord progression. Yeah. You have a simple chord progression. Pop last 6415. Okay? What you're going to do is to shift. Let's say you're playing this call, I like this. 1234123. Okay. And you go to the nasa 123. So 123-123-4123. 412 341-234-1234. Okay. What's you're going to do is the first two times you play this chord, you're gonna take the top note. I shifted up to the next note within the scale, okay, In the key of the chaos is very simple. Just shift it up to the top. Why not? So instead of playing 1234, you're going to play one. You see that it's going to sound like **** displays 1212121. And then when we go to the next chord, which is actually this, we're going to display the top notes. So the next one and play. See that? And when we come to the next color, I'm still going to display here and go there. One will come to that last dollar, which is this displays data. And go, let me play it all together and hear how that sounds like. Okay, So one so like so. Right, so yeah, how that sounds? It sounds different. Sounds interesting. You have the targets called. All you're doing is displacing one nodes. One node day just before you go and you played a 66415. Let's try it on another chord progression. Let's say this chord, 1564. Okay, so I haven't tried this, but let's give it a go. So this is one. Somebody starts by displacing desktop notes here before we come here. So I'm going to play. They would go to the five. Let's start by displacing the top lots year before coming up by six card. But I go here. So let's let's take it together. And if you weren't able to get this right away, don't bother about it. There's just an extra rhythm. You can have your Austin all. So let's, let's take it together. So, so I'll take a lot more time. Okay? So one chord, Five. Okay, Excellent. So I'll give it a go. Let me know how it goes and I'll see you in the next lesson. 34. BASIC HARMONY FOR SINGERS AND WRITERS: Hi, So in this section we'll be talking about harmonies. Harmonies are very important because in creating music, sometimes you want the melody to be harmonized. And by doing this, I mean, you want extra notes that complemented come at the same time the melody is being played. And this is how we form harmony. So we see it as acquire, using it the main part. And another person or other people singing around the same time, he hits in the same time and you are hidden, but singing different notes to harmonize two to conform with what you're doing. So it's important to know about harmonies, right? I'm going to look at the basic levels of harmony in the next few lessons. Alright, so in this lesson we'll look at something like authored harmonies. And it's basically a duet, really a duet, two loads being sung at the same time. So if I saying right, If I say if I if I normalize it by play, play, yeah, that you can hear the plane. You can also hear sources. And that's what the third harmony is, the basic way of harmonizing nodes. Okay, so what's, you're basically use it as just a bunch of major and minor intervals, two major minor thirds to harmonize your, your, your notes. And it depends. So let's say you have, you have this melody I just made. Now the third of that, every melody in this scale. So the C major scale, this quite simple as just 2345678. So Ramy fossil T80. Alright? If you want to harmonize this, you will see that the nodes, which is two steps ahead in the scale. So the third of c is just two steps ahead. You just kept one nodes in the skin and then you have the third of z. And this is called a major third. Okay? If because you can, because it's actually separated by force into 1234, the minus eight is separated by 37 semitones. So if you see D instead again is going to be two steps ahead, but separated by 37123 minor third. So you can hear that sound. That's why this is like the first two notes of a D minor chord. And this is also E minor third, major third, G major third, a minor third, B minor third, C major. So if want to harmonize up the scale is going to go like instead of renaming files, you're gonna go. So you see what's the notes that is actually a duet and steady. And instead of going together with a Do, Re, Mi, So let, let me try and play both hands like that. So so that's doesn't say how many right there, right? That sounds beautiful and do something, something we need to know. So let's, let's try and pick a song like Mary Had a Little Lamb and harmonizes with by dwelling. So this means that you can, if you ask to be singing, right? Just, let's take justice line. Someone else, someone else can be singing, right? So we can go together like alright. And in this case, I'm not using all the time and I can go. And if you see what I'm doing here, I'm harmonizing the main melody. So what do we want to try and do is to keep the melody on top so you can hear it. So I'm going to keep, always keep a third below. So it's going to be, I'm always keeping a third below the melody. The melody. This is the hammer. Nay. If I add my left and I can go like okay, so that's the basic way of harmonizing. So just keep in mind that harmony. So if you create, if you create your melody for your song and it goes into like, like, I know that you can harmonize it like within by taking the billowing go. So, right, so you have the melody in a song like that. You know, you can harmonize like right. This, how we harmonize in thirds. You can always, you can harmonize a third above or below. It. Can also be harmonized with theta bar here, like this. Below like this. Whichever sounds good to you. Alright. So thank you for joining me in this lesson. I'll see you in the next one. 35. 6th Harmonies (Duet): Hi, so now let's look at another technique, way of harmonizing. And this is called the sixth harmony. That's another form of duets, just like a third harmony. Alright, so let's see how we can build this up. Now. Basically. Six. How many can also be seen as an inverted third, okay, so if you know your sixth intervals already, that is great, which is something you should practice like if you pick the one and the 6123456, I'm around. You move them around. You see if you look on my screen, the top there where it's written CMA, just use it anytime I move them around, it turns into one form of six. E minor, F major, G major, a major minor six, right? So you can try to play this. The C major scale. You can try and play to the sixth. Now the reason why I say, you can see it as an inverter third is This is the c that makes this the third of the sea right? Now if I bring, this is a major third. Now, if I bring the nodes E down here is going to turn into a minus six. Look at that. So that's an E minus x. So we can play the same scale using six harmonies by moving them. And in fact, this is one of my favorites harmonies because you can use them to create so many, so many beautiful thing. Right? I've just used a C. And it creates, is just gifts. The melody that you're trying to achieve, it gives it a few because instead of just leaving the melody to go, yeah, going. Give us a better feel. Alright, let's try with it without simple. Mary Had a Little Lamb, which we went. Dad, dad. This notes, I need to play the sixth. And if I look at the major third with the G, two steps above that, then I can sort of see this as my six, right? So it goes so simple as that. So yeah, that is as simple as that. By just using this screen made the music sound a lot better life. And that is how you use these six harmonies. If a melody comes in mind and you're playing them, try with a Six Harmony. Maybe it sounds a lot better than you anticipated a melody to write. Thank you for joining me in this lesson, and I'll see you in the next one. 36. Triad Harmonies and the Power of inversions: Hi, so now that we've spoken about that harmonies and sixth harmonies, these two are due at harmony is where you have just two nodes within the harmony. Let's talk about triad harmonies now. Triad harmonies have three nodes in the harmony. In other words, you have the melody alongside to other nodes that form the harmony. Let's take a look at how this works. Alright, so you can decide to harmonize the entire melody or parts of the melody. So we'll look at, Let's select sample. Now, my little tip is that you can, if you want to have my lines, a melody like alright, or you can start by playing a sixth harmony. So take the third, is a third harmony, or there's another third harmony. If you take the top third or I'm only to the bottom, you have the sixth money. All right? So you can start by taking that money and then fill in a gap in-between. Here, you need to have a little bit of little bit of control on your triads and somebody versions here and there. Okay? So if you're unable to get this right away, that's fine. Later on you can perfect this. So you played a six harmony. They tried to fill in with melody, single nodes, which usually could be just a third above the lowest notes. Most of the time, not all the time. Okay. So this melody Darwin's can be harmonized. See that? So the second notice as well. Third, the sixth Harmony. Does the melody. Melody always stays on top. And then you put a third above that. Alright? Now when you move to the last one, that's a sixth as well, if you put a theta bar here, it could work like that in some instances. But of course, you can again make this, take this up to the one. So that's sounds. And that's a triad. How many? Right? Let's, let's try and use. Mary had a little lamb. We started with the melody itself, that, and that, that, that. Alright, and then we came in with using, using third harmony. Like now let's use a triad. Have money so you can try it. Yeah, that all I'm doing here is just using this one. And that was just 66. What the extra nodes in the middle, which could either be a third or a fourth above the Lewis. Said above the lowest nodes. Ticket up. There, we come down to the, I can choose to harmonize the light like that, or because I know the chord progression goes. So knowledge of the bass note also helps you harmonize because the base load being g, I can, I can of course go like sounds beautiful, or I can just play regular gene, which also has the D on top. But let's stick with, let's stick with this one, this house. A bit jazzy, right? So yeah, that's all I'm doing is harmonized. So I'm going to take that Plato how it is slow. So I'm using only triads on my right-hand. Alright? So you see what I did here and I read it. I didn't do that. So you can harmonize all or parts of the melody. So over here I could have easily, I can also do, see I'm playing some as Rob melodies. And then I'm playing some of the actual, how many stripes. Okay? Pick, pick simple songs, usually kits songs, kindergarten salsa, nice to just play around. Pick some of them, try to harmonize them using triads and play around with songs you already know an already comfortable with use Triassic, lay them all the way and let me know how that goes. I'll see you in the next lesson. 37. RIGHT & LEFT HAND PATTERNS (EXPAND THE SOUND): Hi, So in this section we'll be talking about patterns. Now if you want to make your sound a bit more interesting, you want to try and explore our patterns. Increasing intro and outro, printing the entire song structure. Many songs have been done with patterns. Alright, so let's get right into it as we explore some patterns that you can add to your fingertips to make your sound amazing. Let's get right into it. So I'll bring up the keyboard here and we start expiring patents right away. The first pattern type now like to talk about is what I call the one-two-three to pattern. The 1232 patterns, or pattern is, well, first of all, let's choose our chord progression, which is simple chord progression, which we are, we've all grown to love. In this course. 64159. Keep choosing the same chord progression so that we can easily move along. I don't want to be introducing new chord progressions that you have to have some kind of learning curve to get used to it. And then we, before you move on, so we choose this chord progression, you get used to it and then we used to explain most of the stuff we're doing. Okay, Now, once you use a one-two-three to pattern, now what I have done here is I see this chord progression. The notes in the chord has three, it has three nodes. So these are triads. So I'm seeing them as 123. I'm not seeing them like 135 of the chord and so on. Just see the notes as they lie down. The one is the lowest note, the two is the middle node, and the three is the top. Because if I change the color to that, this would be one. This would be three, even though they are 3A5 and one in accordance on That's not what I'm talking about. 1232 here means the lowest middle. So in this instance, it wants to play one to 32 is going to move 123123. Okay? So what this means is that if I were to play a chord progression, 123, okay, for the play. But the pattern is really sound like you play it twice. 123-22-3232, right? Accord just changed. But a partner stays the same. Let me slow down for you. So the next goal, try and play along. Next card, storage. Now, let's live their left hand in there slowly then we speed it up. Usually sounds a lot better when you spit it out. Let's try so. Alright, so let's speed it up. My tip is always used quite inversions this out a little backyard. If I can play this in root position. Like this, doesn't sound as good as you hear that Assad Islam moving very much around the same place, It's more cohesive. Alright, so try this 1232 parts and when you get used to wait, then move on to the next lesson. Let's take a look at another pattern, right? See you there. 38. 3-1-2-1 Right Hand Pattern: Hi. Now let's look at another popular pattern in music, right, on piano music. This I call the three one-to-one pattern. Okay, So how, how do we go about this? Just like we did for the the 1232 parts, and this is going to be 3121. So let's choose a chord progression. We're going to do the one, the one in the key of C. I'm starting with the C code, which is why I'm choosing this inversion of the sequence, does a one. So this is 123. So I'm going to play, if I'm played 312 and patterns going to play more like top, bottom, middle, bottom, right. So start practicing like this until you get used to it. Okay, so now that we have the pattern, now let's try with our production. This is going to be this one chord. And this is the two chord, D minor, E minor, F major. We take it down here like that. Okay, If you'd like, you could do. But I think it's better to me because I'm trying to mimic certain sound. This was what was used in, this pattern was used in Halo, right? By B and C and that's, it starts ticking together unless yeah, this has been assigned. Right? So let's take the first chord. If we use that 32. So let's call it, let's call it sculpted the f. Alright, so let's make it faster. Okay? Now let's take the left hand together with its alright, so now for those who wants to know how to be able to play the actual intro of BRC saw halo, this exact thing was done in the key of a, right? So it was a startswith somewhere here. So it starts with this a chord. Then it moves to the D minor chord. And then it comes to this A-Minor chord, sorry, F sharp minor chord, and then the D major chord. Okay? So if you're not almost done with this, just skip right to the next lesson. But if you want to learn this in the original alkene, we can try that. So that's the egg code goes. Okay, So it goes sunlight. So Reiser has some lines in there. Alright, so that's how you use some of these patterns to make your sound interesting. Then this pattern can be applied to any chord progression at all, one by six. So all you have to do is to take the chord progression, decide. You're going to use the spots and practice a little bit and move it around. And you can start to sing along with it, to perform with it on the fly. Alright, thank you for joining me in this lesson. I'll see you in the next one. 39. Ascending and Descending Right Hand Arpeggios: So now let's take a look at another pattern, and this is the ascending and descending right-hand pages. Alright, so as the name implies, this is quite straightforward. All you have to do is play the right-hand course in the fall of an arpeggio. Another page here is just a broken chord. So if you have a C major chord, e.g. alopecia is if you play like this, you break them and played single notes or like this. And I send an arpeggio will be when you take it from the bottom-up line like that. And the descending arpeggio will be when you bring it down like that. Alright? So you pick the chord progression. Same chord progression. Okay, So this, I would've made a phone call like that. So in this, if I want to play it in ascending or Pedro is going to be like I went back to the root, was shoved EF Core. So you can see how it's just going to dot, dot, dot, dot, dot, dot, dot, dot. So I played, I was like five times just to fill the group so I can I could have gone. So I blamed the court also on the rest position by just play five times. It could also be a faster life. So I send it up. That's how you're going to play. So dad, dad, dad, dad. Alright. If you were to play the same chord progression to cellular pages now going to take it from top to the bottom. It's gonna be like now. Say we want to be a bit more creative and say we want to mix it up. So let, let's try it. I haven't tried this. Let's try and see if you can do it on the fly. So I can start with descending, ascending, and descending on the next code and like that. So, yeah. So all I did there, suddenly descend and mix it up. The choices in your hands. When it comes to songwriting, music creation, you have the absolute power. It's not somebody else's song. You're trying to replicate. It's your song you're trying to create. So feel free to explore. Go out of your comfort zone. Gotta go out of the box and create with all the ideas that you have taken from these lessons. Alright, I'll see you in the next one. 40. 1-5-1 Left Hand Pattern: Hi, So in this section we'll be looking at left-hand patterns. Now, another way to make your sound a bit more interested in is to introduce left-hand plants. And so far, the left hand has been saying the same, pretty much 1.5. But now we're going to introduce a few ways to just ask some basic patterns your left hand to increase, to enrich your sound. Alright, so let's get right into it. Now. The first left-hand parts, and we'll be looking at the basic of the more, which is the 151 left hand bass. And I puts a little apostrophe on top of the one here because it doesn't confuse us. Assume 15, and the one which is an octave above. The one which is an octave above. So 151, basically, that's all you're doing for each chord. You're going to play the one and the five-year already playing with your thumb, you're going to hit the 11 octave above, right? So if you're playing a progression like 1564 is going to be so 1234 and then go to 534 to the 634.4. Right? So if I add chord, if I add progressions too, which is going to be alright. Good. So let's take our chord progression, the 664 while buying right? So let's, let's use this left-hand patterns to it. Try and play along with me. Alright, so let's take it a bit lower, right? So so you see that sometimes when I played a close each other like this one, I just leave the left or the right so the left can come in and complete the path and on the left, right, right. Take this. Well, let's try it with the one to six for progression, right? So let's try that. All right, try and play this and wildfire parts. Lots of songs, as many songs as possible. Get your left hand used to this part. Then once you're done, move on to the next lesson. Let's take a look at the next part. 41. 1-5-2 Left Hand Pattern: Hi, so now let's look at another left-hand pattern. I call this the 152. Let's add buttons very similar to the 151 left-hand pattern, which we play like this. But now instead of the one year, we're going to play the two, which is a whole step above the one little bit of stretch there, right? So if I want to play this for 1564, is going to sound like this. Right? Alright. Alright, Excellent. So let's try and let's go back to our 64145 chord progressions, 6415, okay? And let's try and use this left hand to help us out. Okay, so all I'm doing is just adding some extra stuff. My left hand stays the same. Okay. So you try, you wanted to try and keep your left-hand path and moving the same. And that's how the listener is going to associate with the music. That's the common factor in everything that you're playing. But let's try it without 1264 chord progression. Alright, so it's got to be a fast car. So let's try. Alright, so keep practicing this left-hand pattern and the wants and let's add is used to that. Now, let's go on to the next left-hand pattern. I'll see you there. 42. 1-5-1-2-3 Left Hand Pattern: Hi. Now let's take a look at another left-hand button. This is the wildfire, 123. Okay. This is how it looks like. So 15123. I do a little bit of cross here. 15123. All right, so 15123. If I have to do it for our chord progression, the 6415, so I start on the third column, Right? Okay, so let's play this on time and with a few chords here. So I'm going to use this inversion of the six card. Well, let me use the diversions we all used to play up here. Okay, So let's go like try and play with me little faster. Right? So that's how you use this left-hand pattern that's trying to use at first, another chord progression. Say the wine to say four. Okay, so let's apply this. Yeah, get it alone. Let's take it up. Alright, I'm just adding a few melodies there. You can pause. It picks all those lines. That's good. Alright, so just keep practicing this one. And once you are comfortable with it, Let's move on to another left-hand pattern. 43. The Moving Left Hand Pattern: Hi. In this lesson we'll be looking at another left-hand pattern. This lesson button has a few more notes going on there, few, little bit more going on there. So if you are comfortable with playing this, that's fine. If it gets a little bit difficult, you may want to put it on the side a bit and come back and revisit later. I call I call this the 15152515, but it sounds a bit complex, but it's a lot simpler. So let's look at this as 1515. Okay, so that's the first part. So just practice this one for a while, right? I mean, this one firewall, the top part alone is actually a good pattern so you can even play a whole song. This guy. Let's do. While from the sea will go to the G and then go to the a and then go to the half. So it can go right. We can keep 15 now, this is just Kelvin while i'm, I'm talking rise or 1 515-515-1555. Now I'm making you practice this back and forth on the top because that's how you're going to do with the bottom parts of this pattern. Alright, so let's practice one more time. I'm 5151, 5151, 5151. 5151. Alright. Now, what's you're going to do is keep the same Wi-Fi, Wi-Fi, but the next, you're going to just fits into two there. So it's gonna sound like 151-51-5515, guess I'll take it slow. Let's go to the GI. Okay. So if I add right on maybe how beautiful that sounds. I think this is one of my favorite patterns. Let's use it for another chord progression, 6415. Okay, so let's use the potty. You want to focus on the courts, right? So focused on the left-hand side. If you're comfortable, you can take it to other keys if you want. So all I'm doing here is I just played it in the key of C Sharp. Alright, well, D-flat. And this pattern maintains everywhere you go. 15152515. Alright, It sounded complicated, but I think you can agree with me that is simpler than it sounds. Alright. So thank you so much for joining me in this lesson, and I'll see you in the next one. 44. 6/8 Left Hand up Right Hand Down Pattern: Hi, Let's look at another amazing pattern. And this involves both the left and the right time 68 pattern. In 68 times signature, where the left-hand moves up, doesn't ascend an upper GI or the right hand as a descendant of pager. Alright, let's see how this looks like. This pattern is best suited for songs that are in the 68 times signature, like oh holy night and hallelujah. So oh, oh, the night, right. 1234500, Lena. And also Hallelujah, I've heard there was a secret chord, the day with plagued, and it plays the load. So this is how it's best suited for songs with similar time signature, right? So the left hand is going to play the 151 pattern. It could be a one-five to whichever is fine for you. And the right hand is just going to play descending arpeggio, I'll explain. So if it was e.g. if we have a C chord, Leslie, this inversion of the C chord inversion, standard lot better. So let's say the first column is just a one chord. Alright? So the left hand place the moment, let's add. The right-hand takes us from the top and breaks it down. So it goes down to top, then top to down. So if you play it together, It's going to sound like this. So all holding that sounds something like this. Oh, how that sounds like. So it's a one chord to a three. So the three maintains the same one chord, then it goes to the four, or the F major, the key of C. So back to the scene. So using just that side for demonstration. So 09, shining knight, pride. And even when it gets to fall on your knees, she can go same paths. And G, C, F, C, G, right, that's the whole song using this six-eighths times signature. Left-hand accent and writes are descending. You can use it for a song like the first part of hallelujah. So if you'd like, you could play hallelujah that day. And he had that sounds. So very simple pattern here. But you can explore it. And I suggest you take this, oh, holy night, I played C. F. Just go, go through the chord progression and try and see if you can play this pattern in a few keys. They see another key of your choosing and practice this pattern. You might need it in one of your compositions in the future. Alright, thank you for joining me in this lesson. I'll see you in the next one. 45. SUSPENDED & ADD2 CHORDS (SUPLEMENTARY): Hi guys, Welcome to today's lesson. In this lesson we'll be taking a look at the SAS to the r2, s2, and sus4 chords. Okay? Now we'll start with the art to chord. The two chord is very simple to construct. Basically, the R2 cord is also called a major art too. So all you need to know is first of all, your major chord. This is the two of the scale, right? 12345. That's the two of the scale. All you need to do is, as the name implies, add the two. So as soon as I add these two, it becomes a major r2 cord or an ad to, you can say CR2 or C major R2. Okay, let's try this for the F. That's an F major chord. And that's an F major two. Okay? E.g. g. And that's a G major or two. Okay. Perfect. The second card as a SAS to assess twos are short-term suspended too. Okay. So what this means is that the difference between that and the app to as the R2, you added a second, but in the SAS to your more or less suspending the third to last second. So you replace a February 2. So the formula for that is going to be a 12.5. So that's a c sub two. A 12.5. The R2 was 1235. The SO2 is 12. Okay. Very simple. So that's an F sub 212.5. That's a G, a B-Flat zoster. So you're not playing the third year, played a second. Okay. Very good. Now, the third quarter, which is the sus4, it's also very simple. Instead of the third, you replace a third with a guess what, four? So it's going to be 14.5, okay? So you can play it like that on line 4.5. When f is gonna be like this, usually sounds nice when you move from there to the majors like that. Okay, so there's a sus4. Manager says to these three chords are very good to know. 46. Practice Cycle with Add2, Sus2 and Sus4 Chords: Hi, Let's do a little practice session with us as to add two and sus4 chords. We're going to take these costs through the cycle of fourths just to do a little practice for them. So if you remember R2, if we play a major chord and add the two to it, That's a major artery, so that's a C major to, there'll be an F major, R2, then a B flat major or two, and then an E-flat major, r2, and then, and so on and so forth. Okay? And let's try and play this through the cycle. I'll play it once. And then you pause the video and you try to play it as slow as you can. If you can't play fast. Awesome, played fast as well. Okay, So let's see, I'm going to just count 1234 and then I'll go through the cycle starting from C and moving anticlockwise. So C, f, B flat in that order. So 1, 2, 3, 4 and 1, 2, 3 4 and 1, 2, 3 4 and B-flat. 2, 3 4, 2 3 4, 2 3 4 and 2, 3 and 4 and 1, 2 3, 4, 2 3 e234 to a 2342, d23 42g2. Back to our C N one. Okay, Awesome. Pause this video. Try to play this major at two chords and the cycle of words. Once you're done, Let's go to the next core type. Okay, lets the SAS to court. Okay. Just a little recap as to is when I replace my three here, I suspend it to the second. So I replace my third with my second. So it's going to be a one to five of the various keys, right? So CSS to F, to G, sas two, and so on. Okay, so I'll play it one time with the progression, the cycle of fifths, and then you can go afterwards. So 12, you can play with me if you're fine with it as well. 123-423-4234 and B flat 234234. A flat 2342, 34f sharp. 3, 4 2, 3 4 2 3 4 2 3, 4 2, 3, 4, 2, 2, 3 and back. Two. Good. Excellent. Pause the video and try and complete this task. Then we take our last chord type for our practice session. Okay? So the final call type is the sus4 chord, okay? So SAS for is when I replace my third with the fourth, okay? So it's going to be like that. Okay. You can play it like that. Like that. It's fine. Anyhow, that's comfortable. Okay. So I'll try and take it through the cycle once and you can play with me or afterwards, you pause and do it yourself. So 12.3 and 41234. So I start, I go 1, 2, 3 and 4. 1, 2, 3, 4, 1, 2, 3 to the B flat. 1234, E-flat, 123, a flat, 123, C-sharp, D flat to F sharp, 23, and B. So nitrogen 123 fingers, ie, 23.123, and d123. So g123 and back to the sea. Okay, Excellent. So good job for going through the cycle. In the next lesson, we're going to look at a few users off the SAS chord. Okay, so I'll see you in the next lesson. 47. Lets expand our sound with Add2, Sus2 and Sus4 Chords: Hi. So now that you know how to play out to SAS to and sus4 chords. Let's take a quick dive into how to expand our sound using these three core types. I'm going to mention roughly, basically how these chords are used. But if you see them in core charts use by other musicians and their composition, of course you can just play them. But the purpose of this lesson is to teach you how to be able to apply them in your own plane or your sound. Okay, so if you meet a particular chord progression, you may be able to use art to assess too. Make it sound a bit Rachel or some a little bit different. So we'll start with the users of the app to measure out to the SAS, to courts. Now, the first users that a major are two major, two cords may be used and I'm using, I'm saying May because it's a matter of preference. So at a basic level, you can use major out2 course to make your major chord sound and little heavier. Okay, So this is what I mean. Let's say you have a simple chord progression. You have a C, G, a minor. Very common chord progression. Okay? Now you can decide to make the major courts within this chord progression. You can decide to just add a to make them major u2. So instead of playing regular C, you're going to add your two. Okay? And it's a plane, a regular G. You may add your two up to you. You're a musician. And then a minor. We don't want to touch that even though you could, because then that'll be an a minor R2. Alright? And then, okay, So the attitude that we spoke about where major are two chords, but you can have minor R2 as well. So minor point, whether to add it as a minor axis, so up to you. So let's play this chord progression once more, but using the actual cord. So 234 sounds a lot heavier, right? Okay. So the beauty of adding using our major axis and minor axis, it's beautiful. Now. You may also choose to just play them randomly. You don't need to play major a2 all the time. You can play a regular u2, regular major chord for some of the courts. And that actually for some of the quotes, right? Like that. Then. Say, very simple, Very good. Now, how do we use a SAS to chord? Now, you can also use the SAS two chord in place of major chords. And this gives an ambiguous sound. What do I mean by an ambiguous on? Because if you have a see the same chord progression, if you have a C like this and you replace a third with the two. Now mind you, the third is what actually defines if a chord is major or minor. Because in this case, if you play this, it's a major. If you play that it's a minor. But what if I don't play any of the major or minor? But I played a two. Now, it's not clear whether this is a major sound or a minor sound. So that gives some kind of ambiguity or anticipation to the listener. So you can use this course to not be sound so obvious. So let's replace all our major chords in the chord progression with SO2. And then on the next one will make the SAS to an R2 courts. So let's go 1234n. Okay, just sass to course. I blend my minor chord regularly and then assassinated on the, on the F. Okay, now let's mix it up. Major u2. That assessed to regular minor, back to a major ads. Okay. Excellent. So this, this, these are just my way of applying SAS to an article. So you can just experiment yourself and figure out how you like to use them. Just use your ears to be the best tool for judgment. Okay. Now let's look at how we can use sus4 chords as well. So 11 way I use SAT scores is to delay resolution to the major chord. So. Resolution is usually where the, where the chord resolves, okay? It's sounds like the chord progression is home, okay? And usually called resolve on the one, the one chord or the five chord. Okay, So you have e.g. in this chord progression, the sea is a one chord. And the five is, the G is a five. Min as a six, and F is the force. Okay? So we can use a sus4 chord right? Before we play e.g. we come back to this, see, and it's just a delay resolution. So if I play that 1, 3, 4, 2, 3 4 and 1, 2, 3 4 and 1, 2, 3 4. Then if I'm ending the song is I'm going straight to I can go to a sus4. Like when is it going to resolve? And you can make it fast like so that's also another way you can just go to SAS for one, sas for one. And you can do the same thing for the file size four to the five. So like that's a two. And I go to sus4 than that for. So I use a sus4 for the one to just sort of delay the chord resolution. Now, sometimes you can also use it to just create a suspended sound like on the five. Instead of playing a regular major chord, you, some songs decided to just play a sus4, that's it, and not go anywhere. So in the same chord progression, you could do 234, then. Three. For us. It gives us suspended sound, gives you some sort of suspense, right? Then. You could go as far to the SAS, to the, then a minor and F major. Practice. With these chords. Try to find your own way of using them. Try mine, and then also experiment to see which other places you may use them. But these uses that I've indicated in this lesson, our users that are very common and will work for most of the situation. So thank you for joining me in this lesson, and I'll see you in the next one. 48. Sus2 Trills: Hi. In this lesson we'll be looking at a very powerful, yet simple embellishments known as grace notes. Now, let me demonstrate how this sounds like and then we'll get right into it. So this is how it sounds like when you play it. You're going to transform a simple chord progression like a, C, G, a minor, F, like this. Alright? Okay, so you realize that I'm using some grace loads there. I'm flipping from the second to the third. So let's see how we can easily construct this type of voice and the embellishments. So simple way to look at it as well. Playing a major or minor chord. So this works for major and minor chord. So as you know, lots of songs out there, most likely you find a major, at least a major or minor chord in every song that you playing. So while playing it, you can do a quick flip from the second to the third. So say let's take a C major chord. Now this is a C major chord, the 13.5, right? And that's the true. Okay, so what I'm doing is I'm doing a grace note or a flip and flip it from the sand like that. Now, this looks quite simple, but when you start, if you're not very used to which you might find it's a little challenging at the beginning, but let's take it slow and we'll get it done. So that's a quick tip is that you need, you can see this as such two chord to the major. So as such, two chord is basically a major chord. But without that two or three, there's a two instead. So a sub two chord is a 12.5. So that's a C, E, F sub 21.5, right? And then you have the a G sas to 12.5, okay? Yes. So if you want to do this onto C major chord, you do assess to corn. Then you replace your second to the third. So like if I play it slowly, right? Okay. So if I play fast since I like this, okay? So you have the major, the major. Of course, if it's a minor chord, like I see my aswell, you could do assess two to the third, in this case being timid, a minor third. So like that. So fast. Okay, very good. So let's, let's try and apply this to a few chord progressions. Let's take a very simple and popular chord progression, a, C, G, a minor, and F. So first got C, G minor and F. Okay? If you're not used to this chord progression, just take your time. This is a C chord. I recommend you use the fingers. I'm using the one, the four, and your left hand and then the 13.5 in the right side. And then you go down to your G. Say, it looks the same but in a different position. A minor, very easy, all white as well. So all the cards we are using are all white. And then now let's apply the grace notes for our major chords. So we'll do it on a, C. And the G leave, leaving a minor alone. And then the F. One more time. Sounds much better when you say I didn't know that mine as well. Okay. So pause the video and try to try your hands on this embellishment. Now, the fact that you can use this on any major or minor chord makes it so powerful. You are not restricted to using it within a specific context because as long as you have a major chord, instead of playing your regular median mode, you're doing just the slides embellishment for the major chord comes in. This is quite powerful. Let's look at another chord progression. D, a, E minor, and G. Okay, so the D major chord, that's a D major chord. We're playing all this in the roots position, okay? So this is a D major chord. And then we go down to our a major chord. Okay? And then we go to E, E minor chord, and then to the G. Okay, now let's apply our grace notes for facile, do it for just a major chord. So for a DNG, and then later we'll do it for the mine as well. So let's start. So that's your first chord, then to the E minor, G major. So I can choose to keep some of the courts without the grace notes. You don't have to do it all the time. Okay. So I'm going to do it on the E minor as well. Right? There you go. Okay, I recommend you pause the video and try to play this chord progression. And you can as well take some chord progressions of songs that you already know how to play and try to do this. Grace notes on your major chords, at least even the minor chords as well. Let's try one last chord progression. This E, B, F sharp and a flat minor. So your first chord is an E major. Okay? Then we go to the B major, okay? And then the F sharp, F sharp major, A-flat minor. Okay? So E and then F sharp. And then a friend of mine. Okay, So let's, let's try to do that. Grace law. So okay, E, B. And then a flag might see sounds much better than let's slow it down. I beds 234234. Okay. Now, play along with me. Let's add a grace notes. Okay, then we do it with the F sharp as well. Then we leave mine. Okay? So try this. Try to play this in every, with every major chord that's you. You come across, pick out some songs, play, play the songs. They are regularly with. The same way you're used to play before. Then this time around, try the grace notes onto the third, take your time and get it right. Size to the major. Slow the video down if possible, and do it until you get it perfectly. And I believe you will enjoy added this embellishment to your chords. I'll see you in the next lesson. 49. 1-2-3 Fill (Targetting the 3rd): Hi. In this lesson we'll be looking at another type of embellishment of film, which I call targets. And the third, Now, with this, we're going to target the third of every code that you play. So it doesn't matter whether the chord is a major or minor chord. Or you have to do is to play some kind of melody that lands you on the third. So let's see e.g. you have c. Now, for this lesson, we're going to use one way of targeting the third, which is going from the 123. So see the third are the targets. And with a staircase, you can go from the bottom to meet the targets, or you can come from above to meet the target. In this lesson, we'll look at targets and form the one. Play 12.3, okay, so for the C major chord, then you play, you target the third of a C major chord. So let's say, let me just use one finger to play. Let's say I'm playing C, G, a minor, and F, Okay, so C, G, a minor and F. Okay, so let me just use one hand to target the third, so that's 34. I play just before the core council. Okay. Right, good. So if we want to use a whole card, you can play. Okay, just play while you play the whole course. So let's try that. Okay. Try this on your own and then continue the video. Now, it sounds much better if you play a grace note on to the third. So it goes like, like accents the third so much better. Instead of playing. It makes the third come out and lots more. So let's try that on the same chord progression. Okay, good. So there's a chord progression we played, read a, C, G, a minor, F. You can just target the third of every single chord. So it doesn't matter what coordinates. If it's an F major chord, you can target a third like this. Okay? Maybe a C-sharp major. Say two to a B flat minor. Okay? Just like that, Let's say we have a G minor. Does target the third. All you're concentrating on is a third and how to get there. Okay? So let's try this again. Chord progression, a, E B minor and D a E B minus D, So a B minor, D. So let's target the third using the one-two-three approach. So 34234234. Sounds really good. 43 423-423-4234. Okay, Excellent. Let's try the last chord progression. So this is a flat major, e-flat day Josh, F minor and a C-sharp major. So A-Flat Major to an E flat major, F minor, and C-sharp major. Okay, so let's target the third for every chord, a flat, E-flat. That's the third is on targets. Using the flip. F minor. Okay. Without the flip, you can certainly, this is fine. Okay. Now it's sounding a bit maybe boring because you are applying it every time, but you can choose to just play it one time or twice so that we place on F minor. Oh, yeah, that's I just played it just once and it's changed the whole feeling of the chord progression. Alright, So to try this, try this on your own. Try and play it on. Find some chord progressions, songs you already know how to play and apply this on a few of the courts in there and experiment with it and know how it feels like. Alright, so thank you for joining me in this lesson. I'll see you in the next one. 50. 5-4-3 Fill (Targetting the 3rd): Hi, In this lesson we're looking at another way to target the third. And in this we'll be using the 543 approach. Now targeting the therapy, the one-two-three approach, we went this way, the 123. So on a C major chord, it goes like that. But if five water is gonna go, you're going to use pinky, your ring finger for the fight for, and then you flip onto the major chord. So if you're doing it for G is going to be a miner is gonna be. I usually don't do this on, on a minor chord. To be an a minor chord, I like to use the three sounds much better, okay, and then the F for the F-Major. Okay. So we'll look at how to approach. This is exactly what I've described. And then we'll look at a few chord progressions. Okay, So you approach the third in the reverse direction from the file. So if it's, if it's F, F-sharp major is going to be the 5432. You need to be careful with the four. So if you play a sound a bit off, the fall has to be the fall out of the major scale. So you have 12345 for the F sharp, so it has to be okay, just like c12, 345, there's going to be 54, right? Yeah. So let's another quick alternative is to do five. Okay, So that sounds like this. Let's try the 543 first. So with a simple chord progression like this, C, G, a minor, f54, 3234. Okay? So make sure over here you have, if you had to look at f itself, the 543 will not be done. But use the 543 according to the notes within the scale of the key, your play, your play. We are playing in the key of C now. So I have to, I need to pick that. This is not spinning the scale. Okay. So yeah, if you were to use the sounds like that. Okay. Just like before. Sorry. Okay. So okay. For Studio Code, you can just use one, these two fingers to play that. Most of these things, these embellishments, if you're not used to them, they might sell them. I feel a bit challenging, but just slow it down and take it bits by bits. Okay, so, so I can do that. I slip onto that. Okay? So four, I'll do the 123 and then that's nice, doesn't it? Now let's try the next chord progression, E, B minor, and D. So let's try the normal 54323 minor. So five for this D minor. If I were to play a regular 543, good as sunlight like this. Because it's a D major chord and it's right. But The skill, the key of a. So that's just a little detail you need to pay attention to on this corn, which is called a four-part. You need to be careful. So play the notes in the notes is fallen outside scale. I could, you could play this in the context of blues or gospel. But depending on your genre, you might want to be careful about that particular one. Okay, so let's look at the last progression. E-flat, B-flat, C minor, and a flat, E-flat major. Then we have B flat major. Okay, so I see minor, E-flat major. Let's try that. Right? Now. Let's now says, You know, the 123 a fill and then the 543 fields. You can then mix them up together. So sometimes I am going to use a 123, sometimes I use a 543. So 123543. There was another 123543. I solve that, I mixed them together and added a four to that. Excellent. Try this on your own. Try to figure out how to play this. Fail. It will work for most songs. So pick up your songs, play them. Don't overdo them. Only. Overplay them when you're practicing. But in real performance, be careful how much you add too much salt. So spicy yourself. Because spice up too much. Meiosis tastes a bit SAR for other people's ear. So yes, no way to play them. Play them just a few times, not all the time. And your music sounded amazing as you want it to be. Thank you for joining me in this lesson. I'll see you in the next one. 51. Sus4 to the Major: Hi. Now let's take a look at another simple embellishments. And this is a sus4 to the major. So this sounds like this. To the G or something like that. Okay? Okay. Sus4 to the major. So let's get into it. Now. That approach is to make a very quick move from the CS4, the major. And it works much better if you're on the 1.5 chord, okay, So in this progression, C, G, a minor, this is, uh, 156.4 will wag very nice number one and the five. For the four. Blues and other Jana, it might be okay to play this asphalts in a major because this is because the sus4 notes within the scale of C. So the scale of C is 234567. If you play with scale and works in blue, because the blue scale and have them, Hey guys, see that clearly, that the blue scale is covering. So it's fine to do. So that's why they do that. They're playing because it forms part of the blue skin, right? Okay, Good. But apart from that, all work nicely on the 1.5 chord. G. Whichever key you're in, you're going to play if you want to do it on the C, you're going to play a SAS for an iris as far as when you replace the third with the fourth, you get a CSS force, that's a C major. And then you remember the SAS to is when we replace it with a two, that's CSS2 and assess for is going to be replaced it with a force. F. Sus4 is going to be F-major. The third winner for the SS, four notes of the major. So when you go to the major, makes sure you flip much better. When you flip, you do a grace note for us to throw mine. Okay, So if you want to do it as energy is gonna be a, a is going to be, D is going to be. So doesn't matter the key, or if you're playing a progression I, D, a, E minor, and G, You can do that. He minor. Okay. So let's try it on our sample chord. Progression. C, G, D minor, and F. Okay, so C, Let's do that's as far as the major and the G. So I'm using, I'm using my 1.5 to play. If that's not too comfortable for you, it depends if these two fingers are not that strengthened yet, you can you can use your one. You can use your 13.4 to assess for how much. Flip on the major chord. I don't advice that whatever makes you comfortable for me. Sometimes I'm the 14.5 and so that's the thing is, yeah. So let's play the chord progression. So then, then, sorry, D minor. So the F, very nice and it takes you by surprise. Sorry, D minor. Then. I do it very fast at last time. So this is how you can play around with this embellishment, triads on other chord progressions we've covered in this course or any other song, percussion, you know, if there's a major chord in there, try to fit the sus4 to the major embellishments and see how that goes. Thank you for joining me in this lesson. I'll see you the next one. 52. 6th Harmonic Fills - 1-7-5-3 : Hi. In this lesson we'll be looking at sixth harmonic fields. Now this is a very easy way of adding melodic lines to your plate. So let's have a look at it. Now. Sixth, you'll be making use of something called sixth intervals. And for six intervals. All you need to construct e.g. in C. If you look at the scale of c12, 345.1. So the six interval is the interval between e.g. the C and the a. So that's a major sixth interval. Now, if I take this same interval and I start moving it up, forms another major six interval. In this case a D major six interval. That is because in the key of D, the scale 123456. So the one and the six major six interval. And then that's my, that's a minor six interval because this will be the one sixth of the minor scale. Okay, So 123456. So that's, that's why that's a minus six. By moving the shape up an app, you, you get a series of major and minor six intervals, okay, so if you start from the one and the six and you move it up, you're going to get a series of major and minor six intervals. Okay? Now, so with this, you can form e.g. a. Melody like, melody like Hey, so in the key of C. Well that's melody. Okay. You can use the sixth intervals to play this melody like that either. So okay. All I'm doing is using a 16th of hours to create a melody. So we will look at an example in this lesson. And that's a very useful harmonic, second harmonic field you can use all the time. Now, one other way of easily figuring out what your sixth, sixth interval S. S to. Look, look at this as an inverted surge. Now, when it comes to intervals, one useful theory is that with your third interval, the moment you invert it, you get a sixth interval. So if you have, if you have a major third, a major third interval, if you invert it and have, bring this third from the top to the bottom, you get minus six interval. Okay? So a major third can be inverted. When inverted becomes a minus six. The easy way to look at is this. That's the 3.6 needs to add up to nine. And in other, in other theories you see that's a major force. And then the fifth, fourth can look like a fifth one inverted as well. Okay, so the easy way you can look at this together, for the melodies to play the third, but below. If you want a sixth for this nodes, six melody with this nodes leading, You're going to look at the third of that in the scale, okay? Within the scale of the key are playing. So in this case, we're in the key of C. So we want a melody, e.g. this melody. So if you take the first node, we need a sixth down here. Which one should we choose? You're going to pick up the third and drop it below. And of course from there you can move in that way and it's going to be six all the way back. Let's look at the second node. Now. The third of that is just two steps above the scale. So an easy way to find your third is two steps above in the scale and this is a to the third is the scale. If you need a third of this, you just kept one and that'll be a third. And if you put this in the bottom, you get a major sixth codon is a minor third, so inverted forms a major sixth. And then the last one here, two notes above. That's a minor third as well. And if you drop below, you get major six. Okay, so enough of the theory. Let's have a look at how we're going to use this now. The leading melody we are using, we are going to use S, the 1753, okay, So the melody goes like. Okay. 1753, okay. And we're going to put, putting the sixth below is going to sound like this. Then. Okay? Third below. So it's below that, below. That below. Okay? So the melody goes 1753 or below T. So me, okay, That's the melody. All we care about is the leading melody. And we're going to use a harmony to create a harmonic fill. Now, this Fill works very nicely for your six chord. Okay? So if you're playing in the key of C, Now, your sixth chord is going to be 123456. So that's a minor chord. Okay? So whenever you get to a chord progression where there's a minor in there, you can play that feel like yeah, that sounds. Then I'll slow it down more time. So when you play that, the cord on the left meets up with a second notes in the melody. It meets up with the seven. So it goes like this. Okay? No one wants to sell. All just with a call. And as follows, pretty amazing. Let's, let's put this into context. If your song goes to the chord progression like okay. So now the next sound went to fix that melody. On the a minor. I'll slow it down one more time. Okay, My last time slowed down. So as long as you have a minor chord, if, if, if that might occur, e.g. we will look at a variant of this when you're playing it, the minor as a two chord. But on the sixth, you play a fail. That goes, I mean, to be honest, you can even play the fill, just this melody without the sixth harmony. So you can start with that and go. Sounds good as well. So if you play that in sample version, I'm using some of the nice feels, right? Okay. Now I'm going to use the sixth version. Play. That's why isn't there. Okay, Excellent. So try and play this. Fill in your song progressions. You don't have to be limited to wonky. You can take this to all other keys, e.g. if you're playing this, the key of F, six chord of F, the D minor 123456. So, okay, so if I played this D minor, you can play the field which goes 1753. So it's going to sound like like using the six, using the same idea that we've already discussed in this lesson. So how about It's experiment with this and have fun with it. Make your chord progression sound much better than it already is. Thank you for joining me in this lesson. I'll see you in the next one. 53. 6th Harmonic Fills - 4-3-1-6: Hi, Let's look at another sixth harmonic field, which works very nicely over the two and the four chord. So this works both over a minor chord for the two and the four chord, which is a major chord. Okay, So it sounds like this. Okay, very simple and nice. Let's look at how to construct this or this. This is very similar. It's the same pretty much as the 1753. Okay? Or the duties. So me, and this is same thing, same melody but in indifferent keys or perspectives, right? So if we play the 4316 over the two chord, in this case in the key of C is going to be the D minor. And always remember to let the cord meets up with a second notes in the melody like that. And if we play the same thing for the F-Major, which is the four chord, works perfectly, right? So let's try and harmonizes with sixth. So once again, you look at the notes up here and bring it into the bottom to harmonize it's not here. Bring it down. Now the moment you start to play this little bits in the key, it will be quite easy to get. It gets that interval and all the keys, right? And then that's the sixth, harmonizing the sixth notes. So notes to the bottom. So it turns out to be one more time. Now I'm using my sustain pedal quite well so that it doesn't sound like. Okay. So solve a bit smooth. Okay, So we can do that over A2 card. All right? And if I renewed to let the four chord. So let's try the chord progression once again, C, G, D minor, F. Okay, so you can play with me. Let's go to the D minor. Again. They worked both ways. Okay. So you see that the second time I played it just as a melody. So you can play both as a melody or a sixth harmonic field. Okay, Let's look at another chord progression. So this chord progression is a minor cylinder key of z. So the mRNA is going to be the sixth chord, as you see below. And then the F-Major, the four chord, and then a D minor, the two chord, and then the three, E major. Now, a three is usually a minor, but in this progression, I made it a major for an effect because it takes us nicely back to that in a minute navigating. Okay, so I've made that a major. Okay, So let's try it. The progression of lots and all irritable. Shifts it up. Okay. I'm on time. Sp that okay. That's what a minor. So let's break that down very slowly. So what I did there on the a minor, I picked up the, the sixth harmonic fill for the sixth chord. And that's what we use, the 17176175. So the first chord, a minor, I'm doing that. Then I play my F. Now when we go into the two, I'm going to play the, the fourth rate, one sixth that I play a major chord here. Okay? Just like that. So let's play it. Once without any field on this x squared would do the field Jess, on the two chord, okay, it works on the four chord as well. I'll do it just for the two carts, so let's go one like that. Okay, So this is a very simple way of making your chord progression sound much better. So most of the time, most songs that you play, you're likely to meet a six chord, which is a minor. So this works for the Cisco, which is usually a minor. So if you're playing a chord progression or a song where you have a six chord there. You can start to think about playing this. Sorry, in this lesson, That's for the two chord. So if you have a two chord or a five chord, four chord, you can easily think of playing this 4316, okay? Family Dollar harmonic fail over the two chord most of the time, and sometimes you can do it over the four chord as well. Okay, so thank you for joining me in this lesson. Get some songs. Get some of your songs. They include a two chord. Try this field over it. Let me know how that goes. Thank you for joining me and I'll see you in the next lesson. 54. PASSING CHORDS & TRANSITIONS: Hi. Now in this section we'll be looking at passing chords are, passing chords are very important because sometimes you have a very basic chord progression for courts. But you want to make it sound more interesting by putting fits and caught in-between the actual skeletal code. Now the skeleton of the song is the main structure, which is those like e.g. 6415. These scores, you keep them where they are. Even though we can advance theories, we can do call substitutions. But in general says you keep them where they are. But sometimes you want to fit courts within the time in e.g. 1234, the next code. Now, what can we do? Other 234 and so on. We can use passing cause transitions and so on to be able to do that. That's what we want to look at in this session. So if you're excited to go through this, let's get right to it. Now, the first kind of passing chord technique I want to discuss here is something I call the fourth below technique. Alright? Now the fall below that make use licensed something derived from the circle of fifths cycle of faults. So it's basically on the keyboard. You have c and the force of c, f. And the fourth of F is B-flat and E-flat, A-flat, and C-sharp. It goes all the way until it comes back to see if you look at the cycle on your screen from C, if you go backwards, you're going in fourths the sea, the furthest F of F is B flat, photo B-flat, E-flat, and so on. Alright? And if we move to the right, then you are moving in fifths. So the force of see the effect of C as g and then fit of G is D. That if you move to the right. Now, the fourth below technique, I'm speaking about this. If you want to play a C chord, you can play a chord that passes or smoothly to the sea, and that's one. You can use this the fourth below. In other words, which key has its forth between the C and that will give you a gene. So now the thing is the fifth of C. So to the right, you see that forms after C, you go to G, the fifth of C, G by the force of g is C. So this is like the fifth and a fourth are related in reverse. So that means if I wanted to play a chord, I could easily play a G chord before coming to this. Okay? So if, let's say I'm playing it. If I'm on, I'm on a four chord. I can play. I can play as g before coming to the one. And that's the simplistic sense of it, right? So you have just the fourth below. So this means that if I'm moving, I'm in the key of C. And if I play, I play like six to the fourth, right? Before I move to the four, I can play a note which is the fourth below the floor. And take that takes me up to the four or the f in this case, for the fall below a C. In other words, the fourth of f. So if I play the six, I can go to, I can play that six for maybe the three counts. And on the third, that's 123. On that fourth cards I can play. That's passing chord, which is the C. So let's try that. So I play a minor and other false counts. I played a C quickly before I move to the F major, so three. Yeah, how that sounds, that sound alike. So 23. See how I use I use this as a pass and go to the F because the C is a fourth below the f. Okay. So I mean, in the beginning of a bit tough, You just see if you look on the screen, I need to move to F. So I play the notes, which in the left direction, the note that comes just before the f. So if I wanted to play something like, gee, I have to play the D before the GI. Let's try that. So we played it safe and that I use C to come to the F. Then I go to the one. I can play the D Just before I come to the G. So three. So this is how passing coursework, of course, sometimes we do certain things to those passing costs to song and let some more advanced. Alright, so let's, let's see some of the examples we can use. So and as I already explained now, so one easy tip is just count four steps below the major scale. So I wanted to go to G, I just go 1234 that I know what I need to plug phi gets a GI and it's play F, I go one. So you can see it has three steps below, four steps below, depending on how you look at it. If I were to play an a, I go 11234, I got bled. Before I get to the minds if I play. How easily? How easily the minor? A minor. It's just amazing, right? Because it has that drug. It's a perfect passing chord lead into to that. So let, let's take chord progression like 1564 and then now put in a passing chords. So you have one 5-mer, the key of c64. Let's split the root position. Alright, just, just to make it look simple. So 1564. So we're going to put a passing chord in front of the six. And the six are the a minor. If I go 1234 is a three, or the E minor. That's what we're going to play before the six. And then the four. If I want to go there, I can play one. The one just before the force, so let's try that. So 123-42-3423, progression just changed, right? Alright, I'll show you one trick. The three chord couldn't be made. You can make it a major. Sounds. Lots more interesting, right? I'll show you said that the E minor or major. Yeah, there we go. So something called a secondary dominance. I don't need to bore you with that, but okay. I want to add to the five, or the G flat E major. Right? There you go. So this is how we use these. Fourth below technique. Alright, go explore it. Try pick up further below. Inequality. Want to play and see if it sounds good to you. As always, your ears the best, judge. So if you play it and it doesn't sound good within that journal of musicals, pop can allow certain paths and cause Jazz will allow certain passing chords and so on. So at the end of the day, and this is sound good in the music, but of course you have to try it to know if it sounds good in the musical, but alright, so thank you for joining me in this lesson. I'll see you in the next one. 55. Diminished Passing Chords: Hi, So in this lesson we'll be looking at diminished passing chords. So this is another type of parsing code where we use diminished chords to lead to the code that we, the destination cord. Okay, So in order to use a passing chord, you need to consider where you are, go into, which is the destination cord. And passing diminished chords help us to be able to achieve this sometimes. Alright, so, you know, our regular diminished chord, which as, you know, e.g. a, C diminished chord is one. This is the C major chord. So when I flattened or reduce the third and the fifth by semitones, one flat three flat five. So that becomes a C diminished chord right? Now. So you can practice your diminished chords and get familiar with them. You see that it's just reset buttons apart. This nodes, 12312123, then you have a diminished chord, right? So the idea is that you play e.g. if you have a chord progression like G, C, G minor, and F. Now, just before we move to the a minor, we can play a diminished chord of the nodes which has semitone below the a minor. So this is the semitone below is this note that a flat or G-sharp. So you can play a diminished chord. See that? So that's the G, G-sharp diminished chord. One-two-three, one-two-three. Then you form a diminished chord. Okay? So let's try and play the progression. I get this time again, I've got the star. I'm going to put the diminished chord on the fourth counts. Okay, so 1, 234-123-1234. And hear how that sounds like. It's a very smooth transition when you use these, the diminished seventh chord, let's try. So this is exactly what we did now. We did, we played a sharp five, diminishing. So 123-42-3234. Alright, now, we could have done this same diminish concept before the, before the five. So if we want to do it before, if I urge you to pause the video and telling me what's notes you're going to play the diminished codon, alright? So I hope you are able to do that, but you're going to play the diminished chord on the note which is a semitone below the file. So that's the five semitone below. That's this one, flat five or shop for. So in that case, a diminished chord here. It's like that. K to F sharp diminished chord says Why 23123. Okay, so let's try it in a chord progression. So one, so on the fourth counts before the five, I'm going to play this diminished chord, so 12312, and I'll do it again for that one. Too. 34234. Let's just say it sounds, sounds a lot better when it's leading to those nodes, which might not be the smoothest thing if you use it to lead to the one or the four, because in front of the one and the four, There's no black notes in the key of C, or there's no notes outside the scale, it sounds a lot better when you play this diminished chord on nodes that are not within that scale. So we did a scale of C, we have 1234567. Now, use it a diminished chord on those nodes that are outside the skill saws and loved bitter. So if, let's say we're going to the two chord, right? You could do it. I score. So if you do like, do I want then to the six? I guess you see what I mean? So moving to the two, I can put a diminished chord of the semitone below, which is the flux due or the sharp one. I can use the ones to lead me to the next nodes, right? So in jazz, we can use something called a diminished seven. Since you're familiar with that, That's good. Because it's just regular. After playing your three nodes here, you can add another three semitones step above 123, and then it becomes a diminished seven. So that's sort of played this note. You could play it at another one on top. Why even bring it below? So it's going to be like one to five today that I go. Diminished seven. Is diminished. Diminished seven. That's okay. So 1234. Let's put a diminished chord in front of a diminished seven in front on the fire, right? 123. Right? It's as simple as that. Diminished particles. Practice them with your chord progressions. Use diminished glottis. Pass into your different, the different notes in the scale. Less than two. Which one sounds good? Alright, thank you for joining me in this lesson. I'll see you in the next one. 56. 6-7-1 Transition: Hi, so now we're looking at transitions. Now, transitions are a group of passing chord. So instead of using just a single code, we've used like two or three chords put together. Let's move you from one chord to another. So that what we have in mind is our target code, e.g. if we want to go to the one chord, what kind of transition can be used to get to the one chord, right? So this is what we'll be looking at in this lesson and the next few lessons. Okay, so let's get right to it. So the first one we'll be looking at is a 671 transition. Now, obviously, if you see the one, the one is the target score, meaning that while you're playing, you're playing a song or performing, and you have to get to the one chord. We can easily use the sixth seven to get to that one-quarter. Alright, so let's, let's take this out. Common progression. One, C, G, a minor, F. In other words, 1564. So you see that we have about, go back to the one so we can do. So. So all I'm doing here is just just before the song stance. Or if I'm coming back to the one I can play, 6716 is my regular minor chord. The seven a little different. As you may already know. The seven, which is the knee. I like to play the five quarter and my right over that seven chord. So 671. All right, so 671. There we go. So try and practice this transition. Then. Sometimes what I like to do is to add a melody to it, to give it a pop. So I cannot have been like, I'm playing and ascendant melody. So if you watch my section on fails, you see that we can use something like or something like what targets and the third, so I'm targets in the third year. Three. So over here, the five chord, I'm blending my left. I'm playing with the SAS to court, okay? So I can create another melody. So 123, That's monadic context. Transition right there, back to the wire. Mistakes though. So that's how you use some of these simple passing chords transition to lead you back to the one that's 671 transition. Try this in several, as many keys as possible that you're comfortable with it once you are okay with that, What's the next lesson? And I'll see you there. 57. 2-3-4 Transition: Hi. So just like the sixth one transition, another transition is a 234. It looks just like that. But instead of leading you to the one, this leads you to the floor, the type of course, are very similar. Let's take a look at this. Now. Let me play how this sounds like. Let's say you're moving to the fore in the key of C, which is, okay. Let's say we have a progression like one to five and then 24. So I can use this transition like Two for two bucks to see something you just said, yeah, I'm going to use the two three-fourths lead me to the four. And then I played a 671 to lead me to the back to the ones unless you have assigned. You see that? How it works is exactly the same. You want to get to before you play two notes before to the three. Now the two chord is a minor chord. The three-quarter will be treated similar to the seven chord, where you play a left-hand three and you played the one chord on your right time. So the court two steps below to one major chord, or assassin on the right hand. Okay? So you can place us to put on your right hand as well. Okay, so two chord. And then the three, dependent on the type of music you're playing right? Now. Adding melodies to make it work as me doing things like just targets and notes within the cord. And you'll see more of this in my films videos, right? Let's take an example here. Let's say six regular Boiler 641.5. Alright? So in this instance you have, that's the regular progression. Now, to get to that, we're going to play the 2.3 before we get to the four, so 12, right, so that's, that's the move. But two steps before the four. So 123. So that's all I just play. So 12, it's that simple. So depending on the music you're creating, it may be that you have to play this 234 quite fast. Or it may also be that you just play that slowly and it takes you there. So try this 234 transition. Try fits and dominion songs. But let me know how that goes. I'll see you in the next lesson. 58. 4-3-2 Transition: Now let's take a look at another transition for 432 transition. Alright, so this similar to or we will always been talking about, if you're moving to a two chord, then you can use the four to lead you. It's just like dropping down to the tooth really. Let's, let's take a look at how this sounds. Right? Let's say you have like let's say it's a simple calculation like why? 52.4. Alright, so you can go find what I did add a bit of drama. I'm adding a bit of drama to it, so, so so Just do it. If want to play regular courts so far. Three, then two. So five. Now what if we bring in our 234 transition that we played in the previous lesson? We bring it here to lead back to the four. So what? Five? I'll do that. Just for winter and little finger down here to the three, keeping this one here. Just bring it all that in there. So that's, and then of course you can always add melodies to make them pop, right? So, so they exactly does the melody. I just added a sip umbrella and so alright. So the same court, court provision we are playing right now. So five, and then you can choose to place low, like winning the time in 123-412-1234. I play the 4.3 on the accounts. 3.4. So 1234, 1234, 1234, 1234. That's it. Alright, try and play this and allergies, e.g. I'll play C-sharp just on the fly. So 231234. That's one. Let me combine a few of the transitions we've done. I'm going to use the four-three to lead me to the two. I'm going to use two threads lead me to the fourth now, but she's 671 to lead me to the one. So let's try that. Let me try to see, so that's easier to look at it. That's all transitions changes the whole sound. Alright, give this a go. Try it with your favorite progressions. Put these transitions in there and deliberately play them so that you can practice them and get used to them. Alright, I'll see you in the next lesson. 59. 4/5 -1 Transition : Hi, In this lesson, we're looking at a very simple transition, which is what I call the 4/5 to the one. Alright, so this leads you to the one. They just have a single hole that leads you to the one. And I'll demonstrate. You see what I mean. So basically, it leads us nicely back to the one. If you're playing, you're going to do 14/5, which is a slash chord in this sense means the five, that's your left hand. The first chord, the four is there actually a right hand? So you play a four coordinate right, over the left hand, which is a five chord. Four or five. But as for me, something very sophisticated called the G sus4, simply a four chord played over the five. Okay, very good. So let's say we're playing. Simplification like a 164. A nice way to. Sometimes I like to add my omega squared, add the two to it. And you can play it in reverse, like say, you can, it's a good way to play an intro. You can go like the song starts, just like that, right? And it's really good for interests and altro. So let's, let's take just the same chord progression that we did right now. Let's take it in another key, e.g. g, right? So the 156.4. And then the court over five coins and then comes to them one. So let's try it. This was meant to be a very short lesson. So try and practice your 4/5 feet, as many keys as you are comfortable with. And try and use them to lead your back home to the one ended songs or playing intros, or even within the cell. All right, I'll see you the next lesson. 60. CREATING CHORD PROGRESSIONS | 1 - x - x - 4: Hi, So in this section we'll be looking at creating chord progressions, right? So what are some of the tips tricks, the formulas around creating chord progressions. Maybe you just want to create a chord progression and see if you are inspired to sing along with it. I'm going to show you a few formulas that can result in multiple chord progressions, right? So if you're excited, Let's get right to it. Now. The first type here, I call stats on the one and ends on the floor with two quotes in-between. So one, empty space, empty space, and then the four, you fill in that empty space. Alright, so let's, let's see how we can deal with that. So you have basically, this one starts on the one to give the listener feeling that's, that's the key of the song dust atonic. Okay, that's the one. So it gives you a feeling of what the song key the song is in, right? So it starts very solemn, right? Then you fill the two beats with some other nodes. And the ending number four in this instance gives some level of suspense. You start on, it starts very calm. And at the end on the four gives us that's kinda suspended field or something that can pull you easy to order one mind you, the four chord leads you smoothly to the one chord. So that's what we'll give that effect of looping around the chord progression. So let's see a few examples. E.g. this chord progression, which we've played over and over is derived from this kind of formula. So we have the one and we fill in the two chords in the middle with a 5641. Fine for us nicely back to the one. So that's the formula. Starts with a one, end with the four, fill in the gaps. So I've done maybe two or three more examples where I fill in the two quarts in the middle. So let's see. So you can try as well and experiment with some other ones, e.g. 1264. We've done that in this course, play this chord progression, but it's the formula of using one, starts on the one end or the full whatsoever costs come in the middle. Any cards and then see how the sound, maybe it's spicy to write some music. Alright, so let's try this one as well. Go to the right. Then it drops you back to the one. Okay. Let's try one or two more examples. So just a little bit different. So one starts with a, one, ends with a four, but now filling in the gap or the 7.6. So seven chord and said I'm going to play like seven with such two of the four, the five in my right. Okay, so let's, let's try that and see. So 1, 2 3 4 2, 3 4, 1, 2, 3, 4, 2, 3, 4. Back to the 11 more time postcards. And Melanie's, right. Excellent. So try these chord progressions out, starting with a 1.1, therefore throwing some other nodes because there are so many options, 1.4 is just two nodes out of the seven notes in the scale. So you have five chords you can put in there, you can put 23, can put five, you can put six. Alright, so you have other options. You can throw in, in-between these two chords and try and listen to how it feels. Maybe it inspires you to write some more music. Thank you for joining me in this lesson. I'll see you in the next one. 61. 6 - x - x - (4 or 5 or 3): Hi. Let's look at another type of chord progression now this formulas the chord progression that starts on the sixth chord, but it doesn't start on the tonic sounds on the six has two. You can put into nodes in the middle. And then it ends on either F4, F5 or three. And I explained why I have this formula. Now. It's ended on a two for three or five is because the four chord leads smoothly to the sixth. The three coordinates smoothly to the sex as well because it's a four-step is below the 6.5 chord is only a tone below the six, so it's also these four. So you see the key of C. If I were to go to six, if I go like, if I extract from that for the four chord least smoothly to the six because it shares two notes with a sec. So f major has two nodes when a sec, so it's not much of a difference. So that's why at least smoothly there, five codes drags u to the sixth chord as well because the five chord is something called the dominant. So that pulls you to the sixth one. Alright, so these are some of the characteristics of the scores. Let's use this formula to try a few options out. And of course, you try and create some motions yourself. Alright, so first 16. Now we're going to add on a four and this one. So you can choose whether to end on for three or Five, Right? So since we ended on a fault, we can pull in some other numbers in the middle. So it puts into 1.5 this time around. So then this 61 than five. That's the whole music, right? I can go like doesn't have to be the same. They have to be born on its ions. Alright? I'm playing most of these chord progressions as smooth law for, but you can always add rhythms and do all the stuff, all the paths. So this is how you create your patterns, right? Let's look at another example. So start from the six, and now this ends on a five, right? So Eda can enter the four or 56 aims to five, we tick to other nodes available to us, the four and the two in this case. So let me play so six at the form. And the two. And find them use called inversion so forth. You can pause at pickup these inversions and then we play with it, right? So let's try that. So get on your left hand patterns as well, right? There we go. Let's see if we can try one more. One more example. So this one ends, starts on the six and the three. And if you look here, all the courses are minor courses. 632.3, these are minor gods. So now, instead of giving you a major field, is going to sound like a song within a minor key, right? Don't want to dwell too much on that, but this is how the song is going to feel like if you go to six, then thread. In the three-year, we're going to play a regular minus three, minus two. And the three leads you back to the sixth. So let's do that, spends half the time. So I guess you can go. Alright, yes, feel free to explore these chord progressions. Anyhow you want to. So many other options out there. The two, you can flip, what's the middle? You can put other notes that you can do whatever you want. If you stick with the formula and then manipulate it, you can create countless chord progressions where which can be a start to creating some music. Alright, thank you so much for joining me in this lesson, and I'll see you in the next one. 62. FINDING CHORD PROGRESSIONS FOR YOUR SONG: Hi guys. In this section, we'll be looking at how to create, find the chord progression of songs, right? So this could be a song that you have written, or it could be a song that you've had played somewhere, but maybe you can't find the chat. You can find the sheet music, you can find a song sheets. You want to figure out how to create chord progressions for it. So in this section I'm going to use a popular song so that it's easy to relate to it. That we'll look at the thinking process that I probably went into it while creating the chord progression for the song. Alright, so if you're excited, Let's get right into it. The first one, we'll start here as something like all finding the melody on the keyboard, right? And this is very important because if you want to play the song, your very first step is to find the melody of the song. So let's check this out. You find the melody of the song. And usually, unless you know the major scale of the keys, so well, I would just suggest you go with the key of C because this makes it a lot easier to find the melody. Because the key of C is all white nodes. You are likely, the other likely to get it wrong. So the scale is 12345671. Okay? So you just find a melody. If the song, e.g. the melody of the song as you strike the key. And it's Mary Had a Little Lamb, so you look for the melody. So this is some of the practices that you practice that you probably have to do. So you have the pre-play back and, you know, the second note is lower. So you know, you just play around with it until you find it and what time your ears gets a lot better so you can find them in areas like this kind of melodies, right? So that's, that's what you want to do. Use the key of C so that you can get the melody. When you get that melody. Two ways to people like to use a sulfate or scale-like. So in that case, Mary had a little lab will be me, me, me, me, me. So, so if that's good for you, use that, I prefer that. But if not used numbers because the numbers in the scale 12345671 box or the one right. So in the numbers is 2312333. All right, and I'll use the numbers for this course for people who are not used to the sofa scale together numbers. So if you use, if you use the software skill, please convert it into the sofa scale to make it easy for you. Alright? Now, you want to put the melody to a steady beat, right? So don't just play, know, you play in that study time it 1234, right? So you're keeping it on a steady beat. This is because if you want to find a chord progression, wants to know where the, which melodies meets the one which is the downbeats, alright, so that we can start to create from there. Okay, let's, let's take hopeless or lean on me. Lean on me. Well, you know, strong, I'll be your friend, right? Most people probably know the song. If you don't, Just real quick, pause the video and as such it up on YouTube, listen to it, and then come back and let's try it. So when I found the melody of the song is something like so. This is the melody of the song after finding its right. So what I'll do now, let me just take that on the screen, pause it and try to see if you can find the melody of the song, right? So just pause it. And if you're able to find the melody, come back and let's all do it together. So this is what I found as the melody. So I start from the top. I put a dash when is like Movietone under section right. So 321-332-7652. 332, 332-653-2172, right? The reason why I like to use a sulfur scale, this is easier to say. In this case, the sulfur version would be me, read me, me, me, me, me, me read the lasso. Be read. Right? So you find that melody and then just start playing. Make sure you play the melody server out. So just try and play the melody several times so that you are used to the melody. I won't say memorize, but after playing the field size muscle memory will just make it quite easy for that to be committed to memory, right? So get this melody down. And let's move on to the next lesson, where we take it up one step further into our journey of finding the chord progression off the song. Lean on Me. 63. 3rd or 5th below concept: Hi. So now that you have the cord, the melody of the song where you are trying to find the progression Fall. We'll move on to another concept now, I want to say this. We are using lean on me for this. But alongside, you can try to pick up a song of your own song you're writing. You can try to pick up another song. And let's try to use these concepts together with them and see how the workout, alright, so I'm going to introduce a new concept here which I call the third or fifth below concepts. Alright. The third or fifth below concepts. Now, what am I saying here with the melody that you have? You're going to pick, find where the melody is, fall on the downbeat like 123. So the song, one, to go lean on me, 12, right? So lean on me and to plan a nice trial. Right. So you see that? Lean on me, one that's the first big granule. No strong. 2341. So the courts are going to fall on the one. Okay, so you need to identify the notes, the melody, notes in the melody that falls on this one, right? And then you're going to use a third fifth below as the base note. Okay? So e.g. if, f the melody notes like okay. And that's, that's the, the nodes fallen on the downbeat. Now, you're going to use a third or a fifth below the very most basic form of Bayes notes here will be the same as the melody. Alright, so as usually when the song is starting up, if in this case, you'll see that you don't have to use a third or fibula. You have to use that same melody, bass notes, because that's where we are starting the song form. Alright? So, but if it's not like the start of the song that you want to try a third below and hear how it sounds. Try a fifth below here held and so on. So if the melody was a third below, we just two steps down here. Below is 1234, my contradictory. So just fed below two stairs because instead of a is C is a minor third and the fifth interval perfect fifth. So if you count four steps below, you get to a fifth below. The two steps. Just take one out of it and you get a third below. So that means that if the melody was like, if you had to use the a minor third below the hair -0 or a fade below. Yeah. Yeah, You can hear that sounds good like if I'm using the table below. Alright, so we're going to apply this to the song, Lean on Me and you see how it goes. And now with the melody and the baseline, you create a chord. So e.g. if, if you were to use a third below, the base Dao is gonna be the a. Now, if you have a and C and obvious code will be an a minor chord which has both the a and c and it's alright, so we can play the Met, inversion of that. So like you could play that if we're playing a song. So when we use the actual song, you'll see how that goes. All right, so yeah, so let's say if I'm using a fifth below, so that was a third below. If G is a fifth below, right? That is the melody. Me read 321. So I can either go, Oh, they all sound good, or I can use the melody notes itself, which is the one and player one core line here, that good. So let's use our study song. Lean on Me. So that's the melody, the first-line. So if you've got 1231, does the first chord. That's why the next call comes. Another one. You can clearly hear where the courts are coming in because they're like fallen on the downbeat. So if I use these concepts, this is what I come to. That. The first one. I'm not using that third or fibula, I'm just using that same nodes. So it's gonna be one, right? So then, so here I'm using a fifth below, right? Let's say I can use a third below here, how that sunlight. So you play both the third, you need to play the notes itself, the third below on fake below and decide you be the best, judge, which sounds much better, right. So I think that sounds a lot better, right? That's actually how it was laid in the song. So that's a bit easy to get. I didn't want to bring something strange too. I wanted something very familiar from this one. And then the next 1765, you could go a third below two, which is three. And that would work as well. You can get fed a fifth below, which is 23, right? So the third below is two steps below, the fifth. Fifth below, four steps below. So they form a third interval and a fixed intervals. Choose how you want to remember this easily. So the next line then, here I'm using a fifth below. That's the melody. 1234 steps. Right? Now. The next step hours. You can actually use the the third below here as well, which sounds good. You don't need to use a fibula is a thread below it. Alright? I put a six there to show you that there are options you need to check which sounds better for you. I prefer to use the one chord, the third below here, right? And then, here you go. The melody is this. You go four steps. 1234. The fifth, perfect, right? Then back to the, sounds like it's coming home, right? So if I use the concept that we spoke about by now filling in with Cartwright. So This is the bass notes. The notes, two notes, same things. So you can clearly see that it's a one chord or the C major chord. You play this chord, this inversion of the chord I need. I'm going to keep my melody on top all the time just to make sure that you're hearing the sound right there. So I'll just fill it with a color. Obviously this all my life. See on top a very obvious code will be the F major. And then obvious God, he has a C major triad. And what's actually even informing that the court is the one for the bass notes. If you see on the business, it's, your first option is to play the C major chord, right? If it's F on the bass notes, F major chord will be our first option. And if it's an, a minor chord, which is of course the key of C minor, sixth minor, right? So this is how you're thinking about it. So if I play it together, yeah, that here, the three on top, I'm going to use ignored a six. I'm going to use them one here. And actually there's a special way you can actually use a five-year sounds a lot better. Okay, so and also this one, the five with a tool to sanitize you can use instead of playing a regular G chord. In a previous lesson, we used a version of the two chord. That's a plethora of other sounds good. When you play it here, it forms as Southern, Southeastern chord, so it's going to sound like. So here I'm going to play one chord and your rights over the five. In place of that six. I'm going to use a five on my left. Sounds a lot better. And I'm taking you through the thought process because it's not like we say, fed below fifth below. So it's always gonna be laying on our ears are the best charges and we can make such a decision. So at the basic level, you follow the rules and at some point you start to bend them a little bit to sound more musical, and that's how you break your influence into the music. Alright? Alright, get this, get this movement right. And then let's go. You keep your left hand and move your right hand down. So this chord, and then it come down. Alright, so I played a first-line again, slowly. So right, so let me place a letter with a faster, right? So let's move on to the next line. You know the melody already. So he as well, I'm using the fifth below or for four nodes below to get the four chord here. And then on the notes when I'm on the fifth, I go one as well. So at the end is the last call to be the one chord. So if I play the melody here, so the case I'm using the same concept here, I don't want to prolong the video for very long, but I'm using the same cost as on the top to get that second line. So I'm going to play like so. That same pod we ended the first line width. Right? So let's play from that. So just slow this part down, trying to get this fast parts, at least then we have an understanding. So let's go. So I will let six intervals, or it could bring in sixth interval c actually. But anyway, let's keep it simple. So, so, right. To try and play that over and over again onto your hands are used to it. So this is the second, the second stage where after you have the melody, you find a bass note with a third below F falls below the isolates. Third interval of a fifth, cellular fibula. Third interval, or a fixed interval to get a possible Bayes notes. And after you get the bass notes, you fill in with a chord, let them know to help you decide the cord. Because it has a four. You try a four chord first before you try anything fancy, right? After you do this, you fill them with a cost. You started practice where you play the melody and the chords together. Now I'm playing the melody and the cost to get that, but it doesn't really have to be like this because in a real life case, it is possible that you are not playing the melody, you are saying it, or someone who's saying it. So someone is saying, and you have the melody values available to find the courts. And then you just play the pesticides to lean on me. Sorry for my cold. Alright. Lean and mean. When you're Nostra land and land. Right? Dad, at that. That's all. We don't need to play the melody, right? Because if you are starting out, it's quite difficult to play the melody and the chords that same time. So I suggest you replace that plane of the melody with your voice, you sing it, and then you play the chords. Now this is how you find the corporate location of a song, which you just know the melody of, right? In the next video, I'll take you through how we can add a few transitions that to make it sound a bit different, a lot better. Alright, I'll see you in the next lesson. 64. Using transitions and loop chords: Hi guys. In this lesson we'll be looking at how to use transitions and loop around or ten around courts to make that song which the chord progression which you've found a sound a lot better. Alright, so let's jump right into it. Now, just notice that in this session, I might be doing a lot of things on the fly and just pardon me if it gets a little longer than I expected. Okay. I'll try to keep it short. So now what I say is you check the chord progression for rest positions, right? So rest positions are like the part of the progression where sounds like nothing has happened to lean on when you're lost. Right. Now. What are those rest positions like? Lane on May the counts 1234234, black. No courts. So then you can choose to fill these 234 with some courts. And I always say be the best judge. After filling them with chords, let your ears tell you if the sound good together. Alright, so that's what I mean by rest positions. You feel these ones with transitioning codes. And then in lesson two, width. And after you've added all those too, it just listen to it and see maybe you should take some of them out. So that's how, that's how the music creation process begins, right? Great. So let's, let's try it out with lean on me. I'm not going to put in these courts right away, but the chord progression we are using here, so just one to the four, then two, then five. The one chord on the rights over the five. So now from node one to the force and the original. So what they did here from the ones in the song, they just, they just walked up to the forearm and then walk back to the one. That's the epics. And I said, alright, so they're just walking up 1234. So what's happening here is the plane, the one chord, the two chord, which is the, which is the D minor, but keeping that melody on top. And then E minor chord is a three chord here. They invest in it this way, played a first impression on that. And they go ahead to the fall. That's a destination corn, right? So the plane, the walk back now. Right? So let's take that slow. So that's filling this with transitioning calls. So right now it may have been played a little bit different from what I'm blade, but this is just for academic purpose. It might not be exactly how it was composed. Alright? So, yep, So right then. So over here as well as life that you could use, you can and that's what they use. They just use woken up with courts like that. So if I play the first line slowly. But at these transitions, just doing this, just to give you a bit of embellishments, right? Then. Second line. So with just simple transition course, sounded good right? Now. So this point here, it's like a chord that's loops it around and brings it back to the one. Right? So if you're creating a chord progression, you have, let's say we've done a few of the transition courts in the, some of the basic ones in the previous session. So if you have like move into the six e.g. and you have some transition called like a fourth below a fifth or whatever, that can lead you to the six. It's now time to actually fill those in. Let's hear how that sounds like. It's just a simple example I picked to make, to make it easy for all of us. But by all means, pick songs that you are familiar with and hopefully you are working alongside with some of your own. Pick them up and try and use transition costs, which I've been talking about in this course. And thank you for joining me in this lesson. 65. Well done for completing this course!: Congratulations on completing this course. You've come so far in your piano journey by completing this course. Now this course was not a very lengthy close, but it takes a lot of time to go through all the motions to get this far. So kudos, congratulations. Now the next step from here, I will recommend you take another course which is more of an intermediate level. My other course called completes piano chord scores. And now you know how to play major minor augmented diminished chords. In that course, you can learn how to play some of the other intermediate columns, like seven or nine calls, 11 calls and so on. Because this will enhance your play even further. Alright, I'll also recommend another course if you find that interesting on piano embellishments. So my course on piano investments, fills, runs, and scales. This is also a very good course. If you want to take your fields to the next level, I introduce a few of those videos into this course. But I believe that if you are able to take that one in full, you'll be played amazing pretty soon. Alright, so thank you so much for completing this course. Feel free to hit me up anytime you have any concerns. Please like and tell other people about this course so they take it through to help them. Thank you, and I'll see you next time.