Piano Passing Chords Mastery | Intermediate to Advanced

1. Course Overview: Hi. Have you ever wondered what the pro musicians play to make their chord progression sound that good? Have you always wondered what to play to fill in those gaps between your chords in your music. That this is definitely the right course for you. My name is kinky and I've been playing and teaching the piano for almost 15 years. Now in this year's, I have gathered easiest systems for teaching passing chords to help you master them and get playing them right away. Passing costs can be quite daunting and it's quite difficult to apply them money, just hear them in pieces of music. But in this course, I have uniquely group these passing chords and connected them to nodes within the major scale. So you have passing course leading into the wildcard, passing close to the two chord, three chord, 567 chord. And I also have some ten around chord progressions, which you can easily implement in the songs you play already. Check out a few short clips are some of the passing chords and turnarounds that I've taught in this course. I believe that with these paths and costs and transaction costs and turnaround, you'd be able to master them and transform your sound to the next level. Expect to transform some of the boring chord progressions into more exciting and amazing chord progressions. Why did you guess a roll onto this course? And let's get started in your first lesson. I'll see you there. 2. PASSING CHORDS TO THE 1 CHORD: We'll see. 3. V 13 (b9) Passing - Key C: Great. So Parson call to the one. Now when you think about passing chords, you should, you should think of, is just a series of chords that come that you can eat a pilgrimage place before a target chord in the key of C e.g. right? If the C regular C major is your targets cord. If you are in a four-four time and 1234, pretty much you have, basically you have at least three chords you can place before the C chord. So if you're playing maybe 12341, you want to place three calls before. So let's say you want to place two quads before the one chord, the 2510 to sound like one. To be. All. See that? So this is just an example. But these are works. Passing cars are real FET much about. So you could place three chords, e.g. I'll try one now, let's say 11234, right? So i plays 234. These are passing costs now in today's lesson, or most of these vesicles, we are going to be looking at them later. The most common type of passing chord to the one as a 251. In today's lesson, I'm going to show you a nice five chord that is, leads easily to the one. Alright, so the best score to lead to any card is a card that is four steps below. So if you wanted to lead to this, if you go down 1234, okay? Or if you go five steps above, so 123, 45g, So g always resolves nicely to this. In other words, the five always resolves nicely to the mind. So let's look at a very nice five chord that we can use to resolve nicely to the one. We use this as a passing chord to the one. So mind you, a passing chord will not be used as a code that stands on its own. Like you're playing a chord progression. And there's a five in there that stands on its own. You will not be using a passing chord. You use a passing chord when you have to quickly move to the one. Alright, so that's very important. So let's, let's look at this five codon. Speaking about this is a cord called the 513 flat nine, okay. It looks like this. Okay. Now, how do we form these 13 flat nine? So you basically have the one, the five, and the flat seven and your left. Then over, over here you have the three, alright, the theta1. And then that's the one. That's the one. That moment you have a seven. Then the next one is at nine. I am, I'm going to talk about nine, how to form myelin coats and all that detail. But don't focus too much on the building this code. I'm going to show you an easy way to get a score. So this is the nine, because that's the eight. And that's the line that we flatten that. Okay? So this leads nice nicely down to the major seven. See that? So left-hand, G, D, F, right-hand, be a flat. And a nice nicely to the C major seven. Alright? Now how do, how do you form this code quite easily. Now the left hand is quite simple because it's just the five right? Top up with a seven here, which is a flat seven. And as a whole step below the one, okay, So this is the one, the whole step below that, your flat seven, right? On the right-hand side, what you're going to play as a major Hall is just a major chord right off the three. Alright, so is this an E major chord? The morality play, the E major chord here. It forms a third and flat nine. And this is something called upper structures, right? In advanced theory, because upper structure triads that can be played over dominant chord. The dominant chord in my left, I'm playing the upper structure on this tray here. But it sounds much better when I bet it's this way. So in other words, I'm playing the second inversion of the three core forms. This nice quote, right? If I use it in contexts like it assembles, all right, by the end the song, right? Let's end, let's end it one more time. So I played the two. Okay? So just a five and you're going to play the major three major chord inverted down. Now what I do to it to make it sound nice, usually I come into this chord from a semitone above. I play, I play the four major triad, and then I drop all the nodes by symmetry. Okay? So if I split with a two chord, okay? So, all right, so that's how this simple passing chord. It sounds like you got lead to irregular major chord. Major A2. Or you can drop the farm down here to form a major seven depending on what sounds good, right. 4. V 13 (b9) Passing - Key C#: Let's try this in other keys. Now, most of you want me to teach in C, C sharp, F. These are the keys I was getting mostly. So I'll try to always do whatever I teach in other keys as well. So in the key of C Sharp, taking the same knowledge, left hand is going to be the five. So this is the fifth of the PFC Shia, 12345671, right? So this is a five. The fifth, and then add the flat seven, a tone below. Then on my right hand, remember what we did? We played a triad of a major triad of the third. And that's the third of C-sharp. As a regular major triad, right? Inverted down. There's going to be like this. So you see the same chord, but it's an, a flat 13 flatline in the key of C was a G 13 flat-line. Okay? So then you bring it, you bring it into the, the major seven, right? So if you're playing the same song, okay, so from the F sharp, right, you got that perfect. 5. V 13 (b9) Passing - Key F: This is the key of f123, 4561. I'm going to play the left hand. Dominance is the 157. And I'm going to play the school. Same thing, I'll see 13 flat nine. Well, I do, I can do is play this F, the four triad, which the B flat major chord in this inversion, and drop it down to the a. The a is a third, so it's a major chord on the third and play lanes on this one. Okay? Though the same song like grains, right? Is argon. I did some little more of this guy. 6. V 13 (b9) Passing - Key F#: Let's try it in the key of F-sharp, okay? Just to be okay with that. So P of F sub 12345, that's the fifth. I put my 15 flat seven, I look for my third and F sharp, which is y to 23, B-flat. And I play a major chord in first inversion. Same Chord, C-sharp, 13th flat nine. So it's gonna be a 513 flatline, right? And I can't, I can't come into this course from the F, from the form. So let's try with a song. Okay? 64654. Alright, so feel free to try this passing chord of the fifth feature, writing all the 12 keys. And this is what you should be doing because I have done this in all 12 keys. So that in any situation you find yourself whenever you're moving to the one, it doesn't have to come from the two. Whenever you're moving to the one, just a single count before the one, you can play this five chord, which is a 13 flatline with a voicemail I showed you and lead nicely onto the one or the one radius of one major nine. Any code that you're comfortable with. All right, thank you for joining me in this lesson. I'll see you in the next one. 7. Melodic Quartiles - Demo: All right. 8. Melodic Quartiles - Key C: What's up, guys? In this lesson we're looking at another beautiful paths and code to the one. Alright? So if you are in any song and you're moving to the one, I use this nice passing Quantum video. The one, alright, Moving to the one, you're, your best bet is to play a very nice passing chord on the five chord. Okay? So what we're going to do today is going to sound like this. Let's say I'm moving from it to well, let's, let's move straight to the, to the five. So it's going to sound like this. Okay, so let's try it in the song. Like, how great is our God, right? All right, Okay, so that's a nice way of editing. Now, what is my thinking here? I have a target score, right? I want to reach a cord called the 69 chord. Alright, so on. This is how the 69 called looks like. I'm displaying the full one coordinate my left C, and then I'm playing mine and topping up with the five. Okay? So you can see this is a quite right. This, this chord is separated with forth. So that's one. For, this is the fourth of D is a photo of a jesus photos d, right? So if you want self as you can call this a over that made him the folks at my six minor chord. Now all I'm doing is sort of playing the 69, the cartel as tone above, bringing it down to my targets. Okay, that's my target. So I go here, plays a tone above over there. Over the five phones. And my 13 chord, G 13 chord, or he says My 13, but you can call this a G setting from the G 13 chord and then moves to the C6 nine chord. Alright? So I'm gonna do, what you're going to do is to be for each of these tiles in the right hand, you're going to play, do semitone passing chords. You're going do a mini pass and go to that. And then another pass I go. So you're going to play like this. A semitone above. So look at your farm, a semitone above, below, and then go this way. And then the next one that comes, yeah. So you play same thing. Right. So okay. So okay. So 12, the nice one, you sort of place it's a bit fast and don't sorts of places within the timing, right. So feel it's always how grey grey 23. Okay, so you're all you're doing is you're playing the parser called the five chord on a four count, 1231234. So 121, right? 9. Melodic Quartiles - Key C#: Let's right in the heel, C-sharp, right? So once you know, perfected in the heels, see, try to bring the same principle into alkenes. On the sixth, on the five chord, you're going to play this quarter, right? Which is a whole step above the target, right? 69 core, whole step above will be that. I mean, you might want to practice your quartiles all over the keyboard. Right? Keep moving down like that, like that. So just keep them going bad. And then this, alright. You might want to practice that all over the keyboard so you're able to play, look at the top melody. The melody is going to sound, sound alike. But as my target is going to sound like this. Alright, so you should be able to get to a point where the moments you know, the melody you want to play, you can play it in quiet hours, something like that. Alright, so, okay, So chord progression, Let's say I go to, alright. I just went to the to, to card, complain the forehead. Then. I mean, you can do this in any context at all. If NFS S sakes more. Alright. So let's play one more time. Ray. Right? So it's just a matter of plane that's passing chord on the count four of the chord progression you're planning. 10. Melodic Quartiles - Key F: Let's try one last key, the key of F. So I'm going to play by 69. Remember it's going to be a 69. Sorry. Okay. And that is going to end on that's what I'm going to play over the major coordinate. So that's my target. If I take that as a whole step up like that. So I'm going to use a semitone below to approach that asymptote below to approach my targets. So it's going to sound like this, right? And that first one, I do it over there. I do it over the five. Okay? So let's play the two chord. But then that yeah, more time. Okay, right, So depending on the style of music you're playing, just try this out. It might sound more natural in other songs than others, but just give it a shot, let me know how it goes as always. Thank you so much for joining me in this lesson. I'll see you in the next one. 11. PASSING CHORDS TO THE 2 CHORD: All right, I'm going to stop the song, right? That a patient will have a tree. Right? Okay, great. 12. Walk up from 6 to 2 - Key C: In this lesson, we're going to be looking at passing chords to the two chord. Alright? Passing chords to the two chord. Alright, let's get right into it. Tfc. Alright. Two chord that I usually like to play my TuneCore like this. Again because I like to make the third thing on top. So all I'm doing is I'm playing the four chord. Playing a major chord of that puts in the app extension or the octave on top. And then I played over my two sons. So slightly heavier, right? Or sometimes you'll see me extend my thumb all the way to this to make it a minor nine. This is how I usually played. How much able to stretch it there left. You can just go like this and use a minor seven chord. Or some people even do this. Use the thumb to hold these all up to you. Okay, so you choose, right. Now, they're going to do as a series of passing close to the two chord. So it's going to sound like this. One more time. Alright, let me use it in context of a song, a song titled Ancient words. Now, if you know, it's great. If not, the chord progression is just a one to a seven. Then 23. Okay? So I'm going to use these paths and costs to lead me to the two. Alright, so this is going to sound like, alright, I'm going to stop the song, right? That a patient will have a tree. Right? Okay, great. But that's what we are going to be looking at. Now. It's quite a simple walk up. Alright, so the walk-up that has been done here is it's sort of trying to think like you're playing in the key of a. Again. So it's just a walk-up phone after the two. Okay. I mean, if you look at the regular major scale, but you do something a bit different, say you don't play the one he played a sharp one sounds like you're playing off something sort of like a dominant seven chord. More advanced areas. This is called a secondary dominant. But not getting into that. All we're doing now is just plain sorts of movements in the enlightened major key of the six. Okay, so in this case, this case is the a. So you're going to start with an irregular a major chord. Alright? An a major chord. And then when you get, you played a Capulet with a sass two of the five. But this is how visually play off i l seven chord anyway. But if you want to see how to really go about this, yes, if it's whatever you're planning your left hand to lots below the playlist of it. So you played a five. So five, right? And then we'll move up to the sharp one. So this is a sharp one more. Alright? A sharpened always leads us nicely to the right. So when you get here, if you count two steps backwards, over that, you are going to play a SAS to the sixth, so like that. Okay, so let's take the whole three are the three calls. First card, can guard. That guard. Cassidy are all the same type of chords, right? And then you land on your record. I like to add a little melody. What AP status I go. Right? I don't know that. It's not really important, right? I don't need this melody. The melody I want you to choose. I go, I'll play. The light hits. That's five before I lay the two coins, right? So ancient. Right? Right. 13. Walk up from 6 to 2 - Key C#: Let's try it in C-Sharp. Taken it to another key. Remember, let's start with a six major chord. Then it moves to the seven, and then most of the sharp one lands on the two. So remember, that's right. So the seven chord, you're going to play it with a five stars, two of the five in the right-hand. The sharp one chord, you're going to play this as two of the six, right? And then you land on a two chord. So taking it to the key of C Sharp, let's use the same principles here. This is the two chord. Alright? So this is a two chord. Okay? I want to start on that major. All the six scores, right? The night moved to the seven with my right. And then I move to the shop one, this is one. I played with such two of the six in my right hand. I'm going to put this up on the screen so you should see it. And then to the, to the whole sequence will sound like this. One more time. Slowly. Alright. Let me put it in context of the song. Alright? To depend on how fast your plan and my son, a lot faster. So Right. Right. Excellent. So if you don't know this, I mean, you can go to check something on YouTube, ancient words. I don't know whether it's Michael W. Smith. I don't know who the original artist is, but you can just check out the song and familiarize yourself with the melody. But of course you can also pick the melody here and practice with it. Alright. 14. Walk up from 6 to 2 - Key F: Let's try one last key, key of F. Alright, so I'm not going to explain the movements so much. I'm just going to play. It's in the key of F, so it's going to sound like six major seven. The five SAS to underwrite shop one with a six as two on the right, and then medial to the two chord. So platelets in slow. Alright. Let's put it in context. Alright, one last time. Alright. Alright, great. So this is one interesting passing progression movements that I like to use a quiet, quiet often to lead me nicely to my two chord. Alright, so try it and the keys we've done this one end and don't, don't rush it. Try to master this in as many keys as possible. 810, preferably all too often use, Alright, thank you so much for joining me in this lesson. I'll see you in the next one. 15. Walk up from 6 to 2 - Key C: Now in this lesson we're looking at another passing quad movement to the two. Now this is similar to the previous one we looked at, but in this case we're going to be using some diminished seventh chords, right? Awesome. So in the previous video, if not watch that, you should probably check that out. We did a cord movement to the two chord in the key of C. That's the key of C, that's this one, right? We did this kind of movement. So we started on a major movements of the 67 chapters 1.2. And these are common gospel chord progressions. Write it works really nice and gospel you can use it another type, other journals as well. Alright, so this is how we played it. Now, what I want to do here is to switch up the core types, right? We're going to fit in to diminished seven chords in them. So first chord you're going to keep, this side is going to sound like all we're doing is replacing the seven and the sharp one chord with diminished seventh chords. Okay? So you got to play a face card, regular major, right? And then on the seven chord, you're going to look for a diminished seventh chord that has that southern as a member and that's the F-major, F diminished seventh chord. Then played out over this, right? Sometimes I recommend to leave out what you mean in the left. Let's open. And a lot nicer Some, sometimes. That's, that's kind of voice and it's got a drop-two voicing, which we might look in the future, we look at in a future video. But for now, let's keep it straight so that we don't get too confused. So then moving up to the sharp one, he played, look for diminished seventh chord that has a sharp one in the five diminished seven, the sharp one in there. So that's perfect, right? And that leads me to the right. Let's try it together. Right? Okay. One more time. Alright, so if we put this in context of the song, Asians worst. Alright? Sometimes what I like to do as well, instead of just hitting and move it to the file, I like to use a diminished seven chord on that as well. So I play diminished seven that has a GSM member which is G diminished seven. I tried to keep the melody on top, so I'm going to use a B flat diminished seven, in this case. Build it down if you get that right. Minor thirds. So with that together is going to sound like this slowly. Okay? So diminished seventh chords. Now, if you're already used to this kind of things, you might want to try that drop-two version and this is how it will sound like. So. So you see what I get here. And it is diminished seven. I play, I add one more note, my left hand. What I dropped to say is that essentially doing is you take the card and the second highest nodes, you drop that. But that's a tool. We drop it down. So that's the drop your voice. Brief introduction on that ticket together. In future videos, we'll look at more diminished seventh chord movements. There's so many of them, and they're so interested. Alright. 16. Diminished Walk up from 6 to 2 - Key C#: Let's try this in, in some other key, less rights in the key of C sharp. Now in the other case, I'm not going to really explain it again. Just take the concepts and then we move, right? So first card will be like right there. And then, okay, so I'm playing. Now mind you, this is, this is my melon, right? So that always has to be on top. So, which diminished seventh chord has this one on top? Obviously the F sharp diminished seven, right? We have lots of videos on diminished seven, so let me play it together. Alright. Alright, so Asian wars, more time as well, right? So that's, that's pretty neat when you play it that way. 17. Diminished Walk up from 6 to 2 - Key F: So alright, so he got slow that down and try and get it. So then, now we put it in context of the song. That's a bit fast, right? So practices. So just try and practice this Cord Movement. The practice that's in all the keys. Yes, Take your time. One key at a time. Practice it in as many keys as possible. Keep practicing and let me know how it goes. In the comment section below. I'll see you in the next lesson. 18. The 3 - 6 - 2 Passing - Demo: Right. 19. The 3 - 6 - 2 Passing - Key C: Hi guys. So let's look at another passing sets of passing clots are passing chord leading you to the two chord. Now this is how this one sounds like. Kfc. Style tag gets called. It sounds like, alright. This is a chord progression called the 362. Right? Now it's, it's a 251 as well. But in the minor sense, right. So says like a 251 in the minor. So that's why you see that this leads to the, to a colossal, it will look like as 736 in the key of F. So these are some other similarities you can start to draw, right? Let's see it as a 362 and it's a 251, understand it that way because the three, right, three to five, alright, So on the three chord, you're going to play this. That's kind of cool, right? That's called a seven sharp knife, sharp five chord. And the left hand is playing just the 1.7. Now, the way I have taught this course in several ways, but I think the way you can easily get this chord is you will have to, you're going to play a major seven flat five on the third. Major third. So it's an E chord. The major third of ES as a flat, so you're going to get a flat major seven, flat five. So this is an a flat major 75. All right, if lambda is amplified, know when you play it, then we'll let you play it on the three accounts. The seven Chuck, Nice job find, right? So this might be an easy way to play it. Some people, I used to memorize this in the beginning. We call this like in under 3 h amply. So this is all one at the bottom years, right? So you can see it also has the five with a raised fifth. On the bottom. Two ways you can see it's completely up to you, right? So play that card. And then they are less chord six, but you're going to play this, make a major chord at whole step below. So yeah, that's your six, a whole step below you please. Major chord forms and my sus4 chord write. Talked about this before, where, where we play the same chord. By this case we're playing like this, right? And then from there you just moved to you to go. So the 362, Right? I just put in some melodies. You make it sound nice. Strike like alright. You can actually even add, I guess, targets at top, right? Alright, so let's put it in the song. Ancient words. It does aspiration where it's alien song. You have the chord progression with a two. And so I'm in for the sake of this, let's just take All the song elements and let's take a chord progression, 15241. Just like that. Now let's put the two how you put these in as you need to ask. So how many courts are you playing? How many passing course I play? I played to passing chords. That's usually three counts before the code, right? It's got 1234. This within a four counts. So you have to pass encodes and you just have to let the 1.2 goal and then you play the two passing chords on the 3.4, right? So like 2341234. And then one, I played the three on the three, I've made my first pass and got on my phone. I believe I skipped parsing code and then land on the one. This is how, because if you don't pay attention to the time mints might be a bit weird, right? So it might be difficult to actually get. So let's try it. That's on this propagation delay, so that's where it's going to be. Alright? So that's the whole concept right there. 20. The 3 - 6 - 2 Passing - Key C# and F: C-sharp. But a fast car is like that. The F7 sharp knife sharp four shaft phi. So if you don't remember that two ways we did that, see it as a sub five months. Over the three or over the three. Or if you want to be academic than that said, it's a major, major seven flat five of the major third. So if you've ever played it for F major 75, and then you got it so many ways. Right? So the whole sequence will sound like this passing cosmos, unlike sometimes I play like this. Alright, so if the melody of the song, like Asians where it goes. But that's why I put that there. But if the melody of the song, It's not really determinants. You got it? Just go with this one. Major seven. The four inverse or down over time. So let's take the chord progression to 15 to four. And then before we take the shaft to myself, alright, so that's it. Let's try agents work. But I'm playing it without time and let's do it in time. So right. Excellent. I guess these two keys, okay, you can try to play it in the key of F. I select player HMO without explaining rhizome. Alright, right? So try this, try this, these paths and courts out. Let me know how you're able to fit them in here. So thank you so much for joining me in this lesson. I certainly see in the next one. 21. PASSING CHORDS TO THE 3 CHORD: What's up, guys, In this lesson we'll be looking at passing chord to the three chord. Alright? So let's get right into an I in the key of C. The three chord would be, that's right. So I would play this chord most of the time. Two of the one chord that opened up the basic one. Close position. Open position. Alright? Using the same cycle affects or cyclophosphamide, however you would like to call it. I play a chord on the 7th and take us back to the three. Writes, I play this chord, which I spoke about in the previous lesson, which is the sharp five sharp, sharp five sharp nine chord. Alright, so like in this case, is gonna be obese of a sharp knife, sharp five. And if you think about it, so as the beam and the major seventh, the major nodes, major third, G, which is flats, and you play a major seven. That's fine, right? And my left hand, what I'm doing is I'm playing the one third and the flat. And then I play this card and then they can lead me to, alright, so let's ask Lane a simple chord progression like a three, right? That is what? So I did that. Just lead on that card, which is the passing chord in this case. Right? So that's, that's pretty much, you know, that passing on it, do that on a seven. 22. The 1-2-3 Passing - Key C# & C: Sometimes what I like to do is also a walk up. The one I do like 12.3. Okay, so let's go back to the key of C. But let's do it like KFC shop. I play, I play this kind of chord. Which is, remember I spoke about this suspended on the third. So this is the one that's the third side. Hopefully position on that. I do the same, but the two, that's the third scale. And then a three same thing. So that's called, that's the voice. And so in this case, the best guard, C-Sharp chord. Alright? So if you put it in the same progression with ln, Let's go. If I take the KFC, it's going to sound like this. Right? Size. I've been interested in Monday, the two chord because we've introduced a black notes. Because I think people have this impression that the Keirsey, we never played black lots, which is not correct, right? Sometimes passing chords and stuff like this, I come with a black loads at diatonic chords, all whites, but we can always throw in some black and loss, therefore, extra spice. Alright, so S-Corps can't garden, garden guard, right? Also, try out this passing chord. Let me know how it goes and I'll see you in the next lesson. 23. The 7 - 3 Passing - Key C#: Well, the same paths and called them. Let me try to do it in the key of C sharp so you can see it as well. Okay? All I'm doing is playing the chord. So it's going to sound like this. So you still see some sharp knife, sharp five. You might, you might want to actually practice this sharp knife, sharp five voicing in every single key, right? They might want to just go on C Sharp, sharp knife sharp five on that, right? If I then go to maybe f and then do as F sub seven sharp lines or five. So I'm doing a cycle of four, right? I'll put inside a cycle and on your screen. So C, C, I'm just playing a major 75 off the third, okay? And then F, right? And then will be B-flat, E-flat, sharp five. So like that. Then the next would be E-flat, E-Flat. So that's gonna be a G major seven by five. On the right-hand side. Then a flat. A flat. I'm going to go to one side. And I'm going to play that. Right. You can take the chance to practice around the scale if if that's something you want to get into, but you can just let it for the purpose of this lesson as well. Okay, So we, we did in the key of C Sharp. That's my three color. So that I can play, can play this chord. Right? I'm doing this kind of parallel because I'm in the key of C sharp. I get, I get, I get between two black keys like that. I can always do this kind of. Okay, so, alright. Alright, so that's the chord. 24. PASSING CHORDS TO THE 4 CHORD: All our plane is something that's six and I'm moving to a four. But before I get to the floor on the last count, there you go. Right. One more time. All right. 25. Upper Structure Passings to the 4 - Key C: What's up, guys? In this lesson we're going to be looking at a passing chord to the four right pass and go to the four EOC. Fourth-quarter regular major chord. Four chord can easily be gotten through the one. Alright, and so because this is the five of the fourth one, you can easily move nicely to the four. That's obviously you can lay your plane. Okay, you got fits in a one on the count for, so let's fit in a regular one chord. So safe. May you how that works? So the works perfectly, alright, so that's the most basic form, depending on the style of music you're playing. And easy pass and go to the foreign. One chord that passes nicely to the floor as well as the three chord. So you can easily go the three. So three. Alright, so six more time. Alright, so this is sort of the basic step. Now in gospel or jazz. You might then want to do something to this one chord to make a sound. Let's all different, all bits heavier with more patients. So what we can do in this case is always this phi, this one chord will be seen as dominant seven chord. Okay? So, okay. So if we play it at a regular dominant seven, can play six. But we're building up. Now. What you're going to do is I'm gonna give you two options. The first one, you're going to play an upper structure on the sixth chord. Okay, so just think of it as a dominant seven in your right and your left. And then you play as six major upper structure. Alright, so where's the six? And add an, a major chord on six major? Okay? I've got, what I'm gonna do is to play it in this inversion. So I have the a on top. So let's play that down here. See that? Now the beauty of upper structures is it by just laying a regular dominant seven on your left and playing a major triad, you're going to form a more complicated core courses. In this case, the moment I play this structure here on top, regular major triad on top, you get a C 13 flatline, which on a normal day you wouldn't be messing around with maybe. Alright, so seven, we'll see the 913 flat nine. In this case. I'm not going to see that. I'm just going to see it as an image plate over C sub C7 over with a on the bottom. That's it. Alright. Okay, Excellent. So we'll play this chord and then it will lead to the, to the f, the folkloric fantasy. I'm going to use a mega something. So this is your card. I like to do this nice melody that sounds like this. I'm just connecting the two quotes with a simple leading melody. So the first notes. So just my notes, right? So, okay, so say you're playing a song. I played and played a six and I'm moving to a four. Before I get to the four on the last count. There you go, right? One more time. Alright. I Sounds good. This same. The other structure you can do is instead of doing at a six major, which is this one. You can also do a two major. Okay, so you can play the two major, which is D major. You can use this inversion, but even still does the same thing, right? Plate that inversion. Okay, so 61, the two options, six major over the dominant seven of the one chord. Or a two major over the dominant seven of the one chord. So fast option. That's in flat nine chord. Second option. The 13 sharp 11, has a shopping. 26. Upper Structure Passings to the 4 - Key C#: Let's try to make a decision. So here is going to be like that. That's going to be sharp. Major. Laid over the nominal. Alright? Or the major of the major off. To do the other inversion. All up to you. I think there was a song of praise him even advanced where this particular parsing code was used. Haven't played it in so long, but it goes something like Okay, so from, from here, first of all one, but gets into the fly goes, yeah. If you know that song, but this is the whole idea. You can, whenever you know your boss to go to a four, you can easily fits in this beautiful structure. This is this, the six major, and it will lead you nicely to the foregoing. Alright, the next lesson we'll look at another kind of passing chord to the form. Alright, so thank you so much for joining me in this lesson. Let me know your comments below. How it's going with you with a passing chord series. And I'll see you in the next lesson. 27. 5-1-4 Passing to the 4 - Demo: Asda, right? Alright, so. 28. 5-1-4 Passing to the 4 - Key C: Hi guys and welcome. In this lesson we'll be looking at passing chords to the four chord. Alright? Now, a very popular chord progression that we all know leading to the four is the 514 chord progression. What is the type of the 251? Alright, so if you heard it before, it can sound so many different ways, sound like this. This is the version I'm going to go with on the five chord. So it's going to be 514 or the five chord you're going to play. Mine and I. And the way you're going to play it is to play a major seven flat three, okay? That is the five chord of that B-flat. You can invert this down, play like this. Like that, will be a fast God and the second card would be that. And this is the major, is like, just like the major of the six, opened up late over the dominant seven. And then like that, so the first card, that's a five, neither find a 251, lead into the major. The first chord is always like a minor chord. The second chord, the dominant seven. And that leads you to the major chord. So that's what we're playing a minor nine years, leading us to second chord, seven and then the 3s and the right hand. And then after that you end on that. Okay, so let's try a song as the deer pants for the waters. It sounds like, right? Alright, so let's take that just the beginning. So for now I'll go into that for the full court. Yeah. Right. I mean, this song could be played without passing chords and it's going to sound like this. And the bottom, oh my soul. To you. Right? Now if we put it in passing chords here, right? That's how the beauty of passing chords, right? So that's there. This is actually a really nice way of practicing your 25 ones. The song is the perfect song for pricing to find one. So for now we are interested in that progression. So it goes from one. I'm not going to play any passing chord until I get to the four. So 1234, then it goes to a six. Now here I'm going to do a five right there, right. So I'm going to play the 51 on the count of 3.4. Okay, So let's dive on this one. Okay. But a melody, Santa, sun-like like that, right? So I'm in this court can also be played in the other way. So that's another type, right? You can play it in the open position where you go. Okay. Okay. Let's play with a song so pads, right? Right. 29. 5-1-4 Passing to the 4 - Key C#: Try it. Try this progression in the key of C sharp. So I'm going to just play through it. Just feel free to slow it down comparator as the ads for the plane. Okay, that's interesting. So that a six and then lead to 515145, plain, open-position major summit of the minor third, right? So remember I'm putting in the shop one here says like a major of the sixth note outside the scale, right? Okay. 30. 5-1-4 Passing to the 4 - Key F: In the key of F, that's 514, will sound like this. So 0 sound like okay, five. Different position. Five. Or Alright. I may feel free to slow it down. Make sure you get it. Pick up some songs you already play with a fork or most of your songs have four chords and then two counts before the four chord. Let's end this five and then one person cord. And try and figure it out in your own way and all the other keys. Thank you so much for joining me in this lesson. I'll see you in the next one. 31. PASSING CHORDS TO THE 5 CHORD: So the five chord in the key of C, G major, very easy passing chord. That's all Any other person cause that my work in other situations, I tried to pick one that works in most cases now, the best passing chord that works in most cases will be a chord played a semitone below the five. Alright, so this is the five central below. Does that. So the shuffleboard, right? You're going to play like this. Not a sharp fall. You're just going to play a SAS 2/2 over that. For now the shuffleboard is, can be seen just like a two major. Like a regular two is like this, a minor, but when you make it a major, introduces the shaft. That's the nature of the shaft for a two major. So again, replayed nicely like this. Close position like that. Stuff on your left off the two in your rights. Or he dropped the shop floor down and play this stuff here. And of course you can also double up the top right. You see this kind of poison before for the three chord and the seven chord. So let's take our simple chord progression, 6415. Alright, so, right, right, so the fits quite nicely, right? So I guess it's it's on the count for, so that's often the one. Let me alright. So one thing can also do is to sort of do like Iran, do chromatic runs down to the floor or whatever you want, right? So we can try that. Let's try it. 15. Just do a one-five movements so we don't spend their time playing the six and the four and all that. So 15, alright, so a little fast with that, right? Depending on how many a place of one to date bad about. Alright, so, right, so that one. But the main thing is that, alright. This ones are just extra thing you might have to use the correct fingering. Difficult to play. Chromatic scale. Right? So like that, right? 32. Semitone Passing to 5 - Key C#: Let's try it in the key of C. Show my face card. So my chef for money. Simple tags, close position. Open position. Let's try one. Right? But I didn't hear it was, I guess, instead of playing this course traits, I played it a semitone below and took it back. So that's like an extra passing chord to the passing chord right there, right? They go. 33. Semitone Passing to 5 - Key F: Let's try in the key of F sharp for them to be learned. There is what I'm thinking about so much is because I know this voice and I played as a seven in the key of C, right? By the key of F is acting as a shop for, and that's the same voice. Alright, so I don't have to be anything too much about it, since it's the same chord played in another t. So let's try, with our sakes. Try this. Let's pass encodes the five tried to as many keys as possible and get used to it and try to solve the songs you already know. Let me know how it goes. In the comment section below. I'll see you in the next lesson. 35. Walk up from 3 to 6 - Key C: The sixth chord in the key of User, the KFC will be an, a minor chord. Alright? Regular minor lights bring my thumb down a whole step to get my sullen corn sounds much better right? Now. The first type we're going to do is going to be similar to what we did for us passing close to the two chord. Alright. We're going to do a walk up to the six. Says gonna sound like this. Okay, so let's play irregular 651561, right? So what I'm doing is I'm doing a walk-up from the three to the six. So I'm doing the three shaft for sharp five to the k. So for some five to the sixth over three, grappling a major three. Also the key I know in the key of C. But we are playing an E as a major because of the kind of passing chord, but it calls it passing course. You don't want to be stuck with diatonic rules, right? Diatonic rules detect that you play only whites when you're playing the key of C. But that's not the case now, right? So let's take that mascot is a major E, another sharp 4.5. You're going to use the SAS two on the right. So he's assassinated the two chord to chord. But what are some of the sharp five right, in there, right? And then he hits this note and then become too regular minor chord, right? So take it as low. Slow it down a little bit on the last one before it hits the next one, right? So let's try it with 66515 chord progression. So let's say beyond that, right? Great. 36. Diminished Walk up from 3 to 6 - Key C: Now, you remember we did this in two forms, right? So that next the other version is, you are going to use diminished seven chords to play the shop floor. And then the sharp five, right? So for that, you're going to play your passport the same like that. And then when it gets to the diminished the shop floor, you can play this a diminished seventh chord that has that nodes on top. And also how spontaneous nodes, right? So obviously is a C diminished seven. So alright, fine. D diminished. Alright, that's my biggest export. I like to play the one major chord, open about teeth and played out over six. And it forms a nice minor nine chord, a minor seven, if I take this one, right. Great. So let's try one more time. So, alright, that's a nice way of getting there if we try this with our song, ancient words. Patient was, right. I have a true. And if you do the one on the, on the two chord change in B and about school statistics. Alright. 37. Walk up from 3 to 6 - Key C#: Let's try this, maybe in the key of C sharp, then. Take it to the rest. So yeah, you have. Alright, I'll take it one more time, slow it down. This is without a diminished. If it has to be with a diminished seventh chords is going to sound like this. If we play that song, that Asians words, as you already know this movement to the 2s, I'm going to play the movements of the two and the momentum that six, right? So and that's the whole song, right? Perfect. Try this chord progression. Paths and closer to six college practices at as many times as possible. Practice it as many times as possible. Make sure that you are able to fit it in songs regular 646-415-1564 or actual songs you already know. Just time it's properly right? So 12, but a dad, you start on the third count and then you play the sequence of chords leading you to the sixth squared. Alright, practice and let me know how it goes in the comment section below. Thank you for joining me today. See you in the next lesson. 38. 7-3-6 Passing to 6 - Key C: What's up, everyone, Welcome to today's lesson. In this lesson we're looking at passing chords to a six-fold. Alright, so let's get right into it. So your best, the most, the most popular up passing costs to the sixth chord is 736 chord progression. Have spoken about this in a previous lesson a couple of months ago. Feel free to check that out in my video. That's alright. But oh, just make it slightly different today. So in the key of c736 will be very bad. So you can play the seven and then three on the cows, three angles for gel move into that sex like Formula 1212. More. So this how you place them, right? So it's going to sound like Ray, right? All right. So I've laid them to fall in line with the melody, but for now just take a generic 2736. But if first card is like that, you play at two minor chord, but inverted down over the seven. You can add your eyes. I add this major third naughtier. And then I play this chord, which you've met before, is that the one, sorry, the other three, and then the sum by two, which is the 13.7 off the record. So the dominance of it here, and I play it over my shelf, 5123 or four major 75 off a flat. Over that. They form so-called called a sudden sharp knife sharp, fine. Alright, so this code you might want to know very well because it has so many uses. Okay, So then I resolve on this chord as my Discord plane triad of the G. Right? So let's play together slowly. Alright? If I add, if I add some melodies two, it's going to sound like this. Alright, cool. So now I'm a little twisty. You. So let's, let's practice this in the song. How great is that? Gray? With me? So sad. Right? Now. A little twist we can put on adding more passing courts as to go. Though, the easy version is when the melody sounds like. But if you want to make all those into courts, it's going to sound best score. Then you play the C major. C-sharp major, then leads you to the sudden sharp, sudden sharp, knife, sharp five, and then banks you into the last chord. So let's practice that. You bring it back. If this kind of this course I bet, difficult for you, just feel free to play the simplified version and use the melody if that's alright, but I would advise you to take it slow, break it down and go like this is how you build, you build yourself up. I mean, you can take the easy one and then you practice and then you time he tried to bring this one name. Okay. So that's does the passing passing coercion. Right. 39. 7-3-6 Passing to 6 - Key C#: Let's look like chaos. C-sharp. First car. Ride by play, the C-sharp major role in this inversion, because I'm a semitone and resolve it into that major seventh flat five chord and then bring it down. Alright, so how gray? Okay? Alright, Try, try and take a look at this passing chord. I mean, try it. Another case is gonna be the same. Just picture it from the same principles that we use in the key of C. Now, take it into the other keys. You don't necessarily need to play the inner passing chords. The main thing is that if you're able to play this in all the 12 keys, like the key of F, right? Well, able to play it in all the keys. The key of E flat for e.g. try and plates and every single key, because you never know the key of the song. You'll be expected to play. And everybody on the band, and the band is counting on you to play every single key, which is the best way to excel on the piano, right? Thank you for joining me in this lesson. I'll see you in the next one. 40. PASSING CHORDS TO THE 7 CHORD: The ancient world, right. 41. 4-3-2-1-7 Passing to 7 - Key C: Now this passing chord, seven, and there's a seven core. Sass, two of the five simple classic Codman value, my heart sounds Sant'Elia. Like Asians are. Gray is how it's played, right? Okay, So this is quite simple. It's just a walk down the fort. And you wet it with a third but an octave higher, like. So this plain foam green ones are family. And that's what is being lost. Or six by four together. Like to start that you'd like to go add these extra notes and make it sound nice. Or the app. So let's put that into context. So one, then you're going to write, he started this movement on the three. So let's do one. Let's go out 12. Right? And he can go continents was seven. Sigdang A36 if you want. But that's not the case where doing just as simple malware, 1-7, okay, so asians were right. Now the same chord. Movements can be done with courts, right? So I'm used something called drug to voice. And I'm having such office like That's card. I drop that down here. So same family made. I'm going to be using this part for the fire. And then this one, I'll use the C chord, the 217. Okay, so it's going to sound like, okay, so a shunt, right? Judging me. Alright, so now try this and other keys, right? So this same thing sounds like I'm playing like it's not like the beginning of somebody doesn't like it. Good. Okay, guess just the same query. Just want to buy. Yes, moving the same ports. But now just go like let's take it together. 42. 4-3-2-1-7 Passing to 7 - Key C#: So far, more than 17 over. What have I always do? The grace note sounds a lot better, right? Single notes. Courts drop-two voicings. With juggling the sound. In this case, I'm using it in like ancient, ancient world. Right? Both gray guy. Right? So a lot faster in that count, right? So it depends on how, how the whole thing goes. So try, try this nice passive movement to the seven chord. Thank you so much for joining me in this lesson, and I'll see you in the next one. 44. 3-6-2-5-1 Turnaround: What's up, guys? Now in today's lesson, we'll be looking at something called ten rounds. I may have mentioned this when I was talking about passing chords. And I'll be looking at a very nice and easily applicable turnaround called the 3625110 around. And we'll try to see how we can apply this and some songs. Alright, so you're already, let's get right to it. Awesome. Now, this turnaround. Let's start from the key of C sharp, 12, 341-234-5671. Okay, So now this ten around this, but 36251. So basically who? I've, let me demonstrate how this 36251 sounds like in context. Okay. I'll play it with with as the deer pants for the waters. Okay? Alright, so you saw what happened is that a chord progression? While the stakes, As the deer adds four. And if you don't know that song, it's no problem because it's just chord progressions, right? So there's one to the sixth, and then it goes to the floor. And then five and then one. Okay. One for four counts and it comes to one again. This is where you can put your 36251. Because whenever you have a one last thing for four counts and then starting on a one again, you haven't repeated. That's an opportunity to stick into 36251. So you're going to replace the first 13 and then you play the same base. And then to five, then comes to the one. Because you have, you have four counts always to play your cards, right? So you have, you're going to place our first one with the three, and then you have a six to five and then at the end of the day, land with the final one. Yeah. It went up as a dead pines for the water has to be less than the three 65's of the water. So you see that? So that's the opportunity you have in a situation like that. Okay? I'm going to show you like cat. Easy course you can use for this. You can obviously go out and have fun with lots of other kinds of advanced course. But I like to teach beginner to intermediate level courts so that everyone can benefit. Alright? So the court I will use for the sixth score, that's the three chord is my regular open version of my my usual three cord. They have the SAS to the one chord over three. And then I open it up by Dublin melody. Take this one now. You can play like that. Okay. That's my three quarter four minus x squared. I played a 5/6. Okay? For the two chord, I played a two over there too. Okay? I usually like to put my army to grip, make it a minor lines. If this is fine for you, lay that. If not, you can just take with them or Glut4, okay. You keep the same color on the right and play, fight for that. If you have the full board before you just put the final one that gets at my size four. If you have this major seven chord and put that a guest here, 13, 30, you have much better card, right? So let's take it first chord, six to five. Then let's take that solid again. Six or now, takes one. Okay? So let me play it one more time with a loop. Okay. More time. Alright. Alright, so you see that? I mean, of course we can add Melody service, right? I'm going to get into that. Let's apply it to something like how great is our God? There's another opportunity because when it goes, How grade? Oh God, saying with me how great is our God and always saying how gray? Gray is our guy right here that you hear. In most songs, they will come back to the one and stay there for four counts, sometimes even 2 bar before starting again, you always have that opportunity. So let's try to see if we can put it in algorithms. I go. Okay. So I was able to put that in before the holiday comes again, but let's put it the first time I was saying how sad. This can easily be done. So 36251 is so powerful. It just changes the mood because while he went gray, green and one for the song was really late. So I'm doing this little hill there, like taking me to the three. I'm doing a walk down on my left hand and I'm going to talk about certain things we can do on our left hand tool, spice things up like so. And then I walked out from there. I've counted as Vista bad and multi-family because now we're saying, okay, so let me give you a melody. You can get into this kind of turn around to make it sound beautiful. And you've heard me use it in a couple of examples, right? So I elite, dislike. I'm just leading the score with the melody. Because the task took notes, I'll go like and the next chord is this. I'm going to play a melody that also targets. I'm always targeting the top nodes because that's the melody. Alright, so I go, That's my melody. Okay, so, so that's one, So here's the deal. The law does. So that's why Mela Duke way until I can extend that a bit and go. What I did that is, instead of playing this five chord, you already know I am going to use the same version of the same chord, right? You see the name does a j, such that I just inverted this major seven chord so that can play a melody with it. So I go. Okay, let me try, let me try that with the loop. Let's see. All right, So this is how you can use these, does turn around and try and learn this then around it, every single key. You'll see. Alright. Key of F sharp. Key of F. Alright, fun practicing things in 12 keys. Yeah. Just practice this. Let me know how it goes when you're using all these wonderful tenor. Alright, as always, thank you for joining me in this lesson, and I'll see you in the next one. 47. Modal Change Turnaround - Key C: Basically, if you have a song which on the one, and most of the time goes for like 2 bar, sometimes just 1 bar and starts again, which is for most songs that you encounter, right? You want a way to sort of loop the end in part ten around back to the one. And these are amazing ways of keeping the song not too boring. In the previous lesson, my previous video, we used the 36251 e.g. in the key of C, where we went with how great is our God? So all we're saying, how great? Gray, right? So you, you, you have, you have this way of looping the end. And so now today we're going to look at another way of doing this. It's based off on similar concepts. Alright? So this is how the turnaround is going to sound like. Okay, let's let's check it out. So i so what happened there? So we ended assault was saying how great. Oh God. Then we went to six. Then this chord. This is what we want to learn. And if you look on the screen, you see that it moves from the one which is the first chord, and then it comes back to the one again, okay? So you play a six chord and then you play a four minus nine. That's the colon we played here. And then you play a flat seven minus nine, which is this chord. And then you come back to the one. I'll explain how to really conceptualize this easily. So just, just follow with me. And so this four minus nine, okay, so if you want to play a minor nine is very easy. You, the way I'm voicing it here as I'm playing on the form on the four chord, which is the key of C, by the way. Okay? So if you want to voice this four minus nine, all you have to do is play a major seven minor third up. So this is the form. You play. The minor third of this four is a minor third. That's like three semitones, 123, okay? You play a major seven chord of that, of the A-Flat over the forehead cells. Okay? And then after you get this core down, you go to the flat seven. So this is the form. That's why there's a seven, right? So 1234567. And the flat seven, is that in B-flat? Okay, I'll show you an easy way to get this. But after you play this chord, you just, you just maintain your, your thumb and your index finger and then move your left hand up to them. But seven. Then you play and use your middle finger to hit. That's melody at all, up from here. Then the major. Okay, so you see I've written the melody below. It says DO than five. Okay? If you, if you want to think about this in numbers is going to be 71. I, for one to three. And it's important so they can guide you, right? So you go, you play the first or the minor nine. Then you hit stat. Then you play this. Then you hit that second molar the array, and then you play the regular major chord. Okay? So. Alright, so let's put this into context. Let's bring our looping play. How great is our God? And then when we end, we're going to use this turnaround to bring it back together and starts the song once again. Alright, so let's hear how that sounds like. Did you hear that? So when we ended, it ended about to end. Right? So that's six. Alright, so this is what I'm talking about. How to use these turnarounds. It makes, it changes the sound. It makes it sounds so much better. Now, how can you think about this? You can see this as, you know, for minor lime play that then hits this melody. Then with this one, you just, so this is also a major line, but not admitted as a dominant line. But this is how we voice it's right. Or the concepts that is happening here. I'm choosing to pick to play a 251 to five in the relative minor, right? So we're in the key of C, but I'm playing a two-five in the key of E flat. Okay, so these are some of the concepts. I mean, if you're comfortable with this, That's fine. If not, you can see this as just F or OFR for minor nine to seven. Then that or you can choose to see it. And this is how I see it, so I can play it and all other keys. I choose to see this as a two-five in the relative minor, or you can call it the relative major, but in this case is the c, that I mean, technically let's call it 253 semitones up. Okay? We're playing the key of C, but we go to the three semitones up, which is E-flat. And we play the 25 to five, and then we come to the one. We are substituted instead of playing arugula to five and a C itself, we're going to play a two-five in E-flat, which is a minor third above, and come back to the sea. It can get a little bit confusing depending on what level you're at. So feel free to choose one, either see it as a four and a flat seven fourths or this way. So by this way, because I already know how to play to five in all the other keys. And I've taught 251 in my previous video, right? So if you've already practiced how to play this in all 12 keys, then I can easily play. This is my quote, one of my 251. Okay, So I played a two E-flat. So this is 25. And then I come back to my C major. Alright. 48. Modal Change Turnaround - Key F#: I'm going to do F sharp, and then I'll do some, a few other keys. But I'll end with F sharp for this YouTube video. And then I'll, I'll do a few other keys for the extended version on my website. Alright, so I'll put a link in the description below. Okay, so let's do F sharp blade that. And then this is the four. I need to come up to the flat seven, okay, this is 717 flat seven. Flat seven is a tone below the one, okay, so that's the flat seven and all you do is just maintain your, I've found by their index finger. You need to use some of these tricks to actually get you to play. It's easier because if you don't visualize some of the stuff, it gets a bit overwhelming, right? So yes, maintain maintain your thumb and your index finger and bring your left hand up to the flat seven. Then you hit this melody, and then that is going to be like this. Okay? You got it. Let's see, That's all. See this as if you are a bit of an intermediate to advanced layer. You can see this as to five in the key of a. So the key of a is a minor third above F-sharp. So this can be my two to five in a kiosk. So to five, then you land back to the original key. So two ways of seeing that, right? So, so let's play how great is our guide? And try and see if we can bring this up. So you start with your when you get back to the one, you play each of them for two counts, so you go to three. Then the 112-12-1212. Each horn to count is very important, right? So on the sixth chord I'm just doing, I'm playing a major seven off of the one over there. That's also another minor nine chord. You can do that or you can just play, can just play a five chord overlaps because I'm doing that. And then I'm hitting this to get that nice melody, right? They can just do melodies without playing chords perfectly fine, right? So that's how I'm going to play it without the loop and then I've been a looping. Alright, that's been done looping. Hear how that sounds like. All right. 49. Modal Change Turnaround - Key C#: Let's see a key of C Sharp. Alright? So if want to play this, this is our one chord. And then the six chord. He starts with this chord. Six with a major seven here. So this is the minor line. A very important voice in you might want to pick up, okay, so minor line, you play the major seven. The third, minor third. Okay? So in key of C sharp is going to be then the four minor line for mine, and I maintain the thumb and index finger here. That melody. And then the case or who played the, how good is our guy? So right. There we go. So one more time. Right. 50. Modal Change Turnaround - Key F: Let's try to the key of F, k. So if you go to the sixth God, they'll go to the format Ally. Okay, so it's very important to be guided with this melody so that you know where your fingers should be, hits it, right? So if we play the part of algorithms and also a novel was saying, how great our gray is. The song starts again, right. 52. Melodic Modal Change Turnaround - Key C: The turnaround sounds like this. You can clearly hear that it sounds like something from a completely different key. And that's correct because now instead of C, replay the key of C major, these notes I'm picking are coming from the C minor scale. So I'm playing in the minor, right? So this is C major, C minor, right? So I'm picking these nodes on the C minor scale. Then it lands on the major, right? In the previous lesson, we played this same chord, which is the minor nine. By this time are all I'm doing is adding a melody to that I'm playing. You can see this melody if you want to see it's looking at C. It might be a little bit more complicated, right? So, but this is basically the melody. I'm thinking about it in the key of E flat is easier because in the key of E flat, I can use the actual notes from the major scale. So I'll call this marty Doran, me so far. Okay, I want to think about the numbers in the key of E flat is going to be 671-23-2543. All right? But if were to see this as key of C, it would be more sophisticated because it's getting sound like one too, flat. Two, flat 354755. So this is why you want to be able to think about it in their relative minor because you don't want to be bothered with all these flat seven and all that kind of stuff. But if I think about it in the key of E flat, like I just go 671-23-2543, KFC. Alright, so just perfect this melody, or you can just look at the major D minor scale if you know the minor scale, right? So okay, so you play, you just play this, as we said, this, the four, the four minor line. And then I just go to the flat seven, regular dominant seven chord. Your left hand is going to play that 15. And the flat seven, which is a tone below that. This loads right? And then you just play irregular major chord inversion. If you lie, he can play, you can play this one as well, which I like to do most of the time, but it's perfectly fine. Aso, right? What I saw. Alright, so let's, let's try this in context of the song. How good is that? Okay. I'll, I'll bend the loop and then we'll try to paint, right? Alright, so you see how the song just tell around easily with this. One more time. All right. 53. Melodic Modal Change Turnaround - Key F: So let's check it out in the key of F. So F is going to sound something like this. Okay? Can I play the four minor nine that I know already? Have this melody? And then for the next chord is just the same E-flat chord I just played with inversion, makes sure that the E-flat is in top-right. I try one more time. Okay, so let's fit a certain context. Now, you're out in the previous, only realized that I put in a sixth chord before playing this for minor. But because of this melody we're playing, we just take it from the one where we go. So we don't have enough time, so we're just going to play the one chord, even just one college, right? Alright. Okay. I will put it in context with a loop and hear how that sounds. Awesome. This is, this is how we can take this simple sounding. Turn around and make it beautiful. The similar. Tell her all we started, we started in the previous lesson. But this time around we added this beautiful melody to it, right? 54. 6-#4-5 Turnaround - Key C: Alright, so what's the center? And I'm speaking though. Yeah, this is how it sounds like. Let's say the key of C. We always start in the key of C. Because I believe it's the most basic of the keys because it's, you know, it's major scale is all white page. So if you practice it, the z then just tried to take it into all the other 11. Very important became. So, let's say end the lesson ten around this, how it sounds like this chord. And then that chord. Let me try and bring up the courts here. So the Fed, so the left hand, as, as always, you start from the one, you move to the six. That Here you go to the shop floor. And he goes to the five. Then the one, the shop floor. We're going to play this chord. This code would a shot for you can, you can call it a minor seven flat five, but I don't want to F sharp minor seven flat five, but I don't want to make it too complicated, so I'll break it down into a slash chord. Okay, So it's a, you're going to play like that's like the one by three, the shop for a six, right? So you're going to play. And this is because I've been usually when you're playing a dominant nine chord, you can add a d. A d99 chord would be like the D major. You add the two, right? It becomes a D major R2. At the moment. If you keep the D here, you drop a thumbs down, you get to become a deny. By this case you are playing it over there. The planet's over the F sharp. Okay. It's a bit brutal as well as you can play it like that. But let's see how it looks easy too. Okay, so we're playing sort of a D9 chord over the F sharp. But real theory, we'll call this an F sharp minor seven flat five, or a half-diminished seventh chords. Okay? So how are we going to remember to play like, we're going to play like the sixth chord, a minor. I'm going to play this inversion. Okay? And then we'll just put the F sharp corners complete. So pretend like you're playing a six chord inversion, okay? And then you add the other top node here. And then put that on there. So that when we move to the next chord, all you have to do is because you already here. All you have to do is to just change that, take this out, and then move that here. And then it becomes the regular F major chord over, over the five day. So one more time. I like to add this one. There is just f, f over g. If I was a G, G sus4. But I like to think that it doesn't change anything, but it makes it sound a lot heavier, right? Well, you can bring your left-hand down here. Okay. So let's put it in context. Let's play it with a loop by a simple song which comes to two, the one that I go. Alright, so let's, let's break the looping. Yeah, that's awesome. Okay. We'll play Hamlet is our guy, so fine. Okay. 55. 6-#4-5 Turnaround - Key F: Key of F, Okay? So how's this going to sound like you have x squared. This is called I always played. That's mine and mine. Okay. Would that may just have a play that okay. And then I play the score. So that's that's the code that we had for the thing. Yes. Yes. If here I'm adding the shop for as a sharp fall, as a foil, as a shop floor. I'm adding it to my right-hand pane. But if it's too difficult, just play the latest six chord, inverted that gay. And played over the sixth of other shop for. If you play the song. Alright, let's, let's try that one as well with a loop and then we're done for today. Alright? Yep, So that's, that's it for this lesson. Just take your time. Try and play this in as many keys as possible. Thank you so much, gentlemen. Today's lesson. I'll see you the next one. 56. 2-5 in the Key Above - Demo C: One more time. So. 57. 2-5 in the Key Above - Key C: Let's see how this set of sounds like the KFC. Let's say we are adding a song. Hey, I'll take it slow, fast code. So we end the call, the song and then one, then. Alright, so how, What am I thinking about? How planus? So if you look at it, head around with this and our arms, we start on beyond the one. We want to play something and come back to the one. So we start the song again. Though. Here, what we're doing here is the plane that to five, which is a very common progression replaying the two were playing this. Sorry, replaying the two planets. A semitone above. Okay. So last time we played some two-five been plated in the minor third one, which is three semitones about by, in this case, we just played it to five and C-sharp is just semitone above. Okay, So if I hear you play, okay? So to buy them back to the five of the sea and then the one, okay. So the color I'm using is the voices I'm using. Here I've written is as the shaft to 13. So sharp to that is if you don't want to be bothered thinking in several keys, you think of it as a sharp to a sharp five to five, but a sharp E, sharp 5 million as the two-five of the semitone above usually will think like that. So I'm not bothered about the shop to shop fives. Okay. So in the shop to the two of the next key, you're going to play. That encode by how you're gonna do with this. You take the key one-to-one below. Okay? So this is the E-flat is what we're trying to reach. I play an E flat 13 corn. They take one whole step below. And you play a major seven chord on that. Okay? 1234, okay. But I don't want you to play just a major seven chord. I wanted to major seventh flat five, okay, so that's the plane, this, this is 1357. I want you to flatten the five, okay? And then when you play this on an E-flat, it becomes an E-flat 13, it says 913, but that's exactly the same thing if that's okay. Because that's the first chord. And then you go to the sharp five. But this is the five. Does a sharp five. You're going to play a major line there. If you want to play a major nine chord, the voice and I'm using here, you look for the third of that nodes. Major third, which is this is a major third interval. So that's a major third will be two tones up. And then I play a minor seven. C minor seven. The moment I played the c minor seven over that A-Flat becomes an E-flat major nine, okay? Or you can, you can stretch here to make it sound better, right? So your first chord in the key of C, and take your time to play it in another key. Okay, so, uh, first passcode is this. Again cord. Alright? And then our third core, we come into the key of C proper. You're going to play this, this code we usually play, right? Which is the five chord, but with a four on top. Like this. But this time I'm just going to put them. You're going to put this note on top here. The G. We're going to play like that. But this is the quantity actually wants five and then a four. But I'm going to play like this and then come to the regular one. Okay, so then the one, I'll play it slowly. And each time we play the chord, a chord, we hit a melody afterwards. Okay, So it sounds like this. And then anytime we play the chord, we hear the melody just a tone below, right. Hey, I'm on time. You realize my left is just moving in 151. Okay, so alright. But that's how it sounds like. Let's see if we can bring in a loop and if we can manage to play how great is our God with us? Okay? Yeah. Okay. One more time. So alright, so that's what's in this turned around into action. 59. 2-5 in the Key Above - Key F: I'm striving to give if I'm not going to explain too much, because I've done all the theory explanation, the key of C. Okay? So like EFS as well, I'm going to pretend like I'm playing to five sharp two. There's gonna be like that. Okay? And then melody goes like, okay, so I've written a millennial, this is so fun. So one, flat seven, flat seven chef 5543. Okay, so like I not the case. So let's, let's play, let's play the chords together, okay, so it's gonna be the two here. The score. Right? Thank you one more time. Okay. Just take the last part of the how good is our guide and try with it. 60. Jazzy 6-2-5-1 Turnaround - Demo: We we we we we. 61. Jazzy 6-2-5-1 Turnaround: What's up, guys? Welcome to. Today's less than nine. Today's lesson we'll look at a very fun way of playing these 3625110 around. I'm going to use some diminished chords on my right hand to get the sort of jazzy feel will they tend today we'll be demonstrating this with 68, same signature as well, just to put a little twist on it. Alright, so if you're excited, Let's get right into it. Alright, so how does this sound like? Let's check it out. Scale c-sharp. The 36251 is 3651. Okay? So in this case I'm going to use diminished chords, diminished seven, okay? I'm going to pick that same. Start from the three. Then Y. Workout my diminished chord down. So it's going to sound like this. Because I like, but instead of playing a 36251, I'm going to be three. Then play that. Okay, so try to substitution because that's a tritone substitution of a six. Okay, that's the early lessons. We haven't done that yet, but I'll just play the three and going a semitone down. And then the two, I've wet, I'm replacing the 36 with a flat three. Okay? So, okay. So the three, I played this diminished seventh chords, diminished seventh chords. I interesting because they are, all the nodes are Ray Saboteurs are part of a minor tears apart. So if you get that, you just get the minor thirds. And then you drop all of them. Semitone down, and then one more time. And then after the five, you just play on our regular four chord over the five. And then come to the one. Base is going to sound like. Okay, let's, let's try that with a loop and hear how that sounds like. Okay. Okay. So what, what I was doing there is just I'm trying to play like in my mind, I'm playing how great is our God with a six day time signatures, guess I like. Okay. So I'm just trying something to work with that I know of course you can place it irregular 44 time signature, which is going to sound like 123. And if I use the same thing there, I want it to be a lot more fun. Today's I'm using a 60 times h. Okay? So one more time. You drop that, the chord three semitones down, and then you end with poplar, this guy. Okay? Now, check this out. I tried to make this same chord progression a little bit more fun with some left-hand notes, okay, So check it out and then I'll explain afterwards. Okay. I'm more time. Okay. So what's happening here? So start practicing by doing. I just walk up to the three. Design something like Like what? Like a match and so on, right? So okay, so start with that. Then the next step is, I used. When I played, before I hit any nodes, I hit the tritone. Tritone, this note which is three tones apart. Okay, so this, the tri-tone of this node is three times 123. So these are tried to see is written on the screen, ie tritone, tritone, tritone. And because I know my tritones been practicing them, so it's a lot easier for me to remember, but just bear that in mind. So I'm doing this walk baseline. That's it. Okay. And there were the right-hand, alright, on the throne. The last one, I just sustain them, so let's try that. So okay. So you got to keep those notes or you can just go. Alright. So, yeah, this is really fun. You can, of course, you can play it in any, any key once if one player is in the key of C, just remember that when it starts. And you're just going to start on the first one has two. Nice to have the three on top, right, so if we play in the TLC, once he's tried to us, let's try and zeros. Okay. Let me try with how great is our God in a time signature? The Baptist sharp price is 68 times signature. And then try and put this stuff in there. Okay, so let's see how that goes. Week. Alright, so I was just having some fun there because this is a lot of fun. Alright, so try and see if you can take this into all keys. Alright, I'll see you in the next lesson. 63. Jazzy Melodic Turnaround: What's up, guys now today we're looking at a similar time around we did in the previous lesson. But this time we are adding a bit of a jazzy attached to it, making some kind of melodies out of the diminished chord. So alright, so if you're excited, Let's get right into it. Alright, so C-sharp, right? Yeah, so I mean, I use C-sharp, C-sharp, E flat. These are the gospel standards. So if you're interested in gospel music, most likely you'd be interested in C sharp or a flat, F sharp. Okay. I know most of you like F and C and all that. Um, but yeah, it doesn't matter. You just take the same concepts that I teach and then take it into either case. Okay. So last time we looked at this turnaround, okay. And today we're going to form like a melody out of it. So it's going to sound like okay, I found it out of that. Okay. So okay. If I hadn't, I left time. Okay. So I style. Okay. So yes, they gets low butter, butter, But the bad, bad, bad, bad Obadiah. Hey, so this, this link actually works in the fall for type signature. So the regular way we've been played out, really love God. But I try and put this in. So sounds like this without a loop. So you realize that the sound changes is sort of like this. This is not something you want to regularly playing. A judge is going to surprise everyone, okay? But this sort of changes the mood into sort of a jazz kind of deal. So if you're jamming with some friends, you can always throw this in or depending on the situation, they can throw the same. Alright, so let me get my full for loop in and then we'll try and see if we can play through it, right? All right, So this, again here, this is really exciting to play. So if you don't know any ligands are having, this can be a fast lake, sorts of jazzy, kind of lucky land, right? Wanted to look at their finger and as well. Okay, so yeah, I'm I'm glad I brought this lesson to you. This is something that I am a melody that I came up with and I thought it would be excited to share with you. All right, So thank you so much for joining me in today's lesson. I'll see you in the next one. 64. Chromatic Major Triads - Demo: I am. Yeah. 65. Chromatic Major Triads - Key C: What are these chromatic major triads on speaking about? We know major chords, 135 of the major scale. I tried to just accord with three nodes. Major chords are triads. Minor chords are triads. Diminished chords are triads. Augmented chords are triads to size four and so on. Alright. Now, move, moving and chromatic, chromatic movements are just movements where you go. You move in semitones, right? Okay, and that's, that's just moving without skipping any nodes. So semitone movements, so that's what we call chromatic movement. So chromatic major triad would mean like I just chromatic major chords. If you want. Moving major chords in semitones, you see all the notes are increased by cemetery. And then you get to the next major chord. So it's good to practice these things to sort of get them on your fingertips. And inversion I like to use for this is the second inversion. I have a major chord like this. I just inverted one step down the top note and moving it to the bottom. So now I have a second inversion. So if you invite the top, this is the first inversion. Second inversion. I like to take this inversion, take them through chromatically that, that, that, that, that, that you want to practice this, take your time, practice this over and over again until you get the hang of it, because it will be very useful in the future. Now, these chromatic major triads are very nice. Because if you have a code, basically if you have any code where you can see a major chord format and within the code, you can pick out the major chord and just lower the major chord and play it and chromatic movement, I will explain this. Let's, let's check this out. So there are six chord. I like to use a lot the key of C. So the SAS code, I like to use a lot less cold, cold and minds sus4. Don't beat yourself about this, but it's basically five played on the right over the six. So this is the key of C and a five. If I play a five major chord over the six, I have in mind sus4, and it sounds really nice in certain applications. So I take it down. I take my mind down seven on top here. And I'm going to play this five chord in diversity. We spoke about like that. Okay? And by doing this, I can apply the chromatic major triads. Just take this code down two steps. And then I start from there and meet up with the colitis. I may have spoken about this in a previous video. Maybe pass it. But I want to be a little bit into detail. That's kind of some, right? And you can of course go so many steps. 1234 we can go. It gets difficult. So okay, for today, we'll just keep. Okay, good. Now, let's try and apply this Nestle KFC, simple gospel song as the DA AirPods for the waters, so hands for the water. So muscle gain, 16451, simple chord progression. Now let's this code. I'm going to use this chromatic passing, right? Right. Once you have laid with full pass encodes, it could sound like, Okay, you can add all those classical. I want to keep it simple for today. Try this chromatic passing on the sixth chord. And it works in so many instances in the gospel. You could try a song like this. This is the whole concept. Chromatic triad movements on the six squared. 66. Chromatic Major Triads - Key C#: Let's try it in another key. Okay, I'm going to play to their couple of keys for you to follow. So right. Trying to get to just play some turnaround, which is a 636 to five. I think I might take that later. 67. Chromatic Major Triads - Key F: Let's try it in another key, say the key of F, right? So the sixth chord is here. I'm going to play this five chord, which is this over. If I do, it's a chromatic movement, is going to sound like. Okay, good. So let's try that. So it's four. Okay? Does that regular code, right? But the next time we can, we can try that, right? So let, alright. Okay, so just focus on the six chord. So.